And thou, good soul, who sufferest the same distress as he endured once, draw comfort from his sorrows; and let this little book be thy friend, if, owing to fortune or through thine own fault, thou canst not find a dearer companion.
Unlike most archaic translations of Faust, BookCaps puts a fresh spin on Goethe's classic by using language modern readers won't struggle to make sense of.
The original English text is also presented in the book, along with a comparable version of both text.
We all need refreshers every now and then. Whether you are a student trying to cram for that big final, or someone just trying to understand a book more, BookCaps can help. We are a small, but growing company, and are adding titles every month.
Und kurz und gut, ich will nicht!
Ihr Wille gegen meinen!
Eins gegen eins,
Mich dünkt, es hebt sich!
Deinem Vater Zeus das bringen?
Was Vater! Mutter!
Weißt du, woher du kommst?
Ich stand, als ich zum erstenmal bemerkte
Die Füße stehn,
Und reichte, da ich
Diese Hände reichen fühlte,
Und fand die achtend meiner Tritte,
Die du nennst Vater, Mutter.
There are few modern poems of any country so perfect in their kind as the "Hermann and Dorothea" of Goethe. In clearness of characterization, in unity of tone, in the adjustment of background and foreground, in the conduct of the narrative, it conforms admirably to the strict canons of art; yet it preserves a freshness and spontaneity in its emotional appeal that are rare in works of so classical a perfection in form.
The basis of the poem is a historical incident. In the year 1731 the Archbishop of Salzburg drove out of his diocese a thousand Protestants, who took refuge in South Germany, and among whom was a girl who became the bride of the son of a rich burgher. The occasion of the girl's exile was changed by Goethe to more recent times, and in the poem she is represented as a German from the west bank of the Rhine fleeing from the turmoil caused by the French Revolution. The political element is not a mere background, but is woven into the plot with consummate skill, being used, at one point, for example, in the characterization of Dorothea, who before the time of her appearance in the poem has been deprived of her first betrothed by the guillotine; and, at another, in furnishing a telling contrast between the revolutionary uproar in France and the settled peace of the German village.
The characters of the father and the minister Goethe took over from the original incident, the mother he invented, and the apothecary he made to stand for a group of friends. But all of these persons, as well as the two lovers, are recreated, and this so skillfully that while they are made notably familiar to us as individuals, they are no less significant as permanent types of human nature. The hexameter measure which he employed, and which is retained in the present translation, he handled with such charm that it has since seemed the natural verse for the domestic idyl—witness the obvious imitation of this, as of other features of the poem, in Longfellow's "Evangeline."
This sumptuous edition features Bayard Taylor's excellent translation, acclaimed for its truth to the meter of the original German verse. Nearly 30 illustrations by Harry Clarke, eight of them in full color, enhance the text. Created in the early 1920s, Clarke's images reflect the influences of Art Nouveau and Art Deco, forming a powerful contribution to the supernatural air of Goethe's masterpiece.
In other respects I am very well off here. Solitude in this terrestrial paradise is a genial balm to my mind, and the young spring cheers with its bounteous promises my oftentimes misgiving heart. Every tree, every bush, is full of flowers; and one might wish himself transformed into a butterfly, to float about in this ocean of perfume, and find his whole existence in it.
The town itself is disagreeable; but then, all around, you find an inexpressible beauty of nature. This induced the late Count M to lay out a garden on one of the sloping hills which here intersect each other with the most charming variety, and form the most lovely valleys. The garden is simple; and it is easy to perceive, even upon your first entrance, that the plan was not designed by a scientific gardener, but by a man who wished to give himself up here to the enjoyment of his own sensitive heart. Many a tear have I already shed to the memory of its departed master in a summer-house which is now reduced to ruins, but was his favourite resort, and now is mine. I shall soon be master of the place. The gardener has become attached to me within the last few days, and he will lose nothing thereby.
In his epic treatment of the Faust legend, Marlowe retains much of the rich phantasmagoria of its origins. There are florid visions of an enraged Lucifer, dueling angels, the Seven Deadly Sins, Faustus tormenting the Pope, and his summoning of the spirit of Alexander the Great. But the playwright created equally powerful scenes that invest the work with tragic dignity, among them the doomed man's calling upon Christ to save him and his ultimate rejection of salvation for the embrace of Helen of Troy.
With immense poetic skill, and psychological insight that foreshadowed the later work of Shakespeare and the Jacobean playwrights, Marlowe created in Dr. Faustus one of the first true tragedies in English. Vividly dramatic, rich in poetic grandeur, this classic play remains a robust and lively exemplar of the glories of Elizabethan drama.