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Goethes Faust #2
Faust, Part Two
This is a new translation of Faust, Part Two by David Luke, whose translation of Faust, Part I was the winner of the European Poetry Translation Prize. Here, Luke expertly imitates the varied verse-forms of the original, and provides a highly readable and actable translation which includes an
introduction, full notes, and an index of classical mythology.
introduction, full notes, and an index of classical mythology.
304 pages, Paperback
First published January 1, 1832
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About the author
Johann Wolfgang von Goethe
12.4kÌýbooks6,616ÌýfollowersA master of poetry, drama, and the novel, German writer and scientist Johann Wolfgang von Goethe spent 50 years on his two-part dramatic poem
Faust
, published in 1808 and 1832, also conducted scientific research in various fields, notably botany, and held several governmental positions.
George Eliot called him "Germany's greatest man of letters... and the last true polymath to walk the earth." Works span the fields of literature, theology, and humanism.
People laud this magnum opus as one of the peaks of world literature. Other well-known literary works include his numerous poems, the Bildungsroman Wilhelm Meister's Apprenticeship and the epistolary novel The Sorrows of Young Werther .
With this key figure of German literature, the movement of Weimar classicism in the late 18th and early 19th centuries coincided with Enlightenment, sentimentality (Empfindsamkeit), Sturm und Drang, and Romanticism. The author of the scientific text Theory of Colours , he influenced Darwin with his focus on plant morphology. He also long served as the privy councilor ("Geheimrat") of the duchy of Weimar.
Goethe took great interest in the literatures of England, France, Italy, classical Greece, Persia, and Arabia and originated the concept of Weltliteratur ("world literature"). Despite his major, virtually immeasurable influence on German philosophy especially on the generation of Georg Wilhelm Friedrich Hegel and Friedrich Wilhelm Joseph von Schelling, he expressly and decidedly refrained from practicing philosophy in the rarefied sense.
Influence spread across Europe, and for the next century, his works inspired much music, drama, poetry and philosophy. Many persons consider Goethe the most important writer in the German language and one of the most important thinkers in western culture as well. Early in his career, however, he wondered about painting, perhaps his true vocation; late in his life, he expressed the expectation that people ultimately would remember his work in optics.
George Eliot called him "Germany's greatest man of letters... and the last true polymath to walk the earth." Works span the fields of literature, theology, and humanism.
People laud this magnum opus as one of the peaks of world literature. Other well-known literary works include his numerous poems, the Bildungsroman Wilhelm Meister's Apprenticeship and the epistolary novel The Sorrows of Young Werther .
With this key figure of German literature, the movement of Weimar classicism in the late 18th and early 19th centuries coincided with Enlightenment, sentimentality (Empfindsamkeit), Sturm und Drang, and Romanticism. The author of the scientific text Theory of Colours , he influenced Darwin with his focus on plant morphology. He also long served as the privy councilor ("Geheimrat") of the duchy of Weimar.
Goethe took great interest in the literatures of England, France, Italy, classical Greece, Persia, and Arabia and originated the concept of Weltliteratur ("world literature"). Despite his major, virtually immeasurable influence on German philosophy especially on the generation of Georg Wilhelm Friedrich Hegel and Friedrich Wilhelm Joseph von Schelling, he expressly and decidedly refrained from practicing philosophy in the rarefied sense.
Influence spread across Europe, and for the next century, his works inspired much music, drama, poetry and philosophy. Many persons consider Goethe the most important writer in the German language and one of the most important thinkers in western culture as well. Early in his career, however, he wondered about painting, perhaps his true vocation; late in his life, he expressed the expectation that people ultimately would remember his work in optics.
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January 17, 2018
Preface & Notes
Chronology
Introduction
Translator's Note
The Writing of 'Faust, Part II'
'Faust, Part II' Act by Act: Composition and Synopsis
Further Reading
--Faust, Part II
Notes
Chronology
Introduction
Translator's Note
The Writing of 'Faust, Part II'
'Faust, Part II' Act by Act: Composition and Synopsis
Further Reading
--Faust, Part II
Notes
November 26, 2020
ریویوو های خوب Ùˆ Ù…Ùصل درباره این کتاب زیاده ØŒ پس خلاصه عرض کنم
سخت بود Ùˆ زیبا، در بالاترین Øد ممکن
خوندنش صدسال طول کشید، با اینØال خیلی دوستش داشتم. بدون پینوشت ها بعید بود بتونم معنی سمبولها Ùˆ استعاره ها Ùˆ تلمیØات رو بÙهمم، بخاطر همین رÙت Ùˆ برگشتها هم طول کشید خوندنش.
....
پیشنهاد ویژه:
از دیروز با پادکست "اسطوراخ " آشنا شدم Ú©Ù‡ درباره اسطوره های روم Ùˆ یونان عه. گوش کنید تا بعدها اگر Ùاووست خوندید از تعداد زیاد خداها گیج نشید
سخت بود Ùˆ زیبا، در بالاترین Øد ممکن
خوندنش صدسال طول کشید، با اینØال خیلی دوستش داشتم. بدون پینوشت ها بعید بود بتونم معنی سمبولها Ùˆ استعاره ها Ùˆ تلمیØات رو بÙهمم، بخاطر همین رÙت Ùˆ برگشتها هم طول کشید خوندنش.
....
پیشنهاد ویژه:
از دیروز با پادکست "اسطوراخ " آشنا شدم Ú©Ù‡ درباره اسطوره های روم Ùˆ یونان عه. گوش کنید تا بعدها اگر Ùاووست خوندید از تعداد زیاد خداها گیج نشید
May 10, 2016
Er so according to Wikipedia, "Appreciation of the work often requires an extensive knowledge of Greek mythology, and it is arguably one of the most difficult works of world literature."
Eh. No. Cmon. Is that a joke? This is 1000% more accessible than anything by James Joyce, John Milton, and dozens of other writers. Even a rudimentary knowledge of classical myth & lit will make this readable.
Didn't enjoy it as much as Part 1, though. This is defs more sophisticated, to be sure... but it lacks the vibrancy, the energy, the eager honesty of P1, which felt resonant and personal and human. P2 reads more like an intellectual exercise of someone who's spent scores of years studying the classics, someone who wants to establish himself as descendant of those great writers. Which makes it feel more pretentious than groundbreaking.
It's very Odyssean, except that Faust's katabasis is not a literal descent into the underworld but a figurative one, via his deal with Mephisto.
There were parts I loved, though. The Euphorion bit- the part about the son Faust has with Helen of Troy- was pretty heavy-handed in its parallels with the myth of Icarus, but nevertheless a memorable section. And the ending was stunning, too.
Eh. No. Cmon. Is that a joke? This is 1000% more accessible than anything by James Joyce, John Milton, and dozens of other writers. Even a rudimentary knowledge of classical myth & lit will make this readable.
Didn't enjoy it as much as Part 1, though. This is defs more sophisticated, to be sure... but it lacks the vibrancy, the energy, the eager honesty of P1, which felt resonant and personal and human. P2 reads more like an intellectual exercise of someone who's spent scores of years studying the classics, someone who wants to establish himself as descendant of those great writers. Which makes it feel more pretentious than groundbreaking.
It's very Odyssean, except that Faust's katabasis is not a literal descent into the underworld but a figurative one, via his deal with Mephisto.
There were parts I loved, though. The Euphorion bit- the part about the son Faust has with Helen of Troy- was pretty heavy-handed in its parallels with the myth of Icarus, but nevertheless a memorable section. And the ending was stunning, too.
April 14, 2015
I think that the title is a bit misleading - it makes one expect "Faust, Part Two" to be the sequel to "Faust, Part One". Instead, this reads more like "The New Faust: Containing an Emperor of Much Import and Lavish Greek Settings".
The play opens with Faust getting his memory wiped by a fairy - so he no longer remembers the tragic end met by his lover, or pretty much anything that he previously did, except that he had the devil by his side.
For reasons unknown to me, he goes to the Emperor's court, where he is convinced to bring Helen (of Troy) and Paris in front of the nobles, for their amusement. His devilishly handsome devil, Mephistopheles, is pretty much useless when it comes to anything non-Christian, so he sends Faust on a quest to the Mothers, some sort of horrid deities, in what we can only presume is a dangerous, exciting, profound quest.
We don't get to see that quest. But that's okay, we get to see a masquerade where Mephistopheles pretty much invents paper money for the Emperor and saves him from his money issues. Deep.
Anyway, Faust manages to bring Helen and Paris in front of the audience and falls in love or lust or something with Helen and decides he *must* have her. As stated above, Mephistopheles is about as useful as an oxygen mask on a fish, so they go back to Faust's old university to talk to some characters we used to know and pick up a homunculus (tiny being in a bottle). Then they head off to the Classical Walpurgis Night, which happens in Ancient Greece. Lots of fun things ensue - for example, Faust buggers off in search of Helen into the Underworld, another journey filled with danger, excitement, depth and awe which we DON'T see. Mephistopheles runs around with ancient Greek creatures and also vanishes out of the picture.
That's okay, we stick with the homunculus and Proteus for this part of the play - remember Proteus? Of course not, he was just introduced three seconds ago. Anyway, I lost track of what the hell was going on because a new character was introduced every page or two and I was getting bored, but I think the homunculus finally had sex with Proteus or someone else. I don't care. Neither did Goethe, we never see any of these characters ever again.
Soon, we see Helen and her women return to Greece after the end of the Trojan war. She's told she'll be killed in a sacrifice by her husband - unless she goes to Faust, who'll save her. She does go to him indeed, followed by her women, and what follows is the amazing relationship between her and Faust, which lasts for many, many years. But we don't get to see it, because we stick with the chorus of bored waiting women who sleep through the entire thing.
That's okay, though, because we get to see Helen and Faust come out with their amazing boy, who's really something special. Unfortunately, soon after being introduced, he jumps too high up in the sky and falls down to his death, which gets Helen to vanish in a puff of mist representing her suicide or something.
Anyway, Faust returns to his own time, meets with the Emperor, wins him a battle and receives a strip of land near the sea in thanks. He proceeds to Netherlands he hell out of it, making the sea back away, but unfortunately he utters the wrong words and his pact with Mephistopheles comes to an end and he dies. (Finally!!!!)
He doesn't go to Hell, though, because the angels rescue him from the grips of the devil by striking him with lust (as angels do, I guess) and distracting him. Thus, Faust ends up in heaven and we get cameos from other characters we used to know.
Hardly a page or two can go by without a new character appearing out of nowhere. I didn't have the inspiration to count from the start, but I swear there were hundreds of characters, none of whom I gave much of a damn about. The story felt even less coherent than Part I, I guess the social commentary is worthwhile, if you're into that sort of thing, but I kept feeling that I'd rather read something more Faust-centered, something even vaguely more coherent, something that didn't hint at good bits happening off-stage, something which also stood as a *story*, not just as *ideas*.
The play opens with Faust getting his memory wiped by a fairy - so he no longer remembers the tragic end met by his lover, or pretty much anything that he previously did, except that he had the devil by his side.
For reasons unknown to me, he goes to the Emperor's court, where he is convinced to bring Helen (of Troy) and Paris in front of the nobles, for their amusement. His devilishly handsome devil, Mephistopheles, is pretty much useless when it comes to anything non-Christian, so he sends Faust on a quest to the Mothers, some sort of horrid deities, in what we can only presume is a dangerous, exciting, profound quest.
We don't get to see that quest. But that's okay, we get to see a masquerade where Mephistopheles pretty much invents paper money for the Emperor and saves him from his money issues. Deep.
Anyway, Faust manages to bring Helen and Paris in front of the audience and falls in love or lust or something with Helen and decides he *must* have her. As stated above, Mephistopheles is about as useful as an oxygen mask on a fish, so they go back to Faust's old university to talk to some characters we used to know and pick up a homunculus (tiny being in a bottle). Then they head off to the Classical Walpurgis Night, which happens in Ancient Greece. Lots of fun things ensue - for example, Faust buggers off in search of Helen into the Underworld, another journey filled with danger, excitement, depth and awe which we DON'T see. Mephistopheles runs around with ancient Greek creatures and also vanishes out of the picture.
That's okay, we stick with the homunculus and Proteus for this part of the play - remember Proteus? Of course not, he was just introduced three seconds ago. Anyway, I lost track of what the hell was going on because a new character was introduced every page or two and I was getting bored, but I think the homunculus finally had sex with Proteus or someone else. I don't care. Neither did Goethe, we never see any of these characters ever again.
Soon, we see Helen and her women return to Greece after the end of the Trojan war. She's told she'll be killed in a sacrifice by her husband - unless she goes to Faust, who'll save her. She does go to him indeed, followed by her women, and what follows is the amazing relationship between her and Faust, which lasts for many, many years. But we don't get to see it, because we stick with the chorus of bored waiting women who sleep through the entire thing.
That's okay, though, because we get to see Helen and Faust come out with their amazing boy, who's really something special. Unfortunately, soon after being introduced, he jumps too high up in the sky and falls down to his death, which gets Helen to vanish in a puff of mist representing her suicide or something.
Anyway, Faust returns to his own time, meets with the Emperor, wins him a battle and receives a strip of land near the sea in thanks. He proceeds to Netherlands he hell out of it, making the sea back away, but unfortunately he utters the wrong words and his pact with Mephistopheles comes to an end and he dies. (Finally!!!!)
He doesn't go to Hell, though, because the angels rescue him from the grips of the devil by striking him with lust (as angels do, I guess) and distracting him. Thus, Faust ends up in heaven and we get cameos from other characters we used to know.
Hardly a page or two can go by without a new character appearing out of nowhere. I didn't have the inspiration to count from the start, but I swear there were hundreds of characters, none of whom I gave much of a damn about. The story felt even less coherent than Part I, I guess the social commentary is worthwhile, if you're into that sort of thing, but I kept feeling that I'd rather read something more Faust-centered, something even vaguely more coherent, something that didn't hint at good bits happening off-stage, something which also stood as a *story*, not just as *ideas*.
June 28, 2021
Ùاوست Ùˆ راه آزادی
Ùاوست٠گوته، شاید Ú©Ù‡ دقیق ترین روایت از تجربه مدرنیته باشد، هنگامه ای Ú©Ù‡ وجدان اروپایی، بر آستانه ایستاده بود Ùˆ جهانی نو انتظارش را Ù…ÛŒ کشید. اما Ùاوست Ú©Ù‡ بود؟ Ùاوست، شخصیتی متعلق به قرن Û±Ûµ ام Ú©Ù‡ به گواه تاریخ، سرآمد آن دوران بوده است در ÙلسÙه، الهیات Ùˆ پزشکی. بر ضد جزم گرایی کلیسا Ù…ÛŒ شورد Ùˆ به رابطه با شیاطین متهم Ù…ÛŒ شود. اما تمام این ها Ùاوست را با ما معاصر نمی سازد Ùˆ نمی تواند پاسخی باشد به پرسش Ùاوست کیست؟ Ùاوستی Ú©Ù‡ همچنان به زندگی در کنار ما Ùˆ در ما ادامه Ù…ÛŒ دهد، نه متعلق به گذشته ای دور Ùˆ Ùراموش شده Ùˆ از دست رÙته.
در پاسخ به پرسش اخیر، گوته، Ùاوست را در قامت انسانی نقش Ù…ÛŒ زند خسته Ùˆ دل بریده از همه چیز٠این جهانی Ùˆ ناامید از هرچه آن جهانی. Ùاوست در آغاز٠تراژدی چنین ناله سر Ù…ÛŒ دهد:
وه Ú©Ù‡ ÙلسÙÙ‡ Øقوق Ùˆ پزشکی _Ùˆ هیهات Ú©Ù‡ الهیات را هم_ تا آخر خوانده‌اÙ� ولی از همه‌Û� این تلاش سوزانم طرÙÛŒ جز این نبسته ام من٠بی نوای ابله Ú©Ù‡ در این کنج نشسته‌اÙ� Ùˆ سر سوزنی داناتر از آن نیستم Ú©Ù‡ پیش‌تØ� بودم.
در پرده ای دیگر از نمایشنامه، شیطان (Ù…ÙیستوÙلس) با خدا شرطی Ù…ÛŒ بندد Ú©Ù‡ Ùاوست را، این بنده ای Ú©Ù‡ یک اکنون در راه خدمت به خدایش برخطاست، برای همیشه به سبیل ظلالت بکشاند. Ù…ÙیستوÙلس به زمین Ù…ÛŒ رود تا Ùاوست را، کسی Ú©Ù‡ نان Ùˆ آبش در زمین یاÙت نمی شود، بلکه جوشش شراب جانش او را به دور دست ها Ù…ÛŒ کشاند، به راه خود بکشاند. در همین Øال، Ùاوست، ناامید از همه چیز، قصد گرÙتن جان خود را دارد. اما پشیمان Ù…ÛŒ شود با شنیدن سرود عید پاک Ú©Ù‡ به یگانگی ای تازه یقین Ù…ÛŒ دهد. پس از این روز خجسته، Ù…ÙیستوÙلس بر Ùاوست ظاهر Ù…ÛŒ شود Ùˆ با او شرط Ùˆ قرارداد دیگری Ù…ÛŒ بندد Ú©Ù‡ اگر اوÌý توانست آرامش Ùˆ یگانگی Ùˆ رضایت برای جان Ùاوست، با خدمت رسانی به او Ùˆ بجا آوردن هر آنچه Ú©Ù‡ Ùاوست Ù…ÛŒ خواهد را، به ارمغان بیاورد Ùˆ درد استسقای Ùاوست را Ù„Øظه ای چند ارام کند چنان Ú©Ù‡ Ùاوست به Ù„Øظه بگوید: هان! تو بمان Ú©Ù‡ دلنشینی، در این هنگام، Ù…ÙیستوÙلس مختار است Ú©Ù‡ او را به زنجیر بکشد. در آن صورت Ú†Ù‡ بهتر Ú©Ù‡ زمان از Øرکت باایستد Ùˆ روز عمر Ùاوست به آخر برسد.
آنچه در نگاه اول، شاید برای ما غیرقابل درک باشد، ناامیدی عمیق Ùاوست از به Ú†Ù†Ú¯ آوردن Øقیقت Ùˆ گشودن راز سر به مهر هستی است. یک ناامیدی عمیق Ú©Ù‡ Øتی به نابودی خویشتن ØÚ©Ù… Ù…ÛŒ دهد. هر چند Ú©Ù‡ این ناامیدی در جهان Ùˆ هرچه در آن است برای ما نیز رخ داده اما دلخوشی آن جهان، انجا Ú©Ù‡ مقصود Ùˆ غایت٠تمام امید های ماست، جانمان را ارام کرده. ما راØت Ùˆ آسوده نسیه را به نقد ØªØ±Ø¬ÛŒØ Ø¯Ø§Ø¯Ù‡ ایم به همین علت شاید از عمق ناامیدی Ùاوست شناختی نیابیم Ùˆ ناامیدی او، همدلی ما را برنیانگیزد چرا چنان Ú©Ù‡ خود او، هنگام عقد قرارداد با Ù…ÙیستوÙلس نیز Ù…ÛŒ گوید:
"آن جهان چندان غم من نیست. تو اول بزن بنای این جهان را از بیخ Ùˆ بن بربینداز Ùˆ بعد اگر آن جهان خواست بگو به ساØت هستی دراید. شادی های من از چشمه‌Û� همین خاک است Ú©Ù‡ بر Ù…ÛŒ جوشد Ùˆ همین خورشید است Ú©Ù‡ بر غم Ùˆ رنج من Ù…ÛŒ تابد."
Ù…ÛŒ توان پرسید چنین ناامیدی عمیقی از کجا ریشه می‌گیردØ� این ناامیدی Ú©Ù‡ جان را وا Ù…ÛŒ دارد Ú©Ù‡ نبودن را بر بودن ØªØ±Ø¬ÛŒØ Ø¯Ù‡Ø¯â€Œâ€ŒØ� ریشه‌Û� این ناامیدی را، Ú©Ù‡ ناامیدی از Øقیقت است، Ù…ÛŒ توانیم در متاÙیزیک، این ملکه همه علوم، یا به قول کانت عرصه منازعات بی پایان جستجو کنیم. منازعاتی Ú©Ù‡ کانت در پیشگÙتار بر ویراست نخست اثر سترگش، نقادی عقل Ù…Øض، چنین توصیÙØ´ Ù…ÛŒ کند‌‌â€�:
"در ابتدا سروری متاÙیزیک تØت سیطره جزم اندیشان مستبدانه بود اما چون قوانین اش کماکان نشانه هایی از توØØ´ دوران باستان را در خود داشت، Øکومت اش به واسطه جنگ های داخلی به تدریج به ورطه هرج Ùˆ مرج کامل سقوط کرد. Ùˆ در این میان شکاکان همچون Ú©ÙˆÚ† نشینان، Ú©Ù‡ از کشت Ùˆ زرع دائم زمین متنÙرند، گاه Ùˆ بی گاه اتØاد شهرنشینان را به هم Ù…ÛŒ زدند."
کانت سرانجام این منازعات بی پایان، متاÙیزیک را، چنین روایت Ù…ÛŒ کند:
"Øال بعد از آنکه همه راهها بدون هیچ دستاوردی آزموده شده اند خستگی Ùˆ بی اعتنائی کامل Ú©Ù‡ مادر٠هرج Ùˆ مرج Ùˆ ابهام است بر تمام علوم Øاکم است."
کانت Ú©Ù‡ قصد داشت انضباط را به این آشوب Ùˆ هرج Ùˆ مرج با برپا کردن دادگاهی به منظور نقادی عقل Ù…Øض برگرداند، به نتایجی رسید Ú©Ù‡ برای بسیاری از جان ها دهشتناک بود. او مرزی کشید میان جهان نومن Ùˆ Ùنومن، جهان چنان Ú©Ù‡ در خود است_ جهانی Ú©Ù‡ شناخت ما را بدان راهیâ€� نیست_ Ùˆ جهان چنان Ú©Ù‡ برای ما پدیدار Ù…ÛŒ شود Ùˆ این نکته را در بخش مسائل جدلی الطرÙین نقادی عقل Ù…Øض ثابت کرد Ú©Ù‡ عقل هیچ گاه نخواهد تواستن به Øقیقت٠ازلی یا Øادث بودن جهان، بسیط یا مرکب بودن آن، آزادی یا اختیار، بقای Ù†Ùس Ùˆ وجود واجب‌الوجوØ� Ù¾ÛŒ بردن؛ چرا Ú©Ù‡ عقل هر گاه بیرون از مرزهای تجربه دست به تقلا Ùˆ کوشش زند، خودش را در نهایت، گرÙتار تناقضات بی شمار Ù…ÛŒ بیند.
برای وجدان Ùاوست، یا هر آنکه چنین بی پناه Ùˆ بی کس در تاریکی Ùˆ ظلمت این جهان رها شده، در برابر چنین نتایج٠دلهره آوری، یک راه خودکشی است. راهی Ú©Ù‡ Ùاوست ناتمام گذاشت Ùˆ هاینریش Ùون کلایست نویسنده Ùˆ ادیب آلمانی به پایانش بردâ€�. توماس مان، در مقاله ای درباره کلایست Ùˆ آثارش این پایان را چنین ØªÙˆØ¶ÛŒØ Ù…ÛŒ دهد:
"تجربه مطالعه کانت برای او به شوک Ùˆ شکستی هراس‌انگیØ� می‌انجامØ� Ùˆ بدل به یک تجربه Ùاجعه‌آمیØ� روØÛŒ-اخلاقی می‌شوØ� از آن رو Ú©Ù‡ روشنش Ù…ÛŒ سازد Ú©Ù‡ Øقیقت Ùˆ کمال دسترس ناپذیرند، زیرا هر شناختی به شیوه Ùˆ توان تÙکر ما وابسته است. این شوک او را از پا در Ù…ÛŒ آورد، Ù…ÛŒ نویسد: یگانه هد٠من، آن هد٠والایم Ùروپاشیده است Ùˆ من دیگر هیچ مقصودی ندارم."
اما Ùاوست راه دیگری را انتخاب Ù…ÛŒ کندâ€�. شاید عقلی Ú©Ù‡ از دادگاه نقادی عقل Ù…Øض کانت بیرون آمده امکانات دیگری را به جز ناامیدی Ùˆ خودویرانگری پیش چشم ما قرار دهد. گوته Ú©Ù‡ در پایان، همزمان با کار بر روی تراژدی Ùاوست، به مطالعه آثار کانت نیز مشغول بود، به نقل از آکرمن چنین نوشته: "کانت خدمت بی چون Ùˆ چرایی به ما کرده؛ با کشیدن مرزهایی Ú©Ù‡ قوای عقلانی انسانی Ùراسوی آن توان Ù†Ùوذ ندارد Ùˆ مسائل غیرقابل ØÙ„ را به Øال خود واگذاشتن‌‌â€�." اری، این ناامیدی از پیوسته بالاتر رÙتن برای چیدن ستاره Øقیقت در دل تاریک آسمان آن چنان هم بی ثمر نبود. در نهایت انسان پس از قرن ها مجادلات بی پایان، طعم خوش رهایی را چشید. رهایی از تمام مسائلی Ú©Ù‡ عقل را به خود مشغول داشتند بی آنکه پاسخ به آن ها ثمره ای برای زندگی انسان داشته باشد. پس از نقادی Ùˆ بر سرجای خود نشستن عقل، جا برای ایمان، برای آزادی، برای اراده باز Ù…ÛŒ شود‌â€�. شاید Ú©Ù‡ شناخت ما واقعیت جهان را چنان Ú©Ù‡ در خود است در نیابد‌Ø� اما ما هنوز انسان هایی هستیم صاØب اراده Ùˆ جهان پیرامون در برابر انچه انجام Ù…ÛŒ دهیم Ùˆ اراده Ù…ÛŒ کنیم، خاموش نیست. چنانکه Ùیشته نیز در کتابش، مقصود انسان، از امید های تازه در پس این ناامیدی Ùˆ روزی نو در پس این تاریکی سخن Ù…ÛŒ گوید:
"تنها با پرورش اساسی اراده من است Ú©Ù‡ نوری تازه در درون من راجع به وجود Ùˆ مقصودم آغاز به پرتو اÙشانی Ù…ÛŒ کند. بدون آن، هرچند هم Ú©Ù‡ نظر پردازی کنم Ùˆ از هر استعداد ذهنی نادری هم Ú©Ù‡ برخوردار باشم باز هم تاریکی همچنان مرا Ùˆ اطراÙÙ… را دربرمی‌گیرØ�. تنها پرورش دل به خردمندی Øقیقی رهنمون می‌شوØ�. بهل تا تمام زندگانی من بی وقÙÙ‡ وق٠این مقصود شود!
تراژدی Ùاست سیر ادیسه وار Ø±ÙˆØ Ù…Ø¯Ø±Ù† از ناامیدی، Ú©Ù‡ روØ٠در طلب٠Øقیقت را در خود مچاله Ù…ÛŒ کرد، به ایده آزادی است. راه آزادی، هر چند Ú©Ù‡ بسیار پرخطر است Ùˆ دشوار Ùˆ Ú†Ù‡ بسا Ú©Ù‡ انسان در رسیدن به آن بارها به خطا رود، Ú©Ù‡ آنکه در Øال عمل است از خطا مصون نیست، اما Ú†Ù‡ باک Ú©Ù‡ تنها ارمانی است Ùˆ تنها آرزویی Ú©Ù‡ Ù…ÛŒ تواند جان ناآرام Ùاوست را Ù„Øظه ای چند آرام کند.ÌýÌý خوشا غلغله Ùˆ تلاش Ùˆ تکاپوی بی وقÙÙ‡ برای رسیدن به ازادی چرا Ú©Ù‡ تنها تلاش بی پایان برای چنین مقصودی است Ú©Ù‡ به زندگی ارزش زیستن Ù…ÛŒ بخشد. ازادی را جز برای آزادی خواستن، جز گرÙتاری در اسارات های تازه نیست. Ùˆ منâ€� نیز همچون Ùاوست Ú©Ù‡ در آخرین Ù„Øظات عمرش اعترا٠کرد، "دوست دارم در سرزمین ازاد با ملتی آزاد شاهد چنین غلغله Ùˆ غوغایی باشم. در آن صورت Ù…ÛŒ شد Ú©Ù‡ به Ù„Øظه بگویم بمان Ú©Ù‡ تو زیبایی..."
Ùاوست٠گوته، شاید Ú©Ù‡ دقیق ترین روایت از تجربه مدرنیته باشد، هنگامه ای Ú©Ù‡ وجدان اروپایی، بر آستانه ایستاده بود Ùˆ جهانی نو انتظارش را Ù…ÛŒ کشید. اما Ùاوست Ú©Ù‡ بود؟ Ùاوست، شخصیتی متعلق به قرن Û±Ûµ ام Ú©Ù‡ به گواه تاریخ، سرآمد آن دوران بوده است در ÙلسÙه، الهیات Ùˆ پزشکی. بر ضد جزم گرایی کلیسا Ù…ÛŒ شورد Ùˆ به رابطه با شیاطین متهم Ù…ÛŒ شود. اما تمام این ها Ùاوست را با ما معاصر نمی سازد Ùˆ نمی تواند پاسخی باشد به پرسش Ùاوست کیست؟ Ùاوستی Ú©Ù‡ همچنان به زندگی در کنار ما Ùˆ در ما ادامه Ù…ÛŒ دهد، نه متعلق به گذشته ای دور Ùˆ Ùراموش شده Ùˆ از دست رÙته.
در پاسخ به پرسش اخیر، گوته، Ùاوست را در قامت انسانی نقش Ù…ÛŒ زند خسته Ùˆ دل بریده از همه چیز٠این جهانی Ùˆ ناامید از هرچه آن جهانی. Ùاوست در آغاز٠تراژدی چنین ناله سر Ù…ÛŒ دهد:
وه Ú©Ù‡ ÙلسÙÙ‡ Øقوق Ùˆ پزشکی _Ùˆ هیهات Ú©Ù‡ الهیات را هم_ تا آخر خوانده‌اÙ� ولی از همه‌Û� این تلاش سوزانم طرÙÛŒ جز این نبسته ام من٠بی نوای ابله Ú©Ù‡ در این کنج نشسته‌اÙ� Ùˆ سر سوزنی داناتر از آن نیستم Ú©Ù‡ پیش‌تØ� بودم.
در پرده ای دیگر از نمایشنامه، شیطان (Ù…ÙیستوÙلس) با خدا شرطی Ù…ÛŒ بندد Ú©Ù‡ Ùاوست را، این بنده ای Ú©Ù‡ یک اکنون در راه خدمت به خدایش برخطاست، برای همیشه به سبیل ظلالت بکشاند. Ù…ÙیستوÙلس به زمین Ù…ÛŒ رود تا Ùاوست را، کسی Ú©Ù‡ نان Ùˆ آبش در زمین یاÙت نمی شود، بلکه جوشش شراب جانش او را به دور دست ها Ù…ÛŒ کشاند، به راه خود بکشاند. در همین Øال، Ùاوست، ناامید از همه چیز، قصد گرÙتن جان خود را دارد. اما پشیمان Ù…ÛŒ شود با شنیدن سرود عید پاک Ú©Ù‡ به یگانگی ای تازه یقین Ù…ÛŒ دهد. پس از این روز خجسته، Ù…ÙیستوÙلس بر Ùاوست ظاهر Ù…ÛŒ شود Ùˆ با او شرط Ùˆ قرارداد دیگری Ù…ÛŒ بندد Ú©Ù‡ اگر اوÌý توانست آرامش Ùˆ یگانگی Ùˆ رضایت برای جان Ùاوست، با خدمت رسانی به او Ùˆ بجا آوردن هر آنچه Ú©Ù‡ Ùاوست Ù…ÛŒ خواهد را، به ارمغان بیاورد Ùˆ درد استسقای Ùاوست را Ù„Øظه ای چند ارام کند چنان Ú©Ù‡ Ùاوست به Ù„Øظه بگوید: هان! تو بمان Ú©Ù‡ دلنشینی، در این هنگام، Ù…ÙیستوÙلس مختار است Ú©Ù‡ او را به زنجیر بکشد. در آن صورت Ú†Ù‡ بهتر Ú©Ù‡ زمان از Øرکت باایستد Ùˆ روز عمر Ùاوست به آخر برسد.
آنچه در نگاه اول، شاید برای ما غیرقابل درک باشد، ناامیدی عمیق Ùاوست از به Ú†Ù†Ú¯ آوردن Øقیقت Ùˆ گشودن راز سر به مهر هستی است. یک ناامیدی عمیق Ú©Ù‡ Øتی به نابودی خویشتن ØÚ©Ù… Ù…ÛŒ دهد. هر چند Ú©Ù‡ این ناامیدی در جهان Ùˆ هرچه در آن است برای ما نیز رخ داده اما دلخوشی آن جهان، انجا Ú©Ù‡ مقصود Ùˆ غایت٠تمام امید های ماست، جانمان را ارام کرده. ما راØت Ùˆ آسوده نسیه را به نقد ØªØ±Ø¬ÛŒØ Ø¯Ø§Ø¯Ù‡ ایم به همین علت شاید از عمق ناامیدی Ùاوست شناختی نیابیم Ùˆ ناامیدی او، همدلی ما را برنیانگیزد چرا چنان Ú©Ù‡ خود او، هنگام عقد قرارداد با Ù…ÙیستوÙلس نیز Ù…ÛŒ گوید:
"آن جهان چندان غم من نیست. تو اول بزن بنای این جهان را از بیخ Ùˆ بن بربینداز Ùˆ بعد اگر آن جهان خواست بگو به ساØت هستی دراید. شادی های من از چشمه‌Û� همین خاک است Ú©Ù‡ بر Ù…ÛŒ جوشد Ùˆ همین خورشید است Ú©Ù‡ بر غم Ùˆ رنج من Ù…ÛŒ تابد."
Ù…ÛŒ توان پرسید چنین ناامیدی عمیقی از کجا ریشه می‌گیردØ� این ناامیدی Ú©Ù‡ جان را وا Ù…ÛŒ دارد Ú©Ù‡ نبودن را بر بودن ØªØ±Ø¬ÛŒØ Ø¯Ù‡Ø¯â€Œâ€ŒØ� ریشه‌Û� این ناامیدی را، Ú©Ù‡ ناامیدی از Øقیقت است، Ù…ÛŒ توانیم در متاÙیزیک، این ملکه همه علوم، یا به قول کانت عرصه منازعات بی پایان جستجو کنیم. منازعاتی Ú©Ù‡ کانت در پیشگÙتار بر ویراست نخست اثر سترگش، نقادی عقل Ù…Øض، چنین توصیÙØ´ Ù…ÛŒ کند‌‌â€�:
"در ابتدا سروری متاÙیزیک تØت سیطره جزم اندیشان مستبدانه بود اما چون قوانین اش کماکان نشانه هایی از توØØ´ دوران باستان را در خود داشت، Øکومت اش به واسطه جنگ های داخلی به تدریج به ورطه هرج Ùˆ مرج کامل سقوط کرد. Ùˆ در این میان شکاکان همچون Ú©ÙˆÚ† نشینان، Ú©Ù‡ از کشت Ùˆ زرع دائم زمین متنÙرند، گاه Ùˆ بی گاه اتØاد شهرنشینان را به هم Ù…ÛŒ زدند."
کانت سرانجام این منازعات بی پایان، متاÙیزیک را، چنین روایت Ù…ÛŒ کند:
"Øال بعد از آنکه همه راهها بدون هیچ دستاوردی آزموده شده اند خستگی Ùˆ بی اعتنائی کامل Ú©Ù‡ مادر٠هرج Ùˆ مرج Ùˆ ابهام است بر تمام علوم Øاکم است."
کانت Ú©Ù‡ قصد داشت انضباط را به این آشوب Ùˆ هرج Ùˆ مرج با برپا کردن دادگاهی به منظور نقادی عقل Ù…Øض برگرداند، به نتایجی رسید Ú©Ù‡ برای بسیاری از جان ها دهشتناک بود. او مرزی کشید میان جهان نومن Ùˆ Ùنومن، جهان چنان Ú©Ù‡ در خود است_ جهانی Ú©Ù‡ شناخت ما را بدان راهیâ€� نیست_ Ùˆ جهان چنان Ú©Ù‡ برای ما پدیدار Ù…ÛŒ شود Ùˆ این نکته را در بخش مسائل جدلی الطرÙین نقادی عقل Ù…Øض ثابت کرد Ú©Ù‡ عقل هیچ گاه نخواهد تواستن به Øقیقت٠ازلی یا Øادث بودن جهان، بسیط یا مرکب بودن آن، آزادی یا اختیار، بقای Ù†Ùس Ùˆ وجود واجب‌الوجوØ� Ù¾ÛŒ بردن؛ چرا Ú©Ù‡ عقل هر گاه بیرون از مرزهای تجربه دست به تقلا Ùˆ کوشش زند، خودش را در نهایت، گرÙتار تناقضات بی شمار Ù…ÛŒ بیند.
برای وجدان Ùاوست، یا هر آنکه چنین بی پناه Ùˆ بی کس در تاریکی Ùˆ ظلمت این جهان رها شده، در برابر چنین نتایج٠دلهره آوری، یک راه خودکشی است. راهی Ú©Ù‡ Ùاوست ناتمام گذاشت Ùˆ هاینریش Ùون کلایست نویسنده Ùˆ ادیب آلمانی به پایانش بردâ€�. توماس مان، در مقاله ای درباره کلایست Ùˆ آثارش این پایان را چنین ØªÙˆØ¶ÛŒØ Ù…ÛŒ دهد:
"تجربه مطالعه کانت برای او به شوک Ùˆ شکستی هراس‌انگیØ� می‌انجامØ� Ùˆ بدل به یک تجربه Ùاجعه‌آمیØ� روØÛŒ-اخلاقی می‌شوØ� از آن رو Ú©Ù‡ روشنش Ù…ÛŒ سازد Ú©Ù‡ Øقیقت Ùˆ کمال دسترس ناپذیرند، زیرا هر شناختی به شیوه Ùˆ توان تÙکر ما وابسته است. این شوک او را از پا در Ù…ÛŒ آورد، Ù…ÛŒ نویسد: یگانه هد٠من، آن هد٠والایم Ùروپاشیده است Ùˆ من دیگر هیچ مقصودی ندارم."
اما Ùاوست راه دیگری را انتخاب Ù…ÛŒ کندâ€�. شاید عقلی Ú©Ù‡ از دادگاه نقادی عقل Ù…Øض کانت بیرون آمده امکانات دیگری را به جز ناامیدی Ùˆ خودویرانگری پیش چشم ما قرار دهد. گوته Ú©Ù‡ در پایان، همزمان با کار بر روی تراژدی Ùاوست، به مطالعه آثار کانت نیز مشغول بود، به نقل از آکرمن چنین نوشته: "کانت خدمت بی چون Ùˆ چرایی به ما کرده؛ با کشیدن مرزهایی Ú©Ù‡ قوای عقلانی انسانی Ùراسوی آن توان Ù†Ùوذ ندارد Ùˆ مسائل غیرقابل ØÙ„ را به Øال خود واگذاشتن‌‌â€�." اری، این ناامیدی از پیوسته بالاتر رÙتن برای چیدن ستاره Øقیقت در دل تاریک آسمان آن چنان هم بی ثمر نبود. در نهایت انسان پس از قرن ها مجادلات بی پایان، طعم خوش رهایی را چشید. رهایی از تمام مسائلی Ú©Ù‡ عقل را به خود مشغول داشتند بی آنکه پاسخ به آن ها ثمره ای برای زندگی انسان داشته باشد. پس از نقادی Ùˆ بر سرجای خود نشستن عقل، جا برای ایمان، برای آزادی، برای اراده باز Ù…ÛŒ شود‌â€�. شاید Ú©Ù‡ شناخت ما واقعیت جهان را چنان Ú©Ù‡ در خود است در نیابد‌Ø� اما ما هنوز انسان هایی هستیم صاØب اراده Ùˆ جهان پیرامون در برابر انچه انجام Ù…ÛŒ دهیم Ùˆ اراده Ù…ÛŒ کنیم، خاموش نیست. چنانکه Ùیشته نیز در کتابش، مقصود انسان، از امید های تازه در پس این ناامیدی Ùˆ روزی نو در پس این تاریکی سخن Ù…ÛŒ گوید:
"تنها با پرورش اساسی اراده من است Ú©Ù‡ نوری تازه در درون من راجع به وجود Ùˆ مقصودم آغاز به پرتو اÙشانی Ù…ÛŒ کند. بدون آن، هرچند هم Ú©Ù‡ نظر پردازی کنم Ùˆ از هر استعداد ذهنی نادری هم Ú©Ù‡ برخوردار باشم باز هم تاریکی همچنان مرا Ùˆ اطراÙÙ… را دربرمی‌گیرØ�. تنها پرورش دل به خردمندی Øقیقی رهنمون می‌شوØ�. بهل تا تمام زندگانی من بی وقÙÙ‡ وق٠این مقصود شود!
تراژدی Ùاست سیر ادیسه وار Ø±ÙˆØ Ù…Ø¯Ø±Ù† از ناامیدی، Ú©Ù‡ روØ٠در طلب٠Øقیقت را در خود مچاله Ù…ÛŒ کرد، به ایده آزادی است. راه آزادی، هر چند Ú©Ù‡ بسیار پرخطر است Ùˆ دشوار Ùˆ Ú†Ù‡ بسا Ú©Ù‡ انسان در رسیدن به آن بارها به خطا رود، Ú©Ù‡ آنکه در Øال عمل است از خطا مصون نیست، اما Ú†Ù‡ باک Ú©Ù‡ تنها ارمانی است Ùˆ تنها آرزویی Ú©Ù‡ Ù…ÛŒ تواند جان ناآرام Ùاوست را Ù„Øظه ای چند آرام کند.ÌýÌý خوشا غلغله Ùˆ تلاش Ùˆ تکاپوی بی وقÙÙ‡ برای رسیدن به ازادی چرا Ú©Ù‡ تنها تلاش بی پایان برای چنین مقصودی است Ú©Ù‡ به زندگی ارزش زیستن Ù…ÛŒ بخشد. ازادی را جز برای آزادی خواستن، جز گرÙتاری در اسارات های تازه نیست. Ùˆ منâ€� نیز همچون Ùاوست Ú©Ù‡ در آخرین Ù„Øظات عمرش اعترا٠کرد، "دوست دارم در سرزمین ازاد با ملتی آزاد شاهد چنین غلغله Ùˆ غوغایی باشم. در آن صورت Ù…ÛŒ شد Ú©Ù‡ به Ù„Øظه بگویم بمان Ú©Ù‡ تو زیبایی..."
November 1, 2024
This is one wacky read made up of inter-locking sketches told in narrative verse. The story in Part 1 sits in the shadows, in this part there are many new story threads along with numerous characters. Mephistopheles has most of the limelight and the best lines; his sardonic tones turn this into a light and frothy read. This is a fun play, that is as long as you don’t spend too much time trying to make sense of the many interlocking sketches with its sprawling, jumbled ideas that are not always clear where it’s all going.
This is very different in structure from part one and ends with tying it to the main theme of Part 1, not as enjoyable but I’m glad I read this, it’s nothing like what I had imagined it to be.
This is very different in structure from part one and ends with tying it to the main theme of Part 1, not as enjoyable but I’m glad I read this, it’s nothing like what I had imagined it to be.
October 19, 2020
عالی بود این کتاب،از جلد اول بیشتر دوستش داشتم با اینکه سخت خوان تر بود.
پیشنهاد میکنم با ترجمه ÛŒ Øدادی خونده بشه Ùˆ بهتر اینکه Øداقل جلد دوم رو از نسخه ÛŒ چاپی استÙاده کنید چون لازمه به Ù¾ÛŒ نوشت ها Ùˆ مقاله های آخر کتاب راØت دسترسی داشته باشید بدون اونا ممکنه هیچی از کتاب متوجه نشید.
پیشنهاد میکنم با ترجمه ÛŒ Øدادی خونده بشه Ùˆ بهتر اینکه Øداقل جلد دوم رو از نسخه ÛŒ چاپی استÙاده کنید چون لازمه به Ù¾ÛŒ نوشت ها Ùˆ مقاله های آخر کتاب راØت دسترسی داشته باشید بدون اونا ممکنه هیچی از کتاب متوجه نشید.
April 6, 2018
the perfect sequel doesn't exi...
ok, after rereading I&II back to back this week, I kinda feel like sharing some thoughts:
this is so masterfully done; even tho on the surface level both parts couldnt be more different from one another, the structure perfectly mirrors the first part, almost like a distorted mirror-image, or a musical composition with themes and variations; not only regarding the big story elements but also rly subtle small parts (just one of many examples; where Gretchen asks the 'Mater Dolorosa' in Faust 1:
Ach neige / Du Schmerzensreiche / Dein Antlitz gnädig meiner Not!
-- in Faust 2 she greets the 'Mater Gloriosa' with:
Neige neige / Du Ohnegleiche / Du Strahlenreiche / Dein Antlitz gnädig meinem Glück! etc.)
While in Faust I most of the more metaphysical and philosophical themes are delivered through dialogue, Faust II makes intensive use of allegories; ideas are acted out rather than stated. The ideas beeing so rich, that I'm almost tempted to call Goethes biography and his complete oeuvre merely a footnote to Faust (I+II).
So in the first part Faust wants to know what binds the world together (was die Welt / im innersten zusammenhält), tragedy ensues but after a short slumber Faust awakes again and continues his quest to strive for the highest beeing (Zum höchsten Dasein immerfort zu streben) throwing himself into a series of weird allegorical adventures with Mephisto, only to learn at the end that neither money, pleasure, power, success nor fame can give lasting happiness and that even tho beauty and art/poetry can (in this case even quite literally) transport us to 'Arcady', they are fragile and fleeting, and will only be able to glow for a short time before crashing to the ground and dying/vanishing (as we learn in the rather hilarious Helena/Euphorion passage), -- What binds the world is das Ewig-Weibliche (the embodiment of eternal, all-pervading Love)
Wie Felsenabgrund mir zu Füßen
Auf tiefem Abgrund lastend ruht,
Wie tausend Bäche strahlend fließen
Zum grausen Sturz des Schaums der Fluth,
Wie strack, mit eignem kräftigen Triebe,
Der Stamm sich in die Lüfte trägt:
So ist es die allmächtige Liebe
Die alles bildet, alles hegt.
Besides all the big themes etc. for me its also esp. the more subtle, tongue-in-cheek bits (for example; fear and hope chained to the elphant--the Plutus/Poetry bit--the king/bishop bit--Guilt/Lack&Need beeing denied entrance--Mephisto bringing the 3 companions of war to Fausts proto-industrial operation etc.pp.) that makes this such a pleasure to read and reread
ok, after rereading I&II back to back this week, I kinda feel like sharing some thoughts:
this is so masterfully done; even tho on the surface level both parts couldnt be more different from one another, the structure perfectly mirrors the first part, almost like a distorted mirror-image, or a musical composition with themes and variations; not only regarding the big story elements but also rly subtle small parts (just one of many examples; where Gretchen asks the 'Mater Dolorosa' in Faust 1:
Ach neige / Du Schmerzensreiche / Dein Antlitz gnädig meiner Not!
-- in Faust 2 she greets the 'Mater Gloriosa' with:
Neige neige / Du Ohnegleiche / Du Strahlenreiche / Dein Antlitz gnädig meinem Glück! etc.)
While in Faust I most of the more metaphysical and philosophical themes are delivered through dialogue, Faust II makes intensive use of allegories; ideas are acted out rather than stated. The ideas beeing so rich, that I'm almost tempted to call Goethes biography and his complete oeuvre merely a footnote to Faust (I+II).
So in the first part Faust wants to know what binds the world together (was die Welt / im innersten zusammenhält), tragedy ensues but after a short slumber Faust awakes again and continues his quest to strive for the highest beeing (Zum höchsten Dasein immerfort zu streben) throwing himself into a series of weird allegorical adventures with Mephisto, only to learn at the end that neither money, pleasure, power, success nor fame can give lasting happiness and that even tho beauty and art/poetry can (in this case even quite literally) transport us to 'Arcady', they are fragile and fleeting, and will only be able to glow for a short time before crashing to the ground and dying/vanishing (as we learn in the rather hilarious Helena/Euphorion passage), -- What binds the world is das Ewig-Weibliche (the embodiment of eternal, all-pervading Love)
Wie Felsenabgrund mir zu Füßen
Auf tiefem Abgrund lastend ruht,
Wie tausend Bäche strahlend fließen
Zum grausen Sturz des Schaums der Fluth,
Wie strack, mit eignem kräftigen Triebe,
Der Stamm sich in die Lüfte trägt:
So ist es die allmächtige Liebe
Die alles bildet, alles hegt.
Besides all the big themes etc. for me its also esp. the more subtle, tongue-in-cheek bits (for example; fear and hope chained to the elphant--the Plutus/Poetry bit--the king/bishop bit--Guilt/Lack&Need beeing denied entrance--Mephisto bringing the 3 companions of war to Fausts proto-industrial operation etc.pp.) that makes this such a pleasure to read and reread
September 12, 2024
"Faust II" is the second half of Goethe's famous play, but it itself is not as famous. Though it provides the conclusion of the eponymous character's story arc, it is often skipped during stage production, and when the play was taught to me in high school, we didn't read Part Two. Even my friends who think Goethe is a genius have told me that Part Two shouldn't exist. Could an entire half of one of the greatest works of literature, something that took Goethe his entire lifetime to complete, actually be that bad?
I would say that Part One is certainly the foundation for the modern play, whereas this section is a lot harder to digest, coming across as mere disjointed tableaux and philosophical pagentry.
After the tragic climax of Part One, Faust wakes up in a pleasant field and seems to have no memory of his affair with Gretchen. Next thing we know, he and Mephistopheles are entertaining an incompetent emperor and his court with no explanation. For a long while, events don't seem to have anything to do with the compelling drama of the first part. We've got talking flowers, and Faust running around disguised as Plutus, and Mephistopheles inventing paper money, and all kinds of silly song and dance, making many readers wonder just what the hell is going on here.
The most recognizable scene from Part Two is likely when Faust enters the realm of "Eternal Mothers", symbolizing the constant creative force behind life, and brings back the shades of Helen and Paris to delight the Emperor. It is interesting that this is the first act he has done independently since he got involved with the Devil. In Part One, Mephistopheles refers to himself as the "negater," who has ended many lives, but as many as he kills, more are born. Faust hilariously asked him why he doesn't then try to do something else, pointing out the absurdity of the Devil's mission. Creation has already happened and Nature is an unstoppable force, but the Devil keeps trying to negate God's work in vain. Therefore, it is likely Faust is able to act more of his own accord in Part Two, because the Mothers represents this vital creative force of Nature, a primal realm in which the Devil has no authority or power.
After this scene, much of the play involves Faust searching for Helen, and eventually marrying her, because he has fallen in love with her ideal. It's a grand romance, far more epic in scale than Part One, involving all manner of monsters, demi-gods, and characters from classical mythology which represent psychological archetypes. I don't know how Goethe expected this ambitious play to be staged, since there seems to be a constant requirement for special effects and a huge cast for portrayals of countless personages, both humanoid and inhuman. There's explosions and earthquakes. There are centaurs, griffins, sphinxes, giant ants, hippocampi, and sea dragons. The god Proteus appears as a giant sea turtle before transforming into a noble and then into a dolphin. Characters ride atop sea-bulls and sea-rams--whatever they are. People burst into flames and disappear. There's even a little glowing homunculus floating around in a glass jar. It is quite chaotic and surreal. Overall, Part Two is much harder to understand than the first, and is also longer, so I understand why it might turn some readers off.
For me, however, this is where the play transforms from a memorable morality tale to one of the most quoted works of art in philosophy. The first part does not complete Goethe's arc for Faust. If experienced alone, you might assume that after Faust screws over Gretchen, he screws up his life, and ends up screwed in hell--which does not offer much new that we haven't seen before. As I hinted at in my review of Part One, I think what makes this play compelling is that Goethe's vision of Faust is so different from the traditional folklore regarding the character, as seen in the Marlowe version. Typically, the story of Dr. Faustus is a moral warning against hubris, and he gets his just punishment for dabbling in sorcery. Here, Faust is a sympathetic character, a good man who does not understand contentment for all his knowledge and skills. He is the embodiment of the Age of Enlightenment, and this play is a eulogy to the Enlightenment and a herald for the age of Modernity. As Nietzche has said, Socrates stood at the beginning of Enlightenment, seeing knowledge and truth as a promise, while Goethe's Faust is at rationality's exhausted end. For Faust, Enlightenment is a failed promise, with every new knowledge simply overturning what you thought you knew before, leaving the seeker stranded in an abyss of absurdity with no shore in sight. This is what makes him vulnerable to corruption by Satan.
But here's the most important concept from Part One that gets explained in Part Two. Spoiler ahead! Faust doesn't outright sell his soul to the devil like in other versions of the story. He makes a wager that Mephistopheles can have his soul IF Faust ever grows so tired of the absurdity of the neverending quest for knowledge that he gives up. In the end, Faust is saved. Why?Because Goethe is saying that we are not fools for wanting to learn more about ourselves and our world. It is what we do with that knowledge. Seeking vain pleasures and novel experiences misses the mark, but learning from our mistakes and pain and previous misconceptions and prejudices to better ourselves is a whole different kettle of fish. It's not enough to cram your brain with erudite references; it's how this knowledge transforms you from within. That's where wisdom emerges. Such is the ultimate way to serve God, because striving is part of human nature, so for God to bless humanity, God must bless such striving. You don't fully understand this until you've read Part Two.
And it is this second part that makes the entirety of "Faust" one of Goethe's most important achievements and a milestone in European thought, if not the book that red-pilled the entirety of Western civilization. Goethe chose to have Part Two inundated with figures of classical poets and characters because he was trying to depict how the evolution of art reflects the evolution of the human spirit. Perhaps not so ironically, "Faust" is a major step in the evolution of literature and of the world zeitgeist. He took one of the tenants of old school Christianity from one of the oldest books of the Bible (the Book of Job) and turned it on its head to give us an answer to the apparent absurdity of the modern era. It certainly deserves its place as one of the greatest works of poetry and fantasy ever written.
SCORE: While most readers will find Part One more accessible, I rated it a 4 out of 5. Part Two, while feeling more like a hallucinatory absence seizure, cements Goethe's life work as a philosophical and artistic masterpiece, and thus deserves the full 5 out of 5. It should certainly NEVER be skipped!
WORD OF THE DAY: Cohobate
SUGGESTED MUSICAL PAIRING: "Mephisto" by Depeche Mode
I would say that Part One is certainly the foundation for the modern play, whereas this section is a lot harder to digest, coming across as mere disjointed tableaux and philosophical pagentry.
After the tragic climax of Part One, Faust wakes up in a pleasant field and seems to have no memory of his affair with Gretchen. Next thing we know, he and Mephistopheles are entertaining an incompetent emperor and his court with no explanation. For a long while, events don't seem to have anything to do with the compelling drama of the first part. We've got talking flowers, and Faust running around disguised as Plutus, and Mephistopheles inventing paper money, and all kinds of silly song and dance, making many readers wonder just what the hell is going on here.
The most recognizable scene from Part Two is likely when Faust enters the realm of "Eternal Mothers", symbolizing the constant creative force behind life, and brings back the shades of Helen and Paris to delight the Emperor. It is interesting that this is the first act he has done independently since he got involved with the Devil. In Part One, Mephistopheles refers to himself as the "negater," who has ended many lives, but as many as he kills, more are born. Faust hilariously asked him why he doesn't then try to do something else, pointing out the absurdity of the Devil's mission. Creation has already happened and Nature is an unstoppable force, but the Devil keeps trying to negate God's work in vain. Therefore, it is likely Faust is able to act more of his own accord in Part Two, because the Mothers represents this vital creative force of Nature, a primal realm in which the Devil has no authority or power.
After this scene, much of the play involves Faust searching for Helen, and eventually marrying her, because he has fallen in love with her ideal. It's a grand romance, far more epic in scale than Part One, involving all manner of monsters, demi-gods, and characters from classical mythology which represent psychological archetypes. I don't know how Goethe expected this ambitious play to be staged, since there seems to be a constant requirement for special effects and a huge cast for portrayals of countless personages, both humanoid and inhuman. There's explosions and earthquakes. There are centaurs, griffins, sphinxes, giant ants, hippocampi, and sea dragons. The god Proteus appears as a giant sea turtle before transforming into a noble and then into a dolphin. Characters ride atop sea-bulls and sea-rams--whatever they are. People burst into flames and disappear. There's even a little glowing homunculus floating around in a glass jar. It is quite chaotic and surreal. Overall, Part Two is much harder to understand than the first, and is also longer, so I understand why it might turn some readers off.
For me, however, this is where the play transforms from a memorable morality tale to one of the most quoted works of art in philosophy. The first part does not complete Goethe's arc for Faust. If experienced alone, you might assume that after Faust screws over Gretchen, he screws up his life, and ends up screwed in hell--which does not offer much new that we haven't seen before. As I hinted at in my review of Part One, I think what makes this play compelling is that Goethe's vision of Faust is so different from the traditional folklore regarding the character, as seen in the Marlowe version. Typically, the story of Dr. Faustus is a moral warning against hubris, and he gets his just punishment for dabbling in sorcery. Here, Faust is a sympathetic character, a good man who does not understand contentment for all his knowledge and skills. He is the embodiment of the Age of Enlightenment, and this play is a eulogy to the Enlightenment and a herald for the age of Modernity. As Nietzche has said, Socrates stood at the beginning of Enlightenment, seeing knowledge and truth as a promise, while Goethe's Faust is at rationality's exhausted end. For Faust, Enlightenment is a failed promise, with every new knowledge simply overturning what you thought you knew before, leaving the seeker stranded in an abyss of absurdity with no shore in sight. This is what makes him vulnerable to corruption by Satan.
But here's the most important concept from Part One that gets explained in Part Two. Spoiler ahead! Faust doesn't outright sell his soul to the devil like in other versions of the story. He makes a wager that Mephistopheles can have his soul IF Faust ever grows so tired of the absurdity of the neverending quest for knowledge that he gives up. In the end, Faust is saved. Why?Because Goethe is saying that we are not fools for wanting to learn more about ourselves and our world. It is what we do with that knowledge. Seeking vain pleasures and novel experiences misses the mark, but learning from our mistakes and pain and previous misconceptions and prejudices to better ourselves is a whole different kettle of fish. It's not enough to cram your brain with erudite references; it's how this knowledge transforms you from within. That's where wisdom emerges. Such is the ultimate way to serve God, because striving is part of human nature, so for God to bless humanity, God must bless such striving. You don't fully understand this until you've read Part Two.
And it is this second part that makes the entirety of "Faust" one of Goethe's most important achievements and a milestone in European thought, if not the book that red-pilled the entirety of Western civilization. Goethe chose to have Part Two inundated with figures of classical poets and characters because he was trying to depict how the evolution of art reflects the evolution of the human spirit. Perhaps not so ironically, "Faust" is a major step in the evolution of literature and of the world zeitgeist. He took one of the tenants of old school Christianity from one of the oldest books of the Bible (the Book of Job) and turned it on its head to give us an answer to the apparent absurdity of the modern era. It certainly deserves its place as one of the greatest works of poetry and fantasy ever written.
SCORE: While most readers will find Part One more accessible, I rated it a 4 out of 5. Part Two, while feeling more like a hallucinatory absence seizure, cements Goethe's life work as a philosophical and artistic masterpiece, and thus deserves the full 5 out of 5. It should certainly NEVER be skipped!
WORD OF THE DAY: Cohobate
SUGGESTED MUSICAL PAIRING: "Mephisto" by Depeche Mode
June 7, 2022
Ùاوست - بخش دوم
بخش دوم این داستان پر از اشاره به داستان های خدایان اساطیر، الهه هاو دنیای باستانه. چیزی Ú©Ù‡ من نه مطالعه چندانی روش داشتم Ùˆ نه خیلی ازش سر در میاردم اگر به خاطر پیوست های انتهای کتاب نبود. اما جذاب ترین بخش این نمایش نامه برای من پرده پنجم بود. جایی Ú©Ù‡ با Ùاوست پیر Ùˆ نابینا رو به رو میشیم. سال ها از شرطی Ú©Ù‡ با Ù…Ùیستو بسته میگذره. بعد از اون شرط: «اگر من به Ù„Øظه Ú¯Ùتم هان، بمان Ú©Ù‡ دلنشینی در آن صورت مختاری Ú©Ù‡ به زنجیرم بکشی». بعد از سال ها ارائه لذت های دنیایی به Ùاوست، Ù…Ùیستو هنوز نتونسته Ù…Ú† Ùاوست رو در Øال لذت بردن از یه Ù„Øظه بگیره. لذت هایی Ú©Ù‡ Ù…Ùیستو به Ùاوست پیشنهاد میده صرÙÙ† جسمانی نیستن. هر بار این لذت ها یه مرØله بالاتر میرن مثل تولید اسکناس، مثل زمین داریâ€�
در نهایت، در این آخرین پردست Ú©Ù‡ وقتی Ùاوست، ملاک پیر Ùˆ نابینا صدای “قیÚ� Ùˆ قاچâ€� کارگرانی رو میشنوه Ú©Ù‡ دارن قبر خود Ùاوست رو آماده میکنن، به اشتباه Ùکر میکنه این توده غلامان، با دل Ùˆ جان برای اونه Ú©Ù‡ کار میکنن. کمر به آبادی املاک اونه Ú©Ù‡ بستن. لجنزارها رو برای Ùاوست خشکوندن Ùˆ همین کارها در نهایت زمین های Ùاوست رو مبدل به Ù…ØÙ„ÛŒ میکنه Ú©Ù‡ انبوه آدم ها توش زندگی میکنن. Ùاوست Ú©Ù‡ توی خیالش یک Ù„Øظه این آینده رو مجسم میکنه، آینده ای Ú©Ù‡ بنای این “قوÙ� شجاع Ùˆ کوشاâ€� در Ù…ØÙ„ زمین های اون Ùˆ به واسطه کارهای اون Ù¾ÛŒ ریزی میشه همینجا عنان از ک٠میده Ùˆ میگه: «در این صورت میشد Ú©Ù‡ به Ù„Øظه بگویم بمان، Ú©Ù‡ تو زیبایی. نشان زندگی من بر خاک یقین Ú©Ù‡ دیگر در باد Ú¯Ù… نمیشود. در پیش اØساس چنین کامیابی کاملی برای من از لذت این Ù„Øظه، Ù„Øظه غایت کمال سرشارم.» پس Ù„Øظه غایت برای Ùاوست از سازندگی میاد!
چقدر از خوندن این بخش نمایش لذت بردم :)
لازم به ذکره Ú©Ù‡ بنده هنوز Ù†Ùهمیدم چرا این نمایش نامه شده ترا‌‌ژدÛ� Ùˆ نه کمدی؟ Ø±ÙˆØ Ùاوست Ú©Ù‡ تهش آمرزیده شد، نشد؟
لینکی Ú©Ù‡ پیوست این نوشته هست بخشی از نقاشی های دلاکروا هست از Ùاوست گوته Ú©Ù‡ گالری هنر انتاریو به نمایش گذاشته بود Ùˆ من از شانسم همون Ù‡Ùته ای Ú©Ù‡ کتاب رو تموم کردم پوسترش رو دیدم Ùˆ رÙتم :). متاسÙانه به خاطر قوانین Ú©Ù¾ÛŒ رایت Ùقط میتونم ین لینکو بزارم از چند تا از نقاشیا:
بخش دوم این داستان پر از اشاره به داستان های خدایان اساطیر، الهه هاو دنیای باستانه. چیزی Ú©Ù‡ من نه مطالعه چندانی روش داشتم Ùˆ نه خیلی ازش سر در میاردم اگر به خاطر پیوست های انتهای کتاب نبود. اما جذاب ترین بخش این نمایش نامه برای من پرده پنجم بود. جایی Ú©Ù‡ با Ùاوست پیر Ùˆ نابینا رو به رو میشیم. سال ها از شرطی Ú©Ù‡ با Ù…Ùیستو بسته میگذره. بعد از اون شرط: «اگر من به Ù„Øظه Ú¯Ùتم هان، بمان Ú©Ù‡ دلنشینی در آن صورت مختاری Ú©Ù‡ به زنجیرم بکشی». بعد از سال ها ارائه لذت های دنیایی به Ùاوست، Ù…Ùیستو هنوز نتونسته Ù…Ú† Ùاوست رو در Øال لذت بردن از یه Ù„Øظه بگیره. لذت هایی Ú©Ù‡ Ù…Ùیستو به Ùاوست پیشنهاد میده صرÙÙ† جسمانی نیستن. هر بار این لذت ها یه مرØله بالاتر میرن مثل تولید اسکناس، مثل زمین داریâ€�
در نهایت، در این آخرین پردست Ú©Ù‡ وقتی Ùاوست، ملاک پیر Ùˆ نابینا صدای “قیÚ� Ùˆ قاچâ€� کارگرانی رو میشنوه Ú©Ù‡ دارن قبر خود Ùاوست رو آماده میکنن، به اشتباه Ùکر میکنه این توده غلامان، با دل Ùˆ جان برای اونه Ú©Ù‡ کار میکنن. کمر به آبادی املاک اونه Ú©Ù‡ بستن. لجنزارها رو برای Ùاوست خشکوندن Ùˆ همین کارها در نهایت زمین های Ùاوست رو مبدل به Ù…ØÙ„ÛŒ میکنه Ú©Ù‡ انبوه آدم ها توش زندگی میکنن. Ùاوست Ú©Ù‡ توی خیالش یک Ù„Øظه این آینده رو مجسم میکنه، آینده ای Ú©Ù‡ بنای این “قوÙ� شجاع Ùˆ کوشاâ€� در Ù…ØÙ„ زمین های اون Ùˆ به واسطه کارهای اون Ù¾ÛŒ ریزی میشه همینجا عنان از ک٠میده Ùˆ میگه: «در این صورت میشد Ú©Ù‡ به Ù„Øظه بگویم بمان، Ú©Ù‡ تو زیبایی. نشان زندگی من بر خاک یقین Ú©Ù‡ دیگر در باد Ú¯Ù… نمیشود. در پیش اØساس چنین کامیابی کاملی برای من از لذت این Ù„Øظه، Ù„Øظه غایت کمال سرشارم.» پس Ù„Øظه غایت برای Ùاوست از سازندگی میاد!
چقدر از خوندن این بخش نمایش لذت بردم :)
لازم به ذکره Ú©Ù‡ بنده هنوز Ù†Ùهمیدم چرا این نمایش نامه شده ترا‌‌ژدÛ� Ùˆ نه کمدی؟ Ø±ÙˆØ Ùاوست Ú©Ù‡ تهش آمرزیده شد، نشد؟
لینکی Ú©Ù‡ پیوست این نوشته هست بخشی از نقاشی های دلاکروا هست از Ùاوست گوته Ú©Ù‡ گالری هنر انتاریو به نمایش گذاشته بود Ùˆ من از شانسم همون Ù‡Ùته ای Ú©Ù‡ کتاب رو تموم کردم پوسترش رو دیدم Ùˆ رÙتم :). متاسÙانه به خاطر قوانین Ú©Ù¾ÛŒ رایت Ùقط میتونم ین لینکو بزارم از چند تا از نقاشیا:
April 3, 2017
Part II is as strange and anomalous as everyone makes it out to be, yet it inexplicably provides a logical continuation of the major themes of the first part with emphasis on the macro rather than the micro. In the Walpurgis Night of Part I Faust is distracted by a Medusa creature who resembles his beloved Gretchen, and Mephistopheles pulls him away, remarking “Each thinks her his sweetheart.� And then in Part II he develops obsession for Helen of Troy (as the personification of beauty itself), which is perfectly alluded to by the line above in the other work. In Part I the running motif of debts is one on one (e.g. Faust’s debt to Mephistopheles), and in Part II it shows up as debts of kingdoms and economies.
The style itself is also subject to this shift to the macro, and in part embodies the massive departure from Part I. The writing in Part I is very interior and psychological, whereas in Part II all this is externalized in metaphor and symbolism, to where things like terrain become important. That accounts for how strange and dense people find Part II, and also just how lush and gorgeous the poetry is. Throughout the work Goethe uses different types of verse to reflect what’s happening or give subtle thematic hints. Change, transformation, healing, and redemption are the major themes that the work focuses on as opposed to the degeneration depicted in Part I, so you can be sure it’s not just an elaboration on Part I but a response as well. My favorite bit of running imagery embodying this is the sun which rises at the start and sets at the end.
Also of note is how much it embodies Goethe’s ambitions of world literature. It’s a melting pot where you get bits of Byron, Shakespeare, Dante, Sterne, German poetry, Chinese poetry, The Bible, stories from the Arabian Nights retold using Greek Myth, and all this only amplifies Goethe’s already established strength of making something so original out of existing stories and ideas. What happens here, no matter how outlandish, still structurally and thematically fits in with the traditional Faust story. It’s all the richer for it, this is potent literature as fertile and thick as Nile silt. It becomes less of a necessity of understanding to slow down while reading, and instead turns into the desire to really savor it.
I can see it being difficult for some since the subtext is what drives it rather than outward plot, but there’s still interesting ways the two parts feed on, and elucidate, each other. Though plot takes a backseat, there are still arcs that get finished and fleshed out, like the fantastic scene where the Student who Mephistopheles fucks with in Part I returns as the Graduate only to get roasted some more. The spirit and irony that made the first part so enjoyable, and the themes and ideas that made it so engaging and universal are still all here in the second part. It's just far more potent this time around. Strong Recommendation.
The style itself is also subject to this shift to the macro, and in part embodies the massive departure from Part I. The writing in Part I is very interior and psychological, whereas in Part II all this is externalized in metaphor and symbolism, to where things like terrain become important. That accounts for how strange and dense people find Part II, and also just how lush and gorgeous the poetry is. Throughout the work Goethe uses different types of verse to reflect what’s happening or give subtle thematic hints. Change, transformation, healing, and redemption are the major themes that the work focuses on as opposed to the degeneration depicted in Part I, so you can be sure it’s not just an elaboration on Part I but a response as well. My favorite bit of running imagery embodying this is the sun which rises at the start and sets at the end.
Also of note is how much it embodies Goethe’s ambitions of world literature. It’s a melting pot where you get bits of Byron, Shakespeare, Dante, Sterne, German poetry, Chinese poetry, The Bible, stories from the Arabian Nights retold using Greek Myth, and all this only amplifies Goethe’s already established strength of making something so original out of existing stories and ideas. What happens here, no matter how outlandish, still structurally and thematically fits in with the traditional Faust story. It’s all the richer for it, this is potent literature as fertile and thick as Nile silt. It becomes less of a necessity of understanding to slow down while reading, and instead turns into the desire to really savor it.
I can see it being difficult for some since the subtext is what drives it rather than outward plot, but there’s still interesting ways the two parts feed on, and elucidate, each other. Though plot takes a backseat, there are still arcs that get finished and fleshed out, like the fantastic scene where the Student who Mephistopheles fucks with in Part I returns as the Graduate only to get roasted some more. The spirit and irony that made the first part so enjoyable, and the themes and ideas that made it so engaging and universal are still all here in the second part. It's just far more potent this time around. Strong Recommendation.
August 1, 2019
what the fuck just happened
May 17, 2010
Goethe's "Faust" is arguably the most important milestone in Romantic literature. Taking the famous medieval legend of Dr. Faustus and his pact with the devil, Goethe adapted the tale of old, and transformed it into a great love story, and a probing poetical tract on the nature of good and evil, salvation and damnation, failing and striving, the innate search for truth and lasting fulfilment.
After his tragic love affair with Margareta in Part One, Faust is mystically restored by a band of elvin sprites during a glorious sunrise in the alps in Part Two, and he continues his quest to find that one moment of bliss that his soul cries out for, that one moment that will convince him to cease his constant striving and yearning for activity, which ironically, will seal his fate among the damned according to the agreement he made with Mephistopheles. With his diabolical companion, Faust sets out on new adventures and travels the world, often leaving destuction and confusion in his wake. He enters the employment of the Holy Roman Emperor, providing him with grand magical entertainments and helping him to defend the empire from its enemies. He also travels allegorically through poetic space and time to visit ancient Greece, the land of the legendary Helen of Troy and falls in love again. When this does not last, he attempts to build his own kingdom, and he envisions a future moment when he can see the glory of this kingdom established, a moment he wished would last forever. Does this wish damn Faust for all eternity? Who will win the battle for Faust's soul, the demons or the angels?
In contrast to the clear-cut plot of Part One, Faust Part Two is a confusion of strange allegories and cryptic scenes that can often prove tedious to read, and therefore it is no surprise Goethe's admirers found it difficult to comprehend and appreciate. In fact, not many readers continue on past Part One, and few universities include Part Two for their courses in German drama and literature, which is a pity. This work should not be overlooked. To begin with, it is useful to note that Goethe admitted he intended to incorporate 3000 years of history in this drama, and to one acquaintance he declared that the Faust text was filled with contrasts that would seem like an intriguing story with beautiful imaginative pictures to the general readers, while those who could understand the symbols behind Mozart's Masonic opera, "The Magic Flute", would be able to comprehend the deeper meanings hidden in his allegorical jumbles. Hence, appreciating this work and its dramatic riches requires a daunting amount of presupposed knowledge, not only of this mystic symbolism, theology and philosophy, but also ancient and more modern mythology, literature, drama, science, not to mention world history. As one Goethean scholar once declared, to study Goethe is an education in itself.
David Luke's translation is the most accessible to date, and he provides an informative introduction to get readers started with basic accounts of the historical events that inspired Goethe. There is also a glossary of the classical Greek and mythological figures of history to help the reader find their feet. A map of ancient Greece is included to allow you plot Faust's travels in addition to a chronological timeline displaying when he drafted the various scenes, numerous explanatory footnotes, and sketches of Goethe's early drafts of Part Two. This publication is a great starting point for an introduction, however, the information provided by Luke only scratches the surface of Goethe's text, for instance, the glossary provides information on the Greek legends and myths used in the plot, and it is up to the readers to figure out why Goethe changes many elements, but in all, it is well worth the effort. A great book if you love mulling over poetical conundrums.
E.A. Bucchianeri - author of "Faust: My Soul be Damned for the World"
After his tragic love affair with Margareta in Part One, Faust is mystically restored by a band of elvin sprites during a glorious sunrise in the alps in Part Two, and he continues his quest to find that one moment of bliss that his soul cries out for, that one moment that will convince him to cease his constant striving and yearning for activity, which ironically, will seal his fate among the damned according to the agreement he made with Mephistopheles. With his diabolical companion, Faust sets out on new adventures and travels the world, often leaving destuction and confusion in his wake. He enters the employment of the Holy Roman Emperor, providing him with grand magical entertainments and helping him to defend the empire from its enemies. He also travels allegorically through poetic space and time to visit ancient Greece, the land of the legendary Helen of Troy and falls in love again. When this does not last, he attempts to build his own kingdom, and he envisions a future moment when he can see the glory of this kingdom established, a moment he wished would last forever. Does this wish damn Faust for all eternity? Who will win the battle for Faust's soul, the demons or the angels?
In contrast to the clear-cut plot of Part One, Faust Part Two is a confusion of strange allegories and cryptic scenes that can often prove tedious to read, and therefore it is no surprise Goethe's admirers found it difficult to comprehend and appreciate. In fact, not many readers continue on past Part One, and few universities include Part Two for their courses in German drama and literature, which is a pity. This work should not be overlooked. To begin with, it is useful to note that Goethe admitted he intended to incorporate 3000 years of history in this drama, and to one acquaintance he declared that the Faust text was filled with contrasts that would seem like an intriguing story with beautiful imaginative pictures to the general readers, while those who could understand the symbols behind Mozart's Masonic opera, "The Magic Flute", would be able to comprehend the deeper meanings hidden in his allegorical jumbles. Hence, appreciating this work and its dramatic riches requires a daunting amount of presupposed knowledge, not only of this mystic symbolism, theology and philosophy, but also ancient and more modern mythology, literature, drama, science, not to mention world history. As one Goethean scholar once declared, to study Goethe is an education in itself.
David Luke's translation is the most accessible to date, and he provides an informative introduction to get readers started with basic accounts of the historical events that inspired Goethe. There is also a glossary of the classical Greek and mythological figures of history to help the reader find their feet. A map of ancient Greece is included to allow you plot Faust's travels in addition to a chronological timeline displaying when he drafted the various scenes, numerous explanatory footnotes, and sketches of Goethe's early drafts of Part Two. This publication is a great starting point for an introduction, however, the information provided by Luke only scratches the surface of Goethe's text, for instance, the glossary provides information on the Greek legends and myths used in the plot, and it is up to the readers to figure out why Goethe changes many elements, but in all, it is well worth the effort. A great book if you love mulling over poetical conundrums.
E.A. Bucchianeri - author of "Faust: My Soul be Damned for the World"
May 11, 2025
Nachtrag
November 7, 2021
I definitely enjoyed the first part more than I did the second. Something about this one makes it seem like Goethe is just looking to brag about his encyclopedic knowledge of mythology, Ancient Greece and Rome and other obscure literary references. Maybe I’ll return to it when I’m a bit more educated...🙄
April 24, 2025
ESPAÑOL: Una de las obras maestras de la literatura universal. Teñida de Romanticismo, del que Goethe fue uno de los principales precursores, describe al hombre que quiere elevarse por sà mismo hasta igualar a Dios, el "hombre faustico", a quien Spengler consideró el máximo representante de la segunda parte de la civilización occidental, que nos condujo al enorme ascenso de la ciencia y la tecnologÃa que todavÃa no ha terminado, aunque podrÃa estar cerca de hacerlo. Un problema del espÃritu fáustico es que siempre termina mal, incluso aunque el Romanticismo cuya bandera Goethe enarboló le impulsa a buscar el final feliz, en este caso el de la salvación de Fausto. Una cuestión teológica interesante es si alguien que vendió su alma al diablo puede salvarse. He leÃdo el primer acto de esta segunda parte en versión original alemana y toda ella en traducción al español.
Esta segunda parte es muy distinta de la primera, que tiene un argumento coherente y continuado, la corrupción de Fausto por Mefistófeles y la consiguiente seducción y castigo de Margarita, aunque con una digresión: los dos apartados dedicados a la Noche de Walpurgis. La segunda parte, en cambio, es una amalgama de escenas diversas, como la del Carnaval de Florencia, donde aparecen máscaras de muchos personajes mitológicos que apenas dicen unas palabras. Debo reconocer que esta parte me gustó, especialmente la invención del papel moneda por Mefistófeles, garantizado por los tesoros escondidos bajo tierra, aún sin descubrir; o la reacción de los hombres y mujeres de la Corte, en versos alternados, cuando Fausto hace aparecer a Paris y Helena ante el emperador.
Después, Wagner crea un homúnculo en su laboratorio alquÃmico, y Mefistófeles lleva a Fausto y al homúnculo a la antigua Grecia, donde recogen a Helena de Troya y la trasladan a un castillo medieval. Pero el interés que al principio despertó en mà esta parte ha ido disminuyendo a medida que avanzaba. El tercer acto, el rapto y seducción de Helena de Troya por Fausto; el cuarto, la batalla en la que Fausto y Mefistófeles ayudan al Emperador; y el quinto, en el que Fausto provoca la muerte de Filemón y Baucis y finalmente muere, me han resultado menos interesantes. En el final, la salvación del alma de Fausto, no aparece por ningún lado su arrepentimiento de sus muchos pecados, y la causa de su salvación ("Quien siempre aspira y lucha merece recibir la salvación") parece más romántico-humanista que cristiana.
ENGLISH: One of the masterpieces of universal literature. Tinged with Romanticism, of which Goethe was one of the main precursors, it describes the man who wants to elevate himself and equal God, the "Faustian man", whom Spengler considered the greatest representative of the second part of the Western civilization, which has led us to an enormous rise of science and technology that has not yet ended, although it could be close to doing so. One problem with the Faustian spirit is that it always ends badly, even though Romanticism, whose flag Goethe raised, drives him to seek a happy ending, in this case Faust's salvation. An interesting theological question is whether someone who sold his soul to the devil can be saved. I have read the first act of this second part in the original German and all of it in a Spanish translation.
This second part is very different from the first, which has a coherent and continuous plot, the corruption of Faust by Mephistopheles and the ensuing seduction and punishment of Gretchen, albeit with one digression: the two sections devoted to Walpurgis Night. The second part, on the other hand, is an amalgam of diverse scenes, such as the Carnival of Florence, with masks of many mythological characters, which barely utter a few words. I must admit that I enjoyed this part, especially the invention by Mephistopheles of paper money, guaranteed by treasures hidden underground, yet to be discovered; or the reaction of men and women in the Court, in alternate verses, when Faust brings forth the appearance of Paris and Helen before the Emperor.
Wagner then creates a homunculus in his alchemical laboratory, and Mephistopheles takes Faust and the homunculus to ancient Greece, where they collect Helen of Troy and transport her to a medieval castle. But the interest that aroused in me this part at the beginning diminished as it progressed. The third act, the abduction and seduction of Helen of Troy by Faustus; the fourth, the battle in which Faustus and Mephistopheles aid the Emperor; and the fifth, where Faustus causes the deaths of Philemon and Baucis and finally dies, I found less interesting. In the ending, the salvation of Faust's soul, his repentance for his many sins is nowhere to be found, and the reason for his salvation ("He who always aspires and strives deserves to receive salvation") seems more romantic-humanistic than Christian.
Esta segunda parte es muy distinta de la primera, que tiene un argumento coherente y continuado, la corrupción de Fausto por Mefistófeles y la consiguiente seducción y castigo de Margarita, aunque con una digresión: los dos apartados dedicados a la Noche de Walpurgis. La segunda parte, en cambio, es una amalgama de escenas diversas, como la del Carnaval de Florencia, donde aparecen máscaras de muchos personajes mitológicos que apenas dicen unas palabras. Debo reconocer que esta parte me gustó, especialmente la invención del papel moneda por Mefistófeles, garantizado por los tesoros escondidos bajo tierra, aún sin descubrir; o la reacción de los hombres y mujeres de la Corte, en versos alternados, cuando Fausto hace aparecer a Paris y Helena ante el emperador.
Después, Wagner crea un homúnculo en su laboratorio alquÃmico, y Mefistófeles lleva a Fausto y al homúnculo a la antigua Grecia, donde recogen a Helena de Troya y la trasladan a un castillo medieval. Pero el interés que al principio despertó en mà esta parte ha ido disminuyendo a medida que avanzaba. El tercer acto, el rapto y seducción de Helena de Troya por Fausto; el cuarto, la batalla en la que Fausto y Mefistófeles ayudan al Emperador; y el quinto, en el que Fausto provoca la muerte de Filemón y Baucis y finalmente muere, me han resultado menos interesantes. En el final, la salvación del alma de Fausto, no aparece por ningún lado su arrepentimiento de sus muchos pecados, y la causa de su salvación ("Quien siempre aspira y lucha merece recibir la salvación") parece más romántico-humanista que cristiana.
ENGLISH: One of the masterpieces of universal literature. Tinged with Romanticism, of which Goethe was one of the main precursors, it describes the man who wants to elevate himself and equal God, the "Faustian man", whom Spengler considered the greatest representative of the second part of the Western civilization, which has led us to an enormous rise of science and technology that has not yet ended, although it could be close to doing so. One problem with the Faustian spirit is that it always ends badly, even though Romanticism, whose flag Goethe raised, drives him to seek a happy ending, in this case Faust's salvation. An interesting theological question is whether someone who sold his soul to the devil can be saved. I have read the first act of this second part in the original German and all of it in a Spanish translation.
This second part is very different from the first, which has a coherent and continuous plot, the corruption of Faust by Mephistopheles and the ensuing seduction and punishment of Gretchen, albeit with one digression: the two sections devoted to Walpurgis Night. The second part, on the other hand, is an amalgam of diverse scenes, such as the Carnival of Florence, with masks of many mythological characters, which barely utter a few words. I must admit that I enjoyed this part, especially the invention by Mephistopheles of paper money, guaranteed by treasures hidden underground, yet to be discovered; or the reaction of men and women in the Court, in alternate verses, when Faust brings forth the appearance of Paris and Helen before the Emperor.
Wagner then creates a homunculus in his alchemical laboratory, and Mephistopheles takes Faust and the homunculus to ancient Greece, where they collect Helen of Troy and transport her to a medieval castle. But the interest that aroused in me this part at the beginning diminished as it progressed. The third act, the abduction and seduction of Helen of Troy by Faustus; the fourth, the battle in which Faustus and Mephistopheles aid the Emperor; and the fifth, where Faustus causes the deaths of Philemon and Baucis and finally dies, I found less interesting. In the ending, the salvation of Faust's soul, his repentance for his many sins is nowhere to be found, and the reason for his salvation ("He who always aspires and strives deserves to receive salvation") seems more romantic-humanistic than Christian.
January 23, 2017
Para os leitores médios como eu, isto é, aqueles não versados em crÃtica literária ou profundos conhecedores da mitologia greco-romana, a segunda parte do Fausto de Goethe é potencialmente irritante.
Quem se aventura por esse monumental segundo volume, bastante grosso na edição bilÃngue da Editora 34, provavelmente teve sua curiosidade atiçada pela primeira parte da tragédia, mais curta e que condensa altas doses de dramaticidade própria do romantismo ²¹±ô±ð³¾Ã£o em um perÃodo histórico bem definido.
Mas, em contraste, a parte dois da obra abarca três mil anos de história humana e é palco de inúmeros virtuosismos poéticos de Goethe, pouco acessÃveis ao leitor comum.
Em seu primeiro ato, Fausto II lembra o estilo de Fausto I ao nos apresentar a corte de um rei, na qual Fausto e Mefistófeles se introduzem a fim de lograrem favores senhoriais. O diabo demonstra sua astúcia apresentando um plano econômico ao rei, corroborado por Fausto.
Pouco depois, porém, inúmeros seres alegóricos e mitológicos pouco conectados com o enredo central começam a desfilar pela obra em paisagens tão diversas como podem ser o antigo Egito com suas esfinges, o rio onde foi concebida Helena de Tróia e um burgo medieval. Caso não se tenha em mãos uma edição comentada, torna-se difÃcil compreender as diversas referências de Goethe. E, mesmo em edições comentadas, a enorme quantidade de notas explicativas acaba roubando um pouco da atenção do leitor, que deixa de apreciar a lÃrica dos versos. Tal dificuldade dificilmente acometerá o leitor de Fausto I.
É provável que o velho Goethe, porém, não se sentisse abalado por tais crÃticas. Enquanto grande poeta, Goethe atribui a si intencionalmente o papel de borrar as fronteiras do espaço e superar a passagem do tempo, unindo personagens, cenários e mitos de diversas épocas em uma poesia atemporal e ao mesmo tempo moderna, como fez Dante Alighieri em sua Divina Comédia.
A própria concepção de Eufórion, filho de Fausto e Helena, ilustra esse ideal de Goethe: dotada das “asas da poesiaâ€�, a criança é fruto da união de personagens pertencentes a épocas históricas bastante distantes entre si. É desse ponto de vista que Fausto II pode ser visto como o Magnum Opus do poeta ²¹±ô±ð³¾Ã£o, que nela também expõe seus diversos conhecimentos cientÃficos sobre mineração, a teoria das cores e sobre estratégias de guerra.
Ao conceber o Fausto, Goethe desejava um tipo de leitor atento para sugestões, sutilezas e acenos, que pudesse apreciar toda a variedade de temas inseridos em seus versos. Esse leitor é cada vez mais raro, uma vez que entramos em um ritmo cada vez mais rápido na era da especialização e o erudito de conhecimento enciclopédico se torna uma figura do passado.
Mas, é claro, essa crÃtica só faz sentido considerando o momento histórico atual, em que é cada vez mais difÃcil interpretar esse tipo de obra. E, apesar das minhas reservas quanto ao virtuosismo poético de Goethe, é preciso admitir que, no fim das contas, ele cumpre seu papel.
A resistência de Fausto à tentação de Mefistófeles é muito mais completa e heroica à medida que lhe são oferecidas incontáveis oportunidades proporcionadas pela viagem no tempo e pelo encontro com diversas personagens sedutoras de perder a aposta com o diabo. Mesmo agraciado com a beleza clássica de Helena, ou com a posse de um feudo na idade média, Fausto nunca parou de “aspirar� a algo mais elevado, o que, no fim das contas, salvou a sua alma.
Quem se aventura por esse monumental segundo volume, bastante grosso na edição bilÃngue da Editora 34, provavelmente teve sua curiosidade atiçada pela primeira parte da tragédia, mais curta e que condensa altas doses de dramaticidade própria do romantismo ²¹±ô±ð³¾Ã£o em um perÃodo histórico bem definido.
Mas, em contraste, a parte dois da obra abarca três mil anos de história humana e é palco de inúmeros virtuosismos poéticos de Goethe, pouco acessÃveis ao leitor comum.
Em seu primeiro ato, Fausto II lembra o estilo de Fausto I ao nos apresentar a corte de um rei, na qual Fausto e Mefistófeles se introduzem a fim de lograrem favores senhoriais. O diabo demonstra sua astúcia apresentando um plano econômico ao rei, corroborado por Fausto.
Pouco depois, porém, inúmeros seres alegóricos e mitológicos pouco conectados com o enredo central começam a desfilar pela obra em paisagens tão diversas como podem ser o antigo Egito com suas esfinges, o rio onde foi concebida Helena de Tróia e um burgo medieval. Caso não se tenha em mãos uma edição comentada, torna-se difÃcil compreender as diversas referências de Goethe. E, mesmo em edições comentadas, a enorme quantidade de notas explicativas acaba roubando um pouco da atenção do leitor, que deixa de apreciar a lÃrica dos versos. Tal dificuldade dificilmente acometerá o leitor de Fausto I.
É provável que o velho Goethe, porém, não se sentisse abalado por tais crÃticas. Enquanto grande poeta, Goethe atribui a si intencionalmente o papel de borrar as fronteiras do espaço e superar a passagem do tempo, unindo personagens, cenários e mitos de diversas épocas em uma poesia atemporal e ao mesmo tempo moderna, como fez Dante Alighieri em sua Divina Comédia.
A própria concepção de Eufórion, filho de Fausto e Helena, ilustra esse ideal de Goethe: dotada das “asas da poesiaâ€�, a criança é fruto da união de personagens pertencentes a épocas históricas bastante distantes entre si. É desse ponto de vista que Fausto II pode ser visto como o Magnum Opus do poeta ²¹±ô±ð³¾Ã£o, que nela também expõe seus diversos conhecimentos cientÃficos sobre mineração, a teoria das cores e sobre estratégias de guerra.
Ao conceber o Fausto, Goethe desejava um tipo de leitor atento para sugestões, sutilezas e acenos, que pudesse apreciar toda a variedade de temas inseridos em seus versos. Esse leitor é cada vez mais raro, uma vez que entramos em um ritmo cada vez mais rápido na era da especialização e o erudito de conhecimento enciclopédico se torna uma figura do passado.
Mas, é claro, essa crÃtica só faz sentido considerando o momento histórico atual, em que é cada vez mais difÃcil interpretar esse tipo de obra. E, apesar das minhas reservas quanto ao virtuosismo poético de Goethe, é preciso admitir que, no fim das contas, ele cumpre seu papel.
A resistência de Fausto à tentação de Mefistófeles é muito mais completa e heroica à medida que lhe são oferecidas incontáveis oportunidades proporcionadas pela viagem no tempo e pelo encontro com diversas personagens sedutoras de perder a aposta com o diabo. Mesmo agraciado com a beleza clássica de Helena, ou com a posse de um feudo na idade média, Fausto nunca parou de “aspirar� a algo mais elevado, o que, no fim das contas, salvou a sua alma.
November 10, 2020
I see this as a decent rap song.
February 23, 2025
Część "mitologiczna" dla mnie niestety znacznie mniej interesująca
January 30, 2020
I have already reviewed the first part and pretty much said what I set out to say about this book, so I'll keep my second review shorter. The myth of Faust has great potential and Goethe's version is certainly an impressive one. However, I do not think that Goethe succeeded in realizing its full potential. It may be that my expectations for his Faust were raised too high. I have not enjoyed it as much as I expected to. Nevertheless, I cannot say that I did not like it. I definitely enjoyed reading it, just not as much as I thought I would. Maybe it is the influence of all the other versions of this legend that I have read that stopped me from seeing it clearly. Like the Marlowe's versions or Roger Zelazny's parody on Goethe's version. Maybe it was all the other versions that made me see this epic work differently. On the other hand, it might not have been blown away by it even if I have not known anything about the legend of Faust. I just couldn't connect to this book as much as I wanted to. In part two, Faust isn't the most likable character- The ending didn't feel realistic to me.
June 19, 2015
It is no accident that there are many literary figures that are built on this classic. Be it Don Quixote or Don Juan, they all share the same over achieving characters that Faust desperately tries to. He goes as far as committing suicide in search of a moment of true bliss.
He takes on an adventure with the Devil after making a wager. What follows is romance, tragedy, heartbreak and adventure. The interesting twist is the Devil himself has made a bet with the angels so he moves with an agenda of his own.
A highly captivating story about humanity, happiness, tragedy, greed, passion, romance, love and being a visionary.
I enjoyed part one more than second as there was a definitive story progressing when compared to part two where there are many characters that come ago. Having said that, its still brilliant and worth several more reads.
He takes on an adventure with the Devil after making a wager. What follows is romance, tragedy, heartbreak and adventure. The interesting twist is the Devil himself has made a bet with the angels so he moves with an agenda of his own.
A highly captivating story about humanity, happiness, tragedy, greed, passion, romance, love and being a visionary.
I enjoyed part one more than second as there was a definitive story progressing when compared to part two where there are many characters that come ago. Having said that, its still brilliant and worth several more reads.
May 26, 2023
This is a strong example of a work you should read multiple times to fully appreciate. This time around, I loved the Greek-ness, I loved the slower pace and how it took its time in certain scenes (Act 2 I'm lookin at you), and I loved the alchemical imagery and interplay with nature. My favourite scene would have to be the Shaded Grove scene of Act 3 when Helen and Faust unite as one voice for a while as their son recreates Icarus. I just loved the imagery of the protected and peaceful grove juxtaposed with the jagged mountain the son climbs and inevitably falls from. To anybody who wants to reread Faust, start here. You know what happens in Part One. This is the better Faust. Classical and romantic. Personal and vast. 6 stars.
June 1, 2021
anyway, read my faust/mephisto fanfic
January 30, 2022
It actually can get worse.
February 4, 2024
wie random
goethe hat definitiv gebechert als er das verfasst hat
goethe hat definitiv gebechert als er das verfasst hat
Read
August 10, 2022I'm done with you goethe
May 23, 2023
Genuinely had to dnf because of how uninteresting it was. I will find the time to re read it and give a better rating but I just can't continue with reading it anymore. I stopped reading and just flipped through the pages until I understood that I just couldn't do it anymore and stopped.
I hope that in the future I could re read it with a better perspective and actually enjoy it, because the writing is beautiful. But it's insufferable to read.
2nd read:
What drugs feel like, as a person who has never done drugs.
When Pluto tells you to stfu you know you messed up
Helen: "Patroclus and Achilles were in love with me." Denial is a river in Egypt.
The concept of "the devil and a sphynx being besties" is also, coincidently, the concept of queerness. This concept is also the concept of "LGBTQ+". You cannot argue with me.
Mephistopheles is bi, and that's so funny. (don't argue with me, he literally wanted to kiss the angels.)
Um, that happened.
... read it for yourself I don't need to try and explain to you how
This book makes me really aggressive for some reason.
I hope that in the future I could re read it with a better perspective and actually enjoy it, because the writing is beautiful. But it's insufferable to read.
2nd read:
What drugs feel like, as a person who has never done drugs.
When Pluto tells you to stfu you know you messed up
Helen: "Patroclus and Achilles were in love with me." Denial is a river in Egypt.
The concept of "the devil and a sphynx being besties" is also, coincidently, the concept of queerness. This concept is also the concept of "LGBTQ+". You cannot argue with me.
Mephistopheles is bi, and that's so funny. (don't argue with me, he literally wanted to kiss the angels.)
Um, that happened.
... read it for yourself I don't need to try and explain to you how
This book makes me really aggressive for some reason.
September 1, 2015
Almost incomprehensible without secondary literature. In the first dozen pages or so, there are probably over 50 characters, many only deliver a single line. And i had almost no idea who they were or what anyone was talking about throughout most of the play. Faust Part One was entirely different, easily understood, and one of my favourites. The plot seems very disconnected, and not a point of focus.
The language though is always finely constructed and there are beautiful verses, but without much apparent meaning, I can't take very much away from it.
Disclaimer: I read this in the original German, my mother tongue.
The language though is always finely constructed and there are beautiful verses, but without much apparent meaning, I can't take very much away from it.
Disclaimer: I read this in the original German, my mother tongue.
November 28, 2021
სáƒáƒœáƒáƒ� ფáƒáƒ£áƒ¡áƒ¢áƒ˜áƒ� კითხვáƒáƒ� დáƒáƒ•áƒ˜áƒ¬áƒ§áƒ”ბდი ბევრáƒ� áƒáƒ“áƒáƒ›áƒ˜áƒáƒœáƒ˜áƒ� áƒáƒ–რი მáƒáƒ•áƒ˜áƒ¡áƒ›áƒ˜áƒœáƒ� პირველáƒ� დრმეáƒáƒ áƒ� ნáƒáƒ¬áƒ˜áƒšáƒ˜áƒ� დáƒáƒ•áƒáƒ–ე, სáƒáƒ‘áƒáƒšáƒáƒ� ჯáƒáƒ›áƒ¨áƒ� ვფიქრáƒáƒ�, რáƒáƒ� პირველáƒ� ნáƒáƒ¬áƒ˜áƒšáƒ˜ (სუბიექტურáƒáƒ� ცხáƒáƒ“იáƒ) ჯáƒáƒ‘ნის მეáƒáƒ ეს შინáƒáƒáƒ სáƒáƒ‘რივáƒ� თვáƒáƒšáƒ¡áƒáƒ–რისით.
მეáƒáƒ áƒ� ნáƒáƒ¬áƒ˜áƒšáƒ¨áƒ� სიუჟეტáƒ� დáƒáƒ¬áƒ§áƒ”ბისთáƒáƒœáƒáƒ•áƒ გáƒáƒ£áƒ კვეველáƒ� დრბუნდáƒáƒ•áƒáƒœáƒ˜áƒ, ხშირáƒáƒ“ იცვლებáƒ� პáƒáƒ¡áƒáƒŸáƒ”ბი დრáƒáƒ›áƒ˜áƒ¢áƒáƒ› რთულირშინáƒáƒáƒ სიáƒ� გáƒáƒ’ებáƒ.
áƒáƒ› მეტáƒáƒ¤áƒ˜áƒ–იკური იდეებიáƒ� პáƒáƒ”ტურáƒ� გáƒáƒ›áƒáƒ®áƒáƒ¢áƒ£áƒšáƒ”ბრბáƒáƒšáƒ სცენáƒáƒ¨áƒ� áƒáƒ¯áƒáƒ›áƒ”ბáƒ� გáƒáƒ”თეს ძლიერი დრáƒáƒ›áƒ˜áƒ¡ ფილáƒáƒ¡áƒáƒ¤áƒ˜áƒ£áƒ მნიშვნელáƒáƒ‘áƒáƒ¡.
ფáƒáƒ£áƒ¡áƒ¢áƒ›áƒ� გáƒáƒ˜áƒ›áƒáƒ ჯვáƒ� მეფისტáƒáƒ–áƒ�, რáƒáƒ“გáƒáƒœ შეცდáƒáƒ›áƒ”ბისáƒ� დრიმედგáƒáƒªáƒ უებიáƒ� მიუხედáƒáƒ•áƒáƒ“, მáƒáƒ� áƒáƒ áƒáƒ¡áƒáƒ“ეს დáƒáƒ™áƒáƒ გáƒ� რწმენრცხáƒáƒ•áƒ ებიáƒ� áƒáƒ სისáƒáƒ“მáƒ� დრუბედურების ფáƒáƒœáƒ–áƒ� გáƒáƒœáƒáƒ’რძრძიებáƒ�.
სáƒáƒ˜áƒœáƒ¢áƒ”რესრწáƒáƒ¡áƒáƒ™áƒ˜áƒ—ხáƒ� იქნებრპáƒáƒ”ზიიáƒ� მáƒáƒ§áƒ•áƒáƒ ულთáƒáƒ—ვის.
მეáƒáƒ áƒ� ნáƒáƒ¬áƒ˜áƒšáƒ¨áƒ� სიუჟეტáƒ� დáƒáƒ¬áƒ§áƒ”ბისთáƒáƒœáƒáƒ•áƒ გáƒáƒ£áƒ კვეველáƒ� დრბუნდáƒáƒ•áƒáƒœáƒ˜áƒ, ხშირáƒáƒ“ იცვლებáƒ� პáƒáƒ¡áƒáƒŸáƒ”ბი დრáƒáƒ›áƒ˜áƒ¢áƒáƒ› რთულირშინáƒáƒáƒ სიáƒ� გáƒáƒ’ებáƒ.
áƒáƒ› მეტáƒáƒ¤áƒ˜áƒ–იკური იდეებიáƒ� პáƒáƒ”ტურáƒ� გáƒáƒ›áƒáƒ®áƒáƒ¢áƒ£áƒšáƒ”ბრბáƒáƒšáƒ სცენáƒáƒ¨áƒ� áƒáƒ¯áƒáƒ›áƒ”ბáƒ� გáƒáƒ”თეს ძლიერი დრáƒáƒ›áƒ˜áƒ¡ ფილáƒáƒ¡áƒáƒ¤áƒ˜áƒ£áƒ მნიშვნელáƒáƒ‘áƒáƒ¡.
ფáƒáƒ£áƒ¡áƒ¢áƒ›áƒ� გáƒáƒ˜áƒ›áƒáƒ ჯვáƒ� მეფისტáƒáƒ–áƒ�, რáƒáƒ“გáƒáƒœ შეცდáƒáƒ›áƒ”ბისáƒ� დრიმედგáƒáƒªáƒ უებიáƒ� მიუხედáƒáƒ•áƒáƒ“, მáƒáƒ� áƒáƒ áƒáƒ¡áƒáƒ“ეს დáƒáƒ™áƒáƒ გáƒ� რწმენრცხáƒáƒ•áƒ ებიáƒ� áƒáƒ სისáƒáƒ“მáƒ� დრუბედურების ფáƒáƒœáƒ–áƒ� გáƒáƒœáƒáƒ’რძრძიებáƒ�.
სáƒáƒ˜áƒœáƒ¢áƒ”რესრწáƒáƒ¡áƒáƒ™áƒ˜áƒ—ხáƒ� იქნებრპáƒáƒ”ზიიáƒ� მáƒáƒ§áƒ•áƒáƒ ულთáƒáƒ—ვის.
September 3, 2019
You know when you’ve been writing a really long essay for a really long time and you basically start to lose your mind and start to go off on random tangents? And it’s a real bummer cos your introduction and first half was so well written and now you’ve just descended into schizophrenic rambling? That’s Faust part 2.
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