the iĄaculty oÍ' Graduate Ątudies April, L96[ - MSpace at the ...

().
confused r^rorl d of fantas¡' rvirich a-l-most despite itself
firsi su¡ges-t,s Iove ancl r¡¡omanirood as bein3 not rnerel,'t
qên Ðvfauus¿, sirâ I hil-r, vv-v sirnlnol ì c: nf' ¡he dlVine ,
ltji,uss ich an diesern hingesireckteit Leibç.,
Den Inbegriíf von allen Fiimrneln sehn?Îi Jo'
This is rnore poinCedlJ¡ exìoressed in the rHelenat Scene
of the second. part i"rherei-n iielena is symbolic of classi-
cal beauty as opposed bo 'bhe d-iabolic erol;icisn
renresenl-,erj þrr hav- nnrrn'i-ot-r;¿¡f ¿ ç ¡J¡ VUVr¡ vVq
in .faflOWgl S r,,¡Ofk"
The Ciretchen episodes, ìrol''iever, bear the burd.en of
n-¡nn'1 in i.-¡rrqf. 1s e¡rthlv ênrle¡-,rnlrrs- for rv¡ vvl ¿r¡ r euu v u vs¡ v¡¡ÈJ
here he is
; -^..{-Ði ^ñ h-r -r involved in a desperaie situaCion v¡iirCh
.LIIti-¡-L,I. I\Jú.U-LJ III V \,I V çU ¿I¡ q
oears the seed of redem,otion. The arûbivalence in j;'au-st
is rnost stri-kingly porcralred in these episodes by fhe
i-iirion of form anii meanine r,r'hich ilh-r-rainates the conflict
of cirama'bic a,nd ly:'ical inspiracion. In terms of forrn,
lraust has two roles t,o play, a lyric one wÌrich identifies
hirn wiüh Gretchen, and a dramatic one which sets them in
^^ lv -
oppositíon" '/'/ø -F-rom the poinL of view of meanin65, the
comaencernent of the epi-sooes sees r',le;ohisto and lraust bent
on -uhe seduction of Gretchen, vrhile the conclusion sees
in'aust and. Gretchen allied aga.insL the snirit of negation.
.¡'he foCal nOif + ^.i3 +1^^^^ ^\a^ ^ci f i nnc .ì q
r----l,V
(J-L UrJ,tiÞç ç,iJ-lJ\Jù-LvIVrlrf, ¿Ð Self_leSS lOVe
inrhich foreshadows Faust?s suprerne and last moruent of
satisfaction i,rrhicir is the ca.u-se of his d-eath"