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bc69f91
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God Is, Lucifer is a devil, and there is a Hell.
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god
truth
hard-truths
christopher-marlowe
marlowe
lucifer
demons
christian
eternity
creator
devil
faust
hell
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E.A. Bucchianeri |
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402fa23
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"A thought expressed is a falsehood." In poetry what is not said and yet gleams through the beauty of the symbol, works more powerfully on the heart than that which is expressed in words. Symbolism makes the very style, the very artistic substance of poetry inspired, transparent, illuminated throughout like the delicate walls of an alabaster amphora in which a flame is ignited. Characters can also serve as symbols. Sancho Panza and Faust, Don Quixote and Hamlet, Don Juan and Falstaff, according to the words of Goethe, are "schwankende Gestalten." Apparitions which haunt mankind, sometimes repeatedly from age to age, accompany mankind from generation to generation. It is impossible to communicate in any words whatsoever the idea of such symbolic characters, for words only define and restrict thought, but symbols express the unrestricted aspect of truth. Moreover we cannot be satisfied with a vulgar, photographic exactness of experimental photoqraphv. We demand and have premonition of, according to the allusions of Flaubert, Maupassant, Turgenev, Ibsen, new and as yet undisclosed worlds of impressionability. This thirst for the unexperienced, in pursuit of elusive nuances, of the dark and unconscious in our sensibility, is the characteristic feature of the coming ideal poetry. Earlier Baudelaire and Edgar Allan Poe said that the beautiful must somewhat amaze, must seem unexpected and extraordinary. French critics more or less successfully named this feature - impressionism. Such are the three major elements of the new art: a mystical content, symbols, and the expansion of artistic impressionability. No positivistic conclusions, no utilitarian computation, but only a creative faith in something infinite and immortal can ignite the soul of man, create heroes, martyrs and prophets... People have need of faith, they need inspiration, they crave a holy madness in their heroes and martyrs. ("On The Reasons For The Decline And On The New Tendencies In Contemporary Literature")"
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don-juan
falstaff
maupassant
symbolist
sancho-panza
impressionism
flaubert
don-quixote
ibsen
turgenev
decadents
decadence
edgar-allan-poe
faust
hamlet
goethe
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Dmitry Merezhkovsky |
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4efecb2
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Thus, Marlowe posed the silent question: could aspiring Icarus be happy with a toilsome life on land managing a plough with plodding oxen having once tasted the weightless bliss of flight?
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christopher-marlowe
faust-legend
faustian
faustus
marlowe
pride
icarus
faust
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E.A. Bucchianeri |
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8564f82
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... the lofty mind of man can be imprisoned by the artifices of its own making.
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mankind
man
mind
philosophical
grand-plans
imprisionment
imprison
when-plans-go-wrong
when-things-fall-apart
christopher-marlowe
faustian
faustus
marlowe
sad-but-true
plans
planning
faust
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E.A. Bucchianeri |
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1bd8cc3
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"That's the existential problem," Fat said, "based on the concept that We are what we do, rather than, We are what we think. It finds its first expression in Goethe's Faust, Part One, where Faust says, 'Im Anfang war das Wort'. He's quoting the opening of the Fourth Gospel; 'In the beginning was the Word.' Faust says, 'Nein. Im Anfang war die Tat.' In the beginning was the Deed. From this, all existentialism comes."
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faust
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Philip K. Dick |
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1279e8f
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In fact a favourite problem of is--Given the molecular forces in a mutton chop, deduce Hamlet or Faust therefrom. He is confident that the Physics of the Future will solve this easily.
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shakespeare
problem
future
science
faust
favorite
forces
johann-wolfgang-von-goethe
john-tyndall
physics
tyndall
hamlet
goethe
william-shakespeare
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Thomas Henry Huxley |
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6fb2735
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(Marlowe's) Faustus stubbornly reverts to his atheistic beliefs and continues his elementary pagan re-education ~ the inferno to him is a 'place' invented by men.
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christopher-marlowe
faust-legend
faustian
faustus
marlowe
inferno
disbelief
paganism
faust
hell
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E.A. Bucchianeri |
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de1a631
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The albino found himself brooding upon the nature of all unholy bargains, of his own dependency upon the hellsword Stormbringer, of his willingness to summon supernatural aid without thought of any spiritual consequences to himself and, perhaps most significant, of his to find a way to cure himself of the occult's seductive attraction; for there was a part of his strange brain that was curious to follow its own fate; to learn whatever disastrous conclusion lay in store for it--it needed to know the end of the saga: the value, perhaps, of its torment.
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occult
elric
sorcery
faust
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Michael Moorcock |