I read this item after completing Kaufmann's translation of Faust. It certainly helped my understanding of the original text, although I am sure I would not have enjoyed the experience quite as much had I not read the actual work. I recommend not attempting to pick up the Cliff's Notes with the expectation of receiving the full benefit of Goethe; it is, however, a good place to turn if you need clarification, details, explanation of diction or allusion, or even an idea with which to start off a paper. Not a replacement for reading Faust, but a good resource to use in addition to the text.

One of the things that makes Robert Milch's Cliffs Notes for Goethe's "Faust, Parts I and II" particularly useful for teachers and students is that when the work is included in literary anthologies it is also excerpts, never the complete work (I was teaching it from the "Norton Anthology of World Literature"). Consequently, the Summary/Commentary sections are quite handy for filling in the gaps. The introductory section includes a biography of Goethe and several pages on "The Faust Legend in European Thought." I consider this particularly important because I do not think you can appreciate "Faust" without recognizing the significant changes in the legend, especially as compared to Marlowe's play "Doctor Faustus." Following the Summary/Commentary section Milch looks at the Principal Characters, and the Special Problems presented because of the differences between the two parts of "Faust" and massive problems in actually staging this "play." Milch develops "Faust" as "A Metaphysical Quest" and also looks at it as an example of Romanticism. So, while this is not an above average example of the little yellow books with the black stripes, it has definite uses for teachers and students alike. Final helpful hint: see if students recognize the danger for a soul because of a moment of perfect happiness as it relates to Angel on "Buffy the Vampire Slayer." They might be surprised to notice the Faust legend lives on.

While not quite up to the 5-star standard of EXPECTING SOMEONE TALLER, FAUST AMONG EQUALS is certainly more than equal to the task of entertaining a reader for an afternoon. Holt's unique spin on theology, literature, and popular culture continues to be worth the price of admission to the "Disney-meets-Dante" theme-park ride contained between the covers of this novel.

Almost back to his original stride, this is probably the Holt that I've enjoyed the most in the last five books. That enjoyment can also be summarized in one word: Eurobosch. Yes, following DisneyWorld, the MGM Grand Theme Park, Atlantic City, and Cyberia, the most famous theme park in all of history is now open for business. Based on that mad genious Hieronymous Bosch and his most famous work, "The Garden of Earthly Delights," and operated by the holding company of Beelzebub, et al. You don't have to take the painting and imagine what thrilling rides and attractions are available--Holt has it down.

That's just a part of the book, though. The plot concerns a certain George Faustus who has managed to effect an escape from Hell, right during an impending audit. Now that Hell's operated as a business-- once you start reinventing government, it was inevitable--the loss of a major asset can't be tolerated, and the chase is on.

The good parts here are equal to his previous best, parts like Helen of Troy being a lovely and perfect little woman with a slight penchant for decorating. In the time of Homer, that couldn't amount to much (what? a curtain over the castle window?), but with centuries of design to choose from.... And Leonardo da Vinci--wasn't he just the greatest geek that ever lived? And that's only a couple of the strange yet amusing additions to the lives of historical and fictional personages in the story.

Faust Among Equals is of the school of Hitchhiker's Guide to the Galaxy type of humor. It's not as good as HHGG, but that's asking a lot. It is, however, clever and quick, with wry references to Faust, Helen of Troy, and Hieronymous Bosch and lots of contemporary commentary (Australia doesn't come off too well). I listened to the book on tape and Simon Callow is so good at droll characterizations that I cannot imagine reading it myself. Well done.

On pain of death, I beg you not to save a few bucks by buying this translation of Goethe's masterpiece. This dusty, Victorian--era translation is opaque, humorless, and turgid. I can think of no greater disservice to a great writer. Obviously Dover picked this translation because it is in the public domain, and they did not have to pay for it. This is a great stratagem for holding down consumer costs, but it comes at a high price in terms of enjoyment. The absence of critical apparatus also detracts. There are much better translations available, especially the one from Princeton University Press. That one costs more but is well worth it in the long run. In short, though, you should buy anything BUT this boring miscarriage.

I once read that many people prefer this version of Faust over Christopher Marlowe's. I can not really understand why. To be sure, there are powerful moments in this version. There are also dramatic passages and memorable moments. Perhaps I would have rated this better if I had not read Marlowe's version. The problem is that this lacks Marlowe's superb orginization, harsh realities, dramatic irony, and chilling terror. Don't get me wrong. This book is certainly worth looking at, but I suggest you read this version before you read Marlowe's.

This is the definitive book from which all Faust or books relating to the Faust storyline are based. Much is lost in the translation from its original German form, however, the story is timeless no matter what language it is in. Goethe writes a gripping tale from which many lessons can be learned. Anyone who loves great classic literature should make this a must read.

I cannot understand the praise for this book.Pelikan's comments on Faust are facile and often wrongheaded and his theological commentary is superficial and pseudo intellectual.Even worse he writes in a turgid style that can serve as a potent sedative for those who have trouble sleeping. A major disappointment and a disaster from a scholr whose works I usually admire.

This book is a beautifully written masterpiece, detailing the theological implications of Goethe's Faust. The book offers reflections on Goethe's statement that he was a pantheist when it came to science, a polytheist in art and a monotheist in ethics. For the first time, the author uses this statement in the analysis of Faust's development as a theologian, showing this masterpiece in a surprising and totally original way. The analysis begins with a discussion on Faust's role as a natural scientist or pantheist. Faust's mistrust of traditional knowledge is examined and his interests in geology, oceanography and optics are considered. The analysis also includes his perception of nature as a realm inspirited throughout by a single, unifying Power. After the analysis in concluded, the author follows Faust on his journeys to the two Walpurgis Nights. It is here that Faust delights in the polytheistic extravaganzas of Germanic and most especially Greek mythology. In conclusion, the author describes the operatic finale of the book, when Faust's spirit in drawn upward to salvation by the Eternal Feminine. This event marks Faust's evolution into moral philosopher and monotheist. This analysis reveals thematic unities and a dialectical development of Faust's characters that has gone unnoticed until now.

This little book is interesting, yet it seems to be hampered by its short format. As a result, the author does not seem wholly successful in describing a Confederate national consciousness . Basically, she argues that notions of evangelicalism, republicanism, and slavery merged into a national ideology; more significantly, she makes a good case that the contradictions within these ideological components effectively tore apart any widespread consensus by the war's end. Certainly, evangelicalism played an important role as Southern ministers became forceful speakers on the justification for war and, later, on the reasons for Southern defeat. Republicanism was a growing source of friction in Dixie in the years leading up to the war, often pitting planters against yeoman whites as elements of the market economy crept into Southern life. Faust's points on republicanism do little to explain a consensus among all whites in favor of Confederate support, though. Many planters attempted to tighten their control of political power in this era, and Faust seems to say they essentially tried to dupe or otherwise talk yeomen whites out of proactive political participation. There is not enough evidence presented here to accurately portray the relationship between different classes of whites. This point also relates to her proposition that a pro-slavery ideology pervaded the entire South and effectively brought about the War for Southern Independence. Faust does not explain why yeoman whites forgot the friction (particular in terms of economics) they increasingly felt during the late antebellum years for slaves and jumped immediately on a proslavery bandwagon. Basically, this book suffers from a common fault prevalent in studies of Southern history--it ignores or passes over the significant political differences between rich and poor whites throughout the South in an effort to brand slavery as the principal cause of the conflict.

Much of Faust's material is anecdotal, and while she does reference her sources extensively in the index (sadly stuck by itself at the back of the book), the constant quotes from "a planter," "a soldier's wife," or "a Methodist minister in North Carolina" are not placed in sufficient context and thus give the impression that the South was a hegemonic, monolithic entity wherein all white men thought alike. The source of this book is a series of lectures, and I feel that hampers the author's arguments--it never allows her to dig below the surface or argue her points to any great depth. Certainly, though, the subject of Confederate nationalism is a subject begging for more study. The topic is so intricate, though, that only a thick monograph filled with detailed argument can adequately address it.

I really enjoyed the Comic and I think that is quite amusing. But I think a lot of great parts are missing and it isn't even nearly as fabulous as the originals. But I think you may read it in addition.

While Empson's posthumous publication, "Faustus and the Censor," first came out in the 1980's, it remains a relevant document in Christopher Marlowe criticism. The oft-disputed authenticity of Marlowe's play "Doctor Faustus," and its two versions, the A and B-texts is the main focus of Empson's book. Empson begins with the beginning - Marlowe's sources, primarily the German Faust Book. Empson discusses the possible relationship with the translator of English Faust Book, a mysterious gentleman named 'P.F.' who may have provided Marlowe with information on German and Latin texts.

Empson's thesis is that the A text is the 'original' - but that its seeming inadequacies are due to the interference of the official censor of plays in the late 1500s. Scenes missing that Empson argues were removed for reasons of state and morality are an appearance of the chorus and an episode in a Turkish harem.

The censor, Empson argues, had three major problems with Marlowe's play that required change: 1)the women Faustus consorts with must be real women - because Anglican belief did not allow that devils could consort with humans. 2)Mephistopheles must be a devil - again, Anglicanism does not allow for middle spirits. 3)Faust must be punished eternally at the end of the play; apparently, the original version when acted, left some ambiguity about this issue.

Empson's "Faust and the Censor" tends to be somewhat repetitive on supporting these points. However, the repetition is done well, so that the points he makes are continuously reinforced and consistently developed. This is an engaging piece of literary criticism - the language is familiar, even colloquial, making the book an interesting and even entertaining read - very unusual in the field of literary criticism. I don't even like Marlowe, but Empson's style and substance make this a critical work worth checking out.

I read this book, and half way through, discovered that it was edited, with large segments missing from the original text.

The translation is excellent... although a smack too modern to be Goethe. But the editorial work done on the masterpiece is a shame. Significant parts were cut out from both parts I and II, for effect (this version was to be broadcasted over the radio).

However, for an introduction to Goethe's Faust, this is a great read. One could read this in one sitting. But for real scholarship, and those who would like an ampler fill... take a full unabridged translation.

This is a wierd and ghastly book, and its main objective seems to be an effort to trash the military for its "don't ask-don't tell" policy. The plot is nearly nonexistent, the dialog is trite, and the book is a bore. The protagonist is one-dimensional, as are all of the characters. I only bothered to finish it because it was the only book available at the time (I was on a boat).

This book provides us with a pretty good cast of army personnel caught up in a homicide at Fort Benning, Georgia. The author does a good job with the protagonist, but most of the other characters seemed mediocre. Its interesting how many male authors now have a female as their strong main character e.g. Thomas Perry's Jane Whitefield series. I downgraded the book a bit because of a couple of strange time discontinuities. As an example in one scene military attorney Guidry and an assistant DA are at a District of Columbia arraignment trying to get a prisoner transferred to Army jurisdiction at Fort Benning. The prisoner's attorney objects to this, and the judge orders all attorneys to submit briefs on the issue. A couple of pages and two days later Guidry is visiting the prisoner in the Fort Benning stockade with no mention of the judge's ruling and how he got there so fast. I don't like it when the author evidently assumes that his readers are a bunch of dummies who won't notice these things. All in all, though, its a pretty good read, and takes place in an interesting sitting.

Packs a powerful punch but is somewhat less intriguing than Dres Gray. Still a great ending. Characters seem to be real.