I love Goethe's creative works and his scientific theories, but most of all I love this book. I travel with it, look in it for advice and conversation. As an artist Goethe was incomparable; as a scientist he was curious, alive, observant, questioning -- but as a man who lived a life with a conscious intention to make his life a work of his own mind and heart he is the master and that master is found in the pages of this book. When I need a wise friend, I turn here and find, beside the wisdom, a silly person who thought spectacles were an affectation, an attempt on the part of someone to be something he was not. . .

While in graduate school in Australia I happened in a pub (which is not extraordinary in itself) and got to talking with the bar-tender. It turns out that he was a student at the Univ. of Queensland too and was getting his MA in German. I told him how much I enjoyed Nietzche, who was the focus of his thesis, and eventually we got around to Eckermann's Coversations. I told him it was one of the best books that I had ever read: so quaint and yet probing. The reader sits in the drawing room and hears the most extrodinary discussions. In this way it reminds me of Sherlock Holmes and Watson. It is so civilized that it is almost nostalgic--but far too potent for that due to the genuis involved (Eckermann's mind ain't to shabby either). The newly made friend expressed amazement that an English major happened on this book; he said that I had been the only person outside the German dept that he had met that had ever read the book, or even heard of it (and this in a much more literate country than here). This is truely a shame we agreed. Ease-drop on a better time when scholars were gentleman, and in search of the truth not some PC BS, and were enamored with ideas. Goethe's Maxims is also highly recommended--as Faust and his other better known works. A Western classic, like the subject.

For those who do not know anything about Goethe at all, 'Conversations' may not be a good place to start - but for those who are a little familiar with Goethe, 'Conversations of Goethe' makes for fascinating reading.

Very rarely do we have the life of a genius so well and closely documented. This book is not a record of formal interviews; it is a record by Eckermann, Goethe's good friend, who took the trouble to write down the great man's words almost every day, it seems. The book reads like a diary of Eckermann's, filled with Goethe - there is one entry for almost every day for a few weeks, then a break, and so on.

Eckermann seems to have written down almost everything he remembered from his conversations - and some of what Goethe said here may be edifyong, some not so much; but all of it is significant for one trying to get an insight into Goethe's mind - how it worked, how he thought, how he did things - right from the grand projects down to the simple pleasures.

One comes away from this book with an "insiders glimpse" of the Goethe's mind and world - and that really helps when reading his works.

The idea of Goethe as the complete, the perfect man, the universal genius - sticks with the reader years after reading this book. We live in an age when the really good things do not matter; Goethe reminds us of all the things that can, and do matter - and those things that can refresh, change, and enliven.

Nietzsche called this "the greatest book in German there is".

When I read through the introduction, I was surprised to find out that this work was the result of a lifetime's endeavor - because it's relatively short. While authors these days churn out 600 page books on a yearly basis, this man wrote over the course of his life. The writing is very different from modern day authors such as Steven King, in that detail is only applied to objects sparingly, where as S.King's books tend to delve into details at will.

This is, to my mind, the best existing English translation of Faust. Luke's verse is ingenious, it flows beautifully, and -- above all -- it rhymes! Non-rhyming translations can never capture Goethe's extraordinary poetry. Other ryhming efforts are typically awkward and unnatural. Luke's introduction is also highly illuminating -- scholarly, but accessible. If you want to get as close to the original as is possible in English, read this version.

The previous review is clear about the value of this translation. Knowing a bit of German, I can say that this translation does use shapes instead of forms for Gestalten. the real value of the work beyond the translation, however, especially for first time readers, is found in the notes made by David Luke. These notes are helpful for the historical context, allusions to Goethe's personal life and work, and allusions to philosophy, literature, and more ... all essential to understanding the work.

Looking at some reviews by other reviewers, I realized that not everybody has heard of Faust or of Goethe, and I was pretty shocked.

The first part of what I'm saying is about this translation. As Luke so graphically showed in his "Translator's introduction", there are many things that pull at the translator's central agenda: rhyme, metre, primary meaning, nuance, and so on, and the translator has to achieve a balance. Among the translations I've read and from snippets of what I've seen of other translations, Luke's translation is the most accurate of the ones I've read, in many ways. In other words, the compromises that Luke himself details have been executed here with near-perfection.

It comes down to what you like. Luke's translation is the closest among all attempts so far to being dubbed a "universal" tranlslation. But just as we cannot have a universal programming language, we cannot have a translation that will please everybody.

The positive for this translation is of course the extraordinary faithfulness to the original while maintaining rhyme. The negatives are what one would expect; the translation does not read smoothly on the line level. To clarify, a line carries over to the next line in too many cases to make for a "smooth read". An example:

"Refreshment! It's your own soul that must pour / It through you, if it's to be anything."

This "pour it" example siuation occurs too often, and is jarring for those who "grew up" with Arndt's or Wayne's translations.

The second part of what I'm writing is about Faust itself, the Masterwork: as any German will tell you, Faust is one of the centrepieces of literature, and it is worthwhile learning German JUST to read Faust. Each person comes away from "Faust" having found that that he/she was looking for. Every person is reflected in Faust; "Faust" is the ultimate story of Man. What tempts us, what keeps us, what draws us on, what tears us, what defines us, what lies in store for us - it is all there. "Faust" is a journey everyone should undertake. There is nothing controversial here - no "God", no "Hellfire", nothing but Goethe's straightforward but not blunt, sensitive but not compromised, philosophical but not dreamy, analysis of the human situation. "Faust" is the Master thinker Goethe's sincere attempt at looking at it all; and it does not fall visibly short of the task.

Part I should be read by everyone; Part II is not strictly a sequel, but in many ways is, as Wayne shows in his Introduction. Part II requires some knowledge of Greek Mythology; and does in many ways "complete the story". Only, it goes way beyond that.

The previous review is clear about the value of this translation. Knowing a bit of German, I can say that this translation does use shapes instead of forms for Gestalten. the real value of the work beyond the translation, however, especially for first time readers, is found in the notes made by David Luke. These notes are helpful for the historical context, allusions to Goethe's personal life and work, and allusions to philosophy, literature, and more ... all essential to understanding the work.

Looking at some reviews by other reviewers, I realized that not everybody has heard of Faust or of Goethe, and I was pretty shocked.

The first part of what I'm saying is about this translation. As Luke so graphically showed in his "Translator's introduction", there are many things that pull at the translator's central agenda: rhyme, metre, primary meaning, nuance, and so on, and the translator has to achieve a balance. Among the translations I've read and from snippets of what I've seen of other translations, Luke's translation is the most accurate of the ones I've read, in many ways. In other words, the compromises that Luke himself details have been executed here with near-perfection.

It comes down to what you like. Luke's translation is the closest among all attempts so far to being dubbed a "universal" tranlslation. But just as we cannot have a universal programming language, we cannot have a translation that will please everybody.

The positives for this translation are of course the extraordinary faithfulness to the original while maintaining rhyme. The negatives are of course what one would expect; the translation does not read smoothly on the line level. To clarify, a line carries over to the next line in too many cases to make for a "smooth read". An example:

"Refreshment! It's your own soul that must pour / It through you, if it's to be anything."

This "pour it" example siuation occurs too often, and is jarring for those who "grew up" with Arndt's or Wayne's translations.

The second part of what I'm writing is about Faust itself, the Masterwork: as any German will tell you, Faust is one of the centrepieces of literature, and it is worthwhile learning German JUST to read Faust. Each person comes away from "Faust" having found that that he/she was looking for. Every person is reflected in Faust; "Faust" is the ultimate story of Man. What tempts us, what keeps us, what draws us on, what tears us, what defines us, what lies in store for us - it is all there. "Faust" is a journey everyone should undertake. There is nothing controversial here - no "God", no "Hellfire", nothing but Goethe's straightforward but not blunt, sensitive but not compromised, philosophical but not dreamy, analysis of the human situation. "Faust" is the Master thinker Goethe's sincere attempt at looking at it all; and it does not fall visibly short of the task.

Part I should be read by everyone; Part II is not strictly a sequel, but in many ways is, as Wayne shows in his Introduction. Part II requires some knowledge of Greek Mythology; and does in many ways "complete the story". Only, it goes way beyond that.

Oof! Be prepared to read this book at a snail's pace or lightly many times over. I don't believe I have ever read anything quite like it: multidimensional scholarship raised to another level. Nearly two centuries separate Goethe from us, but this work throws a bridge across time.

This book is undoubtedly the best book on Goethe available in English. Boyle's descriptions of Weimar and Jena bring the late 18th and early 19th century to life. After reading the book, I had a much better grasp on Goethe and his contemporaries. I recommend the book highly to anyone seriously interested in understanding German literature. My one complaint is that the book is almost too unwieldly to read in bed. It also took several months to digest. (But well worth the effort!)

I don't know when I will have the chance to sing this books praises with more details, so here I will just say the following:

This book is a masterpiece on several fronts. Here we have the best articulation yet as to why modern science must reject the healing tonic which lives in Goethe's approach. Here we have the best articulation yet of how an alternative approach to science is possible- one that is systematic and exact, yet open and participative with nature.

The methodology presented in this book is epistemologically sound, unlike the on-looker/representational epistemology that modern natural science is necessarily bound to.

This book shows us how to begin taking a step in a beautiful, true and necessary direction. more later

No praise is adequate for this book with its strong unsentimental philosophical approach tempered with a relaxed style and exceptionally clear explanations of the material. It opens up a completely new way of viewing and doing science one not easily acceptable to a rigid interpretaion as it stands today. Very broad in its scope discussing very deeply the idea of world view, it is an essential read for any scientist even applied mathematicians such as myself. Unlike other books in the same vein eg metaphysical etc, in whose domain it does not belong, there are no fantastical explanations with no grounding but rather well researched arguments in favour of an almost a Socratic perspective, refering here to Socrates's character and life rather than Plato's use of him in his arguments. Recommended for all open minded readers and those who would like to have theirs opened.

This is a book that will bring pleasure to polyglots and be a treasure trove of ideas for translators, linguists, and philosophers. Makkai's thesis is that poetry written in languages other than the original must be a creative reinterpretration, not merely a translation, analogous to a musical theme and variations. He calls this "anasemic writing" and in a series of clever,informal and often highly amusing hypothetical Platonic-type dialogues between himself, a 20th-century scholar, and Johann Wolfgang von Goethe (to whom the book is dedicated and whose poem "Ein Gleiches" and its ninety-six versions in eight different languages are used as examples), he explores the great 18th-century writer's theories of world literature. Following the dialogues is a more technical analysis of anasemic writing, a discussion of modern linguistics and its relation to literary translation, and more multilingual poetry, along with some really beautiful illustrations. Too bad this book is out of print!

there is little wonder why authors like Nabokov, Bely, Bulgakov etc. have used this book as a foundation for many of their most famous books. faust is simply exquisite.

Open the first page and embark into the world of Goethe, there is little wonder why faust took fifty years to complete. Be warned, though, that once delved into, the external world will appear mundane and worthless. Faust is a must read for anyone who is willing to devote the necessary time to completely understand the element of absurdity (as according to camus). read and find out if a fifty year vacation with the devil is worth your soul. A MUST BUY NOW!

....and a tale so archetypal, so Frankensteinian and relevant to the concerns of our Faustian culture, that if you read it and don't feel uplifted, bedazzled, and troubled, then you probably don't get it.

Nothing could ever surpass this book in scope or beauty. This book asks the question: is life worth living? is it worth it to strive? or is the suicidal nihilism of Mephistopheles the only product having attained a great amount of experience? Part I is brilliant and romantic. The Gretchen tragedy is, in my mind, greater than Romeo and Juliet. Part II is classical. Though much more obscure in its references, it too manages to achieve great beauty and import. And all this not in the original language. Read this book.

Goethe comes alive as a very real person, not just the famous German author, in this travel memoir detailing the two years he spent in Italy in the 1780's. A wonderful description of travel before airplanes and cameras. Somewhat tedious descriptions of geology and of his works-in-progress are frequent, but never too long.

It might be helpful to read (or re-read) the introduction after having read part of the book (say, into the first Roman visit).

In preparation for a trip to Italy, I began reading the accounts of famous travellers to that land: D.H. Lawrence, Charles Dickens, Tobias Smollett, and now Johann Wolfgang von Goethe. I had no great expectations but was knocked for a loop from page one.

Never before had I encountered a questing mind quite like Goethe's. Almost from the moment to left Carlsbad in September 1786, he was noticing the geological structures underlying the land and the flora and fauna above it. He sits down and talks with ordinary people without an attitude -- and this after he had turned the heads of half of Europe with his SORROWS OF YOUNG WERTHER. Here he was journeying incognito, apparently knowing the language well enough to communicate with peasants, prelates, and nobility.

One who abhors marking books I intend to keep, I found myself underlining frequently. "In this place," he writes from Rome, "whoever looks seriously about him and has eyes to see is bound to become a stronger character." In fact, Goethe spent over a year in Rome learning art, music, science, and even sufferings the pangs of love with a young woman from Milan.

Bracketing his stay in Rome is a longish journey to Naples and Sicily, where he becomes acquainted with Sir Warren Hamilton and his consort Emma, the fascinating Princess Ravaschieri di Satriano, and other German travelers. One of them, Wilhelm Tischbein, painted a wonderful portrait of Goethe the traveller shown on the cover of the Penguin edition.

The translation of W.H. Auden and Elizabeth Mayer is truly wonderful. My only negative comments are toward the Penguin editors who, out of some pennywise foolishness, have omitted translating the frequent Latin, Greek, and French quotes. I am particularly upset about the lack of a translation of the final quote from Ovid's "Tristia." In every other respect, this book is a marvel and does not at all read like a work written some 215 years ago. It is every bit as fresh and relevant as today's headlines, only ever so much more articulate!

This was billed as a good introduction to Goethe. I don't know, since this is the first Goethe I've read--but I'm delighted. It starts as a sojourn south, with detailed notations of rocks, geologic information and topography. Don't let that deter you! His description of eating just bread and red wine on his sea voyage to Sicily (because of his rolling seasickness) had me running for a bottle Italian Barbera! As my late great aunt would have said: "A nice, nice book."