Faust Part 1

Faust a Colorado Documentary – English Transcript by Joseph T McGarry, MD - Copyright 2019 Cordobe LLC DISK 1 CHAPTER 1 Introduction by "Sons and Brothers" and singing "Measure of a Man" “So we're going to another song by request. It's one of our all time favorites. It's written by our good buddy, Michael Fleming from California and the leader of the great band, "New West." This was the title tract actually of the last CD that Dad was on . This is the record: "Measure of a Man." We were really pleased to get him to sing on it at the end. It's one that we didn't play for a long time after he passed away. I think we've only done it a couple of times. So we have a really good deal with a good friend of ours. The guy who kinda looked after us, when we were growing up, Dr. Joe McGarry, called us and wanted to know, if he could use this song in a project that he was working on. We got some folks here filming tonight. If we don't get it right the first time, we're going to just keep playing it until we do. You think I'm kidding! Pleased to share this with you. This is "Measure of a Man." We were holed up on Black Mesa Near a wash that had no name Straining and seeking shelter from the sun and pouring rain Three days of hunting mavericks on a god forsaken ranch There was plenty ventured boys, but nothing gained I was moaning and complaining about the life that I had led I said Jim there must be better ways for a man to get ahead. And if it ain't cold and freezing then it's hot as hell instead Jim just fixed a level gaze at me and then he said: "It's times like these that takes the measure of a man It's times like these you choose to run or make a stand Oh the dark night of your soul is here to help you grow And you will find that you come to treasure all the times, you met the measure of a man. DISK 1 CHAPTER 2 FAUST ORIGINS FAUST, A TRAGEDY IN TWO PARTS AND JOHANN WOLFGANG VON GOETHE (1749-1832) A COLORADO DOCUMENTARY " A CLASSIC IS SOMETHING THAT EVERYBODY WANTS TO HAVE READ AND NOBODY WANTS TO READ." MARK TWAIN Hi. If you were to look up Johann Wolfgang von Goethe, you'd find something to the effect of: Germany's greatest poet, the center of German literature, and a pinnacle of European literature. If you looked up Goethe's Faust, you would find : the centerpiece and masterpiece of the German literary tradition, a geological record of Goethe's life and art and an unprecedented work of an entire lifetime concerning the most profound problems of life. If you read or watched Goethe's Faust, when it was completed roughly 200 years ago, you would be familiar with Dr. Johannis Faust, the most famous sorcerer-magician of the 16th, 17th and 18th centuries. He was a doctor of theology and divinity, who quickly turned from the white magic of religions to the evil black magic. Faust was a seedy low-life, a pathological liar, a pederast, a braggart, a vile, egotistical, malignant, malevolent, mean spirited man. His feats of magic were of his own fabrication. He bragged that he had a special arrangement with the devil, whom he called his brother. Faust frequented the low class taverns and rooms in the vicinity of the University of Wittenberg. The students were captivated by his personality, his pranks and his alleged magic. No great scoundrel ever was uninteresting. The students assembled in Latin a grossly embellished collection of stories about Faust. Later this was translated into German and published as a short, inexpensive, pocket sized book, called a chapbook. So, the Faust legend took root in the 16th century, when belief in witchcraft and in diabolical agencies was still prevalent among the people. Publication of magic manuals bearing Faust's name became a lucrative business. These books included specific instructions on how to avoid making binding, bilateral pacts with the devil, and, if necessary, how to break these agreements through the use of Aaron root, Christ root and taking advantage of the magic power of circles against the devil. The first German Faustbook was produced by Spiess in 1587. It retained the magical, mythical adventures of Faust, which to most people was the really good part, but a new religious content formed. The title page of the Faustbook said: "History of Dr. Johann Faust, widely acclaimed magician and black artist, how he pledged himself to the devil for a certain time, what strange adventures he saw, brought about and pursued, until he received his just wages. Compiled and prepared as a horrible example and sincere warning for all conceited, clever, and godless people." James 4: "Submit yourselves before God. Resist the Devil and he will flee before you. After Faust suffers a gruesome death, the Faustbook concludes with a quote from Peter: "Be sober, be vigilant. Your adversary the devil walketh about as a roaring lion seeking whom he may devour." Five years later In 1592 the German Faustbook was translated into English by PF Gant and titled: "The Historie of the Damnable Life and Deserved Death Of Dr. John Faustus." It was quickly followed by Christopher Marlowe's: "The Tragical Historie of Dr. Faustus." In these stories and subsequent ones until the time of Goethe, the central element was the story of a man who desired forbidden knowledge and power and became so desperate to have them that he made a pact with the devil for 24 years of unbridled power, wealth and pleasure in exchange for his soul. Invariably in these stories Faust came to a brutal death and eternal damnation, although he became successively more human and sympathetic. He approached contrition and repentance but always fell short, because he felt his sins were too great. Marlowe's Faustus ignited an explosion of Faust based artistic activity. Interest in the magic elements of Faust had diminished but was replaced. English touring companies went throughout the continent performing Faust in different ways: one time spectacular and sensational, another time sentimental and grisly, another time farcical and comedic. Puppet shows used Faust as a favorite theme. Faust was painted by Rembrandt and Hogarth, hawked on the streets as a a ballad, advertised on billboards, hotels and restaurants. Faust reached every level of society. Goethe as a child first became acquainted with Faust as a puppet shows at fairs and carnivals. It made a deep and lasting impression upon him. He said that after that Faust was never out of his mind. At age 23 he began writing Faust, and at age 25 he became the first German writer superstar. His novel, "The Sufferings of Young Werther," became an international hit. It was the first German novel translated into English French, Italian and Spanish. He received an invitation to the Royal Court at Weimar of Karl Augustus, and he stayed there the rest of his life. His work on Faust proceeded by fits and spurts. He would produce something, release it, and it would be received rapturously by his public. In 1790 at the age of 41, Goethe called it quits with Faust. He published what he had written as: "Faust, a Fragment," tied it all together into a bundle and put it away. In 1794 Schiller and Goethe began an intense, artistic partnership. Schiller saw the immense potential and power of Faust and was able to successfully encourage Goethe to resume work on it. In 1797, at age 48, after 25 years of intermittent work, Goethe dedicated "Faust, a Tragedy" to Schiller. Goethe begins his Dedication of the play by acknowledging his muses and the creative spirits, who, when he was young, were no where to be found, and, when he wanted to put Faust down, wouldn't let him alone - "where were you when I wanted you; where were you when I needed you?"(Grassroots) At age 48 he finds he's unaccustomed to the style of his youth, age 23, when he was part of the Sturm und Drang Movement, Storm and Stress. which was rebellious. anti-establishment and wild. Now he and Schiller are the center of the Classical movement in Weimar, where the primary tenets are balance, proportion, harmony and control. DISK 1 CHAPTER 3 THE DEDICATION So, you come near again, you wavering shapes When I was young, I could barely see you Should I try to grab and hold you now? Do your illusions still attract me? You crowd near. Good. Have your way with me! As you rise from mist and cloud Your magic stirs youthful tremors in my breast. The youthful tremors in his breast include first loves and friendship. The tone of the poem becomes more somber and melancholic, as Goethe reflects upon the friends who have gone out of his life and the new group of friends, artists, critics and literary movements, which have replaced them. You bring me images of happy days And many beloved shadows rise to mind Like an old half-forgotten tale Come memories of first love and friendships The pains too becomes fresh, they repeat the lament Of life's labyrinth errant run And name the good people, who were cheated by fate Of many beautiful hours and have departed ahead of me.

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