Search Results for mephistophele

... (stiirzt zusammen) . After this painful experience with magic will he keep his distance from similar “alternative” methodologies? Enter Mephistopheles. He and Faust agree on the famous bet. It is sealed with blood, which means, says Mephisto, “Consider well your words, we’ll not forget them...

... heaped abuse upon his fellow Greeks at Troy. Rounding out a procession of allegorical figures (Fear, Hope, Prudence, Victory), this double-faced monstrosity un- leashes a venomous verbal barrage that clearly justifies the assumption that it is Mephistopheles, the spirit of negation, who has...

... is an incontrovertibly Mephistophelian character. The line that describes his death is half Goethean, after all, as the narrator reveals earlier in the novel: “Andreas was reminded of . . . his favorite lines of Mephistopheles: Over! A stupid word. How so over? Over and pure nothing: completely the same thing! ‘It’s...

... 243 his undoing.* Thus Mephistopheles-cosmic tempter and voice of negation, perennially entertaining rogue, lord of the rats and mice, flies, frogs, bedbugs and lice ( 15 16-17), cynic, blasphemer, and shad- owy double-is granted permission to lead Faust astray if he can, but stand...

..., Helen, Galatea, and the klater Gloriosa, is rightly seen as the female counterpart to the male world of Faust and Mephistopheles. Thus the knowledge of ancient texts and art works serves to confirm an interpretation of Goethe’s work, which without this knowledge has a tendency to remain vague...

...’ interpretation, Mephistopheles invents the realm of the mothers. The “Realms of the Creating Imagination” are thus created by both Faust and the Devil, and they are brought into sharp contrast to the “real” world of the imperial court. This idea is intriguing and, on closer examination, gains...

... Art! The words make images dance in one’s head: the immense Michael Bohnen in elevator boots, ashen-faced, -clad, and -caped as Mephistopheles; Farinelli outdoing in fiorituru the greatest Baroque trumpeter of Europe; a snorting, stamping African menagerie heralding ...

..., as represented in Gretchen, Helen, Galatea, and the klater Gloriosa, is rightly seen as the female counterpart to the male world of Faust and Mephistopheles. Thus the knowledge of ancient texts and art works serves to confirm an interpretation of Goethe’s work, which without this knowledge has...

..., but entirely plausible manner this idea is introduced earlier when, according to Atkins’ interpretation, Mephistopheles invents the realm of the mothers. The “Realms of the Creating Imagination” are thus created by both Faust and the Devil, and they are brought into sharp contrast...

... University Press, 1984. 297 pp. $25.00. The Extravagant Art! The words make images dance in one’s head: the immense Michael Bohnen in elevator boots, ashen-faced, -clad, and -caped as Mephistopheles; Farinelli outdoing in fiorituru the greatest Baroque trumpeter of Europe; a snorting, stamping...

... in the German version beconies an implied reference to Mephistopheles in the American version; though Mephistopheles is not named, Faust is (he is called “old man Faust” [p. 1431). Similarly, other undeveloped figures of speech in the German version of the novel ate worked out in the American version...

..., the devout dress their idols or their divinities. The head of Beethoven, Mephistopheles’ goatee, Hamlet’s acrobatic tights have received ecclesiastical homage. I beg of you not to mention a genius who would resemble the Messrs. Racine or La Fontaine. . . . The modern geniuses who know...

... counterpoint to the others, in a Hell of his own making. Their plight is not unique. Drewitt, the gang’s corrupt lawyer, perceives the human condition when he recites Mephistopheles’ words to Faustus: “Why, this is Hell, nor are we out of it” (p. 306). Brighton reveals a holiday of hollow men who...

... there is “a suspension of laws and customs, for the behaviour of the sexes is now exactly the opposite of what it should normally be” (Mephistopheles and the Androgyne, trans. J. M. Cohen [New York, 19651, p. 113). There is also the reversal of the present state of 382 <: H K...

..., not a senseless mirage which makes him only more miserable since it teases him with a conception of freedom which he cannot possibly attain? Is not Mephistopheles right when, talking to the Lord about man, he char- acterizes him with these contemptuous words : Ich sehe nur, wie...

..., meaningless and formless. ValCry has Faust tell Mephistopheles that while he was busy at the same old tricks, men had found out that the world is only chaos: “Pendant que tu te reposais ainsi dans la paresse de ton Cternite, sur tes procedes de 1’An I . . . ils ont retrouvC dans l’intime des corps...

..., and although Duntzer (whom Thomas-“Mephistopheles, instead of enlisting the mountain-folk as a whole, calls to his aid a concentrated extract of soldier-qualities”-follows) paraphrased Faust’s question “ob er das treue Bergvolk aufgeregt,” Faust’s “Bergvolk” is clearly that of DW 2, turba...

... familiarity but also serves “to test out those who show signs of stand-offishness’’ (183) accurately describes the attitude voiced by the regulars of Auerbach’s Keller, into whose midst Goethe’s Mephistopheles (prankster in his own right) imports the ever standoffish Faust: “Hinaus mit dem, der etwas...

...  That the confluence of the sensible and the suprasensible in some way is sacri- legious or tends toward a secular revision of theological ideas is underscored in Faust when Mephistopheles mocks Faust as an “übersinnlicher sinnlicher Freier” (supra- sensual, sensuous lover...

... of Mephistopheles-always strives for good and achieves evil while acting, ostensibly, at least, from sympathy, which can be interpreted as love. But is unselfish love really the only motivation for his action? Are there no other self-seeking reasons hidden behind this screen of love? At least in part...