Arnold's vision of Christians living as an "embassy" of the Kingdom of God in today's world is thrilling. The church is empowered by the Holy Spirit to witness to the coming day when peace and justice will rule the earth. Arnold's words are as relevant now as they were when he wrote them 80 years ago. He gives hope and purpose.

Our minister passed out copies of this book to every family in the congregation. The following week we were invited to read our favorite excerpts out loud. This sharing went on for so long and with such feeling that it took over the whole service. We did the same for several meetings and I feel the spirit that was kindled by this sharing had a major impact on our relationships to each other.

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.

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, Wayne's translation has the most smooth-flowing, elegant rhyme I've seen.

As positives for this translation: The elegance is unparallelled; the wit is sparkling; the metre is almost flawless; the deviation from Goethe is usually acceptable; and there is never, repeat, never, an obvious rhyme-holder word.

As negatives for this translation: There is in a few cases too much of deviation from the original; Wayne at times infuses his own interpretation and character into the work; and the English, though just perfect for, say, a 1950's speaker in England (and those of us used to that kind of word-flow), may be distracting for Americans in 2000.

An example of the latter: "What depth of chanting, whence the blissful tone / That lames my lifting of the fatal glass?" This is pretty representative: if "lames my lifting" does not sound pretentious or obscure, and if the elegance of it strikes you, Wayne's translation is the one for you. If on the other hand, "lames my lifting" sounds straight out of a mediaeval scroll (as I believe is the case with many Americans), then look elsewhere for a translation you will enjoy (read: Luke).

Another, more involved example is in the final lines of Faust II: Wayne translates "Das unbeschreibliche / Hier ists getan" as "Here the ineffable / Wins life through love". Now that, of course is hardly a translation; but it fits in with Wayne's scheme of things - and that IS the point; Wayne has his "scheme of things", which you may or may not like.

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.

I never knew how enjoyable reading plays could be until I read Part I of FAUST. I enjoyed it much more than The Odyssey and Romeo and Juliet. It has an interesting plot and several lines that I will never forget. It also shows how able a man is to hold his morals under the worst circumstances. Buy the Philip Wayne translation. He translated the work without using any Old English, makes it very easy to understand by the word order, and most of all makes great rhymes.

MEPHISTO:I would have the devil take me instantly, but I myself am he.

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!)

This is nothing but the only understandable book on numerology I've ever read.

This is the best book on the subject I've ever read. Simply straight-to-the-point, clear and objective.

Kapr's book is the result of his life's research on Gutenberg and a summary of all that was known on the subject by the late 20th century. Some readers might find the book slightly dry and scholarly, but it gives all the familiar and obscure, bizarre and quirky tales about the inventor of printing, and it patiently distinguishes which parts of the legend are speculative and apocryphal from those that deserve to be considered historical fact. Kapr's narrative paints a vivid picture of fifteenth-century southwestern Germany, its social structure and politics and the conditions that set the stage for Gutenberg's achievment. We see Gutenberg's childhood as the son of a wealthy businessman and wine producer and how this could have given him the ideas he later put into practice in his inventions. One of the more interesting and illustrative stories is Gutenberg's invention of metal stamping to manufacture mirrors for the pilgrims at Aachen, a brilliant piece of imaginative work that was blunted by his miscalculation by a year of the date of the Aachen pilgrimmage. Throughout the book we see repeated instances of Gutenberg's restless inventive powers and his benighted (or astonishingly unlucky) career as a businessperson. In the end, Kapr shows how Gutenberg fell afoul of the Pope and was driven out of his home town by the Pope's allies and left to die in obscurity. In addition, the book shows to a small degree the contribution of Peter Schoeffer to the invention and explains why the world's first printing firm was Fust und Schoeffer rather than Gutenberg und Gesellschaft. As a reader with a personal interest in printing and typography and an amateur historian's thirst for more fine details to round out my knowledge of the early Renaissance, I found this book to be unputdownable.

It gives printers a sense of pride in there fast paced sometimes unappreciated work. It helps people realize that it was a printer who single handedly raised mankind out of the dark ages.

I enjoyed this book by the Father of Modern Education more than Pilgrim's Progress. I easily identified the many twists and turns that people make before they find spiritual insight. A must read.

Why should you read a book written in 1623? Because, this book is special. Comenius wrote with an uncanny ability to see life as it really is. In an allagorical genre (as Bunyan's Pilgrim's Progress), it is fast moving, interesting and thought-provoking. The author will grab you and bring you along with him as he searches the world for true wisdom and true happiness. This book is simply unforgetable. On par, but of different genre, with Augustine's Confessions.

An excelent book, all voices written on original clefs, alternate vocal parts for 'Et in unum Dominum' included, music font excelent, text original. A MUST for all who praise the work of Johann Sebastian Bach.

The Dover Editions offer very affordable editions of some of the masterpieces of Classical music. In this way, the J.S. Bach Mass in B minor score is no exception. Offers alternate vocal part for the "Et in unum Dominum" duet. Plenty of room on the pages for notes, analytical comments, etc. Vocal parts are written in their respective clef as the score is taken from the Bach-Gesellschaft Edition. A must for any serious student of the music of J.S. Bach.