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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 ...
Similarities to Goethe's Faust include the classic tale of a man who sold his soul to the Devil, the same Mephisto wagering with an angel to corrupt the soul of Faust, the plague sent by Mephisto on Faust's small town, and the familiar cliffhanger with Faust unable to find a cure for the Plague, and therefore turning to Mephisto, renouncing God ...
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.
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.
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 ...
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" 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 .
Faust (Russian: Фауст, Faust) is a novella by Ivan Turgenev, written in 1856 and published in the October issue of the Sovremennik magazine in the same year. [1] The story draws inspiration from Goethe's Faust , both as a tangible book around which the narrative revolves, and thematically.