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Faust and Erdgeist, illustration by Goethe. Erdgeist is the spirit of the Earth that Johann Wolfgang von Goethe describes in Faust, Part One. 'Du, Geist der Erde, bist mir näher; schon fühl ich meine Kräfte höher,...' Goethe depicts Erdgeist as a timeless being who endlessly weaves on the loom of time—both in life and in death. In this ...
The first clue as to the work's structure is in Liszt's title: "A Faust Symphony in Three Character Sketches after Goethe: (1) Faust, (2) Gretchen, (3) Mephistopheles." Liszt does not attempt to tell the story of Goethe's drama. Rather, he creates musical portraits of the three main protagonists. [1]
Friedrich Georg Goethe was married twice, his first marriage was to Anna Elisabeth Lutz (1667–1700), the daughter of a burgher Sebastian Lutz (died 1701), with whom he had five children, including Hermann Jakob Goethe (1697–1761), after the death of his first wife in 1705 he married Cornelia Schellhorn, née Walther (1668–1754), widow of ...
Play the USA TODAY Crossword Puzzle.-Los Angeles Times crossword-Today’s crossword (McMeel)-Daily Commuter crossword-SUDOKU. Play the USA TODAY Sudoku Game. JUMBLE. Jumbles: MACAW MUSIC SYSTEM ...
Pages in category "Characters in Goethe's Faust" The following 3 pages are in this category, out of 3 total. This list may not reflect recent changes. E. Erdgeist; F.
Reinecke Fuchs by Goethe is a poem in hexameters, in twelve parts, written 1793 and first published 1794. Goethe adapted the Reynard material from the edition by Johann Christoph Gottsched (1752), based on the 1498 Reynke de vos. In Friedrich Nietzsche's 1889 The Twilight of the Idols, Nietzsche uses Reynard the Fox as an example of a ...
The eternal feminine, a concept first introduced by Johann Wolfgang von Goethe at the end of his play Faust (1832), is a transcendental ideality of the feminine or womanly abstracted from the attributes, traits and behaviors of a large number of women and female figures.
A sixth character, Keikobad, King of the Spirit Realm and father to the Empress, sets the plot in motion, but never appears on stage. The Empress is half human: she was captured by the Emperor in the form of a gazelle. She assumed human shape and he married her, but she has no shadow. This symbolizes her inability to bear children.