This section of your reading contains lots of scenes and a whole lot happens on Faust's adventures. I want you to sum up your scene in the post and also analyze some parts that you find particularly interesting.
Do your post on the NEXT scene- SO the first student will post on Witch's Kitchen, then A Street, then Evening, and so on. There are a total of 11 scenes in the section after Auerbach's Cellar, so I'd like the last 4 people to post to choose one of the previous posts/scenes to build off of and add something brilliantly new!
Here's my sample post on the first scene in the section: Auerbach's Cellar in Leipzig
This is a funny scene in a tavern where Mephistopheles takes Faust to see "convivial society". Basically there's lots of rowdy drinking, spilling, singing, and joking around- normal stuff until the devil and Faust head in to join the party.
I think this is supposed to be funny on lots of levels- first of all, just the common guys and their pranks, blubbering, and drinking songs are pretty silly. Then it goes a step further when they drunkenly decide to play pranks on the two strangers; of course the joke's on them because they're messing with the devil in disguise. You know Mephisto's not going to lose when it comes to this kind of rabble-rousing. He pulls out a song that's way better than any of the drunks', then he does a crazy trick where he draws wine- any kind of wine a person desires- from a table (oh, and when the wine spills it turns to fire), and finally he and Faust ride off on a flying keg barrel.
I think the most interesting part of the scene is Mephisto's drinking song about the king's flea dressed in the most expensive silks, and becoming minister of state. I can't help but think that every time satan speaks of insects he's also refering to humans (like the chirping grasshopper from the beginning of the play). It also seems that the drunk men are acting like irritating fleas who eventually get grabbed, caught, nipped and cracked, like the fleas ultimately do by the higher power of humans.
Overall I liked this scene because of the fantastical elements and magic- Faust got out of the house, Mephisto showed off what he can do (perhaps showing Faust that betting his soul was worth the price), and the good and bad sides of partying (mostly bad- hangovers, acting like an idiot, etc.) were shown.
There were also a few parallels with The Tempest. Not only is there drinking that makes people act and look like idiots in both plays, but each group of drunks is unknowingly up against a higher supernatural power- it's impossible for them to win and the drinking makes it even worse. Drinking seems to exacerbate the faults of base humanity.
I think that there is also a class commentary in both plays- people strive (and fail) to be more than what they are. This correlates with the humans as insects motif- perhaps the ultimate "class system" is humans being lower than God or gods, yet aspiring to gain that omniscient power.
Remember to sign your name & don't be afraid to build off of others' ideas!
Oh- and Gretchen is a nickname for Margaret, in case you're confused. :)
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Witch's Kitchen (195-223)
ReplyDeleteThe Witch's Kitchen is a place full of magic. Mephistopheles brings Faust to the home of a She-Ape and a He-Ape. These two "people" concoct a potion so taht they can make Faust look roughly thirty years younger. While at the place Faust looks into a mirror and finds a beautiful young women. Faust finds this woment to be the most attractive girl that he has ever seen and he cannot stop looking at her. He despirately wants to be with her at that very moment, although he cannot. Mephistopheles claims that he gan get Faust this women (or a woman like her) and that he would be most honorable if he brough her to his bed. (Mephistopheles is basically saying that he will be totally awesome if he sleeps with her). then all of a sudden POOF a witch comes out and yells because "her bottom has been seared". Mephistopheles yells at her for not respecting him but it all seems to be a huge joke...that faust is not following. he has no idea what is going on until he drinks the potion and the witch claims that he will see her in person.
(213) [2507-2514]
Mephistopheles:
"Its now a name for fairy tales and fables;/
the people are as miserable as ever-/
The Evil One is gone,the evil ones remain./
you call me Baron, that will do for now./
I am a calavier, like other cavaliers./
you cannot doubt the noble blood in me./
just take a look at my escutcheon./"
(Makes an obscene gesture.)
This is my favorite quote from Mephistopheles in this section. he pretends to be angry at the witch but he is really just fooling around. although he does mention "noble Blood" showing that he is still in power. he believes that he is more powerful than the witch (which he is) and he is not afraid to show it. by scaring the witch he is regaining controll, but his is only stopped by an "obscene Gesture". Make making the argument a little less tense and angry is dipicts Mephistopheles as a fun loving guy. which you would never guess since he is THE DEVIL. he is full of personality and does not seem too evil at all, he could be a decent person (if he wasnt satan) and this gives an emotional responce to him. one is lead to believe that he is not the bad guy in the play but Faust is for he seems to be rude, whiny, impatiente and just a jerk overall.
{[Nicole LaBelle}]
"A Street" (223-231)
ReplyDeleteIn this scene Faust initiates conversation with Margaret, who is a beautiful adolescent passing by. He immediately falls for her light complexion and innocence. He offers her his arm to walk her home, but she quickly displays her disinterest and frees herself from the scene. The rest of the dialogue is between Mephistopheles and Faust, where Faust declares his undeniable need to have and hold this girl. Mephistopheles communicates how difficult it would be to obtain this young girl because he heard her confession and it was beyond blamelessness. Faust however, refuses to give up and reminds Mephistopheles that he must follow through with their pact. Mephistopheles still argues but then proclaims he will show him to her that night. Mephistopheles tells Faust he will be able to observe her all night in her neighbors house and fantasize about their future. Faust is elated and then they proceed to seach for a “gift” for her.
"Oh, that one? She only left her priest just now/ who absolved her soul from every sin;/ I sneaked in right behind her bench./ She is a very innocent young thing/ who went for nothing to confession./ I have no power over her"(225).
I think this quote is very revealing of the nature and power of Mephistopheles. He basically admits that those who have that special affinity with God he cannot engage with as well. He is allured by men like Faust, whose flaws are deep and whose faith is highly insecure. He repetitively urges Faust to steer away from the girl because it would be very complicated for him to dominate over her righteousness. He literally says, "I have no power over her," right to Faust, enlightening us of his true supremacy and limit in control.
- Amanda Ramstrom
Evening (231 – 241)
ReplyDeleteThis scene begins with Margaret, alone in her room, getting ready for bed. Little does she know, she is being watched by both Faust and Mephistopheles. She quietly talking to herself, secretly wishing she knew the identity of the man she saw that day. As she exits, both Faust and Mephistopheles enter. As Faust sees this young girl’s bedroom, he is overcome with feelings of lust for her. He, sinking into a chair beside her bed, recognizes his spontaneity in pursuing Margaret, questioning himself: “’And you, what led you to this chamber?/How deeply you are stirred!/ Your heart is heavy, and you feel so out of place./ Wretched Faust! Who are you anyway?” (2352, 2717-20). He also calls Margaret, to himself, an angel among other things. Her innocence and chastity makes her such a contrasting character to himself. However, this just makes him long for her even more. While in this stupor, Faust is brought back to reality when Mephistopheles hears Margaret returning. Before the two escape, Mephistopheles tells Faust that he has a jewelry box that he knows a young girl like Margaret will be beside herself to find. They leave it on her dresser and quickly leave. When Margaret comes back, and sees the jewelry box, she is dumbfounded. She remembers locking her bedroom door and has not the slightest idea as to how this box has ended up on her dresser. She assumes it is a gift from her neighbor. Inside, she is even more surprised to find a beautiful pair of earrings. When putting them on, she is immediately taken aback by how much they change her appearance, and immediately wishes they were her own to keep.
“’But a child’s a child and a game is a game’” (235, 2735-7).
This quote is spoken by Mephistopheles to Faust while trying to persuade him to leave the jewelry box for Margaret. I think this really shows how dark Mephistopheles is. He is trying to help Faust lure this young girl to him, and he knows the perfect way to do so. In saying she is a child, he is saying that she is gullible, and will likely be tempted to accept the beautiful gift. Also by saying “a game is a game,” it is clear he is completely unconcerned for the girl’s well-being and fragitily, and rather merely setting this scene so that he can have a good laugh, watching as this young girl has an affair with Faust, a sixty year-old man. Although Mephistopheles is the devil, sometimes it is shocking to see just how far from being a human, and having human feelings and values, he really is.
-Kelsey F.
Evening 231-241
ReplyDeleteThis scene is chalk-full of foreboding symbols and deeper meanings in its controversial events.
First, it is clear that Faust's physical appearance has been reduced greatly in age from Margaret's reaction to seeing him, "...who was that gentleman today! I think he cut a gallant figure and is of noble family." However, though Faust now appears younger, the true desolate and decrepit Faust exists within this youthful figure and is ugly with evil. The love Faust feels however, is enough for Faust to feel as young as his body. Faust revels in his feelings, "Grip my heart, O Keen-edged lover's pain," as his throngings of love make him feel human and youthful after so much time growing old. As Margaret enters her room, not noticing Faust or the Devil in hiding, she sings a song that is rife with foreboding. She sings of the "King of Thule" who devotes himself so much to one golden goblet that he dies when he discards it. A parallel can be seen between this between Faust and Life. Faust treasures Life through study and examination, but as he grows old and learned, feels less appreciation for Life and ponders throwing it away altogether with suicide. Finally, the purity of Margaret and the lust Faust possesses for her can be seen as a chance of redemption for Faust and his wicked ways, or as a chance for further damnation by spoiling such a virgin soul. The test is well set however, proven by Margaret and her mother's piety and innocence by not accepting the tempation and evil of the Devil, in the form of beautiful earrings offered secretly by Faust and Mephistopheles.
Forever Yours,
Daniel "Antoine Jean-Gros" McNulty
Ouch. Kelsey and I Dubbs posted!
ReplyDeleteSorry.
-DTM
Evening
ReplyDeleteThis scene starts out with Margaret thinking back on meeting Faust, who seemed to be a young and noble man. Once Margaret leaves Faust goes into her room and asks Meph to leave. Once he leaves Fausts pictures Margaret in the room and makes up fantasy sort of things about her. Meph then comes in and tells Faust to leave because Margaret will be coming back. As he exits he leaves a jewel box. And if I am not mistaken I believe that at the end this may be were Faust is watching in on Margaret changing because it says she is undressing.
There were a couple of key things that I found interesting throughout this short part of the novel. Nature is also seen in this part but almost in a different light then Amanda described. As Faust is describing Margaret he often refers to Nature . Faust claims that Nature "shaped in airy dreams your very own angelic child!" while describing Margaret. This makes it seem as though Margaret is innocent and pure such as Nature is. Another instance where he refers to Nature is when he says that "on Nature's purest looms, was wrought the semblance of divinity." I believe that Faust is describing Margaret and is saying that she is divine and that she lives in pure Nature. Lastly I found it interesting that when Meph was telling Faust that they needed to leave he says "away from here! Let's hurry- so we may bend the sweet young thing to your wish and heart's desire". I found this almost disturbing in a way. I thought that Meph was telling Faust that they must trick Margaret into liking Faust and wanting to be with him. By saying "bend the sweet young thing" it made it seem as though Meph wants to deceive Margaret into wanting to be with Faust.
-Haley
"Evening" 231-241
ReplyDeleteThis scene is when Faust is spying on Margret when she is getting ready for bed. The scene starts off with Faust standing in her bedroom talking about his love and obsession with her. Mephistopheles then enters the room, informing Faust that he has a jewel box with very expensive and desirable jewels inside. He plans to plant the box in Margret's room in order to make her fall in love with them and later, Faust. They then hide because Margret enters the room to get ready for bed. Faust eagerly watches her as she undresses and eventually discovers the jewels. She immediately loves then and wonders who they came from. The scene ends with her trying on the jewels while Faust looks on, invisible.
This section definitely brings out a different side of Faust that the reader has not seen yet. It shows in a state of obsessive love where he loves her so much that he is basically stalking her. This is the other side; he creepy side. Faust is a 60-year-old man who is stalking a 15-year-old girl and is spying on her getting undressed in his room. This section shows Faust's perverted side.
This section also shows something about Margret. She is easily tempted and swayed with material things. She immediately falls in love with the jewels and in the future when she learns they are from Faust, she falls in love with him too. The material things dictate her feeling and approach towards life.
-Allison
Promenade (241-247)
ReplyDeleteThis scene is of Mephistopheles and Faust speaking of the jewels that Faust gave to Gretchen. Meph comes in the room in a huff and tells Faust of how Gretchen's mother found the jewels and gave them to the priest who took them away. Gretchen is saddened by the removal of her jewels and Faust tells Meph to get her a gift even grander than jewels.
A part that stood out to me was when Meph said "The church has always had an iron belly, has swallowed states and countries now and then, and yet it never overate" (243-5). This passage really shows the reconciliation of opposites between the devil and god. Meph refers to the church as having "an iron belly" making the church seem like a machine. He says that the church has swallowed states and countries which indicates that Meph believes the church is evil and takes over countries. Yet the church never overate which I feel means that it never took control of the countries and states it took over.
"Go, get another set of precious stones for her!"
"Yes, gracious sir! My pleasure, sir" (247).
I found this passage important because it shows that Mephistopheles is technically a slave to Faust but he still holds the power in the situation. Faust commands Meph to get Gretchen precious stones and Meph mocks him by saying things like "My pleasure, sir!" I hear the sarcastic tone Meph has as he obeys Faust. Meph is just playing a part in this charade while the truth is that Faust really does not have any power over the devil.
Kelsey G.
"Promenade" (241-247)
ReplyDeleteIn this scene, Mephistopheles describes the results of his plan to give Margaret the jewelry. He describes her mother as a devout Catholic who can essentially sniff out impurities. When she discovers the jewelry, her immediate reaction was to donate it to the church. Mephistopheles believes that the church simply took the jewelry out of greed instead of purity. The devil believed the church to be the evil entity. The scene ends with Faust demanding that Mephistopheles give Margaret more jewelry to replace the "pilfered" set that now belonged to the church.
This scene shows that the line between good and evil is almost invisible for Mephistopheles. He does not believe that the church is following the strict rules that they had established for everybody else. They are simply living for greed. If the devil believes that the church is impure, and if he complains that they are not being good christians, then there is a serious issue.
Two other things that this scene shows is the barrier that Margaret's mother plays in the relationship between the "lovers", and how Faust has now stolen the reigns from Mephistopheles and is commanding him. This also in a way proves that Mephistopheles might be winning the conflict. This is because Faust is more self-motivated and more driven to live his life. It is rather simple to see which direction this play will most likely take.
-Jeff B
The Neighbor's House (247-265)
ReplyDeleteIn this scene, Gretchen tells Martha of another jewelery box she found in her bedroom. Martha insists Gretchen should keep it in Martha's house to protect it from Gretchen's mother. Mephistopheles arrives, announcing that Martha's husband has died and left her nothing. Mephistopheles says her husband died a Christian, yet was unfaithful to her and committed many other sins. Mephistopheles arranges to bring Faust, disguised as a companion, to prove her husband's death, flattering Martha all the while.
"What? No token? Not one piece of jewelery"(255).
This quote shows a lot about the personality of Gretchen's neighbor, Martha. Martha is shocked to find out she has inherited nothing from her husband. She cares less about how he died than what she stands to gain from him. Martha's quote shows her envy of the preferential treatment that Gretchen is receiving from a stranger. Gretchen does not expect to get jewelery, but Martha feels she deserves it. Martha's demanding nature serves as a foil to Gretchen's modesty. It seems that Martha is living vicariously through Gretchen, enjoying the jewels just as much, if not more, than Gretchen does.
We also learn that Martha is very easily manipulated. She is quite open to a handsome stranger. Immediately after learning of her husband's death, Martha accepts the compliments and flattery of Mephistopheles. Again, this proves her to be a foil of Gretchen, who at first spurned Faust's advances but eventually began to trust him.
-Shelby
"Martha's Garden" Pages 271-287
ReplyDeleteIn this scene, Margaret and Faust are walking in Martha's garden and talking/flirting with each other while Martha and Mephisopheles are walking together, closeby. In the conversation between Margaret and Faust, Margaret spills out her life to Faust--very childlike: her mother, chores, always under her mother's eye...yet at the same time she's had the responsibility of 'mothering' her baby sister when she was young and her sister was alive...Eventually Margaret starts this "game" of picking the petals off a flower..."he loves me, he loves me not...", very childish, and Faust goes along with it, expressing his intense 'love' for her...and this is the first time they've really talked to each other...she 'trembles' and I wonder if that's just nervousness or maybe she also senses something wrong. Meanwhile, Martha is having a more mature conversation with Mephistopheles...she talks about her husband, they talk of women and 'bachelors' and I think the most interesting part is on page 279: "MARTHA: Be frank, dear sir, you never found the real thing? You haven't tied your heart to anyone? MEPHISTOPHELES: The proverb says: A hearth, a goodly woman of one's own, are worth their weight in pearls and gold." I think Mephistopheles plays up the ignorance a bit, but at the same time, Martha is asking the devil whether he had ever felt this distinctively human emotion, and Meph. has to use someone else's, a mortal's words, rather than his own. And he compares women to jewelery as to their 'value' and this reminds me of how he supplied Fausts with all these gifts, jewelery, for Maragaret...I think Faust sees Margaret in this way, and this line from Mephistopheles serves to show this connection between Faust and the devil...Faust's knowledge hasn't proved to be of satisfactory value in his mind, but he seeks to possess value in another person. While he tells her he loves her, just getting to know her, we get to start seeing her character, but Faust sought her out before and solely on her looks--her beauty appealed to him as to how she could be of value--as does jewlery. Meph's words reflect that--the two sort of think alike in at least that sense.
--Annalise
Well, since I don't feel like waiting for the next person to post, I suppose I'll write about the lengthy scene that is "A Summer Cabin."
ReplyDeleteFaust and Margaret flirt around some more. Margaret pretends to hide, Faust playingly catches her, and they kiss. They are interrupted by Mephistopheles who declares that it is time for him and Faust to leave, and Faust responds by calling him a "beast." The devil is often depicted as a beast, but this knowledge is one that only Faust and the readers are privy to, not Margaret. Faust offers to walk Margaret home, but she mentions that her mother wouldn't allow it. After the two "men" leave, Margaret is left to herself to ponder the day's events. She remarks how she is so simple and "silly" and does not see how Faust can be entranced by her. She seems to embrace the submissive female role by nodding "yes" to everything and calling herself silly, and she is perhaps shocked by the affection Faust has shown her.
julia is doing FOREST AND CAVERN and is typing now. please don't dubs analyze. just an fyi.
ReplyDeleteExcellent job so far- as a whole, strong summaries and interesting points/insights. Danny, I found "chalk-full" funny. I don't think it was intended, but almost like an old-school teacher pun. It's "chock-full"!!
ReplyDelete=Ms. Coppens
FOREST AND CAVERN
ReplyDeletepages 291 to 303.
In this scene, it starts off with Faust being alone, muttering his self-woes aloud to himself. (Again, showing how annoying he is. in my opinion anyway.) Aside from the fact that Faust is kind of complaining about things as usual, it seems as though this is the climax point for Faust himself and his quest for knowledge and power. He goes on about how great the "spirit" has been for him, showing him all the wonders of the world...
"Sublime Spirit, you gave me everything, all I ever asked." (291)
He continues expressing his "gratitude" to himself when then he turns his thoughts to the limits of humanity and the knowledge he has newly learned of them...
"That nothing perfect ever can accrue to Man I know deeply now...you gave me the companion which I even now can no longer do without; though cold and insolent, he humbles me before myself..." (293)
He turns his gratitude and overall happiness of tone to a jealous, raged tone. He condemns all that Meph has done for him because now he cannot live without his powers, these powers that he knows he will never himself possess.
As Meph appears, the two continue to go back and forth about their own beliefs, while the whole time, Meph is keeping up on his scheming ways. Meph tries to guilt Faust into remaining in the "good life," the life that he lives with the devil himself, ushering his emotions to feed on his mind.
After having a few words, Meph brings up Gretchen. He says...
"...your sweetheart sits at home, and to her, the world seems close and dreary. You live forever in her mind." (297)
Meph, in his deceitfulness, takes Faust's love for Gretchen and uses it against him. He explains that while Faust is sitting here, moping about his problems, poor Gretchen is home, alone, only longing for Faust’s love and presence. He says,
"...the gentlemen might well see fit to give the squirming little creature a gift in gratitude for loving him." (299)
He continues on, probing at Faust's heartstrings and guilt of love. Faust, outraged, calls Meph a snake. He yells at Meph to get away and to leave him alone, to stop torturing him with these words.
Meph speaks as a realist here, explaining that Faust is being a little baby and this whole situation was brought on by himself. He uses the fact that Gretchen is alone and deeply saddened over the "loss" of Faust and then continues to say...
"Why the fuss? She thinks you have left her, and more or less, that is what did occur" (299)
Faust continues to deny any wrong doing and bashes Meph as the curse of his life. Faust, at the end of this scene, is almost giving up on life and wants "[Gretchen's] fate to come crashing down on [his]" (303). All Faust wants at this point is Gretchen and Meph is standing in the way, looming over him like a curse locked in love.
much love and peace out to all cub scouts,
julia lynne lemieux
julia says....
ReplyDeleteooops. too long. sahri.
Oh where, oh where are Danielle and Sydney? Kyle already spoke to me...
ReplyDeleteGreat job overall- LC
Here I am. Better late than never?
ReplyDeleteThe next scene is Gretchen's Room.
The entire scene is of Gretchen siting alone at a spinning wheel singing of her love for Faust.
She speaks about how hear heart aches for him and how she can't be peaceful without him. She is so desperately in love with him that she says being without him is like death. "To be without him is like the grave." This hints that she might rather be dead than be without him, because the world she is in now has "turned to gall."
She prides him in this song as "noble... lofty and wise", which is quite ironic seeing as he is in cahoots with the devil and very evil forces.
The part of the song that struck me was "And under his kiss to melt and die!" The word "under" shows subservience and inferiority. It emphasizes the magnitude of power that Faust has over Gretchen. Also in this passage he uses the words "melt" and "die" which I thought were interesting words to describe love. I immediately thought of hell because of its association with death, as well as heat and fire. This word choice shows Faust's connections with hell and the devil.
Sydney