About this title: Jarrell worked on this translation, expressed in several meters and blank verse, for the seven years preceding his death in 1965. Here, illustrations by the Czech artist Peter Sis accompany the text.
Note: This is a general synopsis. Each listing is described below.
Description: Good. Shows some signs of wear, and may have some markings on the inside. Shipped to over one million happy customers. Your purchase benefits world literacy! read more
Description: Acceptable. Shows definite wear, and perhaps considerable marking on inside. Shipped to over one million happy customers. Your purchase benefits world literacy! read more
Binding: Paperback
Publisher: Bantam Classics
Date Published: 1988
ISBN-13:9780553213485ISBN:0553213482
Description: New. Brand New! Buy with confidence-your satisfaction is guaranteed at B-Logistics! Due to the large scale of our operation, we do not have access to the specific contents/condition of our items. Please note that Expedited shipping is not available at this time. read more
Description: SC, The Modern Library, (Bennett A. Cerf & Donald S. Klopper), New York, 1930, translated by Bayard Taylor in the Original Meteres. Red cloth on flexable boards is showing some light shelf wear and light soil, owner signed fep, weak front hinge but pretty tight. Good. read more
Edition: Reprint.
Binding: Hardcover
Publisher: Hurst & Company, New York, NY
Description: Good. No dust jacket. Grey boards with orange and black floral design. Gold title on spine. Cover is age darkened, with very light wear, lightly bumped spine ends. Binding a bit loose at front end, otherwise very good. Text pages clean and bright. Cloth over boards. v. 261 pages. 15 cm. Audience: General/trade. read more
Binding: Hardcover
Publisher: World Publishing Company
Description: Good. -No Date Ex-Library--No Jacket. Good + 8vo-over 7 3/4"-9 3/4" tall 252 pgs. Interior-Nice overall condition w/ ex-library referencing. The boards have only light signs of aging. -Publish Place: New York-Size: read more
Binding: Hardcover
Publisher: Hartsdale House NY 1940's
Description: Harry Clarke. Octavo, hardcover, margin notes on two pages else VG in decorative cloth. No dj. Previoius owner's name and date (1947) on endpaper. Page edges dusty. The line engravings are quite striking, in the manner of Aubrey Beardsley. 252 pp. Translated into English, in the original metres, by Bayard Taylor. read more
Binding: Hardcover
Publisher: J. J. Little & Ives Company, New York
Description: Good. No Dust Jacket. Translated into Engish, in the original metres, by Bayard Taylor; De Luxe Editions; Salmon paper covers with cream 3/4 paper binding; no jacket; medium wear to covers that is heavier at edges, where it is soiled and worn; salmon end papers; otherwise pages are clean and unmarked; rear end papers lightly soiled; heavily illustrated in black and white; 252 pgs. read more
Binding: Paperback
Publisher: Manchester University Press
Date Published: 1973-12
ISBN-13:9780719005701ISBN:0719005701
Description: Good. No Jacket. Ex-library. 8vo; 157p. Hardboards added to inside covers. Clean, neat and tight copy. With informative introduction and notes on characters and translation. In English. Translated by John Prudhoe. Usual reference plate and stamps to endpaper. read more
Binding: Hardcover
Publisher: heritage press
Date Published: 1959
Description: Eugene Delacroix. New in very good dust jacket. book like new probably never opened slipcase is vg w/ some slight shelvewear. sandglass inserted read more
Edition: New Edition
Binding: Mass Market Paperback
Publisher: Manchester University Press, Manchester, United Kingdom
Date Published: 1974
ISBN-13:9780719005701ISBN:0719005701
Description: Trans. : Prudhoe, John. Good/No Jacket. 0719005701 Used minor wear along spine and cover edges, wear to corners of cover, creasing to corners of front cover, minor wear to corners of early pages, otherwise text clean and tight. read more
Description: Very good condition red hardcover. Pub: Illustrated Editions. Illustrated by Henry Clarke. Translated by Bayard Taylor. Gift inscription on front endpaper. read more
"Faust part I is the easier to read and shorter of the two parts, but it is not the better. It follows the ur-Faust tradition in which Faust makes a bargain with the devil in exchange for knowledge. The David Luke translation is not recommended. It maintains Goethe's rhyme scheme from the original at the expense of Goethe's meaning, which is subtle and usually profound. Find a blank verse translation that strives for accuracy of content. You don't miss out on much by giving up end-rhymes. If anyone could recommend a translation matching this description, I'd appreciate it greatly."
"My review: Faust is the classic tale of man's introspection in his pursuit of life, where great wisdom brings greater bruden. Finished in 1832, this 'closet drama' has a gothic style with all advantages of Elizabethan inspiration from the likes of Shakespeare and every scientific, religious, philosophical, achaeological... engineering down to the kitchen sink available to him. Really--if you're the type who likes to look into your authors, Goethe is a fascinating genius of a man. Like most people with a story to be told, he projects himself into the shoes of Faust quite fluently.
To keep my synposis brief, Heinrich Faust is a dying breed among the world's professions: the alchemist--a scientist of worldly metals and unworldly essences, forever searching for the universal and complete truth. In the beginning, god and Mephistopholes (Satan) are chatting before the pearly gates about the weakness of mortals and eventually their challenging opinions come to a bet against the soul of Faust. God Believes that Faust, although capable of unwholesome things, being a creature of several sciences, will know his soul's purity before his end, and so Satan sets out to tempt him. Some introductions follow of how inconsolable Faust has become of late, to the point that he sends an understudy away to take his own life, but he is stopped and so Satan and Faust meet. Faust, being the scholar that he is, eventually agrees to Satan's promise but on an oath agreeing that only if Faust should attain a moment so blissful that he wished it would last forever would Satan have his soul. Now, on to the slightly more interesting stuff.
Faust is divided into two parts. For those of you who really like to look into an author's work, this is a diamond mine for you. Looking at Goethe's life will reveal deep personal connection, but even on the surface this division on plots sets the stage for parallelisms between Faust's life, painstakingly placed enigmas between two lovers Faust has and their reasons for failed fatherhood. Although there were not as many conflicts/arguments of spirituality, philosophy, or even sinful knowledge as I would have liked, I think the neutrality is a design of enjoyment.
Like most pieces of the great art (har har, it's an alchemy pun!) Faust is written in in more rhyme/meter than it is prose; because the piece is written and translated beyond the period of nominative pronouns like thy and thou, this makes the reading flow like textual ambrosia for even the most modernized reader. That being said, it is a very long imbibe in two parts. I strongly recommend this book to anyone of its intended religious audience as well as anyone who can just enjoy a good smart-read."
"I figured it was about time I got around to actually reading this, considering how much I love so many things that have been derived from it, but it ain't an easy read... not because of the challenging quality of the text (I wish), but because so much of it is just incredibly freaking pointless and extraneous... there are all these random chorus bits with huge casts of inexplicable extras that I just keep picturing as lame musical productions, and every time I get to another one I just want to cry. Or stop reading. Even with about 3/4 of the text removed, it would still probably be lamer than I thought it would be. Oh well. Sorry, Goaty, I'll stick to yer followers instead."
"Though it relies heavily on christian paraphenalia throughout (the tale of Faust being much older than Goethe), I wouldn't say the intent of it is christian. Goethe updates this legend by setting it against the backdrop of his contemporary times- the enlightenment era. Thus the play uses the themes of damnation and redemption, but addresses issues of learning, academics, and striving versus earthly pleasures and sensuality.
Mephistopheles, the devil's avatar, is much more interesting as a character than Faust. Rather than an unrelenting tempter, he seems almost passive in Faust's self-destruction; it is even Faust who suggests the pact originally. It seems Faust was already bent on evil, and he simply uses the devil to accomplish his aims. There are also hints that the devil is just as unhappy as faust, though he hides it, but for different reasons ("misery loves company" he remarks).
It is fascinating for its variety of poetic forms. It has bits of bar-room songs, meditations on life, a hallucinogenic "Walpurgisnacht dream sequence," a play-within-a-play, etc. Though it deals with heavy themes, there's levity to be found, and it can often be quite funny. Is it a tragedy? A morality tale? A retelling of Job? I don't think there's coherence to finally find, I think it flies apart and can't keep itself straight. The ending is unsatisfactory. But these are all reasons I found it interesting; its strength is in Goethe's poetic beauty, which this translation manages to convey."
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