Love lyrics to Faust and Margarita. create
Faust is a symbol of the titanism of the human spirit. I in tsomu wine share the share of all the heroes of Goetev Sturm und Drang. It seems that the creator seems to be yoga with Prometheus, and the unacceptable world is born from Goetz and Werther. And all the same, Faustian titanicism is broader, more glib, stronger spontaneous. Tse hatred of life, pragnennya hoop the whole life of life, buttya. exercise to affirm to yourself that power of your life. Forms that are familiar to me, to whom the unsettling forces of life are unsatisfactory, which is due to the struggle between our life forms, which are surrounded by the hour3. The light of the expanse of that hour is narrow for Faust, for the new one it is important that he himself broke through the middle of the world. And the tragedy of Faust is in front of you in order to expand yourself to omniscience. Tse already new side in the titanic expansion of the Goethean generation. "Prafaust" buv completions s tієї reasons that the shtyurmer heroes were rejected by the scale and omnipotence of predilections, the world of the sturmer heroes was such a hero, like Faust. To that Goethe recited "Faust", and the continuation of yoga was less than an hour of the Italian price.
Some parts of "Faust" were already written in 1800, Goethe calmly stepped over the 19th century, accepting this problematic.
The tragedy of Faust is a specific tragedy of the human being, the tragedy of the creator of form. Її Goethe sings with a wiguk, scho virvavsya from the mouth of the hero, if you speak with the Spirit of the Earth: "I am the image of God, and I am not similar to you", and the Spirit of the Earth ironically calls him the word, as richly known as the XIX and XX centuries, - "Übermensch", superhuman. During the hours of the Reformation, Catholics called the Lutherans so, and in the epoch, the word meant heroism, heroism.
The spirit of the Earth is overwhelmed by Faust, and Wagner enters into this room, Tsvecheny-pedant, a person who diligently takes knowledge from his head, relatively subsumovu and registers the tribute of human knowledge. Goethe does not create here a satirical image of a mediocre and a witless scientist. The systematizer Wagner is an insight into strict scientific knowledge. Vіn pragne right knowledge like i, like i Faust. For Wagner, analysis and synthesis, classification, and system are essential to true knowledge. Win us a theoretician, and more, a science enthusiast.
Wagner is placed before Faust with great reverence, appreciating the spiritual richness of Faust. Ale faustіvskiy uchen already independent and in superchkah іz teacher zavzhd uncompromisingly maintains his position. Wagner zayshov at an odd hour before Faust's office is unremarkable, he was lucky that his teacher was reciting a Greek tragedy. This is a small detail to tell about the great culture of Wagner, which was a blessing before antiquity. Goethe's Wagner is a man with a subtle relish, here we can see the directness of the Faustian teachings of that adept. Miraculous Germanist Erikh Trunz named Wagner as a humanist. Wagner is a renaissance humanist with a narrow meaning of the word, in order to understand and orientate the writing of ancient memos. I, obviously, the greatest interest for him is rhetoric and grammar5. Zvichayno, in the singing world, a caricature of Faust, if you believe in the omnipotence of science, in the superiority of the scientific mind over nature. The super girl of Faust and Wagner has an important character. Faust rages to the pointless twist of nature. We know that Faust is a professor at all university faculties, and wonderfully, miraculously knows antiquity and rhetoric. From the perspective of Faust and Wagner, one can understand that it is important for Wagner to recognize all the formal laws of rhetoric, and the teachings of the encyclopedist. Faust doesn't recognize rhetoric, doesn't recognize piece-formatted movi, movi:
Here, two vectors of the Renaissance thought are superimposed on the super-cookie of two straight lines, which, with their coil, are superimposed and wiped out by Goethe's powerful epic. On the one hand, culturologically, wines can be enlightened as a controversy between philologically oriented humanists and natural philosophers Revival; z іnshgo - tse fermentation of the struggle of the children of "Storm and Onslaught" with rosum illumination, with the classic dogmas of the Gottsched school.
Separate Faust and Wagner and have their own positions until the fall of the past. Wagner's past is the most important, and Faust considers the past to be absolutely fruitless. Faust calls out to distinguish the practice of the past, I live that immortal practice - and the picture of the past, as created in the heads of learned people:
The spirit of the vchennoe, less straightening in the past, concessions to straightening in the future. Wagner of perekonaniya, that the human development is at this stage, if a person can be good at all food, then the knowledge becomes savage overbaths. Faust is arguing with Wagner in the Cartesian soul, investigating the thoughts of Descartes, that only one person, the whole nation, can eat the truth. For the first time, knowledge of that insight will not be shaken by joy, the skin of the great scientist is destined for the role of a martyr of knowledge.
After moving with Wagner, Faust begins a deep mental depression. In rozpachі vіd dumki, scho svі mі lі vіdіnі zіzlі vіznі kіnіkі і іsnuvannya, Faust rob the rest of the test virvati z nav'yazanoї yom form of life, yom need to be-scho-be rozirvat forms of space and hour. In other words, to go beyond the a priori, subjective forms of sensibility, to the expanse of that hour, as if to say my Kant. For whom Faust is guilty of throwing off the fouling of his body, for whom death is necessary, he may fly to new spheres of pure activity, virvatisya from the world of expanse of that hour, with such guilt of close invocations. Tilki zvіlnivshis in the form of bodily shell, yogo spirit awake spontaneity, be unstriking. In front of such a pure fiality, Faust wants to deprive the butt of a hrobak, to swarm in one of the furrows of the light house. Vіn want to be free in the face of fear of death, fear of life. You want to bring it to light that a person can rise to the divine heights. Faust swears off, but if you bring a cup of otted to your lips, you smell the temple's sleep. Vin poured the cup, self-destruction did not come out. Chi is not the fear of divine punishment for ignoring the Christian commandments, not the fear of religion, which guards self-destruction, but the very spirit of life is overthrown by you to throw off the earthly shell. You can feel the temple spirit, and the light of Faust is dwarfed, not allowing you to be transferred to another world, shaking it up to the sphere of pure spirituality. Here begins that line of tragedy, as if it were a mind-boggling appearance of Mephistopheles.
Mephistopheles and another significant hero of the tragedy, Faust's twin. Pіd tsim іm'yam vіn z'yavlyaєєєєєєєєєєєєєєєєєєєєі in the middle book about Faust, Ymovіrno, ім'i perekuєєєз з dva євreyskimi words: "mephis" (roynіvnik) and "tonofol-(nonsense). In “Prolozі in the sky” the Lord recognized that among all the spirits, the list of wines is most like Mephistopheles. The merit of Mephistopheles is that he does not let people calm down. Zagal Mephistopheles on the cob recognizes its own staleness in the sight of God, for the negative cob, in a paradoxical rank, will always be transformed into good.
In this rank, the tragedy has a spirit of denial, the spirit of this evidence, as Carl Gustav Jung has designated as a negative evidence. And there is nothing marvelous that criticism in Mephistopheles prevails over demonic power. The mind of a person who has a negative opinion, directs himself to the ruin of that which is valuable for others; Vіn put pіd sumnіv not іstota correct, but furnish6.
Why does Goethe introduce into tragedy the spirit of denunciation? On the right, the spirit of criticism, the spirit of criticism, is characteristic of rice in the 18th century, starting from the 70s. The spirit of criticism of straight lines is against rational dogmatism, against everything that is unfinished, regimented, retrograde; on the contrary, what was allowed for inner freedom, what fettered the freedom of the individual. Vіn іnоdі nabuvav nіgіlіstіchnyh forms of the total list of the sense of life.
The tragedy has two representatives of this century. Faust is the inspiration and enthusiasm. The interest of Faust is the same as the interest of the guilty witness. Svіdomіst, kak calmly turning up to the golden world, and to oneself - those that can be called reflection or reflexive svіdomіst. Tsіy svіdomosti pritamanne critical setting. But the most heady - the most reflective side of Faust's svodomosti, zdatny rob yourself of an object of thought, stomp yourself from the side, think about your own feelings, give a thought about a thought. І critical spirit is a tool of reflection, we are before self-reflection. It is obvious that this spirit is speaking and it is like an ironic spirit.
Mephistopheles is the spirit of irony, which is to go through all the tragedy. The most important feature of irony: it’s good, it’s productive for that, it’s worth it to wake up Faust’s dissatisfaction, it’s terrifying reflexive awareness of Faust’s stress. Both heroes, Faust and Mephistopheles, taman and demonic, and devilish. For Goethe himself, demonia was also a stranger. Ale divine in Faust still surpasses. Mephistopheles takes the devil in a clean look. It's more ironic diaboliad. Need to say. Thomas Mann miraculously remembered that the devil in Mephistopheles is not in such filthy stosunki with the divine. The Lord speaks about Mephistopheles:
Such yak ti, I do not know:
From the spirits of us, what to live for the forbidden,
Already Shakhray zovsim is not a burden for me.
Goethe even subtly introduces Mephistopheles at the diu at another stage. Until then, Faust tried to get out of his "I" for an additional sign to the macrocosm and then for an additional self-destruction. We can take the stage behind the mishkoy brama as far away as Faust's zdіysnennya pragma. Faust comes out of the city, comes to the townspeople, like the holy day of the Great Day, yogo rozmov with the people was the mіskoї brami vіdbuvаєє on aphids festivities of rich-barbarous Natovpu. People celebrate the resurrection of the Lord, spiritual rebirth, renewal of the world. Golovna, however, at this scene - the appearance of a black poodle, which invisibly follows Faust and Wagner to the very life, and in Faust's office, she already stands in front of him in the image of the devil himself. Mephistopheles blames him at that moment, if Faust's pranayama, which is hoarse, reaches its apogee, if you again cross the tightness between your world.
Those who sing Faust and Mephistopheles on Great Day, obviously, can give the sacred, sacral character of the entire event. Tse means that the good, that began on a sacred day, carries a positive sense. Misce zustrіchі Faust and the devil - white mіsskoї brami, yak symbolize here the departure of people into the wide expanse of buttya. I want all the good fortune of Faust to follow Mephistopheles, but nevertheless we pass under the sign of the Resurrection of the Lord. Otzhe, Mephistopheles - tse povnistyu _infernal image and bearer of absolute evil.
Behind the idea of Goethe, at Faust, the right Satan will appear as the bearer of the dark forces. The scene of Walpurgis Night is small to end with a greedy, grotesque Sabbath, and the top of this Sabbath is small for the appearance of Satan in a sharpened view, a harlot, a goat - a mustache. diyovih osib, the power of the diabolical attributes. Here, two triumphs on the cob are small - soulless human hit and gold. Mephistopheles was always present at this stage as an intercessor for the intercessor of the head director - Satani. For the 18th century, this scene was written in a dignified manner, but at the same time it was quite strong and strained. But in the residual version of Goethe's Faust, we do not include these reasons that the scene is small for a grotesque character and as if the world was ridiculous, in this way the depths of philosophical demonia would be reduced by the grotesque images. Mephistopheles stood before Faust at the sight of a poodle, and put the words about Goethe's poodle into Wagner's mouth:
Wagner talk about yoga innocence and innocence. The poodle, as usual, is the most common breed of dog in the world of people, it is completely comradely and kind. It is important that the breed can be the least aggressive; tse dog, like a zovsіm, has spent its own mislivsky INSTINCT. The appearance of a poodle at "Faust" is an attack on the calmness of the spirit of the denunciation - Mephistopheles. Mephistopheles in Pershu Yogo appears not a symbol of evil, but a symbol of communication. Faust pays tribute to the wondrous behavior of the poodle, vindicates that it is not a wonderful dog. Mephistopheles roamed with Faust, as if he did not dare to lead with God. The sense of Mephistopheles' promos lies in the fact that God's creations of the world and order are not perfect, moreover, wine is no good, everything is based on merit in the new. Ale all misfortunes, like Mephistopheles sending on the earth, they cannot fail the world. The cosmic order is left indestructible, regardless of all the foolishness and inadequacy of this world.
Who is this Mephistopheles? Either Satan himself, or one of the demons of Satan. In Goethe's "Faust" he appears as the head representative of Hell, the messenger of Hell. And at the same time - the devil of a different rank. Here Goethe does not utter absolute accuracy, for the new important it is more. Goethe creates his own model of light, his picture of the world, and in To her demonic forces, to the spirit of the cross, an important place is introduced. if the end of this world comes and everything is known to ruin, then everywhere a new smell of darkness will come.
With the words of Mephistopheles, Goethe reveals to us his myth about the creation of the world. What is a myth? Goethe, having created a powerful cosmogonic model, seems to be sharply shaken in a Christian way. Apparently, before Goethe, the creation of the divine Trinity - God the Father, God the Sin and God the Holy Spirit - brought to the point that the ring was closed, and the deities could no longer create their own similar ones. But the divine beginning can be less creative on the cob. Triytsia has spent the need for reconciliation, she is resting at the station of self-sufficiency. And the fourth deity was created to that very same. Goethe is here to finish freely with the Holy Trinity, to rob those who, having hindered St. Augustine's robes, to transfer the Trinity to the rank of pagan gods. The fourth deity already has a supernatural quality. This deity is Lucifer, and vin endowments from Gete with creative power. Having obtained creative forces, Lucifer, having created a butt, but it turned out that after him the pride slandered him, standing up, part of the angels followed him, and others violated God and ascended to heaven. Lucifer creates matter. But the one-sidedness of Lucifer became the cause of all the evil that occurs in the world. Lucifer's butt didn't have a shorter half, Trinity was resurrected in the light created by Lucifer. The light of Lucifer will be wondrous. The new one had a concentration, a bulge, a path to the center, a path to the depths, and nothing less than the character of expansion, expansion. Tse omniscience, scho go in yourself. Such a concentrated matter, as if you respect Gete, would have vanished buttya and Lucifer himself, as if not divinely handed. The trio guarded for the concentration of matter, and, having reached the singing moment, began her creation, as if she had corrected Lucifer's vitver, slipped a little bit of light. And with a strong will, as Goethe writes, the Trinity of mitteva living evil and with him the success of Lucifer. The Trinity bestowed on the infinite buttya of the building to expand and attack pershodzherel. As you respect Gote, the necessary pulse of life was revived.
The image of Mephistopheles in "Faust" is to be folded - the order of things is that the spirit is blocked, the negative spirit, more often the spirit, which is an easy-going creator. And in this epoch, as it seems, those who are called by us light and called to respect Creations. Svіtobudova - not as if the unity is closed, parts of the good are applied one to one, svіtobudova is taken over by the principle of development, the principle of creation, creativity. The one-sided light of Lucifer was corrected to the new light-bearing cob, the manifestation of the light corrected the light of the mother and the light of nature, creations by Lucifer. On the right, Lucifer ended in a fiasco, the yakbi Trinity did not show his activity, did not give her a sense. Tsya activity in the middle of matter, in the middle of life, one hangs with the light of three hypostases and, in such a rank, Lucifer is that yogo cob, yogo messenger on earth Mephistopheles is constantly slapping the wind. When you want to stink, create your own kind of ruin, going into the matter, going into the darkness, - and at once create for the deity the ability to see the vivacity of the human being and press on your senses. 9 This is the purpose of that philosophical construction, that mythological conception, as you put it in Faust. Vіn breaks creativity into two cobs - from one side is Faust, from the other side Mephistopheles, who is fluent and ruhaє diyu, vіn becomes a ruinous cob of tragedy.
Let's go back to the text again. Turning back from the walk, Faust is about to start again to take his place. Having gone to your office, it seems that, having flooded the fields that are on fire, littered with nocturnal light, - tell about those who have drunk wine, and I will enter my family with light, spiritual light:
In the soul of Faust, the noise of the sound of the world gradually subsides, and under the infusion of the cohanna, the best feelings awaken:
Collaboration with other people for an hour of walking gives resurrection of this love to humanity. It goes without saying that the peculiarity of the history of Faust in tsomu, scho spiritual creativity in the nevidlny type of demonia. Still hanging, having broken the souls of the light, here comes from the demon, from the Mephistopheles cob. At the Great Eve, Faust turns around in the holy place, seeing his “I” in his own place, resting in contact with God, and then more than one turns, followed by an innocent and languid-looking poodle. The black color of the poodle gives us a good day. This appearance means that in Faust’s psyche, a dark force begins to work, and this force allows you to set yourself in a high mood: “With the strength of everything, the heart does not flow calmly.”
Faust tries to save his spiritual height with a book. Ale now vin shukaya nathnennya over the books of Nostradamus, and the New Testament. Faust chooses to shift the cob of the New Testament, ponder over the first row and come to the conclusion that in the Gospel in John it would be more correct to shift “On the Cob Dumka Bula”, lower “On the Cob was the Word”. Here there is a translation of the Greek word "logos". Prote the meaning of the German "das Wort" is richer than the meaning of the Greek "logos". The word is only a sign, and it can be erased by the understanding. Word - tse ready, zazdalegіd tse. When translating in such a manner, the creation loses its meaning, transforms into semiosis, gaining sign form. Let the word change of speeches - tse creation of the world, and if you replace the "logos" with the "word", then the world spends energy, spends productivity. Goethe, saying: "I should be wise, as if knowing, as if not awakening me to diy, to creativity." The translation of “On the cob the Word was”, respecting Faust, surround the world with schemes of inanimate science.
They gave another translation - "Im Anfang war der Sinn". Now it’s time to talk about the broader understanding, talk about the sensation, think about it. This translation is more in line with the biblical divine wisdom. Vlasne, the myth about divine wisdom, about the wisdom of God is the only myth in the Bible. This is the wisdom of the Lord and the very wisdom (der Sinn) mav the Lord before the creation of the world. Wisdom accompanies the whole process of creation of the world. Ale Faust shirks to another vysnovku: Ist es der Sinn, der alles wirkt und schafft? Es sollte stehen: "Im Anfang war die Kraft". "Der Sinn" Faust says: "Think beforehand: well, why don't you think you've started everything and done everything so hard?" Vіn stverdzhuє, scho there can be another word: "Strength was on the cob." Ale in the words "die Kraft" Faust tezh vіdmovlyaєtsya and come to the residual decision: -Im Anfang war die Tat" - "Bula Dіya from the very cob".
And here the problem arises, as it took a lot of translators from the XVIII century. Herder shifted the word "logos" into the phrase with the words: Gedanke, Wort, Wille. Tat, Liebe. When translating that word, it was easy to understand the sprat. Tsya scene may have a double sensation. Goethe is talking here about the productive nature of the creation of the world, about those who are the world of eternal creativity. І at the same hour I speak my ironic statement to new school translation of the Bible. The task of translating the Bible in a new way after Luther was blamed more than once, and the eighteenth column also had a number of such attempts. The whole scene is a sublime plan, here you are ironically over your friend Herder. who tried to translate the Bible; gra into words I am going to bring peace to Goethe. And this is the most important problem for the 18th and 19th centuries for the world. Mi bachimo: translating “On the cob the Word was on the cob”, Faust sees Christ. Vіn vіddaє perevag word "Dіya", vіn stverzhu cosmogony, yak was close to pagan faith.
At that hour, when Faust translates the Gospel, the poodle step by step transforms into Mephistopheles. Faust is resting at the station of spiritual exaltation, spiritual suffocation, and at this dark hour the cob enters his soul. Yogo soul otrimu tin, and tsієyu tinnu є Mephistopheles. So the Getevsk mythologeme complements the presence of Lucifer. The appearance of Mephistopheles gives rise to the words "Im Anfang war die Tat". Goethe, in this way, leads us to the thought that the psyche and the mind did not blame themselves, and the mind of the knower became more than a path to development. The process of development of the mind is not attached to the dosi, which means that we are collapsing like internal, external stimuli. Internally spontaneous to diї, as you show us, grow out of the depths, that you can’t wait until you see. Mephistopheles appears just at the moment when Faust cannot comprehend the sense of diy. With the spirit of the forbidden, Faust behaved well and instilled intellect, wines of antrohi are not afraid of the messenger of the birds. That look of Mephistopheles does not spread fear.
Here we also know one of the leading figures of the Faustian people in Goethe - pitylessness. Truth Faust whispers beyond the boundaries of morality and religion, ready to enter into a dialogue with the devil and not be afraid of him. Mephistopheles, when he appeared to Faust, immediately announced his metaphysical essence: "I am a part of that force that, bazhayuchi evil, create, prote, only good." From the very beginning of wine, it seems that ruination is the first element. For whom the ruination becomes a creation, and for the activity of the leader, the light-bearing cob of buttya is blamed.
First, to rob a companion - Mephistopheles - he awakens his podopichnoy's interest in the sphere of body and power. This sphere, de spocusa, is especially strong. As a victorious psychoanalyst, then Mephistopheles is a smart psychoanalyst, who helps patients to know vitisnene bajanna10. Faust, occupied with science, spoke of everything, forgetting about wine, about power, about salting. Mephistopheles gives Faust the opportunity to recognize that the people have a fault: I want love and power. Ale Faust is attacking his unacceptable world, his soul is full of anxiety and restlessness for the whole hour, at the scene with Mephistopheles Faust again falls into the mood of religious asceticism and misanthropy11. The root of the tsієї misanthropy is the inspiration from the soul of the soul of that nadії. Ale Faust speaks of everything. Vіn curse the dream of glory, curse everything human - the happiness of human beings, family, power, practice; vіn curses gold, Tobto bachimo outside the world does not accept. World of numerous values of smashing, which means the absolute spiritual death of the hero.
Faust wants a different world, a different butt, and Mephistopheles speaks of it prosaically, pronounces Faust to visit the world of earthly radios and bazhan. Mephistopheles wants to bring to you, what a light, in which a person lives, not a penny, what a good life. Mephistopheles in his turn is the devil, the guarding angel, the companion, the savior. More than that, vin razumіє, scho postiyna tuga schodo unattainable cause Faust to disaster. Mephistopheles to the hero: "Hoer auf mit deinem Gram zu spielen" - "Stop playing with your tight!" Vaughn, like a shulika, damn it, fuck you. Here we have a promethean image of a shulika who torments the liver. A person cannot be in isolation from the world. Mephistopheles calls on Faust to come out of the cell, locking himself in like a wine, and enter into an intercourse with people12. Ale getivsky hero does not want to work, he is forced to work in the city.
The motif of the devil, who wins, whether it’s the people’s zabaganki, is already widened in folklore, but in this way it is necessary to change roles. If the worldly life ends, Faust can become a servant of the devil. Faust's Ale Faust does not squeal, what to dine with him in the sweating world, in the midst of enchantment, and you can’t show who Mephistopheles can make wine, I still don’t know how to grow malt in earthly life.
If you want to beat me once again:
"Please, marvelous and don't see it!",
Put kaidani on me
I'm ready for you without a boost!
At that hour, let the tombstone sleep;
Then end your captivity.
Let Godinnikov's arrow go down:
I don't need more time!
Mephistopheles reaches his goal, Faust's self-righteous bazhannya transforms into a bazhannya and tries everything. In the process of transformation, first of all, the bazhannya turns into a greed for the heat of life, I don’t know how. From this moment, Faust's and Mephistopheles' paths through life begin.
Another stage of Faust's exit from life is the miraculous scene at the loch of Auerbach. Vaughn shows how low Mephistopheles values people. First, if you want to grow up, you should accustom Faust to drunkenness. And lead yoga here, de є fruits of Bacchus, spodіvayuchsya, scho drinking Faust, you want to soundly mite and voice yogo miraculous. At the cellar of Auerbach, after having quarreled with impossibility, I won a blissful victory over Faust, the devil to rob students, what fun, different tricks with wine. At the national book, as well as at the “Prafaust”, Faust should be robbed. In the rest of the edition, you are going to rob Mephistopheles as a conjurer.
In addition, Mephistopheles speaks here as a vikrivach of the suspended orders, and the whole scene has a clearly satirical character. The objects of satire are the church and the government, especially in the famous Song about the flea. True, one of the most powerful satirical works, as if you know the history of worldly literature.
Those that this song is put into the mouth of Mephistopheles are unviable. With such perebіlshennyam it can be said that the critical spirit of Mephistopheles, the spirit of pure negativity, directing against these phenomena of human butt, like people are more transcendent, robit sacral, nedorkannymi. Pevne, the negative spirit of history appeared to Goethe as demonic. At the end of the tragedy, historicity is brought in, clearly, in a Mephistophelian sense.
The scene is set to introduce the reader to the world of demons. Tse famous "Kitchen view". Mephistopheles to lead Faust in that world, de vin is a sovereign Volodar. Vіdma may call for Faust drink, what a hero vip'є, sob younger. Drinking the whole thing, Faust knows building to love, bodily love, not clarified by bright spirituality.
After this scene at Faust, the tragedy of Gretchen is revealed. The love line in the drama is connected with one terrible story, which happened at Frankfurt, as if it struck the poet. A young servant, Susanna Margareta Brandt, having given birth to a pose like a child's hat, drowned her in її and knew that she had done all the evil. Її condemned to the strata and beheaded. The girl was calmed down by a young man, who had thrown її. The share of the placid and abandoned maiden tsikavila stormers. Goethe's friend Heinrich Leopold Wagner wrote the philistine drama "Childhood", to which Goethe was put negatively, perhaps, depriving himself of the truth artistic development tsієї those. I have a sensi Goethe mausoleum, to that none of the yogo co-participants has broken the chains of such a great science, like wine. Gretchen's tragedy can be seen as a p'esu in a p'essi, to that which she takes away in her collection of independent action, in no way connected with the front rose. Gretchen's line has three more than a thousand rows. І in the same hour of concentration and internal single tver. Moreover, it has a classical dramatic structure, clearly divided into five parts according to the principle of a five-act sub-drama. Here is a start, a development of a diї, a trap, that is a disaster. Goethe, obviously, focusing on the type of Shakespearean drama and did not follow the rules of three unities.
Faust waits for Gretchen to come out of the cathedral. The maiden concurred well, and I am aware of the fact that the most important rice of Goeth's heroine is piety. She will believe in God with all her heart. Morally and religiously for her unity, but with all that in the character of Gretchen, it is impossible to know anything that would suggest hypocrisy. And at the same time - tse absolutely worldly nature. The heroine of Goethe miraculously perceives her own camp, witness to this - first short rozmov with Faust. Morality and God-worship go with her plea-o-plea from the order of speeches established by the world. It is unacceptable for a girl to go beyond her borders. Although Faust is not a nobleman, but Gretchen accepts yoga for such a person, mittevoly assuring the difference between them13. This detail serves as a true transmission of historical color, essence of the character of Gretchen herself.
Faust of suffocation by the beauty of the maiden, for you to endure the physical femininity of the heroine, and first, to suffocate Yogo, is simply a bug. The illuminated hero does not fall to the thought that Gretchen is special and that he needs to deserve it for respect. Faust wants mother Gretchen, and Mephistopheles is inexcusably radiant, that at Faust, nareshti, the bazhanya was thrown, that area of the human psyche, which, in one’s mind, Mephistopheles himself is in charge of. But in this situation, the devils are in an unenviable camp, so that Faust wants to win as a banal zvіdnik, to take up one of the worst professions of the Middle Ages. Faust is unwelcome, a star, like the fault of Mephistopheles, the devil's busyness. The devil, obviously, humiliation, even miraculously captures the character of Faust's scum. Everything follows this scenario, but it appears that Mephistopheles cannot have dominion over the girl, for Margarita, who has only left the temple, is known under the cover of divine blessing. There. de povnistyu zdiisnyuetsya the legislation of God, de tvorinnya perebuvaet under the absolute control of the divine mind, there is no scope for the activity of demonic forces. І Mephistopheles from the stormy states that Gretchen is absolutely pure and innocent.
Once again, it is significant that Faust's first blow to Gretchen is rudely sensitive. I Mephistopheles, a pair of Faustian vipadis, rightly calls Yogo a libertine, who declares that woman's beautyіsnuє only for the satisfaction of yoga. Ale Faust is unassailable in his villages, you want to see the maiden in the night, and maybe categorically. There is no other way to bewitch a girl. The idea of Mephistopheles is simple: it is necessary to get a screen with koshtovnosti, and the maiden, after succumbing to them, to God's will. Here, Faust is already beginning to vindicate sumniv - what a fair way to Margarita's heart. Ale, especially Mephistopheles, are those who take the simplest way to reach it, and then, if they try not to go into it, they make their own actions easier.
The next scene is showing us Gretchen at the її kіmnati, and here from її wust the miraculous “Balad about the King of Ful” sounds (at the translation of Ivanov - “kings of a foreign land”), a ballad about fidelity at the kohanna until his death. Vaughn becomes a promising moment in the tragedy of Gretchen, like all the songs of Marguerite. Virnist in Kohanna is the main quality of Goethe's heroine, as it is saved from her until her death. Zatiya zі casket z koshtovnosti not vdas. Gretchen tells about her mother's knowledge and that, being a pious Christian, she gives a picture to her priest. In this rank, the skrinka is dragged to the hands of the church; It is noteworthy to say that this plot moment gives Goethe the opportunity to develop criticism of the church and the state. Mephistopheles to try a new test: to the court Gretchen Marthe with the news that a man died near Neapolis from a serious illness.
Martha is the ultimate contrast Gretchen, don’t scold about the death of your short-lived man, and, having recognized that you haven’t lied anything, forget it quickly. In addition, Mephistopheles to endure his gallant behavior, turn his respect to himself. In order to confirm the death of a person, according to that legal norms, another certificate is needed, and wine is declared - tse Faust. The whole scene is in its own quartet, and two bets are played - Gretchen and Faust, Mephistopheles and Martha. Mephistopheles portrays himself as a tyaganina, who tries to hit Martha, and she is ready to fight for a new zamіzh. The whole situation looks like a mix of scenes - now Martha is with Mephistopheles, then Gretchen is with Faust. Gretchen zakohuєtsya garny young gentleman. At the stage, Faust is still not allowed a new kohannya For the time being, it’s only a little more erotic, but even in the offensive scene - by the fox’s cave - Faust’s addiction is angry with the feelings of nature. Nature pours in, scho to bring yoga a little. Love to Gretchen goes back to nature, and follows a miraculous monologue - a song to the spirit of the Earth:
Here, as in the lyric of the young Goeta, so in the yoga “Verteri”, one feels like lovingly slandering at the sight of nature, and as a result of this day, the strained impulse of natural forces is taken away. From the primary erotic pull in the soul of Faust, a kohanna is born, which swells cosmic horizons. I feel that the scale of the hero is truly luminous. Obviously, Mephistopheles in all the tirades of Faust speaks with powerful irony, shards of wine do not believe in people and do not believe through love.
The scene in Gretchen's room is a great lyrical speech of the heroine, almost lovingly expressed through the prism of Gretchen's witness. The new one has two cobs - joy and suffering. Margarita at the capture of her kokhan. Її love until new May is such a force that you cannot comprehend it. Tse almost unbugged for her.
In this song, in the broken Gretchen, the image of Faust is given. Margarita learned that її kokhannya can bring not only joy, but also suffering and bring death.
The development of that stage of Gretchen's love to Faust on the cob to the catastrophe is stoked by the poet with the unrepeated accuracy of understanding the very phenomenon of cohanny. Mi Bachimo, as Gretchen conceives a little, as it blew out of the burgher world, brought to a conflict from the suspility of itself. Gretchen's catastrophe was known to them, that everything in the burgher world is against the kohanny. This kohannya became the cause of the death of the mother, the death of the brother, the death of the child, and the cause of all the tragedy of the heroine is the socially responsible wipe that susspilni mind, in which they won out. At the same time, the conflicts and steel of the burgher society reflect the purity and strength of self-sacrificing kohanny. Just a girl Goethe becomes the heroine of a great tragedy. In the history of light literature, one can only compare with Antigone and Ophelia. The whole line of Gretchen is the affirmation of the right of a free kohanny, one of the most elementary rights of a person, and in the right of the kokhannya camp the support of the heroine, becoming the cause of her death. Somehow Gretchen's tragedy is of deep human significance.
The burghers' sspіlstvo with thorough calm marvel at the practical legitimization of dissolution and can't probache Gretchen її rozrivu with pіdvaliny, which are based on hypocrisy and hypocrisy of piety. The heroine becomes a victim of deceit, and under the drama, they get better. why Gretchen, thinking, why don't you give your mother a sleepy drink, give it a drink. From this moment, all the zhakh її vchinka, all the zhakh її kohannya is revealed. She begins to convince, how low she has fallen. The burghers' suspense, to what extent її brother should be like that, sue that znevazha її. Faust is brimming over with love and, it turns out, he doesn’t need anything.
The XIX table formed a concept, Zgіtyu, I was an adhesive for Fausta Grethen, explain Tim, ShO Svit for Faust Vuznadno University, Scho, the Great Riznitsy in the Intelectic Heroes, Shu Nesrimni, I can’t do the sides of the prazema Fausta. Those who wrote this thought tried to be seen as Goethe's. Really, it's not like that. Nothing in the Getevsky text can confirm it. This is the birth of a person who has been overwhelmed by love, this is the right evil and evil. The girl is left without any support in the її samoviddanu kohanna. The dialogue between Gretchen and Lizhen demonstrates to us, as one might say, "a huge thought." Lіzhen to tell Margarita about the share of the well-known girl, who has walked to the point where now “for two - i їst, і p'є”, so that future child is for herself. If Gretchen starts to be naughty, Lіzhen їy maliciously recounts:
In these words, the getivska heroine should get her share. Deceived, vіddana Faust, scho to be sued by suspіlstvo, the heroine jokes zahistu at the Mother of God, turning to her with prayer, and ask to vryatuvat її in the throes of slander.
Gretchen's prayer is a true masterpiece of Goethe's lyrics. Zі smilimy, scho nіkoli not z'yavlyalis before Goetherims, yakі sighed prominent Russian poet A. K. Tolstoy.
Dalі podії follow from the growing swidkіst. Faust and Mephistopheles beat Gretchen's booth. It's brother Valentine. From this monologue, we know that it’s a bit filthy about the girl, I feel tensions on її sin, if Mephistopheles sings a grotesque serenade, Valentine is fierce. The scene ends with Valentine's death. The heroine's sufferings are succumbed to another team, that the dying brother curses him. The behavior of Mephistopheles in every situation can be like an analogue of the setting of the suspense before Gretchen. It is obvious that love cannot vanish without a trace from the soul of Faust. I chim bіm more love to Gretchen to blame the Temryavi of the Street Bazhannya, the flocks cleaned by the spiritual, Chim Silnish Faust Faist, he’s the provinch before Divchina, Chim more yogo to torment the torment Gretchen. For blame, you can’t take away Faust’s soul in any way.
In this situation, Mephistopheles should try to throw the rest of Faust away from the elements. You want to make him a participant in a demonic orgy, de himself as the head orderly. The scene of Walpurgis night on Blocksberz (Brocken) is famous here. Behind the folk beliefs, on the day of the holy abbess Walpurgis, the witches call for the Sabbath, and during the night, nature takes on a demonic character; it seems that all the beneficial forces emerge from it, it reminds you of the seductive cold light of the lights, which illuminates the road, and the night beak of nature manifests itself with a special force. Here Faust can forget about Gretchen for the rest of the day. And just like the wine in Auerbach's liokha cannot obscure Faust's mind, so the very erotic sleep of Walpurgis night cannot be erased from the memory of Faust Gretchen, the wine continues to love. And then the hero reveals all the sensation of what he saw. For the driving in of the newborn child, like Gretchen zdiisnila in the same god-villa, she is enslaved and checks her mortal year. Now Faust understands like a fault, and a fault of all suspіlstva. Surely, the whole haїv yogė zverenneniya against Mephistopheles. The whole prose scene in the residual edition of the first part, and in Goethe, it reaches the majestic power of social vikritt.
The first part of the tragedy ends with a scene near the prison cell. In "Prafaust" it was written in prose and became, perhaps, the most accessible prose of "Storm and Onslaught". The editors of 1807 have the same rhyming text. Faust tries to lie to the kokhan, as if he were in the camp of the gods. Two realities collide at the witness of Greta and love to Faust to beat Mephistopheles, she is forced to go. with Faust and see yourself in the hands of God On the categorical words of Mephistopheles "Censured" the voice of the beast says "Saved." The rest of the editing of the first part and the voice of the її the rest of the scene pointed to those that would be continued in the tragedy.
The other part of it looks like the first, nasampered, structurally. Five other parts of the grandiose continuation of the development of the Faustian idea, as the fault of the bula ended with the soul of Faust. The voice burns at the finale of the first part, nibbling on the chain.
On the cob of the first part of the other part of Faust, the aftershock, transferred at Gretchen's prison cell, was transferred to a swirling meadow. Vіn razchavleniya tyazhkіstyu skoєnih malchinіv, zneseleniâ i pragne zabuttya. Vіn, after the words of Goethe, more paralyzations, instill wretchedness. it seems that Yogo was deprived of the rest of his life strength. Zabuttya - one share of the hero. However, the camp close to death is still temporal, and in order to bring Faust out of lethargy, in order to save a new life for him, the help of good spirits may be needed. The villainous hero can cry out loudly, try out on himself the form of mercy. Elfis zanuryyuyut yogo in a healthy dream and zamushuyut forget those that have happened.
Zabuttya, obviously, is not just a failure in memory, but a day with the good forces of nature, Faust's isolation from evil. True, one cannot do without forgetfulness here. Even precisely this moment of the Faustian drama of G. Adorno: “The power of life, in the form of strength for a distant life, is likened to oblivion. The one who, having thrown herself to life and sounding the world, de “goes away to the lives of the earth”, and turns again “to the earth”, the building only on the ground, even if wine no longer remembers the heat of a thorough earlier”15. Zabuttya here is identical to the purification of the soul, but we cannot forgive Faust's forgiveness for the prescription of the term yoga evil. It was necessary for your hero to turn the building of his childhood, to revive his building, and this turn to life can be explained by the words of Paul Riker: “You stand more, lower your actions”16. Monologue of Faust, scho prokinuvsya - svіdchennya tsomu. Macrocosm and microcosm unite in one sense, and nature reveals itself to you with all its varied beauty, power of that greatness, and the city of light will sing Faust, vindicate the likeness of life. The central rank of the monologue is the sun.
The successors of the work of Goethe have long established that the philosophical look of the poet is rich in what is connected with the reception of the Neoplatonic tradition, although the rest is transformed in the Gete spirit. In the philosophy of Plato, the present metaphysical podіl svіtіv on the world of truth, the world of ideas, pyramidal directing to the great idea of goodness, goodness and beauty - and the light of the visible, hoarding our senses: of directing uphill, to the sun, to the blessed creation of the natural cosmos, I . However, the light that wiggles from the sun is unbearable in a pure looking. If a person marvels at the sun with eyes open, then they can lightly blind yoga, lightly transform into an impenetrable drink.
A person can bachit the sun less in the beaten, broken light, bachiti yogo in all the speeches of nature.
This new dynamism image of the permanent change of the world shows the nature of reality, and vin panuє in all tragedy. All the speeches of the world are being rebuked by the power of the hour, and for their own day, the stench of the past, mortal. The stench falls at the next hour and rises at the new waterfall like a stream of breeze. Ale, in this uninterrupted fall, it’s still fast: above the mustache of these speeches, a barista veska stands in its place. Vaughn is a sign of the presence of an infinitely distant light, like, obviously, blinding us. The light at the oarsmen appears to be broken, moreover, we break in a bagatora; henceforth, the light is weakened, but in a paradoxical manner, to repair a stronger enemy on us, on us in front of our comrades. The speeches of the world speak like farb veselka in the knowing breezes of the water. The stench - vіdbliski, vіdobrazhennya, pіvnyannya, symbols. As a symbol of the stench to tell us about the presence of the absolute cob, and in them the appearance of the absolute appears17.
Reality for Goethe is always represented by nature, but it vanishes beyond the scale of the absolute, in no way transforms into pure nothingness. Nature is not God, but the buttya of nature is divine, and the spirit, which creates the cob, is rooted in nature, and its supernatural essence is not independent of it. That is why the spirit cannot rise to the heights of the senses without suffocating nature. And if you talk about human activity, then in the face of the eternal, absolute won, it’s not eternal. People die, pragne, suffer for good reason. Father, so it is possible for an inaccessible, unattainable person to take away, conquer; And as in accessible to you, a person turns his spirit, his strength on all sides, and here, in the world, he strengthens himself, then wine is accountable to the eternal, intransitive. Light is not a place of torment and suffering, but a field of self-denial. Zvichayno, at a new one є rіznі shably; more and lower. Everything for the nature of reality in Getiv's Faus can be unequivocally a consequence.
But then you inevitably blame the power: how long does a person go to world, how do you sit in a place of wine with a new one? Aje everything that is in a person, everything that is in the presence of її vivacity, can arise: strength, knowledge, happiness, honesty ... Why can a person in this world of eternal inconstancy, the world of eternal becoming, in inconstancy of the whole past mother, what's up, wait? The clue is clear. Tsim postiynym will be only a form of change, change like that. Dauer im Wechsel. The inner being of a person is the eternal transition from one to another.
The steadfastness of the movement is manifested by Goethe in a word, as if he sings in love from a young age: streben. A person is a pragmatic, and it is in order for that which panuє in all nature: blows. Ale way people, as if they were showing themselves in the world of past speeches, yet again inconsistency, and as we marvel at human pragnennya through the prism of the absolute, then we understand that in all moods there is a pardon: , zavzhdi" - "Es irrt der Mensch, solang er strebt"). Pardons for the need to viklikanі pragnenny, ale pragnennya - the only form, reach the greater, and, obviously, the most pragmatic and є most noble in people.
On February 4, 1829, Goethe said to Eckerman: “Let a man believe in immortality, have the right to believe in faith, it is powerful in nature, and religion is in it. But if a philosopher wants to draw a proof of the immortality of the soul from religious retellings, then on the right, yogo filthy. For me, the perversion of eternal life screams from the understanding of action. Shards I breathe innocently right up to the end, nature is guilty of giving me a different form of foundation, as if nothing lessened the distance of my spirit "18.
This is how the angels seem to take away the immortal essence of Faust. And it’s less like tragedies to blame the contours of an idea, it’s impossible to think to one thought, because those that are said here are less likely to talk about their active character; the idea itself is no more a product of our svіdomіstyu of the life of the whole world, to become a sensation of human butt.
"Nimtsі wonderful people! - Saying to Goethe Eckerman. - Stink overworldly tie up your life with profound thoughtfulness with those ideas, like everywhere you are pissed off. "Ale stinks come up to me with razpituvanniy, like an idea I've tried to inculcate in my "Faust". But what do I know? I can say it in words?"19. art is guilty of buti is presented in the stages of its birth, just as nature has its uninterrupted life, to which the human being is included. those who fix themselves with great difficulties. iv. “Nature,” writing Goethe, “has no system, there is life itself from the unknown center to the unknown boundary. The view of nature is inexcusable, either within the framework of the sub-cream, or generally uphill and wide. As a matter of fact, the artistic discourse becomes namingly collapsible. Vіn one hour you can go to different directions; as I said to Josip Brodsky, become central and docentric, straight forward, uphill, expand in the unknown boundary, so that you expand horizons and at the same time sing your connection with the center, which is important. This setting explains all the complexity of Goethe's thought, with which we stick together all the time, reading a part of Faust to a friend. Epic poetry, which is made up of five independent p's, - such was given to Theodor Adorno and not only to you, moreover, in it they knew the drawings of the old style, rosy pid cim amorphousness, the essence of concentration, the constant heading. XIX and XX centuries: R. W. Emerson and T. S. Eliot, from the other side, the other part of the boulder was a creature, recognized for solving any mysteries.
On the view of the first part of "Faust", the changing moments here are marked by causal and inherited attributes, which mimic the mechanistic nature of thought. The staunchness of the voice to respect the blueness of Demshevsky's universal mysticism does not allow the last one to inspire the highest rank of understanding of the compositional principles of the other part. At a glance, she looks like a fluff, she has a faceless nayrіznomanіtnіsh, razrіznenyh, few motives that appear among themselves. And then it should be said that because of the famous Goethe, causally-inherited blues are universal, creative, and everything is different to the material. Sings enters on the arc of a folding path. The task here is for that, schob, saving timchasov directness to the plot from the future, constantly slandering the integrity of the hour; it is the fault of the skin mitt but the presence of eternity; But the center paradoxically becomes invisible, and the border is unknown. Tsya cosmicity of the other part, її єdnіst is created by an unimaginable rank: the creation of symbolic points, symbolic motives and images, as if they perebuvayut at the station of mutual goodness and create mirror optics. Goethe, on the cob of the other part, victorious series of prospective images-symbols, signifying by themselves such directness to the text, as if calling out a similar image, but more high equal. It is possible less with victorian poetry, more precisely than game models, and tsya imitation of game structures starts already in the first game.
Miraculous masquerade, it was supposed to be, completely independent and superfluous for a wild plot, it was supposed to be, zatrimuє tsyu diyu. Indeed, "Faust" in "Faust". The ingenuity of the masquerade action allows Goethe to concentrate all the problems in the new one, as a way to overcome another part of the tragedy. Imagine a masquerade playing the role of symbolic projections. By jumping ahead of the development of the plot, I create a system of mirrors. The prospective symbolic image is similar to another image, and the mirror image of the image is stronger by injecting images, which results in the development of a Faustian plot. The masquerade action led us back to back to the two central images: the lad and Plutus, behind the mask of which Faust is hovering. With the appearance of a lad-viznik, the gra shows the world of poetry. Whose character is a symbol, and the whole scene with him is an allegory of poetry, the essence of which, in the words of Nietzsche, gives honesty ", in the context of greed, stinginess and greed. Poetry bestows light on various forms, the poet’s costly fantasy is to create inconspicuous pictures and images, creating a beautiful light of visibility, the spell of which is impossible to wake up. Tse - the aesthetic principle of the other part of "Faust",
True, the very generosity here is poetic, here you are, you don’t know the boundary. All the richness of images is permeated with a symbolic link, which step by step weave a picture in sequence, transferred by a poet. So the lad-viznik is the prototype of Euphorion, the son of Faust and Deer. Explaining to Eckerman the meaning of the masquerade, Goethe said: “You, obviously, guessed that under the mask of Plutus Faust is hoarding, and under the mask of miserly Mephistopheles. But who, in your opinion, is a lad-vіznik? I didn't know what to say. Tse Euphorion,” said Goethe. If Ekkerman cheers, having energized the poet, like the son of Faust and Deer, you can be among the participants in the masquerade, if the wines are less popular with the third party, Goethe replies from the boundary clarity: “Euforion is not a human being, but rather an alegorical istota. Vіn isolation of poetry, but poetry is not tied to the hour, not to the month, not to any particularity. That same spirit, which has chosen the image of Euphorion, today is a lad for us, even if it is similar to the ubiquitous ghosts, which can be blamed in front of us "20.
There is an animosity, that all the other part, on the basis of the first, may have a primary character, but we may try to exert such an intense symbolic force that we perceive it as the most real reality. The masquerade itself is nothing more than "Faust" in "Faust", a kind of prospective intertext that signifies a further development of drama. And it develops like a sequence of situations, in which images all the greater swelling, and also, all the greater symbolic power. The gamble with the magical call of the Deer and Paris on the emperor’s prohannya did not scare Faust’s life, but at the same time called out the need for the beast to the world of prototypes of the absurdities, to the Dionysian sphere of formation. It is necessary for that hero to walk through all the stages of his development, so that he will be familiar with the imperishable rank of earthly beauty, inspired by Elena.
The turning of the Deer from the underground light means the resurrection of beauty, the turning of antiquity in the whole glimpse, there is a whisper of the spent historical hour, the historical past. Tse, as I show Jochen Schmidt, Renaissance in sense words21. Dodamo see for yourself that here is a demonstration of the very turn, as in Goethe it looks like a ruin of ancient antique beauty, of ancient art and culture; all at once I was up to the strength to organize the life of that culture. Rest in the symbolic images of mothers.
We can see the grandiose "Classic Walpurgis night" as a universal masquerade, a scenario of its light becoming. Prote everything here is under the head poetic idea - show everything that comes up, like a triple joke, in which there are three positions of drama - Faust, Mephistopheles and Homunculus. The homunculus is Wagner's vitver, pure intellect, the creation of yoga by the creator at the flask. Drama has a new image. At the retort Wagner, for the help of alchemy manipulations, I create people. Vcheniy-pedant pragne at tsіy right to overturn nature. Ale first down to Wagner's laboratory, see Mephistopheles, let's say that the creation of piecework is completed without third-party involvement.
Poryv vagnerіvskogo enthusiasm incantation Faust conjures the spirit of the Earth; but, obviously, such a match can be seen only as an analogy with the Faustian jokes and the heat of living activity. The day of Faust's party, as if it ended deplorably for him, was interrupted by Wagner's unstoppable appearance. Now Wagner has been revived from his hopeless experiment by the arrival of Mephistopheles.
Ale tsі episodes istotno vіdіznyayutsya one vіd one. Mephistopheles becomes a helper for the unsuspecting Wagner22.
What, vlasne, does Wagner reach with his alchemy tales? Creating a piece of a person, Wagner pragmatically forges the natural cob, more than wines, having never experienced the strength of Eros on his own, the teachings of a pedant and a naive ascetic, respecting love with a creaturely relic in a person. To succumb your own wine to the one who will forever discover your creation in the sight of nature. For a new one, it means an advancement of the spirit. Wagner's cob is absurd on the cob, but the alchemy process looks like a fiery element:
Aje tse elements of hell, the elements of Mephistopheles, and the impertinent devil to come at the most important moment of the Wagnerian experiment. Vikoristovuvan demonic forces natural elements carry, prote, like ruination and death, they create and heat, without any kind of impossible life. Wagner synthesized a human being - more precisely, a spirit, an analogue of the mind - from inorganic speeches and perekonaniya in the triumph of the scientific mind over nature. This piece of people, created for the help of Msfistofil, is a folding image. Without a hopeful sumnivu, demonic that ironic cob of wine is declining in the sight of Mephistopheles, who is called a kinsman. But at the same time, the vіlny intellect, the personification of a pure spirit, which requires the public, which needs nature for it. And here, in his practice to beauty and activity, he is close to Faust. Like a pure spirit of the wines conveying the bazhanya and the die of Faust and Mephistopheles. Vin is his companion at the “Classic Walpurgis Night”, as it is opposite to the Sabbath on Blocksbury. In the structure of the “Classical Walpurgis Night” we will show three balls: archaic-elemental, heroic-mythical and ideally figurative, moreover, all three balls will be mixed, merging one with one23.
Mephistopheles at the hour of the "Classical Walpurgis Night" is known in the whispers of chthonic cobs, creaturely vitality, quiet atmosphere, as if bula would be similar to those to which the wine sound on the Blocksbury, which is consumed by the light of the instinct, which is without doubt, roaring, roaring. Faust, however, whispers of life, what to bring, wine whispers to Deer like an instillation of eternal earthly beauty; And in these whispers, like the essence of the world, perception, knowledge, understanding, so that all the spiritual abilities of the people, the Hetian hero, yoga resurrection is fully realized. Mephistopheles, whose activity is purely zaperechennya, feels unsettled in the whole world of positivity.
Before us is a wide open mythical expanse, we know it in the mythical hour, in the old time, straight for the heroic hour, and the images of the Greek world are collapsing along the path of formation: vultures, sphinxes, lilacs, nymphs, the centaur Chiron, Man. The low nature of the scenes shows us the cost of nature, as through the polarity of the pragmatic day.
The skin of the three head images of the other one is reachable on your way. Faust followed the spirit of the spirit of the heroes Chiron, having hurried to help him, taking from the prophetess Manto allowed him to go to the underground world, asking Persephone Olena.
Mephistopheles, nareshti, to know the prototype of the people of the Night and the Chaos of dissimilarity - Chthonic forkiads. Vіn vіdchuvaє vіn vіdchuvає nіblizhnu sporіdnіnіє s іn them, i vіn саn adopt їхній look, having become "Chaos's synonymous name" - and in full contrast to the beauty of the Deer. Whomever seems to lose the guilt of the third party.
The flask of the Homunculus, to fly, to shine at night, and in the same light I bachimo ruh Goethe's images. Meta Homunculus, the goal of the spirit - the development of nature; of enthusiasm, as if miraculously hanging from his comments before the translation K. Ivanov, “to the right to dorobitis”. revive!” Rukhlivy light, de reigning the law of metamorphosis, demonstrating to us the movement of the primary chthonic images of chaos, of the intoxication to pure, noble, beautiful and spiritual. Genial natural-philosophical verses sound like straining chords, which glorify the light of the formation, life and life of the divine Eros.
From this element, the goddess of beauty, Aphrodite, was born. That is why the whole "Classic Walpurgis night" - a path to the middle of the verse that one hour to life, beauty, to the Deer. Here, at the chariot of Galatia, the flask of Homunculus is broken, the spirit of the wild, and you can tell your eternal life in metamorphoses.
Mayzhe vaga image of the "Classic Walpurgis Night" is impossible to recognize from the natural-philosophical, cosmological, geological views of his creator. The stench was molded at the new stretch for ten years. Superechtsi Thales and Anaxagoras presents a controversy between Neptunists and Volcanists. Goethe laying down to the first. приймала ідею світових катаклізмів, і негативне ставлення геолога Гете до вулканізму не можна відокремити від його заперечення сенсу переворотів і катаклізмів у суспільстві та історії, фантастичний чарівний театр, сценою якого є Фессалія та Егейське море, стає місцем дії полеміки двох конфліктуючих космогонічних систем. manifest themselves in nature, the spirit of volcanism - tse nasampered panuvannya, neptunism - tse growth, step by step form creation to the next. about the Volsky principle of life:
The third deed of Goethe is often called "Deer". Vіn rіshuche transforms the motif, vіdomy z folkї book about Faust. In her Olena - an earthly image, the creation of the devil, and with the help of a kohana, sent by the devil, Faust spend the nights of the kohanny. Goethe Ohlen has an instillation of classical antiquity, moreover, in the її gentry form. Tse ancient heroine. About Olena Goethe, on December 16, 1829, to Eckerman, that this heroine is an inner beauty. Shlyub Deer and Faust will show us the sound of classical and romantic, Greece and Western Europe. Pointing out to his spymaster on the difference of sensi, necessary for the understanding of the other and third, Goethe saying: "... hit ... you reveal that in the earlier written acts everything is more classically felt like a romantic, so we, like on a gentle slope" , could rise to the "Deer", de insulting poetic forms, the daedals appear differently and at the same time no one is equally important25.
The tragedy "Faust" was created for a long time, and the author experienced a lot of shocks at the rocky, knowing and expressing guilt, loving and suffering. And it’s not clear what the tragedy itself would have given rise to, as if the author had not survived the first kohanny before Kethen Schenkopf and the vision of yogo for the sake of a little special freedom, yakbi didn’t have a new life of love in his life, as it passed in love to the daughter of the strong pastor Frederick Brion, -ІІ leakage into it; yakbi was not in yoga life friendship with the young Christian Vulpius, yak became the mother of yoga son.
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Otzhe, the story of Margaret in the tragedy "Faust" is the tale of youth. Goethe cherished all his life, that “The crown of nature is love. Only through the cohanna are approaching her. On this soil, the whispers of Faust the greatest mit are roaring;
I'm torn from sprague to salting
And in the solitude I will save my time.
Margarita became for Faust a separate part of this happy mit, about the yak of dreams. Vaughn is a symbol of youth and beauty, simplicity and innocence, sensitivity and tenderness. However, she is not endowed with the intuition of self-preservation and is therefore doomed to death. I want the image of Margarita to be ugly, but the power of psychological refinement and sacrifice is powerful.
Chi loves Faust Marguerite? Maybe, no. And wanting death for the new, spiritual devastation, wanting to be ready to її ryatuvati, Margarita bula in yoga life is less than a mittevist, drooping with a cloud of darkness. І ryatuvati її vіd yourself Faust is impromptu.
Goethe, having created Margarita virtuous and tragic, almost її zagostreni, even if she is due and to the mother's death, and to the death of her brother, and the stratum of her child. That's why it's divine. But the image is її tsіlіsny in his self-confidence and innocence. The heavens took pity on her.
Margarita realized that Mephistopheles is the enemy.
Krіz qiu mask won out
My mind is chained to power.
Alas, we can say about Faust, in the cold look of such a Margarita, the adulation of a kohanna blew.
Tse love is earthly.
Ale Faust succumbed to mystical love: burrowing between the space and the hour, whimpering among the ancient heroes in the images of Paris and the beautiful Gelenya. Helena appeared unattainable to Faust, like beauty itself.
Yogo suffering for Helena іnshi - vin want unattainable. And I want to say about Helena: “Whoever knows її - you can’t live without her!” - prote can hardly be called a kohanny. And to evoke the appearance of Euphorion - the son of Faust and Heleni - become enchanting bachen, similar to a dream.
And the right kohannya, as Margarita made special, zdatne for forgiveness. And now, in the other world, you will rush Faust nazustrich so, as if you were happy.
Johann Goethe, a classic of light literature, has no insignificant characters in the tragic poem. Kozhen from the heroes speaks with a gathering on the path to reach the head mark - revealing the main ideas of creation. So the image of Margarita does not compromise the power of the image itself. When you appear in the hero's lot, it is less to be missed, which gives bliss and turns into a terrible disaster. Ale tsya to bring to the forces of the dark heavens the foundation of right love on earth and building on the whole great sense of the skin of people.
Steps of Mephistopheles
The young simple Margarita and the serious illumination of Faust are unable to resist the passion that vindicated between them. The maiden, weaved from the sіm'ї righteous, rizikuє vsіm for the sake of the taєmnoї zustrіchі z kohanim. Vaughn is drenched with satanic sills to a native matir, so that she virvatis z-pіd of a fast sight, she drowns in the arms of her deception. The stars of the nobility of the little-illumined bіdolakhі, who are smart, pissed off, really disgusted? The truth is terrible to strike Margarita on the spot - mother is dead. And all the blame is on him. The brother of the calm girl's wife in the hands of Faust at the duel for the honor of her sister. Loves are strongly known from the life of Margarita, ryatuyuchis in the form of punishment for the mischief. Nadії dіvchini rozbіt vshchent, won't be ruined and zovsі unhappy.
Sin Margaret
What is left of the heroine? That dishonor is eternally condemned by the Puritan suspense. Until then, the bidolaha is aware that the child is checking for an illegal connection. At the onset of Goddess, Margarita beats in her newborn daughter. For heavy mischief, a girl who has spent faith in life, and people are thrown into the yard. She has a death penalty on her check.
Having found out about the life of Margarita, Faust is deprived of his kohana to the point of his own. Yogo has the strength, obviously, not without the help of Satan, to pull the girl from the loop, which will drag on. Ale is tormented by the guilt, Margarita is guided by such help. I don't need more life at sin. She repents widely and wants to punish the evil.
Poryatunok
The image of the heroine is tragic and pleasurable at the same time. Shalena's power, catalyzed by black magic, transformed an orderly and innocent maiden into a harlot and a beaten woman. Ale, everything that was trapilos was sent, for which the victim of the frame is unfortunate, she simply could not fight. The purity of the soul of Margaret, її kayattya, that firm decision to carry her cross to the end, secured her order (God її pity). I, most of all, forgiveness: the soul of Margaret is to break into heaven.
The history of Faust and Gretchen's kohanna is the most funny and the most famous in German literature.
B. Brecht
In the tragedy of Goethe's "Faust" the people put the pleasing of Satan. The hero of the tragedy is a thinker, philosopher, teachings. Pleasing zdіysnyuєtsya z good sponukan people - you want to know the world. The Lord sees a person “under the apprehension” of Satan, behind a long line of delusions that a person cannot be allowed to lower himself between:
Satan will not bring shame!
Know: the soul is pure in its vague shukanny
The truth is confirmed.
Here, in fact, expressions are the main sense of Faust.
Mephistopheles, vvazhayuchi, scho Faust to win and small for vikonannya contract, bring Yogo to the tavern. Alya Faust is bored in the tavern. Mephistopheles gave a hero. Axis kitchen view. Faust, however, is not inspired by the spirit of the witch, which I will drink, which will rejuvenate, and take away the friend, given by the spell of life. Vyprobuvannya wine hero vitrimav. And what about kohannyam?
The story of Faust and Gretchen is beginning. Axis nareshti that bіl i mlіst, that child of predilection, about the dream of Faust. The dramatic plot develops in a series of live scenes that evoke, evoke, the characters of the German province of the middle novice doby.
street. Room Gretchen. Susidka's garden. Outdoor tiles. The power of the church is in the person of a greedy priest, ready to tidy up to the hands of the paraffians. Fear of dwellers before church fences. The tricks of Mephistopheles with the widow Martha. Zazdrіst girlfriend Gretchen Lіzi, eager for recklessness. The fervor of Gretchen's brother Valentin, a soldier who helps to defend the honor of his sister. Vuzkoy, obmezhenoy, alechim dear little yeta patriarchal Nіmechchina. At the center of the picture is young Gretchen.
Gretchen is the most poetic, brightest of Goethe's creations of women's images. A simple girl with a poor burgher family, she is portrayed as an imperceptible child of nature, as a beautiful “natural person”, which the enlighteners thought of their ideal.
She loves nature, sings folk songs, naїvno tell fortunes on daisies. Її child bezpersednіst zaplyuє Faust, scho reflecting the people of the new hour. "Yak immaculate, like pure," - hoarsely vin. The plot here is to begin with a classic comedy on a love theme. Mephistopheles Goethe endows with the functions of a servant, who helps his master, and parody his addiction. Mephistopheles' rude flirting with Martha is such a parody. Ale comedy quickly turns into tragedy.
Faust's shyness outweighs Gretchen's timidity. The maiden went nazustrіch almost, what slipped into her, uncomplicatedly and recklessly. Lyubov Gretchen and Faust come to the city with supernaturalness from the townsfolk.
Kokhannya, yak, Gretchen thought, bringing me happiness, pretending to be a prisoner of fleeting mischief. Valentin Guinet at the duel with Faust, the mother is dying in a dream. Condemned by the voice, Gretchen to drown a newborn child by the fox string. It’s unfortunate to take it to the yard and check on the stratum.
Faust penetrates the pit, trying to hide the kohana. Ale, she is encouraged, respecting her entire wine self.
The separation of Faust from Gretchen may also be an overwhelming sensation, tied to the main zmіst of the central image: Gretchen must be tied up with all her zabobons from old Nimechchina, so that she could become Faust's friend in his bold jokes, and Faust can't be left behind - you can't get ahead of yourself with her. Youmu is little more than a kohanna.
The tragic finale of the love of Faust and Gretchen opposes and at once creates a symbolic sensation of images. Gretchen, like Faust, like a unique person with a specific share, її image - the symbol of the patriarchal Nіmechchini; Faust - insinuations of people. At once, Gretchen has a brighter beginning of life - love, warmth, renewal of life, and in this way she will forever become an ideal for Faust. The Lord forgives Margaret's sins. Tse i є ґetevskiy vypravdannya heroinі.
Thus ends the first part of the tragedy. In the rest of the scenes, there is an important moral lesson: the self-denial of one’s own special, “superhuman” can turn into a catastrophe for another person.
Don't fight anything!
Way to look
I hand squeeze say
About the careless ones
Before whom the words are nothing,
About joy, how to call us
So, so, no worries!
Kіnets - unreasonable understanding.
I see a friend, damn
I wrath of the creator.
Faust to Mephistopheles
Die, companion of remorse, Not a word about her, wicked one, Do not wake up the sensitive hurricane, Sleeping!
Ah, wind up to her, falling on her chest, and in bliss, hugging me, Forget me like, Like cross, Її go, my damnation? A wanderer, a gloomy virodok, I am this grief and discord, Like a waterfall with a ruinous force, that I should fly near the river. And the girl in the hut was entrusted, On the mountain unoccupied puddle, I, the peace of the neighborhood, All was taken in the її kolі.
The scene of "The Fox Cave" shaves the idyllic picture of Faust and Gretchen. Here the image of Faust the joker comes to life, who is not satisfied with the earthly mitt. Lyubov Gretchen became the hero of the team of great satisfaction, who wanted to continue the life of Mephistopheles. Himself in qiy
scenes can be used to confirm the words of Faust: "Two souls live with me."
Near the stage of "Kimnata Gretchen" there was a moment when Faust and Gretchen talked about God. Gretchen is a believing Christian, and її embarrassing the nevir of Faust. Vidpovidi Faust tse pitanya put the idea of pantheistic philosophy, banning a special god and deifying nature.
Margarita:
How about your faith in God?
You are a good person, there are not many of them, Ale, in the right place, is just a helicopter,
Oblish, baby! The skin has its own sense ...
Margarita:
Holy gifts of thee, father, do not you shake? Faust:
I shanyu x. Margarita:
Ale, with one mind only and the mysteries of the saints do not want to reach, You did not go to church, what kind of river? Do you believe in God?
Faust does not accept the world of Gretchen (Margarity), but he is not inspired by the light. At tsimu yogo wine - wine before a hopeless girl. Ale Faust himself is experiencing a tragedy, more to sacrifice to his restless jokes those that are dearer to you: his love to Marguerite. Margarita has a patriarchal-idilic harmony of human specialness, harmony, like, to reconsider Faust, it’s possible, we don’t need to joke, until we turn around. The final result is not forward, but backward, calmly, like, as you know, the author of "Herman and Dorothea" repeatedly succumbed.
Faust does not want to destroy Margaret's peace of mind, but pulling up to Margaret, he overpowers the voice of reason and conscience: he becomes a companion. Pochutti Faust to Margarita now has little to do. Do not jar Yogo, if Mephistopheles sings an obscene serenade to Gretchen in the evening: so, saying, "to lie down." All the depths of Faust's fall, we bachimo at the stage, de vin heartlessly knocking brother Margarita and then we live in justice. Ale, all the same, Faust leaves Margarita without clearly informed
let us not turn to her: every rozum’s sounding would be unbearable here and irrevocably let the hero in. That wine turns to Margarita, snarling at the prophesying heads of the headless kohanoi in the terrible night of Walpurgis.
The name of the scene "Walpurgis Night" has 2 important rites. In the Christian religion - the day of commemoration of St. Val-purge, it died on 1 May, in pagan religions, on 1 May - Holy Spring, that free day died. Walpurgis has no symbolic meaning. Goethe goes as far as folding symbolism and fantastic images to represent all sorts of ingenuity. The indulgent images of the satanic coven symbolize coarse sensitivity. Ale Faust gives light to carnal passion, rising to true love, and the symbol of Gretchen, which is blamed before Faust.
For an hour in the presence of Faust, all those who would have become, sacrificing the maiden's life: Gretchen kills the child, lives in the sight of Faust, and in the spiritual madness to bring on yourself marno - recognizes the guilt of killing her mother and brother.
V'yaznitsya. Faust - a reminder of the rest of the night Gretchen in front of the stratum. Now we are ready to sacrifice our best, perhaps, our best - our jokes, our great daring. Ale, she’s divine, she doesn’t let herself get out of the way, I can’t help you anymore. Goethe ryatuє Margarita in choice; get rid of, accept punishment or live for the sake of sin. For Faust, the death agony of Gretchen may be clear meaning. A little crazy, suffering marennya of a kohan woman and not mothers of strength to help їy - tsey zhah with a baked salіz vypaliv mustache, which was in the mind of Faust low, unworthy. Now I'm going to love Gretchen with pure, compassionate love. Ale, it’s too bad: she’s deaf until she leaves the good fortune in the pit.
Now Faust sees all the worldlessness of his guilt in front of Gretchen, and your chest is littered with the "sorrow" of the world. The impossibility of lying to Margaret and wanting to often make amends for the skoєne - for Faust, a heavy punishment: “Navіscho I have lived to such sadness!”.
Mephistopheles didn’t get far from the efforts of Faust of the turboless “beautiful chandelier” and the cim to turn yoga in search of lofty ideals. Burning voice: "Vryatova!" becoming the moral reality of Gretchen. Vaughn was pure and pure, and always repaired podkoryayuchis pochuttya, but forgive your own guilt, beat for the ruin of life, love and suffering, that they did not know the world, to shy away with the truth of the tragic. Dreaming of spiritual salvation, Gretchen forgives her guilt of death and death as a tragic heroine.
For Faust, all the drama of the situation is based on the impossibility of turning the past.
While the first part depicted Faust’s share in the “small world” of his special experiences, then the other part of the hero appears at “ great world”, Pass through different forms of yoga buttya. Previously, at the center, Faust’s subjective sufferings were near the center; Diya repents from the exaltation of Faust. The blessed elfs were maddened by the "yogi of the soul of the suffering discord", help me to finish the yoga of conscience. Guilt before Gretchen that її death is left on the new one, but there is no such fault, as if a human being's pragmatism could be brought to the greatest truth. Only in some spiritual strife - її spokutuvannya. Faust no longer manifests to himself, as if pricked, neither "god", nor "superhuman". Now wine and in the eyes of the eyes - less than a person, building less on a feasible approach to the end of the world. Ale tsya meta and in the past її fermentation is accountable to the absolute, vіrnіshe to the inexhaustible - zdіysnennya all-worldly good, to the perfection of mysteries and curls of history. About the achievement by the hero of a new, naive step, we know from the famous monologue in the terts. Here the image of the "stream of eternity" grows in the all-season symbol - the merry-go-round, which does not fade in the rumbly streams of the stream. Water smoldering novlyuєtsya without interruption. Ra-duta, a bliss of "the dream of absolute truth", does not flood the volgoy rapids: "everything will be lost, only the truth will be left behind" - a pledge of the greater, future truth, if Lyudin is in trouble! - “to get away at once”, like Dostoyevsky was hanging.
new sense, considering the contributions of Faust to the understanding of the truth, as an uninterrupted approach to it, in fact, it is impossible for Mephistopheles to worry about the result of the agreement laid down by him with Faust. Ale Mephistopheles is not influenced by his "sweeping steps". Now vin denounces Faust's service career. The first axis of the stench is already at the court of the emperor, on the most important place of hierarchical gatherings of the Holy Roman Empire. The Emperor urged Faust to see new insensitivity rozvag. That promise to the sovereign of viklikati from the sweaty light of the legendary Olen and Paris. That is why Faust descends into the realm of the secret Mothers, where the prototypes of all that exist are saved.
For the emperor and the whole court, nothing more than a session of salon magic. Chi is not for Faust. Vіn torn by all sorts to a beautiful woman, to succumb to her thoroughly born nature and human culture:
Having recognized її, it is impossible to separate from her!
Faust wants to pick Olen at the Primary Paris. Ale - a thunderous blow: Faust falls without feelings, and the spirits rise from the fog.
A friend to take us to the familiar study of Faust, de now prosperous Wagner. Mephistopheles to bring the baiduzh Faust here at that moment, if Wagner robs the Homunculus for secret recipes, which is not a problem for Faust on the way to the Farsalsky fields, where the stench will fly at the whims of the beautiful Deer. The image of the Homunculus is importantly fading into darkness, as a piece of vision of a man (a child from a test tube), who needs to be in a right way. Homunculus has his own life, which may be more tragic, but will end in death. Just as Faust needs to be insane, for butts, not bound by the laws of space and time, then the Homunculus, for whom there is no kaydaniv, no change, is in need of intelligence, life, body, real reasons for a real world.
It is still unclear to Faust at this stage of his spiritual development: what is so rozumov, what is spiritually an ear - itself through its (bodyless) "absoluteness", that it is not mindful of the laws of life, - it is better to build on a flawed foundation. The death of the Homunculus, who fought about the throne of Galatia, is understood here as an image of the cosmic force that gives birth, to sound ahead of Faust in the year, if you respect yourself for the metaphor of your pragn: reach the absolute, to the eternal beauty, infused in the image of the Deer.
At the "Classical Walpurgis Night" before our eyes, a picture of the grandiose work of Nature and the Spirit, all the creators of forces - water and subgrunt, flora and fauna, as well as two winds of the mind - over the creations of the found women - the Deer. On the scaffolds, the lower elemental forces of the Greek myths lurk: vultures, sphinxes, lilacs, all blame and devour one alone, live with the uninterrupted witch. Above the dark bowel of elemental forces, less rude generations already hang: centaurs, nymphs, napіvgods. Ale stinks still inexorably far from perfection.
The first axis of the early day pierces the world of people's thoughts, super-chliva, similar to the great cosmic forces, which in a different way of mind is the world and yogo formation, - the philosophy of two (one out of one) philosophies - Thales and Anaxagoras: engage in the early noble culture of Hellenism. All say the appearance of the most beautiful.
The wise centaur Chiron, speaking to the hero, takes Faust to the brothers of Orc, who then asks Olena from Persephone. Mephistopheles doesn’t help you with these whispers, he dresses up in the outfit of the evil Forkiadi and straight to the palace of the Spartan queen, who came to life. Phorkiad to speak to the Deer about the stratum, which threatens her, in the hands of Menelaus and pronounces to hide in the castle of Faust. Otrimavshi queen's year, Mephistopheles to transfer її to the enchanted castle, unstoppable.
according to the laws of the hour. There, the rite of friendship between Faust and Olena takes place.
In controversy with Olena, Faust ceases to fuss over the inexcusable. Vіn instant bi “majestic mit”, yakbi yogo happiness was not more than a false dream, let's admit Persephone. This dream is interrupted by Euphorion (for the appointment of Goethe, “Euforion is a special poetry, not tied up by the hour, by the hour, by the specialty” (Faust’s son, by the father of the restless spirit, by the titanic spirit, shadows (like a stota, a stranger to the hourly calm, vin weak to the law of death).
The death of Euphorion, like a v_dvazhivsya, in front of the batkivsky fence, leave the batkivsky castle, inspire in the enchanted kingdom, the law of the hour and the tln, and the stench of the rozsiyuyut rozsiyuyut charms. Olena "hugging Faust, telesno know":
Accept me, Persephone, with a boy! - you can hear a distant voice.
Why is there a sensational dramatic episode? The food is not empty. Goethe, having taken into account that one can shovatsya at a glance, enjoying the once-created beauty, but still being aesthetically pleasing, one can be less passive, spy-eyed. The artist, who creates his own art, - start a fighter among the fighters in his hour (like Byron, about whom Goethe was thinking, rozroblyayuschi tsyu scene). Faust's active spirit didn't hesitate for a moment in the closed, aesthetic sphere, but: "Live on the shoes." So a new stage in the formation of a hero is being prepared. Mephistopheles diligently helps Faust. Vіn vikonuє grandiose ruinіvnu work z zapichennya earlier іsnuyuchih patriarchal forms of human butt. For the TSOO VIN sporting trading fleet, the whole of the traders of the merchants is all Svit, Yomu is not Varto with the self -permissions of Zroinovati Hatin Ni in the unimportant settlement, and more than Vinishchiti, named after the abysse, named after the abyss of the abyss Faust does not speak to the zhorstok on the right, which is done by the servants of Mephistopheles, who are punished for reprisals, although he often himself repeats this way of misunderstanding:
Not in glory the essence. My bazhannya is Vlad, authority, reverence. My exercise is on the right, work.
Faust for those futures, as if it would become a viraz of the wild harmony, to be put in sympathy with the people of the frail age of Philemon and Baucidi. Mephistopheles is merciless in his powers: for the logic of necessity, the hut may be taken down, for it will take care of the life of the canal.
Ale Faust passed through a long path, which, having run through the corpse of Gretchen, and along the ashes of the peaceful hut of Philemon and Bavkidi, the charred ruins of the patriarchal pobutu, and through a series of licorice illusions, which turned into the greatest roses. Everything was left behind. Vіn bacheling in front of him is not a ruin, but a possible creation, which vin thinks to start now:
The axis of the thought, yakіy all I vіddany, Podsomk vsogo, scho accumulated mind: Less than that, kim beat for the life of the buildings, Life and freedom deserved.
The people of Vilniy on the land of Vilniy
I want to help on such days.
Then, for a moment, I twisted: “Mit!
Oh, how miraculously you, wake up: Watch my struggles, I don’t stink at all of the stench. І, tse triumph before bachayuchi, I naivish mi at once I experience.
But at the moment of spiritual insight, Faust is blind.
The tragedy of the situation lies in the fact that the blind Faust thinks that it is an order to dig a trench for him, but in fact, lemurs, following the order of Mephistopheles, dig a grave for Faust. Faust utters a fatal word: “I’m going to get sick at once!” Mephistopheles may have the right to vvazhat tse vіdmova vіd vіd podshego pragnennya to neskіchennoї meti. Vіn maє the right to interrupt yoga life, zgіdno s їх old-fashioned agreement: Faust falls. "The year is standing ... the arrow of їkh has fallen." The scene “Position at the Throne” begins, naming something like a parody, the shards of the rite here are Mephistopheles, and the BISIS forces help him. Let's let the heavenly forces come at the child, paralyzing the rice and the lemurs. Farther away, the scene depicts the struggle of Faust's soul. Goethe was a stranger to the ideas of vitalism, i.e., a conception about the hidden power that shapes the corporeal matter, giving this life a stimulus to development. Aristotle called this force entelechy, and Goethe called it an impoverished life force, a power of skin spiritually developed specialness. After that, as Faust went through his whole life, there is a residual solution to the dispute between good and evil. In fact, Faust is not overpowered, because the capture of a mitt was not bought at the price of a lifetime of an inexhaustible, thorough human being and humanity.
Today, that future here is angry at the greater unity, the two souls of Faust, that devil is spy, rise up. "On the cob bula on the right." It was it that brought Faust to the recognition of the greatest mark of human development. Craving for obscurity, like Faust razdil z Mephistopheles, to know the necessary opposition in the supple ideal, in the free practice of the “free people.
So". The axis of why Faust is true (in yoga guise is true and all people) and is worthy of an apotheosis, like Goethe, having dressed up the writings of church symbols.
Goethe's victorious images of Christian mythology, to allegorically express the recognition of the high value of a person with all the powerful pardons and pardons: everything is solitary - only a glimpse, a symbol, inaccurate like the greatest cob, which becomes the basis of nature. A person is pragne to the point of catching it importantly, for nature reveals itself in private speeches, saving it as a whole. The monumental apotheosis incorporates the theme of Margarita. And now the image of “one sinner, who was previously called Gretchen”, is angry with the image of the Virgin Mary, as here it is understood as “eternally woman”, like a symbol of people and death, like a cob that innovates people and brings people with the power of their kohanna.
Furnish life obov'yazkovo cut a notch:
Viyavlyayutsya at the word of the human, at thoughtless, rude vchinkah.
I put a badge on my heart:
Tse wound? - so, early, but I, roaming with my mind:
The world has no perfection, everything is visible, perishable.
Tomorrow there will be joy, and sums-changes in the soul are not necessary.
I can only think about those who live without malice in my mind:
We are ready, like Faust, to dig one for one grave.
Like Faust, having believed that he created beautiful things in the world,
Wanting to lose everything in that floating ethereal,
Newly driving Mephistopheles to the same person?
I now said: "You will not enter the sacred river."
You live on the Earth, swim like a worm and suffer,
For me, Satan, remember me, call out to me.
I will commit my evil, and then we will quietly laugh:
Away from you, worm, at the earthman's grave to climb.
Tilki є nayvischiy court, saying Lermontov bіdniy,
He himself died in the sight of an unrecognizable-zhorstokoy hand,
Do not allow that court to bezkarno-licorice znuschatsya,
Vіn pay for the rakhunok: i vіrte, everything will be a hundredfold.
In the words of the prophet, it seems: pіdіy, Lyudino!
You are not a slave, not a worm, and trust in your mind and heart.
Until you try it, be firm, learn not only to subdue yourself.
The law of life is to say: "For I can fight."