Abstract This paper explores the story structure, the role of Gretchen and theological presuppositions in Marlowe's play "Tragical History of Doctor Faust" and Goethe's play "Faust", separated by approximately two hundred years and by two different languages and cultures, English and German. The author points out that, while both Marlowe's and Goethe's plays are tragedies, Goethe's ends on an optimistic note. The paper relates that Goethe's play is a longer and more complex work with many more episodes of varied style. The author states that the Gretchen episode, which is prominent in Goethe's "Faust", is not found at all in Marlowe's play. The paper concludes that, what to Marlowe was basically a foreign story, which he imported for his own ends, was to Goethe a part of his own nation's cultural tradition and was more familiar to people as a folk tale.
From the Paper "The Gretchen (Margarete) episode is a very prominent and well-known one in Goethe's Faust but is not found at all in Marlowe's play. In the last part of Part I, the role of Gretchen comes to the forefront of the story, even putting Faust himself into the background for a while. Despite her tragic, Ophelia-like demise, the voice from above which proclaims her redemption at the very end of Part I ends that part of the poem on a highly optimistic note, and foreshadows Faust's own redemption at the end of Part II."
Tags: rationalistic, theological, episodes, culture, christian
Abstract This paper looks at one of most powerful secular myths of early modern times, as rendered by Christopher Marlowe in his play ?Doctor Faustus,? and later in Johann Wolfgang von Goethe's great epic poem/play ?Faust?: the relationship between man and the devil. This essay analyzes the relationship between man, will, knowledge, God, the role of the Church, and the devil.
From the Paper "The setting of the play in Wittenberg is similarly ambiguous. Wittenberg was the city in which Martin Luther nailed his condemnation of the church for its practice of selling indulgences, among other things. By buying and selling indulgences, Luther alleged, the church was implicitly condoning the practice that one could buy and sell one's way to heaven. Faustus attempts to buy and sell his way to hell. Does this mean that Marlowe is suggesting that Lutheranism and Protestantism are corrupt? After all, Protestantism, in contrast to Catholicism, was supposed to be a religion "of the book" rather than the institutions of the church."
Abstract This paper presents an examination of the various modern treatments and productions of Marlowe's character Mephistopheles, and how this affects the tone of the play as a whole. The paper looks at the plot and symbolism.
From the Paper "We know that classic plays are reinterpreted multiple times throughout history. In recent years we have seen modern interpretations of a number of Shakespearean dramas on stage and film. These include but are not limited to the modern renderings of Romeo and Juliet Hamlet and Othello. Certainly we can agree that Marlowe's Doctor Faustus is a classic in its own rite and thereby worthy of such reinterpretation. No matter the version of the play that we see however the story remains the same ..."
Tags: christopher marlowe, mephistopheles, doctor faustus, drama, treatment
Abstract This paper follows the course of a legendary myth: "The Feud Between Horus and Seth". The writer examines this myth and finds the parallels to Christianity. It points out that even those who do not practice as Christians are well aware of the Bible's teaching of Lucifer, commonly known as the Devil, and God, a perfect example of good versus evil. The paper begins by reliving the myth of Horus and Seth, followed by the Biblical tale of the fall of Lucifer and the casting to Hell. It then looks at the aspects of these stories and explores commonalities that have transcended time and place to depict this constant struggle for one's very soul.
From the Paper "There is no rebuke that religion has played at the forefront of the Earth's Religions over time. These Religions or belief systems have ranged in iconology and practice but common threads are clear and concise. Most notably is the idea of "Dualism". Merriam Webster defines Dualism as a "doctrine that the universe is under the dominion of two opposing principles one of which is good and the other evil." With this definition we can further elaborate of the meaning of the concept as an intricate balance, here of good vs. evil. This theme may be as widespread as civilizations needed to classify their residents and at the same time teach them the difference between good and evil. Egyptians used Mythology to educate their society on behavior and religion. Myths are based on rivalry or struggle of the Myths characters."
Abstract Johann Wolfgang von Goethe's play, "Faust" provides a valuable allegory of Geothe's beliefs and values in his historical context of Enlightenment. Written just after the French Revolution, there are parallels that can be drawn regarding the role of religion in society, suggesting Goethe was influenced by the anti-dogma writings of Voltaire and Rousseau.
Abstract This paper examines Mary Shelley's novel "Frankenstein" and the allusions it makes to Milton's epic poem "Paradise Lost" and Goethe's "Faust". The paper holds that "Frankenstein" includes these allusions to present the reader with a clear explanation of the inner torment of the characters. The paper expands upon the parallels between the characters in each work in detail and concludes that familiarity with "Faust" and "Paradise Lost" adds to our understanding of "Frankenstein" and makes the novel memorable and powerful.
From the Paper "The monster's epiphany is a catalyst to his destructive path. He realizes that his creator has handled creationism in an irresponsible manner and is repulsed by Victor's utter abandonment. "'Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust? (125) He also realizes that his grotesque appearance will forever condemn him to loneliness. "God, in pity, made man beautiful and alluring, after his own image; but my form is a filthy type of your, more horrid even from the very resemblance... Satan had his companions, fellow devils, to admire and encourage him, but I am solitary and abhorred" (125). This idea drawn from "Paradise Lost", that even Satan has companions, pains the monster terribly; he knows he is a good natured, genuine creature, yet he is rejected by the world."
Abstract This paper looks at this piece of literature and draws parallels to modern day examples of victims as well as heroes and those who are in the wrong.
From the Paper "Because of very recent events, victims and heroes seem to be presenting themselves in a much different light. The specific events of September 11, 2001 were a tragedy that brought both victims and heroes to the attention of the American public. In fact there seems to be three types of people who reveal themselves in situations like these. These three types, are the victim, the hero, and the wrong-doer. Johann Wolfgang von Goethe's poem Faust displays these three clearly. The three types can be seen with Margaret as the victim, Faust as the villain and the hero who shows himself in the end."
Tags: 11th, faust, goethe, heroes, september, van, victims, villians
Abstract This paper discusses the Romantic period in English literature. The paper specifically examines the aspects of Romanticism that are found in Johann Wolfgang von Goethe's work, "Faust." The paper shows how in this work the Romantic vision of woman is typically idealized in a way that might show that no women can ever attain the ideal set for her.
From the Paper "Faust first sees Helen as an image in a mirror and seeks her for himself. It is her beauty alone that draws him. This first meeting is at the house of the witch, where Mephistopheles tries to use the witches to seduce Faust. Faust is not attracted to that sort of debauchery, and Mephisopheles tries to use first Gretchen and then Helen for the same purpose. He does not control Gretchen, though, for she has not been corrupted. His use of Helen is more subtle and also more complex, and if Helen fails to be what Mephisopheles wants, it is because of how Faust views her. After all, he is the one who has conjured her as a vision and who pursues her, but he does so not simply as an object of lust but also as an ideal of beauty, which in the Romantic view means a great deal more than physical beauty. For Faust, though, neither feminine purity as seen in Gretchen nor feminine beauty as seen in Helen can suffice. Helen is an ethereal being and not as real as Faust wants. Her beauty does not satisfy in the Romantic conception because she lacks the necessary moral center. It would seem that the ideal woman would be a union of Gretchen and Helen, while either alone is insufficient."
Abstract This paper examines Christopher Marlowe's "The Tragical History of Dr. Faustus" (also known as "Faust"). It discusses the style, structure and themes of the work and shows how they display the literary and philosophical renovations of the Renaissance. In addition, the paper discusses Marlowe's use of both poetry and prose throughout this work.
From the Paper "The obsession with learning and discovery did lead to world exploration and scientific progress, but it also led to foolishness because though knowledge was valued, wisdom was neglected. Marlowe expounds this idea within Faust by having Dr. Faustus want knowledge, but be blinded to wisdom, or his folly. This disregard for wisdom is seen as Faustus questions Mephistopheles in scene three. Mephistopheles has just arrived and announced that the quickest way to hell is for a person to "abjure the scriptures and his savior Christ" (l 47) and that he has come to take Faustus' soul. It is a very chilling statement of intent but Faustus ignores Mephistopheles' pronouncement and begins questioning him about hell and the devil. Even the demon has greater wisdom than Faustus, and finally replies to Faustus' questioning with "Oh, Faustus, leave off these frivolous demands"(l 80)."
A comparative analysis of the characters in "The Devil and Daniel Webster and Other Writings" by Stephen Vincent Benet and ?Faust? by Johann Wolfgang Von Goethe.
Abstract This paper examines how authors of literature have used their work to address societal fears and issues in order to allow their writing talents to shed light on a fear of society. It looks at how this is the case in classic works of literature regarding making pacts with the devil. It analyzes how, in "The Devil and Daniel Webster", the pact with the Devil and the actions of the Stones provide an interesting backdrop for those who have concerns about selling themselves to the Devil for immediate material gain. It also examines how, in addition and also by contrast, the world has been treated to two versions of "Faust", which also focus on the Devil and what the Devil means to current society. It shows how, although each of the stories has a different plot, there are many similarities, as well as differences, regarding the Devil and the characters in the stories.
From the Paper "While the story of The Devil and Daniel Webster illustrates how true personalities come out when the money and the devil get involved the story of Faust shows a different angle when it comes to personality and those in the story. In both versions of Faust there is a foundational understanding of the influence the devil had at that time in history(Synopsis of the plot of Faust (October 2002). While Stone dealt with the devil for money, Dr. Faust is searching for the answers to life. In that quest he too deals with the devil. He is obviously depressed as he has contemplated suicide twice in the past already which provides a backdrop for the devil to entice him into the idea of a deal. This is the first difference between personalities in this story as compared to the previous one. Faust is in despair and old while Stone is angry and young. There are completely different motivators for the two stories and their characters? personalities."
Abstract In this paper, Arnold Toynbee's "Challenge and Response" is compared and contrasted to Tim O'Brien's "The Things They Carried," focusing on conflicts between individualism versus authority. The paper explains the risks in challenging authority.
From the Paper "In both Arnold J. Toynbee's "Challenge and Response" and Tim O'Brien's "The Things They Carried" we see that there is a conflict between individualism and authority that is a natural part of human existence. Whether this conflict erupts in the natural course of communal life or within military combat, such a conflict pits the individual against a higher authority."
Tags: God, Adam and Eve, Faust, Vietnam, Canada, morality, human existence, risk
Abstract A comparison of Arnold Toynbee's "Challenge and Response" and Tim O'Brien's "The Things They Carried." The paper discusses the concept of duty versus free will and explains the concept of duty overriding free will when the stakes are high, such as in war.
From the Paper "The struggle between duty and free will is evident in most human endeavors. Whether it be duty to God or patriotic duty to one's country, it is the human actor who must determine to endure harsh struggles and environment out of duty and often in spite of free will."
Tags: Vietnam War, Faust, God, patriotism, combat, struggle, human existence, fear, choice
Abstract This paper examines Goethe's and Newton's observations and experiments concerning color. Goethe approached color as an aesthetic issue, particularly interested in linking it to 'natural' order. Newton approached it as a physical and scientific issue and conducted valuable experiments with prisms.
Abstract This essay shows how two different composers, Schubert and Wolf, with a varied knowledge of "Mignon" relied on their own interpretation of the literature. The essay also explains and develops the differences between the two musical versions of Mignon.
From the Paper "Throughout history, composers have turned to the poetry of celebrated poets when composing vocal music. Therefore, it is not uncommon to see the same poetry set to music by different composers within the same era. Such an example of this is the setting to music of the Mignon's Lieder from Johann Wolfgang Von Goethe's "Wilhelm Meisters Lehrjahre". Several composers, including Beethoven, Schubert, Schumann, and Wolf have set this group of four poems to music. However, each composer's interpretation of the text varies in a different manner. This is based mostly on the personal understanding of the text, and how each composer perceives it. For the purposes of this discussion, we will be comparing the settings of both Schubert and Wolf. "
Abstract The paper analyzes the three major characters in the stories by Goethe and E.T.A Hoffman. The writer describes how these characters reflect romantic love-madness. The writer further explains that by being very young and impressionable, the behaviors of madness seem to stem from their actions and behaviors toward women. The writer further analyzes how, in the cases of Nathaniel, Anselmus, and Werther, they reflect a Germanic "Sturm and Drang" style of writing that blends magic and dreams to distort any kind of sensible reality and order in male/female relationships.
From the Paper "This literary character study will examine the romantic delusions and madness that are within the three stories: "The Sandman" and "The Golden Pot" by E.T.A. Hoffman and "The Sorrows of Young Werther" by Goethe. In this manner, one can realize how obsession and illogical love turns to madness in the case of Goethe's Werther, as well as the two other major characters Nathaniel and Anselmus in the literary works of E.T.A. Hoffman. The precepts of Goethe's romantic love-madness can be seen within the character Werther, and it is accomplished through his extra-marital involvement with an experienced woman."
