Faust by Johann Wolfgang von Goethe
A Tragedy (Norton Critical Editions)

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Walter Arndt’s translation of Faust reproduces the sense of the German original and Goethe’s enormously varied metrics and rhyme schemes.

This edition presents Parts I and II complete. Cyrus Hamlin provides essential supporting material for this difficult text, and his Interpretive Notes have been expanded and reset in larger, easy-to-read type. "Comments by Contemporaries" includes short pieces by Margaret Fuller, Ralph Waldo Emerson, Thomas Carlyle, and Wilhelm von Humboldt. "Modern Criticism"--comprised of ten essays newly added to the Second Edition--presents the perspectives of Stuart Atkins, Jaroslav Pelikan, Benjamin Bennett, Franco Moretti, Friedrich A. Kittler, Neil M. Flax, Marc Shell, Jane Brown, Hans Rudolf Vaget, and Marshall Berman. A Selected Bibliography is included.

About Johann Wolfgang von Goethe

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Johann Wolfgang von Goethe, 1749-1832 Johann Wolfgang von Goethe was born in Frankfurt am Main. He was greatly influenced by his mother, who encouraged his literary aspirations. After troubles at school, he was taught at home and gained an exceptionally wide education. At the age of 16, Goethe began to study law at Leipzig University from 1765 to 1768, and he also studied drawing with Adam Oeser. After a period of illness, he resumed his studies in Strasbourg from 1770 to 1771. Goethe practiced law in Frankfurt for two years and in Wetzlar for a year. He contributed to the Frankfurter Gelehrte Anzeigen from 1772 to 1773, and in 1774 he published his first novel, self-revelatory Die Leiden des Jungen Werthers. In 1775 he was welcomed by Duke Karl August into the small court of Weimar, where he worked in several governmental offices. He was a council member and member of the war commission, director of roads and services, and managed the financial affairs of the court. Goethe was released from day-to-day governmental duties to concentrate on writing, although he was still general supervisor for arts and sciences, and director of the court theatres. In the 1790s Goethe contributed to Friedrich von Schillerīs journal Die Horen, published Wilhelm Meister's Apprenticeship, and continued his writings on the ideals of arts and literature in his own journal, Propyläen. The first part of his masterwork, Faust, appeared in 1808, and the second part in 1832. Goethe had worked for most of his life on this drama, and was based on Christopher Marlowe's Faust. From 1791 to 1817, Goethe was the director of the court theatres. He advised Duke Carl August on mining and Jena University, which for a short time attracted the most prominent figures in German philosophy. He edited Kunst and Altertum and Zur Naturwissenschaft. Goethe died in Weimar on March 22, 1832. He and Duke Schiller are buried together, in a mausoleum in the ducal cemetery. Walter Arndt is Sherman Fairchild Professor in the Humanties, Emeritus, at Dartmouth College. His translation of Pushkinrsquo;s Eugene Onegin was awarded the Bollingen Prize. Cyrus Hamlin is Chairman of the Department of Germanic Languages and Literatures at Yale University.
Published July 26, 2014 by W. W. Norton & Company. 312 pages
Genres: Literature & Fiction, Education & Reference, History, Mystery, Thriller & Suspense, Action & Adventure, Travel. Non-fiction

Unrated Critic Reviews for Faust

The New York Review of Books

Forever striving and forever straying, the role of Faust has been adopted as a historic model for Western man.

Nov 25 1976 | Read Full Review of Faust: A Tragedy (Norton Crit...

Project MUSE

[End Page 15] So, the beginning of the Helena episode, 269 verses that Goethe had written in 1800, implicitly contained the loss of sensual beauty and reality in the world after 1800, implied by the idea of barbarization, and the plan for a stage play on the Faust stage conforming to Goethe's i...

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Arnd Bohm focuses on the figure [End Page 380] of Alexander the Great in Faust, especially Goethe's use of Hellenistic satire and medieval romance, relating these to Faust's obsession with power and domination, a theme that also resonates with various postcolonial treatments of the Faust tradition.

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