Download Faust, Part II by Johann Wolfgang von Goethe PDF

By Johann Wolfgang von Goethe

During this sequel to Faust, Mephistopheles takes Faust on a trip via historical Greek mythology, conjuring for him the insurpassably appealing Helen of Troy, in addition to the classical gods. Faust falls in love with and marries Helen, embodying for Goethe his 'imaginative longing to affix poetically the Romantic Medievalism of the germanic West to the classical genius of the Greeks'. additional to the subjects of redemption and salvation during this nice drama, are Goethe's eerie premonitions of contemporary phenomena equivalent to inflation and the production of existence via medical synthesis.

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2 As Peter French describes it, this is a “state of not acting on legitimate resentment, holding it inside, letting it fester, until it poisons the victim” (60). 1 22 Can two wrongs ever make a right? 1–3). 40–41). 85–86). 14). Macduff, mourning his murdered family, is advised, “Be comforted. 214–16). €Simpson 171, 176). I find little warrant for such a view. 129). 61–62). 124–5). Marcus offers a mass Andronici suicide if Romans condemn the revenge; instead, Romans choose Lucius as emperor. Vindice finds vengeance worth dying for:€ “Are we not revenged?

Suppose this arm is for the Duke of York, And this for Rutland, both bound to revenge, Wert thou environed with a brazen wall. c l i f f or d Now, Richard, I am with thee here alone. This is the hand that stabbed thy father York, And this the hand that slew thy brother Rutland, And here’s the heart that triumphs in their death G. K. Hunter’s term “victim tragedy” (English Drama 69) partly corresponds to my Â�“individual-grievance” revenge tragedy. An aggrieved avenger sometimes joins a kind of revenge coalition:€“Groupings are formed which involve the family and friends of both the tyrant and the revenger … Two opposed parties are brought into being” (J.

And insofar as we hear from heaven at all in the plays, it promotes revenge. 33–34). Thunder and lightning are theatrical shorthand for heaven’s angry voice demanding retribution. 8–17). Castabella cries, “O patient Heav’n, why dost thou not express / Thy wrath in thunderbolts? 161–8). Vindice demands, “Has not heaven an ear? / Is all the lightning wasted? 25 Like much in this parodic play, thunder-on-cue is grotesquely comic, but the point remains:€heaven favors revenge. In Massinger’s The Unnatural Combat, heaven hurls lightning at a villain€– a sign, Bowers thinks, “that all revenge should be left to God” (Elizabethan 197).

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