DOCSLIB.ORG

Faust/How I Rose

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Faust/How I Rose FAUST/HOW I ROSE John Jesurun CHARACTERS LETTER #1 FAUST (FAUST flying above burning city, into GRETCHEN (RHONDA speakerphon.) . and an occasional brain KINDERMOERD) cell, for what, I ask you, ? I ask you, for what? Hello? Hello . ? Patchouli . MEPHISTOPHELES Patchouli! Can you hear me? . I’m PHAEDRA, A Mouse, Friend, and dictating letter #1 . all right . ok . Confidant to Faust (Phone goes dead.) ABDULLÁ, Assistant to Mephistopheles Letter #1. Dear one, I am writing you from JUDGE an airplane above your country. The com- puter breakdown continues over most of BABY KINDERMOERD, Child of the hemisphere. The nation is in a coma. Gretchen We are just about over the border, I don’t know if you’ll ever get this. As we move away we see only smoke and light. It’s hard SCENES to tell if it is fog or exhaust or light from the city but I would hate to tell you that your 1. LETTER #1 city is destroyed while you are still in it. But 2. DEAR PHAEDRA then you may know that already. Then 3. THE FALL again, we both know its true and you are just a photograph in my hands now. And 4. DEFENSE MEETING your city is smoke and vapor. Our plane 5. THE TRIAL OF FAUST: RHONDA continues to circle, sniffing the tureens of KINDERMOERD silence that surround it. What happened to the hotel? Hello, can you hear me? Hello...? 6. PLOT A 7. MONOLOGO—ABDULLÁ 8. LA MUERTE DE PHAEDRA DEAR PHAEDRA 9. MEPHISTOPHELES AS (In FAUST’s office; FAUST, MEPHI- GRETCHEN STOPHELES.) 10. HOW I ROSE FAUST: (Speaking into phone.) Rhonda, 11. DEAR GRETCHEN could you take this down for me? Dear 98 ᭿ PAJ 78 (2004), pp. 98–127. © 1996 John Jesurun Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/1520281041969002 by guest on 30 September 2021 Phaedra, I’m sorry it’s all worked out this universe and the moon moving that changes way. I never imagined it would turn out this everything. And because they move they way. I never wanted it to turn out this way. make time move and it’s time moving that What could I do? How could I change it? I kills everything, that makes everything die. had no power, no control over anything. I ask you, what is this incessant need to move? MEPHISTOPHELES: It was Faust who in his uncertainty and namby pambyism FAUST: You’re moving right now. Don’t couldn’t decide how to save her. believe him, Phaedra. Poor Phaedra. FAUST: Shut up asshole. And so, in that MEPHISTOPHELES: She can’t hear you. split second of time you were lost to me She’s a forever now. As if one move would forever. make them feel alive And realize the conse- quences of their movements. Do you think MEPHISTOPHELES: Strawberry fields for- Jupiter feels the consequences of its move- ever. ments? It’s just a dumb planet circulating as you, Phaedra, were a dumb mouse circulat- FAUST: And you became a strawberry mark ing as you my dear Gretchen are just a on the rug. That’s all that was left of you. fattened calf moving around the slaughter- house looking for a sledgehammer. No pain, MEPHISTOPHELES: I told her to stay no gain. Vade ad formicam, o piger, et hidden and not move, the fool. considera viaseius et disce sapientiam. Go to the ant, you sluggard and consider its FAUST: But you moved. And then the ways and learn wisdom. world moved. And threw you out of its orbit. FAUST: It’s this need to move that colors everything. That makes everything hurt. Is MEPHISTOPHELES: And then Faust that what it is? didn’t move. MEPHISTOPHELES: It causes everything FAUST: And then God and the Devil to pain and pale. It’s how the universe moved. I told you they always move to- works. Consider its ways and learn wisdom gether. But in different directions. Gretchen. MEPHISTOPHELES: I did not move. It FAUST: Don’t tempt me. wasn’t me. You see, the devil never moves. Everything around me moves. That’s the MEPHISTOPHELES: Did someone men- problem. I stay constantly still. It’s every- tion the word temptation? In the beginning thing else that moves. Do you see me was the word. moving? I’m talking to you but do you see my mouth moving? No. Ask them at the FAUST: And the word was with you. Politburo cantina, they know me better than you do. MEPHISTOPHELES: Neither do I tempt nor am I tempted. As I was hurtling down FAUST: Liar. from heaven at twice the speed of speed, I said to me: NBever tempt or tempted be MEPHISTOPHELES: Never moved a mil- but it was too late. Never be a tempter nor limeter, never changed an ounce. It’s god tempted be. Never be tempted nor a tempter moving and everyone moving and the plants be. In those seconds I thought I too would and planets moving and all the trash in the be a strawberry mark on the face of the JESURUN / Faust/How I Rose ᭿ 99 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/1520281041969002 by guest on 30 September 2021 universe. But my fate was different because MEPHISTOPHELES: Get over it. Phaedra I stayed still and didn’t move and I have did. stayed still for millennia. And that was what I was trying to tell that fucking mouse FAUST: Lift up your strawberry-sized heart before she moved and the world shifted. and sing. FAUST: And you disappeared, Phaedra. MEPHISTOPHELES: Shut up about that But have you really disappeared? I hear that stupid mouse already. Do you want to get there are other parallel worlds. us thrown out of the delegation? MEPHISTOPHELES: You see they never FAUST: And now your head is in the tell me anything because I stay the same. I clouds in a world which I will never be can only travel in my own universe. allowed to see. FAUST: How the hell did we end up in the MEPHISTOPHELES: But I lived there same universe? once or I think I remember I did, didn’t I? Or am I making it up in my bitterness. And MEPHISTOPHELES:You’d think I would now I’m nothing but a three-legged knock- know about other universes or planes but I kneed dog knock, knock, knocking on don’t. heaven’s door. It’s a pity I never got to show her hell She would have loved it. FAUST: You do and you’re not telling me. MEPHISTOPHELES: God never told me. THE FALL—OR HOW I FELL The jerk. He’s been hiding things from me the way you have. Don’t you know you can’t (Phaedra, Faust, Mephistopheles in a bar.) hide anything from me? FAUST: What are you? FAUST: Get that chocolate away from me. MEPHISTOPHELES: You mean how did I MEPHISTOPHELES: Humans are always fall? Boy was I taken for a ride. I was hurled, hiding things from each other. What is that? vomited straight out of heaven. Run out of Where does it come from? And don’t look town on a rail. at me. I always wanted to know everything. I didn’t want anything hidden. The more I PHAEDRA: When was that? knew the more I slipped from the grace of heaven. The darker and more daring I MEPHISTOPHELES: In mouse time about became. 666 billion light years ago. Or thereabouts. FAUST: Phaedra, I’m sorry. There I go FAUST: What the hell did you do? talking about myself again and now you’re sad. But I’m trying to explain. Poor Phaedra, MEPHISTOPHELES: I had fallen in love it was all too much for you. I dragged you with another angel or something like that I into this. think. How the hell did I know it was illegal or unknown. Love didn’t exist then. I had to MEPHISTOPHELES: And now you’re a invent it and then pay the price. Then once stain on the rug. he threw me out I had to invent a place for him to put me. But nothing existed then, FAUST: He did this to you. Poor dear only love for god and him for us. But it Phaedra. wasn’t called love. I don’t know what it was 100 ᭿ PAJ 78 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/1520281041969002 by guest on 30 September 2021 . obedience, glorifying. I don’t remember MEPHISTOPHELES: Oh great. Well, it’s ever loving god. Not in the way I loved the up to you. But that will change as you get to other angel. know me. FAUST: Who was it? FAUST: Will you shut up for a minute? MEPHISTOPHELES: It’s too long ago to MEPHISTOPHELES: Jeez. I’m just trying remember. You’d think I would remember to explain a few things . as I said, there the object and reason of my disastrous fate. was no love then. How do you like that? You invent love and get thrown out of heaven. So, ok it was a PHAEDRA: Yeah, right. Who let you in mistake. How did I know? He said it was here? my pride. What pride? There was no such thing as pride or love or sex or sexes. There MEPHISTOPHELES: There was no con- was just light. It was a big bore. Or words. cept of it And I brought this up to him. You know: “In the beginning was the word?” And he hurled me out, kicked me to the Not true.
Load more

Recommended publications
  • Stardigio Program
    スターデジオ チャンネル:４５０ 洋楽アーティスト特集 放送日：２０１９/１１/２５～２０１９/１２/０１ ｢番組案内 （８時間サイクル）｣ 開始時間：4：00～/12：00～/20：00～ 楽曲タイトル 演奏者名 ■CHRIS BROWN 特集 (1) Run It! [Main Version] Chris Brown Yo (Excuse Me Miss) [Main Version] Chris Brown Gimme That Chris Brown Say Goodbye (Main) Chris Brown Poppin' [Main] Chris Brown Shortie Like Mine (Radio Edit) Bow Wow Feat. Chris Brown & Johnta Austin Wall To Wall Chris Brown Kiss Kiss Chris Brown feat. T-Pain WITH YOU [MAIN VERSION] Chris Brown TAKE YOU DOWN Chris Brown FOREVER Chris Brown SUPER HUMAN Chris Brown feat. Keri Hilson I Can Transform Ya Chris Brown feat. Lil Wayne & Swizz Beatz Crawl Chris Brown DREAMER Chris Brown ■CHRIS BROWN 特集 (2) DEUCES CHRIS BROWN feat. TYGA & KEVIN McCALL YEAH 3X Chris Brown NO BS Chris Brown feat. Kevin McCall LOOK AT ME NOW Chris Brown feat. Lil Wayne & Busta Rhymes BEAUTIFUL PEOPLE Chris Brown feat. Benny Benassi SHE AIN'T YOU Chris Brown NEXT TO YOU Chris Brown feat. Justin Bieber WET THE BED Chris Brown feat. Ludacris SHOW ME KID INK feat. CHRIS BROWN STRIP Chris Brown feat. Kevin McCall TURN UP THE MUSIC Chris Brown SWEET LOVE Chris Brown TILL I DIE Chris Brown feat. Big Sean & Wiz Khalifa DON'T WAKE ME UP Chris Brown DON'T JUDGE ME Chris Brown ■CHRIS BROWN 特集 (3) X Chris Brown FINE CHINA Chris Brown SONGS ON 12 PLAY Chris Brown feat. Trey Songz CAME TO DO Chris Brown feat. Akon DON'T THINK THEY KNOW Chris Brown feat. Aaliyah LOVE MORE [CLEAN] CHRIS BROWN feat.
    [Show full text]
  • Goethe, the Japanese National Identity Through Cultural Exchange, 1889 to 1989
    Jahrbuch für Internationale Germanistik pen Jahrgang LI – Heft 1 | Peter Lang, Bern | S. 57–100 Goethe, the Japanese National Identity through Cultural Exchange, 1889 to 1989 By Stefan Keppler-Tasaki and Seiko Tasaki, Tokyo Dedicated to A . Charles Muller on the occasion of his retirement from the University of Tokyo This is a study of the alleged “singular reception career”1 that Goethe experi- enced in Japan from 1889 to 1989, i. e., from the first translation of theMi gnon song to the last issues of the Neo Faust manga series . In its path, we will high- light six areas of discourse which concern the most prominent historical figures resp. figurations involved here: (1) the distinct academic schools of thought aligned with the topic “Goethe in Japan” since Kimura Kinji 木村謹治, (2) the tentative Japanification of Goethe by Thomas Mann and Gottfried Benn, (3) the recognition of the (un-)German classical writer in the circle of the Japanese national author Mori Ōgai 森鴎外, as well as Goethe’s rich resonances in (4) Japanese suicide ideals since the early days of Wertherism (Ueruteru-zumu ウェル テルヅム), (5) the Zen Buddhist theories of Nishida Kitarō 西田幾多郎 and D . T . Suzuki 鈴木大拙, and lastly (6) works of popular culture by Kurosawa Akira 黒澤明 and Tezuka Osamu 手塚治虫 . Critical appraisal of these source materials supports the thesis that the polite violence and interesting deceits of the discursive history of “Goethe, the Japanese” can mostly be traced back, other than to a form of speech in German-Japanese cultural diplomacy, to internal questions of Japanese national identity .
    [Show full text]
  • Chicago Symphony Orchestra
    Pittsburgh Symphony Orchestra 2015-2016 Mellon Grand Classics Season April 1, 2 and 3, 2016 MANFRED MARIA HONECK, CONDUCTOR EMANUEL AX, PIANO / , BOY SOLOIST / , SOPRANO / , BASS THE ALL UNIVERSITY CHOIR CHRISTINE HESTWOOD AND ROBERT PAGE, DIRECTORS / CHILDREN’S CHORUS / , DIRECTOR JOHANNES BRAHMS Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 I. Allegro non troppo II. Allegro appassionato III. Andante IV. Allegretto grazioso Mr. Ax Intermission CARL ORFF “Fortuna imperatrix mundi” from Carmina Burana for Chorus and Orchestra LEONARD BERNSTEIN Chichester Psalms for Chorus, Boy Soloist and Orchestra I. Psalm 108, vs. 2 (Maestoso ma energico) — Psalm 100 (Allegro molto) II. Psalm 23 (Andante con moto, ma tranquillo) — Psalm 2, vs. 1-4 (Allegro feroce) — Meno come prima III. Prelude (Sostenuto molto) — Psalm 131 (Peacefully flowing) — Psalm 133, vs. 1 (Lento possibile) boy soloist GIUSEPPE VERDI Overture to La forza del destino GIUSEPPE VERDI “Te Deum” (No. 4) from Quattro Pezzi Sacri April 1-3, 2016, page 2 for Chorus and Orchestra soprano soloist ARRIGO BOITO Prologue to Mefistofele for Bass Solo, Chorus, Children’s Chorus and Orchestra bass soloist April 1-3, 2016, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA JOHANNES BRAHMS Born 7 May 1833 in Hamburg, Germany; died 3 April 1897 in Vienna, Austria Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 (1878, 1881) PREMIERE OF WORK: Budapest, 9 November 1881; Redoutensaal; Orchestra of the National Theater; Alexander Erkel, conductor; Johannes Brahms, soloist PSO PREMIERE: 15 January 1909; Carnegie Music Hall; Emil Paur, conductor and soloist APPROXIMATE DURATION: 50 minutes INSTRUMENTATION: woodwinds in pairs plus piccolo, four horns, two trumpets, timpani and strings In April 1878, Brahms journeyed to Goethe’s “land where the lemon trees bloom” with two friends, the Viennese surgeon Theodor Billroth and the composer Carl Goldmark.
    [Show full text]
  • RESTORATION RESTORATION 660 Mason Ridge Center Dr
    REGRETS, REALITY, REGRETS, REALITY, RESTORATION RESTORATION Regrets: whose life is not plagued by at least a few of these nagging leftovers from the past? The things we regret doing—or not doing, as the case may be—can wear us down, reshaping our lives and our sense of self, in the process. Left unattended, regrets erode our self-esteem, our willingness to press on, even our ability to think clearly. Everything becomes shrouded by the guilt, the pain we’ve caused, the sense that lives have been ruined, or at least dreadfully altered, by our foolish mistakes. 660 Mason Ridge Center Dr. What’s happened in our lives, however, does not have to dictate the present—or the future. We can move beyond the crippling anguish and pain our decisions St. Louis, Missouri 63141-8557 may have caused. Still, restoration—true restoration— is not purely a matter of willpower and positive think- ing. It’s turning to the One who has taken all our griefs, 1-800-876-9880 • www.lhm.org sorrows, anxieties, blunders, and misdeeds to the cross and where, once and for all time, He won for us an ultimate victory, through His death and resurrection. In Jesus there is a way out of your past. There is no 6BE159 sin beyond pardon. Even as Peter was devastated by his callousness toward the Savior’s predicament and arrest, he was restored—by the grace of God—to a REGRETS, REALITY, life that has made a difference in the lives of untold millions through the centuries. 6BE159 660 Mason Ridge Center Dr.
    [Show full text]
  • Early Faust Literature and Skepticism in the Reformation
    Dustin Lovett 20 Polemical Magic: Early Faust Literature and Skepticism in the Reformation Dustin Lovett (University of California, Santa Barbara) Richard Popkin’s epochal work on the history of skepticism in the Early Modern period1 identifies the seminal gesture of the Reformation, Luther’s rejection of the Catholic church’s entire framework of authority at the Diet of Worms, as the opening of a “Pandora’s Box” that sparked a skeptical crisis, or “crise pyrrhonienne,” which soon engulfed the Western world (5). Popkin’s narrow understanding of the term skepticism and his emphasis on the role of the printed Latin translations of Sextus Empiricus’s work in the 1560s in the birth of modern science have become controversial, but whether one adopts Popkin’s view of an acute crisis in the sixteenth and seventeenth centuries or takes a longer and broader view of skepticism,2 the Reformation marks a moment of profound transformation in the history of European thought. As Stuart Clark notes, the temptation “to think of the [Early Modern] period as one of radical epistemological instability” does not exist without reason (1997, 257). In rejecting the authority of the pope and church councils, which had previously arbitrated the nature of truth, in favor of “what conscience is compelled to believe on reading Scripture” (Popkin 3) Luther was redefining the criteria for religious orthodoxy. For centuries, the Catholic church alone had defined the nature of and means of achieving theological principles such as grace or repentance. The spiritual confusion that resulted from Luther’s repudiation of numerous Catholic doctrines finds its reflection in many literary works of the time but perhaps nowhere more potently than in the legend of Faust, which emerged and developed in the early Reformation era into a vehicle for Luther’s radical skepticism toward Catholic doctrines ranging from intercession and repentance to the saints’ cults and miracles.
    [Show full text]
  • Proquest Dissertations
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, som e thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Artxsr, Ml 48106-1346 USA 800-521-0600 UMI* NOTE TO USERS Page(s) missing in number only; text follows. Page(s) were microfilmed as received. 131,172 This reproduction is the best copy available UMI FRANK WEDEKIND’S FANTASY WORLD: A THEATER OF SEXUALITY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University Bv Stephanie E.
    [Show full text]
  • Dead Zone Boys Lyrics
    Phantom Don't Go Phantom don't go, stay with me. I got to have one more, stay with me. You know I love your shape the most, stay with me. Make peace with the Holy Ghost, stay with me. Phantom, don't ever leave. I need your powers if I'm 'gonna succeed. Forgive the white hearts for doubting your soul. They know it takes two ancient halves to be whole. Dead zone boys wish to take your life away, and the desperate phantoms wish to put you in their place. Phantom don't go, stay with me. Dead zone boys coming close, stay with me. Your the only one they listen to, stay with me. I keep a blade for your hand to use, stay with me. Phantom, don't ever go. I want your powers but I 'gotta say no. I 'gotta get right. I stained my eyes staring into the light. Runes and sens buzzin' round my head. You glyph me out like I would rather be dead. Your phantom dancing, your phantom strength, your phantom wisdom, your phantom bank. Dead zone boys wish to take your life away, and the desperate phantoms wish to put you in their place. Phantom don't go, stay with me. Dead zone boys coming close, stay with me. Your the only one they listen to, stay with me. I keep a blade for your hand to use, stay with me. Dont Go Phantom Don't Go Phantom, I'm in love with you. I'll do anything you want me to do.
    [Show full text]
  • Horror of Philosophy
    978 1 84694 676 9 In the dust of this planet txt:Layout 1 1/4/2011 3:31 AM Page i In The Dust of This Planet [Horror of Philosophy, vol 1] 978 1 84694 676 9 In the dust of this planet txt:Layout 1 1/4/2011 3:31 AM Page ii 978 1 84694 676 9 In the dust of this planet txt:Layout 1 1/4/2011 3:31 AM Page iii In The Dust of This Planet [Horror of Philosophy, vol 1] Eugene Thacker Winchester, UK Washington, USA 978 1 84694 676 9 In the dust of this planet txt:Layout 1 1/4/2011 3:31 AM Page iv First published by Zero Books, 2011 Zero Books is an imprint of John Hunt Publishing Ltd., Laurel House, Station Approach, Alresford, Hants, SO24 9JH, UK [email protected] www.o-books.com For distributor details and how to order please visit the ‘Ordering’ section on our website. Text copyright: Eugene Thacker 2010 ISBN: 978 1 84694 676 9 All rights reserved. Except for brief quotations in critical articles or reviews, no part of this book may be reproduced in any manner without prior written permission from the publishers. The rights of Eugene Thacker as author have been asserted in accordance with the Copyright, Designs and Patents Act 1988. A CIP catalogue record for this book is available from the British Library. Design: Stuart Davies Printed in the UK by CPI Antony Rowe Printed in the USA by Offset Paperback Mfrs, Inc We operate a distinctive and ethical publishing philosophy in all areas of our business, from our global network of authors to production and worldwide distribution.
    [Show full text]
  • Page 1 of 3 Moma | Press | Releases | 1998 | Gallery Exhibition of Rare
    MoMA | press | Releases | 1998 | Gallery Exhibition of Rare and Original Film Posters at ... Page 1 of 3 GALLERY EXHIBITION OF RARE AND ORIGINAL FILM POSTERS AT THE MUSEUM OF MODERN ART SPOTLIGHTS LEGENDARY GERMAN MOVIE STUDIO Ufa Film Posters, 1918-1943 September 17, 1998-January 5, 1999 The Roy and Niuta Titus Theater 1 Lobby Exhibition Accompanied by Series of Eight Films from Golden Age of German Cinema From the Archives: Some Ufa Weimar Classics September 17-29, 1998 The Roy and Niuta Titus Theater 1 Fifty posters for films produced or distributed by Ufa, Germany's legendary movie studio, will be on display in The Museum of Modern Art's Roy and Niuta Titus Theater 1 Lobby starting September 17, 1998. Running through January 5, 1999, Ufa Film Posters, 1918-1943 will feature rare and original works, many exhibited for the first time in the United States, created to promote films from Germany's golden age of moviemaking. In conjunction with the opening of the gallery exhibition, the Museum will also present From the Archives: Some Ufa Weimar Classics, an eight-film series that includes some of the studio's more celebrated productions, September 17-29, 1998. Ufa (Universumfilm Aktien Gesellschaft), a consortium of film companies, was established in the waning days of World War I by order of the German High Command, but was privatized with the postwar establishment of the Weimar republic in 1918. Pursuing a program of aggressive expansion in Germany and throughout Europe, Ufa quickly became one of the greatest film companies in the world, with a large and spectacularly equipped studio in Babelsberg, just outside Berlin, and with foreign sales that globalized the market for German film.
    [Show full text]
  • "I Cried out and None but Jesus Heard!" Prophetic Pedagogy
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 "I Cried Out and None but Jesus Heard!" prophetic pedagogy: the spirituality and religious lives of three nineteenth century African-American women Elecia Brown Lathon Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Lathon, Elecia Brown, ""I Cried Out and None but Jesus Heard!" prophetic pedagogy: the spirituality and religious lives of three nineteenth century African-American women" (2005). LSU Doctoral Dissertations. 3120. https://digitalcommons.lsu.edu/gradschool_dissertations/3120 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “I CRIED OUT AND NONE BUT JESUS HEARD!” PROPHETIC PEDAGOGY THE SPIRITUALITY AND RELIGIOUS LIVES OF THREE NINETEENTH CENTURY AFRICAN-AMERICAN WOMEN A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Curriculum and Instruction By Elecia Brown Lathon B.S., Southern University, 1993 M.Ed., Louisiana State University, 1996 Ed.S., Louisiana State University, 2002 December 2005 ©Copyright 2005 Elecia Brown Lathon All Rights Reserved ii For my mother Laverne S. Brown, my inspiration, my friend and my first teacher iii ACKNOWLEDGMENTS All that I am and all that I ever hope to be I owe it all to thee.
    [Show full text]
  • Like a Faint Echo Emanating from the Netherworld, the Theme of Temptation Is Sung by a Large Choir of Bass Voices As a Representation of Mephistopheles
    Measures 1-11: Mephistopheles' theme: Like a faint echo emanating from the netherworld, the theme of temptation is sung by a large choir of bass voices as a representation of Mephistopheles. Mephistopheles promises Faust both joy and love in exchange for accepting the pact he's proposing. Measures 12-19: Faust's theme: Faust, a highly-educated scientist, is a lonely and bitter man who feels spurned by years devoted entirely to the pursuit of knowledge, while not providing him with any personal satisfaction. He has never tried to seduce the woman whom he has always loved from afar. In considering this situation, Faust laments. Measures 20-29: Reintroduction of the Mephistopheles theme (dialogue between Mephistopheles and Faust) In sensing Faust's vulnerability, Mephistopheles resumes his theme of temptation with greater force and conviction. Mephistopheles' words and promises resonate in Faust's subconscious. Measures 30-48: Reintroduction of Faust's theme, followed by the development of Mephistopheles' theme While continuing to lament his miserable situation, Faust is extremely tempted by Mephistopheles' entreaties. He considers teaming up with the Devil as a way of recovering from his dire situation and finally seducing the woman he associates with true Love. Faust winds up succumbing to temptation and enters into a pact with Mephistopheles (transition measure 36). At this point, Faust recites on his own Mephistopheles' theme, which then gets treated with a crescendo buildup until hitting higher notes. Faust feels "reborn". Measures 49-59: Finale Faust's theme is altered during a finale involving all instruments in the ensemble as well as the choir.
    [Show full text]
  • In Goethe's Faust, Unlike the Earlier Versions of the Story, the Faithless
    1 In G​ oethe’s Faust,​ unlike the earlier versions of the story, the faithless sinner that is Faust receives grace and goes to Heaven, rather than being thrown to the fires of Hell. Faust’s redemption is contrary to every other redemption in every other story we have read up till now. Faust wasn’t asking forgiveness from God, unlike his beloved Margaret, and so many others before him. Faust doesn’t seem even to believe in the all mighty, even when directly talking to the Devil himself. Yet, in the end, Mephisto’s plot is foiled, Faust’s soul is not cast into the inferno, but raised to paradise. Goethe has Faust receive a secular salvation, through Faust’s actions rather than through his belief. Goethe shows both the importance of action versus words, and Faust’s familiarity with the Bible, with Faust’s translation of Logos, “It says: ‘In the beginning was the W​ ord… I​ write: In the beginning was the A​ct.” (​G​ oethe's Faust,​ line 1224, 1237) Here, Faust demonstrates a clear understanding of a theological problem, the importance of a single word within the Bible. Having Logos translated as “the Word” has many more different implications than if it means “the Act”. The Act would imply the creation of everything was a direct application of Gods will. He did not need to say for something happen, God did something to put the universe in motion by action alone. Goethe includes this translation of Logos, as the Act instead of the Word, for several reasons.
    [Show full text]