Faust: A Tragedy, Parts One and Two, Fully Revised by Johann Wolfgang von Goethe, Martin H. Greenberg, W. Daniel
By Johann Wolfgang von Goethe, Martin H. Greenberg, W. Daniel Wilson
A vintage of global literature, Goethe’s Faust is a philosophical and poetic drama packed with satire, irony, humor, and tragedy. Martin Greenberg re-creates not just the text’s diversified meter and rhyme but additionally its different tones and styles—dramatic and lyrical, reflective and farcical, pathetic and coarse, colloquial and hovering. His rendition of Faust is the 1st devoted, readable, and skillfully written translation of Goethe’s masterpiece to be had in English. finally, the Greenberg Faust comes in a unmarried quantity, including a completely up-to-date translation, preface, and notes.
“Greenberg has comprehensive a powerful literary feat. He has taken a good German paintings, earlier all yet inaccessible to English readers, and made it right into a glowing English poem, jam-packed with verve and wit. Greenberg's translation lives; it really is performed in a contemporary idiom yet with admire for the unique textual content; i discovered it a pleasure to read.”—Irving Howe (on the sooner edition)
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Extra resources for Faust: A Tragedy, Parts One and Two, Fully Revised
A few extended samples from Levene and Williamson's inter- change illustrate not only their metalinguistic patterns, but those of the other characters as well throughout Glengarry Glen Ross. Williamson: Levene: Levene: Williamson: Levene: Williamson: Levene: [Y]ou didn't close... I, if you'd listen to me. Please. I closed the cocksucker.... That's all I want to say. (16) [T]hen what is this "you say" shit, what is that? ] What is that... All that I'm saying... What is this "you say"?... [T]alk, talk to Murray.
Williamson: Levene: Levene: Williamson: Levene: Williamson: Levene: [Y]ou didn't close... I, if you'd listen to me. Please. I closed the cocksucker.... That's all I want to say. (16) [T]hen what is this "you say" shit, what is that? ] What is that... All that I'm saying... What is this "you say"?... [T]alk, talk to Murray. Talk to Mitch.... You talk to him.... You want to throw [my skill] away? It isn't me.... it isn't you.... Who is it? Who is this I'm talk- ing to? (17-18) Fuck marshaling the leads.
This can occur either when participants literally say nothing to one another, or when a speaker engages in monologues because his listener is uncoopera- tive or nonreciprocal in providing verbal responses. In both in- stances, silence becomes "abusive," or offensive, in its violation of interpersonal communication; silence in and of itself, however, is not automatically an uncooperative feature in talk exchanges. When silence does violate the dynamics of interpersonal communi- cation in drama, it is most often the outcome of characters who either deliberately resist taking any responsibility to share in the creation of a text or oppose revealing why they prefer to remain silent.