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Fault and romanticism essay
Goethe's faust part 1
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For this paper Goethe’s, Faust will be compare and contrast with Kant’s, “Foundations of the metaphysics of Morals” and the relationship between human reason and emotion will be examined. Faust from Goethe is considered one of the greatest dramatic poems, and is divided in two parts; in the first half he uses reason and for the second part he uses passion. Even knowing that the history is based on a medieval man or medieval legend who sold his soul to the devil, we actually can say or treat this text as a modern man’s type of alienation and the need to be a part of the world where he lives in. In the other end, Kant’s “Foundations of the Metaphysics of Morals” discusses reason and emotion. For example, Kant wants people to think for themselves and ask themselves why they think, what they think, and question others before relying on them. Faust represents the “Enlightenment Scholar” that Kant says we can be and he is unhappy, stating thought is not a doer and believes nothing can fulfill his life and that now all his joys will come from the world. In Faust’s adventures between light and dark (light as for example heaven and dark as hell), in the search to find happiness or for Kant the search of moral, man must learn how to conquer the small things or elements of his own nature and always live constructively within the challenges and objectives imposed up on him. As Kant said, to find moral or happiness people need to stand up for their own beliefs and people do not need others to be a good moral person. So for this paper the following paragraphs will compare and contrast the ideas of Kant in the “Foundation of the Metaphysics of Morals” and the ideas of Goethe in the poem Faust. For Kant in the “Foundation of the Metaphysics of M... ... middle of paper ... ...aves you cold; Dear kids, I do not take offense; Recall: the Devil, he is old, Grow old yourselves, and he’ll make sense!” (Goethe). That proves that the deceptions that he had during his adventures just made him grow as a person, contrasting with the ideas of Kant such as “Have the courage to use your own reason – That is the motto of enlightenment” (Kant). What Kant and Goethe mean with those quotes is that if one uses reason, one will become a better person with a better moral. So what both works are trying to tell us about human reason and emotion is that Kant has been more direct with his ideas of moral and Goethe, showing us with the poem Faust, that even in a dramatic way you can use such reason and emotion, but it will only depend on you, each of those will be better for you. As said before in Faust “As soon as you trust yourself, you will know how to live”
Nietzsche’s Genealogy of Morals can be assessed in regards to the three essays that it is broken up into. Each essay derives the significance of our moral concepts by observing
Throughout Kant’s, Groundwork of the Metaphysic of Morals, some questionable ideas are portrayed. These ideas conflict with the present views of most people living today.
Anyone who reads The Sorrows of Young Werther by Johann Wolfgang von Goethe instantly feels the emotional intensity portrayed by Werther, the protagonist. His speculations about life are indeed unique, especially in modern times when life often goes by quickly without notice. Perhaps that is one of the reasons why his immense emotion strikes a chord with readers as coming from someone crazy or dangerous. Werther’s mental state seems incredibly alive at some times while seemingly lifeless at others. This lifeless state of mind is similar to another sorrowful character in Kurt Vonnegut’s Slaughterhouse Five. In his story of Billy Pilgrim, a similar wonder engulfs the reader, causing us to question the cause of both his mindset and of our own. These books bring a couple of interesting questions to mind… How much emotion is too much? How little is too little? These characters struggle with powerful emotion in many ways, and are therefore judged as mad. The two protagonists engage in totally different journeys, but each of them leads the reader to discover the limits of human emotion. These limits are reached by Werther and Billy, therefore leading to both characters’ demise.
In the Second Analogy, Kant argues that we must presuppose, a priori, that each event is determined to occur by some preceding event in accordance with a causal law. Although there have been numerous interpretations of this argument, we have not been able to show that it is valid. In this paper, I develop my own interpretation of this argument. I borrow an insight offered by Robert Paul Wolff. In Kant's argument, our need to presuppose that the causal determination of each event rests not upon our need to impose a 'necessary' and 'irreversible' temporal order upon representations of the states of an object, as Kant is usually interpreted, but upon our need to generate a comprehensive representation that includes a certain a priori conception of events in the world around us. Although the argument I attribute to Kant is valid, it cannot compel the Humean skeptic to accept the necessity of presupposing the causal determination of each event: Kant has not successfully responded to Hume in the Second Analogy.
In the literary `movements' of neo-classicism and romanticism, Voltaire's Candide and Goethe's The Sorrows of Young Werther represent the literary age in which they were written. In the following composition, textual evidence will be provided to demonstrate how each book accurately represents either the neo-classicism age or the romanticism age. Candide and The Sorrows of Young Werther will be examined separately, and then examined together. After, a discussion about how each age seems to view the nature of man and the significance of moral and spiritual values will be presented. Also, a personal interpretation of the conclusion of each book will be given. Lastly, quotes and examples will be given to show which of the two literary ages offers more to the reader.
In Grounding for the Metaphysics of Morals, Immanuel Kant argues that human beings inherently have capability to make purely rational decisions that are not based on inclinations and such rational decisions prevent people from interfering with freedom of another. Kant’s view of inherent ability to reason brings different perspective to ways which human beings can pursue morality thus it requires a close analytical examination.
Nathaniel Hawthorne’s version of the Faust Legend in the works of “Young Goodman Brown” is considered to be a significantly different version when compared to the common Faust Legend. The article that I found discussing this subject is, The Rewriting of the Faust Myth in Nathaniel Hawthorne’s, “Young Goodman Brown.” By Hubert Zapf. A brief summery as to what this essay is about, Zapf’s entire thesis is filled with information and facts that all leads up to the analyzing of the common use and application of the Faust legend in Nathaniel Hawthorne’s story “Young Goodman Brown”, and how it compares in contrast to other “Faust users”. The points made through out Zapf’s essay consist of what the Faust legend originally is and how Hawthorne used it differently in his story, “Young Goodman Brown”. Zapf is analyzing the similarities, differences, and symbolism of Hawthorne’s version of Faust compared to the traditional out look of the Faust as well as the differences when compared with “Young Goodman Brown”. The comparing of this information is a way for Zapf to show that, “Both the transgression and the price to be paid are symbolically expressed in the central element of the Faust Myth” and to really show that that Hawthorne was using his own version of Faust (19). My own opinion of this essay confides with the fact that I agree the use of the Faust legend in the works of Hawthorne has the foundation of Faust, however there are some differences as well.
transformation of the lives of others as well as his own. In this respect, the lesson of the Romantic hero is comprised less of romance than of utility. Following the trends of the Goethe’s contemporary evolving society, the means by which Faust succeeds in accomplishing his goals are largely selfish, brutal, and unethical. This is perhaps Goethe’s single greatest reflection on the modern nature of heroism.
What are, and what are the differences between, judgments of perception and judgments of experience for Kant?
The protagonist in Goethe's Faust I is a controversial character. Doctor Faust's moral character is not clearly defined and as a result, it makes it difficult for one to determine if he is a good or bad person. Despite the ambiguities, several pieces of evidence throughout the play show that Doctor Faust is a negative figure. Firstly, although Faust's perspective and character most likely started off to be positive, they are generally negative at the beginning of the play. Secondly, Faust's actions are not acceptable according to society's standards, therefore making him an immoral person. In Goethe's Faust I, Doctor Faust is a negative figure because he is an immoral man shown by his attitude and personality, notably the characteristics that resemble the Übermensch.
...n cooperation. It is also interesting how this problem expands into Goethe's Faust and Italian Journey and seems to be the basis of a greater theme in his literature. The question of Goethe's appropriation of nature could be whether he subscribes to a mechanical or magical philosophy in MacLennan's terms. Either master to nature or companion, Goethe's relationship with nature is dynamic and complex.
Von Goethe, Johann W. “The Sorrows of Young Werther.” Romanticism. Ed. John B. Halsted. New . . York: Walker Publishing Company, 1969.
III. Faustus is portrayed as a very individual character. He changes and is shaped by the events that happen all around him. Everything he does affects his future outcome. For example his decision to give up his studies of medicine were very un-stereotypical of a character that is studying to be a doctor to do. Even more so is his decision to take upon the necromantics of the devil. He says, “Then read no more; thou hast attain'd that end: A greater subject fitteth Faustus' wit.” (1.11) He believes that he has learned enough information about all the great things of the world and there is nothing left to study that will intrigue him as much as magic will. His curious personality affects the play because his decisions determine the plot. For example the Seven Deadly Sins entice him so he becomes convinced not to repent his sin. This characterizes him as gullible, curious and adventurous. He becomes obsessed with his magic and he absolutely loves having the powers to do anything he pleases. An example of this is when he conjures up Helen. He knows he can do whatever he wants without reservation so he chooses to conjure the woman who launched a thousand ships. This shows that not only is he gullible, curious and obsessed but also Faustus only wishes for the best in whatever he does; the best that will please him.
The first appearance of Faust in the story finds him having doubts about himself and the worth of his time spent in education. Undeterred by this depression, we see his pride has not diminished as he declares he is “cleverer than these stuffed shirts, these Doctors, M.A.s, Scribes and Priests, I’m not bothered by a doubt or a scruple, I’m not afraid of Hell or the Devil” (Goethe 633). Turning to magic to fill the void in his life, Faust conjures a spirit, but shrinks back from it in fear. In the ensuing argument between them, Faust asserts that he is the spirits “equal” (Goethe 637). Mephisto’s second visit at Faust’s residence leads them to having a drawn out discussion over the proposal of Mephisto serving Faust in exchange for his soul. Common sense might ask why a person would willingly discuss a deal with the devil knowing that it probably won’t end well. This instance would have to be answered that the imperious pride of Faust made him “so rash that he would give no heed to the salvation of his soul He thought the devil could not be so black as he is painted nor hell so hot as is generally supposed” (Fischer 107). In spite of his vast education, Faust’s pride pulls him into wagering his soul with Mephisto and causing the deaths of others and his
In Johann Wolfgang Von Goethe’s Faust (Part One) as well as in Gotthold Ephraim Lessing’s Nathan the Wise, love plays a vital role. Love is the reason that an individual strays from the path to enlightenment and begins to act in strange, unpredictable ways. It decreases an individual’s ability to reason and takes away any incentive he might have to seek enlightenment. Since love is based on faith, it goes against the ideals of enlightenment which stress individual thinking. Love brings about a sense of fulfillment, which also works against the ideals of enlightenment which advocate a constant struggle within the individual to find truth or reach a higher plain of thought. In the Age of Enlightenment, love is a temptation man must overcome to reach enlightenment.