57 pages • 1 hour read
Johann Wolfgang von Goethe, John Oxenford, Kuno Francke, William Francis Henry King, Anna Swanwick, Bayard Taylor, Thomas Bailey Saunders, George Kriehn, Hjalmar Hjorth Boyesen, Thomas Carlyle, James Anthony Froude, Charles Locke Eastlake, Nathan Haskell Dole, Samuel Taylor Coleridge, Theodore Martin, Walter Scott, Alexander James William Morrison, Arthur Mee, R. Dillon Boylan, Edgar Alfred BowringA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Faust starts off with a Dedication, as Goethe speaks of “visitors from the past” who “haunt” him and bring back memories of the past (I.1.1-5). He references “happier days” and wonders about his old companions’ fates (I.1.9). Goethe speaks of his “long unwonted yearning” for the “spirit-realm” of his past, and describes the feeling of his memories flooding back, as his “stern heart melts to love again” (I.1.30): “All I now possess seems far away/ And vanished worlds are real to me today,” he ends (I.1.31-32).
The second prologue of the piece is the “Prelude on the Stage,” which is a conversation held between the Director, the Poet, and the Clown about what the upcoming play, set in Germany, should be. The Poet says that the play should “[live] for prosperity” rather than try to please the masses (I.2.74), while the Clown says the audience must be entertained, and the play should include “reason, sense, feeling, passion,” but “let a good vein of folly still run through it” (I.2.87-88). The Director, meanwhile, pushes for “spectacle,” and says if they “let the crowd stare and be amazed […]/ You’ll win their hearts, and that’s to win the prize” (I.
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