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Goethe finished writing Faust, Part Two in 1831; it was published posthumously the following year. In contrast to Faust, Part One, the focus here is no longer on the soul of Faust, which has been sold to the devil, but rather on social phenomena such as psychology, history and politics, in addition to mystical and philosophical topics. The ...
Originally title Action Faust, it is an interpretation of the tale from the Devil's perspective. "Bohemian Rhapsody" by English rock band Queen. From the album A Night at the Opera. "Faust" by singer songwriter Paul Williams from the original soundtrack of The Phantom of the Paradise. "Faust" by English virtual band Gorillaz, from their album G ...
The first part of Faust is not divided into acts, but is structured as a sequence of scenes in a variety of settings. After a dedicatory poem and a prelude in the theatre, the actual plot begins with a prologue in Heaven, where the Lord bets Mephistopheles, an agent of the Devil, that Mephistopheles cannot lead astray the Lord's favourite striving scholar, Dr. Faust.
" Gretchen am Spinnrade" (Gretchen at the Spinning Wheel), Op. 2, D 118, is a Lied composed by Franz Schubert using the text from Part One, scene 15 of Johann Wolfgang von Goethe's Faust. With "Gretchen am Spinnrade" and some 600 other songs for voice and piano, Schubert contributed transformatively to the genre of Lied .
The eternal feminine, a concept first introduced by Johann Wolfgang von Goethe at the end of his play Faust (1832), is a transcendental ideality of the feminine or womanly abstracted from the attributes, traits and behaviors of a large number of women and female figures. In Faust, these include historical, fictional, and mythological women ...
Faust: The Second Part of the Tragedy (German: Faust. Der Tragödie zweiter Teil in fünf Akten.) is the second part of the tragic play Faust by Johann Wolfgang von Goethe.It was published in 1832, the year of Goethe's death.
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The sculpture represents the thin line between the duplicity of good and evil as represented by Margaretta and Mephistopheles, respectively. The male image stands proud in a hooded cloak, heeled boots and has a long, gaunt face with a cynical smile, while Margaretta is shown as a shy girl with a prayer book in her hand, and downcast eyes, lost ...