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Excerpt from Goethes Iphigenie Auf Tauris: Edited With Introduction, Repetitional Exercises Notes and Vocabulary As Iphigenia and the temple maidens are singing their dirge for dead Orestes, a herdsman enters with the news of his capture of two Greek youths. At first the priestess finds but small pity for the fate of her two countrymen, for she is brooding over the death of her brother and cherishing thoughts Of revenge upon Helen and Menelaus who have caused all her present woe. But soon she recalls her own exile and her softer self returns, to feel anew repellent horror at the bloody duty which she behaves Diana would never sanction, for no god is evil; men do but ascribe to them their own wickedness. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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The Golden Bull of 1356 (German: Goldene Bulle, Latin: Bulla Aurea) was a decree issued by the Imperial Diet at Nuremberg and Metz (Diet of Metz (1356/57)) headed by the Emperor Charles IV which fixed, for a period of more than four hundred years, important aspects of the constitutional structure of the Holy Roman Empire. It was named the Golden Bull for the golden seal it carried.
Excerpt from Goethe's Iphigenie Auf Tauris: With Introduction and Notes The reason for this popularity is in the remarkable char acter of the work. It is at once a most interesting dramatic presentation of an important mental and moral conflict, and a poem replete with rare and exquisite beauty of thought and expression. Wrought out on the plan of a Greek drama and imbued with the Greek spirit of simplicity and perfection of form, it constitutes an admirable basis for a comparison between the best of ancient history and the best of modern art. But in spite of its simplicity there is perhaps no other drama of Goethe, not even excepting his Faust, which calls for fuller elucidation, if one seeks to attain the highest aim of literary study. The many points of connection between the modern poet and the poets of Greece require attention, as well as the influence of the French drama, which has been so well shown by Hans Morsch, and the relation of the drama to the poet's own life and efforts at the time of its composition. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Gotz von Berlichingen is a successful 1773 drama by Johann Wolfgang von Goethe, based on the memoirs of the historical adventurer-poet Gottfried or Gotz von Berlichingen (c. 1480-1562). It first appeared in English in 1799 as Goetz of Berlichingen of the Iron Hand in a rather free version by Walter Scott. Goethe's plot treats events freely: while the historical Gotz died an octogenarian, Goethe's hero is a free spirit, a maverick, intended to be a pillar of national integrity against a deceitful and over-refined society, and the way in which he tragically succumbs to the abstract concepts of law and justice shows the submission of the individual in that society. Gotz von Berlichingen was one of Goethe's early successes but its large cast size, frequent quick scene changes, and long running time caused the original version to eventually fall out of favour. The play has been re-arranged and cut many times, including two versions by Goethe that were published posthumously. In 1978 Wolfgang Liebeneiner directed Raimund Harmstorf in a film version, Gotz von Berlichingen mit der eisernen Hand.
"Goethe stood above the Germans in every respect and still does: he will never belong to them. How could a people ever be equal to Goethe's spirituality in well-being and well-intention! As Beethoven made music about the Germans, as Schopenhauer philosophized about the Germans, so Goethe wrote his Tasso, his Iphigenia about the Germans." Nietzsche, Human, All Too Human "In his Iphigenia on Tauris, Goethe has achieved the most admirable and beautiful thing possible in this respect." - Hegel, Lectures on Aesthetics A new translation into modern American English of Goethe's 1779 "Iphigenie auf Tauris". This edition contains an Afterword by the Translator, a Timeline of Goethe’s Life & Works and a Glossary of Philosophic Terminology used by Goethe. "Iphigenia on Tauris" is a dramatic play by Goethe, inspired by Greek mythology. The play follows the character of Iphigenia, who, after being spared from a sacrificial death by the goddess Artemis, finds herself in exile on the island of Tauris. It explores themes of fate, duty, and the possibility of redemption. Goethe's rendition of the myth offers a complex portrayal of the characters and their inner conflicts, presenting a compelling exploration of human nature and the intricacies of moral choices. "Iphigenia on Tauris" is admired for its poetic language, dramatic tension, and profound psychological depth, as show by both Nietzsche and Hegel's praise.