Faust laughed, shaking the table.
After the requisite comments on the beauties of Ouray and the surrounding mountains, Faust explained he was from California, here on business—for a short stay, he added.
Look, if Faust is the Dawkinses' lawyer, I can't see how your saying so jeopardizes a damn thing.
Faust is a divorce lawyer.
The woman turned away and began walking down the street, leaving Faust with a disappointed look on his face.
A few moments later, Dickinson Faust stepped into sight.
Faust wore new hiking shorts that exposed bowed legs as white as winter.
When Dean didn't introduce himself, Faust gave Jennifer what he meant as an "old boy" pat on her arm and added, "Checking out the property one last time?"
She stepped back as Jennifer Radisson pointed her camera at Faust and his Jeep—and the blue sweater—and snapped a picture.
The women looked frightened, Faust actually ducked, and David Dean moved to the cover of a nearby boulder, pulling his wife along with him.
Dean thought about the pictures, especially the one of Dickinson Faust standing next to his Jeep, with the woman's sweater hanging over the seat.
There was attorney Faust but there was no proof he had even set foot in Bird Song.
Besides Stephen Petelei (Jetti, a name - "Henrietta " - Felhok, " Clouds ") and Zoltan Ambrus (Pokhdlo Kisasszony, " Miss Cobweb "; Gyanu, " Suspicion") must be mentioned especially Francis Herczeg, who has published a number of very interesting studies of Hungarian social life (Simon Zsuzsa, " Susanna Simon "; Fenn es lenn, " Above and Below "; Egy ledny tortenete, " The History of a Girl "; Idegenete kozott, " Amongst Strangers "); Alexander Brody, who brings a delicate yet resolute analysis to unfold the mysterious and fascinating inner life of persons suffering from overwrought nerves or overstrung mind (A kitlelkil asszony, " The Double-Souled Lady "; Don Quixote kisasszony, " Miss Don Quixote "; Faust orvos, " Faust the Physician "; Tiinder Ilona, Rejtelmek, "Mysteries"; Az eziest kecske, " The Silver Goat "); and Edward Kabos, whose sombre and powerful genius has already produced works, not popular by any means, but full of great promise.
MEPHISTOPHELES,' in the Faust legend, the name of the evil spirit in return for whose assistance Faust signs away his soul.
Mephistopheles, then (or rather Mephostophiles, as the Faust-books spell the name) is "he who does not love light" (Gr.
To Schroer this derivation seems improbable, and he appears to prefer that from Hebrew Mephiz, destroyer, To Faust himself, somnambulist and medium, Mephistopheles had - according to Kiesewetter - a real existence: he was "the objectivation of the transcendental subject of Faust," an experience familiar in dreams and, more especially, in the visions of mediums and clairvoyants.
It is suggested, then, in the light of modern psychical research, that Mephistopheles, though (as the Faust-books record) invisible to any one else, was visible enough to Faust himself and to Wagner, the famulus who shared his somnambulistic experiences.
The Mephostophiles of the Faust-books and the puppet plays passed with little or no modification into literature as the Mephistophilis of Marlowe's Faustus.
He is, however, also the devil, as the age of the Reformation conceived him: a fallen angel who has not forgotten the splendour of his first estate, and who pictures to Faust the glories of heaven, in order to accentuate the horrors of the hell to which he triumphantly drags him.
(b) Translations from Goethe's Faust; sc. i.
A translation of Faust, which he published in 1834, met with considerable success.
Finally the romance to which it owed much of its popular appeal, became, through the medium of Rufinus's Latin, the parent of the late medieval legend of Faust, and so the ancestor of a famous type in modern literature.
Faust in 1617, and has been edited by A.
Goethe's hero changed with the author's riper experience and with his new conceptions of man's place and duties in the world, but the Gretchen tragedy was taken over into the finished poem, practically unaltered, from the earliest Faust of the Sturm and Drang.
It was Schiller, too, who induced him to undertake those studies on the nature of epic and dramatic poetry which resulted in the epic of Hermann and Dorothea and the fragment of the Achilleis; without the friendship there would have been no Xenien and no ballads, and it was his younger friend's encouragement which induced Goethe to betake himself once more to the "misty path" of Faust, and bring the first part of that drama to a conclusion.
But in the end he proved himself the greatest enemy to the strict classic doctrine by the publication in 1808 of the completed first part of Faust, a work which was accepted by contemporaries as a triumph of Romantic art.
Faust is a patchwork of many colours.
With the aid of the vast body of Faust literature which has sprung up in recent years, and the many new documents bearing on its history above all, the so-called Urfaust, to which reference has already been made - we are able now to ascribe to their various periods the component parts of the work; it is possible to discriminate between the Sturm and Drang hero of the opening scenes and of the Gretchen tragedy - the contemporary of Gotz and Clavigo and the superimposed Faust of calmer moral and intellectual ideals - a Faust who corresponds to Hermann and Wilhelm Meister.
In 1808, as we have seen, appeared the first part of Faust, and in 1809 it was followed by Die Wahlverwandtschaften.
In the second part it is virtually a new Faust who, at the hands of a new Mephistopheles, goes out into a world that is not ours.
Yet behind these unconvincing shadows of an imperial court with its financial difficulties, of the classical Walpurgisnacht, of the fantastic creation of the Homunculus, the noble Helena episode and the impressive mystery-scene of the close, where the centenarian Faust finally triumphs over the powers of evil, there lies a philosophy of life, a ripe wisdom born of experience, such as no European poet had given to the world since the Renaissance.
These buildings are more or less square with pyramidal roofs ornamented outside with green glazed tiles, and inside with and tophel,liar (Faust, ed.
It is matter for regret that a request to Coleridge that he should undertake to translate Faust never received serious attention from him.
The note of Renaissance work in Germany was still Gothic. This we feel in the penetrative earnestness of Darer, in the homeliness of Hans Sachs, in the grotesque humour of Eulenspiegel and the Narrenschiff, the sombre pregnancy of the Faust legend, the almost stolid mastery of Holbein.
At the same time Spanish influences reached them through the imitators of Guevara and the dramatists; French influences in the versions of romances; German in fluences in popular translations of the Faust legend, Eulenspiegel and similar productions.
Without much appropriateness Elisha has been sometimes described as the "Faust of the Talmud."
Among the works produced for the first time or rehearsed with a view to the furtherance of musical art were Wagner's Tannhduser, Der fliegende Hollander, Das Liebesmahl der Apostel, and Eine Faust Overture, Berlioz's Benvenuto Cellini, the Symphonie Fantastique, Harold en Italie, Romeo et Juliette, La Damnation de Faust, and L'Enfance du Christ - the last two conducted by the composer - Schumann's Genoveva, Paradise and the the music to Manfred and to Faust, Weber's Euryanthe, Schubert's Alfonso and Estrella, Raff's Kanig Alfred, Cornelius's Der Barbier von Baghdad and many more.
By the side of it ranks the Faust Symphony (1854-1857), in which the moods of Goethe's characters - Faust, Gretchen and Mephistopheles - are depicted in three instrumental movements, with a chorus of male voices, supplying a kind of comment, by way of close.
- Concerto pathetique (identical with the Konzert-Solo in E minor); Dante symphony; Faust symphony; Poemes symphoniques, 1-12; Beethoven's 9th symphony.
Eine Symphonie zu Dante's " Divina Cornmedia "; Eine Faust Symphonie; Poemes symphoniques: 1.
Die Ideale; Zwei Episoden aus Lenau's Faust: I.
Faust has been well called the "divine comedy" of 18th-century humanism.