https://litwiki.org/api.php?action=feedcontributions&feedformat=atom&user=SdeloachLitWiki - User contributions [en]2026-04-22T19:01:50ZUser contributionsMediaWiki 1.43.0https://litwiki.org/index.php?title=The_Metamorphosis&diff=7028The Metamorphosis2006-04-24T16:02:21Z<p>Sdeloach: /* Works Cited */</p>
<hr />
<div>==Summary==<br />
Gregory Samsa is a traveling salesman who financially supports his family. He wakes up in the morning to find out he has been transformed into a Dung Beetle. He is in shock after his reality sets in and tries to figure out how he is going to get to work. Although they try to assimilate the change, his family is horrified and keeps Gregory locked in his room. Gregory eventually dies, leaving his family free.<br />
<br />
==Study Guide==<br />
*[[The Metamorphosis: Chapter 1|Chapter 1]]<br />
*[[The Metamorphosis: Chapter 2|Chapter 2]]<br />
*[[The Metamorphosis: Chapter 3|Chapter 3]]<br />
<br />
===Chapter 1 Summary===<br />
The first chapter of The Metamorphosis is the chapter that Gregory Samsa wakes up to find that he has morphed into a bug. The bug is never truly revealed and Kafka wanted it to be that way. Kafka said that a "concrete image would be too distracting and shut off sympathy" (Fleissner 225), so the true identity of the bug is left up to the reader. <br />
<br />
Gregory's parents worry about him when he has not gotten up to go to work, so his family goes to his room and then Gregory's chief clerk comes to his house to see why Gregory has not come to work. Gregory hears that that the clerk has come to check on him so he tries to make it out of his room by turning the key with his mouth and when he opens door, he frightens his family and the clerk, sending the clerk running and sends his father into a frenzied state to put Gregory back in his room. Gregory’s mother faints when she sees him. His family stays away from him, careful not to disturb him or disturb themselves. Gregory eventually loses his human voice and takes on all appearances and actions of a bug. The chapter ends when “The door was banged to with the stick, and at last there was silence” (1976). This is when Gregory’s father successfully shoves him back to his room away from the rest of the family for the time being. <br />
<br />
===Chapter 2 Summary===<br />
<br />
After Gregor awakens he finds a bowl of sweet milk with slices of wheat bread. He soon finds that this food does not please him and leaves it alone. Later Grete brings in an assortment of food to find what he likes and discovers he can only eat the rotten stuff. For the next few days the routine was that Gregor would hide up under a couch whenever Grete brought in his food. Soon Gregor found enjoyment in crawling around on the ceiling and walls. Grete learned of this and decided to take the furniture out of the room so he could crawl easier. Grete and her mother began to take all the furniture out of the room and this made him upset. While trying to protect one of his pictures from being taken Gregor's mother saw him and fainted. This caused panic and Gregor left his room to follow Grete to get something to help their mother. When Gregor's father came home he got into a fight with Gregor in which he threw some apples at him striking him in the back.<br />
<br />
<br />
<br />
===Chapter 3 Summary===<br />
<br />
It has been a month since Gregory’s injury form the apple. He now resembles an “elderly invalid” and has trouble with mobility. Gregory’s parents and sister all have jobs now; his mother works as a seamstress, his father works at the bank and his sister works as a shop assistance. A new maid has also been hired. Gregory spends most of his days and nights sleeping and thinking about his family and his former job. His sister Meg begins spending less time with him and his appetite has begun to deplete. Three lodgers come to stay at his house. While they are there, the door where Gregory can see out of stays shut so he can not see out. One night, Meg plays the violin for the men. The door that is usually shut was left open by the maid and Gregory peeps out. The middle lodger spots him and is grossed out. He gives notice to Gregory’s parents that they will be leaving and that they do not intend to pay for their stay because of the filthy conditions. The next morning, the maid goes in to clean Gregory’s room and finds him dead. She informs his family and they decide to move to a smaller, less expensive apartment. The chapter ends with talk of finding Meg a husband.<br />
<br />
==Major Themes==<br />
<br />
===Alienation===<br />
The theme of alienation plays a major role in the story because Gregory is alienated from his family and society before the metamorphosis occurs and even more so afterwards. Kafka uses the theme of alienation in this story to "comment on the human need to experience love and acceptance" (Hughes). Gregory's mother tells his boss when they first discover that something is wrong, "He's not well, sir, you can take it from me. What else would make him miss his train? Why, the boy thinks of nothing but his work! It makes me quite cross that he never goes out in the evening..." (1970). Before the metamorphosis, Gregory's work is what alienates him from his family and society.<br />
<br />
After the metamorphosis, however, it is his distinct features that alienate him. One example of the alienation is that his family locks him in his bedroom. Gregory is not allowed to be a part of the family. Gregory then has to make the adjustment from being a man in the working world and traveling everyday, to being a prisoner in his own bedroom (Hughes). Another way that Gregory's family alienates him is that when they talk about him, they openly talk about his features in front of him because they think that he cannot understand what they are saying. "If he understood what we said...we might be able to come to an arrangement with him. But as things are..." (1995). They refer to Gregory as "it" rather than by his name. "It has to go...it's the only way, father. You must just try to get out of the habit of thinking that it's Gregory" (1995). In this way, the reader finds out that the family has stopped acknowledging Gregory as their son. The family also treats Gregory like an animal by the way that they feed him. Gregory's sister would bring in scraps from the table that the family wouldn't eat to feed him. "She brought him a whole selection of things, all laid out on an old newspaper, to see what he liked. There were some old half rotten vegetables; the bones from supper, covered with congealed white sauce; some raisins and almonds; a piece of cheese...two days old; a slice of dry bread..." (1978). The family treated him like an animal, rather than their son who got sick and needed his family to look after him.<br />
<br />
===Guilt===<br />
The theme of guilt is relevent to the story because it is a very powerful emotion. Gregory is upset that he can't go out and work because of what has happened to him. Even though the metamorphosis wasn't his fault, he still blams himself (Altshuler). Gregory also feels guilty because his family can't move on, literally and mentally. The thing that kept his family from moving on was "their feeling of utter dispair and the idea that they had been struck by a misfortune exceeding anything ever experienced within their entire circle of friends and relations" (1989). Gregory blams himself for this because if this tragedy hadn't happened, his family wouldn't feel the need that they had to move. Gregory also has a guilty feeling because he wants to see his mother, but he knows that he cannot because her reaction to seeing him would not be a good one. When Meg and her mother were moving furniture out of Gregory's room, the mother saw him on the wall. Her reaction was "in a shrill, strident voice, 'Oh God, oh God!' and with arms outstretched as if giving up altogether fell back on the couch and lay still" (1985). Gregory knew that his mother would not take well to seeing him like that, but he stayed on the wall just the same, to protect a painting.<br />
<br />
===Novella===<br />
Technically a theme, but more of a genre so to speak, that is unknown to most of us present day readers of Kafka is novella. "A novella is a short novel; a narrative work of [http://en.wikipedia.org/wiki/Prose prose] fiction somewhat longer than a short story but shorter than a novel. A common length is about 50 to 100 pages. The extra length is generally used for more character development than is possible in a short story, but without the much greater character and plot development of a novel. Novellas often are characterized by satire or moral teaching" (Wikipedia). <br />
<br />
Satire: This is clearly evident as "[http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Summary The Metamorphosis] is obviously a story about alienation. Gregor's life is dictated by his dead-end job and family responsibilities to the extent that even when he travels to different towns, he prefers to stay in his hotel room studying train timetables rather than experience what the new location has to offer. That isolation is mirrored in his relationship with his family, for whom he is the bread-winner but from whom he locks himself away at night. This alienation becomes so pronounced that, one day, he discovers himself to be literally no longer human. Gregor's earlier sentiment is reciprocated when his family begins locking and bolting the door shut behind him in his room. Late in the story, he briefly considers what it means to be 'human'; if he can be so moved by his sister's music then surely he cannot be an animal. And ultimately, his acceptance that he must go shows an act of genuine humanity" (Archer).<br />
<br />
Moral Teaching: Try interpreting the story without Gregor's transformation. "In this interpretation, the other characters in the story would not see a man-sized beetle. Instead, they see a man so alienated from reality that he chooses to reject it totally. He is still a man, the same man they saw the previous day, but now he is crawling awkwardly on the floor and squeaking rather than speaking. He would prefer the shame of living as an insect to the hopelessness of living as a man. He would rather live in squalor and eat scraps from the rubbish than deal with the mind-numbing sameness of his life and accept responsibility for changing it. The abhorrence the family displays upon seeing him would still be the same - perhaps it would be even greater if they still just saw a man. They would be forced to accept the situation in the same way; still hoping [http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Gregory_Samsa Gregor] will put himself right before finally admitting the man they knew will never return. As nightmarish as the scenario presented in the book is, maybe the only thing worse than inexplicably transforming into a giant bug overnight is wishing you had" (Archer).<br />
<br />
===Reversal of Roles===<br />
<br />
At the begining Gregory is the one who supports his family. He is bringing home the money while his father sits in his chair and sleeps. This may have "crippled the father's self-esteem because he took over the father's position in the family" (Coulehan). After Gregory's transformation, the roles reversed and the father re-assumes his positon as the provider forthe family. Gregory now becomes weak and his father kills him.<br />
<br />
===Loss of Humanity===<br />
<br />
The theme of humanity is shown in the story by how it is taken away from Gregor. His humanity is slowly taken away from him throughout the story not just by his transformation into a bug. Gregor’s first link to humanity that is taken away was that of him being the bread winner for the family. “Gregors humanity, to the extent that his parents and sister acknowledge it, is inextricably tied to his function as economic provider.” (Rowe). Later in the story more is pulled away when Grete begins taking objects out of his room. This made Gregory reminisce about his human life. “They were clearing his room out, taking everything that was dear to him…”(p.1985). Here the last things that ever tied him to having a human existence were removed. When a person is inflicted with a severe illness it is easy for those around that person to be horrified by that person’s appearance (Rowe). The ill patient can not defend his or herself so the people around do not think about how the patient feels (Rowe). This causes the patient to lose their humanity (Rowe). Gregor is inflicted with a unique illness but the outcome is the same. The most famous occurrence of a patient losing their humanity is that of Terry Schiavo. Everybody had their own opinion of Shiavo’s fate. Schiavo could not defend herself or give her opinion of her fate. That situation was turned into a political circus and ultimately stripped Schiavo of her humanity. Rowe states that <i>The Metamorphosis</i> warns against this treatment of people with illnesses.<br />
<br />
===Materialistic===<br />
<br />
Modern Society is leading us down a path to care more about the material things rather than the things that truly matter. Gregory Samsa, the one person who cared more about his family than money, worked long hours at a job that he disliked not because of his love for the job, but so that his family could have a good life. His family on the other hand was enjoying a work free life. Mankind gets so caught up in the bureaucracy of society that we sometimes forget what what matters most. We get jobs so that we can buy the materialistic things we desire. This need for money and material things can change our mindset and forget what is truly important in our lives. In, The Metamorphosis, Gregory turns into some sort of insect, while this is something that is very dramatic and would be very hard to deal with, Kafka is trying to show how Gregory’s family rejects him, not only because of his appearance but because he can no longer go to work, no longer will his family be able live off the income he generates, no more material things without a little hard work. After the metamorphosis Gregory will no longer be able to fit into society, therefore his family begins to shun him. Not one of his family members ever tries to find out what happened and what could be done to fix it. One by one Gregory’s family members grow further away from him, forgetting all of the selfless deeds he did for all of them.<br />
<br />
===Modern Spirituality===<br />
<br />
Franz Kafka’s ''The Metamorphosis'' goes against what most writers would consider normal writing layout. His style is peculiar in that he places the climax at the beginning of the narrative-instead of at the end. By choosing to write in this fashion, Kafka steers his readers away from the traditional Aristotelian form of narrative (complication and denouncement) and instead creates his own form. ''The Metamorphosis'' is a brilliant novella that replaces the denouncement and conclusions one would normally expect with a form created from itself. <br />
The first line of the novella proclaims Gregory’s death and the rest of the story a description of his slow dying: “As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect” (Bloom 19). Gregory’s metamorphosis is the truth of his life, and his consciousness has lied to him about himself.<br />
<br />
===The Reality of Dreams===<br />
<br />
Franz Kafka’s “The Metamorphosis” was written as perhaps a reflection of his own inner turmoil. His insecurities began with his appearance. As an adult, he never quite grew into his strikingly tall, slender frame: huge eyes framed with thick, dark brows: prominent nose above a melancholy mouth: or his narrow forehead fringed with straight black hair. In fact, his unique looks were a subject of interest to psychologists who felt that his features seemed to fit Kretschmer’s model of the asthenic-schizoid type, which is characterized by a furry crown of hair extending down the forehead: His portrait became sort of a caricature for the model (Baumer 2). Such a categorization made him feel even odder than he already felt. This resulted in his pulling away from the outside world and subsequently plunged him into a loneliness that plagued his entire life. <br />
<br />
Kafka developed a mental illness that grew out of his forced isolation. He spent so much time by himself as a child that he could not fathom everyday life. He lacked the ability to interpret everyday demands and compromises such as those required of a job. Even simple exchanges between two people were a mystery to him. Looking for a way to escape his reality, he began living as though he were in a dream because in his dreams, he could be the person he wished he was. Franz Baumer describes Kafka as:<br />
This charming person who, almost like a saint, like St. Francis, talked to fish, who pronounced himself a dream so as not to have his gross, material appearance disturb the state of sleep he considered far more real, who was always sympathetic in his relations to the world and people, who never lost his smile and could often be very witty, who possessed a strong sense of responsibility and dedication to his job (3).<br />
<br />
It was soon after this realization that he wrote “The Metamorphosis,” which is how he views the life he must escape. He was noted as saying: “The taste for describing my dreamlike inner existence has pushed everything into the background where it has atrophied in a terrifying way and does not cease to atrophy. Nothing else can satisfy me” (Baumer 3). By morphing Gregory into a bug, instead of a happy child, he is giving the reader an image of how he sees himself. <br />
<br />
Both Kafka and Gregory are trapped by their daily reality and dreams of freedom, just as both are destined to die a lonely and tortured death through their metamorphosis. Kafka, who always thought in images that have a powerful impact, was first and foremost a poet. “Kafka’s dreamworlds will reveal themselves as realities only to those who dare gaze into the terrifying depths of our age. The dream is only denser reality” (Baumer 11).<br />
<br />
==Characters==<br />
<br />
===Gregory Samsa===<br />
A traveling salesman responsible for providing for his family. His metamorphosis into a insect leaves a stuggle between his human mind and insect needs.<br />
<br />
===Mother===<br />
Gregory's mother seems to be the weakest and hit the hardest by her son’s metamorphosis. The effect of this metamorphosis on her health is terrible. Every time she sees him, she has some sort of panic attack. Gregory’s father and sister try to protect his mother from him.<br />
<br />
===Father===<br />
Gregor's father more less plays the role of dictator in the story and this is due to his hostilities and interpersonal power dynamics in the family, This is evident with passages such as, "His father looked hostile and clenched a fist as if to force Gregory back into his room;" (1973). Some would describe his father as "A slouching, defeated man whose business failure has seemingly sapped his vitality, Gregor's father finds new confidence and better posture once the economic necessity engendered by Gregor's misfortune forces him to work again. His fruit-flinging fit of rage is the catalyst for Gregor's declining health and eventual demise (Lichtenstein). Even though Gregor is the bread-winner and provider of the family, the Samsas are still a patriarch type of family.<br />
<br />
===Grete===<br />
The sister of Gregory Samsa who feeds him and takes care of him.<br />
<br />
===The lodgers===<br />
<br />
==Literary Interpertation==<br />
<br />
==Study Questions==<br />
#What sort of bug does Gregory Samsa change into overnight?<br />
#What is the significance of Gregory's job? How does his job effect his family?<br />
#How does the chief clerk from Gregory's job act towards the Samsa's and in general about the entire situation?<br />
#What two people does Gregory think would be the "strongest" and most able to help get him out of bed in the morning? What do you think that this signifies? <br />
#What family member feeds Gregory after he is changed into a bug?<br />
#What is the outside weather like during the "Metamorphosis"? Does this climate help set the mood at all?<br />
#What type of relationship does Gregory have with his sister Meg? How would you describe it?<br />
#How does Gregory die at the end of "The Metamorphosis"?<br />
<br />
==External Links==<br />
http://www.sparknotes.com/lit/metamorph/<br />
<br />
==Works Cited==<br />
Altshuler, Roman. "GradeSaver: ClassicNote: The Metamorphosis - Major Themes." www.gradesaver.com. 17 April 2006. GradeSaver. 17 April 2006 <http://www.gradesaver.com/classicnotes/titles/metamorphosis/themes.html>.<br />
<br />
Baumer, Franz. ''Franz Kafka''. New York: Frederick Ungar Publishing Co., 1971.<br />
<br />
Bloom, Harold. “The Metamorphosis”. ''Modern Critical Interpretations''. New York: Chelsea House Publishers, 1988.<br />
<br />
Coulehan, Jack. "The Metamorphosis". Bantam (New York)1997.<br />
<br />
Hughes, Katherine. "Seperate and Alone: Alienation as a Central Theme in Tolstoy's The Death of Ivan Ilyich and Kafka's Metamorphosis." 9 November 2002. 17 April 2006. <http://www.gradesaver.com/classicnotes/titles/metamorphosis/essay1.html><br />
<br />
Fleissner, Robert F. "Is Gregor Samsa a Bed Bug? Kafka and Dickens Revisited." ''Studies in Short Fiction''. Vol. 22, Issue 2 (1985): p 225.<br />
<br />
"Novella". Wikipedia. 11 April 2006. Wikimedia Foundation, Inc. 17 April 2006.<br />
<http://en.wikipedia.org/wiki/Novella>.<br />
<br />
"Kafka's 'The Metamorphosis' ". Ed. Archer, Lincoln. 25 October 2004. [http://www.bbc.co.uk/home/d/ BBC]. 17 April 2006. <br />
<http://www.bbc.co.uk/dna/h2g2/A3023065>.<br />
<br />
Rowe, Michael. "Metamorphosis: Defending the Human." Literature In Medicine. Baltimore: Fall 2002. vol 21, 264-281<br />
<br />
Lichtenstein, Jesse. "SparkNote on The Metamorphosis". 16 April 2006. 17 Apr. 2006. <http://www.sparknotes.com/lit/metamorph/characters.html><br />
<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=The_Metamorphosis&diff=7007The Metamorphosis2006-04-24T15:58:40Z<p>Sdeloach: /* The Reality of Dreams */</p>
<hr />
<div>==Summary==<br />
Gregory Samsa is a traveling salesman who financially supports his family. He wakes up in the morning to find out he has been transformed into a Dung Beetle. He is in shock after his reality sets in and tries to figure out how he is going to get to work. Although they try to assimilate the change, his family is horrified and keeps Gregory locked in his room. Gregory eventually dies, leaving his family free.<br />
<br />
==Study Guide==<br />
*[[The Metamorphosis: Chapter 1|Chapter 1]]<br />
*[[The Metamorphosis: Chapter 2|Chapter 2]]<br />
*[[The Metamorphosis: Chapter 3|Chapter 3]]<br />
<br />
===Chapter 1 Summary===<br />
The first chapter of The Metamorphosis is the chapter that Gregory Samsa wakes up to find that he has morphed into a bug. The bug is never truly revealed and Kafka wanted it to be that way. Kafka said that a "concrete image would be too distracting and shut off sympathy" (Fleissner 225), so the true identity of the bug is left up to the reader. <br />
<br />
Gregory's parents worry about him when he has not gotten up to go to work, so his family goes to his room and then Gregory's chief clerk comes to his house to see why Gregory has not come to work. Gregory hears that that the clerk has come to check on him so he tries to make it out of his room by turning the key with his mouth and when he opens door, he frightens his family and the clerk, sending the clerk running and sends his father into a frenzied state to put Gregory back in his room. Gregory’s mother faints when she sees him. His family stays away from him, careful not to disturb him or disturb themselves. Gregory eventually loses his human voice and takes on all appearances and actions of a bug. The chapter ends when “The door was banged to with the stick, and at last there was silence” (1976). This is when Gregory’s father successfully shoves him back to his room away from the rest of the family for the time being. <br />
<br />
===Chapter 2 Summary===<br />
<br />
After Gregor awakens he finds a bowl of sweet milk with slices of wheat bread. He soon finds that this food does not please him and leaves it alone. Later Grete brings in an assortment of food to find what he likes and discovers he can only eat the rotten stuff. For the next few days the routine was that Gregor would hide up under a couch whenever Grete brought in his food. Soon Gregor found enjoyment in crawling around on the ceiling and walls. Grete learned of this and decided to take the furniture out of the room so he could crawl easier. Grete and her mother began to take all the furniture out of the room and this made him upset. While trying to protect one of his pictures from being taken Gregor's mother saw him and fainted. This caused panic and Gregor left his room to follow Grete to get something to help their mother. When Gregor's father came home he got into a fight with Gregor in which he threw some apples at him striking him in the back.<br />
<br />
<br />
<br />
===Chapter 3 Summary===<br />
<br />
It has been a month since Gregory’s injury form the apple. He now resembles an “elderly invalid” and has trouble with mobility. Gregory’s parents and sister all have jobs now; his mother works as a seamstress, his father works at the bank and his sister works as a shop assistance. A new maid has also been hired. Gregory spends most of his days and nights sleeping and thinking about his family and his former job. His sister Meg begins spending less time with him and his appetite has begun to deplete. Three lodgers come to stay at his house. While they are there, the door where Gregory can see out of stays shut so he can not see out. One night, Meg plays the violin for the men. The door that is usually shut was left open by the maid and Gregory peeps out. The middle lodger spots him and is grossed out. He gives notice to Gregory’s parents that they will be leaving and that they do not intend to pay for their stay because of the filthy conditions. The next morning, the maid goes in to clean Gregory’s room and finds him dead. She informs his family and they decide to move to a smaller, less expensive apartment. The chapter ends with talk of finding Meg a husband.<br />
<br />
==Major Themes==<br />
<br />
===Alienation===<br />
The theme of alienation plays a major role in the story because Gregory is alienated from his family and society before the metamorphosis occurs and even more so afterwards. Kafka uses the theme of alienation in this story to "comment on the human need to experience love and acceptance" (Hughes). Gregory's mother tells his boss when they first discover that something is wrong, "He's not well, sir, you can take it from me. What else would make him miss his train? Why, the boy thinks of nothing but his work! It makes me quite cross that he never goes out in the evening..." (1970). Before the metamorphosis, Gregory's work is what alienates him from his family and society.<br />
<br />
After the metamorphosis, however, it is his distinct features that alienate him. One example of the alienation is that his family locks him in his bedroom. Gregory is not allowed to be a part of the family. Gregory then has to make the adjustment from being a man in the working world and traveling everyday, to being a prisoner in his own bedroom (Hughes). Another way that Gregory's family alienates him is that when they talk about him, they openly talk about his features in front of him because they think that he cannot understand what they are saying. "If he understood what we said...we might be able to come to an arrangement with him. But as things are..." (1995). They refer to Gregory as "it" rather than by his name. "It has to go...it's the only way, father. You must just try to get out of the habit of thinking that it's Gregory" (1995). In this way, the reader finds out that the family has stopped acknowledging Gregory as their son. The family also treats Gregory like an animal by the way that they feed him. Gregory's sister would bring in scraps from the table that the family wouldn't eat to feed him. "She brought him a whole selection of things, all laid out on an old newspaper, to see what he liked. There were some old half rotten vegetables; the bones from supper, covered with congealed white sauce; some raisins and almonds; a piece of cheese...two days old; a slice of dry bread..." (1978). The family treated him like an animal, rather than their son who got sick and needed his family to look after him.<br />
<br />
===Guilt===<br />
The theme of guilt is relevent to the story because it is a very powerful emotion. Gregory is upset that he can't go out and work because of what has happened to him. Even though the metamorphosis wasn't his fault, he still blams himself (Altshuler). Gregory also feels guilty because his family can't move on, literally and mentally. The thing that kept his family from moving on was "their feeling of utter dispair and the idea that they had been struck by a misfortune exceeding anything ever experienced within their entire circle of friends and relations" (1989). Gregory blams himself for this because if this tragedy hadn't happened, his family wouldn't feel the need that they had to move. Gregory also has a guilty feeling because he wants to see his mother, but he knows that he cannot because her reaction to seeing him would not be a good one. When Meg and her mother were moving furniture out of Gregory's room, the mother saw him on the wall. Her reaction was "in a shrill, strident voice, 'Oh God, oh God!' and with arms outstretched as if giving up altogether fell back on the couch and lay still" (1985). Gregory knew that his mother would not take well to seeing him like that, but he stayed on the wall just the same, to protect a painting.<br />
<br />
===Novella===<br />
Technically a theme, but more of a genre so to speak, that is unknown to most of us present day readers of Kafka is novella. "A novella is a short novel; a narrative work of [http://en.wikipedia.org/wiki/Prose prose] fiction somewhat longer than a short story but shorter than a novel. A common length is about 50 to 100 pages. The extra length is generally used for more character development than is possible in a short story, but without the much greater character and plot development of a novel. Novellas often are characterized by satire or moral teaching" (Wikipedia). <br />
<br />
Satire: This is clearly evident as "[http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Summary The Metamorphosis] is obviously a story about alienation. Gregor's life is dictated by his dead-end job and family responsibilities to the extent that even when he travels to different towns, he prefers to stay in his hotel room studying train timetables rather than experience what the new location has to offer. That isolation is mirrored in his relationship with his family, for whom he is the bread-winner but from whom he locks himself away at night. This alienation becomes so pronounced that, one day, he discovers himself to be literally no longer human. Gregor's earlier sentiment is reciprocated when his family begins locking and bolting the door shut behind him in his room. Late in the story, he briefly considers what it means to be 'human'; if he can be so moved by his sister's music then surely he cannot be an animal. And ultimately, his acceptance that he must go shows an act of genuine humanity" (Archer).<br />
<br />
Moral Teaching: Try interpreting the story without Gregor's transformation. "In this interpretation, the other characters in the story would not see a man-sized beetle. Instead, they see a man so alienated from reality that he chooses to reject it totally. He is still a man, the same man they saw the previous day, but now he is crawling awkwardly on the floor and squeaking rather than speaking. He would prefer the shame of living as an insect to the hopelessness of living as a man. He would rather live in squalor and eat scraps from the rubbish than deal with the mind-numbing sameness of his life and accept responsibility for changing it. The abhorrence the family displays upon seeing him would still be the same - perhaps it would be even greater if they still just saw a man. They would be forced to accept the situation in the same way; still hoping [http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Gregory_Samsa Gregor] will put himself right before finally admitting the man they knew will never return. As nightmarish as the scenario presented in the book is, maybe the only thing worse than inexplicably transforming into a giant bug overnight is wishing you had" (Archer).<br />
<br />
===Reversal of Roles===<br />
<br />
At the begining Gregory is the one who supports his family. He is bringing home the money while his father sits in his chair and sleeps. This may have "crippled the father's self-esteem because he took over the father's position in the family" (Coulehan). After Gregory's transformation, the roles reversed and the father re-assumes his positon as the provider forthe family. Gregory now becomes weak and his father kills him.<br />
<br />
===Loss of Humanity===<br />
<br />
The theme of humanity is shown in the story by how it is taken away from Gregor. His humanity is slowly taken away from him throughout the story not just by his transformation into a bug. Gregor’s first link to humanity that is taken away was that of him being the bread winner for the family. “Gregors humanity, to the extent that his parents and sister acknowledge it, is inextricably tied to his function as economic provider.” (Rowe). Later in the story more is pulled away when Grete begins taking objects out of his room. This made Gregory reminisce about his human life. “They were clearing his room out, taking everything that was dear to him…”(p.1985). Here the last things that ever tied him to having a human existence were removed. When a person is inflicted with a severe illness it is easy for those around that person to be horrified by that person’s appearance (Rowe). The ill patient can not defend his or herself so the people around do not think about how the patient feels (Rowe). This causes the patient to lose their humanity (Rowe). Gregor is inflicted with a unique illness but the outcome is the same. The most famous occurrence of a patient losing their humanity is that of Terry Schiavo. Everybody had their own opinion of Shiavo’s fate. Schiavo could not defend herself or give her opinion of her fate. That situation was turned into a political circus and ultimately stripped Schiavo of her humanity. Rowe states that <i>The Metamorphosis</i> warns against this treatment of people with illnesses.<br />
<br />
===Materialistic===<br />
<br />
Modern Society is leading us down a path to care more about the material things rather than the things that truly matter. Gregory Samsa, the one person who cared more about his family than money, worked long hours at a job that he disliked not because of his love for the job, but so that his family could have a good life. His family on the other hand was enjoying a work free life. Mankind gets so caught up in the bureaucracy of society that we sometimes forget what what matters most. We get jobs so that we can buy the materialistic things we desire. This need for money and material things can change our mindset and forget what is truly important in our lives. In, The Metamorphosis, Gregory turns into some sort of insect, while this is something that is very dramatic and would be very hard to deal with, Kafka is trying to show how Gregory’s family rejects him, not only because of his appearance but because he can no longer go to work, no longer will his family be able live off the income he generates, no more material things without a little hard work. After the metamorphosis Gregory will no longer be able to fit into society, therefore his family begins to shun him. Not one of his family members ever tries to find out what happened and what could be done to fix it. One by one Gregory’s family members grow further away from him, forgetting all of the selfless deeds he did for all of them.<br />
<br />
===Modern Spirituality===<br />
<br />
Franz Kafka’s ''The Metamorphosis'' goes against what most writers would consider normal writing layout. His style is peculiar in that he places the climax at the beginning of the narrative-instead of at the end. By choosing to write in this fashion, Kafka steers his readers away from the traditional Aristotelian form of narrative (complication and denouncement) and instead creates his own form. ''The Metamorphosis'' is a brilliant novella that replaces the denouncement and conclusions one would normally expect with a form created from itself. <br />
The first line of the novella proclaims Gregory’s death and the rest of the story a description of his slow dying: “As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect” (Bloom 19). Gregory’s metamorphosis is the truth of his life, and his consciousness has lied to him about himself.<br />
<br />
===The Reality of Dreams===<br />
<br />
Franz Kafka’s “The Metamorphosis” was written as perhaps a reflection of his own inner turmoil. His insecurities began with his appearance. As an adult, he never quite grew into his strikingly tall, slender frame: huge eyes framed with thick, dark brows: prominent nose above a melancholy mouth: or his narrow forehead fringed with straight black hair. In fact, his unique looks were a subject of interest to psychologists who felt that his features seemed to fit Kretschmer’s model of the asthenic-schizoid type, which is characterized by a furry crown of hair extending down the forehead: His portrait became sort of a caricature for the model (Baumer 2). Such a categorization made him feel even odder than he already felt. This resulted in his pulling away from the outside world and subsequently plunged him into a loneliness that plagued his entire life. <br />
<br />
Kafka developed a mental illness that grew out of his forced isolation. He spent so much time by himself as a child that he could not fathom everyday life. He lacked the ability to interpret everyday demands and compromises such as those required of a job. Even simple exchanges between two people were a mystery to him. Looking for a way to escape his reality, he began living as though he were in a dream because in his dreams, he could be the person he wished he was. Franz Baumer describes Kafka as:<br />
This charming person who, almost like a saint, like St. Francis, talked to fish, who pronounced himself a dream so as not to have his gross, material appearance disturb the state of sleep he considered far more real, who was always sympathetic in his relations to the world and people, who never lost his smile and could often be very witty, who possessed a strong sense of responsibility and dedication to his job (3).<br />
<br />
It was soon after this realization that he wrote “The Metamorphosis,” which is how he views the life he must escape. He was noted as saying: “The taste for describing my dreamlike inner existence has pushed everything into the background where it has atrophied in a terrifying way and does not cease to atrophy. Nothing else can satisfy me” (Baumer 3). By morphing Gregory into a bug, instead of a happy child, he is giving the reader an image of how he sees himself. <br />
<br />
Both Kafka and Gregory are trapped by their daily reality and dreams of freedom, just as both are destined to die a lonely and tortured death through their metamorphosis. Kafka, who always thought in images that have a powerful impact, was first and foremost a poet. “Kafka’s dreamworlds will reveal themselves as realities only to those who dare gaze into the terrifying depths of our age. The dream is only denser reality” (Baumer 11).<br />
<br />
==Characters==<br />
<br />
===Gregory Samsa===<br />
A traveling salesman responsible for providing for his family. His metamorphosis into a insect leaves a stuggle between his human mind and insect needs.<br />
<br />
===Mother===<br />
Gregory's mother seems to be the weakest and hit the hardest by her son’s metamorphosis. The effect of this metamorphosis on her health is terrible. Every time she sees him, she has some sort of panic attack. Gregory’s father and sister try to protect his mother from him.<br />
<br />
===Father===<br />
Gregor's father more less plays the role of dictator in the story and this is due to his hostilities and interpersonal power dynamics in the family, This is evident with passages such as, "His father looked hostile and clenched a fist as if to force Gregory back into his room;" (1973). Some would describe his father as "A slouching, defeated man whose business failure has seemingly sapped his vitality, Gregor's father finds new confidence and better posture once the economic necessity engendered by Gregor's misfortune forces him to work again. His fruit-flinging fit of rage is the catalyst for Gregor's declining health and eventual demise (Lichtenstein). Even though Gregor is the bread-winner and provider of the family, the Samsas are still a patriarch type of family.<br />
<br />
===Grete===<br />
The sister of Gregory Samsa who feeds him and takes care of him.<br />
<br />
===The lodgers===<br />
<br />
==Literary Interpertation==<br />
<br />
==Study Questions==<br />
#What sort of bug does Gregory Samsa change into overnight?<br />
#What is the significance of Gregory's job? How does his job effect his family?<br />
#How does the chief clerk from Gregory's job act towards the Samsa's and in general about the entire situation?<br />
#What two people does Gregory think would be the "strongest" and most able to help get him out of bed in the morning? What do you think that this signifies? <br />
#What family member feeds Gregory after he is changed into a bug?<br />
#What is the outside weather like during the "Metamorphosis"? Does this climate help set the mood at all?<br />
#What type of relationship does Gregory have with his sister Meg? How would you describe it?<br />
#How does Gregory die at the end of "The Metamorphosis"?<br />
<br />
==External Links==<br />
http://www.sparknotes.com/lit/metamorph/<br />
<br />
==Works Cited==<br />
Altshuler, Roman. "GradeSaver: ClassicNote: The Metamorphosis - Major Themes." www.gradesaver.com. 17 April 2006. GradeSaver. 17 April 2006 <http://www.gradesaver.com/classicnotes/titles/metamorphosis/themes.html>.<br />
<br />
Bloom, Harold. “The Metamorphosis”. ''Modern Critical Interpretations''. New York: Chelsea House Publishers, 1988.<br />
<br />
Coulehan, Jack. "The Metamorphosis". Bantam (New York)1997.<br />
<br />
Hughes, Katherine. "Seperate and Alone: Alienation as a Central Theme in Tolstoy's The Death of Ivan Ilyich and Kafka's Metamorphosis." 9 November 2002. 17 April 2006. <http://www.gradesaver.com/classicnotes/titles/metamorphosis/essay1.html><br />
<br />
Fleissner, Robert F. "Is Gregor Samsa a Bed Bug? Kafka and Dickens Revisited." ''Studies in Short Fiction''. Vol. 22, Issue 2 (1985): p 225.<br />
<br />
"Novella". Wikipedia. 11 April 2006. Wikimedia Foundation, Inc. 17 April 2006.<br />
<http://en.wikipedia.org/wiki/Novella>.<br />
<br />
"Kafka's 'The Metamorphosis' ". Ed. Archer, Lincoln. 25 October 2004. [http://www.bbc.co.uk/home/d/ BBC]. 17 April 2006. <br />
<http://www.bbc.co.uk/dna/h2g2/A3023065>.<br />
<br />
Rowe, Michael. "Metamorphosis: Defending the Human." Literature In Medicine. Baltimore: Fall 2002. vol 21, 264-281<br />
<br />
Lichtenstein, Jesse. "SparkNote on The Metamorphosis". 16 April 2006. 17 Apr. 2006. <http://www.sparknotes.com/lit/metamorph/characters.html><br />
<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=The_Metamorphosis&diff=7006The Metamorphosis2006-04-24T15:57:57Z<p>Sdeloach: /* Modern Spirituality */</p>
<hr />
<div>==Summary==<br />
Gregory Samsa is a traveling salesman who financially supports his family. He wakes up in the morning to find out he has been transformed into a Dung Beetle. He is in shock after his reality sets in and tries to figure out how he is going to get to work. Although they try to assimilate the change, his family is horrified and keeps Gregory locked in his room. Gregory eventually dies, leaving his family free.<br />
<br />
==Study Guide==<br />
*[[The Metamorphosis: Chapter 1|Chapter 1]]<br />
*[[The Metamorphosis: Chapter 2|Chapter 2]]<br />
*[[The Metamorphosis: Chapter 3|Chapter 3]]<br />
<br />
===Chapter 1 Summary===<br />
The first chapter of The Metamorphosis is the chapter that Gregory Samsa wakes up to find that he has morphed into a bug. The bug is never truly revealed and Kafka wanted it to be that way. Kafka said that a "concrete image would be too distracting and shut off sympathy" (Fleissner 225), so the true identity of the bug is left up to the reader. <br />
<br />
Gregory's parents worry about him when he has not gotten up to go to work, so his family goes to his room and then Gregory's chief clerk comes to his house to see why Gregory has not come to work. Gregory hears that that the clerk has come to check on him so he tries to make it out of his room by turning the key with his mouth and when he opens door, he frightens his family and the clerk, sending the clerk running and sends his father into a frenzied state to put Gregory back in his room. Gregory’s mother faints when she sees him. His family stays away from him, careful not to disturb him or disturb themselves. Gregory eventually loses his human voice and takes on all appearances and actions of a bug. The chapter ends when “The door was banged to with the stick, and at last there was silence” (1976). This is when Gregory’s father successfully shoves him back to his room away from the rest of the family for the time being. <br />
<br />
===Chapter 2 Summary===<br />
<br />
After Gregor awakens he finds a bowl of sweet milk with slices of wheat bread. He soon finds that this food does not please him and leaves it alone. Later Grete brings in an assortment of food to find what he likes and discovers he can only eat the rotten stuff. For the next few days the routine was that Gregor would hide up under a couch whenever Grete brought in his food. Soon Gregor found enjoyment in crawling around on the ceiling and walls. Grete learned of this and decided to take the furniture out of the room so he could crawl easier. Grete and her mother began to take all the furniture out of the room and this made him upset. While trying to protect one of his pictures from being taken Gregor's mother saw him and fainted. This caused panic and Gregor left his room to follow Grete to get something to help their mother. When Gregor's father came home he got into a fight with Gregor in which he threw some apples at him striking him in the back.<br />
<br />
<br />
<br />
===Chapter 3 Summary===<br />
<br />
It has been a month since Gregory’s injury form the apple. He now resembles an “elderly invalid” and has trouble with mobility. Gregory’s parents and sister all have jobs now; his mother works as a seamstress, his father works at the bank and his sister works as a shop assistance. A new maid has also been hired. Gregory spends most of his days and nights sleeping and thinking about his family and his former job. His sister Meg begins spending less time with him and his appetite has begun to deplete. Three lodgers come to stay at his house. While they are there, the door where Gregory can see out of stays shut so he can not see out. One night, Meg plays the violin for the men. The door that is usually shut was left open by the maid and Gregory peeps out. The middle lodger spots him and is grossed out. He gives notice to Gregory’s parents that they will be leaving and that they do not intend to pay for their stay because of the filthy conditions. The next morning, the maid goes in to clean Gregory’s room and finds him dead. She informs his family and they decide to move to a smaller, less expensive apartment. The chapter ends with talk of finding Meg a husband.<br />
<br />
==Major Themes==<br />
<br />
===Alienation===<br />
The theme of alienation plays a major role in the story because Gregory is alienated from his family and society before the metamorphosis occurs and even more so afterwards. Kafka uses the theme of alienation in this story to "comment on the human need to experience love and acceptance" (Hughes). Gregory's mother tells his boss when they first discover that something is wrong, "He's not well, sir, you can take it from me. What else would make him miss his train? Why, the boy thinks of nothing but his work! It makes me quite cross that he never goes out in the evening..." (1970). Before the metamorphosis, Gregory's work is what alienates him from his family and society.<br />
<br />
After the metamorphosis, however, it is his distinct features that alienate him. One example of the alienation is that his family locks him in his bedroom. Gregory is not allowed to be a part of the family. Gregory then has to make the adjustment from being a man in the working world and traveling everyday, to being a prisoner in his own bedroom (Hughes). Another way that Gregory's family alienates him is that when they talk about him, they openly talk about his features in front of him because they think that he cannot understand what they are saying. "If he understood what we said...we might be able to come to an arrangement with him. But as things are..." (1995). They refer to Gregory as "it" rather than by his name. "It has to go...it's the only way, father. You must just try to get out of the habit of thinking that it's Gregory" (1995). In this way, the reader finds out that the family has stopped acknowledging Gregory as their son. The family also treats Gregory like an animal by the way that they feed him. Gregory's sister would bring in scraps from the table that the family wouldn't eat to feed him. "She brought him a whole selection of things, all laid out on an old newspaper, to see what he liked. There were some old half rotten vegetables; the bones from supper, covered with congealed white sauce; some raisins and almonds; a piece of cheese...two days old; a slice of dry bread..." (1978). The family treated him like an animal, rather than their son who got sick and needed his family to look after him.<br />
<br />
===Guilt===<br />
The theme of guilt is relevent to the story because it is a very powerful emotion. Gregory is upset that he can't go out and work because of what has happened to him. Even though the metamorphosis wasn't his fault, he still blams himself (Altshuler). Gregory also feels guilty because his family can't move on, literally and mentally. The thing that kept his family from moving on was "their feeling of utter dispair and the idea that they had been struck by a misfortune exceeding anything ever experienced within their entire circle of friends and relations" (1989). Gregory blams himself for this because if this tragedy hadn't happened, his family wouldn't feel the need that they had to move. Gregory also has a guilty feeling because he wants to see his mother, but he knows that he cannot because her reaction to seeing him would not be a good one. When Meg and her mother were moving furniture out of Gregory's room, the mother saw him on the wall. Her reaction was "in a shrill, strident voice, 'Oh God, oh God!' and with arms outstretched as if giving up altogether fell back on the couch and lay still" (1985). Gregory knew that his mother would not take well to seeing him like that, but he stayed on the wall just the same, to protect a painting.<br />
<br />
===Novella===<br />
Technically a theme, but more of a genre so to speak, that is unknown to most of us present day readers of Kafka is novella. "A novella is a short novel; a narrative work of [http://en.wikipedia.org/wiki/Prose prose] fiction somewhat longer than a short story but shorter than a novel. A common length is about 50 to 100 pages. The extra length is generally used for more character development than is possible in a short story, but without the much greater character and plot development of a novel. Novellas often are characterized by satire or moral teaching" (Wikipedia). <br />
<br />
Satire: This is clearly evident as "[http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Summary The Metamorphosis] is obviously a story about alienation. Gregor's life is dictated by his dead-end job and family responsibilities to the extent that even when he travels to different towns, he prefers to stay in his hotel room studying train timetables rather than experience what the new location has to offer. That isolation is mirrored in his relationship with his family, for whom he is the bread-winner but from whom he locks himself away at night. This alienation becomes so pronounced that, one day, he discovers himself to be literally no longer human. Gregor's earlier sentiment is reciprocated when his family begins locking and bolting the door shut behind him in his room. Late in the story, he briefly considers what it means to be 'human'; if he can be so moved by his sister's music then surely he cannot be an animal. And ultimately, his acceptance that he must go shows an act of genuine humanity" (Archer).<br />
<br />
Moral Teaching: Try interpreting the story without Gregor's transformation. "In this interpretation, the other characters in the story would not see a man-sized beetle. Instead, they see a man so alienated from reality that he chooses to reject it totally. He is still a man, the same man they saw the previous day, but now he is crawling awkwardly on the floor and squeaking rather than speaking. He would prefer the shame of living as an insect to the hopelessness of living as a man. He would rather live in squalor and eat scraps from the rubbish than deal with the mind-numbing sameness of his life and accept responsibility for changing it. The abhorrence the family displays upon seeing him would still be the same - perhaps it would be even greater if they still just saw a man. They would be forced to accept the situation in the same way; still hoping [http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Gregory_Samsa Gregor] will put himself right before finally admitting the man they knew will never return. As nightmarish as the scenario presented in the book is, maybe the only thing worse than inexplicably transforming into a giant bug overnight is wishing you had" (Archer).<br />
<br />
===Reversal of Roles===<br />
<br />
At the begining Gregory is the one who supports his family. He is bringing home the money while his father sits in his chair and sleeps. This may have "crippled the father's self-esteem because he took over the father's position in the family" (Coulehan). After Gregory's transformation, the roles reversed and the father re-assumes his positon as the provider forthe family. Gregory now becomes weak and his father kills him.<br />
<br />
===Loss of Humanity===<br />
<br />
The theme of humanity is shown in the story by how it is taken away from Gregor. His humanity is slowly taken away from him throughout the story not just by his transformation into a bug. Gregor’s first link to humanity that is taken away was that of him being the bread winner for the family. “Gregors humanity, to the extent that his parents and sister acknowledge it, is inextricably tied to his function as economic provider.” (Rowe). Later in the story more is pulled away when Grete begins taking objects out of his room. This made Gregory reminisce about his human life. “They were clearing his room out, taking everything that was dear to him…”(p.1985). Here the last things that ever tied him to having a human existence were removed. When a person is inflicted with a severe illness it is easy for those around that person to be horrified by that person’s appearance (Rowe). The ill patient can not defend his or herself so the people around do not think about how the patient feels (Rowe). This causes the patient to lose their humanity (Rowe). Gregor is inflicted with a unique illness but the outcome is the same. The most famous occurrence of a patient losing their humanity is that of Terry Schiavo. Everybody had their own opinion of Shiavo’s fate. Schiavo could not defend herself or give her opinion of her fate. That situation was turned into a political circus and ultimately stripped Schiavo of her humanity. Rowe states that <i>The Metamorphosis</i> warns against this treatment of people with illnesses.<br />
<br />
===Materialistic===<br />
<br />
Modern Society is leading us down a path to care more about the material things rather than the things that truly matter. Gregory Samsa, the one person who cared more about his family than money, worked long hours at a job that he disliked not because of his love for the job, but so that his family could have a good life. His family on the other hand was enjoying a work free life. Mankind gets so caught up in the bureaucracy of society that we sometimes forget what what matters most. We get jobs so that we can buy the materialistic things we desire. This need for money and material things can change our mindset and forget what is truly important in our lives. In, The Metamorphosis, Gregory turns into some sort of insect, while this is something that is very dramatic and would be very hard to deal with, Kafka is trying to show how Gregory’s family rejects him, not only because of his appearance but because he can no longer go to work, no longer will his family be able live off the income he generates, no more material things without a little hard work. After the metamorphosis Gregory will no longer be able to fit into society, therefore his family begins to shun him. Not one of his family members ever tries to find out what happened and what could be done to fix it. One by one Gregory’s family members grow further away from him, forgetting all of the selfless deeds he did for all of them.<br />
<br />
===Modern Spirituality===<br />
<br />
Franz Kafka’s ''The Metamorphosis'' goes against what most writers would consider normal writing layout. His style is peculiar in that he places the climax at the beginning of the narrative-instead of at the end. By choosing to write in this fashion, Kafka steers his readers away from the traditional Aristotelian form of narrative (complication and denouncement) and instead creates his own form. ''The Metamorphosis'' is a brilliant novella that replaces the denouncement and conclusions one would normally expect with a form created from itself. <br />
The first line of the novella proclaims Gregory’s death and the rest of the story a description of his slow dying: “As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect” (Bloom 19). Gregory’s metamorphosis is the truth of his life, and his consciousness has lied to him about himself.<br />
<br />
===The Reality of Dreams===<br />
<br />
Franz Kafka’s “The Metamorphosis” was written as perhaps a reflection of his own inner turmoil. His insecurities began with his appearance. As an adult, he never quite grew into his strikingly tall, slender frame: huge eyes framed with thick, dark brows: prominent nose above a melancholy mouth: or his narrow forehead fringed with straight black hair. In fact, his unique looks were a subject of interest to psychologists who felt that his features seemed to fit Kretschmer’s model of the asthenic-schizoid type, which is characterized by a furry crown of hair extending down the forehead: His portrait became sort of a caricature for the model (Baumer 2). Such a categorization made him feel even odder than he already felt. This resulted in his pulling away from the outside world and subsequently plunged him into a loneliness that plagued his entire life. <br />
<br />
Kafka developed a mental illness that grew out of his forced isolation. He spent so much time by himself as a child that he could not fathom everyday life. He lacked the ability to interpret everyday demands and compromises such as those required of a job. Even simple exchanges between two people were a mystery to him. Looking for a way to escape his reality, he began living as though he were in a dream because in his dreams, he could be the person he wished he was. Franz Baumer describes Kafka as:<br />
This charming person who, almost like a saint, like St. Francis, talked to fish, who pronounced himself a dream so as not to have his gross, material appearance disturb the state of sleep he considered far more real, who was always sympathetic in his relations to the world and people, who never lost his smile and could often be very witty, who possessed a strong sense of responsibility and dedication to his job (3).<br />
<br />
It was soon after this realization that he wrote “The Metamorphosis,” which is how he views the life he must escape. He was noted as saying: “The taste for describing my dreamlike inner existence has pushed everything into the background where it has atrophied in a terrifying way and does not cease to atrophy. Nothing else can satisfy me” (Baumer 3). By morphing Gregory into a bug, instead of a happy child, he is giving the reader an image of how he sees himself. <br />
Both Kafka and Gregory are trapped by their daily reality and dreams of freedom, just as both are destined to die a lonely and tortured death through their metamorphosis. Kafka, who always thought in images that have a powerful impact, was first and foremost a poet. “Kafka’s dreamworlds will reveal themselves as realities only to those who dare gaze into the terrifying depths of our age. The dream is only denser reality” (Baumer 11).<br />
<br />
==Characters==<br />
<br />
===Gregory Samsa===<br />
A traveling salesman responsible for providing for his family. His metamorphosis into a insect leaves a stuggle between his human mind and insect needs.<br />
<br />
===Mother===<br />
Gregory's mother seems to be the weakest and hit the hardest by her son’s metamorphosis. The effect of this metamorphosis on her health is terrible. Every time she sees him, she has some sort of panic attack. Gregory’s father and sister try to protect his mother from him.<br />
<br />
===Father===<br />
Gregor's father more less plays the role of dictator in the story and this is due to his hostilities and interpersonal power dynamics in the family, This is evident with passages such as, "His father looked hostile and clenched a fist as if to force Gregory back into his room;" (1973). Some would describe his father as "A slouching, defeated man whose business failure has seemingly sapped his vitality, Gregor's father finds new confidence and better posture once the economic necessity engendered by Gregor's misfortune forces him to work again. His fruit-flinging fit of rage is the catalyst for Gregor's declining health and eventual demise (Lichtenstein). Even though Gregor is the bread-winner and provider of the family, the Samsas are still a patriarch type of family.<br />
<br />
===Grete===<br />
The sister of Gregory Samsa who feeds him and takes care of him.<br />
<br />
===The lodgers===<br />
<br />
==Literary Interpertation==<br />
<br />
==Study Questions==<br />
#What sort of bug does Gregory Samsa change into overnight?<br />
#What is the significance of Gregory's job? How does his job effect his family?<br />
#How does the chief clerk from Gregory's job act towards the Samsa's and in general about the entire situation?<br />
#What two people does Gregory think would be the "strongest" and most able to help get him out of bed in the morning? What do you think that this signifies? <br />
#What family member feeds Gregory after he is changed into a bug?<br />
#What is the outside weather like during the "Metamorphosis"? Does this climate help set the mood at all?<br />
#What type of relationship does Gregory have with his sister Meg? How would you describe it?<br />
#How does Gregory die at the end of "The Metamorphosis"?<br />
<br />
==External Links==<br />
http://www.sparknotes.com/lit/metamorph/<br />
<br />
==Works Cited==<br />
Altshuler, Roman. "GradeSaver: ClassicNote: The Metamorphosis - Major Themes." www.gradesaver.com. 17 April 2006. GradeSaver. 17 April 2006 <http://www.gradesaver.com/classicnotes/titles/metamorphosis/themes.html>.<br />
<br />
Bloom, Harold. “The Metamorphosis”. ''Modern Critical Interpretations''. New York: Chelsea House Publishers, 1988.<br />
<br />
Coulehan, Jack. "The Metamorphosis". Bantam (New York)1997.<br />
<br />
Hughes, Katherine. "Seperate and Alone: Alienation as a Central Theme in Tolstoy's The Death of Ivan Ilyich and Kafka's Metamorphosis." 9 November 2002. 17 April 2006. <http://www.gradesaver.com/classicnotes/titles/metamorphosis/essay1.html><br />
<br />
Fleissner, Robert F. "Is Gregor Samsa a Bed Bug? Kafka and Dickens Revisited." ''Studies in Short Fiction''. Vol. 22, Issue 2 (1985): p 225.<br />
<br />
"Novella". Wikipedia. 11 April 2006. Wikimedia Foundation, Inc. 17 April 2006.<br />
<http://en.wikipedia.org/wiki/Novella>.<br />
<br />
"Kafka's 'The Metamorphosis' ". Ed. Archer, Lincoln. 25 October 2004. [http://www.bbc.co.uk/home/d/ BBC]. 17 April 2006. <br />
<http://www.bbc.co.uk/dna/h2g2/A3023065>.<br />
<br />
Rowe, Michael. "Metamorphosis: Defending the Human." Literature In Medicine. Baltimore: Fall 2002. vol 21, 264-281<br />
<br />
Lichtenstein, Jesse. "SparkNote on The Metamorphosis". 16 April 2006. 17 Apr. 2006. <http://www.sparknotes.com/lit/metamorph/characters.html><br />
<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=The_Metamorphosis&diff=6900The Metamorphosis2006-04-17T17:52:14Z<p>Sdeloach: /* Modern Spirituality */</p>
<hr />
<div>==Summary==<br />
Gregory Samsa is a traveling salesman who financially supports his family. He wakes up in the morning to find out he has been transformed into a Dung Beetle. He is in shock after his reality sets in and tries to figure out how he is going to get to work. Although they try to assimilate the change, his family is horrified and keeps Gregory locked in his room. Gregory eventually dies, leaving his family free.<br />
<br />
==Study Guide==<br />
*[[The Metamorphosis: Chapter 1|Chapter 1]]<br />
*[[The Metamorphosis: Chapter 2|Chapter 2]]<br />
*[[The Metamorphosis: Chapter 3|Chapter 3]]<br />
<br />
===Chapter 1 Summary===<br />
The first chapter of The Metamorphosis is the chapter that Gregory Samsa wakes up to find that he has morphed into a bug. The bug is never truly revealed and Kafka wanted it to be that way. Kafka said that a "concrete image would be too distracting and shut off sympathy" (Fleissner 225), so the true identity of the bug is left up to the reader. <br />
<br />
Gregory's parents worry about him when he has not gotten up to go to work, so his family goes to his room and then Gregory's chief clerk comes to his house to see why Gregory has not come to work. Gregory hears that that the clerk has come to check on him so he tries to make it out of his room by turning the key with his mouth and when he opens door, he frightens his family and the clerk, sending the clerk running and sends his father into a frenzied state to put Gregory back in his room. Gregory’s mother faints when she sees him. His family stays away from him, careful not to disturb him or disturb themselves. Gregory eventually loses his human voice and takes on all appearances and actions of a bug. The chapter ends when “The door was banged to with the stick, and at last there was silence” (1976). This is when Gregory’s father successfully shoves him back to his room away from the rest of the family for the time being. <br />
<br />
===Chapter 3 Summary===<br />
<br />
It has been a month since Gregory’s injury form the apple. He now resembles an “elderly invalid” and has trouble with mobility. Gregory’s parents and sister all have jobs now; his mother works as a seamstress, his father works at the bank and his sister works as a shop assistance. A new maid has also been hired. Gregory spends most of his days and nights sleeping and thinking about his family and his former job. His sister Meg begins spending less time with him and his appetite has begun to deplete. Three lodgers come to stay at his house. While they are there, the door where Gregory can see out of stays shut so he can not see out. One night, Meg plays the violin for the men. The door that is usually shut was left open by the maid and Gregory peeps out. The middle lodger spots him and is grossed out. He gives notice to Gregory’s parents that they will be leaving and that they do not intend to pay for their stay because of the filthy conditions. The next morning, the maid goes in to clean Gregory’s room and finds him dead. She informs his family and they decide to move to a smaller, less expensive apartment. The chapter ends with talk of finding Meg a husband.<br />
<br />
==Major Themes==<br />
<br />
===Alienation===<br />
The theme of alienation plays a major role in the story because Gregory is alienated from his family and society before the metamorphosis occurs and even more so afterwards. Kafka uses the theme of alienation in this story to "comment on the human need to experience love and acceptance" (Hughes). Gregory's mother tells his boss when they first discover that something is wrong, "He's not well, sir, you can take it from me. What else would make him miss his train? Why, the boy thinks of nothing but his work! It makes me quite cross that he never goes out in the evening..." (1970). Before the metamorphosis, Gregory's work is what alienates him from his family and society.<br />
<br />
After the metamorphosis, however, it is his distinct features that alienate him. One example of the alienation is that his family locks him in his bedroom. Gregory is not allowed to be a part of the family. Gregory then has to make the adjustment from being a man in the working world and traveling everyday, to being a prisoner in his own bedroom (Hughes). Another way that Gregory's family alienates him is that when they talk about him, they openly talk about his features in front of him because they think that he cannot understand what they are saying. "If he understood what we said...we might be able to come to an arrangement with him. But as things are..." (1995). They refer to Gregory as "it" rather than by his name. "It has to go...it's the only way, father. You must just try to get out of the habit of thinking that it's Gregory" (1995). In this way, the reader finds out that the family has stopped acknowledging Gregory as their son. The family also treats Gregory like an animal by the way that they feed him. Gregory's sister would bring in scraps from the table that the family wouldn't eat to feed him. "She brought him a whole selection of things, all laid out on an old newspaper, to see what he liked. There were some old half rotten vegetables; the bones from supper, covered with congealed white sauce; some raisins and almonds; a piece of cheese...two days old; a slice of dry bread..." (1978). The family treated him like an animal, rather than their son who got sick and needed his family to look after him.<br />
<br />
===Novella===<br />
Technically a theme, but more of a genre so to speak, that is unknown to most of us present day readers of Kafka is novella. "A novella is a short novel; a narrative work of [http://en.wikipedia.org/wiki/Prose prose] fiction somewhat longer than a short story but shorter than a novel. A common length is about 50 to 100 pages. The extra length is generally used for more character development than is possible in a short story, but without the much greater character and plot development of a novel. Novellas often are characterized by satire or moral teaching" (Wikipedia). <br />
<br />
Satire: This is clearly evident as "[http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Summary The Metamorphosis] is obviously a story about alienation. Gregor's life is dictated by his dead-end job and family responsibilities to the extent that even when he travels to different towns, he prefers to stay in his hotel room studying train timetables rather than experience what the new location has to offer. That isolation is mirrored in his relationship with his family, for whom he is the bread-winner but from whom he locks himself away at night. This alienation becomes so pronounced that, one day, he discovers himself to be literally no longer human. Gregor's earlier sentiment is reciprocated when his family begins locking and bolting the door shut behind him in his room. Late in the story, he briefly considers what it means to be 'human'; if he can be so moved by his sister's music then surely he cannot be an animal. And ultimately, his acceptance that he must go shows an act of genuine humanity" (Archer).<br />
<br />
Moral Teaching: Try interpreting the story without Gregor's transformation. "In this interpretation, the other characters in the story would not see a man-sized beetle. Instead, they see a man so alienated from reality that he chooses to reject it totally. He is still a man, the same man they saw the previous day, but now he is crawling awkwardly on the floor and squeaking rather than speaking. He would prefer the shame of living as an insect to the hopelessness of living as a man. He would rather live in squalor and eat scraps from the rubbish than deal with the mind-numbing sameness of his life and accept responsibility for changing it. The abhorrence the family displays upon seeing him would still be the same - perhaps it would be even greater if they still just saw a man. They would be forced to accept the situation in the same way; still hoping [http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Gregory_Samsa Gregor] will put himself right before finally admitting the man they knew will never return. As nightmarish as the scenario presented in the book is, maybe the only thing worse than inexplicably transforming into a giant bug overnight is wishing you had" (Archer).<br />
<br />
===Reversal of Roles===<br />
<br />
At the begining Gregory is the one who supports his family. He is bringing home the money while his father sits in his chair and sleeps. This may have "crippled the father's self-esteem because he took over the father's position in the family" (Coulehan). After Gregory's transformation, the roles reversed and the father re-assumes his positon as the provider forthe family. Gregory now becomes weak and his father kills him.<br />
<br />
===Loss of Humanity===<br />
<br />
The theme of humanity is shown in the story by how it is taken away from Gregor. His humanity is slowly taken away from him throughout the story not just by his transformation into a bug. Gregor’s first link to humanity that is taken away was that of him being the bread winner for the family. “Gregors humanity, to the extent that his parents and sister acknowledge it, is inextricably tied to his function as economic provider.” (Rowe). Later in the story more is pulled away when Grete begins taking objects out of his room. This made Gregory reminisce about his human life. “They were clearing his room out, taking everything that was dear to him…”(p.1985). Here the last things that ever tied him to having a human existence were removed. When a person is inflicted with a severe illness it is easy for those around that person to be horrified by that person’s appearance (Rowe). The ill patient can not defend his or herself so the people around do not think about how the patient feels (Rowe). This causes the patient to lose their humanity (Rowe). Gregor is inflicted with a unique illness but the outcome is the same. The most famous occurrence of a patient losing their humanity is that of Terry Schiavo. Everybody had their own opinion of Shiavo’s fate. Schiavo could not defend herself or give her opinion of her fate. That situation was turned into a political circus and ultimately stripped Schiavo of her humanity. Rowe states that <i>The Metamorphosis</i> warns against this treatment of people with illnesses.<br />
<br />
===Materialistic===<br />
<br />
Modern Society is leading us down a path to care more about the material things rather than the things that truly matter. Gregory Samsa, the one person who cared more about his family than money, worked long hours at a job that he disliked not because of his love for the job, but so that his family could have a good life. His family on the other hand was enjoying a work free life. Mankind gets so caught up in the bureaucracy of society that we sometimes forget what what matters most. We get jobs so that we can buy the materialistic things we desire. This need for money and material things can change our mindset and forget what is truly important in our lives. In, The Metamorphosis, Gregory turns into some sort of insect, while this is something that is very dramatic and would be very hard to deal with, Kafka is trying to show how Gregory’s family rejects him, not only because of his appearance but because he can no longer go to work, no longer will his family be able live off the income he generates, no more material things without a little hard work. After the metamorphosis Gregory will no longer be able to fit into society, therefore his family begins to shun him. Not one of his family members ever tries to find out what happened and what could be done to fix it. One by one Gregory’s family members grow further away from him, forgetting all of the selfless deeds he did for all of them.<br />
<br />
===Modern Spirituality===<br />
<br />
Franz Kafka’s ''The Metamorphosis'' goes against what most writers would consider normal writing layout. His style is peculiar in that he places the climax at the beginning of the narrative-instead of at the end. By choosing to write in this fashion, Kafka steers his readers away from the traditional Aristotelian form of narrative (complication and denouncement) and instead creates his own form. ''The Metamorphosis'' is a brilliant novella that replaces the denouncement and conclusions one would normally expect with a form created from itself. <br />
The first line of the novella proclaims Gregory’s death and the rest of the story a description of his slow dying: “As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect” (Bloom 19). Gregory’s metamorphosis is the truth of his life, and his consciousness has lied to him about himself.<br />
<br />
==Characters==<br />
<br />
===Gregory Samsa===<br />
A traveling salesman responsible for providing for his family. His metamorphosis into a insect leaves a stuggle between his human mind and insect needs.<br />
<br />
===Mother===<br />
Gregory's mother seems to be the weakest and hit the hardest by her son’s metamorphosis. The effect of this metamorphosis on her health is terrible. Every time she sees him, she has some sort of panic attack. Gregory’s father and sister try to protect his mother from him.<br />
<br />
===Father===<br />
<br />
===Grete===<br />
The sister of Gregory Samsa who feeds him and takes care of him.<br />
<br />
==Study Questions==<br />
#What sort of bug does Gregory Samsa change into overnight?<br />
#What is the significance of Gregory's job? How does his job effect his family?<br />
#How does the chief clerk from Gregory's job act towards the Samsa's and in general about the entire situation?<br />
#What two people does Gregory think would be the "strongest" and most able to help get him out of bed in the morning? What do you think that this signifies? <br />
#What family member feeds Gregory after he is changed into a bug?<br />
#What is the outside weather like during the "Metamorphosis"? Does this climate help set the mood at all?<br />
#What type of relationship does Gregory have with his sister Meg? How would you describe it?<br />
#How does Gregory die at the end of "The Metamorphosis"?<br />
<br />
==External Links==<br />
http://www.sparknotes.com/lit/metamorph/<br />
<br />
==Works Cited==<br />
<br />
Bloom, Harold. “The Metamorphosis”. ''Modern Critical Interpretations''. New York: Chelsea House Publishers, 1988.<br />
<br />
Coulehan, Jack. "The Metamorphosis". Bantam (New York)1997.<br />
<br />
Hughes, Katherine. "Seperate and Alone: Alienation as a Central Theme in Tolstoy's The Death of Ivan Ilyich and Kafka's Metamorphosis." 9 November 2002. 17 April 2006. <http://www.gradesaver.com/classicnotes/titles/metamorphosis/essay1.html><br />
<br />
Fleissner, Robert F. "Is Gregor Samsa a Bed Bug? Kafka and Dickens Revisited." ''Studies in Short Fiction''. Vol. 22, Issue 2 (1985): p 225.<br />
<br />
"Novella". Wikipedia. 11 April 2006. Wikimedia Foundation, Inc. 17 April 2006.<br />
<http://en.wikipedia.org/wiki/Novella>.<br />
<br />
"Kafka's 'The Metamorphosis' ". Ed. Archer, Lincoln. 25 October 2004. [http://www.bbc.co.uk/home/d/ BBC]. 17 April 2006. <br />
<http://www.bbc.co.uk/dna/h2g2/A3023065>.<br />
<br />
Rowe, Michael. "Metamorphosis: Defending the Human." Literature In Medicine. Baltimore: Fall 2002. vol 21, 264-281<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=The_Metamorphosis&diff=6899The Metamorphosis2006-04-17T17:47:26Z<p>Sdeloach: /* Works Cited */</p>
<hr />
<div>==Summary==<br />
Gregory Samsa is a traveling salesman who financially supports his family. He wakes up in the morning to find out he has been transformed into a Dung Beetle. He is in shock after his reality sets in and tries to figure out how he is going to get to work. Although they try to assimilate the change, his family is horrified and keeps Gregory locked in his room. Gregory eventually dies, leaving his family free.<br />
<br />
==Study Guide==<br />
*[[The Metamorphosis: Chapter 1|Chapter 1]]<br />
*[[The Metamorphosis: Chapter 2|Chapter 2]]<br />
*[[The Metamorphosis: Chapter 3|Chapter 3]]<br />
<br />
===Chapter 1 Summary===<br />
The first chapter of The Metamorphosis is the chapter that Gregory Samsa wakes up to find that he has morphed into a bug. The bug is never truly revealed and Kafka wanted it to be that way. Kafka said that a "concrete image would be too distracting and shut off sympathy" (Fleissner 225), so the true identity of the bug is left up to the reader. <br />
<br />
Gregory's parents worry about him when he has not gotten up to go to work, so his family goes to his room and then Gregory's chief clerk comes to his house to see why Gregory has not come to work. Gregory hears that that the clerk has come to check on him so he tries to make it out of his room by turning the key with his mouth and when he opens door, he frightens his family and the clerk, sending the clerk running and sends his father into a frenzied state to put Gregory back in his room. Gregory’s mother faints when she sees him. His family stays away from him, careful not to disturb him or disturb themselves. Gregory eventually loses his human voice and takes on all appearances and actions of a bug. The chapter ends when “The door was banged to with the stick, and at last there was silence” (1976). This is when Gregory’s father successfully shoves him back to his room away from the rest of the family for the time being. <br />
<br />
===Chapter 3 Summary===<br />
<br />
It has been a month since Gregory’s injury form the apple. He now resembles an “elderly invalid” and has trouble with mobility. Gregory’s parents and sister all have jobs now; his mother works as a seamstress, his father works at the bank and his sister works as a shop assistance. A new maid has also been hired. Gregory spends most of his days and nights sleeping and thinking about his family and his former job. His sister Meg begins spending less time with him and his appetite has begun to deplete. Three lodgers come to stay at his house. While they are there, the door where Gregory can see out of stays shut so he can not see out. One night, Meg plays the violin for the men. The door that is usually shut was left open by the maid and Gregory peeps out. The middle lodger spots him and is grossed out. He gives notice to Gregory’s parents that they will be leaving and that they do not intend to pay for their stay because of the filthy conditions. The next morning, the maid goes in to clean Gregory’s room and finds him dead. She informs his family and they decide to move to a smaller, less expensive apartment. The chapter ends with talk of finding Meg a husband.<br />
<br />
==Major Themes==<br />
<br />
===Alienation===<br />
The theme of alienation plays a major role in the story because Gregory is alienated from his family and society before the metamorphosis occurs and even more so afterwards. Kafka uses the theme of alienation in this story to "comment on the human need to experience love and acceptance" (Hughes). Gregory's mother tells his boss when they first discover that something is wrong, "He's not well, sir, you can take it from me. What else would make him miss his train? Why, the boy thinks of nothing but his work! It makes me quite cross that he never goes out in the evening..." (1970). Before the metamorphosis, Gregory's work is what alienates him from his family and society.<br />
<br />
After the metamorphosis, however, it is his distinct features that alienate him. One example of the alienation is that his family locks him in his bedroom. Gregory is not allowed to be a part of the family. Gregory then has to make the adjustment from being a man in the working world and traveling everyday, to being a prisoner in his own bedroom (Hughes). Another way that Gregory's family alienates him is that when they talk about him, they openly talk about his features in front of him because they think that he cannot understand what they are saying. "If he understood what we said...we might be able to come to an arrangement with him. But as things are..." (1995). They refer to Gregory as "it" rather than by his name. "It has to go...it's the only way, father. You must just try to get out of the habit of thinking that it's Gregory" (1995). In this way, the reader finds out that the family has stopped acknowledging Gregory as their son. The family also treats Gregory like an animal by the way that they feed him. Gregory's sister would bring in scraps from the table that the family wouldn't eat to feed him. "She brought him a whole selection of things, all laid out on an old newspaper, to see what he liked. There were some old half rotten vegetables; the bones from supper, covered with congealed white sauce; some raisins and almonds; a piece of cheese...two days old; a slice of dry bread..." (1978). The family treated him like an animal, rather than their son who got sick and needed his family to look after him.<br />
<br />
===Novella===<br />
Technically a theme, but more of a genre so to speak, that is unknown to most of us present day readers of Kafka is novella. "A novella is a short novel; a narrative work of [http://en.wikipedia.org/wiki/Prose prose] fiction somewhat longer than a short story but shorter than a novel. A common length is about 50 to 100 pages. The extra length is generally used for more character development than is possible in a short story, but without the much greater character and plot development of a novel. Novellas often are characterized by satire or moral teaching" (Wikipedia). <br />
<br />
Satire: This is clearly evident as "[http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Summary The Metamorphosis] is obviously a story about alienation. Gregor's life is dictated by his dead-end job and family responsibilities to the extent that even when he travels to different towns, he prefers to stay in his hotel room studying train timetables rather than experience what the new location has to offer. That isolation is mirrored in his relationship with his family, for whom he is the bread-winner but from whom he locks himself away at night. This alienation becomes so pronounced that, one day, he discovers himself to be literally no longer human. Gregor's earlier sentiment is reciprocated when his family begins locking and bolting the door shut behind him in his room. Late in the story, he briefly considers what it means to be 'human'; if he can be so moved by his sister's music then surely he cannot be an animal. And ultimately, his acceptance that he must go shows an act of genuine humanity" (Archer).<br />
<br />
Moral Teaching: Try interpreting the story without Gregor's transformation. "In this interpretation, the other characters in the story would not see a man-sized beetle. Instead, they see a man so alienated from reality that he chooses to reject it totally. He is still a man, the same man they saw the previous day, but now he is crawling awkwardly on the floor and squeaking rather than speaking. He would prefer the shame of living as an insect to the hopelessness of living as a man. He would rather live in squalor and eat scraps from the rubbish than deal with the mind-numbing sameness of his life and accept responsibility for changing it. The abhorrence the family displays upon seeing him would still be the same - perhaps it would be even greater if they still just saw a man. They would be forced to accept the situation in the same way; still hoping [http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Gregory_Samsa Gregor] will put himself right before finally admitting the man they knew will never return. As nightmarish as the scenario presented in the book is, maybe the only thing worse than inexplicably transforming into a giant bug overnight is wishing you had" (Archer).<br />
<br />
===Reversal of Roles===<br />
<br />
At the begining Gregory is the one who supports his family. He is bringing home the money while his father sits in his chair and sleeps. This may have "crippled the father's self-esteem because he took over the father's position in the family" (Coulehan). After Gregory's transformation, the roles reversed and the father re-assumes his positon as the provider forthe family. Gregory now becomes weak and his father kills him.<br />
<br />
===Loss of Humanity===<br />
<br />
The theme of humanity is shown in the story by how it is taken away from Gregor. His humanity is slowly taken away from him throughout the story not just by his transformation into a bug. Gregor’s first link to humanity that is taken away was that of him being the bread winner for the family. “Gregors humanity, to the extent that his parents and sister acknowledge it, is inextricably tied to his function as economic provider.” (Rowe). Later in the story more is pulled away when Grete begins taking objects out of his room. This made Gregory reminisce about his human life. “They were clearing his room out, taking everything that was dear to him…”(p.1985). Here the last things that ever tied him to having a human existence were removed. When a person is inflicted with a severe illness it is easy for those around that person to be horrified by that person’s appearance (Rowe). The ill patient can not defend his or herself so the people around do not think about how the patient feels (Rowe). This causes the patient to lose their humanity (Rowe). Gregor is inflicted with a unique illness but the outcome is the same. The most famous occurrence of a patient losing their humanity is that of Terry Schiavo. Everybody had their own opinion of Shiavo’s fate. Schiavo could not defend herself or give her opinion of her fate. That situation was turned into a political circus and ultimately stripped Schiavo of her humanity. Rowe states that <i>The Metamorphosis</i> warns against this treatment of people with illnesses.<br />
<br />
===Materialistic===<br />
<br />
Modern Society is leading us down a path to care more about the material things rather than the things that truly matter. Gregory Samsa, the one person who cared more about his family than money, worked long hours at a job that he disliked not because of his love for the job, but so that his family could have a good life. His family on the other hand was enjoying a work free life. Mankind gets so caught up in the bureaucracy of society that we sometimes forget what what matters most. We get jobs so that we can buy the materialistic things we desire. This need for money and material things can change our mindset and forget what is truly important in our lives. In, The Metamorphosis, Gregory turns into some sort of insect, while this is something that is very dramatic and would be very hard to deal with, Kafka is trying to show how Gregory’s family rejects him, not only because of his appearance but because he can no longer go to work, no longer will his family be able live off the income he generates, no more material things without a little hard work. After the metamorphosis Gregory will no longer be able to fit into society, therefore his family begins to shun him. Not one of his family members ever tries to find out what happened and what could be done to fix it. One by one Gregory’s family members grow further away from him, forgetting all of the selfless deeds he did for all of them.<br />
<br />
===Modern Spirituality===<br />
<br />
Franz Kafka’s Metamorphosis goes against what most writers would consider normal writing layout. His style is peculiar in that he places the climax at the beginning of the narrative-instead of at the end. By choosing to write in this fashion, Kafka steers his readers away from the traditional Aristotelian form of narrative (complication and denouncement) and instead creates his own form. The Metamorphosis is a brilliant novella that replaces the denouncement and conclusions one would normally expect with a form created from itself. <br />
The first line of the novella proclaims Gregory’s death and the rest of the story a description of his slow dying: “As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect” (Bloom 19). Gregory’s metamorphosis is the truth of his life, and his consciousness has lied to him about himself.<br />
<br />
==Characters==<br />
<br />
===Gregory Samsa===<br />
A traveling salesman responsible for providing for his family. His metamorphosis into a insect leaves a stuggle between his human mind and insect needs.<br />
<br />
===Mother===<br />
Gregory's mother seems to be the weakest and hit the hardest by her son’s metamorphosis. The effect of this metamorphosis on her health is terrible. Every time she sees him, she has some sort of panic attack. Gregory’s father and sister try to protect his mother from him.<br />
<br />
===Father===<br />
<br />
===Grete===<br />
The sister of Gregory Samsa who feeds him and takes care of him.<br />
<br />
==Study Questions==<br />
#What sort of bug does Gregory Samsa change into overnight?<br />
#What is the significance of Gregory's job? How does his job effect his family?<br />
#How does the chief clerk from Gregory's job act towards the Samsa's and in general about the entire situation?<br />
#What two people does Gregory think would be the "strongest" and most able to help get him out of bed in the morning? What do you think that this signifies? <br />
#What family member feeds Gregory after he is changed into a bug?<br />
#What is the outside weather like during the "Metamorphosis"? Does this climate help set the mood at all?<br />
#What type of relationship does Gregory have with his sister Meg? How would you describe it?<br />
#How does Gregory die at the end of "The Metamorphosis"?<br />
<br />
==External Links==<br />
http://www.sparknotes.com/lit/metamorph/<br />
<br />
==Works Cited==<br />
<br />
Bloom, Harold. “The Metamorphosis”. ''Modern Critical Interpretations''. New York: Chelsea House Publishers, 1988.<br />
<br />
Coulehan, Jack. "The Metamorphosis". Bantam (New York)1997.<br />
<br />
Hughes, Katherine. "Seperate and Alone: Alienation as a Central Theme in Tolstoy's The Death of Ivan Ilyich and Kafka's Metamorphosis." 9 November 2002. 17 April 2006. <http://www.gradesaver.com/classicnotes/titles/metamorphosis/essay1.html><br />
<br />
Fleissner, Robert F. "Is Gregor Samsa a Bed Bug? Kafka and Dickens Revisited." ''Studies in Short Fiction''. Vol. 22, Issue 2 (1985): p 225.<br />
<br />
"Novella". Wikipedia. 11 April 2006. Wikimedia Foundation, Inc. 17 April 2006.<br />
<http://en.wikipedia.org/wiki/Novella>.<br />
<br />
"Kafka's 'The Metamorphosis' ". Ed. Archer, Lincoln. 25 October 2004. [http://www.bbc.co.uk/home/d/ BBC]. 17 April 2006. <br />
<http://www.bbc.co.uk/dna/h2g2/A3023065>.<br />
<br />
Rowe, Michael. "Metamorphosis: Defending the Human." Literature In Medicine. Baltimore: Fall 2002. vol 21, 264-281<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=The_Metamorphosis&diff=6898The Metamorphosis2006-04-17T17:46:23Z<p>Sdeloach: /* Major Themes */</p>
<hr />
<div>==Summary==<br />
Gregory Samsa is a traveling salesman who financially supports his family. He wakes up in the morning to find out he has been transformed into a Dung Beetle. He is in shock after his reality sets in and tries to figure out how he is going to get to work. Although they try to assimilate the change, his family is horrified and keeps Gregory locked in his room. Gregory eventually dies, leaving his family free.<br />
<br />
==Study Guide==<br />
*[[The Metamorphosis: Chapter 1|Chapter 1]]<br />
*[[The Metamorphosis: Chapter 2|Chapter 2]]<br />
*[[The Metamorphosis: Chapter 3|Chapter 3]]<br />
<br />
===Chapter 1 Summary===<br />
The first chapter of The Metamorphosis is the chapter that Gregory Samsa wakes up to find that he has morphed into a bug. The bug is never truly revealed and Kafka wanted it to be that way. Kafka said that a "concrete image would be too distracting and shut off sympathy" (Fleissner 225), so the true identity of the bug is left up to the reader. <br />
<br />
Gregory's parents worry about him when he has not gotten up to go to work, so his family goes to his room and then Gregory's chief clerk comes to his house to see why Gregory has not come to work. Gregory hears that that the clerk has come to check on him so he tries to make it out of his room by turning the key with his mouth and when he opens door, he frightens his family and the clerk, sending the clerk running and sends his father into a frenzied state to put Gregory back in his room. Gregory’s mother faints when she sees him. His family stays away from him, careful not to disturb him or disturb themselves. Gregory eventually loses his human voice and takes on all appearances and actions of a bug. The chapter ends when “The door was banged to with the stick, and at last there was silence” (1976). This is when Gregory’s father successfully shoves him back to his room away from the rest of the family for the time being. <br />
<br />
===Chapter 3 Summary===<br />
<br />
It has been a month since Gregory’s injury form the apple. He now resembles an “elderly invalid” and has trouble with mobility. Gregory’s parents and sister all have jobs now; his mother works as a seamstress, his father works at the bank and his sister works as a shop assistance. A new maid has also been hired. Gregory spends most of his days and nights sleeping and thinking about his family and his former job. His sister Meg begins spending less time with him and his appetite has begun to deplete. Three lodgers come to stay at his house. While they are there, the door where Gregory can see out of stays shut so he can not see out. One night, Meg plays the violin for the men. The door that is usually shut was left open by the maid and Gregory peeps out. The middle lodger spots him and is grossed out. He gives notice to Gregory’s parents that they will be leaving and that they do not intend to pay for their stay because of the filthy conditions. The next morning, the maid goes in to clean Gregory’s room and finds him dead. She informs his family and they decide to move to a smaller, less expensive apartment. The chapter ends with talk of finding Meg a husband.<br />
<br />
==Major Themes==<br />
<br />
===Alienation===<br />
The theme of alienation plays a major role in the story because Gregory is alienated from his family and society before the metamorphosis occurs and even more so afterwards. Kafka uses the theme of alienation in this story to "comment on the human need to experience love and acceptance" (Hughes). Gregory's mother tells his boss when they first discover that something is wrong, "He's not well, sir, you can take it from me. What else would make him miss his train? Why, the boy thinks of nothing but his work! It makes me quite cross that he never goes out in the evening..." (1970). Before the metamorphosis, Gregory's work is what alienates him from his family and society.<br />
<br />
After the metamorphosis, however, it is his distinct features that alienate him. One example of the alienation is that his family locks him in his bedroom. Gregory is not allowed to be a part of the family. Gregory then has to make the adjustment from being a man in the working world and traveling everyday, to being a prisoner in his own bedroom (Hughes). Another way that Gregory's family alienates him is that when they talk about him, they openly talk about his features in front of him because they think that he cannot understand what they are saying. "If he understood what we said...we might be able to come to an arrangement with him. But as things are..." (1995). They refer to Gregory as "it" rather than by his name. "It has to go...it's the only way, father. You must just try to get out of the habit of thinking that it's Gregory" (1995). In this way, the reader finds out that the family has stopped acknowledging Gregory as their son. The family also treats Gregory like an animal by the way that they feed him. Gregory's sister would bring in scraps from the table that the family wouldn't eat to feed him. "She brought him a whole selection of things, all laid out on an old newspaper, to see what he liked. There were some old half rotten vegetables; the bones from supper, covered with congealed white sauce; some raisins and almonds; a piece of cheese...two days old; a slice of dry bread..." (1978). The family treated him like an animal, rather than their son who got sick and needed his family to look after him.<br />
<br />
===Novella===<br />
Technically a theme, but more of a genre so to speak, that is unknown to most of us present day readers of Kafka is novella. "A novella is a short novel; a narrative work of [http://en.wikipedia.org/wiki/Prose prose] fiction somewhat longer than a short story but shorter than a novel. A common length is about 50 to 100 pages. The extra length is generally used for more character development than is possible in a short story, but without the much greater character and plot development of a novel. Novellas often are characterized by satire or moral teaching" (Wikipedia). <br />
<br />
Satire: This is clearly evident as "[http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Summary The Metamorphosis] is obviously a story about alienation. Gregor's life is dictated by his dead-end job and family responsibilities to the extent that even when he travels to different towns, he prefers to stay in his hotel room studying train timetables rather than experience what the new location has to offer. That isolation is mirrored in his relationship with his family, for whom he is the bread-winner but from whom he locks himself away at night. This alienation becomes so pronounced that, one day, he discovers himself to be literally no longer human. Gregor's earlier sentiment is reciprocated when his family begins locking and bolting the door shut behind him in his room. Late in the story, he briefly considers what it means to be 'human'; if he can be so moved by his sister's music then surely he cannot be an animal. And ultimately, his acceptance that he must go shows an act of genuine humanity" (Archer).<br />
<br />
Moral Teaching: Try interpreting the story without Gregor's transformation. "In this interpretation, the other characters in the story would not see a man-sized beetle. Instead, they see a man so alienated from reality that he chooses to reject it totally. He is still a man, the same man they saw the previous day, but now he is crawling awkwardly on the floor and squeaking rather than speaking. He would prefer the shame of living as an insect to the hopelessness of living as a man. He would rather live in squalor and eat scraps from the rubbish than deal with the mind-numbing sameness of his life and accept responsibility for changing it. The abhorrence the family displays upon seeing him would still be the same - perhaps it would be even greater if they still just saw a man. They would be forced to accept the situation in the same way; still hoping [http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Gregory_Samsa Gregor] will put himself right before finally admitting the man they knew will never return. As nightmarish as the scenario presented in the book is, maybe the only thing worse than inexplicably transforming into a giant bug overnight is wishing you had" (Archer).<br />
<br />
===Reversal of Roles===<br />
<br />
At the begining Gregory is the one who supports his family. He is bringing home the money while his father sits in his chair and sleeps. This may have "crippled the father's self-esteem because he took over the father's position in the family" (Coulehan). After Gregory's transformation, the roles reversed and the father re-assumes his positon as the provider forthe family. Gregory now becomes weak and his father kills him.<br />
<br />
===Loss of Humanity===<br />
<br />
The theme of humanity is shown in the story by how it is taken away from Gregor. His humanity is slowly taken away from him throughout the story not just by his transformation into a bug. Gregor’s first link to humanity that is taken away was that of him being the bread winner for the family. “Gregors humanity, to the extent that his parents and sister acknowledge it, is inextricably tied to his function as economic provider.” (Rowe). Later in the story more is pulled away when Grete begins taking objects out of his room. This made Gregory reminisce about his human life. “They were clearing his room out, taking everything that was dear to him…”(p.1985). Here the last things that ever tied him to having a human existence were removed. When a person is inflicted with a severe illness it is easy for those around that person to be horrified by that person’s appearance (Rowe). The ill patient can not defend his or herself so the people around do not think about how the patient feels (Rowe). This causes the patient to lose their humanity (Rowe). Gregor is inflicted with a unique illness but the outcome is the same. The most famous occurrence of a patient losing their humanity is that of Terry Schiavo. Everybody had their own opinion of Shiavo’s fate. Schiavo could not defend herself or give her opinion of her fate. That situation was turned into a political circus and ultimately stripped Schiavo of her humanity. Rowe states that <i>The Metamorphosis</i> warns against this treatment of people with illnesses.<br />
<br />
===Materialistic===<br />
<br />
Modern Society is leading us down a path to care more about the material things rather than the things that truly matter. Gregory Samsa, the one person who cared more about his family than money, worked long hours at a job that he disliked not because of his love for the job, but so that his family could have a good life. His family on the other hand was enjoying a work free life. Mankind gets so caught up in the bureaucracy of society that we sometimes forget what what matters most. We get jobs so that we can buy the materialistic things we desire. This need for money and material things can change our mindset and forget what is truly important in our lives. In, The Metamorphosis, Gregory turns into some sort of insect, while this is something that is very dramatic and would be very hard to deal with, Kafka is trying to show how Gregory’s family rejects him, not only because of his appearance but because he can no longer go to work, no longer will his family be able live off the income he generates, no more material things without a little hard work. After the metamorphosis Gregory will no longer be able to fit into society, therefore his family begins to shun him. Not one of his family members ever tries to find out what happened and what could be done to fix it. One by one Gregory’s family members grow further away from him, forgetting all of the selfless deeds he did for all of them.<br />
<br />
===Modern Spirituality===<br />
<br />
Franz Kafka’s Metamorphosis goes against what most writers would consider normal writing layout. His style is peculiar in that he places the climax at the beginning of the narrative-instead of at the end. By choosing to write in this fashion, Kafka steers his readers away from the traditional Aristotelian form of narrative (complication and denouncement) and instead creates his own form. The Metamorphosis is a brilliant novella that replaces the denouncement and conclusions one would normally expect with a form created from itself. <br />
The first line of the novella proclaims Gregory’s death and the rest of the story a description of his slow dying: “As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect” (Bloom 19). Gregory’s metamorphosis is the truth of his life, and his consciousness has lied to him about himself.<br />
<br />
==Characters==<br />
<br />
===Gregory Samsa===<br />
A traveling salesman responsible for providing for his family. His metamorphosis into a insect leaves a stuggle between his human mind and insect needs.<br />
<br />
===Mother===<br />
Gregory's mother seems to be the weakest and hit the hardest by her son’s metamorphosis. The effect of this metamorphosis on her health is terrible. Every time she sees him, she has some sort of panic attack. Gregory’s father and sister try to protect his mother from him.<br />
<br />
===Father===<br />
<br />
===Grete===<br />
The sister of Gregory Samsa who feeds him and takes care of him.<br />
<br />
==Study Questions==<br />
#What sort of bug does Gregory Samsa change into overnight?<br />
#What is the significance of Gregory's job? How does his job effect his family?<br />
#How does the chief clerk from Gregory's job act towards the Samsa's and in general about the entire situation?<br />
#What two people does Gregory think would be the "strongest" and most able to help get him out of bed in the morning? What do you think that this signifies? <br />
#What family member feeds Gregory after he is changed into a bug?<br />
#What is the outside weather like during the "Metamorphosis"? Does this climate help set the mood at all?<br />
#What type of relationship does Gregory have with his sister Meg? How would you describe it?<br />
#How does Gregory die at the end of "The Metamorphosis"?<br />
<br />
==External Links==<br />
http://www.sparknotes.com/lit/metamorph/<br />
<br />
==Works Cited==<br />
<br />
Coulehan, Jack. "The Metamorphosis". Bantam (New York)1997.<br />
<br />
Hughes, Katherine. "Seperate and Alone: Alienation as a Central Theme in Tolstoy's The Death of Ivan Ilyich and Kafka's Metamorphosis." 9 November 2002. 17 April 2006. <http://www.gradesaver.com/classicnotes/titles/metamorphosis/essay1.html><br />
<br />
Fleissner, Robert F. "Is Gregor Samsa a Bed Bug? Kafka and Dickens Revisited." ''Studies in Short Fiction''. Vol. 22, Issue 2 (1985): p 225.<br />
<br />
"Novella". Wikipedia. 11 April 2006. Wikimedia Foundation, Inc. 17 April 2006.<br />
<http://en.wikipedia.org/wiki/Novella>.<br />
<br />
"Kafka's 'The Metamorphosis' ". Ed. Archer, Lincoln. 25 October 2004. [http://www.bbc.co.uk/home/d/ BBC]. 17 April 2006. <br />
<http://www.bbc.co.uk/dna/h2g2/A3023065>.<br />
<br />
Rowe, Michael. "Metamorphosis: Defending the Human." Literature In Medicine. Baltimore: Fall 2002. vol 21, 264-281<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=The_Metamorphosis&diff=6858The Metamorphosis2006-04-17T16:37:51Z<p>Sdeloach: /* Summary */</p>
<hr />
<div>==Summary==<br />
Gregory Samsa is a traveling salesman who financially supports his family. He wakes up in the morning to find out he has been transformed into a Dung Beetle. He is in shock after his reality sets in and tries to figure out how he is going to get to work. Although they try to assimilate the change, his family is horrified and keeps Gregory locked in his room. Gregory eventually dies, leaving his family free.<br />
<br />
==Study Guide==<br />
*[[The Metamorphosis: Chapter 1|Chapter 1]]<br />
*[[The Metamorphosis: Chapter 2|Chapter 2]]<br />
*[[The Metamorphosis: Chapter 3|Chapter 3]]<br />
<br />
==Major Themes==<br />
<br />
==Characters==<br />
<br />
===Gregory Samsa===<br />
A traveling salesman responsible for providing for his family. His metamorphosis into a insect leaves a stuggle between his human mind and insect needs.<br />
<br />
===Mother===<br />
<br />
===Father===<br />
<br />
===Grete===<br />
<br />
==Study Questions==<br />
<br />
==External Links==<br />
<br />
==Works Cited==<br />
<br />
<br />
<br />
<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Mallarme&diff=8990Mallarme2006-04-09T18:28:26Z<p>Sdeloach: </p>
<hr />
<div>[http://www.studiocleo.com/librarie/mallarme/mallarme.html Stéphane Mallarmé] (stāfän' mälärmā'), was born Etienne Mallarmé on March 18, 1842 in Paris, France. Although he was expected to follow in the footsteps of his father and grandfather and join the French civil service, he chose to focus on writing poetry instead. His first attempts at writing were done under the influence of [http://www.lucidcafe.com/library/96feb/hugo.html Victor Hugo]; however, it was not until he came across [http://encarta.msn.com/encyclopedia_761571267/Baudelaire.html Charles Baudelaire’s] influential piece [http://fleursdumal.org/toc_1857.php''The Flowers of Evil''] at the age of nineteen that he wrote the Briese Marine, starting with the much quoted line "<em>Le chair est triste, hélas! et j'ai lu tous les livres</em>". His poetry began to appear in magazines shortly after its completion. Soon after, Stepahane left school to visit England, which is also where he met his future wife, [http://www.alliancefr.com/culture/mallarme/mallarme2.gif Marie Gerhard]. Mallarme then went on to teach English from 1864 in Tournon, Besancon, Avignon, and Paris until his retirement in 1893.<br />
<br />
Mallarmé was widely known for being the leader of the Symbolist movement with [http://www.littlebluelight.com/lblphp/intro.php?ikey=29 Paul Verlaine;]He was also known for being the center of a group of French writers in Paris along with the likes of [http://nobelprize.org/literature/laureates/1947/gide-bio.html Gide], [http://www.kalin.lm.com/valery.html Valery], and [http://www.library.uiuc.edu/kolbp/proust.html Proust]. In fact, Mallarmé’s idea on poetry and art were considered difficult and obscure; furthermore, he challenged his readers by seeking out the long-forgotten meanings of common words and used these instead of standard convention. According to Mallarmé’s theories, “Nothing lies beyond reality, but within this nothingness lies the essence of perfect forms. It is the task of the poet to reveal and crystallize these essences,” and that “You don’t make a poem with ideas, but with words” ("Stéphane"). Naturally this roused a hostility that followed him throughout his poetic career. Even though he faced many obstacles, Mallarmé still managed to publish numerous pieces including [http://www.studiocleo.com/librarie/mallarme/mallarme.html''The Afternoon of a Faun''],[http://www.geocities.com/rrobbins.geo/mallarme.htm''The Clown Chastised'',]and [http://www.geocities.com/rrobbins.geo/mallarme.htm''The Virginal Vibrant and Beautiful Dawn'']. <br />
<br />
Mallarmé spent most of his life trying to perfect his work; therefore, he had many great pieces left unfinished. His sole focus was to continue putting his literary theories into practice and complete a piece called ''Grand Oeuvre'', or Great Work. Unfortunately he died before reaching his goal: He passed away on September 9, 1898 at the age of 56. However, he will always be known for influencing twentieth century French poetry, and for modernizing German and American poetry.<br />
<br />
==Themes==<br />
Absence<br />
<br />
Silence<br />
<br />
Abstract<br />
<br />
Purifying Language<br />
<br />
==Questions To Think About==<br />
1. In Mallarme's "Saint", what is the significance of the viol?<br />
<br />
2. Why does Mallarme make refernces to the sandalwood window frame in "Saint"? Also, what is the significance of the sandalwood?<br />
<br />
3. Why would Mallarme refer to the "musician of silences" in the last line of "Saint"? Who is the musician of silences?<br />
<br />
4. What is the purpose of the reference to "Seraphim" in "The Tomb of Edgar Poe"?<br />
<br />
5. Why does Mallarme describe Poe's death as being triumphant?<br />
<br />
6. Why would Poe's blasphemy be "hurled to the future"(1565)?<br />
<br />
7. What is the faun literally doing in Mallarme's "Afternoon of the Faun"?<br />
<br />
8. Did the faun actually have an encounter or experience with the nymph's, or was it all just a dream?</div>Sdeloachhttps://litwiki.org/index.php?title=Notes_from_Underground&diff=6904Notes from Underground2006-03-29T12:27:44Z<p>Sdeloach: /* The Human Mind According to Freud */</p>
<hr />
<div>:"What sort of Crystal Palace would it be if any sort of doubt were allowed?" —the Underground Man<br />
<br />
''Notes from Underground'' written by [[Fyodor Dostoyevsky]].<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Notes''.<br />
<br />
=== Notes from Underground, Part 1===<br />
#[[Notes from Underground: Part 1, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 1, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 1, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 1, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 1, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 1, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 1, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 1, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 1, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 1, Chapter 10|Chapter 10]]<br />
#[[Notes from Underground: Part 1, Chapter 11|Chapter 11]]<br />
<br />
=== Notes from Underground, Part 2: Apropos of Wet Snow ===<br />
#[[Notes from Underground: Part 2, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 2, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 2, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 2, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 2, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 2, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 2, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 2, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 2, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 2, Chapter 10|Chapter 10]]<br />
<br />
<br />
==History==<br />
''Notes from Underground'' is considered to be Dostoevsky's first major literary work during the second phase of his writing, or in other words, the elements of social realism give way to "psychological, existential, and philosophical concerns" in his works (Newton). Clearly, the novel fights against scientific thinking, making its point by giving examples from the narrator's personal experiences. ''Notes from Underground'' stands the test of time as a work of great literary importance, and the Underground Man emerges "...into the vocabulary of the modern educated consciousness, and this character has now begun--like Hamlet, Don Quixote, Don Juan, and Faust--to take on the symbolic stature of one of the great archetypal literary creations," this written by Joseph Frank almost a hundred years after its first publication (Jones). <br />
<br />
However, perhaps it is best to understand the time in which the novel was written. The [http://en.wikipedia.org/wiki/1860s 1860s] were a busy time for both Europe and North America, a fact that the narrator points out by exclaiming, "Take this entire nineteenth century of ours during which even Buckle lived. Take Napoleon--both the great and the present one. Take North America--that eternal union. Take, finally, that ridiculous Schleswig-Holstein"(1266). America struggles with a raging Civil War that ripped the country in two. The reference to Napoleon, of course, refers to the French emporers by that name, both of whom engaged in numerous battles. The mention of Schleswig-Holstein refers to Prussia taking that holding from Denmark, who had controlled it for almost a hundred years. Finally, Buckle wrote ''History of Civilization in England'', in which he concludes that "with the developement of civilization wars will cease" (Jones). So, the historical theme for the 1860's appears to be, for the most part, wars.<br />
<br />
Let's not forget what happens in Russia at this same time. Russia goes through the Great Reforms, a time of political instability. During this four year period, society began to notice an uprising of groups within the society; these will eventually--but not at this particular time--lead to political parties ([http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.htm Kimball]). Thus, began the modern revolutionary movements in Russia.<br />
<br />
All of the previously mentioned events provided a basis for Dostevsky's beliefs, which he states through the Underground Man's rantings. Dosteovsky satarizes the political and social troubles that plague these continents to express his true thoughts. He does not believe that man is a rational creature by nature or that civilization will bring an end to warfare. Perhaps, too, we see a bit of a warning in this text--a warning much like that in George Orwell's novel, ''1984,'' written eighty years later. Apparently, the threat had not abated but had instead gotten worse.<br />
<br />
==Timeline==<br />
<br />
<br />
==Characters==<br />
<br />
===The Underground Man===<br />
The Underground Man is the narrator and protagonist of Notes of Underground. The Underground Man can be viewed as: "a sheer irrationalist whose rejection of Rational Egoism is a tortured emotional outburst with no logical credentials" (Scanlan). He beleives that consciousness is a disease: " I swear to you, gentlemen, that being overly conscious is a disease, a genuine, full-fledged disease" (1257). Such consciousness shows: "within Underground Man's self-descriptions, while relational in the ways not reducible to behavior" (Hagberg).<br />
<br />
==Themes==<br />
===The Fallacies of Rationalism===<br />
<br />
===The Fallacies of Utopianism===<br />
<br />
===The Artificiality of Russian Culture===<br />
During the nineteenth century, the Russian culture became artificial because it no longer was "European". "Russia's ethical, cultural, and spiritial pricipals were changing to look more like the Western culture of that time" (Kireyesky). The Russian culture was slowly moving more westward. Part of the reason as to why this was occuring could be in part due to the nature of how the Western culture was flourishing. "In Russia, a man was considered 'developed' and 'educated' only if he was familiar with the literary and philosophical traditions of Germany, France, and England" (Madden). If this was the normal view of Russia at the time, a man who based all his ideas and opinions on the Westward culture may not have been preceved as smart. Russian culture was also strongly based on strong religious principles. Those principles were sometimes different than that of the other European countries. Philosphers such as Aristotle and Descartes influenced the Russian culture. "Russia had seperated from Europe in spirit, thus living a totally different life than the rest of Europe" (Kireyesky). Russia was still part of the European country, but just in the regional sense. Their government and religious beliefs took on a more Western feel, rather than the traditional European feel. "Russia nearly had to destroy their national personality in order to conform to Western civiliazation" (Kireyevsky). "In being captavated by the west, Russian intellectuals had lost touch with the true way of the Russian life, the life that many of the peasants and lower-class workers still practiced" (Madden). "The artifical Russian culture could, in part, be responsible for the Underground Man's retreat to 'underground'. He may have found that conforming to foreign sets of values was just too hard" (Madden).<br />
<br />
===The Human Mind According to Freud===<br />
<br />
One very prominent theme in ''Notes from Underground'' is the Narrator’s incessant struggle with his conscience. He is constantly stranded between achieving his own selfish desires and doing what’s right according to society’s standards. Even though the never-ending battle causes the Underground Man great anguish, he cannot seem to control it. Instead, he spends his life searching for the “advantage”, which will grant him “One’s own free unfettered choice, one’s own whim no matter what” (qtd. in Nabokov 118). This brings up Freud’s theory of the personality model, otherwise known as the id, the ego, and the superego. <br />
<br />
The [http://allpsych.com/psychology101/ego.html id, ego, and superego] are the building blocks of our personalities. They determine how we handle everyday situations, in other words-reality. According to Freud, “In a healthy person, the ego is the strongest so that it can satisfy the needs of the id, not upset the superego, and still take into consideration the reality of every situation. Not an easy job by any means, but if the id gets too strong, impulses and self gratification take over the person's life. If the superego becomes too strong, the person would be driven by rigid morals, would be judgmental and unbending in his or her interactions with the world” (Hefner, chap. 3). The Underground Man’s inability to control his impulses and lust for self gratification suggests that he is ruled by his id. However, a careful analysis of each stage will provide a more through understanding of the complex human mind.<br />
<br />
According to Freud, we are born with our [http://allpsych.com/dictionary/i.html Id]. He states that as newborns, the id is responsible for allowing the basic needs to be met. The id also operates on the pleasure principle; in other words, the id only wants what feels good at that specific moment. The id also does not care about reality or about anyone else’s needs; it only cares about its own satisfaction. This type of behavior is fine for a baby, but is considered selfish when displayed by adults. The Underground man is controlled by his id on more times than not. One prime example is his refusal to pay Apollon his wages. Even though the narrator is clearly in the wrong, he tries to force his servant to beg for forgiveness merely out of selfish spite. “Here’s the money, you see! Here it is! (I pulled it out of a drawer.) All seven rubles. But you won’t get it, you won’t until you come to me respectfully, with your head bowed, to ask my forgiveness. Do you hear? (1319)” However, when the narrator needs Apollon’s help, he changes his attitude. “Apollon,” I whispered in feverish haste, tossing down the seven rubles which had been in my hand the whole time, “here are your wages. There, you see, I’ve given them to you. But now you must rescue me: bring us some tea and a dozen rusks the tavern at once. If you don’t go, you’ll make me a very miserable man. (1320)” This is why our personalities are governed by another more mature stage-the Ego.<br />
<br />
The second stage of the personality model is the [http://allpsych.com/dictionary/e.html Ego], which is responsible for keeping the id rooted to reality. The ego is based on the reality principle, which takes other people’s needs and desires into consideration. The ego also understands that being selfish may have consequences; so its purpose is to meet the needs of the id while taking into consideration the reality of the situation. One of the Underground Man’s only sane moments is during the farewell dinner. He suddenly realizes that he invited himself somewhere that he is not wanted. Consequently, his presence is ruining the affair and for just a moment, he faces reality. “Good heavens, these are not the people for me” I thought. “And what a fool I have made of myself before them” (qtd. in Nabokov 122)!<br />
<br />
The last stage of the personality model is the [http://www.cla.purdue.edu/academic/engl/theory/psychoanalysis/definitions/superego.html Superego], which is responsible for introducing morals into the everyday situation. This stage is most prevalent when moral and ethical restraints must be addressed. The superego is also known as the conscious because it establishes the belief of right and wrong. The last scene of the play is when the Underground Man finally feels regret for his behavior. After Liza is gone, he realizes that he wanted her to stay, but it’s too late. “The Underground Man is distraught and wants to beg her forgiveness. He declares that he will never remember this moment with indifference. A moment later, though, he convinces himself that Liza will be purified and elevated by the hatred and forgiveness that his insult will inspire in her. At the same time, he is conscious of the literary merit of his own thoughts, and feels ashamed that he is focusing on that literary merit rather than on Liza’s welfare” (Madden). The last scene with Liza takes the Underground Man into a downward spiral that he can't escape. His conscience finally won.<br />
<br />
== Major Symbols ==<br />
===Underground===<br />
It is the home of the underground man. It is also refered to as his corner. " Yet the underground is more than a physical placeof isolation; it's a psychological hang-up as well. Possessing the overly sensitive and sheltered consciousness of the underground, the underground man finds himself unable and unwilling to meaningfully interact with others, despite his desire to do just that" (Novelguide). The underground man claims to prefer the underground to the real world. There he is able to express his indviduality.<br />
<br />
===The Ant Hill===<br />
This shows that there is no individuality. All of the ants are working for one main goal.<br />
<br />
===St. Petersburg===<br />
<br />
===The Crystal Palace===<br />
<br />
"The Crystal Palace is a symbolism of the lack of individualism" (Marder). All the people working in the building were working toward a common goal and since it was made entirely out of glass, there was no privacy, and this lack of privacy lead to the lack of individualism (Marder).<br />
<br />
===Money===<br />
Money, for the Underground Man, represents power. In the second part he is cross-examined and is asked his salary. He tells his 'friends' what he makes. "'It's not very handsome,' Zverkov observed majestically. "'Yes, you can't afford to dine at cafes on that,' Ferfichkin added insolently. "To my thinking it's very poor,' Trudolyubov observed gravely (Nabokov 123). All these men scrutinize the Underground Man for his lack of wages.The UM borrows money from a friend, Simonov, but he repays him the next day plus more. Having to borrow money makes him feel incapable of providing for himself and embarrassed of his poverty, making him feel inferior to his 'friends'. The Underground Man offers Liza, the woman he met at the prostitution house, money. She refuses his money. If he was to give her money it would demonstrate moral dominance.<br />
<br />
===Human Insect===<br />
The Underground Man talks of how he wishes he could be an insect. "I'll tell you solemnly that I wished to become an insect many times. But not even that wish was granted."(pg. 1257) After this the Underground Man talks about being overly conscious is a disease in its self. Like being to aware of your surroundings will lead to bad things. Later in the writing the Underground Man tells of how some classmates said he looked like a fly. George Steiner conluded that this held the same premise from Franz Kafka's [http://mchip00.nyu.edu/lit-med/lit-med-db/webdocs/webdescrips/kafka98-des-.html Metamorphoses]. "In them, and in the narrator's whole vision of himself as a bug trapped in the crack of a damp wall, Dostoevsky embodies the perception of a new helplessness and beastliness of the human species."(Steiner xi)<br />
<br />
==Critical Perspectives==<br />
''Notes from the Underground'' is an important work in Western European history. " It has attracted attention for many reasons. For one , it contains an all-out assault on Enlightenment rationalism and the idea of progress which foreshadows many such assaults in the mid-to-late twentieth century" (WSU). Another example of this novels' importance is the fact that it has one of the first anti-heroes in fiction. " It portrays a protagonist utterly lacking every trait of the Romantic hero and living out a futile life on the margins of society. Such figures were to dominate much serious fiction in the mid-twentieth century" (WSU).<br />
<br />
<br />
=== Literary Criticism ===<br />
=== The underground man: A question of meaning by Linda Williams ===<br />
<br />
Linda L. Williams explores Dostoyevsky’s Underground Man in her article entitled The underground man: a question of meaning. Williams looks at how the main character searches for meaning and value in his self and his life from the very first words of his notes exclaiming that he is a “sick [and] spiteful man” (1). She also examines how Dostoyevsky uses the underground man to “question whether human beings can be their own source of meaning” (Williams 1). This novel is a reaction to the ideas prevalent in Western Europe at the time that “reason provides the foundation for all knowledge” (Williams 1). <br />
<br />
Williams looks at why the Underground man refers to himself as a “zloi” which has been translated as spiteful but in actuality carries the connotation of immorality and malicious behavior in which a person isn’t by nature, but is because they are made that way due to circumstances that person has control over. The author of the article contends that this is because the underground man’s “refusal to attach the common man’s meaning to himself and due to his exaggerated consciousness and vanity.” <br />
<br />
In part two we see the underground man’s attempt to “make his life as meaningful to others as it is to him” (Williams 2). This is done through several attempts by the underground man to be noticed by a young officer, some old friends, and Liza. With the young officer the underground man’s desire for the “officer to step aside becomes a measure of the meaning and value of the underground man as a person” (Williams 3). In the case of his meeting with the old friends, we witness the night through his very subjective eyes in which he has “one humiliation piled on top of another” (Williams 4) in his attempt to present himself as having meaning and value in the eyes of others. Since the underground man has the ability to blame his behavior on alcohol as opposed to deliberate action, Williams contends that Dostoyevsky proves that “when an individual is the sole foundation for meanings and values, he may twist them any way he likes”<br />
(Williams 4).<br />
<br />
Through his experience with Liza, we see that “his existence has finally been affirmed just as if [the officer] had thrown him through the tavern window” (Williams 5). He then must change the “significance of the encounter with Liza to recapture the sarcasm of his vain ego” (Williams 6) because he has failed to prove himself of any value to anyone other than someone he sees as lower than himself. He attempts to regain control over what he feels like he has lost by asserting himself in a position of power over Liza by insulting her and then exerting “domination and possession over her body” (Williams 6). The underground man tries to “rationalize his sick, zloi act away [by giving her] money” (Williams 6), but Liza’s refusal to accept it along with “all its implications” (Williams 6) reveals what Williams calls the ugly truth about him.<br />
<br />
The underground man is incapable of loving anyone due to his unlimited vain ego. Further more, it is this ego that has led him to commit an act that “in the nineteenth century was considered more terrible than murder” (Williams 7) hence the reason why the term originally used in he beginning of the text as zloi which is translated as spiteful. Williams then goes on to say that “The underground cannot be his own foundation for meaning” and to Dostoevsky “the foundation of meaning does not lie in science or in Chernyshevsky’s rational egoism but in placing others interests before your own—in genuinely loving others” (Williams 7).<br />
<br />
The author looks at the underground man’s motives in a manner that is easy to understand although the character himself is not. I agree with Williams’s depiction of the underground man’s search and failure to gain the respect of his colleagues which only served to push him into farther underground. In the last moments when he has to reconcile with the fact that he can neither give nor receive love seals his fate in the underground where he is writing from years later. It is least likely that he will encounter another chance to escape. In the underground we will find him languishing untll his death.<br />
<br />
==External Links and Resources==<br />
<br />
http://www.sparknotes.com/lit/underground/themes.html<br />
<br />
==Works Cited==<br />
*Hagberg, Garry L. "Wittgenstein Underground." ''Philosophy and literature'' 28.2 (2004): 379-392.<br />
<br />
*Hefner Media Group. ''Psychology 101''. 23 Mar. 2006 http://allpsych.com/psychology101/ego.html<br />
<br />
*Jones, Malcolm V. "Dostoevsky: Notes from Underground (1864)." ''The Voice of a Giant: Essays on Seven Russian Prose Classics.'' Ed. Roger Cockrell and David Richards. (1985): 55-65. Literature Resource Center. University of Exeter. 09 Mar. 2006. Keyword: Notes from Underground. <br />
<br />
*Kireyevsky, Ivan. "On the Nature of European Culture and On It's Relationship to Russian Culture". 23 Mar. 2006 http://www.geocities.com/trvalentine/orthodox/kireyevsky_culture.html<br />
<br />
*Kimball, Alan. "Russian Civil Society and Political Crisis in the Epoch of Great Reforms, 1859-1863." 25 Oct. 1989. University of Oregon. 14 Mar. 2006 <http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.html>. <br />
<br />
*Madden, Caolan. SparkNote on Notes from Underground. 12 Mar. 2006 <http://www.sparknotes.com/lit/underground/>. <br />
<br />
* Marder, Jen, Mike Meyer, & Fred Wyshak. "A Study Guide: Dostoevsky's Notes From Underground". <http://community.middlebury.edu/~beyer/courses/previous/ru351/novels/UGMan/ugman.html>. 21 Mar. 2006 <br />
<br />
*Nabokov, Vladimir. "Lectures on Russian Literature". New York, 1981. 115-125. <br />
<br />
*Newton, K.M. "Notes from Underground: Overview." ''Reference Guide to Short Fiction, 1st ed.'' Ed. Noelle Watson. St. James Press: 1994. Literature Resource Center. 13 Mar. 2006. Keyword: Notes from Underground.<br />
<br />
*Scanlan, James P. "The Case against Rational Egoism in Dostoevsky's ''Notes from Underground''." ''Journal of the History of Ideas'' 60.3 (1999): 549-567.<br />
<br />
*''Novelguide.com''. "Notes from the Underground". March 2006 [<http://www.novelguide.com/notesfromtheunderground/metaphoranaylysis.html>.]<br />
<br />
*Williams, Linda. "The underground man: A question of meaning." ''Studies in the novel.'' Summer 1995, Vol. 27, Issue 2. 129,12<br />
<br />
*Steiner, George. "Dostoevsky's Notes from the Underground and The Gambler." Norwalk, CT: The Heritage Press, 1967 and 1997.<br />
<br />
<br />
<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Notes_from_Underground&diff=6620Notes from Underground2006-03-29T12:23:58Z<p>Sdeloach: /* The Human Mind According to Freud */</p>
<hr />
<div>:"What sort of Crystal Palace would it be if any sort of doubt were allowed?" —the Underground Man<br />
<br />
''Notes from Underground'' written by [[Fyodor Dostoyevsky]].<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Notes''.<br />
<br />
=== Notes from Underground, Part 1===<br />
#[[Notes from Underground: Part 1, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 1, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 1, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 1, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 1, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 1, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 1, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 1, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 1, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 1, Chapter 10|Chapter 10]]<br />
#[[Notes from Underground: Part 1, Chapter 11|Chapter 11]]<br />
<br />
=== Notes from Underground, Part 2: Apropos of Wet Snow ===<br />
#[[Notes from Underground: Part 2, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 2, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 2, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 2, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 2, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 2, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 2, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 2, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 2, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 2, Chapter 10|Chapter 10]]<br />
<br />
<br />
==History==<br />
''Notes from Underground'' is considered to be Dostoevsky's first major literary work during the second phase of his writing, or in other words, the elements of social realism give way to "psychological, existential, and philosophical concerns" in his works (Newton). Clearly, the novel fights against scientific thinking, making its point by giving examples from the narrator's personal experiences. ''Notes from Underground'' stands the test of time as a work of great literary importance, and the Underground Man emerges "...into the vocabulary of the modern educated consciousness, and this character has now begun--like Hamlet, Don Quixote, Don Juan, and Faust--to take on the symbolic stature of one of the great archetypal literary creations," this written by Joseph Frank almost a hundred years after its first publication (Jones). <br />
<br />
However, perhaps it is best to understand the time in which the novel was written. The [http://en.wikipedia.org/wiki/1860s 1860s] were a busy time for both Europe and North America, a fact that the narrator points out by exclaiming, "Take this entire nineteenth century of ours during which even Buckle lived. Take Napoleon--both the great and the present one. Take North America--that eternal union. Take, finally, that ridiculous Schleswig-Holstein"(1266). America struggles with a raging Civil War that ripped the country in two. The reference to Napoleon, of course, refers to the French emporers by that name, both of whom engaged in numerous battles. The mention of Schleswig-Holstein refers to Prussia taking that holding from Denmark, who had controlled it for almost a hundred years. Finally, Buckle wrote ''History of Civilization in England'', in which he concludes that "with the developement of civilization wars will cease" (Jones). So, the historical theme for the 1860's appears to be, for the most part, wars.<br />
<br />
Let's not forget what happens in Russia at this same time. Russia goes through the Great Reforms, a time of political instability. During this four year period, society began to notice an uprising of groups within the society; these will eventually--but not at this particular time--lead to political parties ([http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.htm Kimball]). Thus, began the modern revolutionary movements in Russia.<br />
<br />
All of the previously mentioned events provided a basis for Dostevsky's beliefs, which he states through the Underground Man's rantings. Dosteovsky satarizes the political and social troubles that plague these continents to express his true thoughts. He does not believe that man is a rational creature by nature or that civilization will bring an end to warfare. Perhaps, too, we see a bit of a warning in this text--a warning much like that in George Orwell's novel, ''1984,'' written eighty years later. Apparently, the threat had not abated but had instead gotten worse.<br />
<br />
==Timeline==<br />
<br />
<br />
==Characters==<br />
<br />
===The Underground Man===<br />
The Underground Man is the narrator and protagonist of Notes of Underground. The Underground Man can be viewed as: "a sheer irrationalist whose rejection of Rational Egoism is a tortured emotional outburst with no logical credentials" (Scanlan). He beleives that consciousness is a disease: " I swear to you, gentlemen, that being overly conscious is a disease, a genuine, full-fledged disease" (1257). Such consciousness shows: "within Underground Man's self-descriptions, while relational in the ways not reducible to behavior" (Hagberg).<br />
<br />
==Themes==<br />
===The Fallacies of Rationalism===<br />
<br />
===The Fallacies of Utopianism===<br />
<br />
===The Artificiality of Russian Culture===<br />
During the nineteenth century, the Russian culture became artificial because it no longer was "European". "Russia's ethical, cultural, and spiritial pricipals were changing to look more like the Western culture of that time" (Kireyesky). The Russian culture was slowly moving more westward. Part of the reason as to why this was occuring could be in part due to the nature of how the Western culture was flourishing. "In Russia, a man was considered 'developed' and 'educated' only if he was familiar with the literary and philosophical traditions of Germany, France, and England" (Madden). If this was the normal view of Russia at the time, a man who based all his ideas and opinions on the Westward culture may not have been preceved as smart. Russian culture was also strongly based on strong religious principles. Those principles were sometimes different than that of the other European countries. Philosphers such as Aristotle and Descartes influenced the Russian culture. "Russia had seperated from Europe in spirit, thus living a totally different life than the rest of Europe" (Kireyesky). Russia was still part of the European country, but just in the regional sense. Their government and religious beliefs took on a more Western feel, rather than the traditional European feel. "Russia nearly had to destroy their national personality in order to conform to Western civiliazation" (Kireyevsky). "In being captavated by the west, Russian intellectuals had lost touch with the true way of the Russian life, the life that many of the peasants and lower-class workers still practiced" (Madden). "The artifical Russian culture could, in part, be responsible for the Underground Man's retreat to 'underground'. He may have found that conforming to foreign sets of values was just too hard" (Madden).<br />
<br />
===The Human Mind According to Freud===<br />
<br />
One very prominent theme in ''Notes from Underground'' is the Narrator’s incessant struggle with his conscience. He is constantly stranded between achieving his own selfish desires and doing what’s right according to society’s standards. Even though the never-ending battle causes the Underground Man great anguish, he cannot seem to control it. Instead, he spends his life searching for the “advantage”, which will grant him “One’s own free unfettered choice, one’s own whim no matter what” (qtd. in Nabokov 118). This brings up Freud’s theory of the personality model, otherwise known as the id, the ego, and the superego. <br />
The [http://allpsych.com/psychology101/ego.html id, ego, and superego] are the building blocks of our personalities. They determine how we handle everyday situations, in other words-reality. According to Freud, “In a healthy person, the ego is the strongest so that it can satisfy the needs of the id, not upset the superego, and still take into consideration the reality of every situation. Not an easy job by any means, but if the id gets too strong, impulses and self gratification take over the person's life. If the superego becomes too strong, the person would be driven by rigid morals, would be judgmental and unbending in his or her interactions with the world” (Hefner, chap. 3). The Underground Man’s inability to control his impulses and lust for self gratification suggests that he is ruled by his id. However, a careful analysis of each stage will provide a more through understanding of the complex human mind.<br />
According to Freud, we are born with our [http://allpsych.com/dictionary/i.html Id]. He states that as newborns, the id is responsible for allowing the basic needs to be met. The id also operates on the pleasure principle; in other words, the id only wants what feels good at that specific moment. The id also does not care about reality or about anyone else’s needs; it only cares about its own satisfaction. This type of behavior is fine for a baby, but is considered selfish when displayed by adults. The Underground man is controlled by his id on more times than not. One prime example is his refusal to pay Apollon his wages. Even though the narrator is clearly in the wrong, he tries to force his servant to beg for forgiveness merely out of selfish spite. “Here’s the money, you see! Here it is! (I pulled it out of a drawer.) All seven rubles. But you won’t get it, you won’t until you come to me respectfully, with your head bowed, to ask my forgiveness. Do you hear? (1319)” However, when the narrator needs Apollon’s help, he changes his attitude. “Apollon,” I whispered in feverish haste, tossing down the seven rubles which had been in my hand the whole time, “here are your wages. There, you see, I’ve given them to you. But now you must rescue me: bring us some tea and a dozen rusks the tavern at once. If you don’t go, you’ll make me a very miserable man. (1320)” This is why our personalities are governed by another more mature stage-the Ego.<br />
The second stage of the personality model is the [http://allpsych.com/dictionary/e.html Ego], which is responsible for keeping the id rooted to reality. The ego is based on the reality principle, which takes other people’s needs and desires into consideration. The ego also understands that being selfish may have consequences; so its purpose is to meet the needs of the id while taking into consideration the reality of the situation. One of the Underground Man’s only sane moments is during the farewell dinner. He suddenly realizes that he invited himself somewhere that he is not wanted. Consequently, his presence is ruining the affair and for just a moment, he faces reality. “Good heavens, these are not the people for me” I thought. “And what a fool I have made of myself before them” (qtd. in Nabokov 122)!<br />
The last stage of the personality model is the [http://www.cla.purdue.edu/academic/engl/theory/psychoanalysis/definitions/superego.html Superego], which is responsible for introducing morals into the everyday situation. This stage is most prevalent when moral and ethical restraints must be addressed. The superego is also known as the conscious because it establishes the belief of right and wrong. The last scene of the play is when the Underground Man finally feels regret for his behavior. After Liza is gone, he realizes that he wanted her to stay, but it’s too late. “The Underground Man is distraught and wants to beg her forgiveness. He declares that he will never remember this moment with indifference. A moment later, though, he convinces himself that Liza will be purified and elevated by the hatred and forgiveness that his insult will inspire in her. At the same time, he is conscious of the literary merit of his own thoughts, and feels ashamed that he is focusing on that literary merit rather than on Liza’s welfare” (Madden). The last scene with Liza takes the Underground Man into a downward spiral that he can't escape. His conscience finally won.<br />
<br />
== Major Symbols ==<br />
===Underground===<br />
It is the home of the underground man. It is also refered to as his corner. " Yet the underground is more than a physical placeof isolation; it's a psychological hang-up as well. Possessing the overly sensitive and sheltered consciousness of the underground, the underground man finds himself unable and unwilling to meaningfully interact with others, despite his desire to do just that" (Novelguide). The underground man claims to prefer the underground to the real world. There he is able to express his indviduality.<br />
<br />
===The Ant Hill===<br />
This shows that there is no individuality. All of the ants are working for one main goal.<br />
<br />
===St. Petersburg===<br />
<br />
===The Crystal Palace===<br />
<br />
"The Crystal Palace is a symbolism of the lack of individualism" (Marder). All the people working in the building were working toward a common goal and since it was made entirely out of glass, there was no privacy, and this lack of privacy lead to the lack of individualism (Marder).<br />
<br />
===Money===<br />
Money, for the Underground Man, represents power. In the second part he is cross-examined and is asked his salary. He tells his 'friends' what he makes. "'It's not very handsome,' Zverkov observed majestically. "'Yes, you can't afford to dine at cafes on that,' Ferfichkin added insolently. "To my thinking it's very poor,' Trudolyubov observed gravely (Nabokov 123). All these men scrutinize the Underground Man for his lack of wages.The UM borrows money from a friend, Simonov, but he repays him the next day plus more. Having to borrow money makes him feel incapable of providing for himself and embarrassed of his poverty, making him feel inferior to his 'friends'. The Underground Man offers Liza, the woman he met at the prostitution house, money. She refuses his money. If he was to give her money it would demonstrate moral dominance.<br />
<br />
===Human Insect===<br />
The Underground Man talks of how he wishes he could be an insect. "I'll tell you solemnly that I wished to become an insect many times. But not even that wish was granted."(pg. 1257) After this the Underground Man talks about being overly conscious is a disease in its self. Like being to aware of your surroundings will lead to bad things. Later in the writing the Underground Man tells of how some classmates said he looked like a fly. George Steiner conluded that this held the same premise from Franz Kafka's [http://mchip00.nyu.edu/lit-med/lit-med-db/webdocs/webdescrips/kafka98-des-.html Metamorphoses]. "In them, and in the narrator's whole vision of himself as a bug trapped in the crack of a damp wall, Dostoevsky embodies the perception of a new helplessness and beastliness of the human species."(Steiner xi)<br />
<br />
==Critical Perspectives==<br />
''Notes from the Underground'' is an important work in Western European history. " It has attracted attention for many reasons. For one , it contains an all-out assault on Enlightenment rationalism and the idea of progress which foreshadows many such assaults in the mid-to-late twentieth century" (WSU). Another example of this novels' importance is the fact that it has one of the first anti-heroes in fiction. " It portrays a protagonist utterly lacking every trait of the Romantic hero and living out a futile life on the margins of society. Such figures were to dominate much serious fiction in the mid-twentieth century" (WSU).<br />
<br />
<br />
=== Literary Criticism ===<br />
=== The underground man: A question of meaning by Linda Williams ===<br />
<br />
Linda L. Williams explores Dostoyevsky’s Underground Man in her article entitled The underground man: a question of meaning. Williams looks at how the main character searches for meaning and value in his self and his life from the very first words of his notes exclaiming that he is a “sick [and] spiteful man” (1). She also examines how Dostoyevsky uses the underground man to “question whether human beings can be their own source of meaning” (Williams 1). This novel is a reaction to the ideas prevalent in Western Europe at the time that “reason provides the foundation for all knowledge” (Williams 1). <br />
<br />
Williams looks at why the Underground man refers to himself as a “zloi” which has been translated as spiteful but in actuality carries the connotation of immorality and malicious behavior in which a person isn’t by nature, but is because they are made that way due to circumstances that person has control over. The author of the article contends that this is because the underground man’s “refusal to attach the common man’s meaning to himself and due to his exaggerated consciousness and vanity.” <br />
<br />
In part two we see the underground man’s attempt to “make his life as meaningful to others as it is to him” (Williams 2). This is done through several attempts by the underground man to be noticed by a young officer, some old friends, and Liza. With the young officer the underground man’s desire for the “officer to step aside becomes a measure of the meaning and value of the underground man as a person” (Williams 3). In the case of his meeting with the old friends, we witness the night through his very subjective eyes in which he has “one humiliation piled on top of another” (Williams 4) in his attempt to present himself as having meaning and value in the eyes of others. Since the underground man has the ability to blame his behavior on alcohol as opposed to deliberate action, Williams contends that Dostoyevsky proves that “when an individual is the sole foundation for meanings and values, he may twist them any way he likes”<br />
(Williams 4).<br />
<br />
Through his experience with Liza, we see that “his existence has finally been affirmed just as if [the officer] had thrown him through the tavern window” (Williams 5). He then must change the “significance of the encounter with Liza to recapture the sarcasm of his vain ego” (Williams 6) because he has failed to prove himself of any value to anyone other than someone he sees as lower than himself. He attempts to regain control over what he feels like he has lost by asserting himself in a position of power over Liza by insulting her and then exerting “domination and possession over her body” (Williams 6). The underground man tries to “rationalize his sick, zloi act away [by giving her] money” (Williams 6), but Liza’s refusal to accept it along with “all its implications” (Williams 6) reveals what Williams calls the ugly truth about him.<br />
<br />
The underground man is incapable of loving anyone due to his unlimited vain ego. Further more, it is this ego that has led him to commit an act that “in the nineteenth century was considered more terrible than murder” (Williams 7) hence the reason why the term originally used in he beginning of the text as zloi which is translated as spiteful. Williams then goes on to say that “The underground cannot be his own foundation for meaning” and to Dostoevsky “the foundation of meaning does not lie in science or in Chernyshevsky’s rational egoism but in placing others interests before your own—in genuinely loving others” (Williams 7).<br />
<br />
The author looks at the underground man’s motives in a manner that is easy to understand although the character himself is not. I agree with Williams’s depiction of the underground man’s search and failure to gain the respect of his colleagues which only served to push him into farther underground. In the last moments when he has to reconcile with the fact that he can neither give nor receive love seals his fate in the underground where he is writing from years later. It is least likely that he will encounter another chance to escape. In the underground we will find him languishing untll his death.<br />
<br />
==External Links and Resources==<br />
<br />
http://www.sparknotes.com/lit/underground/themes.html<br />
<br />
==Works Cited==<br />
*Hagberg, Garry L. "Wittgenstein Underground." ''Philosophy and literature'' 28.2 (2004): 379-392.<br />
<br />
*Hefner Media Group. ''Psychology 101''. 23 Mar. 2006 http://allpsych.com/psychology101/ego.html<br />
<br />
*Jones, Malcolm V. "Dostoevsky: Notes from Underground (1864)." ''The Voice of a Giant: Essays on Seven Russian Prose Classics.'' Ed. Roger Cockrell and David Richards. (1985): 55-65. Literature Resource Center. University of Exeter. 09 Mar. 2006. Keyword: Notes from Underground. <br />
<br />
*Kireyevsky, Ivan. "On the Nature of European Culture and On It's Relationship to Russian Culture". 23 Mar. 2006 http://www.geocities.com/trvalentine/orthodox/kireyevsky_culture.html<br />
<br />
*Kimball, Alan. "Russian Civil Society and Political Crisis in the Epoch of Great Reforms, 1859-1863." 25 Oct. 1989. University of Oregon. 14 Mar. 2006 <http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.html>. <br />
<br />
*Madden, Caolan. SparkNote on Notes from Underground. 12 Mar. 2006 <http://www.sparknotes.com/lit/underground/>. <br />
<br />
* Marder, Jen, Mike Meyer, & Fred Wyshak. "A Study Guide: Dostoevsky's Notes From Underground". <http://community.middlebury.edu/~beyer/courses/previous/ru351/novels/UGMan/ugman.html>. 21 Mar. 2006 <br />
<br />
*Nabokov, Vladimir. "Lectures on Russian Literature". New York, 1981. 115-125. <br />
<br />
*Newton, K.M. "Notes from Underground: Overview." ''Reference Guide to Short Fiction, 1st ed.'' Ed. Noelle Watson. St. James Press: 1994. Literature Resource Center. 13 Mar. 2006. Keyword: Notes from Underground.<br />
<br />
*Scanlan, James P. "The Case against Rational Egoism in Dostoevsky's ''Notes from Underground''." ''Journal of the History of Ideas'' 60.3 (1999): 549-567.<br />
<br />
*''Novelguide.com''. "Notes from the Underground". March 2006 [<http://www.novelguide.com/notesfromtheunderground/metaphoranaylysis.html>.]<br />
<br />
*Williams, Linda. "The underground man: A question of meaning." ''Studies in the novel.'' Summer 1995, Vol. 27, Issue 2. 129,12<br />
<br />
*Steiner, George. "Dostoevsky's Notes from the Underground and The Gambler." Norwalk, CT: The Heritage Press, 1967 and 1997.<br />
<br />
<br />
<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Notes_from_Underground&diff=6619Notes from Underground2006-03-28T23:21:45Z<p>Sdeloach: /* Works Cited */</p>
<hr />
<div>:"What sort of Crystal Palace would it be if any sort of doubt were allowed?" —the Underground Man<br />
<br />
''Notes from Underground'' written by [[Fyodor Dostoyevsky]].<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Notes''.<br />
<br />
=== Notes from Underground, Part 1===<br />
#[[Notes from Underground: Part 1, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 1, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 1, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 1, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 1, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 1, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 1, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 1, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 1, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 1, Chapter 10|Chapter 10]]<br />
#[[Notes from Underground: Part 1, Chapter 11|Chapter 11]]<br />
<br />
=== Notes from Underground, Part 2: Apropos of Wet Snow ===<br />
#[[Notes from Underground: Part 2, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 2, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 2, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 2, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 2, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 2, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 2, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 2, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 2, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 2, Chapter 10|Chapter 10]]<br />
<br />
<br />
==History==<br />
''Notes from Underground'' is considered to be Dostoevsky's first major literary work during the second phase of his writing, or in other words, the elements of social realism give way to "psychological, existential, and philosophical concerns" in his works (Newton). Clearly, the novel fights against scientific thinking, making its point by giving examples from the narrator's personal experiences. ''Notes from Underground'' stands the test of time as a work of great literary importance, and the Underground Man emerges "...into the vocabulary of the modern educated consciousness, and this character has now begun--like Hamlet, Don Quixote, Don Juan, and Faust--to take on the symbolic stature of one of the great archetypal literary creations," this written by Joseph Frank almost a hundred years after its first publication (Jones). <br />
<br />
However, perhaps it is best to understand the time in which the novel was written. The [http://en.wikipedia.org/wiki/1860s 1860s] were a busy time for both Europe and North America, a fact that the narrator points out by exclaiming, "Take this entire nineteenth century of ours during which even Buckle lived. Take Napoleon--both the great and the present one. Take North America--that eternal union. Take, finally, that ridiculous Schleswig-Holstein"(1266). America struggles with a raging Civil War that ripped the country in two. The reference to Napoleon, of course, refers to the French emporers by that name, both of whom engaged in numerous battles. The mention of Schleswig-Holstein refers to Prussia taking that holding from Denmark, who had controlled it for almost a hundred years. Finally, Buckle wrote ''History of Civilization in England'', in which he concludes that "with the developement of civilization wars will cease" (Jones). So, the historical theme for the 1860's appears to be, for the most part, wars.<br />
<br />
Let's not forget what happens in Russia at this same time. Russia goes through the Great Reforms, a time of political instability. During this four year period, society began to notice an uprising of groups within the society; these will eventually--but not at this particular time--lead to political parties ([http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.htm Kimball]). Thus, began the modern revolutionary movements in Russia.<br />
<br />
All of the previously mentioned events provided a basis for Dostevsky's beliefs, which he states through the Underground Man's rantings. Dosteovsky satarizes the political and social troubles that plague these continents to express his true thoughts. He does not believe that man is a rational creature by nature or that civilization will bring an end to warfare. Perhaps, too, we see a bit of a warning in this text--a warning much like that in George Orwell's novel, ''1984,'' written eighty years later. Apparently, the threat had not abated but had instead gotten worse.<br />
<br />
==Timeline==<br />
<br />
<br />
==Characters==<br />
<br />
===The Underground Man===<br />
The Underground Man is the narrator and protagonist of Notes of Underground. The Underground Man can be viewed as: "a sheer irrationalist whose rejection of Rational Egoism is a tortured emotional outburst with no logical credentials" (Scanlan). He beleives that consciousness is a disease: " I swear to you, gentlemen, that being overly conscious is a disease, a genuine, full-fledged disease" (1257). Such consciousness shows: "within Underground Man's self-descriptions, while relational in the ways not reducible to behavior" (Hagberg).<br />
<br />
==Themes==<br />
===The Fallacies of Rationalism===<br />
<br />
===The Fallacies of Utopianism===<br />
<br />
===The Artificiality of Russian Culture===<br />
During the nineteenth century, the Russian culture became artificial because it no longer was "European". "Russia's ethical, cultural, and spiritial pricipals were changing to look more like the Western culture of that time" (Kireyesky). The Russian culture was slowly moving more westward. Part of the reason as to why this was occuring could be in part due to the nature of how the Western culture was flourishing. "In Russia, a man was considered 'developed' and 'educated' only if he was familiar with the literary and philosophical traditions of Germany, France, and England" (Madden). If this was the normal view of Russia at the time, a man who based all his ideas and opinions on the Westward culture may not have been preceved as smart. Russian culture was also strongly based on strong religious principles. Those principles were sometimes different than that of the other European countries. Philosphers such as Aristotle and Descartes influenced the Russian culture. "Russia had seperated from Europe in spirit, thus living a totally different life than the rest of Europe" (Kireyesky). Russia was still part of the European country, but just in the regional sense. Their government and religious beliefs took on a more Western feel, rather than the traditional European feel. "Russia nearly had to destroy their national personality in order to conform to Western civiliazation" (Kireyevsky). "In being captavated by the west, Russian intellectuals had lost touch with the true way of the Russian life, the life that many of the peasants and lower-class workers still practiced" (Madden). "The artifical Russian culture could, in part, be responsible for the Underground Man's retreat to 'underground'. He may have found that conforming to foreign sets of values was just too hard" (Madden).<br />
<br />
===The Human Mind According to Freud===<br />
<br />
One very prominent theme in ''Notes from Underground'' is the Narrators incessant struggle with his conscious. He is constantly stranded between achieving his own selfish desires and doing what’s right according to society’s standards. Even though the never-ending battle causes the Underground Man great anguish, he cannot seem to control it. Instead, he spends his life searching for the “advantage”, which will grant him “One’s own free unfettered choice, one’s own whim no matter what” (Nabokov 118). This brings up Freud’s theory of the personality model, otherwise known as the id, the ego, and the superego. <br />
<br />
The [http://allpsych.com/psychology101/ego.html id, ego, and superego] are the building blocks of our personalities. They determine how we handle everyday situations, in other words-reality. According to Freud, “In a healthy person, the ego is the strongest so that it can satisfy the needs of the id, not upset the superego, and still take into consideration the reality of every situation. Not an easy job by any means, but if the id gets too strong, impulses and self gratification take over the person's life. If the superego becomes too strong, the person would be driven by rigid morals, would be judgmental and unbending in his or her interactions with the world” (Psychology 101). The Underground Man’s inability to control his impulses and lust for self gratification suggests that he is ruled by his id. However, a careful analysis of each stage will provide a more through understanding of the complex human mind.<br />
<br />
According to Freud, we are born with our [http://allpsych.com/dictionary/i.html Id]. He states that as newborns, the id is responsible for allowing the basic needs to be met. The id also operates on the pleasure principle; in other words, the id only wants what feels good at that specific moment. The id also does not care about reality or about anyone else’s needs; it only cares about its own satisfaction. This type of behavior is fine for a baby, but is considered selfish when displayed by adults. The Underground man is controlled by his id on more times than not. One prime example is his refusal to pay Apollon his wages. Even though the narrator is clearly in the wrong, he tries to force his servant to beg for forgiveness merely out of selfish spite. “Here’s the money, you see! Here it is! (I pulled it out of a drawer.) All seven rubles. But you won’t get it, you won’t until you come to me respectfully, with your head bowed, to ask my forgiveness. Do you hear? (1319)” However, when the narrator needs Apollon’s help, he changes his attitude. “Apollon,” I whispered in feverish haste, tossing down the seven rubles which had been in my hand the whole time, “here are your wages. There, you see, I’ve given them to you. But now you must rescue me: bring us some tea and a dozen rusks the tavern at once. If you don’t go, you’ll make me a very miserable man. (1320)” This is why our personalities are governed by another more mature stage-the Ego.<br />
<br />
The second stage of the personality model is the [http://allpsych.com/dictionary/e.html Ego], which is responsible for keeping the id rooted to reality. The ego is based on the reality principle, which takes other people’s needs and desires into consideration. The ego also understands that being selfish may have consequences; so its purpose is to meet the needs of the id while taking into consideration the reality of the situation. One of the Underground Man’s only sane moments is during the farewell dinner. He suddenly realizes that he invited himself somewhere that he is not wanted. Consequently, his presence is ruining the affair and for just a moment, he faces reality. “Good heavens, these are not the people for me” I thought. “And what a fool I have made of myself before them” (Nabokov 122)!<br />
<br />
The last stage of the personality model is the [http://www.cla.purdue.edu/academic/engl/theory/psychoanalysis/definitions/superego.html Superego], which is responsible for introducing morals into the everyday situation. This stage is most prevalent when moral and ethical restraints must be addressed. The superego is also known as the conscious because it establishes the belief of right and wrong. The last scene of the play is when the Underground Man finally feels regret for his behavior. After Liza is gone, he realizes that he wanted her to stay, but it’s too late. “The Underground Man is distraught and wants to beg her forgiveness. He declares that he will never remember this moment with indifference. A moment later, though, he convinces himself that Liza will be purified and elevated by the hatred and forgiveness that his insult will inspire in her. At the same time, he is conscious of the literary merit of his own thoughts, and feels ashamed that he is focusing on that literary merit rather than on Liza’s welfare” (Madden). The last scene with Liza takes the Underground Man into a downward spiral that he can't escape. His conscious finally won.<br />
<br />
== Major Symbols ==<br />
===Underground===<br />
It is the home of the underground man. It is also refered to as his corner. " Yet the underground is more than a physical placeof isolation; it's a psychological hang-up as well. Possessing the overly sensitive and sheltered consciousness of the underground, the underground man finds himself unable and unwilling to meaningfully interact with others, despite his desire to do just that" (Novelguide). The underground man claims to prefer the underground to the real world. There he is able to express his indviduality.<br />
<br />
===The Ant Hill===<br />
This shows that there is no individuality. All of the ants are working for one main goal.<br />
<br />
===St. Petersburg===<br />
<br />
===The Crystal Palace===<br />
<br />
"The Crystal Palace is a symbolism of the lack of individualism" (Marder). All the people working in the building were working toward a common goal and since it was made entirely out of glass, there was no privacy, and this lack of privacy lead to the lack of individualism (Marder).<br />
<br />
===Money===<br />
Money, for the Underground Man, represents power. In the second part he is cross-examined and is asked his salary. He tells his 'friends' what he makes. "'It's not very handsome,' Zverkov observed majestically. "'Yes, you can't afford to dine at cafes on that,' Ferfichkin added insolently. "To my thinking it's very poor,' Trudolyubov observed gravely (Nabokov 123). All these men scrutinize the Underground Man for his lack of wages.The UM borrows money from a friend, Simonov, but he repays him the next day plus more. Having to borrow money makes him feel incapable of providing for himself and embarrassed of his poverty, making him feel inferior to his 'friends'. The Underground Man offers Liza, the woman he met at the prostitution house, money. She refuses his money. If he was to give her money it would demonstrate moral dominance.<br />
<br />
===Human Insect===<br />
The Underground Man talks of how he wishes he could be an insect. "I'll tell you solemnly that I wished to become an insect many times. But not even that wish was granted."(pg. 1257) After this the Underground Man talks about being overly conscious is a disease in its self. Like being to aware of your surroundings will lead to bad things. Later in the writing the Underground Man tells of how some classmates said he looked like a fly. George Steiner conluded that this held the same premise from Franz Kafka's [http://mchip00.nyu.edu/lit-med/lit-med-db/webdocs/webdescrips/kafka98-des-.html Metamorphoses]. "In them, and in the narrator's whole vision of himself as a bug trapped in the crack of a damp wall, Dostoevsky embodies the perception of a new helplessness and beastliness of the human species."(Steiner xi)<br />
<br />
==Critical Perspectives==<br />
''Notes from the Underground'' is an important work in Western European history. " It has attracted attention for many reasons. For one , it contains an all-out assault on Enlightenment rationalism and the idea of progress which foreshadows many such assaults in the mid-to-late twentieth century" (WSU). Another example of this novels' importance is the fact that it has one of the first anti-heroes in fiction. " It portrays a protagonist utterly lacking every trait of the Romantic hero and living out a futile life on the margins of society. Such figures were to dominate much serious fiction in the mid-twentieth century" (WSU).<br />
<br />
<br />
=== Literary Criticism ===<br />
=== The underground man: A question of meaning by Linda Williams ===<br />
<br />
Linda L. Williams explores Dostoyevsky’s Underground Man in her article entitled The underground man: a question of meaning. Williams looks at how the main character searches for meaning and value in his self and his life from the very first words of his notes exclaiming that he is a “sick [and] spiteful man” (1). She also examines how Dostoyevsky uses the underground man to “question whether human beings can be their own source of meaning” (Williams 1). This novel is a reaction to the ideas prevalent in Western Europe at the time that “reason provides the foundation for all knowledge” (Williams 1). <br />
<br />
Williams looks at why the Underground man refers to himself as a “zloi” which has been translated as spiteful but in actuality carries the connotation of immorality and malicious behavior in which a person isn’t by nature, but is because they are made that way due to circumstances that person has control over. The author of the article contends that this is because the underground man’s “refusal to attach the common man’s meaning to himself and due to his exaggerated consciousness and vanity.” <br />
<br />
In part two we see the underground man’s attempt to “make his life as meaningful to others as it is to him” (Williams 2). This is done through several attempts by the underground man to be noticed by a young officer, some old friends, and Liza. With the young officer the underground man’s desire for the “officer to step aside becomes a measure of the meaning and value of the underground man as a person” (Williams 3). In the case of his meeting with the old friends, we witness the night through his very subjective eyes in which he has “one humiliation piled on top of another” (Williams 4) in his attempt to present himself as having meaning and value in the eyes of others. Since the underground man has the ability to blame his behavior on alcohol as opposed to deliberate action, Williams contends that Dostoyevsky proves that “when an individual is the sole foundation for meanings and values, he may twist them any way he likes”<br />
(Williams 4).<br />
<br />
Through his experience with Liza, we see that “his existence has finally been affirmed just as if [the officer] had thrown him through the tavern window” (Williams 5). He then must change the “significance of the encounter with Liza to recapture the sarcasm of his vain ego” (Williams 6) because he has failed to prove himself of any value to anyone other than someone he sees as lower than himself. He attempts to regain control over what he feels like he has lost by asserting himself in a position of power over Liza by insulting her and then exerting “domination and possession over her body” (Williams 6). The underground man tries to “rationalize his sick, zloi act away [by giving her] money” (Williams 6), but Liza’s refusal to accept it along with “all its implications” (Williams 6) reveals what Williams calls the ugly truth about him.<br />
<br />
The underground man is incapable of loving anyone due to his unlimited vain ego. Further more, it is this ego that has led him to commit an act that “in the nineteenth century was considered more terrible than murder” (Williams 7) hence the reason why the term originally used in he beginning of the text as zloi which is translated as spiteful. Williams then goes on to say that “The underground cannot be his own foundation for meaning” and to Dostoevsky “the foundation of meaning does not lie in science or in Chernyshevsky’s rational egoism but in placing others interests before your own—in genuinely loving others” (Williams 7).<br />
<br />
The author looks at the underground man’s motives in a manner that is easy to understand although the character himself is not. I agree with Williams’s depiction of the underground man’s search and failure to gain the respect of his colleagues which only served to push him into farther underground. In the last moments when he has to reconcile with the fact that he can neither give nor receive love seals his fate in the underground where he is writing from years later. It is least likely that he will encounter another chance to escape. In the underground we will find him languishing untll his death.<br />
<br />
==External Links and Resources==<br />
<br />
http://www.sparknotes.com/lit/underground/themes.html<br />
<br />
==Works Cited==<br />
*Hagberg, Garry L. "Wittgenstein Underground." ''Philosophy and literature'' 28.2 (2004): 379-392.<br />
<br />
*Hefner Media Group. ''Psychology 101''. 23 Mar. 2006 http://allpsych.com/psychology101/ego.html<br />
<br />
*Jones, Malcolm V. "Dostoevsky: Notes from Underground (1864)." ''The Voice of a Giant: Essays on Seven Russian Prose Classics.'' Ed. Roger Cockrell and David Richards. (1985): 55-65. Literature Resource Center. University of Exeter. 09 Mar. 2006. Keyword: Notes from Underground. <br />
<br />
*Kireyevsky, Ivan. "On the Nature of European Culture and On It's Relationship to Russian Culture". 23 Mar. 2006 http://www.geocities.com/trvalentine/orthodox/kireyevsky_culture.html<br />
<br />
*Kimball, Alan. "Russian Civil Society and Political Crisis in the Epoch of Great Reforms, 1859-1863." 25 Oct. 1989. University of Oregon. 14 Mar. 2006 <http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.html>. <br />
<br />
*Madden, Caolan. SparkNote on Notes from Underground. 12 Mar. 2006 <http://www.sparknotes.com/lit/underground/>. <br />
<br />
* Marder, Jen, Mike Meyer, & Fred Wyshak. "A Study Guide: Dostoevsky's Notes From Underground". <http://community.middlebury.edu/~beyer/courses/previous/ru351/novels/UGMan/ugman.html>. 21 Mar. 2006 <br />
<br />
*Nabokov, Vladimir. "Lectures on Russian Literature". New York, 1981. 115-125. <br />
<br />
*Newton, K.M. "Notes from Underground: Overview." ''Reference Guide to Short Fiction, 1st ed.'' Ed. Noelle Watson. St. James Press: 1994. Literature Resource Center. 13 Mar. 2006. Keyword: Notes from Underground.<br />
<br />
*Scanlan, James P. "The Case against Rational Egoism in Dostoevsky's ''Notes from Underground''." ''Journal of the History of Ideas'' 60.3 (1999): 549-567.<br />
<br />
*''Novelguide.com''. "Notes from the Underground". March 2006 [<http://www.novelguide.com/notesfromtheunderground/metaphoranaylysis.html>.]<br />
<br />
*Williams, Linda. "The underground man: A question of meaning." ''Studies in the novel.'' Summer 1995, Vol. 27, Issue 2. 129,12<br />
<br />
*Steiner, George. "Dostoevsky's Notes from the Underground and The Gambler." Norwalk, CT: The Heritage Press, 1967 and 1997.<br />
<br />
<br />
<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Mallarme&diff=6610Mallarme2006-03-27T02:38:09Z<p>Sdeloach: </p>
<hr />
<div>[http://www.studiocleo.com/librarie/mallarme/mallarme.html Stéphane Mallarmé] (stāfän' mälärmā'), was born Etienne Mallarmé on March 18, 1842 in Paris, France. Although he was expected to follow in the footsteps of his father and grandfather and join the French civil service, he chose to focus on writing poetry instead. His first attempts at writing were done under the influence of [http://www.lucidcafe.com/library/96feb/hugo.html Victor Hugo]; however, it was not until he came across [http://encarta.msn.com/encyclopedia_761571267/Baudelaire.html Charles Baudelaire’s] influential piece [http://fleursdumal.org/toc_1857.php''The Flowers of Evil''] at the age of nineteen that he wrote the Briese Marine, starting with the much quoted line "Le chair est triste, hélas! et j'ai lu tous les livres". His poetry began to appear in magazines shortly after its completion. Soon after, Stepahane left school to visit England, which is also where he met his future wife, Marie Gerhard. Mallarme then went on to teach English from 1864 in Tournon, Besancon, Avignon, and Paris until his retirement in 1893.<br />
<br />
Mallarmé was widely known for being the leader of the Symbolist movement with [http://www.littlebluelight.com/lblphp/intro.php?ikey=29 Paul Verlaine]; He was also known for being the center of a group of French writers in Paris along with the likes of [http://nobelprize.org/literature/laureates/1947/gide-bio.html Gide], [http://www.kalin.lm.com/valery.html Valery], and [http://www.library.uiuc.edu/kolbp/proust.html Proust]. In fact, Mallarmé’s idea on poetry and art were considered difficult and obscure; furthermore, he challenged his readers by seeking out the long-forgotten meanings of common words and used these instead of standard convention. According to Mallarmé’s theories, “Nothing lies beyond reality, but within this nothingness lies the essence of perfect forms. It is the task of the poet to reveal and crystallize these essences,” and that “You don’t make a poem with ideas, but with words” ("Stéphane"). Naturally this roused a hostility that followed him throughout his poetic career. Even though he faced many obstacles, Mallarmé still managed to publish numerous pieces including [http://www.studiocleo.com/librarie/mallarme/mallarme.html''The Afternoon of a Faun''], [http://www.geocities.com/rrobbins.geo/mallarme.htm''The Clown Chastised''], and [http://www.geocities.com/rrobbins.geo/mallarme.htm''The Virginal Vibrant and Beautiful Dawn'']. <br />
<br />
<br />
Mallarmé spent most of his life trying to perfect his work; therefore, he had many great pieces left unfinished. His sole focus was to continue putting his literary theories into practice and complete a piece called ''Grand Oeuvre'', or Great Work. Unfortunately he died before reaching his goal: He passed away on September 9, 1898 at the age of 56. However, he will always be known for influencing twentieth century French poetry, and for modernizing German and American poetry.</div>Sdeloachhttps://litwiki.org/index.php?title=World_Literature&diff=6580World Literature2006-03-27T02:31:45Z<p>Sdeloach: /* Additional External Links */</p>
<hr />
<div>Mostly dealing with Western World Literature, the following resources address mostly the [[Epic Poetry|epic genre]] and [[tragedy]] so far. More should be forthcoming.<br />
<br />
== Anglo-Saxon ==<br />
* <i>[[Beowulf]]</i><br />
<br />
== French ==<br />
* [[Molière]]: <i>[[Tartuffe]]</i><br />
* [[Voltaire]]: <i>[[Candide]]</i><br />
* [[Baudelaire]]: <i>[[Poet]]</i><br />
* [[Mallarme]]: <i>[[French Poet]]</i><br />
<br />
== German ==<br />
* [[Johann Wolfgang von Goethe]]: <i>[[Faust]]</i><br />
** [[Faust Summary, Commentary, Notes]]<br />
<br />
== Greek ==<br />
* [[Euripides]]: <i>[[Medea]]</i><br />
* [[Homer]]: <i>[[The Iliad]]</i> and <i>[[The Odyssey]]</i><br />
* [[Sophocles]]: <i>[[Oedipus Rex]]</i><br />
<br />
== Italian ==<br />
* [[Machiavelli]]: <i>[[The Prince]]</i><br />
<br />
== Russian ==<br />
* <i>[[Fyodor Dostoyevsky]]</i><br />
<br />
== Sumerian ==<br />
* The epic of <i>[[Gilgamesh]]</i><br />
<br />
== Relevant Links ==<br />
* [[Literary Terms]]<br />
<br />
== Additional External Links ==<br />
* [http://www.accd.edu/sac/english/bailey/worldlit.htm LitWeb] — San Antonio College’s World Literature outlines.<br />
* [http://www.zeroland.co.nz/literature.html Literature on the Web] — Links to various world literature resources.<br />
* [http://dmoz.org/Arts/Literature/World_Literature/ World Literature] — from Open Directory.<br />
* [http://bcs.bedfordstmartins.com/worldlit/ World Literature Online] — from Bedford/St. Martin’s Press.<br />
<br />
<br />
==Works Cited==<br />
"Stéphane Mallarmé." ''Books and Writers.'' http://www.kirjasto.sci.fi/mallarme.htm<br />
<br />
<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=World_Literature&diff=6573World Literature2006-03-27T02:19:07Z<p>Sdeloach: /* French */</p>
<hr />
<div>Mostly dealing with Western World Literature, the following resources address mostly the [[Epic Poetry|epic genre]] and [[tragedy]] so far. More should be forthcoming.<br />
<br />
== Anglo-Saxon ==<br />
* <i>[[Beowulf]]</i><br />
<br />
== French ==<br />
* [[Molière]]: <i>[[Tartuffe]]</i><br />
* [[Voltaire]]: <i>[[Candide]]</i><br />
* [[Baudelaire]]: <i>[[Poet]]</i><br />
* [[Mallarme]]: <i>[[French Poet]]</i><br />
<br />
== German ==<br />
* [[Johann Wolfgang von Goethe]]: <i>[[Faust]]</i><br />
** [[Faust Summary, Commentary, Notes]]<br />
<br />
== Greek ==<br />
* [[Euripides]]: <i>[[Medea]]</i><br />
* [[Homer]]: <i>[[The Iliad]]</i> and <i>[[The Odyssey]]</i><br />
* [[Sophocles]]: <i>[[Oedipus Rex]]</i><br />
<br />
== Italian ==<br />
* [[Machiavelli]]: <i>[[The Prince]]</i><br />
<br />
== Russian ==<br />
* <i>[[Fyodor Dostoyevsky]]</i><br />
<br />
== Sumerian ==<br />
* The epic of <i>[[Gilgamesh]]</i><br />
<br />
== Relevant Links ==<br />
* [[Literary Terms]]<br />
<br />
== Additional External Links ==<br />
* [http://www.accd.edu/sac/english/bailey/worldlit.htm LitWeb] — San Antonio College’s World Literature outlines.<br />
* [http://www.zeroland.co.nz/literature.html Literature on the Web] — Links to various world literature resources.<br />
* [http://dmoz.org/Arts/Literature/World_Literature/ World Literature] — from Open Directory.<br />
* [http://bcs.bedfordstmartins.com/worldlit/ World Literature Online] — from Bedford/St. Martin’s Press.<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=World_Literature&diff=6572World Literature2006-03-27T02:17:05Z<p>Sdeloach: /* French */</p>
<hr />
<div>Mostly dealing with Western World Literature, the following resources address mostly the [[Epic Poetry|epic genre]] and [[tragedy]] so far. More should be forthcoming.<br />
<br />
== Anglo-Saxon ==<br />
* <i>[[Beowulf]]</i><br />
<br />
== French ==<br />
* [[Molière]]: <i>[[Tartuffe]]</i><br />
* [[Voltaire]]: <i>[[Candide]]</i><br />
* [[Baudelaire]]: <i>[[Poet]]</i><br />
* [[Mallarme]]: <i>[[French Poet]]</i><br />
** [[Works Cited]]<br />
<br />
== German ==<br />
* [[Johann Wolfgang von Goethe]]: <i>[[Faust]]</i><br />
** [[Faust Summary, Commentary, Notes]]<br />
<br />
== Greek ==<br />
* [[Euripides]]: <i>[[Medea]]</i><br />
* [[Homer]]: <i>[[The Iliad]]</i> and <i>[[The Odyssey]]</i><br />
* [[Sophocles]]: <i>[[Oedipus Rex]]</i><br />
<br />
== Italian ==<br />
* [[Machiavelli]]: <i>[[The Prince]]</i><br />
<br />
== Russian ==<br />
* <i>[[Fyodor Dostoyevsky]]</i><br />
<br />
== Sumerian ==<br />
* The epic of <i>[[Gilgamesh]]</i><br />
<br />
== Relevant Links ==<br />
* [[Literary Terms]]<br />
<br />
== Additional External Links ==<br />
* [http://www.accd.edu/sac/english/bailey/worldlit.htm LitWeb] — San Antonio College’s World Literature outlines.<br />
* [http://www.zeroland.co.nz/literature.html Literature on the Web] — Links to various world literature resources.<br />
* [http://dmoz.org/Arts/Literature/World_Literature/ World Literature] — from Open Directory.<br />
* [http://bcs.bedfordstmartins.com/worldlit/ World Literature Online] — from Bedford/St. Martin’s Press.<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=World_Literature&diff=6571World Literature2006-03-27T01:44:45Z<p>Sdeloach: /* French */</p>
<hr />
<div>Mostly dealing with Western World Literature, the following resources address mostly the [[Epic Poetry|epic genre]] and [[tragedy]] so far. More should be forthcoming.<br />
<br />
== Anglo-Saxon ==<br />
* <i>[[Beowulf]]</i><br />
<br />
== French ==<br />
* [[Molière]]: <i>[[Tartuffe]]</i><br />
* [[Voltaire]]: <i>[[Candide]]</i><br />
* [[Baudelaire]]: <i>[[Poet]]</i><br />
* [[Mallarme]]: <i>[[French Poet]]</i><br />
<br />
== German ==<br />
* [[Johann Wolfgang von Goethe]]: <i>[[Faust]]</i><br />
** [[Faust Summary, Commentary, Notes]]<br />
<br />
== Greek ==<br />
* [[Euripides]]: <i>[[Medea]]</i><br />
* [[Homer]]: <i>[[The Iliad]]</i> and <i>[[The Odyssey]]</i><br />
* [[Sophocles]]: <i>[[Oedipus Rex]]</i><br />
<br />
== Italian ==<br />
* [[Machiavelli]]: <i>[[The Prince]]</i><br />
<br />
== Russian ==<br />
* <i>[[Fyodor Dostoyevsky]]</i><br />
<br />
== Sumerian ==<br />
* The epic of <i>[[Gilgamesh]]</i><br />
<br />
== Relevant Links ==<br />
* [[Literary Terms]]<br />
<br />
== Additional External Links ==<br />
* [http://www.accd.edu/sac/english/bailey/worldlit.htm LitWeb] — San Antonio College’s World Literature outlines.<br />
* [http://www.zeroland.co.nz/literature.html Literature on the Web] — Links to various world literature resources.<br />
* [http://dmoz.org/Arts/Literature/World_Literature/ World Literature] — from Open Directory.<br />
* [http://bcs.bedfordstmartins.com/worldlit/ World Literature Online] — from Bedford/St. Martin’s Press.<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=World_Literature&diff=6569World Literature2006-03-27T01:42:20Z<p>Sdeloach: /* French */</p>
<hr />
<div>Mostly dealing with Western World Literature, the following resources address mostly the [[Epic Poetry|epic genre]] and [[tragedy]] so far. More should be forthcoming.<br />
<br />
== Anglo-Saxon ==<br />
* <i>[[Beowulf]]</i><br />
<br />
== French ==<br />
* [[Molière]]: <i>[[Tartuffe]]</i><br />
* [[Voltaire]]: <i>[[Candide]]</i><br />
* [[Baudelaire]]: <i>[[ Poet]]</i><br />
* [[Mallarme]]: <i>[[Poet]]</i><br />
<br />
== German ==<br />
* [[Johann Wolfgang von Goethe]]: <i>[[Faust]]</i><br />
** [[Faust Summary, Commentary, Notes]]<br />
<br />
== Greek ==<br />
* [[Euripides]]: <i>[[Medea]]</i><br />
* [[Homer]]: <i>[[The Iliad]]</i> and <i>[[The Odyssey]]</i><br />
* [[Sophocles]]: <i>[[Oedipus Rex]]</i><br />
<br />
== Italian ==<br />
* [[Machiavelli]]: <i>[[The Prince]]</i><br />
<br />
== Russian ==<br />
* <i>[[Fyodor Dostoyevsky]]</i><br />
<br />
== Sumerian ==<br />
* The epic of <i>[[Gilgamesh]]</i><br />
<br />
== Relevant Links ==<br />
* [[Literary Terms]]<br />
<br />
== Additional External Links ==<br />
* [http://www.accd.edu/sac/english/bailey/worldlit.htm LitWeb] — San Antonio College’s World Literature outlines.<br />
* [http://www.zeroland.co.nz/literature.html Literature on the Web] — Links to various world literature resources.<br />
* [http://dmoz.org/Arts/Literature/World_Literature/ World Literature] — from Open Directory.<br />
* [http://bcs.bedfordstmartins.com/worldlit/ World Literature Online] — from Bedford/St. Martin’s Press.<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=World_Literature&diff=6568World Literature2006-03-27T01:26:45Z<p>Sdeloach: /* French */</p>
<hr />
<div>Mostly dealing with Western World Literature, the following resources address mostly the [[Epic Poetry|epic genre]] and [[tragedy]] so far. More should be forthcoming.<br />
<br />
== Anglo-Saxon ==<br />
* <i>[[Beowulf]]</i><br />
<br />
== French ==<br />
* [[Molière]]: <i>[[Tartuffe]]</i><br />
* [[Voltaire]]: <i>[[Candide]]</i><br />
* [[Baudelaire]]: <i>[[Poet]]</i><br />
* [[Mallarme]]: <i>[[Poet]]</i><br />
<br />
== German ==<br />
* [[Johann Wolfgang von Goethe]]: <i>[[Faust]]</i><br />
** [[Faust Summary, Commentary, Notes]]<br />
<br />
== Greek ==<br />
* [[Euripides]]: <i>[[Medea]]</i><br />
* [[Homer]]: <i>[[The Iliad]]</i> and <i>[[The Odyssey]]</i><br />
* [[Sophocles]]: <i>[[Oedipus Rex]]</i><br />
<br />
== Italian ==<br />
* [[Machiavelli]]: <i>[[The Prince]]</i><br />
<br />
== Russian ==<br />
* <i>[[Fyodor Dostoyevsky]]</i><br />
<br />
== Sumerian ==<br />
* The epic of <i>[[Gilgamesh]]</i><br />
<br />
== Relevant Links ==<br />
* [[Literary Terms]]<br />
<br />
== Additional External Links ==<br />
* [http://www.accd.edu/sac/english/bailey/worldlit.htm LitWeb] — San Antonio College’s World Literature outlines.<br />
* [http://www.zeroland.co.nz/literature.html Literature on the Web] — Links to various world literature resources.<br />
* [http://dmoz.org/Arts/Literature/World_Literature/ World Literature] — from Open Directory.<br />
* [http://bcs.bedfordstmartins.com/worldlit/ World Literature Online] — from Bedford/St. Martin’s Press.<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=World_Literature&diff=6567World Literature2006-03-27T01:23:57Z<p>Sdeloach: /* French */</p>
<hr />
<div>Mostly dealing with Western World Literature, the following resources address mostly the [[Epic Poetry|epic genre]] and [[tragedy]] so far. More should be forthcoming.<br />
<br />
== Anglo-Saxon ==<br />
* <i>[[Beowulf]]</i><br />
<br />
== French ==<br />
* [[Molière]]: <i>[[Tartuffe]]</i><br />
* [[Voltaire]]: <i>[[Candide]]</i><br />
* [[Baudelaire]]: <i>[[Poet]]</i><br />
* [[Mallarmé]]: <i>[[Poet]]</i><br />
<br />
== German ==<br />
* [[Johann Wolfgang von Goethe]]: <i>[[Faust]]</i><br />
** [[Faust Summary, Commentary, Notes]]<br />
<br />
== Greek ==<br />
* [[Euripides]]: <i>[[Medea]]</i><br />
* [[Homer]]: <i>[[The Iliad]]</i> and <i>[[The Odyssey]]</i><br />
* [[Sophocles]]: <i>[[Oedipus Rex]]</i><br />
<br />
== Italian ==<br />
* [[Machiavelli]]: <i>[[The Prince]]</i><br />
<br />
== Russian ==<br />
* <i>[[Fyodor Dostoyevsky]]</i><br />
<br />
== Sumerian ==<br />
* The epic of <i>[[Gilgamesh]]</i><br />
<br />
== Relevant Links ==<br />
* [[Literary Terms]]<br />
<br />
== Additional External Links ==<br />
* [http://www.accd.edu/sac/english/bailey/worldlit.htm LitWeb] — San Antonio College’s World Literature outlines.<br />
* [http://www.zeroland.co.nz/literature.html Literature on the Web] — Links to various world literature resources.<br />
* [http://dmoz.org/Arts/Literature/World_Literature/ World Literature] — from Open Directory.<br />
* [http://bcs.bedfordstmartins.com/worldlit/ World Literature Online] — from Bedford/St. Martin’s Press.<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Mallarme&diff=6574Mallarme2006-03-27T01:21:57Z<p>Sdeloach: </p>
<hr />
<div>[http://www.studiocleo.com/librarie/mallarme/mallarme.html Stéphane Mallarmé] (stāfän' mälärmā'), was born Etienne Mallarmé on March 18, 1842 in Paris, France. Although he was expected to follow in the footsteps of his father and grandfather and join the French civil service, he chose to focus on writing poetry instead. His first attempts at writing were done under the influence of [http://www.lucidcafe.com/library/96feb/hugo.html Victor Hugo]; however, it was not until he came across [http://encarta.msn.com/encyclopedia_761571267/Baudelaire.html Charles Baudelaire’s] influential piece [http://fleursdumal.org/toc_1857.php''The Flowers of Evil''] at the age of nineteen that he wrote the Briese Marine, starting with the much quoted line "Le chair est triste, hélas! et j'ai lu tous les livres". His poetry began to appear in magazines shortly after its completion. Soon after, Stepahane left school to visit England, which is also where he met his future wife, Marie Gerhard. Mallarme then went on to teach English from 1864 in Tournon, Besancon, Avignon, and Paris until his retirement in 1893.<br />
<br />
Mallarmé was widely known for being the leader of the Symbolist movement with [http://www.littlebluelight.com/lblphp/intro.php?ikey=29 Paul Verlaine]; He was also known for being the center of a group of French writers in Paris along with the likes of [http://nobelprize.org/literature/laureates/1947/gide-bio.html Gide], [http://www.kalin.lm.com/valery.html Valery], and [http://www.library.uiuc.edu/kolbp/proust.html Proust]. In fact, Mallarmé’s idea on poetry and art were considered difficult and obscure; furthermore, he challenged his readers by seeking out the long-forgotten meanings of common words and used these instead of standard convention. According to Mallarmé’s theories, “Nothing lies beyond reality, but within this nothingness lies the essence of perfect forms. It is the task of the poet to reveal and crystallize these essences,” and that “You don’t make a poem with ideas, but with words” (kirjasto). Naturally this roused a hostility that followed him throughout his poetic career. Even though he faced many obstacles, Mallarmé still managed to publish numerous pieces including [http://www.studiocleo.com/librarie/mallarme/mallarme.html''The Afternoon of a Faun''], [http://www.geocities.com/rrobbins.geo/mallarme.htm''The Clown Chastised''], and [http://www.geocities.com/rrobbins.geo/mallarme.htm''The Virginal Vibrant and Beautiful Dawn'']. <br />
<br />
<br />
Mallarmé spent most of his life trying to perfect his work; therefore, he had many great pieces left unfinished. His sole focus was to continue putting his literary theories into practice and complete a piece called ''Grand Oeuvre'', or Great Work. Unfortunately he died before reaching his goal: He passed away on September 9, 1898 at the age of 56. However, he will always be known for influencing twentieth century French poetry, and for modernizing German and American poetry.</div>Sdeloachhttps://litwiki.org/index.php?title=Mallarme&diff=6565Mallarme2006-03-27T01:19:46Z<p>Sdeloach: </p>
<hr />
<div>[http://www.studiocleo.com/librarie/mallarme/mallarme.html Stéphane Mallarmé] (stāfän' mälärmā'), was born Etienne Mallarmé on March 18, 1842 in Paris, France. Although he was expected to follow in the footsteps of his father and grandfather and join the French civil service, he chose to focus on writing poetry instead. His first attempts at writing were done under the influence of [http://www.victorhugo.gg/ Victor Hugo]; however, it was not until he came across [http://encarta.msn.com/encyclopedia_761571267/Baudelaire.html Charles Baudelaire’s] influential piece [http://fleursdumal.org/toc_1857.php''The Flowers of Evil''] at the age of nineteen that he wrote the Briese Marine, starting with the much quoted line "Le chair est triste, hélas! et j'ai lu tous les livres". His poetry began to appear in magazines shortly after its completion. Soon after, Stepahane left school to visit England, which is also where he met his future wife, Marie Gerhard. Mallarme then went on to teach English from 1864 in Tournon, Besancon, Avignon, and Paris until his retirement in 1893.<br />
<br />
Mallarmé was widely known for being the leader of the Symbolist movement with [http://www.littlebluelight.com/lblphp/intro.php?ikey=29 Paul Verlaine]; He was also known for being the center of a group of French writers in Paris along with the likes of [http://nobelprize.org/literature/laureates/1947/gide-bio.html Gide], [http://www.kalin.lm.com/valery.html Valery], and [http://www.library.uiuc.edu/kolbp/proust.html Proust]. In fact, Mallarmé’s idea on poetry and art were considered difficult and obscure; furthermore, he challenged his readers by seeking out the long-forgotten meanings of common words and used these instead of standard convention. According to Mallarmé’s theories, “Nothing lies beyond reality, but within this nothingness lies the essence of perfect forms. It is the task of the poet to reveal and crystallize these essences,” and that “You don’t make a poem with ideas, but with words” (kirjasto). Naturally this roused a hostility that followed him throughout his poetic career. Even though he faced many obstacles, Mallarmé still managed to publish numerous pieces including [http://www.studiocleo.com/librarie/mallarme/mallarme.html''The Afternoon of a Faun''], [http://www.geocities.com/rrobbins.geo/mallarme.htm''The Clown Chastised''], and [http://www.geocities.com/rrobbins.geo/mallarme.htm''The Virginal Vibrant and Beautiful Dawn'']. <br />
<br />
<br />
Mallarmé spent most of his life trying to perfect his work; therefore, he had many great pieces left unfinished. His sole focus was to continue putting his literary theories into practice and complete a piece called ''Grand Oeuvre'', or Great Work. Unfortunately he died before reaching his goal: He passed away on September 9, 1898 at the age of 56. However, he will always be known for influencing twentieth century French poetry, and for modernizing German and American poetry.</div>Sdeloachhttps://litwiki.org/index.php?title=Mallarme&diff=6564Mallarme2006-03-27T01:16:56Z<p>Sdeloach: </p>
<hr />
<div>[http://www.studiocleo.com/librarie/mallarme/mallarme.html Stéphane Mallarmé] (stāfän' mälärmā'), was born Etienne Mallarmé on March 18, 1842 in Paris, France. Although he was expected to follow in the footsteps of his father and grandfather and join the French civil service, he chose to focus on writing poetry instead. His first attempts at writing were done under the influence of [http://www.victorhugo.gg/ Victor Hugo]; however, it was not until he came across [http://www.veinotte.com/baudelaire/Charles Baudelaire’s] influential piece [http://fleursdumal.org/toc_1857.php''The Flowers of Evil''] at the age of nineteen that he wrote the Briese Marine, starting with the much quoted line "Le chair est triste, hélas! et j'ai lu tous les livres". His poetry began to appear in magazines shortly after its completion. Soon after, Stepahane left school to visit England, which is also where he met his future wife, Marie Gerhard. Mallarme then went on to teach English from 1864 in Tournon, Besancon, Avignon, and Paris until his retirement in 1893.<br />
<br />
Mallarmé was widely known for being the leader of the Symbolist movement with [http://www.littlebluelight.com/lblphp/intro.php?ikey=29 Paul Verlaine]; He was also known for being the center of a group of French writers in Paris along with the likes of [http://nobelprize.org/literature/laureates/1947/gide-bio.html Gide], [http://www.kalin.lm.com/valery.html Valery], and [http://www.library.uiuc.edu/kolbp/proust.html Proust]. In fact, Mallarmé’s idea on poetry and art were considered difficult and obscure; furthermore, he challenged his readers by seeking out the long-forgotten meanings of common words and used these instead of standard convention. According to Mallarmé’s theories, “Nothing lies beyond reality, but within this nothingness lies the essence of perfect forms. It is the task of the poet to reveal and crystallize these essences,” and that “You don’t make a poem with ideas, but with words” (kirjasto). Naturally this roused a hostility that followed him throughout his poetic career. Even though he faced many obstacles, Mallarmé still managed to publish numerous pieces including [http://www.studiocleo.com/librarie/mallarme/mallarme.html''The Afternoon of a Faun''], [http://www.geocities.com/rrobbins.geo/mallarme.htm''The Clown Chastised''], and [http://www.geocities.com/rrobbins.geo/mallarme.htm''The Virginal Vibrant and Beautiful Dawn'']. <br />
<br />
<br />
Mallarmé spent most of his life trying to perfect his work; therefore, he had many great pieces left unfinished. His sole focus was to continue putting his literary theories into practice and complete a piece called ''Grand Oeuvre'', or Great Work. Unfortunately he died before reaching his goal: He passed away on September 9, 1898 at the age of 56. However, he will always be known for influencing twentieth century French poetry, and for modernizing German and American poetry.</div>Sdeloachhttps://litwiki.org/index.php?title=World_Literature&diff=6566World Literature2006-03-26T20:46:47Z<p>Sdeloach: /* French */</p>
<hr />
<div>Mostly dealing with Western World Literature, the following resources address mostly the [[Epic Poetry|epic genre]] and [[tragedy]] so far. More should be forthcoming.<br />
<br />
== Anglo-Saxon ==<br />
* <i>[[Beowulf]]</i><br />
<br />
== French ==<br />
* [[Molière]]: <i>[[Tartuffe]]</i><br />
* [[Voltaire]]: <i>[[Candide]]</i><br />
* [[Baudelaire]]: <i>[[Poet]]</i><br />
* [[Mallarme]]: <i>[[Poet]]</i><br />
<br />
== German ==<br />
* [[Johann Wolfgang von Goethe]]: <i>[[Faust]]</i><br />
** [[Faust Summary, Commentary, Notes]]<br />
<br />
== Greek ==<br />
* [[Euripides]]: <i>[[Medea]]</i><br />
* [[Homer]]: <i>[[The Iliad]]</i> and <i>[[The Odyssey]]</i><br />
* [[Sophocles]]: <i>[[Oedipus Rex]]</i><br />
<br />
== Italian ==<br />
* [[Machiavelli]]: <i>[[The Prince]]</i><br />
<br />
== Russian ==<br />
* <i>[[Fyodor Dostoyevsky]]</i><br />
<br />
== Sumerian ==<br />
* The epic of <i>[[Gilgamesh]]</i><br />
<br />
== Relevant Links ==<br />
* [[Literary Terms]]<br />
<br />
== Additional External Links ==<br />
* [http://www.accd.edu/sac/english/bailey/worldlit.htm LitWeb] — San Antonio College’s World Literature outlines.<br />
* [http://www.zeroland.co.nz/literature.html Literature on the Web] — Links to various world literature resources.<br />
* [http://dmoz.org/Arts/Literature/World_Literature/ World Literature] — from Open Directory.<br />
* [http://bcs.bedfordstmartins.com/worldlit/ World Literature Online] — from Bedford/St. Martin’s Press.<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Notes_from_Underground&diff=6554Notes from Underground2006-03-24T04:41:15Z<p>Sdeloach: /* Works Cited */</p>
<hr />
<div>:"What sort of Crystal Palace would it be if any sort of doubt were allowed?" —the Underground Man<br />
<br />
''Notes from Underground'' written by [[Fyodor Dostoyevsky]].<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Notes''.<br />
<br />
=== Notes from Underground, Part 1===<br />
#[[Notes from Underground: Part 1, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 1, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 1, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 1, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 1, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 1, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 1, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 1, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 1, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 1, Chapter 10|Chapter 10]]<br />
#[[Notes from Underground: Part 1, Chapter 11|Chapter 11]]<br />
<br />
=== Notes from Underground, Part 2: Apropos of Wet Snow ===<br />
#[[Notes from Underground: Part 2, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 2, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 2, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 2, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 2, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 2, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 2, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 2, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 2, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 2, Chapter 10|Chapter 10]]<br />
<br />
<br />
==History==<br />
''Notes from Underground'' is considered to be Dostoevsky's first major literary work during the second phase of his writing, or in other words, the elements of social realism give way to "psychological, existential, and philosophical concerns" in his works (Newton). Clearly, the novel fights against scientific thinking, making its point by giving examples from the narrator's personal experiences. ''Notes from Underground'' stands the test of time as a work of great literary importance, and the Underground Man emerges "...into the vocabulary of the modern educated consciousness, and this character has now begun--like Hamlet, Don Quixote, Don Juan, and Faust--to take on the symbolic stature of one of the great archetypal literary creations," this written by Joseph Frank almost a hundred years after its first publication (Jones). <br />
<br />
However, perhaps it is best to understand the time in which the novel was written. The [http://en.wikipedia.org/wiki/1860s 1860s] were a busy time for both Europe and North America, a fact that the narrator points out by exclaiming, "Take this entire nineteenth century of ours during which even Buckle lived. Take Napoleon--both the great and the present one. Take North America--that eternal union. Take, finally, that ridiculous Schleswig-Holstein"(1266). America struggles with a raging Civil War that ripped the country in two. The reference to Napoleon, of course, refers to the French emporers by that name, both of whom engaged in numerous battles. The mention of Schleswig-Holstein refers to Prussia taking that holding from Denmark, who had controlled it for almost a hundred years. Finally, Buckle wrote ''History of Civilization in England'', in which he concludes that "with the developement of civilization wars will cease" (Jones). So, the historical theme for the 1860's appears to be, for the most part, wars.<br />
<br />
Let's not forget what happens in Russia at this same time. Russia goes through the Great Reforms, a time of political instability. During this four year period, society began to notice an uprising of groups within the society; these will eventually--but not at this particular time--lead to political parties ([http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.htm Kimball]). Thus, began the modern revolutionary movements in Russia.<br />
<br />
All of the previously mentioned events provided a basis for Dostevsky's beliefs, which he states through the Underground Man's rantings. Dosteovsky satarizes the political and social troubles that plague these continents to express his true thoughts. He does not believe that man is a rational creature by nature or that civilization will bring an end to warfare. Perhaps, too, we see a bit of a warning in this text--a warning much like that in George Orwell's novel, ''1984,'' written eighty years later. Apparently, the threat had not abated but had instead gotten worse.<br />
<br />
==Timeline==<br />
<br />
<br />
==Characters==<br />
<br />
===The Underground Man===<br />
The Underground Man is the narrator and protagonist of Notes of Underground. The Underground Man can be viewed as: "a sheer irrationalist whose rejection of Rational Egoism is a tortured emotional outburst with no logical credentials" (Scanlan). He beleives that consciousness is a disease: " I swear to you, gentlemen, that being overly conscious is a disease, a genuine, full-fledged disease" (1257). Such consciousness shows: "within Underground Man's self-descriptions, while relational in the ways not reducible to behavior" (Hagberg).<br />
<br />
==Themes==<br />
===The Fallacies of Rationalism===<br />
<br />
===The Fallacies of Utopianism===<br />
<br />
===The Artificiality of Russian Culture===<br />
During the nineteenth century, the Russian culture became artificial because it no longer was "European". Russia's ethical, cultural, and spiritial pricipals were changing to look more like the Western culture of that time (Kireyesky). The Russian culture was slowly moving more westward. In Russia, a man was considered "developed" and "educated" only if he was familiar with the literary and philosophical traditions of Germany, France, and England (Madden). If this was the normal view of Russia at the time, a man who based all his ideas and opinions on the Westward culture may not have been preceved as smart. Russian culture was also strongly based on strong religious principals. Those principals were sometimes different than that of the other European countries. Philosphers such as Aristotle and Descartes influenced the Russian culture. "Russia had seperated from Europe in spirit, thus living a totally different life than the rest of Europe" (Kireyesky). Russia was still part of the European country, but just in the regional sense. Their government and religious beliefs took on a more Western feel, rather than the tradition European feel. "Russia nearly had to destroy their national personality in order to conform to Western civiliazation" (Kireyevsky). "In being captavated by the west, Russian intellectuals had lost touch with the true way of the Russian life, the life that many of the peasants and lower-class workers still practiced" (Madden). The artifical Russian culture could, in part, be responsible for the Underground Man's retreat to "underground". He may have found that conforming to foreign sets of values was just too hard (Madden).<br />
<br />
===The Human Mind According to Freud===<br />
<br />
One very prominent theme in ''Notes from Underground'' is the Narrators incessant struggle with his conscious. He is constantly stranded between achieving his own selfish desires and doing what’s right according to society’s standards. Even though the never-ending battle causes the Underground Man great anguish, he cannot seem to control it. Instead, he spends his life searching for the “advantage”, which will grant him “One’s own free unfettered choice, one’s own whim no matter what” (Nabokov 118). This brings up Freud’s theory of the personality model, otherwise known as the id, the ego, and the superego. <br />
<br />
The [http://allpsych.com/psychology101/ego.html id, ego, and superego] are the building blocks of our personalities. They determine how we handle everyday situations, in other words-reality. According to Freud, “In a healthy person, the ego is the strongest so that it can satisfy the needs of the id, not upset the superego, and still take into consideration the reality of every situation. Not an easy job by any means, but if the id gets too strong, impulses and self gratification take over the person's life. If the superego becomes too strong, the person would be driven by rigid morals, would be judgmental and unbending in his or her interactions with the world” (Psychology 101). The Underground Man’s inability to control his impulses and lust for self gratification suggests that he is ruled by his id. However, a careful analysis of each stage will provide a more through understanding of the complex human mind.<br />
<br />
According to Freud, we are born with our [http://allpsych.com/dictionary/i.html Id]. He states that as newborns, the id is responsible for allowing the basic needs to be met. The id also operates on the pleasure principle; in other words, the id only wants what feels good at that specific moment. The id also does not care about reality or about anyone else’s needs; it only cares about its own satisfaction. This type of behavior is fine for a baby, but is considered selfish when displayed by adults. The Underground man is controlled by his id on more times than not. One prime example is his refusal to pay Apollon his wages. Even though the narrator is clearly in the wrong, he tries to force his servant to beg for forgiveness merely out of selfish spite. “Here’s the money, you see! Here it is! (I pulled it out of a drawer.) All seven rubles. But you won’t get it, you won’t until you come to me respectfully, with your head bowed, to ask my forgiveness. Do you hear? (1319)” However, when the narrator needs Apollon’s help, he changes his attitude. “Apollon,” I whispered in feverish haste, tossing down the seven rubles which had been in my hand the whole time, “here are your wages. There, you see, I’ve given them to you. But now you must rescue me: bring us some tea and a dozen rusks the tavern at once. If you don’t go, you’ll make me a very miserable man. (1320)” This is why our personalities are governed by another more mature stage-the Ego.<br />
<br />
The second stage of the personality model is the [http://allpsych.com/dictionary/e.html Ego], which is responsible for keeping the id rooted to reality. The ego is based on the reality principle, which takes other people’s needs and desires into consideration. The ego also understands that being selfish may have consequences; so its purpose is to meet the needs of the id while taking into consideration the reality of the situation. One of the Underground Man’s only sane moments is during the farewell dinner. He suddenly realizes that he invited himself somewhere that he is not wanted. Consequently, his presence is ruining the affair and for just a moment, he faces reality. “Good heavens, these are not the people for me” I thought. “And what a fool I have made of myself before them” (Nabokov 122)!<br />
<br />
The last stage of the personality model is the [http://www.cla.purdue.edu/academic/engl/theory/psychoanalysis/definitions/superego.html Superego], which is responsible for introducing morals into the everyday situation. This stage is most prevalent when moral and ethical restraints must be addressed. The superego is also known as the conscious because it establishes the belief of right and wrong. The last scene of the play is when the Underground Man finally feels regret for his behavior. After Liza is gone, he realizes that he wanted her to stay, but it’s too late. “The Underground Man is distraught and wants to beg her forgiveness. He declares that he will never remember this moment with indifference. A moment later, though, he convinces himself that Liza will be purified and elevated by the hatred and forgiveness that his insult will inspire in her. At the same time, he is conscious of the literary merit of his own thoughts, and feels ashamed that he is focusing on that literary merit rather than on Liza’s welfare” (Madden). The last scene with Liza takes the Underground Man into a downward spiral that he can't escape. His conscious finally won.<br />
<br />
== Major Symbols ==<br />
===Underground===<br />
It is the home of the underground man. It is also refered to as his corner. " Yet the underground is more than a physical placeof isolation; it's a psychological hang-up as well. Possessing the overly sensitive and sheltered consciousness of the underground, the underground man finds himself unable and unwilling to meaningfully interact with others, despite his desire to do just that" (Novelguide). The underground man claims to prefer the underground to the real world. There he is able to express his indviduality.<br />
<br />
===The Ant Hill===<br />
This shows that there is no individuality. All of the ants are working for one main goal.<br />
<br />
===St. Petersburg===<br />
<br />
===The Crystal Palace===<br />
<br />
"The Crystal Palace is a symbolism of the lack of individualism" (Marder). All the people working in the building were working toward a common goal and since it was made entirely out of glass, there was no privacy, and this lack of privacy lead to the lack of individualism (Marder).<br />
<br />
===Money===<br />
Money, for the Underground Man, represents power. In the second part he is cross-examined and is asked his salary. He tells his 'friends' what he makes. "'It's not very handsome,' Zverkov observed majestically. "'Yes, you can't afford to dine at cafes on that,' Ferfichkin added insolently. "To my thinking it's very poor,' Trudolyubov observed gravely (Nabokov 123). All these men scrutinize the Underground Man for his lack of wages.The UM borrows money from a friend, Simonov, but he repays him the next day plus more. Having to borrow money makes him feel incapable of providing for himself and embarrassed of his poverty, making him feel inferior to his 'friends'. The Underground Man offers Liza, the woman he met at the prostitution house, money. She refuses his money. If he was to give her money it would demonstrate moral dominance.<br />
<br />
===Human Insect===<br />
The Underground Man talks of how he wishes he could be an insect. "I'll tell you solemnly that I wished to become an insect many times. But not even that wish was granted."(pg. 1257) After this the Underground Man talks about being overly conscious is a disease in its self. Like being to aware of your surroundings will lead to bad things. Later in the writing the Underground Man tells of how some classmates said he looked like a fly. George Steiner conluded that this held the same premise from Franz Kafka's [http://mchip00.nyu.edu/lit-med/lit-med-db/webdocs/webdescrips/kafka98-des-.html Metamorphoses]. "In them, and in the narrator's whole vision of himself as a bug trapped in the crack of a damp wall, Dostoevsky embodies the perception of a new helplessness and beastliness of the human species."(Steiner xi)<br />
<br />
==Critical Perspectives==<br />
''Notes from the Underground'' is an important work in Western European history. " It has attracted attention for many reasons. For one , it contains an all-out assault on Enlightenment rationalism and the idea of progress which foreshadows many such assaults in the mid-to-late twentieth century" (WSU). Another example of this novels' importance is the fact that it has one of the first anti-heroes in fiction. " It portrays a protagonist utterly lacking every trait of the Romantic hero and living out a futile life on the margins of society. Such figures were to dominate much serious fiction in the mid-twentieth century" (WSU).<br />
<br />
<br />
=== Literary Criticism ===<br />
=== The underground man: A question of meaning by Linda Williams ===<br />
<br />
Linda L. Williams explores Dostoyevsky’s Underground Man in her article entitled The underground man: a question of meaning. Williams looks at how the main character searches for meaning and value in his self and his life from the very first words of his notes exclaiming that he is a “sick [and] spiteful man” (1). She also examines how Dostoyevsky uses the underground man to “question whether human beings can be their own source of meaning” (Williams 1). This novel is a reaction to the ideas prevalent in Western Europe at the time that “reason provides the foundation for all knowledge” (Williams 1). <br />
<br />
Williams looks at why the Underground man refers to himself as a “zloi” which has been translated as spiteful but in actuality carries the connotation of immorality and malicious behavior in which a person isn’t by nature, but is because they are made that way due to circumstances that person has control over. The author of the article contends that this is because the underground man’s “refusal to attach the common man’s meaning to himself and due to his exaggerated consciousness and vanity.” <br />
<br />
In part two we see the underground man’s attempt to “make his life as meaningful to others as it is to him” (Williams 2). This is done through several attempts by the underground man to be noticed by a young officer, some old friends, and Liza. With the young officer the underground man’s desire for the “officer to step aside becomes a measure of the meaning and value of the underground man as a person” (Williams 3). In the case of his meeting with the old friends, we witness the night through his very subjective eyes in which he has “one humiliation piled on top of another” (Williams 4) in his attempt to present himself as having meaning and value in the eyes of others. Since the underground man has the ability to blame his behavior on alcohol as opposed to deliberate action, Williams contends that Dostoyevsky proves that “when an individual is the sole foundation for meanings and values, he may twist them any way he likes”<br />
(Williams 4).<br />
<br />
Through his experience with Liza, we see that “his existence has finally been affirmed just as if [the officer] had thrown him through the tavern window” (Williams 5). He then must change the “significance of the encounter with Liza to recapture the sarcasm of his vain ego” (Williams 6) because he has failed to prove himself of any value to anyone other than someone he sees as lower than himself. He attempts to regain control over what he feels like he has lost by asserting himself in a position of power over Liza by insulting her and then exerting “domination and possession over her body” (Williams 6). The underground man tries to “rationalize his sick, zloi act away [by giving her] money” (Williams 6), but Liza’s refusal to accept it along with “all its implications” (Williams 6) reveals what Williams calls the ugly truth about him.<br />
<br />
The underground man is incapable of loving anyone due to his unlimited vain ego. Further more, it is this ego that has led him to commit an act that “in the nineteenth century was considered more terrible than murder” (Williams 7) hence the reason why the term originally used in he beginning of the text as zloi which is translated as spiteful. Williams then goes on to say that “The underground cannot be his own foundation for meaning” and to Dostoevsky “the foundation of meaning does not lie in science or in Chernyshevsky’s rational egoism but in placing others interests before your own—in genuinely loving others” (Williams 7).<br />
<br />
The author looks at the underground man’s motives in a manner that is easy to understand although the character himself is not. I agree with Williams’s depiction of the underground man’s search and failure to gain the respect of his colleagues which only served to push him into farther underground. In the last moments when he has to reconcile with the fact that he can neither give nor receive love seals his fate in the underground where he is writing from years later. It is least likely that he will encounter another chance to escape. In the underground we will find him languishing untll his death.<br />
<br />
==External Links and Resources==<br />
<br />
http://www.sparknotes.com/lit/underground/themes.html<br />
<br />
==Works Cited==<br />
*Hagberg, Garry L. "Wittgenstein Underground." ''Philosophy and literature'' 28.2 (2004): 379-392.<br />
<br />
*Jones, Malcolm V. "Dostoevsky: Notes from Underground (1864)." ''The Voice of a Giant: Essays on Seven Russian Prose Classics.'' Ed. Roger Cockrell and David Richards. (1985): 55-65. Literature Resource Center. University of Exeter. 09 Mar. 2006. Keyword: Notes from Underground. <br />
<br />
*Kireyevsky, Ivan. "On the Nature of European Culture and On It's Relationship to Russian Culture". 23 Mar. 2006 http://www.geocities.com/trvalentine/orthodox/kireyevsky_culture.html<br />
<br />
*Kimball, Alan. "Russian Civil Society and Political Crisis in the Epoch of Great Reforms, 1859-1863." 25 Oct. 1989. University of Oregon. 14 Mar. 2006 <http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.html>. <br />
<br />
*Madden, Caolan. SparkNote on Notes from Underground. 12 Mar. 2006 <http://www.sparknotes.com/lit/underground/>. <br />
<br />
* Marder, Jen, Mike Meyer, & Fred Wyshak. "A Study Guide: Dostoevsky's Notes From Underground". <http://community.middlebury.edu/~beyer/courses/previous/ru351/novels/UGMan/ugman.html>. 21 Mar. 2006 <br />
<br />
*Nabokov, Vladimir. "Lectures on Russian Literature". New York, 1981. 115-125. <br />
<br />
*Newton, K.M. "Notes from Underground: Overview." ''Reference Guide to Short Fiction, 1st ed.'' Ed. Noelle Watson. St. James Press: 1994. Literature Resource Center. 13 Mar. 2006. Keyword: Notes from Underground.<br />
<br />
*"Psychology 101." ''AllPsych Online''. 23 Mar. 2006 http://allpsych.com/psychology101/ego.html<br />
<br />
*Scanlan, James P. "The Case against Rational Egoism in Dostoevsky's ''Notes from Underground''." ''Journal of the History of Ideas'' 60.3 (1999): 549-567.<br />
<br />
*''Novelguide.com''. "Notes from the Underground". March 2006 [<http://www.novelguide.com/notesfromtheunderground/metaphoranaylysis.html>.]<br />
<br />
*Williams, Linda. "The underground man: A question of meaning." ''Studies in the novel.'' Summer 1995, Vol. 27, Issue 2. 129,12<br />
<br />
*Steiner, George. "Dostoevsky's Notes from the Underground and The Gambler." Norwalk, CT: The Heritage Press, 1967 and 1997.<br />
<br />
<br />
<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Notes_from_Underground&diff=6553Notes from Underground2006-03-24T04:21:38Z<p>Sdeloach: /* The Human Mind According to Freud */</p>
<hr />
<div>:"What sort of Crystal Palace would it be if any sort of doubt were allowed?" —the Underground Man<br />
<br />
''Notes from Underground'' written by [[Fyodor Dostoyevsky]].<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Notes''.<br />
<br />
=== Notes from Underground, Part 1===<br />
#[[Notes from Underground: Part 1, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 1, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 1, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 1, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 1, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 1, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 1, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 1, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 1, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 1, Chapter 10|Chapter 10]]<br />
#[[Notes from Underground: Part 1, Chapter 11|Chapter 11]]<br />
<br />
=== Notes from Underground, Part 2: Apropos of Wet Snow ===<br />
#[[Notes from Underground: Part 2, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 2, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 2, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 2, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 2, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 2, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 2, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 2, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 2, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 2, Chapter 10|Chapter 10]]<br />
<br />
<br />
==History==<br />
''Notes from Underground'' is considered to be Dostoevsky's first major literary work during the second phase of his writing, or in other words, the elements of social realism give way to "psychological, existential, and philosophical concerns" in his works (Newton). Clearly, the novel fights against scientific thinking, making its point by giving examples from the narrator's personal experiences. ''Notes from Underground'' stands the test of time as a work of great literary importance, and the Underground Man emerges "...into the vocabulary of the modern educated consciousness, and this character has now begun--like Hamlet, Don Quixote, Don Juan, and Faust--to take on the symbolic stature of one of the great archetypal literary creations," this written by Joseph Frank almost a hundred years after its first publication (Jones). <br />
<br />
However, perhaps it is best to understand the time in which the novel was written. The [http://en.wikipedia.org/wiki/1860s 1860s] were a busy time for both Europe and North America, a fact that the narrator points out by exclaiming, "Take this entire nineteenth century of ours during which even Buckle lived. Take Napoleon--both the great and the present one. Take North America--that eternal union. Take, finally, that ridiculous Schleswig-Holstein"(1266). America struggles with a raging Civil War that ripped the country in two. The reference to Napoleon, of course, refers to the French emporers by that name, both of whom engaged in numerous battles. The mention of Schleswig-Holstein refers to Prussia taking that holding from Denmark, who had controlled it for almost a hundred years. Finally, Buckle wrote ''History of Civilization in England'', in which he concludes that "with the developement of civilization wars will cease" (Jones). So, the historical theme for the 1860's appears to be, for the most part, wars.<br />
<br />
Let's not forget what happens in Russia at this same time. Russia goes through the Great Reforms, a time of political instability. During this four year period, society began to notice an uprising of groups within the society; these will eventually--but not at this particular time--lead to political parties ([http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.htm Kimball]). Thus, began the modern revolutionary movements in Russia.<br />
<br />
All of the previously mentioned events provided a basis for Dostevsky's beliefs, which he states through the Underground Man's rantings. Dosteovsky satarizes the political and social troubles that plague these continents to express his true thoughts. He does not believe that man is a rational creature by nature or that civilization will bring an end to warfare. Perhaps, too, we see a bit of a warning in this text--a warning much like that in George Orwell's novel, ''1984,'' written eighty years later. Apparently, the threat had not abated but had instead gotten worse.<br />
<br />
==Timeline==<br />
<br />
<br />
==Characters==<br />
<br />
===The Underground Man===<br />
The Underground Man is the narrator and protagonist of Notes of Underground. The Underground Man can be viewed as: "a sheer irrationalist whose rejection of Rational Egoism is a tortured emotional outburst with no logical credentials" (Scanlan). He beleives that consciousness is a disease: " I swear to you, gentlemen, that being overly conscious is a disease, a genuine, full-fledged disease" (1257). Such consciousness shows: "within Underground Man's self-descriptions, while relational in the ways not reducible to behavior" (Hagberg).<br />
<br />
==Themes==<br />
===The Fallacies of Rationalism===<br />
<br />
===The Fallacies of Utopianism===<br />
<br />
===The Artificiality of Russian Culture===<br />
During the nineteenth century, the Russian culture became artificial because it no longer was "European". Russia's ethical, cultural, and spiritial pricipals were changing to look more like the Western culture of that time (Kireyesky). The Russian culture was slowly moving more westward. In Russia, a man was considered "developed" and "educated" only if he was familiar with the literary and philosophical traditions of Germany, France, and England (Madden). If this was the normal view of Russia at the time, a man who based all his ideas and opinions on the Westward culture may not have been preceved as smart. Russian culture was also strongly based on strong religious principals. Those principals were sometimes different than that of the other European countries. Philosphers such as Aristotle and Descartes influenced the Russian culture. "Russia had seperated from Europe in spirit, thus living a totally different life than the rest of Europe" (Kireyesky). Russia was still part of the European country, but just in the regional sense. Their government and religious beliefs took on a more Western feel, rather than the tradition European feel. "Russia nearly had to destroy their national personality in order to conform to Western civiliazation" (Kireyevsky). "In being captavated by the west, Russian intellectuals had lost touch with the true way of the Russian life, the life that many of the peasants and lower-class workers still practiced" (Madden). The artifical Russian culture could, in part, be responsible for the Underground Man's retreat to "underground". He may have found that conforming to foreign sets of values was just too hard (Madden).<br />
<br />
===The Human Mind According to Freud===<br />
<br />
One very prominent theme in ''Notes from Underground'' is the Narrators incessant struggle with his conscious. He is constantly stranded between achieving his own selfish desires and doing what’s right according to society’s standards. Even though the never-ending battle causes the Underground Man great anguish, he cannot seem to control it. Instead, he spends his life searching for the “advantage”, which will grant him “One’s own free unfettered choice, one’s own whim no matter what” (Nabokov 118). This brings up Freud’s theory of the personality model, otherwise known as the id, the ego, and the superego. <br />
<br />
The [http://allpsych.com/psychology101/ego.html id, ego, and superego] are the building blocks of our personalities. They determine how we handle everyday situations, in other words-reality. According to Freud, “In a healthy person, the ego is the strongest so that it can satisfy the needs of the id, not upset the superego, and still take into consideration the reality of every situation. Not an easy job by any means, but if the id gets too strong, impulses and self gratification take over the person's life. If the superego becomes too strong, the person would be driven by rigid morals, would be judgmental and unbending in his or her interactions with the world” (Psychology 101). The Underground Man’s inability to control his impulses and lust for self gratification suggests that he is ruled by his id. However, a careful analysis of each stage will provide a more through understanding of the complex human mind.<br />
<br />
According to Freud, we are born with our [http://allpsych.com/dictionary/i.html Id]. He states that as newborns, the id is responsible for allowing the basic needs to be met. The id also operates on the pleasure principle; in other words, the id only wants what feels good at that specific moment. The id also does not care about reality or about anyone else’s needs; it only cares about its own satisfaction. This type of behavior is fine for a baby, but is considered selfish when displayed by adults. The Underground man is controlled by his id on more times than not. One prime example is his refusal to pay Apollon his wages. Even though the narrator is clearly in the wrong, he tries to force his servant to beg for forgiveness merely out of selfish spite. “Here’s the money, you see! Here it is! (I pulled it out of a drawer.) All seven rubles. But you won’t get it, you won’t until you come to me respectfully, with your head bowed, to ask my forgiveness. Do you hear? (1319)” However, when the narrator needs Apollon’s help, he changes his attitude. “Apollon,” I whispered in feverish haste, tossing down the seven rubles which had been in my hand the whole time, “here are your wages. There, you see, I’ve given them to you. But now you must rescue me: bring us some tea and a dozen rusks the tavern at once. If you don’t go, you’ll make me a very miserable man. (1320)” This is why our personalities are governed by another more mature stage-the Ego.<br />
<br />
The second stage of the personality model is the [http://allpsych.com/dictionary/e.html Ego], which is responsible for keeping the id rooted to reality. The ego is based on the reality principle, which takes other people’s needs and desires into consideration. The ego also understands that being selfish may have consequences; so its purpose is to meet the needs of the id while taking into consideration the reality of the situation. One of the Underground Man’s only sane moments is during the farewell dinner. He suddenly realizes that he invited himself somewhere that he is not wanted. Consequently, his presence is ruining the affair and for just a moment, he faces reality. “Good heavens, these are not the people for me” I thought. “And what a fool I have made of myself before them” (Nabokov 122)!<br />
<br />
The last stage of the personality model is the [http://www.cla.purdue.edu/academic/engl/theory/psychoanalysis/definitions/superego.html Superego], which is responsible for introducing morals into the everyday situation. This stage is most prevalent when moral and ethical restraints must be addressed. The superego is also known as the conscious because it establishes the belief of right and wrong. The last scene of the play is when the Underground Man finally feels regret for his behavior. After Liza is gone, he realizes that he wanted her to stay, but it’s too late. “The Underground Man is distraught and wants to beg her forgiveness. He declares that he will never remember this moment with indifference. A moment later, though, he convinces himself that Liza will be purified and elevated by the hatred and forgiveness that his insult will inspire in her. At the same time, he is conscious of the literary merit of his own thoughts, and feels ashamed that he is focusing on that literary merit rather than on Liza’s welfare” (Madden). The last scene with Liza takes the Underground Man into a downward spiral that he can't escape. His conscious finally won.<br />
<br />
== Major Symbols ==<br />
===Underground===<br />
It is the home of the underground man. It is also refered to as his corner. " Yet the underground is more than a physical placeof isolation; it's a psychological hang-up as well. Possessing the overly sensitive and sheltered consciousness of the underground, the underground man finds himself unable and unwilling to meaningfully interact with others, despite his desire to do just that" (Novelguide). The underground man claims to prefer the underground to the real world. There he is able to express his indviduality.<br />
<br />
===The Ant Hill===<br />
This shows that there is no individuality. All of the ants are working for one main goal.<br />
<br />
===St. Petersburg===<br />
<br />
===The Crystal Palace===<br />
<br />
"The Crystal Palace is a symbolism of the lack of individualism" (Marder). All the people working in the building were working toward a common goal and since it was made entirely out of glass, there was no privacy, and this lack of privacy lead to the lack of individualism (Marder).<br />
<br />
===Money===<br />
Money, for the Underground Man, represents power. In the second part he is cross-examined and is asked his salary. He tells his 'friends' what he makes. "'It's not very handsome,' Zverkov observed majestically. "'Yes, you can't afford to dine at cafes on that,' Ferfichkin added insolently. "To my thinking it's very poor,' Trudolyubov observed gravely (Nabokov 123). All these men scrutinize the Underground Man for his lack of wages.The UM borrows money from a friend, Simonov, but he repays him the next day plus more. Having to borrow money makes him feel incapable of providing for himself and embarrassed of his poverty, making him feel inferior to his 'friends'. The Underground Man offers Liza, the woman he met at the prostitution house, money. She refuses his money. If he was to give her money it would demonstrate moral dominance.<br />
<br />
===Human Insect===<br />
The Underground Man talks of how he wishes he could be an insect. "I'll tell you solemnly that I wished to become an insect many times. But not even that wish was granted."(pg. 1257) After this the Underground Man talks about being overly conscious is a disease in its self. Like being to aware of your surroundings will lead to bad things. Later in the writing the Underground Man tells of how some classmates said he looked like a fly. George Steiner conluded that this held the same premise from Franz Kafka's [http://mchip00.nyu.edu/lit-med/lit-med-db/webdocs/webdescrips/kafka98-des-.html Metamorphoses]. "In them, and in the narrator's whole vision of himself as a bug trapped in the crack of a damp wall, Dostoevsky embodies the perception of a new helplessness and beastliness of the human species."(Steiner xi)<br />
<br />
==Critical Perspectives==<br />
''Notes from the Underground'' is an important work in Western European history. " It has attracted attention for many reasons. For one , it contains an all-out assault on Enlightenment rationalism and the idea of progress which foreshadows many such assaults in the mid-to-late twentieth century" (WSU). Another example of this novels' importance is the fact that it has one of the first anti-heroes in fiction. " It portrays a protagonist utterly lacking every trait of the Romantic hero and living out a futile life on the margins of society. Such figures were to dominate much serious fiction in the mid-twentieth century" (WSU).<br />
<br />
<br />
=== Literary Criticism ===<br />
=== The underground man: A question of meaning by Linda Williams ===<br />
<br />
Linda L. Williams explores Dostoyevsky’s Underground Man in her article entitled The underground man: a question of meaning. Williams looks at how the main character searches for meaning and value in his self and his life from the very first words of his notes exclaiming that he is a “sick [and] spiteful man” (1). She also examines how Dostoyevsky uses the underground man to “question whether human beings can be their own source of meaning” (Williams 1). This novel is a reaction to the ideas prevalent in Western Europe at the time that “reason provides the foundation for all knowledge” (Williams 1). <br />
<br />
Williams looks at why the Underground man refers to himself as a “zloi” which has been translated as spiteful but in actuality carries the connotation of immorality and malicious behavior in which a person isn’t by nature, but is because they are made that way due to circumstances that person has control over. The author of the article contends that this is because the underground man’s “refusal to attach the common man’s meaning to himself and due to his exaggerated consciousness and vanity.” <br />
<br />
In part two we see the underground man’s attempt to “make his life as meaningful to others as it is to him” (Williams 2). This is done through several attempts by the underground man to be noticed by a young officer, some old friends, and Liza. With the young officer the underground man’s desire for the “officer to step aside becomes a measure of the meaning and value of the underground man as a person” (Williams 3). In the case of his meeting with the old friends, we witness the night through his very subjective eyes in which he has “one humiliation piled on top of another” (Williams 4) in his attempt to present himself as having meaning and value in the eyes of others. Since the underground man has the ability to blame his behavior on alcohol as opposed to deliberate action, Williams contends that Dostoyevsky proves that “when an individual is the sole foundation for meanings and values, he may twist them any way he likes”<br />
(Williams 4).<br />
<br />
Through his experience with Liza, we see that “his existence has finally been affirmed just as if [the officer] had thrown him through the tavern window” (Williams 5). He then must change the “significance of the encounter with Liza to recapture the sarcasm of his vain ego” (Williams 6) because he has failed to prove himself of any value to anyone other than someone he sees as lower than himself. He attempts to regain control over what he feels like he has lost by asserting himself in a position of power over Liza by insulting her and then exerting “domination and possession over her body” (Williams 6). The underground man tries to “rationalize his sick, zloi act away [by giving her] money” (Williams 6), but Liza’s refusal to accept it along with “all its implications” (Williams 6) reveals what Williams calls the ugly truth about him.<br />
<br />
The underground man is incapable of loving anyone due to his unlimited vain ego. Further more, it is this ego that has led him to commit an act that “in the nineteenth century was considered more terrible than murder” (Williams 7) hence the reason why the term originally used in he beginning of the text as zloi which is translated as spiteful. Williams then goes on to say that “The underground cannot be his own foundation for meaning” and to Dostoevsky “the foundation of meaning does not lie in science or in Chernyshevsky’s rational egoism but in placing others interests before your own—in genuinely loving others” (Williams 7).<br />
<br />
The author looks at the underground man’s motives in a manner that is easy to understand although the character himself is not. I agree with Williams’s depiction of the underground man’s search and failure to gain the respect of his colleagues which only served to push him into farther underground. In the last moments when he has to reconcile with the fact that he can neither give nor receive love seals his fate in the underground where he is writing from years later. It is least likely that he will encounter another chance to escape. In the underground we will find him languishing untll his death.<br />
<br />
==External Links and Resources==<br />
<br />
http://www.sparknotes.com/lit/underground/themes.html<br />
<br />
==Works Cited==<br />
*Hagberg, Garry L. "Wittgenstein Underground." ''Philosophy and literature'' 28.2 (2004): 379-392.<br />
<br />
*Jones, Malcolm V. "Dostoevsky: Notes from Underground (1864)." ''The Voice of a Giant: Essays on Seven Russian Prose Classics.'' Ed. Roger Cockrell and David Richards. (1985): 55-65. Literature Resource Center. University of Exeter. 09 Mar. 2006. Keyword: Notes from Underground. <br />
<br />
*Kireyevsky, Ivan. "On the Nature of European Culture and On It's Relationship to Russian Culture". 23 Mar. 2006 http://www.geocities.com/trvalentine/orthodox/kireyevsky_culture.html<br />
<br />
*Kimball, Alan. "Russian Civil Society and Political Crisis in the Epoch of Great Reforms, 1859-1863." 25 Oct. 1989. University of Oregon. 14 Mar. 2006 <http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.html>. <br />
<br />
*Madden, Caolan. SparkNote on Notes from Underground. 12 Mar. 2006 <http://www.sparknotes.com/lit/underground/>. <br />
<br />
* Marder, Jen, Mike Meyer, & Fred Wyshak. "A Study Guide: Dostoevsky's Notes From Underground". <http://community.middlebury.edu/~beyer/courses/previous/ru351/novels/UGMan/ugman.html>. 21 Mar. 2006 <br />
<br />
*Nabokov, Vladimir. "Lectures on Russian Literature". New York, 1981. 115-125. <br />
<br />
*Newton, K.M. "Notes from Underground: Overview." ''Reference Guide to Short Fiction, 1st ed.'' Ed. Noelle Watson. St. James Press: 1994. Literature Resource Center. 13 Mar. 2006. Keyword: Notes from Underground.<br />
<br />
*Scanlan, James P. "The Case against Rational Egoism in Dostoevsky's ''Notes from Underground''." ''Journal of the History of Ideas'' 60.3 (1999): 549-567.<br />
<br />
*''Novelguide.com''. "Notes from the Underground". March 2006 [<http://www.novelguide.com/notesfromtheunderground/metaphoranaylysis.html>.]<br />
<br />
*Williams, Linda. "The underground man: A question of meaning." ''Studies in the novel.'' Summer 1995, Vol. 27, Issue 2. 129,12<br />
<br />
*Steiner, George. "Dostoevsky's Notes from the Underground and The Gambler." Norwalk, CT: The Heritage Press, 1967 and 1997.<br />
<br />
<br />
<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Notes_from_Underground&diff=6552Notes from Underground2006-03-24T04:17:43Z<p>Sdeloach: /* The Human Mind According to Freud */</p>
<hr />
<div>:"What sort of Crystal Palace would it be if any sort of doubt were allowed?" —the Underground Man<br />
<br />
''Notes from Underground'' written by [[Fyodor Dostoyevsky]].<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Notes''.<br />
<br />
=== Notes from Underground, Part 1===<br />
#[[Notes from Underground: Part 1, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 1, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 1, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 1, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 1, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 1, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 1, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 1, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 1, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 1, Chapter 10|Chapter 10]]<br />
#[[Notes from Underground: Part 1, Chapter 11|Chapter 11]]<br />
<br />
=== Notes from Underground, Part 2: Apropos of Wet Snow ===<br />
#[[Notes from Underground: Part 2, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 2, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 2, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 2, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 2, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 2, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 2, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 2, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 2, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 2, Chapter 10|Chapter 10]]<br />
<br />
<br />
==History==<br />
''Notes from Underground'' is considered to be Dostoevsky's first major literary work during the second phase of his writing, or in other words, the elements of social realism give way to "psychological, existential, and philosophical concerns" in his works (Newton). Clearly, the novel fights against scientific thinking, making its point by giving examples from the narrator's personal experiences. ''Notes from Underground'' stands the test of time as a work of great literary importance, and the Underground Man emerges "...into the vocabulary of the modern educated consciousness, and this character has now begun--like Hamlet, Don Quixote, Don Juan, and Faust--to take on the symbolic stature of one of the great archetypal literary creations," this written by Joseph Frank almost a hundred years after its first publication (Jones). <br />
<br />
However, perhaps it is best to understand the time in which the novel was written. The [http://en.wikipedia.org/wiki/1860s 1860s] were a busy time for both Europe and North America, a fact that the narrator points out by exclaiming, "Take this entire nineteenth century of ours during which even Buckle lived. Take Napoleon--both the great and the present one. Take North America--that eternal union. Take, finally, that ridiculous Schleswig-Holstein"(1266). America struggles with a raging Civil War that ripped the country in two. The reference to Napoleon, of course, refers to the French emporers by that name, both of whom engaged in numerous battles. The mention of Schleswig-Holstein refers to Prussia taking that holding from Denmark, who had controlled it for almost a hundred years. Finally, Buckle wrote ''History of Civilization in England'', in which he concludes that "with the developement of civilization wars will cease" (Jones). So, the historical theme for the 1860's appears to be, for the most part, wars.<br />
<br />
Let's not forget what happens in Russia at this same time. Russia goes through the Great Reforms, a time of political instability. During this four year period, society began to notice an uprising of groups within the society; these will eventually--but not at this particular time--lead to political parties ([http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.htm Kimball]). Thus, began the modern revolutionary movements in Russia.<br />
<br />
All of the previously mentioned events provided a basis for Dostevsky's beliefs, which he states through the Underground Man's rantings. Dosteovsky satarizes the political and social troubles that plague these continents to express his true thoughts. He does not believe that man is a rational creature by nature or that civilization will bring an end to warfare. Perhaps, too, we see a bit of a warning in this text--a warning much like that in George Orwell's novel, ''1984,'' written eighty years later. Apparently, the threat had not abated but had instead gotten worse.<br />
<br />
==Timeline==<br />
<br />
<br />
==Characters==<br />
<br />
===The Underground Man===<br />
The Underground Man is the narrator and protagonist of Notes of Underground. The Underground Man can be viewed as: "a sheer irrationalist whose rejection of Rational Egoism is a tortured emotional outburst with no logical credentials" (Scanlan). He beleives that consciousness is a disease: " I swear to you, gentlemen, that being overly conscious is a disease, a genuine, full-fledged disease" (1257). Such consciousness shows: "within Underground Man's self-descriptions, while relational in the ways not reducible to behavior" (Hagberg).<br />
<br />
==Themes==<br />
===The Fallacies of Rationalism===<br />
<br />
===The Fallacies of Utopianism===<br />
<br />
===The Artificiality of Russian Culture===<br />
During the nineteenth century, the Russian culture became artificial because it no longer was "European". Russia's ethical, cultural, and spiritial pricipals were changing to look more like the Western culture of that time (Kireyesky). The Russian culture was slowly moving more westward. In Russia, a man was considered "developed" and "educated" only if he was familiar with the literary and philosophical traditions of Germany, France, and England (Madden). If this was the normal view of Russia at the time, a man who based all his ideas and opinions on the Westward culture may not have been preceved as smart. Russian culture was also strongly based on strong religious principals. Those principals were sometimes different than that of the other European countries. Philosphers such as Aristotle and Descartes influenced the Russian culture. "Russia had seperated from Europe in spirit, thus living a totally different life than the rest of Europe" (Kireyesky). Russia was still part of the European country, but just in the regional sense. Their government and religious beliefs took on a more Western feel, rather than the tradition European feel. "Russia nearly had to destroy their national personality in order to conform to Western civiliazation" (Kireyevsky). "In being captavated by the west, Russian intellectuals had lost touch with the true way of the Russian life, the life that many of the peasants and lower-class workers still practiced" (Madden). The artifical Russian culture could, in part, be responsible for the Underground Man's retreat to "underground". He may have found that conforming to foreign sets of values was just too hard (Madden).<br />
<br />
===The Human Mind According to Freud===<br />
<br />
One very prominent theme in ''Notes from Underground'' is the Narrators incessant struggle with his conscious. He is constantly stranded between achieving his own selfish desires and doing what’s right according to society’s standards. Even though the never-ending battle causes the Underground Man great anguish, he cannot seem to control it. Instead, he spends his life searching for the “advantage”, which will grant him “One’s own free unfettered choice, one’s own whim no matter what” (Nabokov 118). This brings up Freud’s theory of the personality model, otherwise known as the id, the ego, and the superego. <br />
<br />
The [http://allpsych.com/psychology101/ego.html id, ego, and superego] are the building blocks of our personalities. They determine how we handle everyday situations, in other words-reality. According to Freud, “In a healthy person, the ego is the strongest so that it can satisfy the needs of the id, not upset the superego, and still take into consideration the reality of every situation. Not an easy job by any means, but if the id gets too strong, impulses and self gratification take over the person's life. If the superego becomes too strong, the person would be driven by rigid morals, would be judgmental and unbending in his or her interactions with the world” (Psychology 101). The Underground Man’s inability to control his impulses and lust for self gratification suggests that he is ruled by his id. However, a careful analysis of each stage will provide a more through understanding of the complex human mind.<br />
<br />
According to Freud, we are born with our [http://allpsych.com/dictionary/i.html Id]. He states that as newborns, the id is responsible for allowing the basic needs to be met. The id also operates on the pleasure principle; in other words, the id only wants what feels good at that specific moment. The id also does not care about reality or about anyone else’s needs; it only cares about its own satisfaction. This type of behavior is fine for a baby, but is considered selfish when displayed by adults. The Underground man is controlled by his id on more times than not. One prime example is his refusal to pay Apollon his wages. Even though the narrator is clearly in the wrong, he tries to force his servant to beg for forgiveness merely out of selfish spite. “Here’s the money, you see! Here it is! (I pulled it out of a drawer.) All seven rubles. But you won’t get it, you won’t until you come to me respectfully, with your head bowed, to ask my forgiveness. Do you hear? (1319)” However, when the narrator needs Apollon’s help, he changes his attitude. “Apollon,” I whispered in feverish haste, tossing down the seven rubles which had been in my hand the whole time, “here are your wages. There, you see, I’ve given them to you. But now you must rescue me: bring us some tea and a dozen rusks the tavern at once. If you don’t go, you’ll make me a very miserable man. (1320)” This is why our personalities are governed by another more mature stage-the Ego.<br />
<br />
The second stage of the personality model is the [http://allpsych.com/dictionary/e.html Ego], which is responsible for keeping the id rooted to reality. The ego is based on the reality principle, which takes other people’s needs and desires into consideration. The ego also understands that being selfish may have consequences; so its purpose is to meet the needs of the id while taking into consideration the reality of the situation. One of the Underground Man’s only sane moments is during the farewell dinner. He suddenly realizes that he invited himself somewhere that he is not wanted. Consequently, his presence is ruining the affair and for just a moment, he faces reality. “Good heavens, these are not the people for me” I thought. “And what a fool I have made of myself before them” (Nabokov 122)!<br />
<br />
The last stage of the personality model is the [http://www.cla.purdue.edu/academic/engl/theory/psychoanalysis/definitions/superego.html Superego], which is responsible for introducing morals into the everyday situation. This stage is most prevalent when moral and ethical restraints must be addressed. The superego is also known as the conscious because it establishes the belief of right and wrong. The last scene of the play is when the Underground Man finally feels regret for his behavior. After Liza is gone, he realizes that he wanted her to stay, but it’s too late. “The Underground Man is distraught and wants to beg her forgiveness. He declares that he will never remember this moment with indifference. A moment later, though, he convinces himself that Liza will be purified and elevated by the hatred and forgiveness that his insult will inspire in her. At the same time, he is conscious of the literary merit of his own thoughts, and feels ashamed that he is focusing on that literary merit rather than on Liza’s welfare” (Spark Notes). The last scene with Liza takes the Underground Man into a downward spiral that he can't escape. His conscious finally won.<br />
<br />
== Major Symbols ==<br />
===Underground===<br />
It is the home of the underground man. It is also refered to as his corner. " Yet the underground is more than a physical placeof isolation; it's a psychological hang-up as well. Possessing the overly sensitive and sheltered consciousness of the underground, the underground man finds himself unable and unwilling to meaningfully interact with others, despite his desire to do just that" (Novelguide). The underground man claims to prefer the underground to the real world. There he is able to express his indviduality.<br />
<br />
===The Ant Hill===<br />
This shows that there is no individuality. All of the ants are working for one main goal.<br />
<br />
===St. Petersburg===<br />
<br />
===The Crystal Palace===<br />
<br />
"The Crystal Palace is a symbolism of the lack of individualism" (Marder). All the people working in the building were working toward a common goal and since it was made entirely out of glass, there was no privacy, and this lack of privacy lead to the lack of individualism (Marder).<br />
<br />
===Money===<br />
Money, for the Underground Man, represents power. In the second part he is cross-examined and is asked his salary. He tells his 'friends' what he makes. "'It's not very handsome,' Zverkov observed majestically. "'Yes, you can't afford to dine at cafes on that,' Ferfichkin added insolently. "To my thinking it's very poor,' Trudolyubov observed gravely (Nabokov 123). All these men scrutinize the Underground Man for his lack of wages.The UM borrows money from a friend, Simonov, but he repays him the next day plus more. Having to borrow money makes him feel incapable of providing for himself and embarrassed of his poverty, making him feel inferior to his 'friends'. The Underground Man offers Liza, the woman he met at the prostitution house, money. She refuses his money. If he was to give her money it would demonstrate moral dominance.<br />
<br />
===Human Insect===<br />
The Underground Man talks of how he wishes he could be an insect. "I'll tell you solemnly that I wished to become an insect many times. But not even that wish was granted."(pg. 1257) After this the Underground Man talks about being overly conscious is a disease in its self. Like being to aware of your surroundings will lead to bad things. Later in the writing the Underground Man tells of how some classmates said he looked like a fly. George Steiner conluded that this held the same premise from Franz Kafka's [http://mchip00.nyu.edu/lit-med/lit-med-db/webdocs/webdescrips/kafka98-des-.html Metamorphoses]. "In them, and in the narrator's whole vision of himself as a bug trapped in the crack of a damp wall, Dostoevsky embodies the perception of a new helplessness and beastliness of the human species."(Steiner xi)<br />
<br />
==Critical Perspectives==<br />
''Notes from the Underground'' is an important work in Western European history. " It has attracted attention for many reasons. For one , it contains an all-out assault on Enlightenment rationalism and the idea of progress which foreshadows many such assaults in the mid-to-late twentieth century" (WSU). Another example of this novels' importance is the fact that it has one of the first anti-heroes in fiction. " It portrays a protagonist utterly lacking every trait of the Romantic hero and living out a futile life on the margins of society. Such figures were to dominate much serious fiction in the mid-twentieth century" (WSU).<br />
<br />
<br />
=== Literary Criticism ===<br />
=== The underground man: A question of meaning by Linda Williams ===<br />
<br />
Linda L. Williams explores Dostoyevsky’s Underground Man in her article entitled The underground man: a question of meaning. Williams looks at how the main character searches for meaning and value in his self and his life from the very first words of his notes exclaiming that he is a “sick [and] spiteful man” (1). She also examines how Dostoyevsky uses the underground man to “question whether human beings can be their own source of meaning” (Williams 1). This novel is a reaction to the ideas prevalent in Western Europe at the time that “reason provides the foundation for all knowledge” (Williams 1). <br />
<br />
Williams looks at why the Underground man refers to himself as a “zloi” which has been translated as spiteful but in actuality carries the connotation of immorality and malicious behavior in which a person isn’t by nature, but is because they are made that way due to circumstances that person has control over. The author of the article contends that this is because the underground man’s “refusal to attach the common man’s meaning to himself and due to his exaggerated consciousness and vanity.” <br />
<br />
In part two we see the underground man’s attempt to “make his life as meaningful to others as it is to him” (Williams 2). This is done through several attempts by the underground man to be noticed by a young officer, some old friends, and Liza. With the young officer the underground man’s desire for the “officer to step aside becomes a measure of the meaning and value of the underground man as a person” (Williams 3). In the case of his meeting with the old friends, we witness the night through his very subjective eyes in which he has “one humiliation piled on top of another” (Williams 4) in his attempt to present himself as having meaning and value in the eyes of others. Since the underground man has the ability to blame his behavior on alcohol as opposed to deliberate action, Williams contends that Dostoyevsky proves that “when an individual is the sole foundation for meanings and values, he may twist them any way he likes”<br />
(Williams 4).<br />
<br />
Through his experience with Liza, we see that “his existence has finally been affirmed just as if [the officer] had thrown him through the tavern window” (Williams 5). He then must change the “significance of the encounter with Liza to recapture the sarcasm of his vain ego” (Williams 6) because he has failed to prove himself of any value to anyone other than someone he sees as lower than himself. He attempts to regain control over what he feels like he has lost by asserting himself in a position of power over Liza by insulting her and then exerting “domination and possession over her body” (Williams 6). The underground man tries to “rationalize his sick, zloi act away [by giving her] money” (Williams 6), but Liza’s refusal to accept it along with “all its implications” (Williams 6) reveals what Williams calls the ugly truth about him.<br />
<br />
The underground man is incapable of loving anyone due to his unlimited vain ego. Further more, it is this ego that has led him to commit an act that “in the nineteenth century was considered more terrible than murder” (Williams 7) hence the reason why the term originally used in he beginning of the text as zloi which is translated as spiteful. Williams then goes on to say that “The underground cannot be his own foundation for meaning” and to Dostoevsky “the foundation of meaning does not lie in science or in Chernyshevsky’s rational egoism but in placing others interests before your own—in genuinely loving others” (Williams 7).<br />
<br />
The author looks at the underground man’s motives in a manner that is easy to understand although the character himself is not. I agree with Williams’s depiction of the underground man’s search and failure to gain the respect of his colleagues which only served to push him into farther underground. In the last moments when he has to reconcile with the fact that he can neither give nor receive love seals his fate in the underground where he is writing from years later. It is least likely that he will encounter another chance to escape. In the underground we will find him languishing untll his death.<br />
<br />
==External Links and Resources==<br />
<br />
http://www.sparknotes.com/lit/underground/themes.html<br />
<br />
==Works Cited==<br />
*Hagberg, Garry L. "Wittgenstein Underground." ''Philosophy and literature'' 28.2 (2004): 379-392.<br />
<br />
*Jones, Malcolm V. "Dostoevsky: Notes from Underground (1864)." ''The Voice of a Giant: Essays on Seven Russian Prose Classics.'' Ed. Roger Cockrell and David Richards. (1985): 55-65. Literature Resource Center. University of Exeter. 09 Mar. 2006. Keyword: Notes from Underground. <br />
<br />
*Kireyevsky, Ivan. "On the Nature of European Culture and On It's Relationship to Russian Culture". 23 Mar. 2006 http://www.geocities.com/trvalentine/orthodox/kireyevsky_culture.html<br />
<br />
*Kimball, Alan. "Russian Civil Society and Political Crisis in the Epoch of Great Reforms, 1859-1863." 25 Oct. 1989. University of Oregon. 14 Mar. 2006 <http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.html>. <br />
<br />
*Madden, Caolan. SparkNote on Notes from Underground. 12 Mar. 2006 <http://www.sparknotes.com/lit/underground/>. <br />
<br />
* Marder, Jen, Mike Meyer, & Fred Wyshak. "A Study Guide: Dostoevsky's Notes From Underground". <http://community.middlebury.edu/~beyer/courses/previous/ru351/novels/UGMan/ugman.html>. 21 Mar. 2006 <br />
<br />
*Nabokov, Vladimir. "Lectures on Russian Literature". New York, 1981. 115-125. <br />
<br />
*Newton, K.M. "Notes from Underground: Overview." ''Reference Guide to Short Fiction, 1st ed.'' Ed. Noelle Watson. St. James Press: 1994. Literature Resource Center. 13 Mar. 2006. Keyword: Notes from Underground.<br />
<br />
*Scanlan, James P. "The Case against Rational Egoism in Dostoevsky's ''Notes from Underground''." ''Journal of the History of Ideas'' 60.3 (1999): 549-567.<br />
<br />
*''Novelguide.com''. "Notes from the Underground". March 2006 [<http://www.novelguide.com/notesfromtheunderground/metaphoranaylysis.html>.]<br />
<br />
*Williams, Linda. "The underground man: A question of meaning." ''Studies in the novel.'' Summer 1995, Vol. 27, Issue 2. 129,12<br />
<br />
*Steiner, George. "Dostoevsky's Notes from the Underground and The Gambler." Norwalk, CT: The Heritage Press, 1967 and 1997.<br />
<br />
<br />
<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Notes_from_Underground&diff=6551Notes from Underground2006-03-23T23:55:30Z<p>Sdeloach: /* Paralysis of the Conscious Man in Modern Society */</p>
<hr />
<div>:"What sort of Crystal Palace would it be if any sort of doubt were allowed?" —the Underground Man<br />
<br />
''Notes from Underground'' written by [[Fyodor Dostoyevsky]].<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Notes''.<br />
<br />
=== Notes from Underground, Part 1===<br />
#[[Notes from Underground: Part 1, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 1, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 1, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 1, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 1, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 1, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 1, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 1, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 1, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 1, Chapter 10|Chapter 10]]<br />
#[[Notes from Underground: Part 1, Chapter 11|Chapter 11]]<br />
<br />
=== Notes from Underground, Part 2: Apropos of Wet Snow ===<br />
#[[Notes from Underground: Part 2, Chapter 1|Chapter 1]]<br />
#[[Notes from Underground: Part 2, Chapter 2|Chapter 2]]<br />
#[[Notes from Underground: Part 2, Chapter 3|Chapter 3]]<br />
#[[Notes from Underground: Part 2, Chapter 4|Chapter 4]]<br />
#[[Notes from Underground: Part 2, Chapter 5|Chapter 5]]<br />
#[[Notes from Underground: Part 2, Chapter 6|Chapter 6]]<br />
#[[Notes from Underground: Part 2, Chapter 7|Chapter 7]]<br />
#[[Notes from Underground: Part 2, Chapter 8|Chapter 8]]<br />
#[[Notes from Underground: Part 2, Chapter 9|Chapter 9]]<br />
#[[Notes from Underground: Part 2, Chapter 10|Chapter 10]]<br />
<br />
<br />
==History==<br />
''Notes from Underground'' is considered to be Dostoevsky's first major literary work during the second phase of his writing, or in other words, the elements of social realism give way to "psychological, existential, and philosophical concerns" in his works (Newton). Clearly, the novel fights against scientific thinking, making its point by giving examples from the narrator's personal experiences. ''Notes from Underground'' stands the test of time as a work of great literary importance, and the Underground Man emerges "...into the vocabulary of the modern educated consciousness, and this character has now begun--like Hamlet, Don Quixote, Don Juan, and Faust--to take on the symbolic stature of one of the great archetypal literary creations," this written by Joseph Frank almost a hundred years after its first publication (Jones). <br />
<br />
However, perhaps it is best to understand the time in which the novel was written. The [http://en.wikipedia.org/wiki/1860s 1860s] were a busy time for both Europe and North America, a fact that the narrator points out by exclaiming, "Take this entire nineteenth century of ours during which even Buckle lived. Take Napoleon--both the great and the present one. Take North America--that eternal union. Take, finally, that ridiculous Schleswig-Holstein"(1266). America struggles with a raging Civil War that ripped the country in two. The reference to Napoleon, of course, refers to the French emporers by that name, both of whom engaged in numerous battles. The mention of Schleswig-Holstein refers to Prussia taking that holding from Denmark, who had controlled it for almost a hundred years. Finally, Buckle wrote ''History of Civilization in England'', in which he concludes that "with the developement of civilization wars will cease" (Jones). So, the historical theme for the 1860's appears to be, for the most part, wars.<br />
<br />
Let's not forget what happens in Russia at this same time. Russia goes through the Great Reforms, a time of political instability. During this four year period, society began to notice an uprising of groups within the society; these will eventually--but not at this particular time--lead to political parties ([http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.htm Kimball]). Thus, began the modern revolutionary movements in Russia.<br />
<br />
All of the previously mentioned events provided a basis for Dostevsky's beliefs, which he states through the Underground Man's rantings. Dosteovsky satarizes the political and social troubles that plague these continents to express his true thoughts. He does not believe that man is a rational creature by nature or that civilization will bring an end to warfare. Perhaps, too, we see a bit of a warning in this text--a warning much like that in George Orwell's novel, ''1984,'' written eighty years later. Apparently, the threat had not abated but had instead gotten worse.<br />
<br />
==Timeline==<br />
<br />
<br />
==Characters==<br />
<br />
===The Underground Man===<br />
The Underground Man is the narrator and protagonist of Notes of Underground. The Underground Man can be viewed as: "a sheer irrationalist whose rejection of Rational Egoism is a tortured emotional outburst with no logical credentials" (Scanlan). He beleives that consciousness is a disease: " I swear to you, gentlemen, that being overly conscious is a disease, a genuine, full-fledged disease" (1257). Such consciousness shows: "within Underground Man's self-descriptions, while relational in the ways not reducible to behavior" (Hagberg).<br />
<br />
==Themes==<br />
===The Fallacies of Rationalism===<br />
<br />
===The Fallacies of Utopianism===<br />
<br />
===The Artificiality of Russian Culture===<br />
During the nineteenth century, the Russian culture became artificial because it no longer was "European". Russia's ethical, cultural, and spiritial pricipals were changing to look more like the Western culture of that time (Kireyesky). The Russian culture was slowly moving more westward. In Russia, a man was considered "developed" and "educated" only if he was familiar with the literary and philosophical traditions of Germany, France, and England (Madden). If this was the normal view of Russia at the time, a man who based all his ideas and opinions on the Westward culture may not have been preceved as smart. Russian culture was also strongly based on strong religious principals. Those principals were sometimes different than that of the other European countries. Philosphers such as Aristotle and Descartes influenced the Russian culture. "Russia had seperated from Europe in spirit, thus living a totally different life than the rest of Europe" (Kireyesky). Russia was still part of the European country, but just in the regional sense. Their government and religious beliefs took on a more Western feel, rather than the tradition European feel. "Russia nearly had to destroy their national personality in order to conform to Western civiliazation" (Kireyevsky). "In being captavated by the west, Russian intellectuals had lost touch with the true way of the Russian life, the life that many of the peasants and lower-class workers still practiced" (Madden). The artifical Russian culture could, in part, be responsible for the Underground Man's retreat to "underground". He may have found that conforming to foreign sets of values was just too hard (Madden).<br />
<br />
===The Human Mind According to Freud===<br />
<br />
== Major Symbols ==<br />
===Underground===<br />
It is the home of the underground man. It is also refered to as his corner. " Yet the underground is more than a physical placeof isolation; it's a psychological hang-up as well. Possessing the overly sensitive and sheltered consciousness of the underground, the underground man finds himself unable and unwilling to meaningfully interact with others, despite his desire to do just that" (Novelguide). The underground man claims to prefer the underground to the real world. There he is able to express his indviduality.<br />
<br />
===The Ant Hill===<br />
This shows that there is no individuality. All of the ants are working for one main goal.<br />
<br />
===St. Petersburg===<br />
<br />
===The Crystal Palace===<br />
<br />
"The Crystal Palace is a symbolism of the lack of individualism" (Marder). All the people working in the building were working toward a common goal and since it was made entirely out of glass, there was no privacy, and this lack of privacy lead to the lack of individualism (Marder).<br />
<br />
===Money===<br />
Money, for the Underground Man, represents power. In the second part he is cross-examined and is asked his salary. He tells his 'friends' what he makes. "'It's not very handsome,' Zverkov observed majestically. "'Yes, you can't afford to dine at cafes on that,' Ferfichkin added insolently. "To my thinking it's very poor,' Trudolyubov observed gravely (Nabokov 123). All these men scrutinize the Underground Man for his lack of wages.The UM borrows money from a friend, Simonov, but he repays him the next day plus more. Having to borrow money makes him feel incapable of providing for himself and embarrassed of his poverty, making him feel inferior to his 'friends'. The Underground Man offers Liza, the woman he met at the prostitution house, money. She refuses his money. If he was to give her money it would demonstrate moral dominance.<br />
<br />
===Human Insect===<br />
The Underground Man talks of how he wishes he could be an insect. "I'll tell you solemnly that I wished to become an insect many times. But not even that wish was granted."(pg. 1257) After this the Underground Man talks about being overly conscious is a disease in its self. Like being to aware of your surroundings will lead to bad things. Later in the writing the Underground Man tells of how some classmates said he looked like a fly. George Steiner conluded that this held the same premise from Franz Kafka's [http://mchip00.nyu.edu/lit-med/lit-med-db/webdocs/webdescrips/kafka98-des-.html Metamorphoses]. "In them, and in the narrator's whole vision of himself as a bug trapped in the crack of a damp wall, Dostoevsky embodies the perception of a new helplessness and beastliness of the human species."(Steiner xi)<br />
<br />
==Critical Perspectives==<br />
''Notes from the Underground'' is an important work in Western European history. " It has attracted attention for many reasons. For one , it contains an all-out assault on Enlightenment rationalism and the idea of progress which foreshadows many such assaults in the mid-to-late twentieth century" (WSU). Another example of this novels' importance is the fact that it has one of the first anti-heroes in fiction. " It portrays a protagonist utterly lacking every trait of the Romantic hero and living out a futile life on the margins of society. Such figures were to dominate much serious fiction in the mid-twentieth century" (WSU).<br />
<br />
<br />
=== Literary Criticism ===<br />
=== The underground man: A question of meaning by Linda Williams ===<br />
<br />
Linda L. Williams explores Dostoyevsky’s Underground Man in her article entitled The underground man: a question of meaning. Williams looks at how the main character searches for meaning and value in his self and his life from the very first words of his notes exclaiming that he is a “sick [and] spiteful man” (1). She also examines how Dostoyevsky uses the underground man to “question whether human beings can be their own source of meaning” (Williams 1). This novel is a reaction to the ideas prevalent in Western Europe at the time that “reason provides the foundation for all knowledge” (Williams 1). <br />
<br />
Williams looks at why the Underground man refers to himself as a “zloi” which has been translated as spiteful but in actuality carries the connotation of immorality and malicious behavior in which a person isn’t by nature, but is because they are made that way due to circumstances that person has control over. The author of the article contends that this is because the underground man’s “refusal to attach the common man’s meaning to himself and due to his exaggerated consciousness and vanity.” <br />
<br />
In part two we see the underground man’s attempt to “make his life as meaningful to others as it is to him” (Williams 2). This is done through several attempts by the underground man to be noticed by a young officer, some old friends, and Liza. With the young officer the underground man’s desire for the “officer to step aside becomes a measure of the meaning and value of the underground man as a person” (Williams 3). In the case of his meeting with the old friends, we witness the night through his very subjective eyes in which he has “one humiliation piled on top of another” (Williams 4) in his attempt to present himself as having meaning and value in the eyes of others. Since the underground man has the ability to blame his behavior on alcohol as opposed to deliberate action, Williams contends that Dostoyevsky proves that “when an individual is the sole foundation for meanings and values, he may twist them any way he likes”<br />
(Williams 4).<br />
<br />
Through his experience with Liza, we see that “his existence has finally been affirmed just as if [the officer] had thrown him through the tavern window” (Williams 5). He then must change the “significance of the encounter with Liza to recapture the sarcasm of his vain ego” (Williams 6) because he has failed to prove himself of any value to anyone other than someone he sees as lower than himself. He attempts to regain control over what he feels like he has lost by asserting himself in a position of power over Liza by insulting her and then exerting “domination and possession over her body” (Williams 6). The underground man tries to “rationalize his sick, zloi act away [by giving her] money” (Williams 6), but Liza’s refusal to accept it along with “all its implications” (Williams 6) reveals what Williams calls the ugly truth about him.<br />
<br />
The underground man is incapable of loving anyone due to his unlimited vain ego. Further more, it is this ego that has led him to commit an act that “in the nineteenth century was considered more terrible than murder” (Williams 7) hence the reason why the term originally used in he beginning of the text as zloi which is translated as spiteful. Williams then goes on to say that “The underground cannot be his own foundation for meaning” and to Dostoevsky “the foundation of meaning does not lie in science or in Chernyshevsky’s rational egoism but in placing others interests before your own—in genuinely loving others” (Williams 7).<br />
<br />
The author looks at the underground man’s motives in a manner that is easy to understand although the character himself is not. I agree with Williams’s depiction of the underground man’s search and failure to gain the respect of his colleagues which only served to push him into farther underground. In the last moments when he has to reconcile with the fact that he can neither give nor receive love seals his fate in the underground where he is writing from years later. It is least likely that he will encounter another chance to escape. In the underground we will find him languishing untll his death.<br />
<br />
==External Links and Resources==<br />
<br />
http://www.sparknotes.com/lit/underground/themes.html<br />
<br />
==Works Cited==<br />
*Hagberg, Garry L. "Wittgenstein Underground." ''Philosophy and literature'' 28.2 (2004): 379-392.<br />
<br />
*Jones, Malcolm V. "Dostoevsky: Notes from Underground (1864)." ''The Voice of a Giant: Essays on Seven Russian Prose Classics.'' Ed. Roger Cockrell and David Richards. (1985): 55-65. Literature Resource Center. University of Exeter. 09 Mar. 2006. Keyword: Notes from Underground. <br />
<br />
*Kireyevsky, Ivan. "On the Nature of European Culture and On It's Relationship to Russian Culture". 23 Mar. 2006 http://www.geocities.com/trvalentine/orthodox/kireyevsky_culture.html<br />
<br />
*Kimball, Alan. "Russian Civil Society and Political Crisis in the Epoch of Great Reforms, 1859-1863." 25 Oct. 1989. University of Oregon. 14 Mar. 2006 <http://darkwing.uoregon.edu/~kimball/cvl.pbl.sixties.html>. <br />
<br />
*Madden, Caolan. SparkNote on Notes from Underground. 12 Mar. 2006 <http://www.sparknotes.com/lit/underground/>. <br />
<br />
* Marder, Jen, Mike Meyer, & Fred Wyshak. "A Study Guide: Dostoevsky's Notes From Underground". <http://community.middlebury.edu/~beyer/courses/previous/ru351/novels/UGMan/ugman.html>. 21 Mar. 2006 <br />
<br />
*Nabokov, Vladimir. "Lectures on Russian Literature". New York, 1981. 115-125. <br />
<br />
*Newton, K.M. "Notes from Underground: Overview." ''Reference Guide to Short Fiction, 1st ed.'' Ed. Noelle Watson. St. James Press: 1994. Literature Resource Center. 13 Mar. 2006. Keyword: Notes from Underground.<br />
<br />
*Scanlan, James P. "The Case against Rational Egoism in Dostoevsky's ''Notes from Underground''." ''Journal of the History of Ideas'' 60.3 (1999): 549-567.<br />
<br />
*''Novelguide.com''. "Notes from the Underground". March 2006 [<http://www.novelguide.com/notesfromtheunderground/metaphoranaylysis.html>.]<br />
<br />
*Williams, Linda. "The underground man: A question of meaning." ''Studies in the novel.'' Summer 1995, Vol. 27, Issue 2. 129,12<br />
<br />
*Steiner, George. "Dostoevsky's Notes from the Underground and The Gambler." Norwalk, CT: The Heritage Press, 1967 and 1997.<br />
<br />
<br />
<br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=8920Faust: Witch's Kitchen2006-03-04T05:25:29Z<p>Sdeloach: /* Commentary */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” ([http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity with my minions from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
It has also said that "Men usually believe, if only they hear words, that there must also be some sort of meaning" (Maas).<br />
<br />
==Commentary==<br />
<br />
<br />
'''Reawakening of Sexual Desire'''<br />
<br />
The love potion that Faust takes in “Witches Kitchen” serves the same purpose as does the feast in “Walpurgis Night”-to reawaken sexual desire. Both are closely connected to the Devil and are considered creations of the witches (Dieckman 175).<br />
<br />
'''Mephisto’s Nobility'''<br />
<br />
In the “Witches Kitchen”, Mephisto makes the comment that he “feels like a king” and states that “I am a gentleman of noble background. If you doubt it, have a look at my coat of arms.”, however, he is neither king nor nobility (Montgomery 38). Even though he considers himself to be both these things, he is really just “supernatural by legendary right, being either the devil or some sort of devil and quite without pedigree” (Fairley 88).<br />
<br />
What are '''minions'''? They are Satan's assistants.<br />
<br />
What are the '''pinions'''? They are used to restrain somebody.<br />
<br />
The '''deadly phrase''' “Wait, you are so fair” was originally written in German as "Verweile doch, du bist so schon" (Fletcher).<br />
<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
[http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, <br />
Inc., 1974.<br />
<br />
Fairley, Barker. ''Goethe''. New York: Frederick Ungar Publishing Co., 1963. 88.<br />
<br />
Fletcher, Richard M.. ''American Notes & Queries'', Mar74, Vol. 12 Issue 7, p102, 1/2p; [http://search.epnet.com/login.aspx?direct=true&db=aph&an=7672545]<br />
<br />
Maas, David F.. ETC: ''A Review of General Semantics'', Jul2004, Vol. 61 Issue 2, p219-226, 8p, [http://search.epnet.com/login.aspx?direct=true&db=aph&an=13943613]<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Thor Publications, Inc., 1964. 37-40.<br />
<br />
<br />
----<br />
< [[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]] | [[Faust Summary, Commentary, Notes]] | [[Faust: A Street (1)|A Street (1)]] ><br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5659Faust: Witch's Kitchen2006-03-04T05:21:39Z<p>Sdeloach: /* Works Cited */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” ([http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity with my minions from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
It has also said that "Men usually believe, if only they hear words, that there must also be some sort of meaning" (Maas).<br />
<br />
==Commentary==<br />
<br />
<br />
'''Reawakening of Sexual Desire'''<br />
<br />
The love potion that Faust takes in “Witches Kitchen” serves the same purpose as does the feast in “Walpurgis Night”-to reawaken sexual desire. Both are closely connected to the Devil and are considered creations of the witches (Dieckman 175).<br />
<br />
'''Mephisto’s Nobility'''<br />
<br />
In the “Witches Kitchen”, Mephisto makes the comment that he “feels like a king” and states that “I am a gentleman of noble background. If you doubt it, have a look at my coat of arms.”, however, he is neither king nor nobility (Montgomery 38). Even though he considers himself to be both these things, he is really just “supernatural by legendary right, being either the devil or some sort of devil and quite without pedigree” (Fairley 88).<br />
<br />
What are '''minions'''? They are Satan's assistants.<br />
<br />
What are the '''pinions'''? They are used to restrain somebody.<br />
<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
[http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, <br />
Inc., 1974.<br />
<br />
Fairley, Barker. ''Goethe''. New York: Frederick Ungar Publishing Co., 1963. 88.<br />
<br />
Fletcher, Richard M.. ''American Notes & Queries'', Mar74, Vol. 12 Issue 7, p102, 1/2p; [http://search.epnet.com/login.aspx?direct=true&db=aph&an=7672545]<br />
<br />
Maas, David F.. ETC: ''A Review of General Semantics'', Jul2004, Vol. 61 Issue 2, p219-226, 8p, [http://search.epnet.com/login.aspx?direct=true&db=aph&an=13943613]<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Thor Publications, Inc., 1964. 37-40.<br />
<br />
<br />
----<br />
< [[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]] | [[Faust Summary, Commentary, Notes]] | [[Faust: A Street (1)|A Street (1)]] ><br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5658Faust: Witch's Kitchen2006-03-04T05:05:55Z<p>Sdeloach: /* Commentary */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” ([http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity with my minions from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
It has also said that "Men usually believe, if only they hear words, that there must also be some sort of meaning" (Maas).<br />
<br />
==Commentary==<br />
<br />
<br />
'''Reawakening of Sexual Desire'''<br />
<br />
The love potion that Faust takes in “Witches Kitchen” serves the same purpose as does the feast in “Walpurgis Night”-to reawaken sexual desire. Both are closely connected to the Devil and are considered creations of the witches (Dieckman 175).<br />
<br />
'''Mephisto’s Nobility'''<br />
<br />
In the “Witches Kitchen”, Mephisto makes the comment that he “feels like a king” and states that “I am a gentleman of noble background. If you doubt it, have a look at my coat of arms.”, however, he is neither king nor nobility (Montgomery 38). Even though he considers himself to be both these things, he is really just “supernatural by legendary right, being either the devil or some sort of devil and quite without pedigree” (Fairley 88).<br />
<br />
What are '''minions'''? They are Satan's assistants.<br />
<br />
What are the '''pinions'''? They are used to restrain somebody.<br />
<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
[http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, <br />
Inc., 1974.<br />
<br />
Fairley, Barker. ''Goethe''. New York: Frederick Ungar Publishing Co., 1963. 88.<br />
<br />
Maas, David F.. ETC: A Review of General Semantics, Jul2004, Vol. 61 Issue 2, p219-226, 8p, [http://search.epnet.com/login.aspx?direct=true&db=aph&an=13943613]<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Thor Publications, Inc., 1964. 37-40.<br />
<br />
<br />
----<br />
< [[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]] | [[Faust Summary, Commentary, Notes]] | [[Faust: A Street (1)|A Street (1)]] ><br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5656Faust: Witch's Kitchen2006-03-04T05:01:06Z<p>Sdeloach: /* Notes */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” ([http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity with my minions from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
It has also said that "Men usually believe, if only they hear words, that there must also be some sort of meaning" (Maas).<br />
<br />
==Commentary==<br />
<br />
<br />
Reawakening of Sexual Desire<br />
<br />
The love potion that Faust takes in “Witches Kitchen” serves the same purpose as does the feast in “Walpurgis Night”-to reawaken sexual desire. Both are closely connected to the Devil and are considered creations of the witches (Dieckman 175).<br />
<br />
Mephisto’s Nobility<br />
<br />
In the “Witches Kitchen”, Mephisto makes the comment that he “feels like a king” and states that “I am a gentleman of noble background. If you doubt it, have a look at my coat of arms.”, however, he is neither king nor nobility (Montgomery 38). Even though he considers himself to be both these things, he is really just “supernatural by legendary right, being either the devil or some sort of devil and quite without pedigree” (Fairley 88).<br />
<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
[http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, <br />
Inc., 1974.<br />
<br />
Fairley, Barker. ''Goethe''. New York: Frederick Ungar Publishing Co., 1963. 88.<br />
<br />
Maas, David F.. ETC: A Review of General Semantics, Jul2004, Vol. 61 Issue 2, p219-226, 8p, [http://search.epnet.com/login.aspx?direct=true&db=aph&an=13943613]<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Thor Publications, Inc., 1964. 37-40.<br />
<br />
<br />
----<br />
< [[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]] | [[Faust Summary, Commentary, Notes]] | [[Faust: A Street (1)|A Street (1)]] ><br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5655Faust: Witch's Kitchen2006-03-04T04:47:37Z<p>Sdeloach: /* Notes */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” ([http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
It has also said that "Men usually believe, if only they hear words, that there must also be some sort of meaning" (Maas).<br />
<br />
==Commentary==<br />
<br />
<br />
Reawakening of Sexual Desire<br />
<br />
The love potion that Faust takes in “Witches Kitchen” serves the same purpose as does the feast in “Walpurgis Night”-to reawaken sexual desire. Both are closely connected to the Devil and are considered creations of the witches (Dieckman 175).<br />
<br />
Mephisto’s Nobility<br />
<br />
In the “Witches Kitchen”, Mephisto makes the comment that he “feels like a king” and states that “I am a gentleman of noble background. If you doubt it, have a look at my coat of arms.”, however, he is neither king nor nobility (Montgomery 38). Even though he considers himself to be both these things, he is really just “supernatural by legendary right, being either the devil or some sort of devil and quite without pedigree” (Fairley 88).<br />
<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
[http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, <br />
Inc., 1974.<br />
<br />
Fairley, Barker. ''Goethe''. New York: Frederick Ungar Publishing Co., 1963. 88.<br />
<br />
Maas, David F.. ETC: A Review of General Semantics, Jul2004, Vol. 61 Issue 2, p219-226, 8p, [http://search.epnet.com/login.aspx?direct=true&db=aph&an=13943613]<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Thor Publications, Inc., 1964. 37-40.<br />
<br />
<br />
----<br />
< [[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]] | [[Faust Summary, Commentary, Notes]] | [[Faust: A Street (1)|A Street (1)]] ><br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5654Faust: Witch's Kitchen2006-03-04T04:47:03Z<p>Sdeloach: /* Works Cited */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” ([http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
It has also said that "Men usually believe, if only they hear words, that there must also be some sort of meaning" (Mass).<br />
<br />
==Commentary==<br />
<br />
<br />
Reawakening of Sexual Desire<br />
<br />
The love potion that Faust takes in “Witches Kitchen” serves the same purpose as does the feast in “Walpurgis Night”-to reawaken sexual desire. Both are closely connected to the Devil and are considered creations of the witches (Dieckman 175).<br />
<br />
Mephisto’s Nobility<br />
<br />
In the “Witches Kitchen”, Mephisto makes the comment that he “feels like a king” and states that “I am a gentleman of noble background. If you doubt it, have a look at my coat of arms.”, however, he is neither king nor nobility (Montgomery 38). Even though he considers himself to be both these things, he is really just “supernatural by legendary right, being either the devil or some sort of devil and quite without pedigree” (Fairley 88).<br />
<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
[http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, <br />
Inc., 1974.<br />
<br />
Fairley, Barker. ''Goethe''. New York: Frederick Ungar Publishing Co., 1963. 88.<br />
<br />
Maas, David F.. ETC: A Review of General Semantics, Jul2004, Vol. 61 Issue 2, p219-226, 8p, [http://search.epnet.com/login.aspx?direct=true&db=aph&an=13943613]<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Thor Publications, Inc., 1964. 37-40.<br />
<br />
<br />
----<br />
< [[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]] | [[Faust Summary, Commentary, Notes]] | [[Faust: A Street (1)|A Street (1)]] ><br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5653Faust: Witch's Kitchen2006-03-04T04:41:15Z<p>Sdeloach: /* Commentary */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” ([http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
It has also said that "Men usually believe, if only they hear words, that there must also be some sort of meaning" (Mass).<br />
<br />
==Commentary==<br />
<br />
<br />
Reawakening of Sexual Desire<br />
<br />
The love potion that Faust takes in “Witches Kitchen” serves the same purpose as does the feast in “Walpurgis Night”-to reawaken sexual desire. Both are closely connected to the Devil and are considered creations of the witches (Dieckman 175).<br />
<br />
Mephisto’s Nobility<br />
<br />
In the “Witches Kitchen”, Mephisto makes the comment that he “feels like a king” and states that “I am a gentleman of noble background. If you doubt it, have a look at my coat of arms.”, however, he is neither king nor nobility (Montgomery 38). Even though he considers himself to be both these things, he is really just “supernatural by legendary right, being either the devil or some sort of devil and quite without pedigree” (Fairley 88).<br />
<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
[http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, <br />
Inc., 1974.<br />
<br />
Fairley, Barker. ''Goethe''. New York: Frederick Ungar Publishing Co., 1963. 88.<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Thor Publications, Inc., 1964. 37-40.<br />
<br />
<br />
----<br />
< [[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]] | [[Faust Summary, Commentary, Notes]] | [[Faust: A Street (1)|A Street (1)]] ><br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5652Faust: Witch's Kitchen2006-03-04T03:54:14Z<p>Sdeloach: /* Notes */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” ([http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
It has also said that "Men usually believe, if only they hear words, that there must also be some sort of meaning" (Mass).<br />
<br />
==Commentary==<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
[http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, <br />
Inc., 1974.<br />
<br />
Fairley, Barker. ''Goethe''. New York: Frederick Ungar Publishing Co., 1963. 88.<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Thor Publications, Inc., 1964. 37-40.<br />
<br />
<br />
----<br />
< [[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]] | [[Faust Summary, Commentary, Notes]] | [[Faust: A Street (1)|A Street (1)]] ><br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5649Faust: Witch's Kitchen2006-03-04T03:11:47Z<p>Sdeloach: /* Works Cited */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” ([http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
==Commentary==<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
[http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, <br />
Inc., 1974.<br />
<br />
Fairley, Barker. ''Goethe''. New York: Frederick Ungar Publishing Co., 1963. 88.<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Thor Publications, Inc., 1964. 37-40.<br />
<br />
<br />
----<br />
< [[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]] | [[Faust Summary, Commentary, Notes]] | [[Faust: A Street (1)|A Street (1)]] ><br />
<br />
[[Category:World Literature]]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust&diff=5504Faust2006-02-28T22:37:47Z<p>Sdeloach: /* Critical Perspectives */</p>
<hr />
<div>[[Image:Faust.jpg|Faust|thumb|right]]''Faust: Part I'' written by [[Johann Wolfgang von Goethe]]<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Faust''.<br />
<br />
=== Faust, Part 1===<br />
#[[Faust: Prologue in Heaven|Prologue in Heaven]]<br />
#[[Faust: Night (1)|Night (1)]]<br />
#[[Faust: Outside the City Gate|Outside the City Gate]]<br />
#[[Faust: Faust's Study (1)|Faust's Study (1)]]<br />
#[[Faust: Faust's Study (2)|Faust's Study (2)]]<br />
#[[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]]<br />
#[[Faust: Witch's Kitchen|Witch's Kitchen]]<br />
#[[Faust: A Street (1)|A Street (1)]]<br />
#[[Faust: Evening|Evening]]<br />
#[[Faust: Out Walking|Out Walking]]<br />
#[[Faust: The Neighbor's House|The Neighbor's House]]<br />
#[[Faust: A Street (2)|A Street (2)]]<br />
#[[Faust: A Garden|A Garden]]<br />
#[[Faust: A Summerhouse|A Summerhouse]]<br />
#[[Faust: A Cavern in the Forest|A Cavern in the Forest]]<br />
#[[Faust: Gretchen's Room|Gretchen's Room]]<br />
#[[Faust: Marthe's Garden|Marthe's Garden]]<br />
#[[Faust: At the Well|At the Well]]<br />
#[[Faust: The City Wall|The City Wall]]<br />
#[[Faust: Night (2)|Night (2)]]<br />
#[[Faust: The Cathedral|The Cathedral]]<br />
#[[Faust: Walpurgis Night|Walpurgis Night]]<br />
#[[Faust: Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding|Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding]]<br />
#[[Faust: An Overcast Day, a Field|An Overcast Day, a Field]]<br />
#[[Faust: Night, Open Country|Night, Open Country]]<br />
#[[Faust: A Prison|A Prison]]<br />
<br />
==History==<br />
<br />
==Timeline==<br />
<br />
==Characters==<br />
<br />
===Mephistopheles===<br />
Mephistopheles may be considered the antagonist of the story because he symbolizes evil incarnate. After making a bet with the Lord that he could sway Faust from the righteous path, he uses every ruse in the book to achieve his goal.<br />
<br />
===Faust===<br />
In Goethe's Play, Faust is the protagonist. Immediatly when reading the play, the reader begins to get a sense of who this character is. Faust is man who believes in Heaven and Hell, and also that there is a higher being, God, and the Devil. Faust is thought to be a smart, well-learned man by many. Though he seems to be intelligent, Faust is a bit nieve. For example, when Mephisto is attempting to strike up a deal with him for being his "servant", Faust assumes that Mephisto will just trust that he will keep his word. But Mephisto insists that there be in writing some sort of proof of their agreement. Also, when Wagner and Faust are walking through the dark and come across the black poodle, Faust has some sort of strange feeling about the dog. However, Wagner convinces him to think nothing of it and talks him into taking the dog home. Soon after this, the poodle begins getting larger turns into a hippopotamus-like creature. Mephisto then appears "out of" the dog.<br />
<br />
===Wagner===<br />
Wagner is a student of Faust's with a bad habit of being in the wrong place at the wrong time. He is also somewhat "nerdy" and socially inept. Like Faust, he also despises the vulgarity of the real world and spends every waking hour engrossed in his studies.<br />
<br />
===Margarete (Gretchen)===<br />
Margarete is a young, modest, and religious woman of a lower class than Faust. She lives with her mother and helps out around the house. She is referred to as Gretchen, which is a shortened version of Margarete, many times throughout the story. Faust finds Margarete attractive and tells Mephistopheles to get her for him. At first, she refuses his advances, but eventually agrees to a love affair and thus begins her downfall. When Faust gets her pregnant, she is persecuted by society and cursed by her brother as he lay dying. Out of insane desperation, Margarete murders her mother and child and is thrown into prison. Faust and Mephistopheles attempt to rescue her, but discover that she is completely mad and are forced to leave her behind. As Mephisto and Faust leave the prison, a Heavenly voice says that Margarete's soul has been saved.<br />
<br />
===Siebel===<br />
<br />
Works in Auerbach's Cellar in Leipzig and is sickened by the lovesongs that the other men sing. He threatens to take revenge on the "slut...who played him false" with "a rock heaved through her kitchen window" (1905).<br />
<br />
===Altmayer===<br />
<br />
===Frosch===<br />
<br />
===Marthe===<br />
<br />
===Lieschen===<br />
<br />
A girl in Gretchen's village who is jealous of anyone that finds love. Since she is not allowed to have a beau, she takes pleasure in hurting others through gossip. Even though she only appears in one scene, her words regarding the pregnant Barbara have a devastating effect on Gretchen, who may be in the same condition herself.<br />
<br />
===Valentine===<br />
<br />
Gretchen's brother and a soldier. He started a fight with Faust and Mephisto after he found out about Faust getting Gretchen pregnant. He is killed by Faust after the encounter.<br />
<br />
==Themes==<br />
<br />
===Urge for Knowledge===<br />
The most significant theme in ''Faust'' is the drive for mankind to understand what they do not know. Faust, in a way, is representing the entire human race: "He is able to distinguish between good and evil, right and wrong, but must make errors before he can learn and grow" (Campbell 257). The human is naturally inquisitive about the world and the universe. Faust is unhappy because he can not find the answers to life, and he even contemplates suicide to end his despair. It is his “urge for knowledge" that is the driving force behind the play. His curiosity also forces Mephisto into the wager with God so that he can prove that humans are unhappy ''because'' of their intelligence.<br />
<br />
==References in Popular Culture==<br />
===Devil===<br />
Mephistopheles is Goethe's devil. The devil is a fallen angel that became evil. The idea of a "Devil" is nearly universal with similar incarnations spanning Norse, Greek, Hindu, and many other religious sects. In the Norse mythology it is referred to as [[Loki]], and in the Greek pantheon [[Pan]].<br />
<br />
===Easter===<br />
Easter symbolizes the rebirth of Christ. The bells begin to chime and the chorus begins singing songs of praise at the same time Faust is about to poison himself. When he hears the chorus, Faust comes out of his stupor and does not go through with the act. This is like rebirth; Faust was so close to death but then he comes back to reality.<br />
<br />
==Bible Refernces And Interpretations==<br />
Line 59 “Do you know Faust?”<br />
<br />
Job 1.8 “Have you considered my servant Job?”<br />
<br />
This parallel sets the entire stage for the play. God and the Devil (Mephistopheles) make a bet about the fate of Job (Faust) if God removes his protection from around him and allows the Devil to use whatever means he wants to tempt him.<br />
<br />
<br />
Line 95 “Dust he will eat..”<br />
<br />
Genesis 3.14 “And the Lord God said unto the serpent, because thou hast done this, thou art cursed above all cattle, and above every beast of the field; upon thy belly thou shalt do, and dust shalt thou eat all the days of thy life.”<br />
<br />
This is an important verse and metaphor throughout the text. According to the history of the bible, the reason why Satan was cast down from heaven is because he refused to prostrate before the new creature (man) that was created, thus disobeying God’s command. After the war in heaven, Satan and those that fought at his side were cast down to hell and earth. After Satan induced Eve into biting the apple from the tree of good and evil, he was cursed as referenced in Genesis 3.14.<br />
Faust tells the spirit that comes to visit him that “We’re equals, I know” (282) expressing his feelings of equal rank to the spirit being. Mephistopheles feels that humans “act more beastly than beast ever do” (46). The parallel made between the two lines shows a direct connection between how Mephistopheles feels that man should be condemned to the same fate as he is.<br />
<br />
<br />
Line 2147-2148 “Go out into the fields right now, this minute, start digging and hoeing away, working hard.”<br />
<br />
Genesis 3.19 “in the Sweat of thy face shalt thou eat bread.”<br />
Genesis 3. 23 “The Lord god sent him forth from the garden of Eden, to till the ground from whence he was taken.”<br />
<br />
Mephistopheles makes a reference to the curse that was placed upon Adam to till the ground and he would now have to work very hard for food which was at one time given to him in the garden of Eden. Mephistopheles uses it as a threat to Faust who immediately says that it is “not my sort of thing, humbling myself to work with a spade” (2155-2156). Fear is used in this case to get Faust to do what Mephistopheles wants him to do. He uses Fasut’s fear that he will be returned to the same life as he had before which would be a condemnation or punishment.<br />
<br />
<br />
Line 288- 289 “Me, made in God’s own image, not even equal to you”<br />
<br />
Genesis 1.26 “And God said let us make man in our image and after our likeness.”<br />
<br />
Faust misinterprets the quote. He is saying that he was made in the image of God when the quote clearly refers to the God using the plural pronouns us and our when referring to the image. This parallel is both two fold. During the Romantic period writers would contemplate their singular relationship to God and the universe. It also would explain why Faust and Mephistopheles see the position of man very differently.<br />
<br />
<br />
<br />
<br />
Line 1819-1822 “All theory, my dear fellow, is gray, and green the golden tree of life.”<br />
<br />
Genesis 3.22 “and now lest he put forth his hand and take also of the tree of life and eat, and live forever.” <br />
<br />
This line is important because Mephistopheles is speaking to a young, fresh, impressionable student. As he did in the story of Eve, the devil is uses the word gray which is a word meaning some confusion, doubt or haziness as when he told Eve in the bible that God had lied to her and it was not as cut and dry as God had said. This is the same way he is speaking with the college student saying that choosing another path will be better or the grass is greener on the other side of the fence.<br />
<br />
<br />
Line 1829 “Eritus sicut Deus, scientes bonum et malum.”<br />
<br />
Genesis 3.5 “Ye shall be as Gods, knowing good and evil.”<br />
<br />
At this verse Mephistopheles writes in the student’s book an encouragement, the very same encouragement he gave Eve was according to the bible to eat from the tree. With the college student he uses this same statement in the sense of seeking out knowledge which is two fold corresponding with the two natures that exist with in man.<br />
<br />
==Critical Perspectives==<br />
<br />
Just as Satan tempts Faust, he also tempts priests. Faust is tempted by the Devil. The devil is willing to do anything for Faust to make him happy:except make moral decisions. The Devil becomes Faust’s servant. He does so to get Faust’s soul, this occurs when Faust is finally truly happy. As soon as Faust becomes happy, he will die and the Devil will get his soul. Priests are also tempted by the Devil in the way of their vow for celibacy. Many priests are sexually tempted to sin and indulge their mortal yearning. Although they know that this indulgence is sin, the Devil makes the opportunity appear very promising and pleasurable. Faust has the same problem; the Devil says he will do anything for him to please him. Faust believes he can withstand the Devil’s temptations to become perfectly happy; so he accepts the Devil’s challenge. Faust begins with having the Devil make him young again, and then he sees a beautiful young lady and demands that she be his. Then failing to see the Devil’s trickery, he gives in to the Devil’s demise and “deflowers” her and she becomes pregnant. Faust then leaves and she goes crazy in her jail cell. Priests are often subjected to public reproach after committing their sins. Faust’s sin was not the sin that the Lord and the Devil bet on. Faust did not find a moment that he wanted to linger. The Devil fails to tempt Faust enough to take his soul.<br />
<br />
==External Links and Resources==<br />
* [[Faust Summary, Commentary, Notes]]<br />
* [http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's <i>Faust</i>]<br />
* [http://web.cocc.edu/cagatucci/classes/eng109/FaustSG.htm <i>Faust</i> Study Guide]<br />
* Another [http://novaonline.nvcc.edu/eli/eng252/fauststudy.htm <i>Faust</i> Study Guide]<br />
* [http://www.pinkmonkey.com/booknotes/barrons/faust122.asp Booknotes on <i>Faust</i>]<br />
<br />
==Works Cited==<br />
<br />
[[Category:World Literature]]<br />
Goethe, Johann Wolfgang von. Faust, Part 1. The Norton Anthology of Western Literature. Vol. 2. 8th Ed. Trans. Martin Greenberg. Sarah Lawall, et al, eds. New York: W.W. Norton, 2006. [All primary text citations are taken from this edition unless otherwise noted.]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust&diff=5502Faust2006-02-28T22:23:49Z<p>Sdeloach: /* Easter */</p>
<hr />
<div>[[Image:Faust.jpg|Faust|thumb|right]]''Faust: Part I'' written by [[Johann Wolfgang von Goethe]]<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Faust''.<br />
<br />
=== Faust, Part 1===<br />
#[[Faust: Prologue in Heaven|Prologue in Heaven]]<br />
#[[Faust: Night (1)|Night (1)]]<br />
#[[Faust: Outside the City Gate|Outside the City Gate]]<br />
#[[Faust: Faust's Study (1)|Faust's Study (1)]]<br />
#[[Faust: Faust's Study (2)|Faust's Study (2)]]<br />
#[[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]]<br />
#[[Faust: Witch's Kitchen|Witch's Kitchen]]<br />
#[[Faust: A Street (1)|A Street (1)]]<br />
#[[Faust: Evening|Evening]]<br />
#[[Faust: Out Walking|Out Walking]]<br />
#[[Faust: The Neighbor's House|The Neighbor's House]]<br />
#[[Faust: A Street (2)|A Street (2)]]<br />
#[[Faust: A Garden|A Garden]]<br />
#[[Faust: A Summerhouse|A Summerhouse]]<br />
#[[Faust: A Cavern in the Forest|A Cavern in the Forest]]<br />
#[[Faust: Gretchen's Room|Gretchen's Room]]<br />
#[[Faust: Marthe's Garden|Marthe's Garden]]<br />
#[[Faust: At the Well|At the Well]]<br />
#[[Faust: The City Wall|The City Wall]]<br />
#[[Faust: Night (2)|Night (2)]]<br />
#[[Faust: The Cathedral|The Cathedral]]<br />
#[[Faust: Walpurgis Night|Walpurgis Night]]<br />
#[[Faust: Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding|Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding]]<br />
#[[Faust: An Overcast Day, a Field|An Overcast Day, a Field]]<br />
#[[Faust: Night, Open Country|Night, Open Country]]<br />
#[[Faust: A Prison|A Prison]]<br />
<br />
==History==<br />
<br />
==Timeline==<br />
<br />
==Characters==<br />
<br />
===Mephistopheles===<br />
Mephistopheles may be considered the antagonist of the story because he symbolizes evil incarnate. After making a bet with the Lord that he could sway Faust from the righteous path, he uses every ruse in the book to achieve his goal.<br />
<br />
===Faust===<br />
In Goethe's Play, Faust is the protagonist. Immediatly when reading the play, the reader begins to get a sense of who this character is. Faust is man who believes in Heaven and Hell, and also that there is a higher being, God, and the Devil. Faust is thought to be a smart, well-learned man by many. Though he seems to be intelligent, Faust is a bit nieve. For example, when Mephisto is attempting to strike up a deal with him for being his "servant", Faust assumes that Mephisto will just trust that he will keep his word. But Mephisto insists that there be in writing some sort of proof of their agreement. Also, when Wagner and Faust are walking through the dark and come across the black poodle, Faust has some sort of strange feeling about the dog. However, Wagner convinces him to think nothing of it and talks him into taking the dog home. Soon after this, the poodle begins getting larger turns into a hippopotamus-like creature. Mephisto then appears "out of" the dog.<br />
<br />
===Wagner===<br />
Wagner is a student of Faust's with a bad habit of being in the wrong place at the wrong time. He is also somewhat "nerdy" and socially inept. Like Faust, he also despises the vulgarity of the real world and spends every waking hour engrossed in his studies.<br />
<br />
===Margarete (Gretchen)===<br />
Margarete is a young, modest, and religious woman of a lower class than Faust. She lives with her mother and helps out around the house. She is referred to as Gretchen, which is a shortened version of Margarete, many times throughout the story. Faust finds Margarete attractive and tells Mephistopheles to get her for him. At first, she refuses his advances, but eventually agrees to a love affair and thus begins her downfall. When Faust gets her pregnant, she is persecuted by society and cursed by her brother as he lay dying. Out of insane desperation, Margarete murders her mother and child and is thrown into prison. Faust and Mephistopheles attempt to rescue her, but discover that she is completely mad and are forced to leave her behind. As Mephisto and Faust leave the prison, a Heavenly voice says that Margarete's soul has been saved.<br />
<br />
===Siebel===<br />
<br />
Works in Auerbach's Cellar in Leipzig and is sickened by the lovesongs that the other men sing. He threatens to take revenge on the "slut...who played him false" with "a rock heaved through her kitchen window" (1905).<br />
<br />
===Altmayer===<br />
<br />
===Frosch===<br />
<br />
===Marthe===<br />
<br />
===Lieschen===<br />
<br />
A girl in Gretchen's village who is jealous of anyone that finds love. Since she is not allowed to have a beau, she takes pleasure in hurting others through gossip. Even though she only appears in one scene, her words regarding the pregnant Barbara have a devastating effect on Gretchen, who may be in the same condition herself.<br />
<br />
===Valentine===<br />
<br />
Gretchen's brother and a soldier. He started a fight with Faust and Mephisto after he found out about Faust getting Gretchen pregnant. He is killed by Faust after the encounter.<br />
<br />
==Themes==<br />
<br />
===Urge for Knowledge===<br />
The most significant theme in ''Faust'' is the drive for mankind to understand what they do not know. Faust, in a way, is representing the entire human race: "He is able to distinguish between good and evil, right and wrong, but must make errors before he can learn and grow" (Campbell 257). The human is naturally inquisitive about the world and the universe. Faust is unhappy because he can not find the answers to life, and he even contemplates suicide to end his despair. It is his “urge for knowledge" that is the driving force behind the play. His curiosity also forces Mephisto into the wager with God so that he can prove that humans are unhappy ''because'' of their intelligence.<br />
<br />
==References in Popular Culture==<br />
===Devil===<br />
Mephistopheles is Goethe's devil. The devil is a fallen angel that became evil. The idea of a "Devil" is nearly universal with similar incarnations spanning Norse, Greek, Hindu, and many other religious sects. In the Norse mythology it is referred to as [[Loki]], and in the Greek pantheon [[Pan]].<br />
<br />
===Easter===<br />
Easter symbolizes the rebirth of Christ. The bells begin to chime and the chorus begins singing songs of praise at the same time Faust is about to poison himself. When he hears the chorus, Faust comes out of his stupor and does not go through with the act. This is like rebirth; Faust was so close to death but then he comes back to reality.<br />
<br />
==Bible Refernces And Interpretations==<br />
Line 59 “Do you know Faust?”<br />
<br />
Job 1.8 “Have you considered my servant Job?”<br />
<br />
This parallel sets the entire stage for the play. God and the Devil (Mephistopheles) make a bet about the fate of Job (Faust) if God removes his protection from around him and allows the Devil to use whatever means he wants to tempt him.<br />
<br />
<br />
Line 95 “Dust he will eat..”<br />
<br />
Genesis 3.14 “And the Lord God said unto the serpent, because thou hast done this, thou art cursed above all cattle, and above every beast of the field; upon thy belly thou shalt do, and dust shalt thou eat all the days of thy life.”<br />
<br />
This is an important verse and metaphor throughout the text. According to the history of the bible, the reason why Satan was cast down from heaven is because he refused to prostrate before the new creature (man) that was created, thus disobeying God’s command. After the war in heaven, Satan and those that fought at his side were cast down to hell and earth. After Satan induced Eve into biting the apple from the tree of good and evil, he was cursed as referenced in Genesis 3.14.<br />
Faust tells the spirit that comes to visit him that “We’re equals, I know” (282) expressing his feelings of equal rank to the spirit being. Mephistopheles feels that humans “act more beastly than beast ever do” (46). The parallel made between the two lines shows a direct connection between how Mephistopheles feels that man should be condemned to the same fate as he is.<br />
<br />
<br />
Line 2147-2148 “Go out into the fields right now, this minute, start digging and hoeing away, working hard.”<br />
<br />
Genesis 3.19 “in the Sweat of thy face shalt thou eat bread.”<br />
Genesis 3. 23 “The Lord god sent him forth from the garden of Eden, to till the ground from whence he was taken.”<br />
<br />
Mephistopheles makes a reference to the curse that was placed upon Adam to till the ground and he would now have to work very hard for food which was at one time given to him in the garden of Eden. Mephistopheles uses it as a threat to Faust who immediately says that it is “not my sort of thing, humbling myself to work with a spade” (2155-2156). Fear is used in this case to get Faust to do what Mephistopheles wants him to do. He uses Fasut’s fear that he will be returned to the same life as he had before which would be a condemnation or punishment.<br />
<br />
<br />
Line 288- 289 “Me, made in God’s own image, not even equal to you”<br />
<br />
Genesis 1.26 “And God said let us make man in our image and after our likeness.”<br />
<br />
Faust misinterprets the quote. He is saying that he was made in the image of God when the quote clearly refers to the God using the plural pronouns us and our when referring to the image. This parallel is both two fold. During the Romantic period writers would contemplate their singular relationship to God and the universe. It also would explain why Faust and Mephistopheles see the position of man very differently.<br />
<br />
<br />
<br />
<br />
Line 1819-1822 “All theory, my dear fellow, is gray, and green the golden tree of life.”<br />
<br />
Genesis 3.22 “and now lest he put forth his hand and take also of the tree of life and eat, and live forever.” <br />
<br />
This line is important because Mephistopheles is speaking to a young, fresh, impressionable student. As he did in the story of Eve, the devil is uses the word gray which is a word meaning some confusion, doubt or haziness as when he told Eve in the bible that God had lied to her and it was not as cut and dry as God had said. This is the same way he is speaking with the college student saying that choosing another path will be better or the grass is greener on the other side of the fence.<br />
<br />
<br />
Line 1829 “Eritus sicut Deus, scientes bonum et malum.”<br />
<br />
Genesis 3.5 “Ye shall be as Gods, knowing good and evil.”<br />
<br />
At this verse Mephistopheles writes in the student’s book an encouragement, the very same encouragement he gave Eve was according to the bible to eat from the tree. With the college student he uses this same statement in the sense of seeking out knowledge which is two fold corresponding with the two natures that exist with in man.<br />
<br />
==Critical Perspectives==<br />
<br />
Just as Satan tempts Faust he also tempts priests. Faust is tempted by the Devil. The devil is willing to do anything for Faust to make him happy except make moral decisions. The Devil becomes Faust’s servant. He does so to get Faust’s soul, this occurs when Faust is finally truly happy. As soon as Faust becomes happy he will die and the Devil will get his soul. Priests are also tempted by the Devil in the way of their vow for celibacy. Many priests are sexually tempted to sin and indulge their mortal yearning. Although they know that this indulgence is sin, the Devil makes the opportunity appear very promising and pleasurable. Faust has the same problem; the Devil says he will do anything for him to please him. Faust believes he can withstand the Devil’s temptations to become perfectly happy so he accepts the Devil’s challenge. Faust begins with having the Devil make him young again and then he sees a beautiful young lady and demands that she be his. Then failing to see the Devil’s trickery, he gives in to the Devil’s demise and “deflowers” her and she becomes pregnant. Faust then leaves and she goes crazy in her jail cell. Priests are often subjected to public reproach after committing their sins. Faust’s sin was not the sin that the Lord and the Devil bet on. Faust did not find a moment that he wanted to linger. The Devil fails to tempt Faust enough to take his soul.<br />
<br />
==External Links and Resources==<br />
* [[Faust Summary, Commentary, Notes]]<br />
* [http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's <i>Faust</i>]<br />
* [http://web.cocc.edu/cagatucci/classes/eng109/FaustSG.htm <i>Faust</i> Study Guide]<br />
* Another [http://novaonline.nvcc.edu/eli/eng252/fauststudy.htm <i>Faust</i> Study Guide]<br />
* [http://www.pinkmonkey.com/booknotes/barrons/faust122.asp Booknotes on <i>Faust</i>]<br />
<br />
==Works Cited==<br />
<br />
[[Category:World Literature]]<br />
Goethe, Johann Wolfgang von. Faust, Part 1. The Norton Anthology of Western Literature. Vol. 2. 8th Ed. Trans. Martin Greenberg. Sarah Lawall, et al, eds. New York: W.W. Norton, 2006. [All primary text citations are taken from this edition unless otherwise noted.]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust&diff=5500Faust2006-02-28T22:18:57Z<p>Sdeloach: /* Urge for Knowledge */</p>
<hr />
<div>[[Image:Faust.jpg|Faust|thumb|right]]''Faust: Part I'' written by [[Johann Wolfgang von Goethe]]<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Faust''.<br />
<br />
=== Faust, Part 1===<br />
#[[Faust: Prologue in Heaven|Prologue in Heaven]]<br />
#[[Faust: Night (1)|Night (1)]]<br />
#[[Faust: Outside the City Gate|Outside the City Gate]]<br />
#[[Faust: Faust's Study (1)|Faust's Study (1)]]<br />
#[[Faust: Faust's Study (2)|Faust's Study (2)]]<br />
#[[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]]<br />
#[[Faust: Witch's Kitchen|Witch's Kitchen]]<br />
#[[Faust: A Street (1)|A Street (1)]]<br />
#[[Faust: Evening|Evening]]<br />
#[[Faust: Out Walking|Out Walking]]<br />
#[[Faust: The Neighbor's House|The Neighbor's House]]<br />
#[[Faust: A Street (2)|A Street (2)]]<br />
#[[Faust: A Garden|A Garden]]<br />
#[[Faust: A Summerhouse|A Summerhouse]]<br />
#[[Faust: A Cavern in the Forest|A Cavern in the Forest]]<br />
#[[Faust: Gretchen's Room|Gretchen's Room]]<br />
#[[Faust: Marthe's Garden|Marthe's Garden]]<br />
#[[Faust: At the Well|At the Well]]<br />
#[[Faust: The City Wall|The City Wall]]<br />
#[[Faust: Night (2)|Night (2)]]<br />
#[[Faust: The Cathedral|The Cathedral]]<br />
#[[Faust: Walpurgis Night|Walpurgis Night]]<br />
#[[Faust: Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding|Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding]]<br />
#[[Faust: An Overcast Day, a Field|An Overcast Day, a Field]]<br />
#[[Faust: Night, Open Country|Night, Open Country]]<br />
#[[Faust: A Prison|A Prison]]<br />
<br />
==History==<br />
<br />
==Timeline==<br />
<br />
==Characters==<br />
<br />
===Mephistopheles===<br />
Mephistopheles may be considered the antagonist of the story because he symbolizes evil incarnate. After making a bet with the Lord that he could sway Faust from the righteous path, he uses every ruse in the book to achieve his goal.<br />
<br />
===Faust===<br />
In Goethe's Play, Faust is the protagonist. Immediatly when reading the play, the reader begins to get a sense of who this character is. Faust is man who believes in Heaven and Hell, and also that there is a higher being, God, and the Devil. Faust is thought to be a smart, well-learned man by many. Though he seems to be intelligent, Faust is a bit nieve. For example, when Mephisto is attempting to strike up a deal with him for being his "servant", Faust assumes that Mephisto will just trust that he will keep his word. But Mephisto insists that there be in writing some sort of proof of their agreement. Also, when Wagner and Faust are walking through the dark and come across the black poodle, Faust has some sort of strange feeling about the dog. However, Wagner convinces him to think nothing of it and talks him into taking the dog home. Soon after this, the poodle begins getting larger turns into a hippopotamus-like creature. Mephisto then appears "out of" the dog.<br />
<br />
===Wagner===<br />
Wagner is a student of Faust's with a bad habit of being in the wrong place at the wrong time. He is also somewhat "nerdy" and socially inept. Like Faust, he also despises the vulgarity of the real world and spends every waking hour engrossed in his studies.<br />
<br />
===Margarete (Gretchen)===<br />
Margarete is a young, modest, and religious woman of a lower class than Faust. She lives with her mother and helps out around the house. She is referred to as Gretchen, which is a shortened version of Margarete, many times throughout the story. Faust finds Margarete attractive and tells Mephistopheles to get her for him. At first, she refuses his advances, but eventually agrees to a love affair and thus begins her downfall. When Faust gets her pregnant, she is persecuted by society and cursed by her brother as he lay dying. Out of insane desperation, Margarete murders her mother and child and is thrown into prison. Faust and Mephistopheles attempt to rescue her, but discover that she is completely mad and are forced to leave her behind. As Mephisto and Faust leave the prison, a Heavenly voice says that Margarete's soul has been saved.<br />
<br />
===Siebel===<br />
<br />
Works in Auerbach's Cellar in Leipzig and is sickened by the lovesongs that the other men sing. He threatens to take revenge on the "slut...who played him false" with "a rock heaved through her kitchen window" (1905).<br />
<br />
===Altmayer===<br />
<br />
===Frosch===<br />
<br />
===Marthe===<br />
<br />
===Lieschen===<br />
<br />
A girl in Gretchen's village who is jealous of anyone that finds love. Since she is not allowed to have a beau, she takes pleasure in hurting others through gossip. Even though she only appears in one scene, her words regarding the pregnant Barbara have a devastating effect on Gretchen, who may be in the same condition herself.<br />
<br />
===Valentine===<br />
<br />
Gretchen's brother and a soldier. He started a fight with Faust and Mephisto after he found out about Faust getting Gretchen pregnant. He is killed by Faust after the encounter.<br />
<br />
==Themes==<br />
<br />
===Urge for Knowledge===<br />
The most significant theme in ''Faust'' is the drive for mankind to understand what they do not know. Faust, in a way, is representing the entire human race: "He is able to distinguish between good and evil, right and wrong, but must make errors before he can learn and grow" (Campbell 257). The human is naturally inquisitive about the world and the universe. Faust is unhappy because he can not find the answers to life, and he even contemplates suicide to end his despair. It is his “urge for knowledge" that is the driving force behind the play. His curiosity also forces Mephisto into the wager with God so that he can prove that humans are unhappy ''because'' of their intelligence.<br />
<br />
==References in Popular Culture==<br />
===Devil===<br />
Mephistopheles is Goethe's devil. The devil is a fallen angel that became evil. The idea of a "Devil" is nearly universal with similar incarnations spanning Norse, Greek, Hindu, and many other religious sects. In the Norse mythology it is referred to as [[Loki]], and in the Greek pantheon [[Pan]].<br />
<br />
===Easter===<br />
Easter symbolizes rebirth of Christ. The bells begin to chime and the chorus begins singing songs of praise right at the time Faist is about to drink posion to kill himself. By hearing the chorus, Faust comes out of his stuper and does not go through with the act. This is like rebirth; Faust was so close to death but then he comes back to reality.<br />
<br />
==Bible Refernces And Interpretations==<br />
Line 59 “Do you know Faust?”<br />
<br />
Job 1.8 “Have you considered my servant Job?”<br />
<br />
This parallel sets the entire stage for the play. God and the Devil (Mephistopheles) make a bet about the fate of Job (Faust) if God removes his protection from around him and allows the Devil to use whatever means he wants to tempt him.<br />
<br />
<br />
Line 95 “Dust he will eat..”<br />
<br />
Genesis 3.14 “And the Lord God said unto the serpent, because thou hast done this, thou art cursed above all cattle, and above every beast of the field; upon thy belly thou shalt do, and dust shalt thou eat all the days of thy life.”<br />
<br />
This is an important verse and metaphor throughout the text. According to the history of the bible, the reason why Satan was cast down from heaven is because he refused to prostrate before the new creature (man) that was created, thus disobeying God’s command. After the war in heaven, Satan and those that fought at his side were cast down to hell and earth. After Satan induced Eve into biting the apple from the tree of good and evil, he was cursed as referenced in Genesis 3.14.<br />
Faust tells the spirit that comes to visit him that “We’re equals, I know” (282) expressing his feelings of equal rank to the spirit being. Mephistopheles feels that humans “act more beastly than beast ever do” (46). The parallel made between the two lines shows a direct connection between how Mephistopheles feels that man should be condemned to the same fate as he is.<br />
<br />
<br />
Line 2147-2148 “Go out into the fields right now, this minute, start digging and hoeing away, working hard.”<br />
<br />
Genesis 3.19 “in the Sweat of thy face shalt thou eat bread.”<br />
Genesis 3. 23 “The Lord god sent him forth from the garden of Eden, to till the ground from whence he was taken.”<br />
<br />
Mephistopheles makes a reference to the curse that was placed upon Adam to till the ground and he would now have to work very hard for food which was at one time given to him in the garden of Eden. Mephistopheles uses it as a threat to Faust who immediately says that it is “not my sort of thing, humbling myself to work with a spade” (2155-2156). Fear is used in this case to get Faust to do what Mephistopheles wants him to do. He uses Fasut’s fear that he will be returned to the same life as he had before which would be a condemnation or punishment.<br />
<br />
<br />
Line 288- 289 “Me, made in God’s own image, not even equal to you”<br />
<br />
Genesis 1.26 “And God said let us make man in our image and after our likeness.”<br />
<br />
Faust misinterprets the quote. He is saying that he was made in the image of God when the quote clearly refers to the God using the plural pronouns us and our when referring to the image. This parallel is both two fold. During the Romantic period writers would contemplate their singular relationship to God and the universe. It also would explain why Faust and Mephistopheles see the position of man very differently.<br />
<br />
<br />
<br />
<br />
Line 1819-1822 “All theory, my dear fellow, is gray, and green the golden tree of life.”<br />
<br />
Genesis 3.22 “and now lest he put forth his hand and take also of the tree of life and eat, and live forever.” <br />
<br />
This line is important because Mephistopheles is speaking to a young, fresh, impressionable student. As he did in the story of Eve, the devil is uses the word gray which is a word meaning some confusion, doubt or haziness as when he told Eve in the bible that God had lied to her and it was not as cut and dry as God had said. This is the same way he is speaking with the college student saying that choosing another path will be better or the grass is greener on the other side of the fence.<br />
<br />
<br />
Line 1829 “Eritus sicut Deus, scientes bonum et malum.”<br />
<br />
Genesis 3.5 “Ye shall be as Gods, knowing good and evil.”<br />
<br />
At this verse Mephistopheles writes in the student’s book an encouragement, the very same encouragement he gave Eve was according to the bible to eat from the tree. With the college student he uses this same statement in the sense of seeking out knowledge which is two fold corresponding with the two natures that exist with in man.<br />
<br />
==Critical Perspectives==<br />
<br />
Just as Satan tempts Faust he also tempts priests. Faust is tempted by the Devil. The devil is willing to do anything for Faust to make him happy except make moral decisions. The Devil becomes Faust’s servant. He does so to get Faust’s soul, this occurs when Faust is finally truly happy. As soon as Faust becomes happy he will die and the Devil will get his soul. Priests are also tempted by the Devil in the way of their vow for celibacy. Many priests are sexually tempted to sin and indulge their mortal yearning. Although they know that this indulgence is sin, the Devil makes the opportunity appear very promising and pleasurable. Faust has the same problem; the Devil says he will do anything for him to please him. Faust believes he can withstand the Devil’s temptations to become perfectly happy so he accepts the Devil’s challenge. Faust begins with having the Devil make him young again and then he sees a beautiful young lady and demands that she be his. Then failing to see the Devil’s trickery, he gives in to the Devil’s demise and “deflowers” her and she becomes pregnant. Faust then leaves and she goes crazy in her jail cell. Priests are often subjected to public reproach after committing their sins. Faust’s sin was not the sin that the Lord and the Devil bet on. Faust did not find a moment that he wanted to linger. The Devil fails to tempt Faust enough to take his soul.<br />
<br />
==External Links and Resources==<br />
* [[Faust Summary, Commentary, Notes]]<br />
* [http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's <i>Faust</i>]<br />
* [http://web.cocc.edu/cagatucci/classes/eng109/FaustSG.htm <i>Faust</i> Study Guide]<br />
* Another [http://novaonline.nvcc.edu/eli/eng252/fauststudy.htm <i>Faust</i> Study Guide]<br />
* [http://www.pinkmonkey.com/booknotes/barrons/faust122.asp Booknotes on <i>Faust</i>]<br />
<br />
==Works Cited==<br />
<br />
[[Category:World Literature]]<br />
Goethe, Johann Wolfgang von. Faust, Part 1. The Norton Anthology of Western Literature. Vol. 2. 8th Ed. Trans. Martin Greenberg. Sarah Lawall, et al, eds. New York: W.W. Norton, 2006. [All primary text citations are taken from this edition unless otherwise noted.]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust&diff=5499Faust2006-02-28T22:01:40Z<p>Sdeloach: /* Margarete (Gretchen) */</p>
<hr />
<div>[[Image:Faust.jpg|Faust|thumb|right]]''Faust: Part I'' written by [[Johann Wolfgang von Goethe]]<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Faust''.<br />
<br />
=== Faust, Part 1===<br />
#[[Faust: Prologue in Heaven|Prologue in Heaven]]<br />
#[[Faust: Night (1)|Night (1)]]<br />
#[[Faust: Outside the City Gate|Outside the City Gate]]<br />
#[[Faust: Faust's Study (1)|Faust's Study (1)]]<br />
#[[Faust: Faust's Study (2)|Faust's Study (2)]]<br />
#[[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]]<br />
#[[Faust: Witch's Kitchen|Witch's Kitchen]]<br />
#[[Faust: A Street (1)|A Street (1)]]<br />
#[[Faust: Evening|Evening]]<br />
#[[Faust: Out Walking|Out Walking]]<br />
#[[Faust: The Neighbor's House|The Neighbor's House]]<br />
#[[Faust: A Street (2)|A Street (2)]]<br />
#[[Faust: A Garden|A Garden]]<br />
#[[Faust: A Summerhouse|A Summerhouse]]<br />
#[[Faust: A Cavern in the Forest|A Cavern in the Forest]]<br />
#[[Faust: Gretchen's Room|Gretchen's Room]]<br />
#[[Faust: Marthe's Garden|Marthe's Garden]]<br />
#[[Faust: At the Well|At the Well]]<br />
#[[Faust: The City Wall|The City Wall]]<br />
#[[Faust: Night (2)|Night (2)]]<br />
#[[Faust: The Cathedral|The Cathedral]]<br />
#[[Faust: Walpurgis Night|Walpurgis Night]]<br />
#[[Faust: Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding|Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding]]<br />
#[[Faust: An Overcast Day, a Field|An Overcast Day, a Field]]<br />
#[[Faust: Night, Open Country|Night, Open Country]]<br />
#[[Faust: A Prison|A Prison]]<br />
<br />
==History==<br />
<br />
==Timeline==<br />
<br />
==Characters==<br />
<br />
===Mephistopheles===<br />
Mephistopheles may be considered the antagonist of the story because he symbolizes evil incarnate. After making a bet with the Lord that he could sway Faust from the righteous path, he uses every ruse in the book to achieve his goal.<br />
<br />
===Faust===<br />
In Goethe's Play, Faust is the protagonist. Immediatly when reading the play, the reader begins to get a sense of who this character is. Faust is man who believes in Heaven and Hell, and also that there is a higher being, God, and the Devil. Faust is thought to be a smart, well-learned man by many. Though he seems to be intelligent, Faust is a bit nieve. For example, when Mephisto is attempting to strike up a deal with him for being his "servant", Faust assumes that Mephisto will just trust that he will keep his word. But Mephisto insists that there be in writing some sort of proof of their agreement. Also, when Wagner and Faust are walking through the dark and come across the black poodle, Faust has some sort of strange feeling about the dog. However, Wagner convinces him to think nothing of it and talks him into taking the dog home. Soon after this, the poodle begins getting larger turns into a hippopotamus-like creature. Mephisto then appears "out of" the dog.<br />
<br />
===Wagner===<br />
Wagner is a student of Faust's with a bad habit of being in the wrong place at the wrong time. He is also somewhat "nerdy" and socially inept. Like Faust, he also despises the vulgarity of the real world and spends every waking hour engrossed in his studies.<br />
<br />
===Margarete (Gretchen)===<br />
Margarete is a young, modest, and religious woman of a lower class than Faust. She lives with her mother and helps out around the house. She is referred to as Gretchen, which is a shortened version of Margarete, many times throughout the story. Faust finds Margarete attractive and tells Mephistopheles to get her for him. At first, she refuses his advances, but eventually agrees to a love affair and thus begins her downfall. When Faust gets her pregnant, she is persecuted by society and cursed by her brother as he lay dying. Out of insane desperation, Margarete murders her mother and child and is thrown into prison. Faust and Mephistopheles attempt to rescue her, but discover that she is completely mad and are forced to leave her behind. As Mephisto and Faust leave the prison, a Heavenly voice says that Margarete's soul has been saved.<br />
<br />
===Siebel===<br />
<br />
Works in Auerbach's Cellar in Leipzig and is sickened by the lovesongs that the other men sing. He threatens to take revenge on the "slut...who played him false" with "a rock heaved through her kitchen window" (1905).<br />
<br />
===Altmayer===<br />
<br />
===Frosch===<br />
<br />
===Marthe===<br />
<br />
===Lieschen===<br />
<br />
A girl in Gretchen's village who is jealous of anyone that finds love. Since she is not allowed to have a beau, she takes pleasure in hurting others through gossip. Even though she only appears in one scene, her words regarding the pregnant Barbara have a devastating effect on Gretchen, who may be in the same condition herself.<br />
<br />
===Valentine===<br />
<br />
Gretchen's brother and a soldier. He started a fight with Faust and Mephisto after he found out about Faust getting Gretchen pregnant. He is killed by Faust after the encounter.<br />
<br />
==Themes==<br />
<br />
===Urge for Knowledge===<br />
The most significant theme in ''Faust'' is the drive for humankind to understand what they do not know. Faust, in a way, is representing all of the human race: "He is able to distinguish between good and evil, right and wrong, but must make errors before he can learn and grow" (Campbell 257). The human is naturally inquizative about the world and the universe. Faust is unhappy beause he can not find the answers to life, and he even contemplates suicide to end his despair. It is his " urge for knowledge" that is the driving force behind the play. If he wasn't curiuos about the world then the devil would have not made a wager with God to display than human are unhappy because of their intelligence.<br />
<br />
==References in Popular Culture==<br />
===Devil===<br />
Mephistopheles is Goethe's devil. The devil is a fallen angel that became evil. The idea of a "Devil" is nearly universal with similar incarnations spanning Norse, Greek, Hindu, and many other religious sects. In the Norse mythology it is referred to as [[Loki]], and in the Greek pantheon [[Pan]].<br />
<br />
===Easter===<br />
Easter symbolizes rebirth of Christ. The bells begin to chime and the chorus begins singing songs of praise right at the time Faist is about to drink posion to kill himself. By hearing the chorus, Faust comes out of his stuper and does not go through with the act. This is like rebirth; Faust was so close to death but then he comes back to reality.<br />
<br />
==Bible Refernces And Interpretations==<br />
Line 59 “Do you know Faust?”<br />
<br />
Job 1.8 “Have you considered my servant Job?”<br />
<br />
This parallel sets the entire stage for the play. God and the Devil (Mephistopheles) make a bet about the fate of Job (Faust) if God removes his protection from around him and allows the Devil to use whatever means he wants to tempt him.<br />
<br />
<br />
Line 95 “Dust he will eat..”<br />
<br />
Genesis 3.14 “And the Lord God said unto the serpent, because thou hast done this, thou art cursed above all cattle, and above every beast of the field; upon thy belly thou shalt do, and dust shalt thou eat all the days of thy life.”<br />
<br />
This is an important verse and metaphor throughout the text. According to the history of the bible, the reason why Satan was cast down from heaven is because he refused to prostrate before the new creature (man) that was created, thus disobeying God’s command. After the war in heaven, Satan and those that fought at his side were cast down to hell and earth. After Satan induced Eve into biting the apple from the tree of good and evil, he was cursed as referenced in Genesis 3.14.<br />
Faust tells the spirit that comes to visit him that “We’re equals, I know” (282) expressing his feelings of equal rank to the spirit being. Mephistopheles feels that humans “act more beastly than beast ever do” (46). The parallel made between the two lines shows a direct connection between how Mephistopheles feels that man should be condemned to the same fate as he is.<br />
<br />
<br />
Line 2147-2148 “Go out into the fields right now, this minute, start digging and hoeing away, working hard.”<br />
<br />
Genesis 3.19 “in the Sweat of thy face shalt thou eat bread.”<br />
Genesis 3. 23 “The Lord god sent him forth from the garden of Eden, to till the ground from whence he was taken.”<br />
<br />
Mephistopheles makes a reference to the curse that was placed upon Adam to till the ground and he would now have to work very hard for food which was at one time given to him in the garden of Eden. Mephistopheles uses it as a threat to Faust who immediately says that it is “not my sort of thing, humbling myself to work with a spade” (2155-2156). Fear is used in this case to get Faust to do what Mephistopheles wants him to do. He uses Fasut’s fear that he will be returned to the same life as he had before which would be a condemnation or punishment.<br />
<br />
<br />
Line 288- 289 “Me, made in God’s own image, not even equal to you”<br />
<br />
Genesis 1.26 “And God said let us make man in our image and after our likeness.”<br />
<br />
Faust misinterprets the quote. He is saying that he was made in the image of God when the quote clearly refers to the God using the plural pronouns us and our when referring to the image. This parallel is both two fold. During the Romantic period writers would contemplate their singular relationship to God and the universe. It also would explain why Faust and Mephistopheles see the position of man very differently.<br />
<br />
<br />
<br />
<br />
Line 1819-1822 “All theory, my dear fellow, is gray, and green the golden tree of life.”<br />
<br />
Genesis 3.22 “and now lest he put forth his hand and take also of the tree of life and eat, and live forever.” <br />
<br />
This line is important because Mephistopheles is speaking to a young, fresh, impressionable student. As he did in the story of Eve, the devil is uses the word gray which is a word meaning some confusion, doubt or haziness as when he told Eve in the bible that God had lied to her and it was not as cut and dry as God had said. This is the same way he is speaking with the college student saying that choosing another path will be better or the grass is greener on the other side of the fence.<br />
<br />
<br />
Line 1829 “Eritus sicut Deus, scientes bonum et malum.”<br />
<br />
Genesis 3.5 “Ye shall be as Gods, knowing good and evil.”<br />
<br />
At this verse Mephistopheles writes in the student’s book an encouragement, the very same encouragement he gave Eve was according to the bible to eat from the tree. With the college student he uses this same statement in the sense of seeking out knowledge which is two fold corresponding with the two natures that exist with in man.<br />
<br />
==Critical Perspectives==<br />
<br />
Just as Satan tempts Faust he also tempts priests. Faust is tempted by the Devil. The devil is willing to do anything for Faust to make him happy except make moral decisions. The Devil becomes Faust’s servant. He does so to get Faust’s soul, this occurs when Faust is finally truly happy. As soon as Faust becomes happy he will die and the Devil will get his soul. Priests are also tempted by the Devil in the way of their vow for celibacy. Many priests are sexually tempted to sin and indulge their mortal yearning. Although they know that this indulgence is sin, the Devil makes the opportunity appear very promising and pleasurable. Faust has the same problem; the Devil says he will do anything for him to please him. Faust believes he can withstand the Devil’s temptations to become perfectly happy so he accepts the Devil’s challenge. Faust begins with having the Devil make him young again and then he sees a beautiful young lady and demands that she be his. Then failing to see the Devil’s trickery, he gives in to the Devil’s demise and “deflowers” her and she becomes pregnant. Faust then leaves and she goes crazy in her jail cell. Priests are often subjected to public reproach after committing their sins. Faust’s sin was not the sin that the Lord and the Devil bet on. Faust did not find a moment that he wanted to linger. The Devil fails to tempt Faust enough to take his soul.<br />
<br />
==External Links and Resources==<br />
* [[Faust Summary, Commentary, Notes]]<br />
* [http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's <i>Faust</i>]<br />
* [http://web.cocc.edu/cagatucci/classes/eng109/FaustSG.htm <i>Faust</i> Study Guide]<br />
* Another [http://novaonline.nvcc.edu/eli/eng252/fauststudy.htm <i>Faust</i> Study Guide]<br />
* [http://www.pinkmonkey.com/booknotes/barrons/faust122.asp Booknotes on <i>Faust</i>]<br />
<br />
==Works Cited==<br />
<br />
[[Category:World Literature]]<br />
Goethe, Johann Wolfgang von. Faust, Part 1. The Norton Anthology of Western Literature. Vol. 2. 8th Ed. Trans. Martin Greenberg. Sarah Lawall, et al, eds. New York: W.W. Norton, 2006. [All primary text citations are taken from this edition unless otherwise noted.]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust&diff=5497Faust2006-02-28T21:33:37Z<p>Sdeloach: /* Wagner */</p>
<hr />
<div>[[Image:Faust.jpg|Faust|thumb|right]]''Faust: Part I'' written by [[Johann Wolfgang von Goethe]]<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Faust''.<br />
<br />
=== Faust, Part 1===<br />
#[[Faust: Prologue in Heaven|Prologue in Heaven]]<br />
#[[Faust: Night (1)|Night (1)]]<br />
#[[Faust: Outside the City Gate|Outside the City Gate]]<br />
#[[Faust: Faust's Study (1)|Faust's Study (1)]]<br />
#[[Faust: Faust's Study (2)|Faust's Study (2)]]<br />
#[[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]]<br />
#[[Faust: Witch's Kitchen|Witch's Kitchen]]<br />
#[[Faust: A Street (1)|A Street (1)]]<br />
#[[Faust: Evening|Evening]]<br />
#[[Faust: Out Walking|Out Walking]]<br />
#[[Faust: The Neighbor's House|The Neighbor's House]]<br />
#[[Faust: A Street (2)|A Street (2)]]<br />
#[[Faust: A Garden|A Garden]]<br />
#[[Faust: A Summerhouse|A Summerhouse]]<br />
#[[Faust: A Cavern in the Forest|A Cavern in the Forest]]<br />
#[[Faust: Gretchen's Room|Gretchen's Room]]<br />
#[[Faust: Marthe's Garden|Marthe's Garden]]<br />
#[[Faust: At the Well|At the Well]]<br />
#[[Faust: The City Wall|The City Wall]]<br />
#[[Faust: Night (2)|Night (2)]]<br />
#[[Faust: The Cathedral|The Cathedral]]<br />
#[[Faust: Walpurgis Night|Walpurgis Night]]<br />
#[[Faust: Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding|Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding]]<br />
#[[Faust: An Overcast Day, a Field|An Overcast Day, a Field]]<br />
#[[Faust: Night, Open Country|Night, Open Country]]<br />
#[[Faust: A Prison|A Prison]]<br />
<br />
==History==<br />
<br />
==Timeline==<br />
<br />
==Characters==<br />
<br />
===Mephistopheles===<br />
Mephistopheles may be considered the antagonist of the story because he symbolizes evil incarnate. After making a bet with the Lord that he could sway Faust from the righteous path, he uses every ruse in the book to achieve his goal.<br />
<br />
===Faust===<br />
In Goethe's Play, Faust is the protagonist. Immediatly when reading the play, the reader begins to get a sense of who this character is. Faust is man who believes in Heaven and Hell, and also that there is a higher being, God, and the Devil. Faust is thought to be a smart, well-learned man by many. Though he seems to be intelligent, Faust is a bit nieve. For example, when Mephisto is attempting to strike up a deal with him for being his "servant", Faust assumes that Mephisto will just trust that he will keep his word. But Mephisto insists that there be in writing some sort of proof of their agreement. Also, when Wagner and Faust are walking through the dark and come across the black poodle, Faust has some sort of strange feeling about the dog. However, Wagner convinces him to think nothing of it and talks him into taking the dog home. Soon after this, the poodle begins getting larger turns into a hippopotamus-like creature. Mephisto then appears "out of" the dog.<br />
<br />
===Wagner===<br />
Wagner is a student of Faust's with a bad habit of being in the wrong place at the wrong time. He is also somewhat "nerdy" and socially inept. Like Faust, he also despises the vulgarity of the real world and spends every waking hour engrossed in his studies.<br />
<br />
===Margarete (Gretchen)===<br />
Margarete is a young, modest, religious woman of a lower class than Faust. She lives with her mother and helps out around the house. She is referred to as Gretchen many times throughout the story. Gretchen is a shortened version of her name. Faust finds Margarete attractive and tells Mephistopheles to get her for him. Margarete at first refuses the advances of Faust. However, she finally accepts Faust and thus begins her downfall. Faust gets her pregnant. Margarete is persecuted by society and cursed by her brother as he lay dying. Margarete is thrown in prison for the murder of her baby. Faust and Mephistopheles try to rescue her from the prison. However, when they find her she has gone mad. As Mephisto and Faust leave the prison a Heavenly voice says that Margarete's soul has been saved.<br />
<br />
===Siebel===<br />
<br />
Works in Auerbach's Cellar in Leipzig and is sickened by the lovesongs that the other men sing. He threatens to take revenge on the "slut...who played him false" with "a rock heaved through her kitchen window" (1905).<br />
<br />
===Altmayer===<br />
<br />
===Frosch===<br />
<br />
===Marthe===<br />
<br />
===Lieschen===<br />
<br />
A girl in Gretchen's village who is jealous of anyone that finds love. Since she is not allowed to have a beau, she takes pleasure in hurting others through gossip. Even though she only appears in one scene, her words regarding the pregnant Barbara have a devastating effect on Gretchen, who may be in the same condition herself.<br />
<br />
===Valentine===<br />
<br />
Gretchen's brother and a soldier. He started a fight with Faust and Mephisto after he found out about Faust getting Gretchen pregnant. He is killed by Faust after the encounter.<br />
<br />
==Themes==<br />
<br />
===Urge for Knowledge===<br />
The most significant theme in ''Faust'' is the drive for humankind to understand what they do not know. Faust, in a way, is representing all of the human race: "He is able to distinguish between good and evil, right and wrong, but must make errors before he can learn and grow" (Campbell 257). The human is naturally inquizative about the world and the universe. Faust is unhappy beause he can not find the answers to life, and he even contemplates suicide to end his despair. It is his " urge for knowledge" that is the driving force behind the play. If he wasn't curiuos about the world then the devil would have not made a wager with God to display than human are unhappy because of their intelligence.<br />
<br />
==References in Popular Culture==<br />
===Devil===<br />
Mephistopheles is Goethe's devil. The devil is a fallen angel that became evil. The idea of a "Devil" is nearly universal with similar incarnations spanning Norse, Greek, Hindu, and many other religious sects. In the Norse mythology it is referred to as [[Loki]], and in the Greek pantheon [[Pan]].<br />
<br />
===Easter===<br />
Easter symbolizes rebirth of Christ. The bells begin to chime and the chorus begins singing songs of praise right at the time Faist is about to drink posion to kill himself. By hearing the chorus, Faust comes out of his stuper and does not go through with the act. This is like rebirth; Faust was so close to death but then he comes back to reality.<br />
<br />
==Bible Refernces And Interpretations==<br />
Line 59 “Do you know Faust?”<br />
<br />
Job 1.8 “Have you considered my servant Job?”<br />
<br />
This parallel sets the entire stage for the play. God and the Devil (Mephistopheles) make a bet about the fate of Job (Faust) if God removes his protection from around him and allows the Devil to use whatever means he wants to tempt him.<br />
<br />
<br />
Line 95 “Dust he will eat..”<br />
<br />
Genesis 3.14 “And the Lord God said unto the serpent, because thou hast done this, thou art cursed above all cattle, and above every beast of the field; upon thy belly thou shalt do, and dust shalt thou eat all the days of thy life.”<br />
<br />
This is an important verse and metaphor throughout the text. According to the history of the bible, the reason why Satan was cast down from heaven is because he refused to prostrate before the new creature (man) that was created, thus disobeying God’s command. After the war in heaven, Satan and those that fought at his side were cast down to hell and earth. After Satan induced Eve into biting the apple from the tree of good and evil, he was cursed as referenced in Genesis 3.14.<br />
Faust tells the spirit that comes to visit him that “We’re equals, I know” (282) expressing his feelings of equal rank to the spirit being. Mephistopheles feels that humans “act more beastly than beast ever do” (46). The parallel made between the two lines shows a direct connection between how Mephistopheles feels that man should be condemned to the same fate as he is.<br />
<br />
<br />
Line 2147-2148 “Go out into the fields right now, this minute, start digging and hoeing away, working hard.”<br />
<br />
Genesis 3.19 “in the Sweat of thy face shalt thou eat bread.”<br />
Genesis 3. 23 “The Lord god sent him forth from the garden of Eden, to till the ground from whence he was taken.”<br />
<br />
Mephistopheles makes a reference to the curse that was placed upon Adam to till the ground and he would now have to work very hard for food which was at one time given to him in the garden of Eden. Mephistopheles uses it as a threat to Faust who immediately says that it is “not my sort of thing, humbling myself to work with a spade” (2155-2156). Fear is used in this case to get Faust to do what Mephistopheles wants him to do. He uses Fasut’s fear that he will be returned to the same life as he had before which would be a condemnation or punishment.<br />
<br />
<br />
Line 288- 289 “Me, made in God’s own image, not even equal to you”<br />
<br />
Genesis 1.26 “And God said let us make man in our image and after our likeness.”<br />
<br />
Faust misinterprets the quote. He is saying that he was made in the image of God when the quote clearly refers to the God using the plural pronouns us and our when referring to the image. This parallel is both two fold. During the Romantic period writers would contemplate their singular relationship to God and the universe. It also would explain why Faust and Mephistopheles see the position of man very differently.<br />
<br />
<br />
<br />
<br />
Line 1819-1822 “All theory, my dear fellow, is gray, and green the golden tree of life.”<br />
<br />
Genesis 3.22 “and now lest he put forth his hand and take also of the tree of life and eat, and live forever.” <br />
<br />
This line is important because Mephistopheles is speaking to a young, fresh, impressionable student. As he did in the story of Eve, the devil is uses the word gray which is a word meaning some confusion, doubt or haziness as when he told Eve in the bible that God had lied to her and it was not as cut and dry as God had said. This is the same way he is speaking with the college student saying that choosing another path will be better or the grass is greener on the other side of the fence.<br />
<br />
<br />
Line 1829 “Eritus sicut Deus, scientes bonum et malum.”<br />
<br />
Genesis 3.5 “Ye shall be as Gods, knowing good and evil.”<br />
<br />
At this verse Mephistopheles writes in the student’s book an encouragement, the very same encouragement he gave Eve was according to the bible to eat from the tree. With the college student he uses this same statement in the sense of seeking out knowledge which is two fold corresponding with the two natures that exist with in man.<br />
<br />
==Critical Perspectives==<br />
<br />
Just as Satan tempts Faust he also tempts priests. Faust is tempted by the Devil. The devil is willing to do anything for Faust to make him happy except make moral decisions. The Devil becomes Faust’s servant. He does so to get Faust’s soul, this occurs when Faust is finally truly happy. As soon as Faust becomes happy he will die and the Devil will get his soul. Priests are also tempted by the Devil in the way of their vow for celibacy. Many priests are sexually tempted to sin and indulge their mortal yearning. Although they know that this indulgence is sin, the Devil makes the opportunity appear very promising and pleasurable. Faust has the same problem; the Devil says he will do anything for him to please him. Faust believes he can withstand the Devil’s temptations to become perfectly happy so he accepts the Devil’s challenge. Faust begins with having the Devil make him young again and then he sees a beautiful young lady and demands that she be his. Then failing to see the Devil’s trickery, he gives in to the Devil’s demise and “deflowers” her and she becomes pregnant. Faust then leaves and she goes crazy in her jail cell. Priests are often subjected to public reproach after committing their sins. Faust’s sin was not the sin that the Lord and the Devil bet on. Faust did not find a moment that he wanted to linger. The Devil fails to tempt Faust enough to take his soul.<br />
<br />
==External Links and Resources==<br />
* [[Faust Summary, Commentary, Notes]]<br />
* [http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's <i>Faust</i>]<br />
* [http://web.cocc.edu/cagatucci/classes/eng109/FaustSG.htm <i>Faust</i> Study Guide]<br />
* Another [http://novaonline.nvcc.edu/eli/eng252/fauststudy.htm <i>Faust</i> Study Guide]<br />
* [http://www.pinkmonkey.com/booknotes/barrons/faust122.asp Booknotes on <i>Faust</i>]<br />
<br />
==Works Cited==<br />
<br />
[[Category:World Literature]]<br />
Goethe, Johann Wolfgang von. Faust, Part 1. The Norton Anthology of Western Literature. Vol. 2. 8th Ed. Trans. Martin Greenberg. Sarah Lawall, et al, eds. New York: W.W. Norton, 2006. [All primary text citations are taken from this edition unless otherwise noted.]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust&diff=5495Faust2006-02-28T21:27:16Z<p>Sdeloach: /* Faust */</p>
<hr />
<div>[[Image:Faust.jpg|Faust|thumb|right]]''Faust: Part I'' written by [[Johann Wolfgang von Goethe]]<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Faust''.<br />
<br />
=== Faust, Part 1===<br />
#[[Faust: Prologue in Heaven|Prologue in Heaven]]<br />
#[[Faust: Night (1)|Night (1)]]<br />
#[[Faust: Outside the City Gate|Outside the City Gate]]<br />
#[[Faust: Faust's Study (1)|Faust's Study (1)]]<br />
#[[Faust: Faust's Study (2)|Faust's Study (2)]]<br />
#[[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]]<br />
#[[Faust: Witch's Kitchen|Witch's Kitchen]]<br />
#[[Faust: A Street (1)|A Street (1)]]<br />
#[[Faust: Evening|Evening]]<br />
#[[Faust: Out Walking|Out Walking]]<br />
#[[Faust: The Neighbor's House|The Neighbor's House]]<br />
#[[Faust: A Street (2)|A Street (2)]]<br />
#[[Faust: A Garden|A Garden]]<br />
#[[Faust: A Summerhouse|A Summerhouse]]<br />
#[[Faust: A Cavern in the Forest|A Cavern in the Forest]]<br />
#[[Faust: Gretchen's Room|Gretchen's Room]]<br />
#[[Faust: Marthe's Garden|Marthe's Garden]]<br />
#[[Faust: At the Well|At the Well]]<br />
#[[Faust: The City Wall|The City Wall]]<br />
#[[Faust: Night (2)|Night (2)]]<br />
#[[Faust: The Cathedral|The Cathedral]]<br />
#[[Faust: Walpurgis Night|Walpurgis Night]]<br />
#[[Faust: Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding|Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding]]<br />
#[[Faust: An Overcast Day, a Field|An Overcast Day, a Field]]<br />
#[[Faust: Night, Open Country|Night, Open Country]]<br />
#[[Faust: A Prison|A Prison]]<br />
<br />
==History==<br />
<br />
==Timeline==<br />
<br />
==Characters==<br />
<br />
===Mephistopheles===<br />
Mephistopheles may be considered the antagonist of the story because he symbolizes evil incarnate. After making a bet with the Lord that he could sway Faust from the righteous path, he uses every ruse in the book to achieve his goal.<br />
<br />
===Faust===<br />
In Goethe's Play, Faust is the protagonist. Immediatly when reading the play, the reader begins to get a sense of who this character is. Faust is man who believes in Heaven and Hell, and also that there is a higher being, God, and the Devil. Faust is thought to be a smart, well-learned man by many. Though he seems to be intelligent, Faust is a bit nieve. For example, when Mephisto is attempting to strike up a deal with him for being his "servant", Faust assumes that Mephisto will just trust that he will keep his word. But Mephisto insists that there be in writing some sort of proof of their agreement. Also, when Wagner and Faust are walking through the dark and come across the black poodle, Faust has some sort of strange feeling about the dog. However, Wagner convinces him to think nothing of it and talks him into taking the dog home. Soon after this, the poodle begins getting larger turns into a hippopotamus-like creature. Mephisto then appears "out of" the dog.<br />
<br />
===Wagner===<br />
Wagner is a student of Faust's with a bad habit of being in the wrong place at the wrong time. He is also somewhat "nerdy" and socially inept.<br />
<br />
===Margarete (Gretchen)===<br />
Margarete is a young, modest, religious woman of a lower class than Faust. She lives with her mother and helps out around the house. She is referred to as Gretchen many times throughout the story. Gretchen is a shortened version of her name. Faust finds Margarete attractive and tells Mephistopheles to get her for him. Margarete at first refuses the advances of Faust. However, she finally accepts Faust and thus begins her downfall. Faust gets her pregnant. Margarete is persecuted by society and cursed by her brother as he lay dying. Margarete is thrown in prison for the murder of her baby. Faust and Mephistopheles try to rescue her from the prison. However, when they find her she has gone mad. As Mephisto and Faust leave the prison a Heavenly voice says that Margarete's soul has been saved.<br />
<br />
===Siebel===<br />
<br />
Works in Auerbach's Cellar in Leipzig and is sickened by the lovesongs that the other men sing. He threatens to take revenge on the "slut...who played him false" with "a rock heaved through her kitchen window" (1905).<br />
<br />
===Altmayer===<br />
<br />
===Frosch===<br />
<br />
===Marthe===<br />
<br />
===Lieschen===<br />
<br />
A girl in Gretchen's village who is jealous of anyone that finds love. Since she is not allowed to have a beau, she takes pleasure in hurting others through gossip. Even though she only appears in one scene, her words regarding the pregnant Barbara have a devastating effect on Gretchen, who may be in the same condition herself.<br />
<br />
===Valentine===<br />
<br />
Gretchen's brother and a soldier. He started a fight with Faust and Mephisto after he found out about Faust getting Gretchen pregnant. He is killed by Faust after the encounter.<br />
<br />
==Themes==<br />
<br />
===Urge for Knowledge===<br />
The most significant theme in ''Faust'' is the drive for humankind to understand what they do not know. Faust, in a way, is representing all of the human race: "He is able to distinguish between good and evil, right and wrong, but must make errors before he can learn and grow" (Campbell 257). The human is naturally inquizative about the world and the universe. Faust is unhappy beause he can not find the answers to life, and he even contemplates suicide to end his despair. It is his " urge for knowledge" that is the driving force behind the play. If he wasn't curiuos about the world then the devil would have not made a wager with God to display than human are unhappy because of their intelligence.<br />
<br />
==References in Popular Culture==<br />
===Devil===<br />
Mephistopheles is Goethe's devil. The devil is a fallen angel that became evil. The idea of a "Devil" is nearly universal with similar incarnations spanning Norse, Greek, Hindu, and many other religious sects. In the Norse mythology it is referred to as [[Loki]], and in the Greek pantheon [[Pan]].<br />
<br />
===Easter===<br />
Easter symbolizes rebirth of Christ. The bells begin to chime and the chorus begins singing songs of praise right at the time Faist is about to drink posion to kill himself. By hearing the chorus, Faust comes out of his stuper and does not go through with the act. This is like rebirth; Faust was so close to death but then he comes back to reality.<br />
<br />
==Bible Refernces And Interpretations==<br />
Line 59 “Do you know Faust?”<br />
<br />
Job 1.8 “Have you considered my servant Job?”<br />
<br />
This parallel sets the entire stage for the play. God and the Devil (Mephistopheles) make a bet about the fate of Job (Faust) if God removes his protection from around him and allows the Devil to use whatever means he wants to tempt him.<br />
<br />
<br />
Line 95 “Dust he will eat..”<br />
<br />
Genesis 3.14 “And the Lord God said unto the serpent, because thou hast done this, thou art cursed above all cattle, and above every beast of the field; upon thy belly thou shalt do, and dust shalt thou eat all the days of thy life.”<br />
<br />
This is an important verse and metaphor throughout the text. According to the history of the bible, the reason why Satan was cast down from heaven is because he refused to prostrate before the new creature (man) that was created, thus disobeying God’s command. After the war in heaven, Satan and those that fought at his side were cast down to hell and earth. After Satan induced Eve into biting the apple from the tree of good and evil, he was cursed as referenced in Genesis 3.14.<br />
Faust tells the spirit that comes to visit him that “We’re equals, I know” (282) expressing his feelings of equal rank to the spirit being. Mephistopheles feels that humans “act more beastly than beast ever do” (46). The parallel made between the two lines shows a direct connection between how Mephistopheles feels that man should be condemned to the same fate as he is.<br />
<br />
<br />
Line 2147-2148 “Go out into the fields right now, this minute, start digging and hoeing away, working hard.”<br />
<br />
Genesis 3.19 “in the Sweat of thy face shalt thou eat bread.”<br />
Genesis 3. 23 “The Lord god sent him forth from the garden of Eden, to till the ground from whence he was taken.”<br />
<br />
Mephistopheles makes a reference to the curse that was placed upon Adam to till the ground and he would now have to work very hard for food which was at one time given to him in the garden of Eden. Mephistopheles uses it as a threat to Faust who immediately says that it is “not my sort of thing, humbling myself to work with a spade” (2155-2156). Fear is used in this case to get Faust to do what Mephistopheles wants him to do. He uses Fasut’s fear that he will be returned to the same life as he had before which would be a condemnation or punishment.<br />
<br />
<br />
Line 288- 289 “Me, made in God’s own image, not even equal to you”<br />
<br />
Genesis 1.26 “And God said let us make man in our image and after our likeness.”<br />
<br />
Faust misinterprets the quote. He is saying that he was made in the image of God when the quote clearly refers to the God using the plural pronouns us and our when referring to the image. This parallel is both two fold. During the Romantic period writers would contemplate their singular relationship to God and the universe. It also would explain why Faust and Mephistopheles see the position of man very differently.<br />
<br />
<br />
<br />
<br />
Line 1819-1822 “All theory, my dear fellow, is gray, and green the golden tree of life.”<br />
<br />
Genesis 3.22 “and now lest he put forth his hand and take also of the tree of life and eat, and live forever.” <br />
<br />
This line is important because Mephistopheles is speaking to a young, fresh, impressionable student. As he did in the story of Eve, the devil is uses the word gray which is a word meaning some confusion, doubt or haziness as when he told Eve in the bible that God had lied to her and it was not as cut and dry as God had said. This is the same way he is speaking with the college student saying that choosing another path will be better or the grass is greener on the other side of the fence.<br />
<br />
<br />
Line 1829 “Eritus sicut Deus, scientes bonum et malum.”<br />
<br />
Genesis 3.5 “Ye shall be as Gods, knowing good and evil.”<br />
<br />
At this verse Mephistopheles writes in the student’s book an encouragement, the very same encouragement he gave Eve was according to the bible to eat from the tree. With the college student he uses this same statement in the sense of seeking out knowledge which is two fold corresponding with the two natures that exist with in man.<br />
<br />
==Critical Perspectives==<br />
<br />
Just as Satan tempts Faust he also tempts priests. Faust is tempted by the Devil. The devil is willing to do anything for Faust to make him happy except make moral decisions. The Devil becomes Faust’s servant. He does so to get Faust’s soul, this occurs when Faust is finally truly happy. As soon as Faust becomes happy he will die and the Devil will get his soul. Priests are also tempted by the Devil in the way of their vow for celibacy. Many priests are sexually tempted to sin and indulge their mortal yearning. Although they know that this indulgence is sin, the Devil makes the opportunity appear very promising and pleasurable. Faust has the same problem; the Devil says he will do anything for him to please him. Faust believes he can withstand the Devil’s temptations to become perfectly happy so he accepts the Devil’s challenge. Faust begins with having the Devil make him young again and then he sees a beautiful young lady and demands that she be his. Then failing to see the Devil’s trickery, he gives in to the Devil’s demise and “deflowers” her and she becomes pregnant. Faust then leaves and she goes crazy in her jail cell. Priests are often subjected to public reproach after committing their sins. Faust’s sin was not the sin that the Lord and the Devil bet on. Faust did not find a moment that he wanted to linger. The Devil fails to tempt Faust enough to take his soul.<br />
<br />
==External Links and Resources==<br />
* [[Faust Summary, Commentary, Notes]]<br />
* [http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's <i>Faust</i>]<br />
* [http://web.cocc.edu/cagatucci/classes/eng109/FaustSG.htm <i>Faust</i> Study Guide]<br />
* Another [http://novaonline.nvcc.edu/eli/eng252/fauststudy.htm <i>Faust</i> Study Guide]<br />
* [http://www.pinkmonkey.com/booknotes/barrons/faust122.asp Booknotes on <i>Faust</i>]<br />
<br />
==Works Cited==<br />
<br />
[[Category:World Literature]]<br />
Goethe, Johann Wolfgang von. Faust, Part 1. The Norton Anthology of Western Literature. Vol. 2. 8th Ed. Trans. Martin Greenberg. Sarah Lawall, et al, eds. New York: W.W. Norton, 2006. [All primary text citations are taken from this edition unless otherwise noted.]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust&diff=5494Faust2006-02-28T21:11:35Z<p>Sdeloach: /* Mephistopheles */</p>
<hr />
<div>[[Image:Faust.jpg|Faust|thumb|right]]''Faust: Part I'' written by [[Johann Wolfgang von Goethe]]<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Faust''.<br />
<br />
=== Faust, Part 1===<br />
#[[Faust: Prologue in Heaven|Prologue in Heaven]]<br />
#[[Faust: Night (1)|Night (1)]]<br />
#[[Faust: Outside the City Gate|Outside the City Gate]]<br />
#[[Faust: Faust's Study (1)|Faust's Study (1)]]<br />
#[[Faust: Faust's Study (2)|Faust's Study (2)]]<br />
#[[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]]<br />
#[[Faust: Witch's Kitchen|Witch's Kitchen]]<br />
#[[Faust: A Street (1)|A Street (1)]]<br />
#[[Faust: Evening|Evening]]<br />
#[[Faust: Out Walking|Out Walking]]<br />
#[[Faust: The Neighbor's House|The Neighbor's House]]<br />
#[[Faust: A Street (2)|A Street (2)]]<br />
#[[Faust: A Garden|A Garden]]<br />
#[[Faust: A Summerhouse|A Summerhouse]]<br />
#[[Faust: A Cavern in the Forest|A Cavern in the Forest]]<br />
#[[Faust: Gretchen's Room|Gretchen's Room]]<br />
#[[Faust: Marthe's Garden|Marthe's Garden]]<br />
#[[Faust: At the Well|At the Well]]<br />
#[[Faust: The City Wall|The City Wall]]<br />
#[[Faust: Night (2)|Night (2)]]<br />
#[[Faust: The Cathedral|The Cathedral]]<br />
#[[Faust: Walpurgis Night|Walpurgis Night]]<br />
#[[Faust: Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding|Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding]]<br />
#[[Faust: An Overcast Day, a Field|An Overcast Day, a Field]]<br />
#[[Faust: Night, Open Country|Night, Open Country]]<br />
#[[Faust: A Prison|A Prison]]<br />
<br />
==History==<br />
<br />
==Timeline==<br />
<br />
==Characters==<br />
<br />
===Mephistopheles===<br />
Mephistopheles may be considered the antagonist of the story because he symbolizes evil incarnate. After making a bet with the Lord that he could sway Faust from the righteous path, he uses every ruse in the book to achieve his goal.<br />
<br />
===Faust===<br />
In Goethe's Play, Faust is the protagonist. Immediatly when reading the play, the reader begins to get a sense of who this character is. Faust is man who believes in Heaven and in Hell, and also that there is a higher being, God, and the Devil. Faust is thought to be a smart, well-learned man by many. Though he seems to be intelligent, Faust is a bit nieve. For example when Mephisto is attempting to strike up a deal with him for being his "servant", Faust assumes that Mephisto will just trust that he will keep his word. But Mephisto insists that there be in writing some sort of proof of their agreement. Also, when Mephisto and Faust are walking through the dark and come across the black poodle, Faust has some sort of strange feeling about the dog, but is quickly convinced nothing of it and Mephisto talks him into taking the dog home with him. Soon after this the poodle begins getting larger and frightening. Mephisto then appears "out of" the dog.<br />
<br />
===Wagner===<br />
Wagner is a student of Faust's with a bad habit of being in the wrong place at the wrong time. He is also somewhat "nerdy" and socially inept.<br />
<br />
===Margarete (Gretchen)===<br />
Margarete is a young, modest, religious woman of a lower class than Faust. She lives with her mother and helps out around the house. She is referred to as Gretchen many times throughout the story. Gretchen is a shortened version of her name. Faust finds Margarete attractive and tells Mephistopheles to get her for him. Margarete at first refuses the advances of Faust. However, she finally accepts Faust and thus begins her downfall. Faust gets her pregnant. Margarete is persecuted by society and cursed by her brother as he lay dying. Margarete is thrown in prison for the murder of her baby. Faust and Mephistopheles try to rescue her from the prison. However, when they find her she has gone mad. As Mephisto and Faust leave the prison a Heavenly voice says that Margarete's soul has been saved.<br />
<br />
===Siebel===<br />
<br />
Works in Auerbach's Cellar in Leipzig and is sickened by the lovesongs that the other men sing. He threatens to take revenge on the "slut...who played him false" with "a rock heaved through her kitchen window" (1905).<br />
<br />
===Altmayer===<br />
<br />
===Frosch===<br />
<br />
===Marthe===<br />
<br />
===Lieschen===<br />
<br />
A girl in Gretchen's village who is jealous of anyone that finds love. Since she is not allowed to have a beau, she takes pleasure in hurting others through gossip. Even though she only appears in one scene, her words regarding the pregnant Barbara have a devastating effect on Gretchen, who may be in the same condition herself.<br />
<br />
===Valentine===<br />
<br />
Gretchen's brother and a soldier. He started a fight with Faust and Mephisto after he found out about Faust getting Gretchen pregnant. He is killed by Faust after the encounter.<br />
<br />
==Themes==<br />
<br />
===Urge for Knowledge===<br />
The most significant theme in ''Faust'' is the drive for humankind to understand what they do not know. Faust, in a way, is representing all of the human race: "He is able to distinguish between good and evil, right and wrong, but must make errors before he can learn and grow" (Campbell 257). The human is naturally inquizative about the world and the universe. Faust is unhappy beause he can not find the answers to life, and he even contemplates suicide to end his despair. It is his " urge for knowledge" that is the driving force behind the play. If he wasn't curiuos about the world then the devil would have not made a wager with God to display than human are unhappy because of their intelligence.<br />
<br />
==References in Popular Culture==<br />
===Devil===<br />
Mephistopheles is Goethe's devil. The devil is a fallen angel that became evil. The idea of a "Devil" is nearly universal with similar incarnations spanning Norse, Greek, Hindu, and many other religious sects. In the Norse mythology it is referred to as [[Loki]], and in the Greek pantheon [[Pan]].<br />
<br />
===Easter===<br />
Easter symbolizes rebirth of Christ. The bells begin to chime and the chorus begins singing songs of praise right at the time Faist is about to drink posion to kill himself. By hearing the chorus, Faust comes out of his stuper and does not go through with the act. This is like rebirth; Faust was so close to death but then he comes back to reality.<br />
<br />
==Bible Refernces And Interpretations==<br />
Line 59 “Do you know Faust?”<br />
<br />
Job 1.8 “Have you considered my servant Job?”<br />
<br />
This parallel sets the entire stage for the play. God and the Devil (Mephistopheles) make a bet about the fate of Job (Faust) if God removes his protection from around him and allows the Devil to use whatever means he wants to tempt him.<br />
<br />
<br />
Line 95 “Dust he will eat..”<br />
<br />
Genesis 3.14 “And the Lord God said unto the serpent, because thou hast done this, thou art cursed above all cattle, and above every beast of the field; upon thy belly thou shalt do, and dust shalt thou eat all the days of thy life.”<br />
<br />
This is an important verse and metaphor throughout the text. According to the history of the bible, the reason why Satan was cast down from heaven is because he refused to prostrate before the new creature (man) that was created, thus disobeying God’s command. After the war in heaven, Satan and those that fought at his side were cast down to hell and earth. After Satan induced Eve into biting the apple from the tree of good and evil, he was cursed as referenced in Genesis 3.14.<br />
Faust tells the spirit that comes to visit him that “We’re equals, I know” (282) expressing his feelings of equal rank to the spirit being. Mephistopheles feels that humans “act more beastly than beast ever do” (46). The parallel made between the two lines shows a direct connection between how Mephistopheles feels that man should be condemned to the same fate as he is.<br />
<br />
<br />
Line 2147-2148 “Go out into the fields right now, this minute, start digging and hoeing away, working hard.”<br />
<br />
Genesis 3.19 “in the Sweat of thy face shalt thou eat bread.”<br />
Genesis 3. 23 “The Lord god sent him forth from the garden of Eden, to till the ground from whence he was taken.”<br />
<br />
Mephistopheles makes a reference to the curse that was placed upon Adam to till the ground and he would now have to work very hard for food which was at one time given to him in the garden of Eden. Mephistopheles uses it as a threat to Faust who immediately says that it is “not my sort of thing, humbling myself to work with a spade” (2155-2156). Fear is used in this case to get Faust to do what Mephistopheles wants him to do. He uses Fasut’s fear that he will be returned to the same life as he had before which would be a condemnation or punishment.<br />
<br />
<br />
Line 288- 289 “Me, made in God’s own image, not even equal to you”<br />
<br />
Genesis 1.26 “And God said let us make man in our image and after our likeness.”<br />
<br />
Faust misinterprets the quote. He is saying that he was made in the image of God when the quote clearly refers to the God using the plural pronouns us and our when referring to the image. This parallel is both two fold. During the Romantic period writers would contemplate their singular relationship to God and the universe. It also would explain why Faust and Mephistopheles see the position of man very differently.<br />
<br />
<br />
<br />
<br />
Line 1819-1822 “All theory, my dear fellow, is gray, and green the golden tree of life.”<br />
<br />
Genesis 3.22 “and now lest he put forth his hand and take also of the tree of life and eat, and live forever.” <br />
<br />
This line is important because Mephistopheles is speaking to a young, fresh, impressionable student. As he did in the story of Eve, the devil is uses the word gray which is a word meaning some confusion, doubt or haziness as when he told Eve in the bible that God had lied to her and it was not as cut and dry as God had said. This is the same way he is speaking with the college student saying that choosing another path will be better or the grass is greener on the other side of the fence.<br />
<br />
<br />
Line 1829 “Eritus sicut Deus, scientes bonum et malum.”<br />
<br />
Genesis 3.5 “Ye shall be as Gods, knowing good and evil.”<br />
<br />
At this verse Mephistopheles writes in the student’s book an encouragement, the very same encouragement he gave Eve was according to the bible to eat from the tree. With the college student he uses this same statement in the sense of seeking out knowledge which is two fold corresponding with the two natures that exist with in man.<br />
<br />
==Critical Perspectives==<br />
<br />
Just as Satan tempts Faust he also tempts priests. Faust is tempted by the Devil. The devil is willing to do anything for Faust to make him happy except make moral decisions. The Devil becomes Faust’s servant. He does so to get Faust’s soul, this occurs when Faust is finally truly happy. As soon as Faust becomes happy he will die and the Devil will get his soul. Priests are also tempted by the Devil in the way of their vow for celibacy. Many priests are sexually tempted to sin and indulge their mortal yearning. Although they know that this indulgence is sin, the Devil makes the opportunity appear very promising and pleasurable. Faust has the same problem; the Devil says he will do anything for him to please him. Faust believes he can withstand the Devil’s temptations to become perfectly happy so he accepts the Devil’s challenge. Faust begins with having the Devil make him young again and then he sees a beautiful young lady and demands that she be his. Then failing to see the Devil’s trickery, he gives in to the Devil’s demise and “deflowers” her and she becomes pregnant. Faust then leaves and she goes crazy in her jail cell. Priests are often subjected to public reproach after committing their sins. Faust’s sin was not the sin that the Lord and the Devil bet on. Faust did not find a moment that he wanted to linger. The Devil fails to tempt Faust enough to take his soul.<br />
<br />
==External Links and Resources==<br />
* [[Faust Summary, Commentary, Notes]]<br />
* [http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's <i>Faust</i>]<br />
* [http://web.cocc.edu/cagatucci/classes/eng109/FaustSG.htm <i>Faust</i> Study Guide]<br />
* Another [http://novaonline.nvcc.edu/eli/eng252/fauststudy.htm <i>Faust</i> Study Guide]<br />
* [http://www.pinkmonkey.com/booknotes/barrons/faust122.asp Booknotes on <i>Faust</i>]<br />
<br />
==Works Cited==<br />
<br />
[[Category:World Literature]]<br />
Goethe, Johann Wolfgang von. Faust, Part 1. The Norton Anthology of Western Literature. Vol. 2. 8th Ed. Trans. Martin Greenberg. Sarah Lawall, et al, eds. New York: W.W. Norton, 2006. [All primary text citations are taken from this edition unless otherwise noted.]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust&diff=5493Faust2006-02-28T04:05:04Z<p>Sdeloach: /* Lieschen */</p>
<hr />
<div>[[Image:Faust.jpg|Faust|thumb|right]]''Faust: Part I'' written by [[Johann Wolfgang von Goethe]]<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Faust''.<br />
<br />
=== Faust, Part 1===<br />
#[[Faust: Prologue in Heaven|Prologue in Heaven]]<br />
#[[Faust: Night (1)|Night (1)]]<br />
#[[Faust: Outside the City Gate|Outside the City Gate]]<br />
#[[Faust: Faust's Study (1)|Faust's Study (1)]]<br />
#[[Faust: Faust's Study (2)|Faust's Study (2)]]<br />
#[[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]]<br />
#[[Faust: Witch's Kitchen|Witch's Kitchen]]<br />
#[[Faust: A Street (1)|A Street (1)]]<br />
#[[Faust: Evening|Evening]]<br />
#[[Faust: Out Walking|Out Walking]]<br />
#[[Faust: The Neighbor's House|The Neighbor's House]]<br />
#[[Faust: A Street (2)|A Street (2)]]<br />
#[[Faust: A Garden|A Garden]]<br />
#[[Faust: A Summerhouse|A Summerhouse]]<br />
#[[Faust: A Cavern in the Forest|A Cavern in the Forest]]<br />
#[[Faust: Gretchen's Room|Gretchen's Room]]<br />
#[[Faust: Marthe's Garden|Marthe's Garden]]<br />
#[[Faust: At the Well|At the Well]]<br />
#[[Faust: The City Wall|The City Wall]]<br />
#[[Faust: Night (2)|Night (2)]]<br />
#[[Faust: The Cathedral|The Cathedral]]<br />
#[[Faust: Walpurgis Night|Walpurgis Night]]<br />
#[[Faust: Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding|Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding]]<br />
#[[Faust: An Overcast Day, a Field|An Overcast Day, a Field]]<br />
#[[Faust: Night, Open Country|Night, Open Country]]<br />
#[[Faust: A Prison|A Prison]]<br />
<br />
==History==<br />
<br />
==Timeline==<br />
<br />
==Characters==<br />
<br />
===Mephistopheles===<br />
Mephistopheles is the antagonist in the story. In the begininning he made a bet with the Lord that he could sway Faust away from a righteous path. Mephistopheles tries throughout the story to sway Faust with the use of worldly pleasures to vear him away.<br />
<br />
===Faust===<br />
In Goethe's Play, Faust is the protagonist. Immediatly when reading the play, the reader begins to get a sense of who this character is. Faust is man who believes in Heaven and in Hell, and also that there is a higher being, God, and the Devil. Faust is thought to be a smart, well-learned man by many. Though he seems to be intelligent, Faust is a bit nieve. For example when Mephisto is attempting to strike up a deal with him for being his "servant", Faust assumes that Mephisto will just trust that he will keep his word. But Mephisto insists that there be in writing some sort of proof of their agreement. Also, when Mephisto and Faust are walking through the dark and come across the black poodle, Faust has some sort of strange feeling about the dog, but is quickly convinced nothing of it and Mephisto talks him into taking the dog home with him. Soon after this the poodle begins getting larger and frightening. Mephisto then appears "out of" the dog.<br />
<br />
===Wagner===<br />
Wagner is a student of Faust's with a bad habit of being in the wrong place at the wrong time. He is also somewhat "nerdy" and socially inept.<br />
<br />
===Margarete (Gretchen)===<br />
Margarete is a young, modest, religious woman of a lower class than Faust. She lives with her mother and helps out around the house. She is referred to as Gretchen many times throughout the story. Gretchen is a shortened version of her name. Faust finds Margarete attractive and tells Mephistopheles to get her for him. Margarete at first refuses the advances of Faust. However, she finally accepts Faust and thus begins her downfall. Faust gets her pregnant. Margarete is persecuted by society and cursed by her brother as he lay dying. Margarete is thrown in prison for the murder of her baby. Faust and Mephistopheles try to rescue her from the prison. However, when they find her she has gone mad. As Mephisto and Faust leave the prison a Heavenly voice says that Margarete's soul has been saved.<br />
<br />
===Siebel===<br />
<br />
Works in Auerbach's Cellar in Leipzig and is sickened by the lovesongs that the other men sing. He threatens to take revenge on the "slut...who played him false" with "a rock heaved through her kitchen window" (1905).<br />
<br />
===Altmayer===<br />
<br />
===Frosch===<br />
<br />
===Marthe===<br />
<br />
===Lieschen===<br />
<br />
A girl in Gretchen's village who is jealous of anyone that finds love. Since she is not allowed to have a beau, she takes pleasure in hurting others through gossip. Even though she only appears in one scene, her words regarding the pregnant Barbara have a devastating effect on Gretchen, who may be in the same condition herself.<br />
<br />
===Valentine===<br />
<br />
Gretchen's brother and a soldier. He started a fight with Faust and Mephisto after he found out about Faust getting Gretchen pregnant. He is killed by Faust after the encounter.<br />
<br />
==Themes==<br />
<br />
===Urge for Knowledge===<br />
The most significant theme in ''Faust'' is the drive for humankind to understand what they do not know. Faust, in a way, is representing all of the human race: "He is able to distinguish between good and evil, right and wrong, but must make errors before he can learn and grow" (Campbell 257). The human is naturally inquizative about the world and the universe. Faust is unhappy beause he can not find the answers to life, and he even contemplates suicide to end his despair. It is his " urge for knowledge" that is the driving force behind the play. If he wasn't curiuos about the world then the devil would have not made a wager with God to display than human are unhappy because of their intelligence.<br />
<br />
==References in Popular Culture==<br />
===Devil===<br />
Mephistopheles is Goethe's devil. The devil is a fallen angel that became evil. The idea of a "Devil" is nearly universal with similar incarnations spanning Norse, Greek, Hindu, and many other religious sects. In the Norse mythology it is referred to as [[Loki]], and in the Greek pantheon [[Pan]].<br />
<br />
===Easter===<br />
Easter symbolizes rebirth of Christ. The bells begin to chime and the chorus begins singing songs of praise right at the time Faist is about to drink posion to kill himself. By hearing the chorus, Faust comes out of his stuper and does not go through with the act. This is like rebirth; Faust was so close to death but then he comes back to reality.<br />
<br />
==Bible Refernces And Interpretations==<br />
Line 59 “Do you know Faust?”<br />
<br />
Job 1.8 “Have you considered my servant Job?”<br />
<br />
This parallel sets the entire stage for the play. God and the Devil (Mephistopheles) make a bet about the fate of Job (Faust) if God removes his protection from around him and allows the Devil to use whatever means he wants to tempt him.<br />
<br />
<br />
Line 95 “Dust he will eat..”<br />
<br />
Genesis 3.14 “And the Lord God said unto the serpent, because thou hast done this, thou art cursed above all cattle, and above every beast of the field; upon thy belly thou shalt do, and dust shalt thou eat all the days of thy life.”<br />
<br />
This is an important verse and metaphor throughout the text. According to the history of the bible, the reason why Satan was cast down from heaven is because he refused to prostrate before the new creature (man) that was created, thus disobeying God’s command. After the war in heaven, Satan and those that fought at his side were cast down to hell and earth. After Satan induced Eve into biting the apple from the tree of good and evil, he was cursed as referenced in Genesis 3.14.<br />
Faust tells the spirit that comes to visit him that “We’re equals, I know” (282) expressing his feelings of equal rank to the spirit being. Mephistopheles feels that humans “act more beastly than beast ever do” (46). The parallel made between the two lines shows a direct connection between how Mephistopheles feels that man should be condemned to the same fate as he is.<br />
<br />
<br />
Line 2147-2148 “Go out into the fields right now, this minute, start digging and hoeing away, working hard.”<br />
<br />
Genesis 3.19 “in the Sweat of thy face shalt thou eat bread.”<br />
Genesis 3. 23 “The Lord god sent him forth from the garden of Eden, to till the ground from whence he was taken.”<br />
<br />
Mephistopheles makes a reference to the curse that was placed upon Adam to till the ground and he would now have to work very hard for food which was at one time given to him in the garden of Eden. Mephistopheles uses it as a threat to Faust who immediately says that it is “not my sort of thing, humbling myself to work with a spade” (2155-2156). Fear is used in this case to get Faust to do what Mephistopheles wants him to do. He uses Fasut’s fear that he will be returned to the same life as he had before which would be a condemnation or punishment.<br />
<br />
<br />
Line 288- 289 “Me, made in God’s own image, not even equal to you”<br />
<br />
Genesis 1.26 “And God said let us make man in our image and after our likeness.”<br />
<br />
Faust misinterprets the quote. He is saying that he was made in the image of God when the quote clearly refers to the God using the plural pronouns us and our when referring to the image. This parallel is both two fold. During the Romantic period writers would contemplate their singular relationship to God and the universe. It also would explain why Faust and Mephistopheles see the position of man very differently.<br />
<br />
<br />
<br />
<br />
Line 1819-1822 “All theory, my dear fellow, is gray, and green the golden tree of life.”<br />
<br />
Genesis 3.22 “and now lest he put forth his hand and take also of the tree of life and eat, and live forever.” <br />
<br />
This line is important because Mephistopheles is speaking to a young, fresh, impressionable student. As he did in the story of Eve, the devil is uses the word gray which is a word meaning some confusion, doubt or haziness as when he told Eve in the bible that God had lied to her and it was not as cut and dry as God had said. This is the same way he is speaking with the college student saying that choosing another path will be better or the grass is greener on the other side of the fence.<br />
<br />
<br />
Line 1829 “Eritus sicut Deus, scientes bonum et malum.”<br />
<br />
Genesis 3.5 “Ye shall be as Gods, knowing good and evil.”<br />
<br />
At this verse Mephistopheles writes in the student’s book an encouragement, the very same encouragement he gave Eve was according to the bible to eat from the tree. With the college student he uses this same statement in the sense of seeking out knowledge which is two fold corresponding with the two natures that exist with in man.<br />
<br />
==Critical Perspectives==<br />
<br />
Just as Satan tempts Faust he also tempts priests. Faust is tempted by the Devil. The devil is willing to do anything for Faust to make him happy except make moral decisions. The Devil becomes Faust’s servant. He does so to get Faust’s soul, this occurs when Faust is finally truly happy. As soon as Faust becomes happy he will die and the Devil will get his soul. Priests are also tempted by the Devil in the way of their vow for celibacy. Many priests are sexually tempted to sin and indulge their mortal yearning. Although they know that this indulgence is sin, the Devil makes the opportunity appear very promising and pleasurable. Faust has the same problem; the Devil says he will do anything for him to please him. Faust believes he can withstand the Devil’s temptations to become perfectly happy so he accepts the Devil’s challenge. Faust begins with having the Devil make him young again and then he sees a beautiful young lady and demands that she be his. Then failing to see the Devil’s trickery, he gives in to the Devil’s demise and “deflowers” her and she becomes pregnant. Faust then leaves and she goes crazy in her jail cell. Priests are often subjected to public reproach after committing their sins. Faust’s sin was not the sin that the Lord and the Devil bet on. Faust did not find a moment that he wanted to linger. The Devil fails to tempt Faust enough to take his soul.<br />
<br />
==External Links and Resources==<br />
* [[Faust Summary, Commentary, Notes]]<br />
* [http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's <i>Faust</i>]<br />
* [http://web.cocc.edu/cagatucci/classes/eng109/FaustSG.htm <i>Faust</i> Study Guide]<br />
* Another [http://novaonline.nvcc.edu/eli/eng252/fauststudy.htm <i>Faust</i> Study Guide]<br />
* [http://www.pinkmonkey.com/booknotes/barrons/faust122.asp Booknotes on <i>Faust</i>]<br />
<br />
==Works Cited==<br />
<br />
[[Category:World Literature]]<br />
Goethe, Johann Wolfgang von. Faust, Part 1. The Norton Anthology of Western Literature. Vol. 2. 8th Ed. Trans. Martin Greenberg. Sarah Lawall, et al, eds. New York: W.W. Norton, 2006. [All primary text citations are taken from this edition unless otherwise noted.]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust&diff=5492Faust2006-02-28T03:55:12Z<p>Sdeloach: /* Siebel */</p>
<hr />
<div>[[Image:Faust.jpg|Faust|thumb|right]]''Faust: Part I'' written by [[Johann Wolfgang von Goethe]]<br />
<br />
== Study Guide ==<br />
Brief summaries, commentaries, and notes on ''Faust''.<br />
<br />
=== Faust, Part 1===<br />
#[[Faust: Prologue in Heaven|Prologue in Heaven]]<br />
#[[Faust: Night (1)|Night (1)]]<br />
#[[Faust: Outside the City Gate|Outside the City Gate]]<br />
#[[Faust: Faust's Study (1)|Faust's Study (1)]]<br />
#[[Faust: Faust's Study (2)|Faust's Study (2)]]<br />
#[[Faust: Auerbach's Cellar in Leipzig|Auerbach's Cellar in Leipzig]]<br />
#[[Faust: Witch's Kitchen|Witch's Kitchen]]<br />
#[[Faust: A Street (1)|A Street (1)]]<br />
#[[Faust: Evening|Evening]]<br />
#[[Faust: Out Walking|Out Walking]]<br />
#[[Faust: The Neighbor's House|The Neighbor's House]]<br />
#[[Faust: A Street (2)|A Street (2)]]<br />
#[[Faust: A Garden|A Garden]]<br />
#[[Faust: A Summerhouse|A Summerhouse]]<br />
#[[Faust: A Cavern in the Forest|A Cavern in the Forest]]<br />
#[[Faust: Gretchen's Room|Gretchen's Room]]<br />
#[[Faust: Marthe's Garden|Marthe's Garden]]<br />
#[[Faust: At the Well|At the Well]]<br />
#[[Faust: The City Wall|The City Wall]]<br />
#[[Faust: Night (2)|Night (2)]]<br />
#[[Faust: The Cathedral|The Cathedral]]<br />
#[[Faust: Walpurgis Night|Walpurgis Night]]<br />
#[[Faust: Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding|Walpurgis Night's Dream; or Oberon and Titania's Golden Wedding]]<br />
#[[Faust: An Overcast Day, a Field|An Overcast Day, a Field]]<br />
#[[Faust: Night, Open Country|Night, Open Country]]<br />
#[[Faust: A Prison|A Prison]]<br />
<br />
==History==<br />
<br />
==Timeline==<br />
<br />
==Characters==<br />
<br />
===Mephistopheles===<br />
Mephistopheles is the antagonist in the story. In the begininning he made a bet with the Lord that he could sway Faust away from a righteous path. Mephistopheles tries throughout the story to sway Faust with the use of worldly pleasures to vear him away.<br />
<br />
===Faust===<br />
In Goethe's Play, Faust is the protagonist. Immediatly when reading the play, the reader begins to get a sense of who this character is. Faust is man who believes in Heaven and in Hell, and also that there is a higher being, God, and the Devil. Faust is thought to be a smart, well-learned man by many. Though he seems to be intelligent, Faust is a bit nieve. For example when Mephisto is attempting to strike up a deal with him for being his "servant", Faust assumes that Mephisto will just trust that he will keep his word. But Mephisto insists that there be in writing some sort of proof of their agreement. Also, when Mephisto and Faust are walking through the dark and come across the black poodle, Faust has some sort of strange feeling about the dog, but is quickly convinced nothing of it and Mephisto talks him into taking the dog home with him. Soon after this the poodle begins getting larger and frightening. Mephisto then appears "out of" the dog.<br />
<br />
===Wagner===<br />
Wagner is a student of Faust's with a bad habit of being in the wrong place at the wrong time. He is also somewhat "nerdy" and socially inept.<br />
<br />
===Margarete (Gretchen)===<br />
Margarete is a young, modest, religious woman of a lower class than Faust. She lives with her mother and helps out around the house. She is referred to as Gretchen many times throughout the story. Gretchen is a shortened version of her name. Faust finds Margarete attractive and tells Mephistopheles to get her for him. Margarete at first refuses the advances of Faust. However, she finally accepts Faust and thus begins her downfall. Faust gets her pregnant. Margarete is persecuted by society and cursed by her brother as he lay dying. Margarete is thrown in prison for the murder of her baby. Faust and Mephistopheles try to rescue her from the prison. However, when they find her she has gone mad. As Mephisto and Faust leave the prison a Heavenly voice says that Margarete's soul has been saved.<br />
<br />
===Siebel===<br />
<br />
Works in Auerbach's Cellar in Leipzig and is sickened by the lovesongs that the other men sing. He threatens to take revenge on the "slut...who played him false" with "a rock heaved through her kitchen window" (1905).<br />
<br />
===Altmayer===<br />
<br />
===Frosch===<br />
<br />
===Marthe===<br />
<br />
===Lieschen===<br />
<br />
===Valentine===<br />
<br />
Gretchen's brother and a soldier. He started a fight with Faust and Mephisto after he found out about Faust getting Gretchen pregnant. He is killed by Faust after the encounter.<br />
<br />
==Themes==<br />
<br />
===Urge for Knowledge===<br />
The most significant theme in ''Faust'' is the drive for humankind to understand what they do not know. Faust, in a way, is representing all of the human race: "He is able to distinguish between good and evil, right and wrong, but must make errors before he can learn and grow" (Campbell 257). The human is naturally inquizative about the world and the universe. Faust is unhappy beause he can not find the answers to life, and he even contemplates suicide to end his despair. It is his " urge for knowledge" that is the driving force behind the play. If he wasn't curiuos about the world then the devil would have not made a wager with God to display than human are unhappy because of their intelligence.<br />
<br />
==References in Popular Culture==<br />
===Devil===<br />
Mephistopheles is Goethe's devil. The devil is a fallen angel that became evil. The idea of a "Devil" is nearly universal with similar incarnations spanning Norse, Greek, Hindu, and many other religious sects. In the Norse mythology it is referred to as [[Loki]], and in the Greek pantheon [[Pan]].<br />
<br />
===Easter===<br />
Easter symbolizes rebirth of Christ. The bells begin to chime and the chorus begins singing songs of praise right at the time Faist is about to drink posion to kill himself. By hearing the chorus, Faust comes out of his stuper and does not go through with the act. This is like rebirth; Faust was so close to death but then he comes back to reality.<br />
<br />
==Bible Refernces And Interpretations==<br />
Line 59 “Do you know Faust?”<br />
<br />
Job 1.8 “Have you considered my servant Job?”<br />
<br />
This parallel sets the entire stage for the play. God and the Devil (Mephistopheles) make a bet about the fate of Job (Faust) if God removes his protection from around him and allows the Devil to use whatever means he wants to tempt him.<br />
<br />
<br />
Line 95 “Dust he will eat..”<br />
<br />
Genesis 3.14 “And the Lord God said unto the serpent, because thou hast done this, thou art cursed above all cattle, and above every beast of the field; upon thy belly thou shalt do, and dust shalt thou eat all the days of thy life.”<br />
<br />
This is an important verse and metaphor throughout the text. According to the history of the bible, the reason why Satan was cast down from heaven is because he refused to prostrate before the new creature (man) that was created, thus disobeying God’s command. After the war in heaven, Satan and those that fought at his side were cast down to hell and earth. After Satan induced Eve into biting the apple from the tree of good and evil, he was cursed as referenced in Genesis 3.14.<br />
Faust tells the spirit that comes to visit him that “We’re equals, I know” (282) expressing his feelings of equal rank to the spirit being. Mephistopheles feels that humans “act more beastly than beast ever do” (46). The parallel made between the two lines shows a direct connection between how Mephistopheles feels that man should be condemned to the same fate as he is.<br />
<br />
<br />
Line 2147-2148 “Go out into the fields right now, this minute, start digging and hoeing away, working hard.”<br />
<br />
Genesis 3.19 “in the Sweat of thy face shalt thou eat bread.”<br />
Genesis 3. 23 “The Lord god sent him forth from the garden of Eden, to till the ground from whence he was taken.”<br />
<br />
Mephistopheles makes a reference to the curse that was placed upon Adam to till the ground and he would now have to work very hard for food which was at one time given to him in the garden of Eden. Mephistopheles uses it as a threat to Faust who immediately says that it is “not my sort of thing, humbling myself to work with a spade” (2155-2156). Fear is used in this case to get Faust to do what Mephistopheles wants him to do. He uses Fasut’s fear that he will be returned to the same life as he had before which would be a condemnation or punishment.<br />
<br />
<br />
Line 288- 289 “Me, made in God’s own image, not even equal to you”<br />
<br />
Genesis 1.26 “And God said let us make man in our image and after our likeness.”<br />
<br />
Faust misinterprets the quote. He is saying that he was made in the image of God when the quote clearly refers to the God using the plural pronouns us and our when referring to the image. This parallel is both two fold. During the Romantic period writers would contemplate their singular relationship to God and the universe. It also would explain why Faust and Mephistopheles see the position of man very differently.<br />
<br />
<br />
<br />
<br />
Line 1819-1822 “All theory, my dear fellow, is gray, and green the golden tree of life.”<br />
<br />
Genesis 3.22 “and now lest he put forth his hand and take also of the tree of life and eat, and live forever.” <br />
<br />
This line is important because Mephistopheles is speaking to a young, fresh, impressionable student. As he did in the story of Eve, the devil is uses the word gray which is a word meaning some confusion, doubt or haziness as when he told Eve in the bible that God had lied to her and it was not as cut and dry as God had said. This is the same way he is speaking with the college student saying that choosing another path will be better or the grass is greener on the other side of the fence.<br />
<br />
<br />
Line 1829 “Eritus sicut Deus, scientes bonum et malum.”<br />
<br />
Genesis 3.5 “Ye shall be as Gods, knowing good and evil.”<br />
<br />
At this verse Mephistopheles writes in the student’s book an encouragement, the very same encouragement he gave Eve was according to the bible to eat from the tree. With the college student he uses this same statement in the sense of seeking out knowledge which is two fold corresponding with the two natures that exist with in man.<br />
<br />
==Critical Perspectives==<br />
<br />
Just as Satan tempts Faust he also tempts priests. Faust is tempted by the Devil. The devil is willing to do anything for Faust to make him happy except make moral decisions. The Devil becomes Faust’s servant. He does so to get Faust’s soul, this occurs when Faust is finally truly happy. As soon as Faust becomes happy he will die and the Devil will get his soul. Priests are also tempted by the Devil in the way of their vow for celibacy. Many priests are sexually tempted to sin and indulge their mortal yearning. Although they know that this indulgence is sin, the Devil makes the opportunity appear very promising and pleasurable. Faust has the same problem; the Devil says he will do anything for him to please him. Faust believes he can withstand the Devil’s temptations to become perfectly happy so he accepts the Devil’s challenge. Faust begins with having the Devil make him young again and then he sees a beautiful young lady and demands that she be his. Then failing to see the Devil’s trickery, he gives in to the Devil’s demise and “deflowers” her and she becomes pregnant. Faust then leaves and she goes crazy in her jail cell. Priests are often subjected to public reproach after committing their sins. Faust’s sin was not the sin that the Lord and the Devil bet on. Faust did not find a moment that he wanted to linger. The Devil fails to tempt Faust enough to take his soul.<br />
<br />
==External Links and Resources==<br />
* [[Faust Summary, Commentary, Notes]]<br />
* [http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's <i>Faust</i>]<br />
* [http://web.cocc.edu/cagatucci/classes/eng109/FaustSG.htm <i>Faust</i> Study Guide]<br />
* Another [http://novaonline.nvcc.edu/eli/eng252/fauststudy.htm <i>Faust</i> Study Guide]<br />
* [http://www.pinkmonkey.com/booknotes/barrons/faust122.asp Booknotes on <i>Faust</i>]<br />
<br />
==Works Cited==<br />
<br />
[[Category:World Literature]]<br />
Goethe, Johann Wolfgang von. Faust, Part 1. The Norton Anthology of Western Literature. Vol. 2. 8th Ed. Trans. Martin Greenberg. Sarah Lawall, et al, eds. New York: W.W. Norton, 2006. [All primary text citations are taken from this edition unless otherwise noted.]</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5594Faust: Witch's Kitchen2006-02-28T03:33:42Z<p>Sdeloach: /* Notes */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” ([http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
==Commentary==<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
[http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, Inc., 1974.<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Thor Publications, Inc., 1964. 37-40.</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5490Faust: Witch's Kitchen2006-02-28T03:27:19Z<p>Sdeloach: /* External Resources */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” (?????). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
==Commentary==<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
[http://groups.msn.com/AnotherRoadsideAttractions/yourwebpage27.msnw Mephistopheles]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, Inc., 1974.<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Thor Publications, Inc., 1964. 37-40.</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5489Faust: Witch's Kitchen2006-02-28T03:17:56Z<p>Sdeloach: /* Works Cited */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” (?????). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
==Commentary==<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, Inc., 1974.<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Thor Publications, Inc., 1964. 37-40.</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5488Faust: Witch's Kitchen2006-02-28T03:07:38Z<p>Sdeloach: /* Notes */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
<br />
'''Mephisto’s Appearance'''<br />
<br />
The Witch’s Kitchen also gives us another important bit of information regarding Mephisto. Most people commonly picture the Devil with horns, a tail, and hoofed feet. However, Mephisto always appears wearing a different costume and blames his attire on the culture. In his first meeting with Faust, he is dressed as a Franciscan Monk. In another scene, he is dressed as a young nobleman in a “red doublet trimmed in gold, with a stiff silk cloak, a cock’s feather in his hat, wearing at his side a long sword” (?????). He states to Sibyl that “Culture is everywhere now and it even extends to the Devil. I have done away with the horns and tail and claw that people used to see in the Devil” so that I may walk the surface of the earth and appear in the world of humanity from time to time (Montgomery 39). <br />
<br />
'''Holy Trinity'''<br />
<br />
When Mephisto says “Three-in-One and One-in-Three, Lies are sown broadcast, truth may go along” in lines 2354-55, he is mocking the Christian doctrine of the Holy Trinity. Among the most controversial aspects of Christian belief is the allusion that God can be both one and three people at the same time. Mephisto enjoys pointing out the paradox that theologians take great pains to explain in logical terms.<br />
<br />
==Commentary==<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, Inc., 1974.<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Monarch Press, INC., 1964.</div>Sdeloachhttps://litwiki.org/index.php?title=Faust:_Witch%27s_Kitchen&diff=5487Faust: Witch's Kitchen2006-02-28T02:20:43Z<p>Sdeloach: /* Works Cited */</p>
<hr />
<div>==Summary==<br />
The Witch’s Kitchen is a pivotal point of the story because it is the first time that Faust chooses to sin, and therefore, does the Devil’s bidding. His intent is to find “some sort of balm, some potent elixer,” (2139) that will “cancel thirty years, unbow (his) back” (2135). However, he is revolted by “all this crazy witchery” (2130) especially when he realizes that the cure rests in the hands of an ancient hag and asks Mephistopheles if there is another way. Mephisto sarcastically replies that the alternative is to live a simple life and work the fields as God intended. Faust rejects that idea as narrow and opts for the potion.<br />
<br />
While it is being prepared and Mephisto is conversing with the Apes, Faust comes upon a mirror. As he peers in, he sees a “vision of beauty” and desperately ask that “Love show (him) the way to the heaven she dwells in!”(2226). He is so spellbound by the beautiful creature and is desperate to see if “such a marvel (can) inhibit down here” (2234) that he doesn’t realize the Devil’s work. This is Mephisto’s first attempt to make Faust truly happy, and he works hard to make his wishes come true in the hopes that Faust will utter the words “Wait, you are so fair” (Montgomery 38). If Faust says the phrase to the moment, he will die and give over his soul to the Devil. The mirror reflects Faust’s dormant desire and consumes him to the point that he says, “I feel as if my insides are on fire! Come, we’ve got to get out of here” (2257-8). <br />
<br />
At this outburst, Mephisto just blows him off and continues with his conversation until the Witch, Sibyl, comes riding down the flame. After a brief ruckus, Sibyl recognizes Mephisto and gleefully addresses him as Satan. Immediately Mephisto chastises her and explains that since Satan is connected to mythology and because that has not improved the temper of humanity, he prefers to be addressed as Baron. Once the pleasantries are out of the way, the witch goes through the crazy ritual of serving the potion. After Faust drinks the brew, he asks to be able to look in the mirror one last time. Mephisto says, “No, no, soon enough you’ll behold in the flesh the fairest women that ever drew breath” (2393-4). He then mutters to himself that “old Jack will soon see a Helen in every Jill” (2395-6); meaning that the potion will make any female appear beautiful to Faust.<br />
<br />
==Notes==<br />
==Commentary==<br />
==Study Questions==<br />
1) Why does Mephisto bring Faust to this particular Witch's Kitchen?<br />
<br />
2) Why didn't the witch recognize Mephisto?<br />
<br />
3) What are the "pinions" that Faust refers to?<br />
<br />
4) Why is it important that the pot is constantly stirred?<br />
<br />
5) Are the apes and she-apes real or apparitions?<br />
<br />
==External Resources==<br />
[http://www.wsu.edu/~brians/hum_303/faust.html Study Guide for Goethe's Faust]<br />
<br />
==Works Cited==<br />
<br />
Dieckmann, Liselotte. ''Johann Wolfgang Goethe''. New York: Twayne Publishers, Inc., 1974.<br />
<br />
Montgomery, Paul. ''Review Notes and Study Guide to Geothe's Faust''. New York: Monarch Press, INC., 1964.</div>Sdeloach