Book contents
- Frontmatter
- Contents
- List of illustrations
- List of contributors
- Preface
- List of abbreviations
- Introduction
- PART I MODERNITY
- 1 Faust – today
- 2 Mephisto and the modernization of evil
- 3 Mephisto is the devil – or is he?
- 4 ‘Schwankende Gestalten’: virtuality in Goethe's Faust
- 5 Amnesia and anamnesis in Goethe's Faust
- 6 Magicians of modernity: Cagliostro and Saint-Simon in Goethe's Faust II
- 7 The blind Faust
- 8 From Faust to Harry Potter: discourses of the centaurs
- 9 Mistra and the Peloponnese in Goethe's Faust II
- 10 Goethe and the grotesque: the ‘Classical Walpurgis Night’
- 11 Re-defining classicism: antiquity in Faust II under the sign of the Medusa
- 12 Diabolical entrapment: Mephisto, the angels and the homoerotic in Goethe's Faust II
- PART II THEATRE
- Select bibliography
- Index
- References
1 - Faust – today
Published online by Cambridge University Press: 01 June 2011
- Frontmatter
- Contents
- List of illustrations
- List of contributors
- Preface
- List of abbreviations
- Introduction
- PART I MODERNITY
- 1 Faust – today
- 2 Mephisto and the modernization of evil
- 3 Mephisto is the devil – or is he?
- 4 ‘Schwankende Gestalten’: virtuality in Goethe's Faust
- 5 Amnesia and anamnesis in Goethe's Faust
- 6 Magicians of modernity: Cagliostro and Saint-Simon in Goethe's Faust II
- 7 The blind Faust
- 8 From Faust to Harry Potter: discourses of the centaurs
- 9 Mistra and the Peloponnese in Goethe's Faust II
- 10 Goethe and the grotesque: the ‘Classical Walpurgis Night’
- 11 Re-defining classicism: antiquity in Faust II under the sign of the Medusa
- 12 Diabolical entrapment: Mephisto, the angels and the homoerotic in Goethe's Faust II
- PART II THEATRE
- Select bibliography
- Index
- References
Summary
‘Intimidation through Classicism’ was the heading Brecht gave to his notes on Goethe's Faust in 1964. The colossal scope of this work does indeed have such an intimidating effect that many readers (and the vast majority of directors as well) content themselves with Faust i, not even daring to approach Faust ii, which is almost twice as voluminous. Furthermore, the work as a whole is burdened by 200 years of reception and interpretation, surrounded by countless scholarly interpreters, and completely armed against the curiosity of uninhibited readers with its reputation of fearsome profundity and overwhelming demands. It is easy to see why Thomas Mann wrote to Hermann Hesse that one might be ‘tempted some time to write a totally fresh, intimate commentary on Faust which would relieve people of their all too pious timidity in the face of this sublime, serene, by no means inaccessible work, exceptional and bold but humanly fallible as it is’.
Such a ‘fresh, intimate commentary’ would also have to explain what might otherwise be misunderstood and would certainly be worth understanding correctly. Goethe himself believed that such assistance was required in the case of the great old masters:
Denn bei den alten lieben Toten
Braucht man Erklärung, will man Noten;
Die Neuen glaubt man blank zu verstehn;
Doch ohne Dolmetsch wird's auch nicht gehn.
(BA 1, 441)For with the old and dear departed
They need explanations, they want notes;
The new ones they think they can understand;
Yet without interpreter they won't succeed, either.
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- Information
- Goethe's FaustTheatre of Modernity, pp. 17 - 31Publisher: Cambridge University PressPrint publication year: 2011
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