Faust Part Two Goethe RARE Book 1944 World War 2 Edition Germany History

Description: This rare book from 1944 is a true gem for collectors and enthusiasts of history, particularly those interested in Germany during World War 2. In During Nazi rule in Germany, Reclam was forbidden to publish books by Jewish authors, including Heinrich Heine and Ferdinand Lassalle, and works of 'politically unreliable' writers like Thomas Mann, Stefan Zweig, and Franz Werfel. In an allied bombing raid on Leipzig in World War II on 4 December 1943, its building was severely damaged and 450 tons of books were destroyed. This incredible piece was made in the immediate aftermath of the bombing, and is different in than the books before the bombing took place.The book is a second part of Goethe's famous Faust and was published in Germany. It offers a glimpse into the literary and cultural scene of the country during a turbulent time. The book is in good condition and will make a wonderful addition to any collection. Whether you're a history buff or simply looking for a unique piece to add to your library, this book is definitely worth considering. All items are sold used and is. Feel free to message me with any questions, and also check out the other stuff in my store! I am always willing to make a good deal on multiple items & will combine shipping! During World War II, Leipzig was repeatedly attacked by British as well as American air raids. The most severe attack was launched by the Royal Air Force in the early hours of 4 December 1943 and claimed more than 1,800 lives. Large parts of the city center were destroyed, while factories experienced temporary shortfalls in production, had to move production facilities or even were decentralized. At the outbreak of the war, Leipzig had more than 700,000 inhabitants and was therefore the sixth-largest city of the “Greater German Reich” (including Vienna). Leipzig additionally had significance by hosting the leading trade fair of the German Empire. The Erla Maschinenwerk aircraft factory that produced Messerschmitt Bf 109 fighter planes at the three locations of Heiterblick, Abtnaundorf and Mockau were important for warfare. Additionally, Leipzig was an important railroad intersection in Germany at that time. First attacks edit Prior to 1942, Leipzig had been considered relatively safe from potential aerial assaults because of the long flight route from Britain. But after the attack on Kassel on 22–23 October 1943, it became clear that British bombers were able to reach central Germany. On 27 March 1943, bombs were dropped by British aircraft setting Gohlis on fire. In the night of 31 August to 1 September, the British RAF Bomber Command carried out minor attacks on the towns of Eutritzsch and Schönefeld causing four casualties. 4 December 1943 edit During the night of 2 December 1943, the Royal Air Force once again attacked Berlin. Meanwhile, the German night fighters had prepared for these attacks and were able to shoot down 40 bombers. The following night, Leipzig was the target of an attack.[1] The air route of this attack had been planned in a way to keep the German Air Defense in the dark about the attack's objective for as long as possible. Because the Germans did not expect an assault at this time, the Royal Air Force launched its attack in the early morning hours. The route the bomber squadrons were following crossed over the continental coastline at the Zuiderzee, continued eastwards to Northern Germany and Berlin and turned southwards over the area of the city of Brandenburg. Between 3:50 AM and 4:25 AM, 442 bombers dropped a total amount of almost 1400 tons of explosives and fire bombs. At 3:39 AM, the air raid warning had been raised, with the all-clear following at 5:39 AM. In the city centre, where the buildings were densely crowded, the air raid caused a firestorm. Hans Rumpf, the general inspector of fire fighting, happened to be in Leipzig during the attack. He said the firestorm was even more intense than the one in Hamburg during Operation Gomorrah. Firefighters had to be called from the hinterland, as the firebrigade of Leipzig had had to send half of their own forces to Berlin. These external forces were often not able to fight the flames, because their hoses did not fit the custom-made connections to the hydrants in Leipzig, of which only 30% had been standardised. Moreover, the water supply broke down quickly. More than 1800 people were killed in the attack. This is a small number for such a heavy attack, because many inhabitants did not follow the instruction to stay in the cellars until the all-clear was given, and so escaped the firestorm flames. In the city centre many historical buildings fell victim to the attack, namely the Old and the New Theatre, the New Trade Exchange, the nave of St. John's Church (Johanniskirche), the Old Balance (Alte Waage), St. Matthew’s Church (Matthäikirche), the Museum of Fine Art, the Café Zimmermann (a favourite of J.S. Bach), and the Augusteum, the main building of the University. The roof truss of the Old Town Hall burned out; a concrete ceiling that had been installed at the beginning of the 20th century during a renovation prevented a burning out of the storeys below. As another consequence of the attack the destruction of 1,067 commercial buildings, 472 factory buildings, 56 schools, 29 fair buildings and 9 churches was recorded. Out of 92 departments of the University of Leipzig, 58 were hit and partially destroyed, including the first psychology laboratory, founded by Wilhelm Wundt. Faust: The Second Part of the Tragedy (German: Faust. Der Tragödie zweiter Teil in fünf Akten.) is the second part of the tragic play Faust by Johann Wolfgang von Goethe. It was published in 1832, the year of Goethe's death. Only part of Faust I is directly related to the legend of Johann Faust, which dates to at latest the beginning of the 16th century (thus preceding Marlowe's play). The "Gretchen" subplot, although now the most widely known episode of the Faust legend, was of Goethe's own invention. In Faust II, the legend (at least in a version of the 18th century, which came to Goethe's attention) already contained Faust's marriage with Helen and an encounter with an Emperor. But certainly Goethe deals with the legendary material very freely in both parts. Act I edit Graceful area. Faust, bedded on flowery turf, weary, restless, seeking sleep. Dusk. Ghost circle, floating moves, graceful little figures. The first act opens with an appeal by Ariel to forgive Faust and ease the cares of his suffering. Hall of the Throne. State Council in anticipation of the emperor. Trumpets. Servants of all kinds, beautifully dressed, step forward. The emperor ascends the throne, to his right the astrologer. The first act sees Mephistopheles (playing the role of a fool) saving the imperial finances of the Emperor – and so the Holy Roman Empire – by money creation,[1] introducing the use of paper money instead of gold to encourage spending (and economic recovery). Spacious room with side chambers, decorated and dressed up for the masquerade. This is by far the most extensive section of the first act, describing the Florentine carnival from the perspective of Goethe, above all based on Antonio Francesco Grazzini's Tutti i trionfi (1559) – a collection of contemporary "songs and hard lifts". A parade of Florentine notables, including Dante and Gianni Schicchi, pass by. Lustgarten, morning sun. Faust, Mephistopheles, decent, not remarkable, according to custom, dressed, and both knees exposed. The "Emperor of Thumb" (to use a devilish term of Mephistopheles) describes how much he enjoyed the recent celebrations, and wants more "dergleichen Scherze" (5988). The Emperor appears and blesses the newly introduced paper money from Mephisto, which is adorned with pictures of Simon Magus. The Emperor begins to understand its meaning and to squander it, as do his advisors. Goethe here satirizes the introduction of paper money during the French Revolution, with various advisors possibly representing Danton, Sieyès and other figures. Dark gallery. Faust. Mephistopheles. Faust enters the "realm of the mothers" – variously described as the depths of the psyche or the womb – in order to bring back the "ideal form" of beauty for the Emperor's delight. In this case, the ideal forms are Helen of Troy and her lover Paris. Faust summons their spirits from Hades, but the emperor and the male members of his court criticize Paris's appearance, while the women of the court criticize Helen's appearance. Faust falls in love with Helen. In a fit of jealously toward Paris, who is now abducting Helen, Faust destroys the illusion and the act ends in darkness and tumult. Act II edit Mephistopheles transports the unconscious Faust into his old study. Mephistopheles, donning Faust's robe once again, resumes his conversation with the freshman, who is now a cynical baccalaureus. The Homunculus, an artificial human being created by Wagner, Faust's former famulus, by means of an alchemical process, leads Faust and Mephistopheles to the "Classical Walpurgisnacht", where they encounter gods and monsters from Greek antiquity. Faust, still searching for Helen, is led by the sybil Manto into the Underworld. Mephistopheles, meanwhile, meets the Phorkyads or Phorcydes (another name for the Graeae), three hideous hags who share one tooth and one eye between them, and he disguises himself as one of them. Guided by the sea-god Proteus, the Homunculus is initiated into the process of becoming fully human, but his glass flask shatters, and he dies. Act III edit The third act begins with Helen's arrival at the palace of Menelaus in Sparta, accompanied by women, who, as in Classical drama, constitute the chorus. The hideous Phorkyas appears at the hearth, and warns Helen that Menelaus means to sacrifice her and her attendants. Distraught at this new knowledge, Helen implores Phorkyas to save them. Phorkyas transports Helen and the chorus to Faust's fortress, where Helen and Faust declare their love for each other. After defeating Menelaus' army, Faust proclaims the pastoral beauty of the Arcadian countryside. The scene changes in time and space: a range of rocky caverns, with a shadowy grove extending to the foot of the rocks. Phorkyas, now Faust and Helen's attendant, explains to the newly-woken chorus that during the past interval Faust and Helen have had a spirited son named Euphorion, who charms all with his beauty and gift for music. The wild Euphorion, becoming increasingly bold in his flight, falls to his death (in allusion to Icarus), whereupon the sorrowful Helen disappears in a mist to Hades (in allusion to the legend of Orpheus). The chorus of women, undesirous of joining their mistress in the Underworld, revert to nature, which they extol in songs of praise. As the act ends, Phorkyas is revealed to be Mephistopheles in disguise. Act IV edit In the fourth act, Faust finds himself taken away from Arcadia to a mountain top in Germany. Watching a cloud, that is separating into two parts, he recognizes in one part Helen and in the other Gretchen. The cloud with the form of Helen moves eastward, while the cloud of Gretchen rises heavenward. Then Mephistopheles, who has left behind his Greek appearance, joins Faust again. Mephistopheles strikes up a geognostic dispute about the genesis of terrestrial surface and especially the mountain region of this scene. Thereafter Faust states as his new higher purpose, that he wants to reclaim new land. Behind his desire stands the idea to control the elements or even to submit nature.[2] Subsequently Faust focuses on controlling the sea, from which he reclaims new ground by dams and drainage ditches. But a war breaks out between the Emperor and a rival Emperor, whereby Faust's plans are interrupted. Mephistopheles introduces the three mighty men (German: Die drey Gewaltigen) consisting of Bullyboy, Grab-quick and Hold-tight ("Raufebold", "Habebald", "Haltefest"), that should help to oppress the revolt and implement Faust's ambitious project. With the assistance of the three mighty men Faust achieves the victory for the Emperor. The three mighty men reveal dubious behaviours as looters, that cast a long shadow over their future services. As a reward for his military service Faust gets a district at the beach to administer. Act V edit An indefinite interval of time has passed since the end of the previous act, and Faust is now an old but powerful man favored by the king. Using dikes and dams to push back the sea, Faust has built a castle on the reclaimed land. Upon seeing the hut of an old peasant couple (Baucis and Philemon) and a nearby chapel, Faust becomes irritated that these two structures do not belong to him, and orders to have them removed. Mephistopheles overinterprets Faust's orders by murdering the old couple. The personification of Care breathes upon Faust's eyes, and he becomes blind. Upon disclosing his plans to better the lives of his subjects, motivated perhaps out of guilt, he recognizes the moment of sheer bliss which he would seek to prolong and drops dead. Mephistopheles believes Faust has lost his wager and tries to claim his soul. Angels suddenly appear, dropping rose-petals on the demons, who flee from the burning petals. While Mephistopheles had won his wager with Faust, Mephistopheles had lost his wager with God, made in the Prologue to Part I, that man could be swayed from righteous pursuits. Mephistopheles stands his ground, however, and under the aphrodisiac influence of the roses, lusts after the angels, who meanwhile make off with Faust's soul. The scene abruptly changes to a wilderness inhabited by holy anchorites: "Mountain-gorges, Forest, Rock, Desert". Pater Profundus discloses the parable of nature, which is a harbinger of divine love. The angels bearing Faust's soul appear in heaven. After the enraptured Doctor Marianus extols the Eternal Feminine, the virgin Mary, Mater Gloriosa, appears from on high. Three biblical holy women, Magna Peccatrix (the Great Sinneress, Luke 7:36), Mulier Samaritana (the Samaritan woman, John 4), and Maria Aegyptiaca (Acta Sanctorum), plead for Faust's soul, while Una Poenitentium (previously Gretchen), also pleading for grace, offers to lead the reborn Faust into the higher spheres of heaven. Mater Gloriosa grants her wish. The Chorus Mysticus ends the drama: All of the transient, Is parable, only: The insufficient, Here, grows to reality: The indescribable, Here, is done: Woman, eternal [Ewig-Weibliche, "the eternal female"], Beckons us on. Ancient parallels edit The final words are spoken by a "Chorus Mysticus", i.e. a chorus related to the mysteries, which alludes to an "indescribable" process in which "the eternal feminine leads us on". This resembles ancient mystery religions, and particularly the mysteries of Isis, more than it does orthodox Christian mysticism. In ancient rites of initiation into the mysteries of the goddess Isis, the initiate was guided by a nonverbal process called the "epopteia".[3] The last words of Goethe's Faust Part II call to mind the "epopteia", which is a nonverbal and indescribable process, associated with the sense of sight. Similarly, a few lines earlier, Faust petitions the angels for a vision of the Queen of heaven: Mightiest empress of the world, Let me, in the blue Pavilion of the sky unfurl'd, Thy mystery view! Höchste Herrscherin der Welt! Lasse mich, im blauen, Ausgespannten Himmelszelt Dein Geheimniß schauen. (11997–12000) Likewise in his final words, Faust prays to the Mater Gloriosa using the titles "Virgin, Mother, Queen" (11995) and also "Goddess" (12100). This goes beyond orthodox Christian teaching, for although "Queen of heaven" is a Christian title of the Virgin Mary, Christian churches balk at calling her "Goddess", which would imply polytheism. However, in the mysteries of Isis, a goddess was indeed invoked by the title "Queen of heaven" -- as witnessed by Apuleius's The Golden Ass, an important source for the modern understanding of ancient mystery religions.[4] The protagonist of the Golden Ass begins his prayer to the "Goddess" by calling her "Queen of Heaven".[5] Apuleius also calls Isis "mother of all Nature ... whose sole divinity is worshipped in differing forms, with varying rites, under many names, by all the world."[6] Goethe echoes this motif of the archetypal "mother of Nature", for instance at the beginning of Faust Part I, Doctor Faust refers to Nature as a "veiled goddess", in explicit reference to the ancient veiled Isis, who was also identified as goddess and mother of nature: Mysterious, even in broad daylight, Nature won't let her veil be raised: What your spirit can't bring to sight, Won't by screws and levers be displayed. Geheimnißvoll am lichten Tag Läßt sich Natur des Schleyers nicht berauben, Und was sie deinem Geist nicht offenbaren mag, Das zwingst du ihr nicht ab mit Hebeln und mit Schrauben. (672–675) Reclam Verlag is a German publishing house, established in Leipzig in 1828 by Anton Philipp Reclam (1807–1896).[1] It is particularly well known for the "little yellow books" of its Universal-Bibliothek ("universal library"), simple paperback editions of literary classics for schools and universities.

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