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Zeise, Erika [WorldCat Identities]

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View all 20 bids. Erster und Zweiter Teil. Illustrated by F.

Johann Wolfgang von Goethe

Nicely bound edition with monogrammed binding. The book dimensions are With 21 full page illustrations and black and white wood engravings in the text. Condition: Some pages have some minor ageing stains, otherwise excellent. Catawiki member since January 14, , received 31 reviews in total 17 in last 12 months.

Shipping costs are for mainland destinations only. What else to say? Towering as an archetype, akin to Hamlet, the Inferno and White Whale -- this tale of pact has been absorbed into a our cultural bones, like an isotope. It is more telling to consider that I listened to Tavener while reading this. I recently gave Pandora a spin but found that I owned more Schnittke than was afforded by my"station" but if I leave such, will I miss those Penn Station ads?

I will say that I should'v Dear friend, all theory is gray, and green the golden tree of life. I will say that I should've read my Norton critical edition, well actually, my wife's copy -- the one I bought for her in Columbus, Ohio ten years ago. I went with a standard Penguin copy and I'm sure many of the historic references were lost for me.

No one should consider that I regard Faust as emblematic of power politics in the US or a possible Brexit across the water. I'm too feeble for such extrapolation. There's something discomforting about the vague moral convictions of Goethe's Faust character. One would assume, that even a scholar living in Goethe's time would find the typical preoccupations of Christian morality somewhat boring, if not basically delusional and overzealous.

After all, the cacophony of self-doubt racing through his mind is not initially brought on by anything that resembles religious guilt. He's a man plagued by the hermetic stuffiness of a lifestyle of perpetual deep thought There's something discomforting about the vague moral convictions of Goethe's Faust character. He's a man plagued by the hermetic stuffiness of a lifestyle of perpetual deep thought. All of his forced questions about the complexity of the universe have not been adequately revealed to him in the immense amount of reading and study that he has undertaken throughout the course of his life.

Something is missing. In the opening soliloquy he desperately gropes out loud in an attempt to locate the source of his emptiness. He intones Oh, but nothing more. Where can I grasp you, never-ending Nature? Breasts, where? You founts of all of life, That earth and heaven hang upon love And where the parched soul craves to be, You flow, you give to drink, but not to me. In the beginning it's difficult to tell whether Faust harbors any faith in God.

Faust desires some sort of ineffable experience; he desires a base inflammation of the senses, most importantly of his own passion for life. It could be argued that Mephistopheles appears essentially because Faust desires to lose himself in sublime sinfulness. God might only show up to suggest that his mortal frustrations and complex questions can in fact be answered, but only by one book.

More importantly, if it were for the grace of God's true presence in Faust's existence, his questions would abate under the reverent awe of his own faith. It's obviously not there. It's at this point that Mephistopheles appears, offering what any average mortal would desire in the throes of their own suffering, brought on by an overwhelming abundance of probing, difficult questions; namely the earthly pleasures of amorous love. To be clear, Gretchen's character is offered to Faust to appease the longings of his heart more than that of his loins. Having the position and immortal power that Mephistopheles does, he understands that Faust will be more than willing to accept his wager.

But, as most critics suggest, Mephistopheles also knows that a character such as Faust, despite not really being a man of faith, will ruin such an immediate route to happiness. Naturally, Gretchen detects the way in which this internal struggle of Faust's causes him to be so distant. Not only that, but she distrusts Mephistopheles, and is committed to God.

There is a clunky and somewhat fragmented quality to the way that Goethe presents many of the difficult concerns of Faust and his wager with Mephistopheles.

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Initially, he is so troubled, merely by the thought that all of his worldly academic efforts are made in vain. His frustration with the futility of his effort to enlighten himself and to better understand the beautiful complexity of the world, reaches a sort of peak, at which point he loses faith in virtually everything. At first amused by the idea of the very appearance of Mephistopheles, he's eventually perplexed by how effortlessly he can access the very happiness which he could hardly even give a name to.

Is he, in this sense, troubled once again by the knowledge that he possesses, the knowledge of the disappointing outcome of his temporary pleasures? One could almost draw a parallel to Nietzsche's description of the existential frustration that cripples Shakespeare's Hamlet from acting on his anger due to the knowledge that he has of the awful situation occurring around him. To an atheist, especially an academic one, virtually all of this might sound a little silly.

The reality of the situation is that Mephistopheles is actually quite fun. As he says in response to Faust's question of who Mephistopheles is, "A part of the power who wills evil always but always works the good.

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This might sound confusing to some, but what he's doing is mockingly suggesting to Faust that his attachment to traditional notions of sin and goodliness is ridiculous. Toward the end, Faust ignorantly insists that the wager is destined to end in despair and disappointment. Mephistopheles, already aware of how seemingly full of disappointment most mortal situations might appeal to human beings, basically has a little fun with Faust's misguided convictions of goodness. So then is this a tragedy? Toward the end of the first part of Goethe's morally confusing masterpiece, it becomes increasingly difficult to believe that there is anything tragic about the fate of Faust.

View 2 comments. It was assigned to me when I was in middle school for my Spanish class. I chose, however, this play by Goethe, having no idea what it was about. Instead, I got interested in such delightful activities for two main reasons. Heinrich Faust, the main character in this poetic play. I think Goethe's point was to make an emphasis in this lack of something in human understanding and that no matter how hard we try there'll be always something greater than us that we won't be able to understand with our minds designed for only three dimensions, like Ivan Karamazov said.

He says the Universe isn't perfect since Man still feels miserable. Therefore, there are many converging points in both books, but they differ from each other. So Faust is a very learned man who has studied everything that ever existed, and yet he still feels he's missing something about existence, something that isn't written down in those books and that perhaps cannot be put to words. He then expresses the words that have become famous because of their depth and their importance in this work: 'Two souls, alas, dwell in my breast, each seeks to rule without the other. And it's the Spirit who lowers this learned man to his human condition, making him aware of his delimited understanding.

Faust, however, persists and trying to prove his godliness, he tries to commit suicide, when suddenly the the church bells ring and an angelic choir from above is heard, announcing Christ's resurrection. The agreement is settled with blood.

Faust: Der Tragödie Erster Teil

Then he meets Gretchen, also known as Margaret, and that's what Faust's misery gets worse — and even worse for Gretchen, who before meeting Faust and his horrid companion was such a pure creature that at first Mephisto does not think he can get her. Faust blames Mephistopheles for distracting him at the Walpurus Night instead of taking him to save Gretchen. This is when I realised Goethe used Mephisto to point out the flaws of our minds, sometimes in earnest, sometimes in jest, like people's tendency to blame external, sometimes supernatural causes for their mistakes.

I'm afraid Goethe wrote the second part until the last year of his life. I'm not as learned as Doctor Faust, but I think I found in reading this book the kind of fervor he was looking for. Illustrated by Goethe himself. View all 11 comments. Ironically, Faust reveals his disapproval for books as a true source of knowledge in understanding the world; we must turn to life and living, and experience instead. I call this ironic because while he denounces books, Faust is a book. Goethe's Faust, particularly the first part is one of the monuments of western literature.

The characters of Mephisto, Faust and Margarite and unforgettable. It has, of course inspired operas from Berlioz to Busoni and books writers such as Thomas Mann. It was actually adapted from an earlier version by Christopher Marlowe but Goethe's version is even more sinister and lifelike.

What a tragedy!

How beautifully, subtly crafted. This was one of the most heart wrenching books I've read in a long time. Not since watching Breaking Bad have I been so enthralled by a man's descent into depravity. David Constantine's translation modernizes this amazing piece of High German lit, but George Madison Priest's translation seems, at least to me, to have a more seductive flow and more tempting poetry. Who knew that this book, one of the most famous in literature, was actually two separate works that seem only slightly related?

I certainly didn't. The first part is a fairly ordinary play that gets dunked in profundity through the inclusion of Mephistopheles. There are only a few main characters here, and there wasn't much depth to any of them. I've heard that the German is tremendously good, but it's impossible for me to judge. I switched back and forth in this part between two different trans Who knew that this book, one of the most famous in literature, was actually two separate works that seem only slightly related? I switched back and forth in this part between two different translations.

I liked the free kindle version better than my Oxford edition, but I wasn't really taken in with the language of either, except in some small parts. On its own, I have to say that I enjoyed the first part. The second part is unlike anything I've ever read. If I didn't know that it had been invented in my lifetime, I'd swear that Goethe got himself into some very, very fine LSD. It's very weird, jumps all over the place, and gives the impression that anything, no matter how fantastical, could be made to occur.

It feels like it could never be produced as a play. There are way too many speakers -- I hesitate to call any of them characters. In this second part, a mood might start talking, or a mythological creature, or an inanimate object, or anything at all for that matter. And I have no idea how, if staged, anyone would know which "character" was speaking at any time. Unless, like in a childrens play, Thales or Speed-Booty, wore a placard saying who he was. The stage directions can be just as dumbfounding. At one point, one direction says: "To the younger members of the audience who did not applaud.

What if the entire audience applauded? It is one of the stranger directions I've ever seen in a play, and it made me think that Goethe may have been over a hundred years ahead of his time. Or maybe he just realized that this was a "play" that would only ever be read, and he was just having some fun with the directions.

Ultimately, this work is a long piece of lyric poetry, and I'm willing to accept that in German it is remarkably great poetry. I suppose that people who don't speak English might have just as hard a time figuring out what's so great about Shakespeare, and that makes me sad.

But, reading Proust made me decide to learn French. I never felt anything like that tug towards German while reading Faust. View all 4 comments. This was assigned reading for university. I was quite confused and disconnected from the play as I read it. Although I did understand and could follow what was happening, I was lost as to the relevance of the play. I did not enjoy reading it. But then I continued on to analysing the play and studying it - and there was where I discovered its worth, the themes it discusses and could appreciate the wit and aim of the play more.

But it still couldn't be counted as an enjoyable or very enlightening This was assigned reading for university. But it still couldn't be counted as an enjoyable or very enlightening read for me personally. Philosophy, blasphemy, sorcery, seduction, murder and orgy—oh my! But if such things were in the works to ensure that when I did read this book I would be mos Philosophy, blasphemy, sorcery, seduction, murder and orgy—oh my! But if such things were in the works to ensure that when I did read this book I would be most capable of appreciating its saturate brilliance, I gladly do not regret them.

The young man who might have then read Faust would have lacked the perspective of the living, the loving, the suffering, reading, writing and especially meditating the intervening years were. The world of the spirit is not sealed; Your mind is shut, your soul is dead! Awake my son, and all unwearied Bathe in the dawn of your mortal breast! Tools What links here Upload file Special pages Page information. French painter, draughtsman, aquarellist and photographer. Authority control. Public domain Public domain false false.


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