Mephistopheles said he was in hell because he had tasted heaven.
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Spending his days with Mephistopheles doesn't ruffle him a bit, but Care?
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It's like entering into one of those pacts with the devil, like Mephistopheles or whatever.
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I fancy that Eggleston is the cavalier Mephistopheles of American color photography, and Shore the discreet angel Gabriel.
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MD: The whole thing is something like a Faustian pact, where essentially the consumer is Faust, and Google is Mephistopheles.
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Kate McKinnon takes Mephistopheles duty as a music industry shark who tempts Jack with wealth and fame beyond all imagining.
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As in the traditional folktale, and as in the Christopher Marlowe play, Goethe's Faust sells his soul to the Devil, Mephistopheles.
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The Mephistopheles figure in "The Sport of Kings," a novel that abounds with Faustian characters and dangerous learning, is a jockey himself.
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The role of Mephistopheles is a true gift to Christian Hecq, one of the most distinctive character actors at the Comédie-Française.
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Our first episode focuses on Gaetan Borgonie, a Belgian scientist who discovered the "mephistopheles worm," an extremophile that lives in Earth's deepest mine.
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Mr. Slipak, who had won fame in France for his renditions of the aria of Mephistopheles from the opera "Faust," adopted the nom de guerre Meph.
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At the start, we watch Faust make his deal with Mephistopheles, a shape-shifter played with smarmy villainy by Paul Kandel (who is married to Ms. Kandel).
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Delacroix pivoted from angels to demons in a ravishing lithograph of Mephistopheles, which he created as part of a set of illustrations for Johann Wolfgang von Goethe's Faust.
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As for the Mephistopheles who sets this process into motion, he is still very much alive and reigning over a robust empire that probably reaches into your own home.
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But they are the opposite of solemn; Goethe delights in his burlesque Mephistopheles, always mocking and jesting, as he does in the wild coincidences and improbabilities of Wilhelm's career.
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Though Mephistopheles has a bet going with the gray-bearded God (Bill Raymond, on video) over which of them will win Faust's soul, there's no feeling of spiritual peril, either.
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Other figures occasionally drift into view: a squalling, infantile old woman in a wheelchair (Kristin Griffith) and a hunky intruder named Dan (David Pegram), who materializes like a custom-ordered Mephistopheles.
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If what I'd heard was any indicator, this place was the actual pit of sin, where Mephistopheles himself lived in a garage apartment with two Yorkies, a fuck buddy, and a painted porch.
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" Ms. McGowan's friends watched as she made choices that surprised them, including beginning a relationship with Marilyn Manson, a controversial rock star and ordained Satanist who has called himself "the Mephistopheles of Los Angeles.
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We went down a slide connecting the ground floor of a building called Heaven, with a white interior, to a lower level with an elevator whose floors were marked Devil, Satan, Lucifer, Beelzebub and Mephistopheles.
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You don't need to read Faust's CliffsNotes to get a feel for the twisted demonic figure depicted here: Mephistopheles' limbs writhe and contort as he flies over a city, the sun laying low on the horizon.
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Mr. Christie remained the offstage villain, the Mephistopheles of Trenton, but it was impossible for even casual trial observers not to discern, from witness after witness, the evident viciousness and grubbiness of the governor and his administration.
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The opening scene, in which Mephistopheles the devil visits God and bets on the fate of the erudite Dr. Faust, sees both these supernatural beings hovering in the air on invisible chairs, as if freed from gravity.
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Klaus Maria Brandauer plays a German theater actor — a thinly disguised version of the real-life movie and stage star Gustaf Gründgens — who gains success playing Mephistopheles in "Faust" and strikes his own Faustian bargain with the Nazis.
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In the Orthodox version of the story, the shapeshifting Mephistopheles appears as an incubus, and Margaret's triumph over evil is rather more proactive, as she swiftly bludgeons him into submission with a hammer: see "Margaret of Antioch (eastern)" (2016).
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In Jeffers's pared-down version, Mephistopheles has been dropped from the cast and only monomaniacal Fausto remains, depicted here as a well-dressed older gent who bestrides a world he sees as basically a nonstop series of occasions for personal conquest.
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SETH COLTER WALLS AT 2 MINUTES 50 SECONDS In a bit of harmless Halloween programming, the Boston Symphony Orchestra presented a concert staging of Berlioz's "La Damnation de Faust" (1846) while, outside the hall, people in costume — maybe even a Mephistopheles?
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For Chris—and everyone else caught up in the swirl of her experiment—Dick is a rugged Mephistopheles, her incessant need for him leading her out of her gray funk and into a place where the rules and the sharp angles melt away.
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Here's how it all went down: Some lucky individual in the Mexican state of Baja California Sur has taken to the Internet to show off a rib eye steak in which he believes the marbling has formed an image of the Devil—as in Lucifer, Beelzebub, and Mephistopheles.
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While other composers drawn to Goethe's tragedy about a dissatisfied man who makes a pact with the devil have focused on the dark scenes from Part I — Faust's ruinous love for Gretchen and the destructive vortex of events wrought by Mephistopheles — Schumann set his sights on the epilogue in heaven.
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This is a baby's corpse, and Mephistopheles tosses it at Faust's feet. Mephistopheles tells the students of Faust's seduction of the Duchess, and subsequent abandonment. Mephistopheles then changes the dead infant into a bundle of straw and sets fire to it, from which comes a vision of Helen of Troy. The students recoil, and Mephistopheles departs.
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Faust says to Mephistopheles, "Listen, you must get that girl for me!" Mephistopheles says she's an "innocent" girl, but Faust says she's "older than 14". Mephistopheles says he's "speaking like some Don Juan". Faust then calls the devil a Master Moraliser.
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The Laboratory of Mephistopheles (), initially released in Britain and America as Laboratory of Mephistopheles and also known as The Cabinet of Mephistopheles, The Devil's Laboratory, Faust's Laboratory, and The Laboratory of Faust, was an 1897 short silent film directed by Georges Méliès, loosely inspired by the Faust legend.
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He demands that all his wishes be granted, to have all knowledge and the power of genius. Mephistopheles, in return, says that Faust must serve him after death, which Faust recoils from at first. Mephistopheles reminds Faust that his creditors and enemies are at the door. With Faust's approval, Mephistopheles causes them to fall, dead.
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Mephistopheles flying over Wittenberg, in a lithograph by Eugène Delacroix. Mephistopheles (, ; also Mephistophilus, Mephostopheles, Mephistophilis, Mephisto, Mephastophilis, and other variants) is a demon featured in German folklore. He originally appeared in literature as the demon in the Faust legend, and he has since appeared in other works as a stock character (see: Mephistopheles in the arts and popular culture).
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But Goethe was probably responding to Christopher Marlowe's The Tragical History of Doctor Faustus (1616) who has the characters German Valdes, Cornelius, Faustus, Mephistopheles, Lucifer, the good and evil angels, and a host of other devils. Faustus asks Mephistopheles to answer some questions. He asks how "many heavens and spheres there are". Mephistopheles says there are nine.
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When she sees Mephistopheles, she is frightened and implores to heaven: "Judgment of God! To thee my soul I give!". Mephistopheles pushes Faust from the prison with the words: "She now is judged!" ().
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Mephistopheles holding aloft his deceased victim. As the song begins, it is interrupted by loud chants of "Hallelujah", and Mephistopheles is seen in a large open space surrounded by a group of followers made up of gang members and prostitutes. Mephistopheles begins reading and blessing his followers in an exaggerated fashion, reminiscent of the style employed by a televangelist. As several members of the group begin bowing and kissing Mephistopheles' hand, one of them begins screaming and contorts his body, symbolizing demonic possession.
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At this juncture the superserviceable Mephistopheles of the Empire, Fouch, intervened.
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At this point, Mephistopheles returns to take Faust's soul to hell, producing the signed contract for supporting his claim. Faust responds by using the Chirrín-Chirrión to make the contract itself disappear, which makes Mephistopheles cry.
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After a prolonged, sinister gaze directly in to the camera, Mephistopheles holds the now-thrashing woman underwater until she appears lifeless. The video ends with Mephistopheles holding her drowned body in the air.Information adapted to text from video.
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The following program note, which Liszt took from Lenau, appears in the printed score: > There is a wedding feast in progress in the village inn, with music, > dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles > induces Faust to enter and take part in the festivities. Mephistopheles > snatches the fiddle from the hands of a lethargic fiddler and draws from it > indescribably seductive and intoxicating strains.
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His name is derived from Mephistopheles, a demon from the German legend of Faust.
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Mephistopheles emerges from a Hellmouth and battles Xena until she kills him. This releases Cyrene's soul, who tells Xena she will always be in her heart. While pondering the consequences of Mephistopheles' death, the trio notice the Hellmouth is starting to release steam.
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Act 2. Faust asks the devil to find him a wife, but Mephistopheles offers him ‘a woman for the bed’ instead. Faust asks the devil to show him Hell and Paradise. During this journey Faust is mocked by two devils, Mephistopheles and Mephistophila.
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"The Mephistopheles of Los Angeles" is a midtempo blues-inspired rock song, which runs for a duration of four minutes and 57 seconds. Lyrically, the song finds Manson comparing himself with Mephistopheles, a Germanic mythical demon who collects the souls of the damned. The figure gained wider popularity as a character in the Faust legend. "The Mephistopheles of Los Angeles" was the original title track of The Pale Emperor and, according to Manson, "the album's heart".
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The Story of "Mephistopheles" by Capt. J. F. Duff, The Brooklands Gazette, April 1925, Pages 384–385.
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All members of the gang then embrace Mephistopheles, and follow him out of the open space. In a subsequent scene, Mephistopheles is seen wandering down an alleyway, where he enters a room with a trinity of similar looking women. He eventually chooses one of the women by blessing them, and he begins baptizing her in a bathtub full of muddy water. When she loses consciousness, Mephistopheles revives her with the kiss of life, only to forcibly hold her under the water once again.
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Mephistopheles and Faust pass by, and Mephistopheles > induces Faust to enter and take part in the festivities. Mephistopheles > snatches the fiddle from the hands of a lethargic fiddler and draws from it > indescribably seductive and intoxicating strains. The amorous Faust whirls > about with a full-blooded village beauty in a wild dance; they waltz in mad > abandon out of the room, into the open, away into the woods. The sounds of > the fiddle grow softer and softer, and the nightengale warbles his love- > laden song.
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Mephistopheles foresees difficulty, due to Margarete's uncorrupted nature. He leaves jewellery in her cabinet, arousing her curiosity. Evening Margarete brings the jewellery to her mother, who is wary of its origin, and donates it to the Church, much to Mephistopheles's fury. The Neighbour's House Mephistopheles leaves another chest of jewellery in Gretchen's house.
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As one last, ultimate vision, he is allowed to improvise with the musicians of the past and future who were inspired by him. Realizing that removing the hardships from his life would destroy his music, Beethoven informs Fate that he will not change any part of his life. At this point, Mephistopheles returns and Beethoven informs the devil that he will not allow his music to be destroyed. Desperate to receive the Tenth Symphony, Mephistopheles makes another deal: if Beethoven will give over only the Tenth Symphony, then Mephistopheles will not take the composer's soul.
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The demon Mephistopheles sends his bounty hunter of the damned, the Ghost Rider, to retrieve the contract of San Venganza for control of a thousand corrupt souls. Seeing that the agreement would give Mephistopheles the power to bring hell on Earth, the Rider refuses and escapes with it. In 1986, Mephistopheles reaches out to 17-year-old Johnny Blaze, offering to cure his father's cancer in exchange for Johnny's soul. The next morning, Johnny awakens to discover the cancer cured, but his father dies from burns sustained in a stunt accident.
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Prologue in Heaven: The Wager The play begins with the Prologue in Heaven. In an allusion to the story of Job, Mephistopheles wagers with God for the soul of Faust. God has decided to "soon lead Faust to clarity", who previously only "served [Him] confusedly." However, to test Faust, he allows Mephistopheles to attempt to lead him astray.
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The 1901 Edison Films Catalog describes the film: > Marguerite is seated before the fireplace, Faust standing by her side. > Mephistopheles enters and offers his sword to Faust, commanding him to > behead the fair Marguerite. Faust refuses, whereupon Mephistopheles draws > the sword across the throat of the lady and she suddenly disappears and > Faust is seated in her place.
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Mephistopheles bewitching the students, sculptures at the Cellar's entrance Auerbachs Keller (, Auerbach's Cellar in English) is the best known and second oldest restaurant in Leipzig, Germany. Already one of the city’s most important wine bars by the 16th century, it owes its worldwide reputation to Goethe's play Faust as the first place Mephistopheles takes Faust on their travels.
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Faust then wishes, as his 'Will', for spirits at his beck and call. Five flames appear, servants of Lucifer, but Faust is not impressed at their claims of speed. The sixth flame/voice, Mephistopheles, claims that "I am as swift as the thoughts of man" ("als wie des Menschen Gedanke"). Faust then accepts Mephistopheles as a servant.
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By this point, Faust has seduced the maiden Gretchen. At a chapel, her brother, a soldier, prays to find and punish the violator of his sister's honour. Mephistopheles points out the soldier to Faust, who wants to kill him, but not with his own hands. Mephistopheles disguises himself as a monk and offers to hear the Soldier's confession.
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The woman is thus victorious over Mephistopheles, who had insisted at Faust's death that he would be consigned to "The Eternal Empty".
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Through a scheme involving jewellery and Gretchen's neighbour Marthe, Mephistopheles brings about Faust's and Gretchen's liaison. After a period of separation, Faust seduces Gretchen, who accidentally kills her mother with a sleeping potion given to her by Faust. Gretchen discovers that she is pregnant, and her torment is further increased when Faust and Mephistopheles kill her enraged brother in a sword fight. Mephistopheles seeks to distract Faust by taking him to a witches' sabbath on Walpurgis Night, but Faust insists on rescuing Gretchen from the execution to which she was sentenced after drowning her newborn child while in a state of madness.
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Faustus strikes a pact with Lucifer, allowing him 24-years with Mephistopheles as his assistant, but after the pact begins Mephistopheles will not answer Faustus' questions. The two angels return, but even though Faustus waffles, coersion from the devils has him again swear allegiance to Lucifer. Faustus achieves nothing worthwhile with his pact, warns other scholars of his folly, and the play ends with Faustus dragged off to Hell by Mephistopheles as the Chorus attempts a moral summation of events with an Epilogue. :Additional information (significance): This is the first dramatised version of the Faust legend of a scholar's dealing with the devil.
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In 1484 DR, Vasen is discovered by companions of his father's and pulled into their conflict with Mephistopheles, an archdevil of the Nine Hells. Vasen and his companions rescue Erevis from Cania, the eighth layer of the Nine Hells, where Mephistopheles had imprisoned him. Vasen and Erevis then work together to stop Shar, goddess of darkness, from destroying the world by preventing the Cycle of Night. They succeed when Vasen uses the power of Amaunator to strip several characters (Rivalen, Riven and Mephistopheles) of Mask's divine essence with the expectation that Erevis would take on this power of godhood.
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Mephistopheles, the demon who appears in the Faust legend, disguises himself as an old man and waits on customers in his laboratory. As the customers prepare to leave, however, Mephistopheles mystifies them with various magical pranks and cavorts under several animal disguises, taunting them with a beautiful vanishing lady and trapping them briefly in a cage. One of the customers, noticing a sword on the wall, manages to cut Mephistopheles's head off, but it remains alive and eventually reattaches itself to its body. Finally, to the great relief of the customers, Mephistopheles himself ends up trapped in his own cage.
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Later, Gabrielle is grabbed by numerous hands and lands in a pool of water filled with ghouls. Hearing her screams, Xena and Eve save her. Eve tells Xena and Gabrielle the demon Mephistopheles is preparing for war, that the tavern is his exit from Hell, and that Eve's presence there is deliberate. Mephistopheles possesses Gabrielle as she takes a shower.
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Text A states the name is generally "Mephistopheles", while the version of text B commonly states "Mephostophilis".Bevington and Rasmussen xi. The name of the devil is in each case a reference to Mephistopheles in Faustbuch, the source work, which appeared in English translation in about 1588. The relationship between the texts is uncertain and many modern editions print both.
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An exception is Alfred Schnittke's 1995 opera Historia von D. Johann Fausten which calls for both a female alto and a male soprano Mephistopheles.
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His other signature roles included Bartolo in Le nozze di Figaro, Mephistopheles in Faust, Papageno in The Magic Flute, and Rocco in Fidelio among others.
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He obliges, having found a way for Faust to encounter Gretchen. Garden At the garden meeting, Marthe flirts with Mephistopheles, and he is at pains to reject her unconcealed advances. Gretchen confesses her love to Faust, but she knows instinctively that his companion (Mephistopheles) has improper motives. Forest and Cave Faust's monologue is juxtaposed with Gretchen's soliloquy at the spinning wheel in the following scene.
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The last car to set a land speed record on a public road. The Mephistopheles was created by combining the chassis of the 1908 Fiat SB4 with a 6-cylinder, 21.7 litre (21706 cc) Fiat A.12 aeroplane engine producing . Mephistopheles was restored over 5 years, with another example of the same engine, and returned in 2011 with a display at the Goodwood Festival of Speed.
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Mephistopheles appears and returns Johnny's soul, offering to take back the curse of the Ghost Rider. Determined not to make another deal, Johnny declines, declaring that he will use his power against the demon and against all harm that comes to the innocent. Infuriated, Mephistopheles vows to make Johnny pay and disappears with Blackheart's body. Roxanne tells Johnny that he has his second chance and kisses him.
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It is also understood that it is his intention to remove any signs of this music from the memory of man for all eternity. In exchange for the destruction of the aforementioned music it is also agreed that Mephistopheles and all his minions will remove themselves from the life of the child presently sleeping in the gutter directly across from the window of this room. This removal of influence is to be commenced immediately upon signing and to be enforced for all eternity. _____________________ Ludwig van Beethoven _____________________ Mephistopheles The contract is signed by both the parties, after which Mephistopheles thrusts the Tenth Symphony over a lit candle.
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The Bagatelle, like the Mephisto Waltzes, could be considered a typical example of program music, taking for its program an episode from Faust, not by Goethe but by Nikolaus Lenau (1802–1850). The following program note, which Liszt took from Lenau, appears in the printed score of the Mephisto Waltz No. 1: > There is a wedding feast in progress in the village inn, with music, > dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles > induces Faust to enter and take part in the festivities. Mephistopheles > snatches the fiddle from the hands of a lethargic fiddler and draws from it > indescribably seductive and intoxicating strains.
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Frustrated with learning and the limits to his knowledge, power, and enjoyment of life, he attracts the attention of the Devil (represented by Mephistopheles), who makes a bet with Faust that he will be able to satisfy him; a notion that Faust is incredibly reluctant towards, as he believes this happy zenith will never come. This is a significant difference between Goethe's "Faust" and Marlowe's; Faust is not the one who suggests the wager. In the first part, Mephistopheles leads Faust through experiences that culminate in a lustful relationship with Gretchen, an innocent young woman. Gretchen and her family are destroyed by Mephistopheles' deceptions and Faust's desires.
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On 24 December 1995, BBC Radio 3 broadcast an adaptation of the play with Stephen Moore as Faustus, Philip Voss as Mephistopheles and Maurice Denham as the Old Man. A second adaptation was broadcast on BBC Radio 3 on 23 September 2007, this time with Paterson Joseph as Faustus, Ray Fearon as Mephistopheles, Toby Jones as Wagner, Janet McTeer as the Evil Angel and Anton Lesser as the Emperor. The Canadian Broadcasting Corporation broadcast a full radio adaptation of the play with Kenneth Welsh as Faustus and Eric Peterson as Mephistopheles and later released it on audio cassette () in 2001 as part of its "Great Plays of the Millennium" series. Two live performances in London have been videotaped and released on DVD: one at the Greenwich Theatre in 2010 and one at the Globe Theatre in 2011 starring Paul Hilton as Faustus and Arthur Darvill as Mephistopheles.
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It was named as Pinacosaurus mephistocephalus by Pascal Godefroit et alii in 1999. The specific name is a contraction of Mephistopheles and Greek κεφαλή, kephalè, "head", in reference to the "devilish" squamosal horns. In 2010, Gregory S. Paul suggested that P. mephistopheles were a junior synonym of P. grangeri. It was considered a valid species by Robert Hill in 2012, based on the "secondary dermal" (squamosal) horns and narial characteristics.
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He has shown exceptional advancement by gaining a special move known as the 3rd hand, a super punch which is strong enough to take on an A-class demon. Mephistopheles (메피스토 펠레스) Mephistopheles (more commonly known as Mephisto) is one of the main characters of the manhwa and is the first Archdevil shown. He is also known as the Arch-devil of combat. His alter ego is Asura of Resentment.
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Frederick Federici, c. 1888 The theatre has experienced several reported ghost sightings.The theatre ghost from the ABC On the evening of 3 March 1888, the baritone Frederick Baker, known under the stage name "Frederick Federici", was performing the role of Mephistopheles in Gounod's opera Faust. This production ended with Mephistopheles sinking dramatically through a trapdoor returning to the fires of hell with his prize, the unfortunate Dr Faustus.
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This article lists cultural references to Mephistopheles, the fictional devil from Faust and Doctor Faustus who has been used in other pieces of literature, film, comics and music.
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Directed by René Clair, 1950 – A somewhat comedic adaptation with Michel Simon as Mephistopheles/Faust as old man, and Gérard Philipe as Faust transformed into a young man.
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Dunkel et. al, "Giant Rabbits, Marmosets, and British Comedies," p. 65. In Goethe's Faust, a chorus of Lemurs who serve Mephistopheles dig Faustus' grave. Goethe, Faust 11515-11611.
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Edward Ericson argues that Woland is essentially "the Satan of orthodox (specifically Russian Orthodox) Christian theology [...] He is both a tempter of men and an unwitting instrument of divine justice, a being who owes his existence and power to the very one he opposes." In conceiving of Woland, Bulgakov draws heavily from the figure of Mephistopheles in Goethe's Faust, a connection made explicit by the use of an epigraph from the poem at the beginning of the novel. Additionally, the name Woland itself is derived from a name by which Mephistopheles refers to himself during the Walpurgisnacht scene: squire Voland (). Other allusions to Goethe's Mephistopheles include Woland's cane with the head of a poodle and his limp.
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For example, in Faust up to Date (1888), a couplet reads: :Mephistopheles: "Along the Riviera dudes her praises sing." :Walerlie: "Oh, did you Riviera such a thing?"Lubbock, Mark.
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Once Eve separates them, Xena uses the pinch—a skill that allows her to stop blood from flowing—on herself. She visits the spirit realm to defeat Mephistopheles, who tells her whoever kills him must assume his reign over Hell. After Gabrielle revives Xena, Eve says she is ready to sacrifice herself to stop Mephistopheles. Xena decides to fight him instead, so Eve cuts her palm and spills a few drops of blood.
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A military patrol, surreptitiously directed by Mephistopheles, enters and kills the Soldier, claiming that the soldier had murdered their captain. The soldier's death is then to weigh on Faust's conscience.
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He joins his assistant Wagner for an Easter walk in the countryside, among the celebrating people, and is followed home by a poodle. Back in the study, the poodle transforms itself into Mephistopheles, who offers Faust a contract: he will do Faust's bidding on earth, and Faust will do the same for him in Hell (if, as Faust adds in an important side clause, Mephistopheles can get him to be satisfied and to want a moment to last forever). Faust signs in blood, and Mephistopheles first takes him to Auerbach's tavern in Leipzig, where the devil plays tricks on some drunken revelers. Having then been transformed into a young man by a witch, Faust encounters Margaret (Gretchen) and she excites his desires.
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Some critics suggest that, like Gretchen, Mephistopheles can be seen as an abstraction—in this case, one of the destructive aspects of Faust's character, with Faust mocking his humanity by taking on Mephistopheles' character. Regardless of which interpretation a listener chooses, since Mephistopheles, Satan, the Spirit of Negation, is not capable of creating his own themes, he takes all of Faust's themes from the first movement and mutilates them into ironic and diabolical distortions. Here Liszt's mastery of thematic metamorphosis shows itself in its full power – therefore we may understand this movement as a modified recapitulation of the first one. The music is pushed to the very verge of atonality by use of high chromaticism, rhythmic leaps and fantastic scherzo-like sections.
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During the term of the bargain, Faust makes use of Mephistopheles in various ways. In Goethe's drama, and many subsequent versions of the story, Mephistopheles helps Faust seduce a beautiful and innocent girl, usually named Gretchen, whose life is ultimately destroyed when she gives birth to Faust's bastard son. Realizing this unholy act she drowns the child and is held for murder. However, Gretchen's innocence saves her in the end, and she enters Heaven after execution.
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Lewis Morrison as "Mephistopheles" in Faust!: "The Brocken". Poster for a theatrical performance of Goethe's play showing Mephistopheles conjuring supernatural creatures on the German mountain, the Brocken (or Blocksberg), which according to the tale is the scenery for the Walpurgisnight, from 30 April to 1 May. On the Feast of Saint Walburga, "many thousand" people have made Christian pilgrimages to Saint Walburga's tomb in Eichstätt on the Feast of Saint Walburga, often obtaining vials of Saint Walburga's oil.
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"The Mephistopheles of Los Angeles" is a song by American rock band Marilyn Manson. It was released as the first promotional single from the band's ninth studio album, The Pale Emperor (2015).
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Meanwhile, as the rebels fight for Heaven, Satan is captured but with the help of Beelzebub and Mephistopheles leaves Heaven; his followers join him in the abyss and create a third stronghold: Hell.
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Ghiaurov first shared a stage with Mirella Freni in 1961 in Genoa. She was Marguerite, he was Mephistopheles in Faust. Married in 1978, they lived in her hometown, Modena. They sang together frequently.
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The Fiat Mephistopheles (known in Italian as Mefistofele) is a one-off racing car created by Ernest A.D. Eldridge in 1923 by combining a Fiat racing car chassis and Fiat aeroplane engine. The name is from the demon of the same name. The name alluded to the infernal noise emitted from the unmuffled engine, and it was "baptised" by the Frenchmen. Eldridge broke the World Land Speed Record on 12 July 1924 with the Mephistopheles, by driving at in Arpajon, France.
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Johnny accuses Mephistopheles of causing his father's death, but Mephistopheles considers their contract fulfilled and promises to see him again. Mephistopheles's son Blackheart comes to Earth and seeks aid from the Hidden (three fallen angels bonded with the elements of air, earth, and water) to find the lost contract of San Venganza. In 2007, Johnny has become a famous stunt motorcycle rider. He runs into his former sweetheart Roxanne Simpson, now a news reporter, whom he abandoned after his father's death.
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Mephistos Höllenrufe (Summons of Mephistopheles from Hell or Cries of Mephistopheles from Hell), Op. 101, is a waltz composed by Johann Strauss II in 1851. It was first performed at the Vienna Volksgarten as part of a festival preceding Strauss' departure for a tour of Germany. The title of the composition is a quotation from the Bible: "And the devil [Mephistopheles] [...] was cast into the lake of fire and brimstone, where the beast and the false prophet are, and shall be tormented day and night for ever and ever" (Revelation, 20:10). A reporter for the Wiener Allgemeine Theaterzeitung commented on Strauss' waltz that it "received such a favourable reception, on account of its effective and original melodies and brilliant instrumentation, that it had to be repeated three times".
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In the dungeon, Faust vainly tries to persuade Gretchen to follow him to freedom. At the end of the drama, as Faust and Mephistopheles flee the dungeon, a voice from heaven announces Gretchen's salvation.
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Mephiskapheles is a ska band based in New York City. Their name is a portmanteau of "ska" and "Mephistopheles", of the Faust legend. As their name suggests, their lyrics are often playfully satanic in nature.
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Faustus has been described as a work of ideas rather than actions. Dusapin's opera was premiered on 21 January 2006, conducted by Michael Boder and staged by with Georg Nigl (Faustus), Hanno Müller-Brachmann (Mephistopheles), Robert Wörle (Sly), Jaco Huijpen (Togod), Caroline Stein (Angel) in the lead roles. Subsequently, the work was performed at the Opéra de Lyon where it was recorded on DVD. Jonathan Stockhammer conducted the Orchestre de l'Opéra de Lyon, and almost all Berlin soloists performed again with Urban Malmberg playing Mephistopheles.
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Deicide is the eponymous debut album by American death metal band Deicide. It was released on June 25, 1990, by Roadrunner Records. The album contains all of their demo tracks, plus the songs "Deicide" and "Mephistopheles".
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Walpurgis Night and Walpurgis Night's Dream A folk belief holds that during the Walpurgis Night (Walpurgisnacht) on the night of 30 April—the eve of the feast day of Saint Walpurga—witches gather on the Brocken mountain, the highest peak in the Harz Mountains, and hold revels with the Devil. The celebration is a Bacchanalia of the evil and demonic powers. At this festival, Mephistopheles draws Faust from the plane of love to the sexual plane, to distract him from Gretchen's fate. Mephistopheles is costumed here as a Junker and with cloven hooves.
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Mephistopheles, following the travelers in an automobile, drives them up the slope of Mount Vesuvius and directly into an eruption. In a burst of lava and flames, the infernal carriage is shot into the sky and makes a voyage through space, flying past stars and planets. Colliding with a thunderstorm, the carriage bursts apart; Crackford and John tumble through space and crash through the ceiling of a dining room. Just as Crackford thinks he is about to get a bite to eat at last, Mephistopheles appears to fulfill the terms of the contract.
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The album's title is a reference to Constantius I – or Constantius the Pale – who was the first Roman emperor to deny the existence of a God. Manson has said its meaning can have several interpretations: "complexion or Goth music or 'beyond the pale' or [...] everything 'pales in comparison' to it". Lyrically, the album deals with mortality, war, violence, slavery and religion, and includes references to Greek mythology and German folklore, specifically the story of Faust and Mephistopheles. "The Mephistopheles of Los Angeles" was the original title track and, according to Manson, the album's heart.
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The plot is a modernization of the classic German tale of anti-hero Dr. Johannes Faust, who struggles with his growing discomfort with modern thought and questions how and why things happen without scientific explanation. After Faust burns his library and contemplates suicide, a mysterious being named Mephistopheles comes to Faust and offers him all the information of the universe. With Mephistopheles' help, the madman Dr. Johannes Faust becomes the savior Jack Faust by accelerating human progress at a blinding speed, reshaping Germany and then all of Europe in his own image.
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On 3 March 1888 Federici was performing the role of Mephistopheles (rather than Valentine) in Faust on opening night at the Princess Theatre in Melbourne, Australia. Nellie Stewart was playing Margeurite, and Alfred Cellier was conducting.Tallis, Michael and Joan. "Chapter Four: Preparation of an Irish Immigrant" , The Silent Showman: Sir George Tallis, the Man Behind the Worlds Largest Entertainment Organisation of the 1920s, p. 34, Wakefield Press (2006) The opera ended with Mephistopheles sinking dramatically through a trapdoor, as he returned to the fires of hell, bearing Faust with him.
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Faust is bored and depressed with his life as a scholar. After an attempt to take his own life, he calls on the Devil for further knowledge and magic powers with which to indulge all the pleasure and knowledge of the world. In response, the Devil's representative, Mephistopheles, appears. He makes a bargain with Faust: Mephistopheles will serve Faust with his magic powers for a set number of years, but at the end of the term, the Devil will claim Faust's soul, and Faust will be eternally enslaved.
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The novel adapts the Mephistopheles/Dr Faustus theme by having the main character Hendrik Höfgen abandon his conscience and continue to act and ingratiate himself with the Nazi Party to keep and improve his job and social position.
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He is later seen battling Mephistopheles, one of the kings of Hell, with some difficulty before obtaining the Spirit of Wind, as tasked by Lady Sati. He likes chicken curry and creating new fighting techniques. Cado is named for Ito-Yokado.
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Mephistopheles shows Faust the folk celebration before May Day, when the souls of the dead are released briefly to wander as they will. The ballet does not directly depict the Walpurgis Night but builds on a sense of joyful revelry.
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Lawrence Jones has analysed Hardy's idiosyncrasies in his manner of narrative in The Dynasts. J.O. Bailey has postulated an analogy of the Spirits in The Dynasts with other Mephistopheles- like figures in literature, and in relation to the Book of Job.
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Morrison as Mephistopheles in Faust Poster for the Morrison version of Goethe's Faust (1889) Born Morris W. Morris, after the Civil War he became a stage actor using the name Lewis Morrison. He first performed in New Orleans beginning in minor roles with Edwin Booth and Charlotte Cushman until he was featured in larger parts. He became a well- known actor in New Orleans and moved on to the stage in New York, where he gained greater fame in Faust. He founded his own traveling theater troupe and traveled the world playing the role of Mephistopheles.
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Méliès plays Mephistopheles in the film. The dancing masked demons have the same costumes as those in The Infernal Cake Walk, a Méliès film made earlier in 1903. The elaborate painted scenery for the film takes advantage of stage machinery techniques, including scenery rolling both horizontally and vertically; the sixth tableau was designed so that the set could repeatedly peel back to show new layers, allowing Méliès to show Faust and Mephistopheles advancing without having to move his heavy camera. Other special effects used in the film include pyrotechnics, substitution splices, superimpositions on black backgrounds, and dissolves.
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He was killed by Mephistopheles, when he made good on his promise. It is revealed in the end of the Twilight War series that Erevis had a son, which Mask had transported to the future to save, for reasons known only to himself.
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The specific epithet is derived from Faustus, or Faust, the alchemist of German legend who sold his soul to Mephistopheles, or Mephisto, in exchange for knowledge. The ending is amended for a more euphonious combination with Enargia, and is a noun in apposition.
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At the very end it is revealed that you, not Mephistopheles, is the devil; you have had your memory wiped so you can look over these cases objectively. He is given the opportunity to swap roles with the owner of the park.
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Then, with the chorus in the distance singing a 'Credo' on Easter morning, Faust signs the pact in blood, wondering what has become of his 'Will'. He faints upon realizing that he has forfeited his soul. Mephistopheles gleefully takes the contract in hand.
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A modified version of Faust's second and third themes then creates an infernal fugue. Mephistopheles is, however, powerless when faced with Gretchen's innocence, so her theme remains intact. It even pushes the Spirit of Negation away towards the end of the work.
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Twenty four years later Faustus expects that the devil will take his soul. He informs his students, and they ask him to repent to be saved. The prayers of Faustus are in vain. Mephistopheles appears and singing the mocking couplets, fiercely destroys him into pieces.
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Actress Eva Mendes was also cast opposite Cage as Roxanne Simpson. On February 14, 2005, Ghost Rider commenced filming in Australia at the Melbourne Docklands film studios. Then in March 2005, actor Peter Fonda (who starred in Easy Rider) was cast as the villain Mephistopheles.
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In 2013, Trainor starred as Faustus opposite Siobhan Redmond's Mephistopheles in Marlowe's Doctor Faustus in an avant-garde co-production between Glasgow's Citizens Theatre and the Leeds West Yorkshire Playhouse. New scenes were written to complement Marlowe's incomplete text by Irish playwright Colin Teevan.
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Witch's Kitchen Mephistopheles takes Faust to see a witch, who—with the aid of a magic potion brewed under the spell of the ' (witch's algebra)—turns Faust into a handsome young man. In a magic mirror, Faust sees the image of a woman, presumably similar to the paintings of the nude Venus by Italian Renaissance masters like Titian or Giorgione, which awakens within him a strong erotic desire. In contrast to the scene in Auerbach's Cellar, where men behaved as animals, here the witch's animals behave as men. Street Faust spies Margarete, known as "Gretchen", on the street in her town, and demands Mephistopheles procure her for him.
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In the introductory pages of Book I of Aristotle's Nicomachean Ethics, those who (erroneously, according to Aristotle) equate the good life with the life of brute pleasure are likened to Sardanapalus. The death of Sardanapalus was the subject of a Romantic period painting by the 19th-century French painter Eugène Delacroix, The Death of Sardanapalus, which was itself based on the 1821 play Sardanapalus by Byron, which in turn was based on Diodorus. In Act 4 of Goethe's Faust II, Faust responds with the exclamation "Sardanapalus!" to Mephistopheles' guess of what it is that Faust strives after. Mephistopheles offers up the life of pleasure as Faust's life's goal.
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Late one night in spring 1827 (presumably March 26, the night he died), Ludwig van Beethoven has completed his masterpiece, his tenth symphony (which in reality, was never completed). Just as this work is finished, Fate and her deformed son Twist (as in 'Twist of Fate') arrive in his home, and inform the composer of what he had expected for a long while: that this night was the night of his death. After this explanation, the devil Mephistopheles arrives to claim Beethoven's soul. He offers the composer a deal; Mephistopheles will allow Beethoven to keep his soul if he may erase the memory of Beethoven's works from all mankind.
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In 1869, at the Gaiety Theatre, she created the role of Alice in Gilbert's Robert the Devil (1869) and also played Butts (a maid) in the companion piece, a play, On the Cards. There she also originated the roles of Paraquita ("Queen of Kokatouka") in Columbus (1869).Hollingshead, John. My Lifetime, (1895) S. Low, Marston Now aged 22, Fowler took over the management of the Charing Cross Theatre for the 1869–1870 season. There she played Mephistopheles in a new burlesque, Very Little Faust and More Mephistopheles (1869) and starred as the hero, Hassan, in a burlesque by Arthur O'Neil of Arabian KnightsAdams, William Davenport.
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He is already ready to accept the help of an old Christian man. However Mephistopheles threatens to kill him and forces Faustus to sign a new contract, now with ‘the mighty God, Lucifer’. Only a beautiful vision of Helen of Troy calms his grief. Act 3.
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He sits asleep at a bare table; old witch enters, raps three times, then disappears; cavalier sees table spread for a sumptuous repast. Mephistopheles appears; then the old witch, who suddenly transforms into a beautiful young girl. The changes and magical appearances are startling and instantaneous.
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Carl, was slender, somewhat demonic in appearance. He wore an imperial beardNapoleon III and handlebar moustache to perpetuate or enhance the Mephistopheles look. As he got older the hair on is head got thin. Carl's humor was sly, and he presented his magic in a mysterious manner.
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The film opens with a large bat flying into a medieval castle. The bat circles the room, before suddenly changing into the Devil. Mephistopheles produces a cauldron and an assistant, who helps him conjure a woman from the cauldron. The room is cleared shortly before two cavaliers enter.
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The story of Faust is woven into Dr. Mikhail Bulgakov's best-known novel, The Master and Margarita (1928–1940) with Margarita being modeled on Gretchen and the Master on Faust. Other characters in the novel include Woland (whose description recalls Mephistopheles) and Mikhail Alexandrovitch Berlioz (the head of Massolit).
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The first part of Faust is not divided into acts, but is structured as a sequence of scenes in a variety of settings. After a dedicatory poem and a prelude in the theater, the actual plot begins with a prologue in Heaven, where the Lord bets Mephistopheles, an agent of the Devil, that Mephistopheles cannot lead astray the Lord's favorite striving scholar, Dr. Faust. We then see Faust in his study, who, disappointed by the knowledge and results obtainable by science's natural means, attempts and fails to gain knowledge of nature and the universe by magical means. Dejected in this failure, Faust contemplates suicide, but is held back by the sounds of the beginning Easter celebrations.
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After an appearance by Mozart's ghost, Beethoven refuses this offer as well. As a final tactic, Mephistopheles points out the window to a young orphan, and describes the tortures that she will receive if Beethoven refuses to hand over his music. Heartbroken, Beethoven agrees to hand over his Tenth Symphony. After Twist's prompting, a contract is drawn up by Fate, stating the following: It is agreed upon this night, March 26, 1827, between the undersigned, that the music of the Tenth Symphony, composed by Ludwig van Beethoven, first born son of Johann and Maria van Beethoven, of the city of Bonn, shall henceforth be the property of Mephistopheles, Lord of Darkness and first fallen from the grace of God.
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He also wrote a libretto Under the Sign of Mephistopheles for which the music was composed by a Serbian composer Srdjan Jacimovic. This libretto was based on Goethe's Faust, but the story was transposed to the present day and Dr Faustus was a beautiful woman. However, this opera was never performed.
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The Metropolitan Opera mounted its first production of the work in 2001 with Thomas Hampson in the title role, Robert Brubaker as Mephistopheles, and Katarina Dalayman as the duchess.Peter G. Davis, "All Fired Up", New York, 29 January 2001.Alex Ross, "Ferrucio Busoni/Frank Martin", The New Yorker, 29 January 2001.
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In 1845 he was expelled from Lausanne, too, and went to Hamburg. There he became a political journalist and published the satirical magazine Mephistopheles (1847/48–1852). He belonged to the leftists of the radical-democratic "party" and was a delegate to the National Assembly in Frankfurt after the March-Revolution of 1848.
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God declares that "man still must err, while he doth strive". It is shown that the outcome of the bet is certain, for "a good man, in his darkest impulses, remains aware of the right path", and Mephistopheles is permitted to lead Faust astray only so that he may learn from his misdeeds.
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Bono (left) in 2019 with a fan dressed as MacPhisto MacPhisto was created to parody the devil and was named after Mephistopheles of the Faust legend.Flanagan (1996), pp. 228–231 Initially called "Mr. Gold", MacPhisto wore a gold lamé suit with gold platform shoes, pale makeup, lipstick, and devil's horns on his head.
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A Wittenberg street, in the snow, outside the church. Mephistopheles, in disguise as a Night Watchman, announces that it is eleven o'clock. Wagner, the successor to Faust as university Rector and now resident in Faust's former home, says good- night to a group of students. Faust enters, alone, and sees his old home.
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In this, his last play, Betti fragments stage space, jumping from one locale to another in the first act, and even dividing the stage into two widely separated locales at once. Although the play's plot, rife with deception, blackmail and murder, might seem the stuff of melodrama, Betti's primary interest is in the deepening understanding of human existence undergone by Daniele. Daniele's relationship to his mysterious companion is highly reminiscent of that between Faust and Mephistopheles in Goethe's Faust, its final scene in the mountains, with the tempter urging Daniele to desert his dying wife providing a strong parallel to the end of Part I of Goethe's drama. But, although Daniele has learned much from his Mephistopheles, he finally needs to repudiate him.
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In their book Killing Off the Lesbians: A Symbolic Annihilation on Film and Television, writers Liz Millward, Janice G. Dodd, and Irene Fubara-Manuel single out this episode—specifically Xena's almost- replacement of Mephistopheles as ruler in Hell—as one of many exemplars of the darkening in tone of the sixth season of the series.
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The author of The Fairy Tale Encyclopedia suggests that the Mistress represents the conflict between human kind and nature. She compares the character with Mephistopheles, because a human needs to wager his soul with the Mistress in order to get the ultimate knowledge. Danilo wagers his soul for exceptional craftsmanship skills.Budur 2005, p. 124.
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After graduating, she completed over twenty unsuccessful auditions at drama schools, often reciting Mephistopheles, and finally discovered poetry slam. In October 2015, she won the Austrian Poetry Slam Championships as the second woman.Elisabeth Gürtler, Marc Pircher, Wolfgang Pennwieser und Lisa Eckhart zu Gast in „Stöckl.“. OTS- Meldung vom 1. Juni 2016, abgerufen am 23.
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The Duchess returns to tell Faust that she will accompany him. Mephistopheles, disguised as a court chaplain, returns with the Duke and advises him against chasing down Faust and the Duchess. Instead, he advises the Duke to marry the sister of the Duke of Ferrara, who is threatening war on the Duke of Parma.
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The first clue as to the work's structure is in Liszt's title: "A Faust Symphony in Three Character Sketches after Goethe: (1) Faust, (2) Gretchen, (3) Mephistopheles." Liszt does not attempt to tell the story of Goethe's drama. Rather, he creates musical portraits of the three main protagonists.Walker, New Grove 2, 14:772–3.
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In Western folk mythology, a crossroads can be used to summon a demon in order to make a deal with a demon. This legend can be seen in many stories. For example, in 1926's Faust, the titular character summons the demon Mephistopheles at a crossroad. In the U.S. television show Supernatural, crossroads demons are a recurring plot device.
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Gretchen innocently shows the jewellery to her neighbour Marthe. Marthe advises her to secretly wear the jewellery there, in her house. Mephistopheles brings Marthe the news that her long absent husband has died. After telling the story of his death to her, she asks him to bring another witness to his death in order to corroborate it.
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Dave in the world premiere of Promises and Lies (Birmingham Rep). Hamp in For King and Country (Greenwich Theatre), Working Class Hero, The Hired Man, Venetian Twins, (Nuffield, Southampton). Down the Dock Road (Chester Gateway). Mephistopheles in Doctor Faustus, Roderigo in Othello, Captain Plume in The Recruiting Officer and Lieutenant Clark in 'Our Country's Good' (Swan, Worcester).
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Frontispiece to a 1620 printing of Doctor Faustus showing Faustus conjuring Mephistophilis. Johann Wolfgang von Goethe's tragic play Faust, Mephistopheles, disguised as a starving man, comes to Plutus, Faust in disguise, to recite a cautionary tale about avariciously living beyond your means: > Starveling. Away from me, ye odious crew! Welcome, I know, I never am to > you.
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Hanno Müller-Brachmann (born 1970) is a German bass-baritone who made an international career in both opera and concert. A member of the Berlin State Opera from 1998 to 2011, he first sang Mozart roles such as Papageno and Figaro, and created roles in premieres such as Mephistopheles in Dusapin's Faustus, the Last Night in 2006.
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Santley 1892, 197-199. However the highlight of that season was the first London Faust, launched 11 June at Her Majesty's, in which he took the title role: the opera was thereafter produced at Covent Garden in every year until 1911. The premiere was with Tietjens (Margherita), Trebelli (Siebel), Edouard Gassier (Mephistopheles) and Charles Santley (Valentin), Arditi conducting.
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The UK stage premiere did not occur until 1986, when it was mounted in London at the English National Opera beginning on 25 April with conductors Mark Elder and Antony Beaumont. Thomas Allen sang Faust and Graham Clark, Mephistopheles. The performance was sung in Dent's translation and used the new ending by Antony Beaumont.Roberge, p. 352.
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Faustus makes use of "the dramatic framework of the morality plays in its presentation of a story of temptation, fall, and damnation, and its free use of morality figures such as the good angel and the bad angel and the seven deadly sins, along with the devils Lucifer and Mephistopheles.""Christopher Marlowe." Encyclopædia Britannica. Encyclopædia Britannica Online.
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Faust Paintings, pp53-65 # Cathedral: The paintings depict various scenes of confrontation, child birth and abandonment in compositions involving several moving and gesturing figures conveying a sense of tension and contrast between the figure representing Margaret and the various figures surrounding her with gestures of accusation and condemnation.Faust Paintings, pp. 55-57 # Walpurgis Night: large canvases depicting bacchanalia and orgiastic scenes reflecting the wild and festive ceremonies at the Harz mountains. The Walpurgis Night and Walpurgis Night Dream paintings make reference to Goethe’s poem containing the exchange between Faust, Mephistopheles and the naked witchesIn Goethe’s Walpurgis Night, the exchange between Mephistopheles and the older naked Witch with whom he dances, contains bowdlerized words that were considered obscene and, "still omitted from practically all editions," Kaufmann, Goethe’s Faust, p.
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Arriving in the countryside, most of the train and all of Crackford's family are lost in an accident with a collapsing bridge; Crackford, caring only for his world tour, continues on undismayed. Crackford and John stop at a village inn, the landlord of which is again Mephistopheles in disguise. The two travelers find their attempts to eat confounded by magical disappearances and transformations; in despair, they go to the kitchen to eat with the servants, only to be disrupted by apes and demons in a farcical pandemonium of appearances and disappearances using every possible entrance and exit. Fleeing out of the inn, the travelers make an escape in a horse and buggy, which Mephistopheles promptly transforms into a magical carriage made out of stars and comets and drawn by a bizarre mythological horse.
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He played in several TV commercials and some films. In the film Arkadaşım Şeytan (Demon, My Friend), directed by Atıf Yılmaz, he played the role of Mephistopheles. He wrote also the film score. In his second film Her Şey Çok Güzel Olacak ("Everything's Gonna Be Alright") directed by Ömer Vargı, Mazhar Alanson shared the leading roles with Cem Yılmaz and Ceyda Düvenci.
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He tells Xena he has kidnapped Cyrene's soul and will not release it unless Eve's blood is spilled because the blood of the Messenger of Eli is necessary for him to escape Hell. Xena refuses and Eve exorcises him. Mephistopheles then torments Eve, reminding her of her bloody past before her redemption. He also joins Xena and Gabrielle's bodies every time they touch.
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According to O'Connor, the scene in which Xena and Gabrielle have their arms and legs joined by Mephistopheles, she and Lucy Lawless had a stocking net placed over their arms and the rest was computer-generated. O'Connor described this scene as difficult to film because of the height difference between her and Lawless, and as "quite hilarious" and enjoyable to film.
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Time and Place: Early 16th century, Germany Act 1. The chorus and narrator introduce the audience to Dr. Johann Faustus, ‘the widely famed magician and necromancer’. The scene shows his first meeting with the devil, Mephistopheles. Faustus agrees to sign with his blood the contract to gain knowledge and power and to give in return his soul to the devil after some years.
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Leonard, John. "Defining Women" New York Magazine, October 16, 1995 In 2006, she appeared Off-Broadway in The Little Dog Laughed by Douglas Carter Beane, playing Diane, a screen agent, who, as one critic put it, is "a Mephistopheles in Manolos".Brantley, Ben. "The Stage Is Bigger, But It Still Can’t Hold All Her Ambition", The New York Times, November 14, 2006.
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Lewis Morrison (September 4, 1844 – August 18, 1906) was a Jamaican-born American stage actor and theatrical manager, born Moritz (or Morris) W. Morris. He was best known for his portrayal of Mephistopheles in his own production of Faust, which he performed from 1885 to 1906. He was the father of actress Adrienne Morrison, and grandfather of Constance, Barbara and Joan Bennett.
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The character was compared to Mephistopheles, because a human needs to wager his soul with her in order to get the ultimate knowledge. Many noted the eroticism of the story and questioned whether the characters developed a sexual relationship. The Mistress was interpreted as the manifestation of the female sexuality. "The Mistress exudes sexual attraction and appears as its powerful source".
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An Executioner (looking like the Duke) threatens the Baptist (resembling Faust), but the Duchess cries out that the Baptist must be saved. In an aside, Faust asks the Duchess to run off with him, but she is hesitant, if willing. The Duke declares the magic show concluded and announces supper. Mephistopheles warns Faust to flee, since the food is poisoned.
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In Irving's company he progressed in a series of important supporting roles, such as Shakespeare's Orsino, Laertes, Bassanio and Macduff."The Drama In America", The Era, 29 November 1884, p. 17, and 13 December 1885, p. 15 In January 1886, having originally been cast as Valentin in W. G. Wills's Faust, he was promoted to the title role opposite Irving's Mephistopheles.
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Her earliest years were spent in the family home in Ramornie in Fife, Scotland. In the early 1920s her parents divorced, and Haig moved to Sussex with her mother and brother. As a young girl Haig pursued equestrian sports such as riding, hunting and show-jumping. While still a schoolgirl she was taken for a ride in the Fiat Mephistopheles.
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Roni studied singing in Lucca alongside Adriana Pizzorusso. He made his singing debut at age 22 at the Spoleto Festival USA with the opera Faust, in which he played Mephistopheles. His singing partners included Montserrat Caballé, Luciano Pavarotti, Plácido Domingo, and José Carreras. He sang at multiple opera halls, including La Scala, the Vienna State Opera, and the Metropolitan Opera House.
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Mexican comedian Chespirito acted as Faust in a sketch adaptation of the legend. Ramon Valdez played Mephistopheles (presenting himself also as The Devil), and in this particular version, Faust sells his soul by signing a contract, after which Mephistopheles gives him an object known as the "Chirrín-Chirrión" (which resembles a horse whip) which grants him the power to make things, people or even youth or age, appear or disappear, by speaking the object's name, followed by the word "Chirrín" (for them to appear) or "Chirrión" (for them to disappear). After Faust's youth is restored, he uses his powers to try conquering the heart of his assistant Margarita (played by Florinda Meza). However, after several failed (and funny) attempts to do so, he discovers she already has a boyfriend, and realizes he sold his soul for nothing.
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Faust and Lilith by Richard Westall (1831) Lilith's earliest appearance in the literature of the Romantic period (1789–1832) was in Goethe's 1808 work Faust: The First Part of the Tragedy. After Mephistopheles offers this warning to Faust, he then, quite ironically, encourages Faust to dance with "the Pretty Witch". Lilith and Faust engage in a short dialogue, where Lilith recounts the days spent in Eden.
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He appeared with Christian Bale and Russell Crowe. The film received two Academy Award nominations and positive reviews from critics. He also appeared in the last scenes of the biker comedy Wild Hogs as Damien Blade, founder of the biker gang Del Fuegos and father of Jack, played by Ray Liotta. Fonda also portrayed Mephistopheles, one of two main villains in the film Ghost Rider (also 2007).
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Beethoven is given one hour to consider, and Mephistopheles leaves the room. Beethoven turns his anger to Fate at having been dealt a hard life, and now, this decision. In consolation, Fate allows Beethoven to travel back through his life in order to review it and make any changes that he wishes. Beethoven accepts this, and they begin with Beethoven's experiences as a child.
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Marlow's name may be inspired by the Elizabethan playwright Christopher Marlowe. Conrad's father was a translator of William Shakespeare who doubtless would have known of Marlowe's work as well. Some intertextual interpretations of Heart of Darkness have suggested that Marlowe's The Tragical History of Doctor Faustus may have influenced Conrad. Charles Marlow describes a character as a "papier-mache Mephistopheles", a reference to the Faust legend.
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La Beauté du diable (literally "the beauty of the devil"; originally released in the UK and USA as Beauty and the Devil) is a 1950 Franco-Italian fantasy film drama directed by René Clair. A tragicomedy with allegorical meaning, set in the early 19th century, it is about an ageing alchemist, Henri Faust, who is given the chance to be eternally young by the devil Mephistopheles.
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Bronze statuette of the Assyro-Babylonian demon king Pazuzu, c. 800 – c. 700 BCE, Louvre Mephistopheles (A Medieval demon from German folklore) flying over Wittenberg, in a lithograph by Eugène Delacroix. A demon is a supernatural being, typically associated with evil, prevalent historically in religion, occultism, literature, fiction, mythology, and folklore; as well as in media such as comics, video games, movies and television series.
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He performed in stock, toured, and joined the Milton–Rays company.Information from W. Macqueen-Pope's book, Gaiety, Theatre of Enchantment, W. H. Allen, London, 1949 Payne first appeared in London at the Gaiety Theatre as Mephistopheles in a revival of Faust up to date. Most of Payne's subsequent career was spent at the Gaiety. He enjoyed much success for his comic turn as Shrimp, the Call Boy, in In Town (1892).
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Mephistopheles (1929). In early 1929 Robey returned to South Africa and then Canada for another tour with Bits and Pieces, after which he started another series of variety dates back in England. Among the towns he visited was Woolwich, where he performed to packed audiences over the course of a week. Here he met the theatre managers Frank and Agnes Littler, with the latter briefly becoming his manager.
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When Metzger was hired, the writing staff requested numerous changes to the original script, which featured a murdered man and his daughter. The changes included the addition of Mephistopheles as the main antagonist. According to Metzger, besides focusing on the haunting of Xena's childhood home, the final product bears no resemblance to the original script. Many of the scenes in this episode required the use of special effects and CGI.
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Faust becomes obsessed with Gretchen, who appears to embody the beauty of blooming life. He indulges himself in thinking that studying her would be reasonable as a part of his research about what makes all the difference between life and death. When the aging Faust has become irreversibly infatuated with Gretchen, Mephistopheles offers him to let him have her. Faust cannot resist the idea of spending a night with Gretchen.
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He sang in Wieland Wagner's staging of his grandfather's The Ring of the Nibelung in Cologne, with George London as Wotan. In Berlin he sang Mephistopheles in Busoni's Doktor Faust. From 1972, Schachtschneider was a lecturer at the Hochschule für Musik Saar, and from 1975 he held a professorship there. Grave in Melaten-Friedhof Schachtschneider died in Cologne in 2008, aged 89, and was buried in the Cologne Melaten-Friedhof.
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Mephistopheles then turns her into a withered old crone in front of the man's eyes, then again into the four spectres. The second cavalier returns and after a brief show of bravery, flees again, this time by leaping over the balcony's edge. After the spectres disappear, the cavalier is confronted face-to-face by the Devil before reaching for and brandishing a large crucifix, which causes the devil to vanish.
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The first season got positive reviews and a six-episode season 2 was aired in 2017. Also in 2015, Williams appeared in the music video for "The Mephistopheles of Los Angeles" by Marilyn Manson. In 2016, Williams began working with Vice News, hosting a VICELAND program titled Black Market. In this series, he visits various clandestine markets to explore how they operate while investigating the circumstances that generate their clientele.
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He convinces her to attend a dinner date. Mephistopheles makes Johnny the new Ghost Rider and offers to return his soul if he defeats Blackheart. Johnny transforms into the Ghost Rider, his body burning, skin falling off his skeleton, and kills the earth angel Gressil. He then uses the Penance Stare, a power that causes mortals to feel all the pain they have caused others, searing their soul on a thug.
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The snake in this piece is S-4711, who is described as having a bent and twisted form, with a "double-curved body" (he is a double agent). References to Mephistopheles (in the Mephi) are seen as allusions to Satan and his rebellion against Heaven in the Bible (Ezekiel 28:11–19; Isaiah 14:12–15). The novel itself could be considered a criticism of organised religion given this interpretation.Gregg.
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Literary influence, notably from Milton's Paradise Lost and Goethe's Faust, cannot be overlooked. Both notably contributed to the representation of the Lucifer, that takes characteristics from both Milton's Satan and Goethe's Mephistopheles. Likewise, existentialist themes reflecting on the apparent absurdity of existence are present throughout; Kierkegaard's influence can also be inferred, especially in the ending, which affirms both the world's meaninglessness and the meaningfulness of striving for God.
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The role of Mephistopheles, portrayed as a dandy, was intentionally steeped in moral relativism. In retrospect, de Fondaumière described him as Fausts true protagonist. The Faust team numbered above 30 members and the development cycle lasted one year, with 10 months of production. Arxel Tribe worked with the CINview engine, written by the company during its creation of Ring and Pilgrim: Faith as a Weapon, to generate Fausts rotatable 360° panoramas.
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Faustus asks "Who made the world?" Mephistopheles refuses to answer.The Tragical History of Doctor Faustus Text A 1616 Text B was made in 1663 because the ethicist got involved Goethe and Marlowe have devils and angels as third person or persons between him and his love, but Kierkegaard has a different third person involved in the discussions between Johannes the Seducer and Cordelia. He has this strange power called chance.
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Combining heavy metal with folk rock music and more ballad songs. The album was produced at Abbey Road Studios in London, England, where the band was living for a short time. In 1996, the band released their next full-length album, Mephistopheles no Shouzou, leaving the CBS Sony label and signing to BMG Japan. The album was a return to their heavier sound while also having elements of power metal.
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Nicholas Lucien first appeared in The Brave and the Bold #200 (July 1983) and was created by Mike W. Barr and Dave Gibbons. From an early age, Lucien can sense the existence of his Earth-One counterpart in the Multiverse. His resentment of this unseen counterpart leads Lucien to a life of crime. By 1955, Lucien establishes himself as Brimstone the "modern Mephistopheles", who commits Satanic-themed crimes in Gotham City.
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Slipak returned to Ukraine and participated in the Euromaidan in 2014. In 2015, Slipak joined the fights against pro-Russian separatists as a member of the 7th Battalion of the Volunteer Ukrainian Corps of the Right Sector. He took the military call sign Mif, a reference to his favorite aria of Mephistopheles from the opera Faust (his informal call sign was Myth). After the war in Donbass, Slipak planned to continue his career in Paris.
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The idea of featuring an episode about a haunting at Xena's childhood home came from the writing staff. The original plot of the episode featured a murdered man who had a daughter. At the request of the staff, Metzer added Mephistopheles as the main villain. He added the subplot about Xena's mother being trapped in Hell to make the story "closer to home and [ensure] Xena had a personal stake in it".
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Mephistopheles lures Faust into the arms of a naked young witch, but he is distracted by the sight of Medusa, who appears to him in "his lov'd one's image": a "lone child, pale and fair", resembling "sweet Gretchen". 'Dready Day. A Field' and 'Night. Open Field' The first of these two brief scenes is the only section in the published drama written in prose, and the other is in irregular unrhymed verse.
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Mephisto is a fictional character appearing in American comic books published by Marvel Comics. The character first appears in The Silver Surfer #3 (Dec. 1968) and was introduced in the Marvel universe by Stan Lee and John Buscema, based on Mephistopheles – a demon character from the Faust legend, who has sometimes been referred to as Mephisto. Debuting in the Silver Age of comic books, the character has appeared in over four decades of Marvel continuity.
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He died in Dresden in 1872. Dawison was considered in Germany an actor of a new type; a leading critic wrote that he and Marie Seebach swept like fresh gales over dusty tradition, and brushing aside the monotony of declamation gave to their roles more character and vivacity than had hitherto been known on the German stage. His chief parts were Mephistopheles, Franz Moor, Mark Antony, Hamlet, Charles V, Richard III and King Lear.
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Among his most memorable roles are Mephistopheles in Berlioz's The Damnation of Faust and Porgy in Porgy and Bess. He has starred in non-singing roles, such as a Royal Shakespeare Company production of Othello (1989), with Ian McKellen as Iago and Imogen Stubbs as Desdemona. He sang Porgy in the Glyndebourne production (1993) of the opera Porgy and Bess. Both productions were directed by Trevor Nunn and both were videotaped for television.
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His vocal teacher was Dmitri Usatov. Chaliapin began his career at Tbilisi and the Imperial Opera, St. Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); his first role there was as Mephistopheles in Gounod's Faust, in which he was a considerable success. At Mamontov he also met Sergei Rachmaninoff, who was serving as an assistant conductor there and with whom he remained friends for life.
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While the worthy pair go to fetch it, Mephistopheles converses with Bertha and vanishes into his room. The doll now begins to lead a dance, which makes the toymaker's hair stand on end. She first throws the whole supper out of the window, following it with plate, crockery, toys etc. Then taking a drum, she begins to drill them, like a tambour-major, slapping their ears, mouths and cheeks when they try to approach her.
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In October 2015, during a Q&A; with Marilyn Manson at the Grammy Museum, Manson announced that he and Tyler were working on new music together again. In 2015 Loudwire listed "The Mephistopheles Of Los Angeles" No. 1 best rock track and Rolling Stone included The Pale Emperor in its Top 50 list of the best albums of 2015. He returned as the lead guitarist during the tour with Slipknot in July 2016.
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At a tavern in Wittenberg Some students talk of Plato and metaphysics, with Faust present. After Faust has responded to a question by saying that "Nothing is proven, and nothing is provable", with a citation of Martin Luther, the Catholic and Protestant students break into quarrel. Once that has subsided, Faust recalls his affair with the Duchess. Mephistopheles, disguised as a courier, brings the news that she has died and sent a gift to Faust.
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Born in Rydhave near Holstebro, Nissen's brother was the opera singer Niels Frederik Nissen. He studied singing in Copenhagen with composer Leopold Rosenfeld. He made his professional debut in 1897 at the Royal Danish Theatre (RDT) as Mephistopheles in Charles Gounod's Faust. He continued to sing leading roles at the RDT until 1912 when he shifted his career away from singing towards work as a voice teacher, conductor and director at the RDT.
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Because of the wide variety of racing machinery at Brooklands, and the fact that wagering was allowed, most races were run as handicaps. Duff was the fastest on the track for both wins. He also lost a number of races where he was the fastest. As Duff’s driving skills improved, his reputation began to put him at a disadvantage with the handicappers. In the off-season, Duff bought another old Fiat, the 18-litre pre-war racer called "Mephistopheles".
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Yvonne overhears his plan and determines to spoil it. The bandits storm the castle, Alvarado arrives, and a battle ensues. Colombo, from his tower, dons a Mephistopheles costume and scares the bandits away by making them believe the castle is haunted. ;Act II — The garden of the Monastery of St. Benedict, adjoining the Convent School of St. Ursula In the gardens of the monastery and convent, Yvonne, dressed as a boy, seeks employment so she may spy on Alvarado.
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37-39 # Deep Region: various compositions depicting lovers and scenes reflecting Mephistopheles lustful and seductive encounter with the angels.Faust Paintings,pp.92-101 # Twilight: the paintings depict scenes focusing on a fallen, despairing, and dying figure. Darkness and Light is the title of a large canvas measuring 168X249cm depicting a death scene in which four female figuresThe four figures allude to the "four gray women" called Want, Guilt, Care, and Need, see Kaufmann: Goethe's Faust, pp.
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"Mephistopheles" appears in the 2012 UK film Life Just Is. The album was praised by critics. NME described it as "Achingly beautiful celestial indie…Will have Sigur Ros quivering with envy." and The Fly magazine felt "...Their debut swells with spiritually melancholic masterpieces." Particular praise was given to the single "Chalk Stars". XFM's Jon Kennedy named "Chalk Stars" his "Song of the Year" and BBC Radio 1's Zane Lowe called "Chalk Stars" "...a stunning piece of music".
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Prior to the Alden tour he had played Mephistopheles in Goethe's Faust at the Independent Theatre, and on his return he approached Sydney John Kay for a position in his Mercury Theatre. Again he played Papa in The Happy Time, other plays in which he was involved as a leading actor for the Mercury included As You Like It, Ring Round the Moon, Tovarich, Charley's Aunt, Chekhov’s The Proposal and a revue called Happily Ever After.
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Faust, known as Seven Games of the Soul in North America, is 1999 graphic adventure game created by Arxel Tribe, Anne Carrière Multimedia and Cryo Interactive. Loosely inspired by Goethe's Faust, it tells the story of Marcellus Faust and his battle of wills with the demon Mephistopheles. Faust began development in late 1998. Designed primarily as a cultural object rather than a game, it was Arxel Tribe's second project derived from German Romantic literature, following Ring.
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It was later called "King Tuts Couch" in the 1920s, coinciding with the archaeological discovery in Egypt. This peak's current name was officially adopted July 22, 1964, by the Geographical Names Board of Canada. The names of the neighboring peaks have a devil-related theme: Black Prince Mountain, Lucifer Peak, Mount Mephistopheles, Devils Dome, Mount Diablo, Satan Peak, and Devils Spire. The peak is located in Devils Range, which is a compact subrange of the Valhallas.
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The names of the peaks of this small compact range have a devil-related theme: Lucifer Peak, Mount Mephistopheles, Devils Dome, Mount Diablo, Satan Peak, Devils Spire, and Devils Couch. Based on the Köppen climate classification, Black Prince Mountain has a subarctic climate with cold, snowy winters, and mild summers. Temperatures can drop below −20 °C with wind chill factors below −30 °C. Precipitation runoff from the mountain drains into Gwillim Creek and Evans Creek, both tributaries of the Slocan River.
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The names of the peaks of this small compact range have a devil-related theme: Black Prince Mountain, Mount Mephistopheles, Devils Dome, Mount Diablo, Satan Peak, Devils Spire, and Devils Couch. Based on the Köppen climate classification, Lucifer Peak has a subarctic climate with cold, snowy winters, and mild summers. Temperatures can drop below −20 °C with wind chill factors below −30 °C. Precipitation runoff from the mountain drains into Gwillim Creek and Evans Creek, both tributaries of the Slocan River.
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Faustus is a brilliant scholar who leaves behind the study of logic, medicine, law and divinity to study magic and necromancy, the art of speaking to the dead. When he is approached by a Good and Bad Angel, it is the Bad Angel who wins his attentions by promising that he will become a great magician. Faustus ignores his other scholarly duties and attempts to summon a devil. By revoking his own baptism he attracts the attention of Lucifer, Mephistopheles and other devils.
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Crackford, in his excitement, does not read the terms of the contract he is asked to sign, and so remains blissfully unaware that he has just sold his soul to the Devil. When Crackford and John leave, "Alcofrisbas" resumes his true identity—Mephistopheles—and his "assistants" are revealed to be the Seven Deadly Sins. Crackford comes home to dinner, where his wife and daughters are waiting for him. Wanting to try out the pills, he throws one to the floor.
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Copy of a written deal by Christoph Haizmann from 1669. A deal with the devil (also known as a pact with the devil) is a cultural motif in European folklore, best exemplified by the legend of Faust and the figure of Mephistopheles, as well as being elemental to many Christian traditions. According to traditional Christian belief about witchcraft, the pact is between a person and Satan or a lesser demon. The person offers their soul in exchange for diabolical favours.
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He was a disciple of the painter Schadow, and, on Schadow's appointment to the presidency of a new academy in the Rhenish provinces in 1828, followed that master to Düsseldorf. Hildebrandt began by painting pictures illustrative of Goethe and Shakespeare; but in this form he followed the traditions of the stage rather than the laws of nature. He produced rapidly "Faust and Mephistopheles" (1824), "Faust and Margaret" (1825), and "Lear and Cordelia" (1828). He is associated with the Düsseldorf school of painting.
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Faust is a 1960 West German theatrical film directed by Peter Gorski. It is based on Goethe's Faust (1808) and adapted from the theater production at the Deutsches Schauspielhaus in Hamburg. It stars Peter Gorski's adoptive father Gustaf Gründgens as Mephistopheles and Will Quadflieg as Faust, and was chosen as West Germany's official submission to the 33rd Academy Awards for Best Foreign Language Film, but did not manage to receive a nomination. The film also won a Deutscher Filmpreis (transl.
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In 1887, Federici moved to Australia where he played in Gilbert and Sullivan and other operas with the J. C. Williamson company. His last role was Mephistopheles in Gounod's opera Faust at the Princess Theatre in Melbourne in March 1888. On opening night, after he sang the last note of the opera, and as he descended through a trap door in the stage, he had a heart attack and died suddenly. Ever since then, a legend holds that his ghost haunts that theatre.
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A wealthy banker becomes depressed over financial matters and decides to commit suicide. Mephistopheles appears to him just as he is about to end his life, and makes a sinister bargain with him to buy his soul. After the deal is done, the banker meets a beautiful young lady and falls in love, no longer desiring to die. Fortunately the woman's love for him is so strong, she is able to drive the Devil away and free him from his pact.
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184 particularly embodied in the character of Pretorius and his relationship with Henry. Gay film historian Vito Russo, in considering Pretorius, stops short of identifying the character as gay, instead referring to him as "sissified",Russo, p. 50 "sissy" itself being Hollywood code for "homosexual". Pretorius serves as a "gay Mephistopheles", a figure of seduction and temptation, going so far as to pull Frankenstein away from his bride on their wedding night to engage in the unnatural act of creating non-procreative life.
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The Mephistopheles songs are sung by Jon Oliva.Beethoven's Last Night, album credits To coincide with the 2012 spring tour, Beethoven's Last Night: The Complete Narrated Version, was released by Atlantic/Rhino/Warner Brothers Record. This two-disc deluxe edition includes all of the music from the original release and, for the first time, the narration featured during live performances of the album. It comes packaged with a booklet filled with Hildebrandt's illustrations of the story, plus the full lyrics and narration.
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Calvin Thomas published translations of Part 1 in 1892 and Part 2 in 1897. In 1908, Stephen Phillips and J. Comyns Carr freely adapted the first part of Faust for a production at Her Majesty's Theatre. It starred Henry Ainley as Faust, Herbert Beerbohm Tree as Mephistopheles and Marie Lohr as Margaret. Philosopher Walter Kaufmann was also known for an English translation of Faust, presenting Part One in its entirety, with selections from Part Two, and omitted scenes extensively summarized.
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One of his most notable SNL characters was "Tommy Flanagan, The Pathological Liar" who used an old Humphrey Bogart line "Yeah! That's the ticket!" as a catchphrase to punctuate painfully elaborated implausible lies. Other recurring characters included Annoying Man, Master Thespian, Tonto, Mephistopheles, Harvey Fierstein, and Michael Dukakis. In a 1986 episode of Saturday Night Live, he portrayed a virgin Trekkie, who was scripted to hang his head when asked by William Shatner if he had ever kissed a girl.
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The editors of Eurogamer nominated Faust for their Gaming Globes 2000 awards in four categories: "Cinematography", "Adapted Storyline", "Male Lead Character" and "Male Supporting Character". Mephistopheles ultimately won the editors' choice in the final category; the other awards went variously to Outcast, Final Fantasy VIII and Indiana Jones and the Infernal Machine. In Russia, Game.EXE named Faust the best-localized game of the year, praising Nival's "fanatical professionalism" compared to other Russian game translators' loose and informal work at the time.
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The Guardian gave the Manchester production four stars, saying that it "reaches to the heart of the tragedy of an overreaching intellect destroyed by a deal with a second-rate Mephistopheles". The Independent also awarded four stars, saying that the production was "mostly a triumph, but the opening dumb show and final song don't work". Rupert Christiansen in The Daily Telegraph gave the same star-rating, describing the opera as "fresh, original and heartfelt". The NME described it as "visually sumptuous and musically haunting".
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In July 1863 Reeves appeared for Mapleson as Huon in Oberon – the role written for Braham – with Tietjens, Marietta Alboni, Zelia Trebelli, Alessandro Bettini, Edouard Gassier and Santley.Santley 1892, pp. 199–200. After touring that winter as Huon, Edgardo and in the title role of Gounod's Faust, (with Tietjens) in Dublin, in 1864 he appeared at Her Majesty's in Faust and was especially complimented for the dramatic instinct of Faust's soliloquy in Act I and the superb energy of the duet with Mephistopheles which closes the Act.
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Retrieved 28 August 2014 Dampier was born in Horsham, Sussex, England, the son of John Dampier, a builder, and his wife Mary, née Daly. Dampier had a stage career in Manchester before moving to Melbourne, Australia in 1873, under contract to the Harwood syndicate, consisting of H. R. Harwood, George Coppin, Richard Stuart (father of Nellie Stuart), and John Hennings, managers of Melbourne's Theatre Royal. His first role was as Mephistopheles in his own adaptation of Goethe's Faust, followed by leading roles in Shakespearean dramas.
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The film is a fifteen-minute condensation of Faust, an 1859 opera by Charles Gounod based on the Faust legend. The previous year, Méliès had used a different musical version of the legend, Hector Berlioz's La damnation de Faust, as inspiration for his film The Damnation of Faust. Méliès took the role of Mephistopheles. Jeanne Calvière played Siebel; she had been a stablewoman at the Cirque d'Hiver until 1900, when Méliès hired her to play Joan of Arc in his film of the same name.
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Ghost Rider, however, is able to resist the evil that overcame him long ago, and is now able to use his powers for good no matter what. Angered, Mephisto sought revenge against Ghost Rider, and now constantly tries to win his creation back. Mephisto appears under the name Mephistopheles in the 2007 film Ghost Rider. ; Orb: Crash Simpson's (mentor to Johnny Blaze) partner in his traveling motorcycle stunt show, Drake Shannon lost most of his face in a challenge against Crash for the business.
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He also occasionally performs cabaret-style music and comedy on stages around the world, singing songs from Rocky Horror among others. In 1995, he performed a select number of shows as the devilish charmer Mephistopheles Smith in a musical/comedy show he wrote entitled Disgracefully Yours, to which he later gave permission to be adapted into a musical, first by Eubank Productions for the Kansas City Fringe Fest in 2006, and more recently by Janus Theatre Company for the Edinburgh Fringe 2007, simply entitled Mephistopheles Smith. In late 2005, he appeared (as the spirit of the mirror) in the pantomime version of Snow White, which played at the Milton Keynes Theatre. In the summer of 2006, he played the Child Catcher in the Queen's 80th birthday celebrations at Buckingham Palace. O'Brien performed in Thank-You for the Music, a 90-minute ABBA documentary for ITV, directed by Martin Koch, who previously directed the musical Mamma Mia! The documentary included a remake of the mini musical '"The Girl with the Golden Hair" which ABBA performed during their 1977 world tour and featured on ABBA: The Album (also 1977).
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Mussorgsky's single-movement orchestral work Night on Bald Mountain enjoyed broad popular recognition in the 1940s when it was featured, in tandem with Schubert's 'Ave Maria', in the 1940 Walt Disney animated film Fantasia. Among the composer's other works are a number of songs, including three song cycles: The Nursery (1872), Sunless (1874) and Songs and Dances of Death (1877); plus Mephistopheles' Song of the Flea and many others. Important early recordings of songs by Mussorgsky were made by tenor Vladimir Rosing in the 1920s and 1930s.Juynboll (1991: pp. 194–96).
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It was both a critical and commercial success, debuting at number eight on the Billboard 200 with sales of over 51,000 copies, their largest opening-week figure since Eat Me, Drink Me in 2007. Numerous publications referred to it as the band's best album in over a decade. It would go on to appear on several 'best of 2015' lists, with Rolling Stone dubbing it the 'best metal album' of 2015. Music videos for both "The Mephistopheles of Los Angeles" and "Third Day of a Seven Day Binge" were released in May and July, respectively.
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The names of the peaks of this small compact range have a devil-related theme: Black Prince Mountain, Lucifer Peak, Mount Mephistopheles, Mount Diablo, Satan Peak, Devils Spire, and Devils Couch. This peak's name was submitted by Pat Ridge of the Kootenay Mountaineering Club and officially adopted July 27, 1977, by the Geographical Names Board of Canada. Based on the Köppen climate classification, Devils Dome has a subarctic climate with cold, snowy winters, and mild summers. Temperatures can drop below −20 °C with wind chill factors below −30 °C.
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In 1878 Antokolski exhibited most of his works at the Paris Universal exposition, and received the Grand Prize. In 1880, the personal exhibition of the artist was held in Saint Petersburg, and he was given the rank of professor. Antokolsky left for Paris the same year, and stayed in the French capital until the end of his life, apart from periods on Lake Maggiore, in northern Italy. He realised here the following works: "Spinoza" (1881), "Mephistopheles" (1884), "Yaroslav the Wise" (1889), "Nestor the Chronicler" (1889) and "Yermak Timofeevich" (1891).
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The inclusion of alt=Image shows an 1828 lithograph by Eugène Delacroix, showing the German demon Mephistopheles flying over Wittenberg. The 44-minute, 23-second episode was written by Edithe Swenson and Joel Metzger, and was directed by Garth Maxwell. According to Metzger, the episode was originally written by an unnamed writer whom he replaced because the producers felt the original writer had not "captured the Xena voices at all". After handing in his first draft of the episode, Metzger—who was a freelancer— was offered a job on the writing staff.
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O'Brien continued writing musicals with arranger Richard Hartley, including: T. Zee (1976), Disaster (1978), The Stripper (1982 – based on the Carter Brown novel and produced in Australia), and Top People (1984). O'Brien and Hartley also provided three songs for the film The Return of Captain Invincible (1983), starring Alan Arkin. O'Brien wrote his one-man revue Disgracefully Yours (1985) singing as Mephistopheles Smith. O'Brien became a serial bit-part film actor and has appeared in Jubilee (1977), Flash Gordon (1980), Dark City (1998), Ever After (1998) and Dungeons & Dragons (2000), among others.
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Despite minor technical means, the theater achieved interesting views for war, fire scenes, effective disappearance and appearance of personages. A scene of feast in the last act was also very interesting. Ballet was broadly used in the play. Iblis’s piece was played by Sharifzade himself. Critics noted that this character created by Sharifzade, didn’t remind of the “European” Mephistopheles at all. And whereas the poet was far from a presentation of the Devil’s appearance, which was typical for the Eastern folklore (where it was often described as blind in one eye).
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Golden Boy is a 1964 musical with a book by Clifford Odets and William Gibson, lyrics by Lee Adams, and music by Charles Strouse. Based on the 1937 play of the same name by Odets, it focuses on Joe Wellington, a young man from Harlem who, despite his family's objections, turns to prizefighting as a means of escaping his ghetto roots and finding fame and fortune. He crosses paths with Mephistopheles-like promoter Eddie Satin and eventually betrays his manager Tom Moody when he becomes romantically involved with Moody's girlfriend Lorna Moon.
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Heinrich Faust (Johannes Zeiler) is driven by his longing for enlightenment. He seeks to understand the very nature of life and how it makes the world go round. Driven by his burning desire for cognition, he even unearths corpses and rummages in their guts just to localize the home of the soul. While he keeps on telling himself "in the beginning was the word", he gets to know the racketeer Mauricius (Anton Adassinsky), playing a worldly version of Mephistopheles, who eventually contradicts him: "In the beginning was the deed".
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When it does not burn, the fact is revealed that Beethoven is in fact the second-born son of his parents by the name Ludwig van Beethoven, and thus, the contract does not apply to his music. After Mephistopheles leaves in a fit of rage, it is revealed that the true destination of Beethoven's soul is actually heaven (as Twist explains, the devil was simply lying to him all along). Fate tells him to rest, and Beethoven's soul leaves his body for the great beyond. However, Twist also hides the manuscript for the 10th symphony.
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His successful roles outside the Wagner and Mozart repertoire included Mephistopheles in Faust, Lothario in Mignon, Dapertutto in The Tales of Hoffmann, and Tonio in Pagliacci. Bertram left a large recorded legacy dating from 1902 to 1907 on the G & T, Lyrophon, Odeon, Columbia, and Edison labels . In 1897 Bertram had married the soprano Fanny Moran-Olden who was noted for her portrayal of Wagnerian heroines and was fourteen years his senior. Their years together were cut short in 1903 when she was committed to a sanatorium outside Berlin afflicted with hopeless insanity.
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From 1974 to 1976 he toured America with the Ken Campbell Roadshow and on his return joined the Phoenix Theatre in Leicester. In 1977 he joined the National Theatre Company where he appeared as Dom Fiollo (sic) in The Hunchback of Notre Dame at the Cottesloe Theatre. In 1978 he became a member of the Young Vic Company appearing as Stephano in The Tempest, Buckingham in Richard III and Mephistopheles in Faust. In 1978 he went to America to study in a circus school where he learned juggling, unicycling and tightrope walking.
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When chasing after one of these ghosts, he runs into a very powerful demon. The demon claims to be the Mephistopheles, or shortly, Mephisto, who wants Si-hun Cha to teach him of the modern human world and bring him books about his exploits. He states that if Si-hun Cha tries to run away, he's done for. Si-hun Cha does have the common sense to consult his sister (without revealing that he's actually caught a powerful demon's attention), but he quickly learns that even his sister would be no match for Mephisto.
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Devils first appeared in the original first edition Advanced Dungeons & Dragons Monster Manual. Many of the early devils were inspired directly by real-world religion and mythology, with Mephistopheles best known from the Faust cycle, Asmodeus, a devil from the Deuterocanonical Book of Tobit and Baalzebul appearing as high devils in the D&D; cosmology. Other inspirations came from the Erinyes, Greek demigoddesses of vengeance, and the Lemures, Roman spirits of the dead. The release of the 2nd Edition Advanced Dungeons & Dragons rule set brought a name change for the devils and their counterparts demons.
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"Introduction" Teuber is also a Member and Fellow of the Institute for Advanced Study in Princeton, NJ. In an earlier career, Teuber was an actor. As an Oxford University student, he performed opposite Richard Burton and Elizabeth Taylor in the 1967 film Doctor Faustus, where he garnered favorable reviews as Mephistopheles in a production that saw few good marks.Renata Adler, "Screen: Faustus Sells His Soul Again:Burtons and Oxford Do the Devil's Work", The New York Times, 7 Feb. 1968 He also guest-starred on the TV series I Spy and The Big Valley.
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Liszt's Faust and Dante symphonies share the same aesthetic stance as the symphonic poems; though they are multi-movement works that employ a chorus, their compositional methods and aims are alike. Two Episodes from Lenau's Faust should also be considered with the symphonic poems. The first, "Der nächtliche Zug", is closely descriptive of Faust as he watches a passing procession of pilgrims by night. The second, "Der Tanz in der Dorfschenke", which is also known as the First Mephisto Waltz, tells of Mephistopheles seizing a violin at a village dance.
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Beethoven's Last Night was written and recorded in 1998 & 1999 and turned in to Atlantic Records late 1999 for release in 2000. The story begins when Mephistopheles appears before Beethoven, whom Paul O'Neill refers to as "the world's first Heavy Metal Rock Star", to collect the great composer's soul. Of course Beethoven is horrified at the thought of eternal damnation, but the devil has an offer and the bargaining begins. There are numerous plot twists including the fate of his music and the ending is based on a true but little known fact about Beethoven.
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Demogorgon was taken up by Christian writers as a demon of Hell: Note, however, Milton does not refer to the inhabitants of Hell, but of an unformed region where Chaos rules with Night. In Milton's epic poem Satan passes through this region while traveling from Hell to Earth. Demogorgon's name was earlier invoked by Faustus in Scene III of Christopher Marlowe's Doctor Faustus (1590) when the eponymous Doctor summons Mephistopheles with a Latin incantation. The sixteenth-century Dutch demonologist Johann Weyer described Demogorgon as the master of fate in hell's hierarchy.
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A law graduate of Indiana University in 1939, Pease won a scholarship at the Academy of Vocal Arts in Philadelphia and studied there rather than begin practice as a lawyer. He made his debut with the Philadelphia Opera Company as Mephistopheles in Faust, and sang many other roles with the company both in Philadelphia and in Boston. He also pursued concert, oratorio and radio work on the East Coast of the United States The Lewiston Daily Sun, May 5, 1947. He was praised by Serge Koussevitzky as having "An exceptionally beautiful, powerful, expansive voice".
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He leaps down into the room and Cornelius and Donathan take him for none other than the Devil, Miller wearing his mask and being besides blackened by soot. Perceiving his uncle's terror, he profits by it, and at once beginning a conjuration he summons the doll – that is, Bertha in the doll's dress. Father and son are delighted by her performances, but when she opens her mouth and reveals a very wilful and wayward character, Cornelius is less charmed. The doll demands food, and Mephistopheles indicates, that it is to be found in the kitchen.
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Cyphre reveals himself to be the demon Mephistopheles and, as his eyes glow, he proclaims that he can at long last claim what is his: Favorite's immortal soul. Harry insists that he knows who he is and has never killed anyone, but as he looks at his reflection in a mirror, his repressed memories showing him killing Fowler, Toots, the Krusemarks, and Epiphany come flooding back. A frantic Harry returns to his hotel room, where the police have found Epiphany brutally raped and murdered. Harry's dog tags are on her body.
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The player assumes the role of an elderly African American man named Marcellus Faust. He finds himself in an abandoned amusement park called Dreamland where he meets a mysterious man named Mephistopheles. He explains that he and "the boss" are arguing over what should happen to seven souls, and tells you that your job is to arbitrate their cases - to look over the evidence and decide if they are guilty or innocent. Through the journeys of the seven characters, the game aims to reveal insights and observations about human nature.
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This was at St James's Hall Piccadilly, conducted by William Sterndale Bennett: other soloists were the baritone Charles Santley, soprano Jenny Lind, violinist Joseph Joachim, pianist Lucy Anderson and the cellist Carlo Alfredo Piatti. The year 1863 saw the first performance of Gounod's Faust in England, at London's Her Majesty's Theatre, with Tietjens as Marguerite, Giuglini (as Faust), Charles Santley (as Valentin), Edouard Gassier (as Mephistopheles) and Trebelli (as Siebel). This production was transferred to the theatre at Covent Garden and was performed in every successive season until 1911.
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The society was founded on April 24, 1903, through the efforts of notable University of Nebraska alumni, including George Condra and Roscoe Pound, a famous legal scholar who would later become dean at Harvard Law School. Pound and Condra drew on medieval customs of knighthood, as well as papal traditions, in forming the ritual and heraldry of the society. They named the society for the 13 Popes named Innocent, who have historically stood as champions against evil. The Mephistopheles head represents the evil the society seeks to overcome.
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Halicephalobus mephisto is resistant to a temperature as high as 37 °C (higher than most terrestrial nematodes can tolerate), it reproduces asexually, and feeds on subterranean bacteria. According to radiocarbon dating, these worms live in groundwater that is 3,000–12,000 years old. The worms are also able to survive in waters with extremely low levels of oxygen, lower than one percent of the level of most oceans. It is named after Mephistopheles, the Lord of the Underworld in the Faust story, and alludes to the fact it is found so deep under the Earth's surface.
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Joseph Keppler (Puck, 1877) depicts Roscoe Conkling as Mephistopheles, watching as Rutherford B. Hayes strolls off with the prize of the "Solid South" personified as a woman. The caption quotes Goethe's Faust: "Unto that Power he doth belong Which only doeth Right while ever willing Wrong." The Compromise of 1877 was an unwritten deal, informally arranged among U.S. Congressmen, that settled the intensely disputed 1876 presidential election. It resulted in the United States federal government pulling the last troops out of the South, and formally ending the Reconstruction Era.
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Strother Martin, known for his appearances in westerns, was cast as the Captain, a prison warden who is depicted as a cruel and insensitive leader, severely punishing Luke for his escapes. The role of Luke's dying mother, Arletta, who visits him in prison, was passed to Jo Van Fleet after it was rejected by Bette Davis. Morgan Woodward was cast as Boss Godfrey, a laconic, cruel and remorseless prison officer who Woodward described as a "walking Mephistopheles." He was dubbed "the man with no eyes" by the inmates for his mirrored sunglasses.
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Using the energy of his newfound worshippers, he creates a new angel, Yeshuah, who he proclaims his son and heir. As the war continues, Zaphkiel intercepts Satan and brings him directly to Yaweh, where the two discover that Abdiel has played them both for fools. However, Satan will not acknowledge Yaweh's dishonest claim to Godhood, and neither will Yaweh abandon it, so the conflict continues. Abdiel, now on the run from both sides, begins digging a hole in the wall of Heaven, but Mephistopheles finds and strangles him before he can finish the work.
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In 1976 he was the narrator in a recording of Schoenberg's A Survivor from Warsaw, described as disturbingly dramatic, again with the BBC Symphony Orchestra and Boulez. In 1979 he appeared as the duke in the production of Schreker's Die Gezeichneten at the Oper Frankfurt, conducted by Gielen, with William Cochran and June Card. In 1980 he sang the title role in Ferruccio Busoni's Doktor Faust, staged by Hans Neuenfels, with Cochran as Mephistopheles and June Card as the Duchess of Parma. Reich died in Heidelberg in 1989.
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In the episode, Xena, her daughter Eve (Adrienne Wilkinson), and Gabrielle travel to visit Xena's mother Cyrene (Darien Takle) in Amphipolis, which they realize has become a ghost town. While investigating, Xena discovers Cyrene was accused of being a witch after she started to hear voices and was burned at the stake. The trio also realize Xena's childhood home is haunted and that the demon Mephistopheles (Anthony Ray Parker) is responsible for the current situation in Amphipolis. "The Haunting of Amphipolis" was originally written by an unnamed writer who was replaced by Metzger because the dialogue he wrote was unsuitable.
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Gustaf Gründgens (; 22 December 1899 – 7 October 1963), born Gustav Heinrich Arnold Gründgens, was one of Germany's most famous and influential actors of the 20th century, and artistic director of theatres in Berlin, Düsseldorf, and Hamburg. His career continued unimpeded through the years of the Nazi regime; the extent to which this can be considered as deliberate collaboration with the Nazis is hotly disputed. His best known roles were that of Mephistopheles in Goethe's Faust in 1960, and as "Der Schränker" (The Safecracker) who is the chief judge of the kangaroo court presiding over Hans Beckert (Peter Lorre) in Fritz Lang's M.
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Imprisoned by the Soviet NKVD for 9 months in 1945 - 1946, Gründgens was released thanks to the intercession of the Communist actor Ernst Busch, whom Gründgens himself had saved from execution by the Nazis in 1943. During the denazification process his statements helped to exonerate acting colleagues, including Göring's widow Emmy and Veit Harlan, director of the film Jud Süß. Gründgens returned to the Deutsches Theater, later became Intendant of the Düsseldorfer Schauspielhaus, and from 1955 directed the Deutsches Schauspielhaus in Hamburg. He again performed as Mephistopheles; the 1960 film Faust by Peter Gorski was made with the Deutsches Schauspielhaus ensemble.
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In July 1988, due to the order of Alexander Nikolaevich Yakovlev, a secretary in the Central Committee of the Communist Party of the Soviet Union, the seized documents were returned to his daughter. He wrote several stories on labor camp themes, two of which were published in Novy Mir (1997, Volume 5, pp. 116–145) – "People Die for Metal" ("Люди гибнут за металл") – a title drawn from a statement of Mephistopheles in 'Faust' by 'Goethe' – and "The Artist Baccilla and his Wonders" ("Художник Бацилла и его шедевр"). Unlike other writers of the camps, Demidov remains comparatively unknown and untranslated.
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The devil's assistant pokes their backs before instantaneously transporting to different areas of the room, confusing the pair and causing one to flee. The second stays and has several other tricks played on him, such as furniture being moved around and the sudden appearance of a skeleton. The cavalier is unfazed, using a sword to attack the skeleton, which then turns into a bat, then into Mephistopheles, who conjures four spectres to subdue the man. Recovering from the spectres' attack, the man is visibly dazed and is brought the woman from the cauldron, who impresses him with her beauty.
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In the 2007 film Ghost Rider, Blackheart is portrayed by Wes Bentley, alongside his father Mephistopheles. Unlike his comic book counterpart, in which he is a large black-skinned demon with quills on his head, a tail and red eyes, in the film Blackheart assumes a human form, with pale white skin and black hair, though at many points in the film, he briefly shows his demonic facial features. Despite having many presumed supernatural powers, he mainly uses his hands to kill people with a "lethal touch". He also has the ability to sense people by "smelling" their fear.
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Shakespeare mentions "Mephistophilus" in the Merry Wives of Windsor (Act I, Scene I, line 128), and by the 17th century the name became independent of the Faust legend. According to Burton Russell,Burton Russell 1992, p. 61 "That the name is a purely modern invention of uncertain origins makes it an elegant symbol of the modern Devil with his many novel and diverse forms". Mephistopheles is also featured as the lead antagonist in Goethe's Faust, and in the unpublished scenarios for die Walpurgis-Nacht (German for "the Walpurgis-Night"), he and Satan appear as two separate characters.
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Beethoven's Last Night is a rock opera by the Trans-Siberian Orchestra, released in 2000. The album tells the fictional story of Ludwig van Beethoven on the last night of his life, as the devil, Mephistopheles, comes to collect his soul. With the help of Fate and her son Twist, Beethoven unwittingly tricks the devil and is allowed to keep his soul which he had thought lost, but that the devil had no claim on. The album is a rock opera featuring many classical crossover rock songs which are clearly based on melodies from classical music, particularly Beethoven's works.
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Written in waltz form, the Bagatelle remains one of Liszt's most adventurous experiments in pushing beyond the bounds of tonality, concluding with an upward rush of diminished sevenths. Some have analyzed the piece as being constructed around a symmetrical chord—the G diminished chord with which the work ends—with the B–F tritone symbolizing Mephistopheles as part of this chord.Baker, 116-17. The lack of a definite key feeling, these critics continue, is due to the piece's reliance on mainly tritone and diminished seventh harmony, as well as the piece's ending in an indefinite manner.
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Marriage of Frederic King and Eva Hume in 1882 - Ancestry.com King created the role of Callias, the Priest of Apollo, in the first performance of Arthur Sullivan's oratorio The Martyr of Antioch at the triennial Leeds Festivals in 1880.Leeds Musical Festival Concert Programmes (1858–89), Arts & Humanities Research Council website, accessed 9 June 2014 He sang the role of Mephistopheles in the English premiere of Berlioz's La damnation de Faust at the Royal Albert Hall in 1882. In 1886, at Leeds, he sang the role of Lucifer in the first performance of Sullivan's cantata The Golden Legend (1886).
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Direct contact with it is a violation of world order, and does not end well. The author of The Fairy Tale Encyclopedia suggests that the Mistress represents the conflict between human kind and nature. She compares the character with Mephistopheles, because a human needs to wager his soul with her in order to get the ultimate knowledge, however, the Mistress does not force anyone to abandon their moral values, and therefore "is not painted in dark colours". Lyudmila Skorino believed that she represented the nature of the Urals, which inspires a creative person with its beauty.
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The play, a fantasy told entirely in rhyme, begins with a narrative introduction. It proceeds without further narration, but a character named Sotto voce occasionally interrupts with parenthetical footnotes for the audience. Sound effects depict a descent to Hell: a gong, followed by two crashes of thunder; then an electronic hum, first descending, then ascending in pitch; which dissolves into a sustained violin note, which finally turns into a classical cadenza. The violin is being played by the Roman emperor Nero, whose playing is interrupted by a courier summoning him to an urgent meeting called by the Devil, Mephistopheles.
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The film starred his adoptive father Gustaf Gründgens as Mephistopheles, and was chosen as West Germany's official submission to the 33rd Academy Awards for Best Foreign Language Film, but did not manage to receive a nomination. The film also won Gorski a Deutscher Filmpreis for an Outstanding Documentary or Cultural Film in 1961. In 1968, Peter Gorski as the sole heir sued the Nymphenburger Verlagsbuchhandlung, which had published the novel Mephisto which was loosely based on the life of his adoptive father Gustaf Gründgens. The Federal Constitutional Court of Germany ruled that Gründgens' personal freedom was more important than the freedom of art.
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In 1866, Louisa May Alcott toured Europe for the first time; being poor, she traveled as the paid companion of an invalid. Upon her return, she found her family in financial straits, so when publisher James R. Elliot asked her to write another novel suitable for serialisation in the magazine The Flag of Our Union (mockingly referred to as The Weekly Volcano in Little Women),King, Stephen. "Blood and thunder in Concord." The New York Times, September 10, 1995 (full text) Alcott dashed off a 292-page Gothic romance entitled A Modern Mephistopheles, or The Fatal Love Chase.
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Although the concert hall was his natural milieu, he also performed such roles as Iago (Otello), Wolfram (Tannhäuser) and Tonio (Pagliacci) with the British National Opera Company until its demise in 1929. For 16 seasons, he also sang such parts as Mephistopheles (Faust) and Boris (Boris Godunov) at Covent Garden, in London. Williams made a number of recordings which display the fine quality of his voice and the excellence of his singing technique. His 1933 English-language recording, with his countryman the acclaimed bass Malcolm McEachern, of "The Gendarmes' Duet" from Offenbach's opera Geneviève de Brabant is an enduring classic of the gramophone.
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The black-and-white video begins with Michael K. Williams emerging from a shadowy alleyway. Acting as a Faustian narrator, he presses his head between two steel bars and says "The first time I met him, I could feel the hounds of hell on my trail". Williams is dressed in attire similar to the kind worn by 1930s blues musician Robert Johnson – who, according to legend, entered into a Faustian pact with the Devil in exchange for his musical prowess. Williams' soliloquy goes on to describe his first encounter with Mephistopheles, the character played by Manson, before a title sequence appears.
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Mephistopheles' head above crossed tridents, the symbol of the Society of Innocents The Innocents Society is the Chancellor's senior honorary society at the University of Nebraska-Lincoln, composed of 13 men and women who apply during the spring of their junior year and are selected on the basis of academic excellence, unparalleled leadership, and selfless service to the University and community. Members are known throughout campus, but the society still retains secrecy through rituals and a secret meeting room. Members work to promote school spirit and create an appreciation among the student body of the greater values for which Nebraska stands.
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Manson dubbed Heaven Upside Down his "most precise and well-thought-out work", and compared its lyrics to those of 2000's Holy Wood (In the Shadow of the Valley of Death), noting the majority of lyrics on both records were initially written as prose. He additionally described it as a concept album, and contrasted it with The Pale Emperor: "The last album was Faust, Mephistopheles. For me, this would be Pilgrim's Progress". Lyrical themes and subject matter on the record range from politics, violence, sex and romance, chaos and isolation, and capitalism, religion, drugs, paranoia, fear and mental illness.
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Spies published the book in 1587 in Frankfurt am Main under the title Historia von D. Johann Fausten. The book is a compendium of anecdotes about a professor of theology and medicine who undertakes the study of sorcery, forms an alliance with the Devil (in the form of a friar named Mephistopheles), and undergoes a series of fantastic adventures. In the end, Faust is punished for his sins when Satan torments him and takes his soul to hell. Within a year the book was translated into English, and by 1611 it had also appeared in French, Dutch, and Czech.
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Other important angels include the blind musician Harut, the poetry-quoting Ariel, the craftsman Asmodai, the smirking Mephistopheles, the dour Uriel, the sneering Abdiel, the somewhat naive Gabriel and the coolly competent Zaphkiel. A mostly independent subplot involving two angels named Kyriel and Sith gives the viewpoints of two low-level angels who get swept up in the story's events. Trouble arises when Yaweh, worried about the imminent Fourth Wave, devises The Plan: the blueprint for a new, larger Heaven (Earth), with walls that the cacoastrum cannot destroy. Unfortunately, at least a thousand angels will die during the construction of his new Paradise.
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In the production of Wagner's Der Ring des Nibelungen in Frankfurt, staged by Ruth Berghaus and conducted by Michael Gielen, she appeared as Freia and Gutrune. She performed the part of the Duchess of Parma in Ferruccio Busoni's Doktor Faust at the Oper Frankfurt in 1980, staged by Hans Neuenfels, with Günther Reich in the title role and William Cochran as Mephistopheles. In 1999 she sang there the Witch in Engelbert Humperdinck's Hänsel und Gretel, Herodias in Salomé, and the Mother in Adriana Hölszky's Die Wände. In 2000 she took the part of the Leitmetzerin in Der Rosenkavalier.
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It is there that Adrian, working on music for an operatic adaptation of Shakespeare's Love's Labour's Lost, has his long dialogue with a Mephistopheles figure who appears either objectively or out of his own afflicted soul. In these central pages, the fulcrum of the story, Zeitblom presents Adrian's manuscript of the conversation. The demon, speaking in archaic German, claims Esmeralda as the instrument by which he entraps Adrian and offers him twenty-four years' life as a genius – the supposed incubation period of his syphilis – if he will now renounce the warmth of love. The dialogue reveals the anatomy of Leverkühn's thought.
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Hailing from Heidelberg Germany, is the eighth- generation descendant of the legendary Doctor Faustus, who made a deal with the devil Mephistopheles for his necromancy skills along with youth and riches for seven years in exchange for his immortal soul. Faustus's descendants, including Faust VIII, distanced themselves from their ancestor's legacy, turning to the profession of medicine and regarding Faustus as a taboo within the family. Following family tradition, Faust VIII studied medicine and fell deeply in love with a young woman named Eliza, who had an incurable disease. Faust's perseverance eventually paid off and he found a cure for her illness, allowing them to marry and live happily together.
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When Faust joined Yoh's group, Anna brought the spirit of Eliza to be reunited with her husband as his Guardian Ghost. Her "Giant Over Soul" form is a giant bat- winged version of herself called Mephisto-E (Mephisto being a reference to Mephistopheles, or the devil, whom Faustus summons). After Faust and Eliza reunited, both of them became heavily devoted to Yoh. As a guardian ghost, she is an effective medical assistant to Faust and is armed with surgical instruments, though Faust admits that she is a little clumsy and may inject an opponent many times with a syringe before she hits the mark.
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Prologue in the Theatre In the first prologue, three people (the theatre director, the poet and an actor) discuss the purpose of the theatre. The director approaches the theatre from a financial perspective, and is looking to make an income by pleasing the crowd; the actor seeks his own glory through fame as an actor; and the poet aspires to create a work of art with meaningful content. Many productions use the same actors later in the play to draw connections between characters: the director reappears as God, the actor as Mephistopheles, and the poet as Faust.Williams, John R., Goethe's Faust, Allen & Unwin, 1987, p. 66.
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When his family moved to America, he sang in vaudeville. In 1920, he returned to Vienna for additional training; his first opera role was at the Volksoper in 1922, as Mephistopheles in Charles Gounod's Faust. In 1923 he was offered a role in a production at the Charlottenburg opera company in Berlin, and two years later he joined the Berlin State Opera. That year he debuted in the role of Pogner in Wagner's Die Meistersinger, and went on to portray King Mark in Tristan und Isolde, Hunding in Die Walküre and Hagen in Götterdammerung, as well as Ramfis in Giuseppe Verdi's Aida and Baron Ochs in Richard Strauss's Der Rosenkavalier.
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Werner Krauß in 'Dantons Tod' In 1903 he debuted at the Guben municipal theatre. Although never trained as an actor, he continued to play in Magdeburg, in Bromberg at the Theater Aachen, in Nuremberg and in Munich. By the agency of Alexander Moissi, in 1913 he met the theatre director Max Reinhardt, who took Krauss to his Deutsches Theater in Berlin. However, Krauss initially only gained minor and secondary roles like King Claudius in Shakespeare's Hamlet or Mephistopheles in Goethe's Faust, wherefore after his military discharge as a midshipman of the Imperial German Navy in 1916 he also pursued a career as a film actor.
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None of the original actors from the first two Jaws films returned for the third. Roy Scheider, who played Police Chief Martin Brody in the first two films, laughed at the thought of Jaws 3, saying that "Mephistopheles ... couldn't talk me into doing [it] ... They knew better than to even ask". He agreed to do the film Blue Thunder to ensure his unavailability for Jaws 3-D. Dennis Quaid stated in a 2015 interview that, of all his films, he made the most aggressive use of cocaine during the filming of Jaws 3D, and that he was high on the drug in "every frame" in which he appears.
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It topped Billboard's Hard Rock Albums chart, as well as the national albums chart in Switzerland, and peaked within the top ten in fifteen other countries. Three official singles were released, "Third Day of a Seven Day Binge", "Cupid Carries a Gun" and "Deep Six"; the latter became the band's highest-peaking single on Billboard's Mainstream Rock Chart; "The Mephistopheles of Los Angeles" and "The Devil Beneath My Feet" have been released as promotional singles. The album was supported by The Hell Not Hallelujah Tour, which was interspersed with two co-headlining tours: The End Times with The Smashing Pumpkins, and a summer 2016 tour with Slipknot.
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By many music historians and critics he is regarded as the greatest ever Boris Godunov, right after Feodor Chaliapin. His other roles include those of Don Quichotte (Massenet's Don Quichotte), Galitsky and Konchak (Borodin's Prince Igor), Mephistopheles (Gounod's Faust), Phillip The Second (Verdi's Don Carlos), Figaro (Mozart's The Marriage of Figaro), Kuchobey (Tschaikovsky's Mazeppa), Ivan The Terrible (Rimsky- Korsakov's The Maid of Pskov), Mitke (Konjović's Koštana), and others. His concert repertoire consisted of 520 pieces that included solo songs, song- cycles, cantatas and oratorios. A great deal of these were pieces written and composed by numerous Serbian and Yugoslav composers, most of which had its premiere thanks to Čangalović.
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The Baltimore Sun writer Tamara Ikenberg equated the episode as both a parody of genetic engineering and a statement against its potential evils, particularly through in its portrayal of the giant mutant Stan wreaking havoc through South Park. This episode marked the first appearances of the characters Shelley and Sharon Marsh, Stan's sister and mother respectively, as well as that of Dr. Mephesto. Dr. Mephesto is based on Marlon Brando's character Dr. Moreau in the 1996 film, The Island of Dr. Moreau, which is based on the 1896 H. G. Wells novel of the same name. Mephesto is named after Mephistopheles, the demon in the Faust legend.
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Mask had stolen some power from Shar when he was born, and from that piece of Mask's, Kesson Rel stole a piece, and from that piece, Erevis Cale, Drasek Riven, and the shade Rivalen Tanthul split into three pieces amongst themselves. So in reality, they were only receiving a third of a piece of Shar's divinity, and that Shar and Mask's powers were the same. Cale promised a portion of divine essence to both his god and to his adventuring companion's Archdevil father Mephistopheles. He made this arrangement in order to get back the missing half of Magadon's soul which was ripped from his friend's body.
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The Laboratory of Mephistopheles was released by Méliès's Star Film Company and is numbered 118–120 in its catalogues. It was shown at Méliès's own Paris theatre of illusions, the Théâtre Robert-Houdin, in early October 1897, along with four other new Méliès films: The Barber and the Farmer, The Charcoal Man's Reception, The Bewitched Inn, and A Hypnotist at Work. The newspaper Le Journal reported that the films were novel and received with much success. In February 1898, the magician David Devant toured British towns with the film as part of his act, advertising it under the titles The Laboratory of Faust and Faust's Laboratory.
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He is remembered also for his interpretations of Ivan the Terrible in Rimsky-Korsakov's The Maid of Pskov and Salieri in Mozart and Salieri, Mephistopheles in Gounod's Faust, Don Quixote in Massenet's Don Quichotte, and King Philip in Verdi's Don Carlos. Largely owing to his advocacy, Russian operas such as Mussorgsky's Boris Godunov and Khovanshchina, Glinka's Ivan Susanin, Borodin's Prince Igor and Rimsky-Korsakov's The Tsar's Bride and Sadko, became well known in the West. Chaliapin made one sound film for the director G. W. Pabst, the 1933 Don Quixote. The film was made in three different versions – French, English, and German, as was sometimes the prevailing custom.
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This version of the character, however, was not a member of the Blood, of which there is no mention in the movie, but in fact was Johnny Blaze's predecessor to the Ghost Rider title, having been subjected to the same curse 150 years before. In the film, the Caretaker turns out to be Carter Slade, a former Texas Ranger who sold his soul to Mephistopheles in consequence for being greedy. His final act during his time was to maintain safety over the Contract of San Venganza, where he collected a contract that worth 1,000 souls. Knowing that these evil souls would cause hell on earth, he outran his master.
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He taught part-time, mostly at Birmingham Art School and occasionally at Kidderminster College. For the rest of his life he continued to paint with a view to making that his career and produced a number of paintings each year (mainly in oil) that were submitted to the Royal Academy, and often accepted for exhibition. In 1933 he produced his most controversial painting, a self- portrait in which, it has been suggested, he is posing as the demonic figure Mephistopheles. In the same year, he had his first exhibit at the Royal Academy, "A Mulatto", a portrait of a lady which was later bought by Dudley Art Gallery.
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The San Francisco Opera performed the work for the first time in a co-production with the Staatsoper Stuttgart in 2004 with Rodney Gilfry in the title role, Chris Merritt as Mephistopheles, and Hope Briggs as the duchess.Hope Briggs lists Stuttgart in her Oakland symphony bio and her name appears in San Francisco Opera archives as well as "San Francisco's Fascinating Doktor Faust", San Diego Magazine, June 25, 2004. However her last minute replacement in SF was decried by the Berkeley Planet and reported in the East Bay Times and NYT. A 2006 performance of the opera at the Zurich Opera was filmed live and released on DVD.
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In 1952 already he had been prevented by American pressure from participating in the Salzburg Festival, where he was an annual regular; Paryla was supposed to have performed in Jedermann. Like many blacklisted actors and directors, he went to work in East Germany and began making movies for DEFA; his first was Mich dürstet, a film based on the Spanish Civil War. At the same time he continued to perform, in Berlin and Munich, with notable roles including Touchstone (As You Like It) and Mephistopheles (Faust), and above all as a Netroy actor. In 1966, he performed in Cologne in an adaptation of La Celestina.
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The first television adaptation was broadcast in 1947 by the BBC starring David King-Wood as Faustus and Hugh Griffith as Mephistopheles. In 1958, another BBC television version starred William Squire as Faustus in an adaptation by Ronald Eyre intended for schools. In 1961, the BBC adapted the play for television as a two-episode production starring Alan Dobie as Faustus; this production was also meant for use in schools. The play was adapted for the screen in 1967 by Richard Burton and Nevill Coghill, who based the film on an Oxford University Dramatic Society production in which Burton starred opposite Elizabeth Taylor as Helen of Troy.
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He reached the peak of his popularity after he joined John Hollingshead's company at the Gaiety Theatre, London in 1876, starring in the musical burlesques produced there during the next eight years. With Nellie Farren, Kate Vaughan and E. W. Royce, he made the fortune of this house, his eccentric acting and singing creating a style which had many imitators. Some of the roles in which he appeared there included Mephistopheles in Little Doctor Faust (1878). Photo and signatures of Farren, Terry and Gaiety friends In 1887 he went into management, opening Terry's Theatre, built on the site of the old Coal Hole public house and music hall on the Strand.
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The Goddess of Spring is a 9-minute Silly Symphonies animated Disney short film. The Symphony is imbued with operatic themes and is often cited as melodramatic. It was released in 1934, and its production was important to the future development of Disney's Snow White and the Seven Dwarfs animation. Each Silly Symphony was a technological marvel at the time and proceeded to further advancements in the animation industry. While the plot of The Goddess of Spring follows the Greek myth of Persephone (known as “Proserpina” in Roman Mythology) and Hades (Pluto), the imagery is more evocative of Hell and Satan (or, more specifically, a traditional stage Mephistopheles).
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During the war he returned to Australia and maintained a very successful concert and opera career there. In 1946 he was invited back to England, to Sadler's Wells, where he resumed his regular position in the company, also making occasional guest appearances at Covent Garden. He was especially effective as Scarpia, and also as Simone Boccanegra in the English revival opposite Howell Glynne's Fiesco, and recorded excerpts of this work at the time. He was also a most effective Papageno, Rigoletto, Don Carlo, Iago, Germont père, Conte di Luna, Amonasro, Pizarro and Governor, Varlaam, Kecal, Peter, Figaro and Almaviva, Mephistopheles, Telramund, and the Dutchman.
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Darvill had a minor role as a stable groom in Ridley Scott's Robin Hood, and played Mick Gallagher in Sex & Drugs & Rock & Roll. In the summer of 2011, he played Mephistopheles "an agent of the Devil in human form" in Doctor Faustus at Shakespeare's Globe Theatre in London, a production which was subsequently issued as a DVD. After his departure from Doctor Who he was cast in the drama Broadchurch as vicar Paul Coates, alongside David Tennant and Olivia Colman. On 19 April 2013 he took over the lead male role of Guy from the musical Once, on Broadway, New York, opposite new co-star Joanna Christie.
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From 1932 he was a member of the Prussian State Theatre ensemble, in which he first stood out as Mephistopheles. Gründgens' career continued after the Nazi party came to power: in 1934 he became the Intendant, or artistic director, of the Prussian State Theatre and was later appointed a member of the Prussian state council by the Prussian Minister-President Hermann Göring. He also became a member of the Presidential Council of the Reichstheaterkammer (Theatre Chamber of the Reich), which was an institution of the Reichskulturkammer (Reich Chamber of Culture). In 1941, Gründgens starred (against his will and unpaid) in the propaganda film Ohm Krüger and also in Friedemann Bach, a film he also produced.
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8, #10. Marvel Comics. After the War of the Realms had resolved itself and the world returned to semi-stability, The Submariner could be seen in an undersea tavern remembering back to glories long past; back to when he was first crowned king of the seas. Only to be reminded that the world is getting more and more unstable due to the greed and carelessness of the surface world after dealing with cybernetically augmented dolphins sent to dispatch him by Roxxon while drinking his problems away While mulling over his myriad of problems the local bartender (unknown to the sea king, a pawn of Mephistopheles) suggests he take his grievances with the heart of the world's problems; The Avengers.
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Timm Thaler oder Das verkaufte Lachen (roughly translated as Timm Thaler, or the Traded Laughter and best known as simply Timm Thaler) is a 1962 children's novel by German author James Krüss. Regarded by the Oxford Encyclopedia of Children's Literature as Krüss' best known children's book, Timm Thaler tells the story of a boy who trades his enchanting laughter to a wealthy mysterious Mephistopheles-like Baron in exchange for the ability to win any bet he makes. Regretting the exchange, he undertakes a four-year journey to win his laughter back. In 1979, Krüss wrote a sequel novel, Timm Thalers Puppen oder Die verkaufte Menschenliebe (roughly translated as Timm Thaler's Puppets, or the Traded Love for Mankind).
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The series comprises about 70 oils on canvas ranging in size from and to , and 30 mixed mediumsAlkyd, acrylic, ink, and oil, Faust Paintings, p. 110 on paperboard measuring executed in three phases during a three-year period of the late 1970s.Faust Paintings, p10 The paintings are sequentially grouped under 22 headings forming 12 sections:Kanso Faust Paintings # Faust and the Earth Spirit: A sequence of paintings with agitated rhythm and tangled webs of black paint over layers of red and yellow colors depicting scenes of dim enclosures and various gothic settings that provide the ground for the appearance of figures representing Faust, Mephistopheles, and various characters, metamorphosis, and symbols of the earth-spirit and macrocosm.
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After working on Les Quatre Cents Coups du diable, Méliès opted to build the filmed sequence "Le Voyage dans l'éspace" into a freestanding film. The new material was made at least six months after the original filmed sequences, with different actors, including Méliès himself as Mephistopheles. Though some elements of the film are derived from the stage play, Méliès devised a new plot, and modified the wording of the French title from Les Quatre Cents Coups du diable to Les Quat'Cents Farces du diable to avoid questions of copyright. (Méliès eventually reused the other filmed sequence from the play, "Le Cyclone", as a scene in his later film Robert Macaire and Bertrand.)Malthête & Mannoni, p. 209.
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His concert career lasted more than 40 years during which he gave over 300 concerts held across former Yugoslavia as well as more than 160 world wide. His outstanding achievements were awarded on various occasions both at home and abroad. To note just a few; he was awarded twice by International Jury of Critics in France as the best singer of the season at the Festival Theatre of Nations in Paris, in 1959 (for the role of Mephistopheles) and in 1961 (for that of Boris Godunov). He was also awarded by the French government as the Chevalier de l'ordre des Arts et des Lettres, for his contribution to promoting the French culture.
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Divoff has played many villains in film and on television, including drug cartel leaders, terrorists, and organized crime bosses, though he is best known for playing the evil Djinn/Nathaniel Demerest in the first two Wishmaster films. Other noteworthy film and television roles include the villains Luis Cali in Toy Soldiers, Cherry Ganz in Another 48 Hrs., Ernesto Mendoza in A Low Down Dirty Shame, Boris Bazylev in Air Force One, M (short for as Mephistopheles) in Faust: Love of the Damned, Ivan Sarnoff in CSI: Miami, Mikhail Bakunin in Lost, and Karakurt in The Blacklist. Divoff can reportedly speak nine languages: English, Russian, Spanish, Italian, French, German, Catalan, Portuguese and Swedish.
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Sculpture of Mephistopheles bewitching the students in the scene "Auerbachs Keller" from Faust, at the entrance of what is today the restaurant Auerbachs Keller in Leipzig Anton Kaulbach: "Faust and Mephisto" Faust is a tragic play in two parts by Johann Wolfgang von Goethe, usually known in English as Faust, Part One and Faust, Part Two. Although rarely staged in its entirety, it is the play with the largest audience numbers on German-language stages. Faust is considered by many to be Goethe's magnum opus and the greatest work of German literature. The earliest forms of the work, known as the Urfaust, were developed between 1772 and 1775; however, the details of that development are not entirely clear.
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He describes the director Hartenstein as "a young man from Galicia with long hair and short brains, half educated in Vienna, and half an actor", and refers to the poor of Whitechapel as looking as if they "had come out of their mothers already gray and old." Of his early London years, he writes, "We played for a tiny audience, on a stage the size of a cadaver, but we played well, with a drunkenness of happiness."[Adler 1999] pp.214, 233, 248 In a small essay, "Shmendrick, My Mephistopheles", one of the last passages he wrote, Adler describes the last time he saw Shmendrick played, at a memorial for Goldfaden in 1912.
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Christopher Marlowe's Doctor Faustus refers to the Queen of Sheba as Saba, when Mephistopheles is trying to persuade Faustus of the wisdom of the women with whom he supposedly shall be presented every morning.Marlowe, Christopher; Doctor Faustus and other plays: Oxford World Classics, p. 155. Gérard de Nerval's autobiographical novel, Voyage to the Orient (1851), details his travels through the Middle East with much artistic license. He recapitulates at length a tale told in a Turkish cafe of King Soliman's love of Balkis, the Queen of Saba, but she, in turn, is destined to love Adoniram (Hiram Abif), Soliman's chief craftsman of the Temple, owing to both her and Adoniram's divine genealogy.
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He was a much loved Kecal in The Bartered Bride. Among his chief roles at the theatre were Basilio in The Barber of Seville, Beneš in Dalibor, Daland in The Flying Dutchman, Mephistopheles in Faust, Mumlal in The Two Widows, Paloucký in The Kiss, Prince Gremin in Eugene Onegin, Ramfis in Aida, Rocco in Fidelio, Van Bett in Zar und Zimmermann, Vodník in Rusalka, Volfram Olbramovič in The Brandenburgers in Bohemia, Zechariah in Nabucco, and the title role in A Life for the Tsar. One of his last appearances at the house was in 1992 in a production of František Škroup's Columbus. During his career Haken toured often with the National Theatre, making appearances throughout Europe.
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In 1995, he achieved a second prize at the competition for young singers Neue Stimmen of the Bertelsmann Foundation. Daniel Barenboim engaged him at the Berlin State Opera in 1998, where he stayed until 2011 and performed in many operatic roles, such as Masetto and Leporello in Mozart's Don Giovanni, the title role in his Le nozze di Figaro, Guglielmo in his Così fan tutte, Kaspar in Weber's Der Freischütz, and Escamillo in Bizet's Carmen. He took part in premieres of new operas: creating in 1999 the role "Harry or Larry, a bridegroom and a clown" in Elliott Carter's What Next?, and in 2006 the role of Mephistopheles in Dusapin's Faustus, the Last Night, conducted by Michael Boder.
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When they have left Miller reappears in the garb of Mephistopheles and clapping his hands, his fiancée Bertha, a poor seamstress soon enters. Sadly she tells her lover that she is unable to go to the ball, having given all her money, which she had meant to spend on a dress, to a poor beggar-women in the street. Miller, touched by his love's tender heart, determines to lay aside his mask, in order to stay at home with Bertha, when suddenly an idea strikes him. Remembering the doll, which his uncle keeps hidden in his closet, he shows it to Bertha, who delightedly slips into the doll's beautiful clothes which fit her perfectly.
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Jeffrey Burton Russell, The Devil: Perceptions of Evil from Antiquity to Primitive Christianity, Cornell University Press 1987 , pp. 41–75 The history of this concept intertwines with theology, mythology, psychiatry, art and literature, maintaining a validity, and developing independently within each of the traditions.Jeffrey Burton Russell, The Devil: Perceptions of Evil from Antiquity to Primitive Christianity, Cornell University Press 1987 , pp. 44 and 51 It occurs historically in many contexts and cultures, and is given many different names—Satan, Lucifer, Beelzebub, Mephistopheles—and attributes: It is portrayed as blue, black, or red; it is portrayed as having horns on its head, and without horns, and so on.Arp, Robert. The Devil and Philosophy: The Nature of His Game.
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"Chaos" reflects "wars, disagreements and the difficulty men have in understanding each other", whilst "Face of the Deep", a ballad in a minor key – the more cohesive piece of the album -, mirrors God bethinking on His creation. Shorter meant the composition as hopeful. The closing piece, "Mephistopheles", is a composition by Wayne's older brother Alan, and it emphasizes the ominous presence of evil; Wayne notes: "At the end, that loud, high climax can be taken as a scream. If you consort with the Devil, and are fooled by his unpredictability, that scream is a measure of the price you pay [...] and you are consigned to an eternity of torture, fire and brimstone".
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Edlesten, on making an apparently friendly offer of the use of communications facilities to Carney, who initially lacked secure communications facilities, was met with "I'm not about to play Faust to your Mephistopheles through the medium of communications!" In 1956, ships of the fleet, together with the French Navy, took part in the Suez War against Egypt. From 1957 to 1959, Rear Admiral Charles Madden held the post of Flag Officer, Malta, with responsibilities for three squadrons of minesweepers, an amphibious warfare squadron, and a flotilla of submarines stationed at the bases around Valletta Harbour. In this capacity, he had to employ considerable diplomatic skill to maintain good relations with Dom Mintoff, the nationalistic prime minister of Malta.
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They were given comic parts in the tradition of the previous century's comic bass by Gilbert and Sullivan in many of their productions. This did not prevent the French master of operetta, Jacques Offenbach, from assigning the villain's role in The Tales of Hoffmann to a big-voiced baritone for the sake of dramatic effect. Other 19th-century French composers like Meyerbeer, Hector Berlioz, Camille Saint-Saëns, Georges Bizet and Jules Massenet wrote attractive parts for baritones, too. These included Nelusko in L'Africaine (Meyerbeer's last opera), Mephistopheles in La damnation de Faust (a role also sung by basses), the Priest of Dagon in Samson and Delilah, Escamillo in Carmen, Zurga in Les pêcheurs de perles, Lescaut in Manon, Athanael in Thaïs and Herod in Hérodiade.
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Petr Migunov (; born August 24, 1974) is a Russian opera and classical singer (bass) who graduated from the Saint Petersburg Conservatory and was a winner of both the Tokyo and Salzburg Competitions in 1997 and 1999 respectively. He is well known for his performances as the bass soloist in Beethoven's Ninth Symphony as well as in the requiems of Mozart and Faure. He is also known for his singing of operatic bass roles such as Mephistopheles in Faust, Prince Gremin in Eugene Onegin, René in Iolanta and Don Iñigo in L'heure espagnole. In 2000 he performed at both Carnegie Hall and Lincoln Center Theater and since that time performs in Russia where he is a soloist of the Bolshoi Theatre.
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He tells the group that his original reason for visiting the Earth was an attempt to re-secure a cosmic artifact called the "Mephistopheles Matrix". In the series Trinity, a group of Controllers discover a Krona freed of his Cosmic Egg and aid him; though, when their treachery is discovered by Krona they are promptly eliminated.Trinity #20 (October 2008) In the Final Crisis storyline, the Controllers were revealed to survive into the 29th century, at which time they develop the Miracle Machine, whose schematics Superman memorizes upon a visit to the 31st century.Final Crisis #7 (March 2009) In the Blackest Night storyline, a small group of Controllers appeared in search of the "orange light of avarice", hoping to create their own Corps.
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Technological advances such as smartphones and the use of social media were integrated into both the story and gameplay due to their growing prevalence in modern society and how the public responds to real-world scandals. The characters' initial Personas (Arsène, Captain Kidd, Carmen, Zorro, Goemon, Johanna, Necronomicon, Milady, Robin Hood) were themed after outlaws and picaresque heroes to reflect the function and dominant suppressed passions forming the Palace, and also represent aspects of their owners' personalities. Joker's initial Persona was originally the German demon Mephistopheles, but it was changed to Arsène as the latter character better fit the game's themes. The cast's alternate Personas (Satanael, Seiten Taisei, Hecate, Mercurius, Kamu Susanoo, Anat, Prometheus, Astarte, Loki) are taken from mythical beings who act as tricksters or rebels.
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In June, he took both Fiats to the Fanoe beach speed trials in Denmark. Duff set the fastest time of the meeting with a run at 165.9 km/h. He also took a class win with the S.61 at a speed of 149.2 km/h, the third fastest speed of the meeting. In 1922, Duff sold the S.61 and focused on making Mephistopheles faster and more reliable. Harry Ricardo made a set of aluminum pistons and raised the engine’s compression ratio. In May, Duff finished third in Brooklands’ 100 Mile Handicap. In its next race, one of the Fiat’s engine blocks detached from the crankcase. When the engine blew, the hood was torn off the car, just missing Duff’s head.
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It is first strongly suggested in this chapter that "Maō" may in fact be an alter ego of Kyōsuke: his psychiatrist is shown to be acutely interested in memory lapses that coincide with severe headaches and, for the player, with "Maō's" activity. The third chapter of the game, "The Mephistopheles Murders", sees "Maō" take on an accomplice in order to kill people involved with Kanon Azai's skating career. He poses as a radical nationalist to gain the trust of his similarly idealistic accomplice; Haru, Kyōsuke, and Haru's friend Yuki work to save Kanon and her chance at an Olympic quota. After capturing and interrogating the accomplice, the protagonists follow his information into a trap: the entire plot was actually a diversion.
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Hasenclever's Antigone, Großes Schauspielhaus, 1920 Jannings was a theater actor who went into films, though he remained dissatisfied with the limited expressive possibilities in the silent era. Having signed a contract with the UFA production company, he starred in Die Augen der Mumie Ma (The Eyes of the Mummy, 1918) and Madame DuBarry (1919), both with Pola Negri in the main female part. He also performed in the 1922 film version of Othello and in F. W. Murnau's 1924 film The Last Laugh (Der Letzte Mann), as a proud but aged hotel doorman who is demoted to a restroom attendant. Jannings worked with Murnau on two other films; playing the title character in Tartuffe (Herr Tartüff, 1925), and as Mephistopheles in Faust (1926).
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Monstrous Compendium: Monsters of Faerûn (Wizards of the Coast, 2001) The spinagon (baatezu) and the narzugon (baatezu) appear in this edition's Manual of the Planes (2001).Grubb, Jeff, David Noonan, and Bruce Cordell. Manual of the Planes (Wizards of the Coast, 2001) The kocrachon (baatezu) and the ghargatula (baatezu), as well as the archdevils Bel, Lord of the First; Dispater, Lord of the Second; Mammon, Lord of the Third; Belial/Fierna, Lord of the Fourth; Levistus, Lord of the Fifth; The Hag Countess, Lord of the Sixth (not technically a devil, but a powerful night hag); Baalzebul, Lord of the Seventh; Mephistopheles, Lord of the Eighth; and Asmodeus, Lord of the Ninth appear in the Book of Vile Darkness (2002).Cook, Monte.
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Later in the series, he enters into a sexual relationship with Cassie and Cassie's teacher Jo, eventually turning her to his side. Through a series of demonic possessions, he conceives an heir, Malachi, with Cassie, and convinces the abortionist to put the child in his care at Christmas time. In series two, after Cassie's death, Azazeal uses the mystical Stone of Belial to make Ella Dee relive her torture and execution, eventually causing her to lose her immortality and rapidly age to 500 or so years old, nearing death. He, an adult Malachi and Perie the "fairy" form a small alliance, before Azazeal is suddenly notified by higher powers that he is no longer to be Malachi's caregiver, replaced with Mephistopheles.
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The film adapts the story of Mephistopheles and Doctor Faustus by revealing the costs to the main character Hendrik Höfgen as he abandons his conscience and continues to perform, ingratiating himself with the Nazi Party in order to retain his job and improve his social position. Hendrik Höfgen (modeled on German actor Gustaf Gründgens, played by Klaus Maria Brandauer) craves center stage. The first third of the film follows his career as a frustrated, passionate actor slogging it out in provincial theaters, occasionally dancing and singing and doing parts in films to gain notice. He even founds a Bolshevik theater with a friend to generate more work, in the avant-garde period of the early 1930s, before the Nazis came to power.
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However, Chalk was reluctant to tour so his friend Jason Peppiatt (ex-Born Headless) was recruited to sing vocals. On returning to Australia, Psycroptic played two legs of the Metal for the Brain in Canberra and Brisbane, and a final show in their hometown of Hobart. Following this, disharmony within the band saw Chalk leave Psycroptic, and Peppiatt replace him permanently. Since his departure from Psycroptic, Chalk has continued to play drums with M.S.I. as well as a doom band called Space Raven and act in the vocal role in a number of other groups that includes Mephistopheles, playing bass in Born Headless and several other projects including the brief vocal position with Swedish band Spawn of Possession in 2009.
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The devils, of which the ruling type are called baatezu , are lawful evil natives of the Nine Hells of Baator; they subjugate the weak and rule tyrannically over their domains. Pit fiends are the most powerful baatezu, though even the strongest pit fiends are surpassed by the Lords of the Nine, or Archdevils, whose ranks include Baalzebul, Mephistopheles, and Asmodeus. Unlike the demons, the devils arranged themselves through a strict hierarchy. Like the demons, the devils are scheming backstabbers; while a demon only keeps its words when it is convenient for it, a devil keeps its word all too well; though being used to exploiting repressive bureaucratic machinations to the fullest, always knows all ways around the letter of a contract to begin with.
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In 1945 and 1946, he appeared in productions at La Monnaie in Brussels, where he was particularly admired as Le Chevalier des Grieux in Jules Massenet's Manon. He made his debut at La Scala in 1947 in the title role of Charles Gounod's Faust with Renata Tebaldi as Marguerite, Cesare Siepi as Mephistopheles, and Antonino Votto conducting. Other notable appearances that Pola made in the late 1940s included the role of Donello in Ottorino Respighi's La fiamma at both the Liceu in Barcelona and the Teatro Colón in Buenos Aires, Maurizio in Francesco Cilea's Adriana Lecouvreur at the Teatro Francesco Cilea in Reggio Calabria with Maria Caniglia in the title role, and appearances at numerous opera houses as Enzo Grimaldi in Amilcare Ponchielli's La Gioconda.
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Back in Berlin he performed in avant-garde plays by Carl Sternheim, as well as in several revue entertainments and kabarett venues. Later he returned to classical theatre with engagements at the Deutsches Theater and the Lessing Theater, performing as The Imaginary Invalid, Mephistopheles, but also as Captain of Köpenick or as Meckie Messer in Brecht's Threepenny Opera. From 1920 onwards, Meyerinck starred as a silent film actor, whereby he developed a distinctive appearance with his high forehead and moustache, often emphasizing his hypnotic expression by sporting a monocle. He was able to continue his career in the sound film era by his unmistakable rasping voice, which perfectly added to his physiognomy, having a standing order for scoundrels and charlatan roles.
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As a memorial of his genius, his college and other friends published the volume Poems by the late Edmund J. Armstrong (Moxon, 1865). It includes the two longer poems named above, with many lyrical pieces which show much ardour of imagination and mastery of verse. A short memoir by Mr. Chadwick is prefixed. His poems appeared in a new edition, with many added pieces, edited by G. F. Armstrong, in 1877 (The Poetical Works of Edmund J. Armstrong, Longmans, Green, and Co.) At the same time, and by the same publishers, were issued a volume of his prose (Essays and Sketches by Edmund J. Armstrong, edited by G. F. Armstrong), including essays on Coleridge, Shelley, Goethe's Mephistopheles, E. A. Poe, essayists and essay-writing,etc.
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White Noise Productions have been a forerunner in the establishment of a regulated and competitive schedule of live events accommodating the more obscure and extreme underground metal artists across Australia, including hosting the annual 'Hellraiser' festival, catering to artists such as Canberra's Alchemist, Mephistopheles and Be'lakor, prior to their appearance at 2010's 'Summer Breeze' festival in Germany. The Wollongong-based Riot! Entertainment began as primarily a distribution label, acting as the Australian agent for such foreign companies as Nuclear Blast, Relapse, Earache, Metal Blade and SPV among others. In recent years the label has directly signed a number of local and foreign metal acts including Universum, Ace Frehley, Stuck Mojo, Fozzy, Paindivision, Mortal Sin, Arcane, Be'lakor, The Poor and more.
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6 but he also played more serious roles including Mephistopheles in Gounod's Faust.The Times, 7 May 1951, p. 2 He made his Italian operatic début as Masetto in Parma in 1950. Later, he sang Don Magnifico in La Cenerentola in Rome in 1955 and Bartolo in Barber in Venice in 1956. He again sang Don Magnifico, this time in English, for Sadler's Wells Opera in 1960.The Musical Times, December 1960, p. 765 In 1961, The Times wrote of his Bartolo, "as magnificent a character study as ever, excellently sung and never for a moment over-played.""Version of The Barber Lacking in Bite", The Times, 3 August 1961, p. 5 He performed at the Bregenz Festivals in 1964 and 1965.
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The difference shows: in pacing, tone, and content, Love Chase is startlingly unlike its famous successor. The ostentatiously Faustian plot centers on Rosamond Vivian, a discontented maiden who lives on an English island with only her bitter old grandfather for company and who begins the novel by rashly declaring: "I often feel as if I'd gladly sell my soul to Satan for a year of freedom." Right on cue, a man named Phillip Tempest — a man who bears a more than trivial resemblance to Mephistopheles — walks in the door. Within a month, Rosamond is in love, and although she realizes that this man is “no saint”, she marries him, believing with the fatuousness of youth that her love will save him.
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Cole won the Best Actor award at the Unrestricted View Horror Film Festival 2016 for his role as Pete in British comedy horror feature film Stag Hunt, starring alongside Mackenzie Astin. Recent work includes character roles in the Dark Ditties series on Amazon Prime. He also played a Radio DJ in feature film Borrowed Time and Captain William in feature film Richard the Lionheart: Rebellion In theatre, Cole recently played Meatball in the World Premiere of Lesley Ann Albiston's new play A Slice Of Eel Pie. He has appeared in leading roles including: Puck in A Midsummer Night's Dream, Hal in Loot, Nero in Britannicus, Wilson in The Ruffian on the Stair, Willie in Blue Remembered Hills, Mephistopheles in Dr Faustus, and various characters in Mamet's Edmond.
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In 1922 the first Bean Fair was inaugurated which was classified as a national fair in 1970. On 6 July 1924 on the long, straight Route nationale 20 between Arpajon and Torfou, René Thomas set a land speed record of in a Delage called La Torpille (The Torpedo) followed, on 12 July 1924, by Ernest A.D. Eldridge who increased the record to in a Fiat Special called Mephistopheles II.The speed records at Arpajon , on the Autodrome de Montlhéry blog In 1934 the Hôtel-Dieu became a hospice as a result of the construction of the first hospital outside the town. On 22 August 1944 the commune was liberated by the Leclerc division. In 1948 Abel Cornaton, mayor of the commune, endowed the municipal showers which became the district court in 1985.
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This sketch was in the form of a court case in which Shakespeare sues Shaw following a lecture Shaw had given earlier in the year in which he had said that Shakespeare was a "narrow minded middle class man" with "no religion, no politics, no great concerns". Shaw often participated in these skits, by lending costumes, or even writing dialogue for one entitled His Wild Oat (1926). The ghosts of Shakespeare and Shaw also appear in Back to G.B.S.; or A Midsummer Nightmare (1932), a fantasia set in the year 2156, when the two playwrights have become confused with each other. Another, Bernard Shaw Arrives: A Fantasy in One Act was a parody of Don Juan in Hell in which Shaw, Shakespeare and Mephistopheles engage in a debate.
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The recordings consisted of rapid-fire cross-talk between two characters, with Hunting taking all the parts.Sound of the Hound, Russell Hunting stories #1 1894: Mephistopheles in red tights haunts Fred Gaisberg, 14 June 2011 Retrieved 21 May 2013 From 1892 he recorded the Michael Casey skits for Columbia Records, as well as for other companies, and several of his recordings such as "Michael Casey at the Telephone" and "Michael Casey Taking the Census" (both 1892) became famous. In 1893, Hunting recorded the earliest version of the baseball poem "Casey at the Bat" (Columbia Graphophone Grand, #9649). After that, his popular "Casey" format was often imitated. In 1896 Hunting founded the first independent magazine for the recording industry, Phonoscope, and set up a phonograph shop in New York with his partner Charles M. Carlson.
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Watercolor sketch of Thomas Carlyle, age 46, by Samuel Laurence "The Everlasting No" is Carlyle's name for the spirit of unbelief in God, as embodied in the Mephistopheles of Goethe, which is forever denying the reality of the divine in the thoughts, the character, and the life of humanity, and has a malicious pleasure in scoffing at everything high and noble as hollow and void."Everlasting No, The." In: Reverend James Wood (ed.), The Nuttall Encyclopædia, 1907. "The Everlasting Yea" is Carlyle's name in the book for the spirit of faith in God in an attitude of clear, resolute, steady, and uncompromising antagonism to the "Everlasting No", and the principle that there is no such thing as faith in God except in such antagonism to the spirit opposed to God.
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He was then engaged with the Grand Opera Syndicate at the Royal Opera House, Covent Garden, and he was successively engaged by Thomas Beecham in his productions at various venues, including Covent Garden, Drury Lane and His Majesty's Theatre. In Beecham's production of Wagner's Ring cycle he again played Fasolt, opposite the Fafnir of the younger Norman Allin, who succeeded him as Britain's foremost bass. Among his best-known roles were Mephistopheles (Gounod's Faust), Osmin (Il Seraglio), Sarastro (The Magic Flute), the Father (Charpentier's Louise), Ivan the Terrible and Boris Godunov (title role), which he was the first to sing in English. In April 1914 he was in the first English-language performance of Wagner's Parsifal with English soloists (with the London Choral Society, Carrie Tubb, John Coates, Thorpe Bates and Dawson Freer).
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His recordings of Rachmaninov's The Miserly Knight and Alexander Serov's Judith were honored by the Telerama Awards (French magazine for television, radio and music) in France. He is well known for his performances of Verdi's Requiem throughout the world, including Paris, Moscow, Tokyo, and Montreal. Mr. Svetlov performs frequently with Houston Grand Opera, Mephistopheles in Faust, Don Basilio in Il Barbiere di Siviglia and Dikoy in Katya Kabanova, with L'Opéra de Montréal, the title role in Boris Godunov, Prince Gremin in Eugene Onegin, with Florida Grand Opera. Svetlov has appeared with New York City Opera as the title role in Verdi's Attila, Basilio in Il Barbiere di Siviglia, Colline in La Bohème, Banquo in a new production of Macbeth and Lorenz in the first fully staged performance of Mathis der Maler in the United States.
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Fatal attraction… from left, Yvi Mai as Gretchen, Martin Hancock as Faust and Glyn Dilley as Mephistopheles. Part 1 of Goethe’s Faust is the love story of an old Dr. Faust falling in love with a 14-year-old girl of luminous beauty Gretchen. Faust entered a pact with the Devil Mephisto to access the keys to God’s creation. Mephisto tricked him and instead gave him carnal lust, the unrestrained desired for young flesh. Faust uses his position of power and the Devil’s powers to seduce Gretchen. The love story ends tragically with Gretchen’s, her child’s, her mother’s and her brother’s deaths. Vladimir Nabokov’s protagonist Humbert Humbert follows a similar fate, obsessed by adolescent Lolita, his justification for seduction is the worship of youth. Harvey Weinstein resembles Faust, yet differs as he consumed sexual relationships.
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In November 1906, Rachmaninoff, with his wife and daughter, moved to Dresden primarily to compose a second symphony to diffuse the critical failure of his first symphony, but also to escape the distractions of Moscow. There they lived a quiet life, as he wrote in a letter, "We live here like hermits: we see nobody, we know nobody, and we go nowhere. I work a great deal," but even without distraction he had considerable difficulty in composing his first piano sonata, especially concerning its form. The original idea for it was to be a program sonata based on the main characters of the tragic play Faust by Johann Wolfgang von Goethe: Faust, Gretchen, and Mephistopheles, and indeed it nearly parallels Franz Liszt's own Faust Symphony which is made of three movements which reflect those characters.
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It is unnecessary to enquire into the causes of the change. Hassenpfiug by training and tradition was a strait- laced official; he was also a first-rate lawyer, and his naturally arbitrary temper had from the first displayed itself in an attitude of overbearing independence towards his colleagues and even towards the elector. To such a man constitutional restrictions were intolerable, and from the moment he came into power he set to work to override them, by means of press censorship, legal quibbles, unjustifiable use of the electoral prerogatives, or frank supersession of the legislative rights of the Estates by electoral ordinances. The story of the constitutional deadlock that resulted belongs to the history of Hesse-Kassel and Germany; so far as Hassenpflug himself was concerned, it made him, more even than Metternich, the Mephistopheles of the Reaction to the German people.
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That same year his recording of Ralph Vaughan Williams's Sea Symphony with Robert Spano, Christine Goerke, and the Atlanta Symphony Orchestra won a Grammy Award. In 2004 he made his Metropolitan Opera debut as Sparafucile in Verdi's Rigoletto, a role he later recorded that year at the Liceu. In 2005 he performed the role of Roger in Verdi's Jérusalem with conductor Paolo Olmi conducts the Netherlands Radio Symphony Orchestra and Choir. Konstantinov has spent much of his career singing roles with the Sofia National Opera where he has appeared as Mephistopheles in Gounod's Faust, Raimondo in Donizetti's Lucia di Lammermoor, Count Walter in Verdi's Luisa Miller, Sparafucile in Verdi's Rigoletto, Fiesco in Verdi's Simon Boccanegra, Sarastro in Mozart's Die Zauberflöte, both Don Pedro and the title role in Mozart's Don Giovanni, and as Timur in Puccini's Turandot among other roles.
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He debuted at the Kharkiv Opera in 1921 as Pimen in Mussorgsky's Boris Godunov, and in 1925 moved to the Mariinsky Theatre in Leningrad. Reizen toured Europe performing in Paris, Berlin, Monte Carlo and London in 1929–1930. A tall man commanding a strong stage presence, he joined the Bolshoi Theatre in 1930, remaining there as a principal bass until his retirement in 1954. Among his roles were: Ivan Susanin and Ruslan in the two Glinka operas, Don Basilio in Il barbiere di Siviglia by Rossini, Mephistopheles in Faust by Gounod, Prince Gremin in Evgeny Onegin by Tchaikovsky, Salieri in Mozart and Salieri and the Viking guest in Sadko by Rimsky-Korsakov, the old gypsy in Aleko by Rachmaninoff, Wotan in Wagner's Ring of the Nibelungs, Konchak in Prince Igor by Borodin, Philip II and Procida in Verdi's two French grand operas, and so on.
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Among his most famous roles were those of Tsar Boris (Mussorgsky - Boris Godunov), Philip II (Verdi - Don Carlo), Mephistopheles (Gounod - Faust and Boito - Mefistofele), Ivan Susanin (Glinka - A Life for the Tsar), Zaccaria (Verdi - Nabucco), Tsar Ivan (Rimsky-Korsakov - Ivan the Terrible), Dosifei (Mussorgsky - Khovanshchina), Gomez da Silva (Verdi - Ernani), Fiesco (Verdi - Simon Boccanegra), Attila (Verdi - Attila), Padre Guardiano (Verdi - La forza del destino), Galitzky and Kontchak (Borodin - Prince Igor) and others. Christoff made studio recordings of eight operas (Don Carlo, Boris Godunov and Faust twice each) and numerous live recordings (radio or stage performances). He was much admired as song singer and he recorded more than 200 Russian songs by Mussorgsky (he was the first to record all his 63 songs), Tchaikovsky, Rimsky- Korsakov, Glinka, Borodin, Cui, Balakirev as well as traditional songs, mostly with piano accompaniment. He initiated the tradition of making studio recordings of Boris Godunov with the same basso singing three roles (Boris, Varlaam, Pimen).
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He made his debut with the Metropolitan Opera in 1951 as Amonasro in Aida, and sang over 270 performances, both baritone and bass roles, such as Figaro and Count Almaviva in The Marriage of Figaro, The Speaker in The Magic Flute, Mandryka in Arabella, Scarpia in Tosca, the title role in Don Giovanni, Boris in Boris Godunov, Escamillo in Carmen, Iago in Otello, Amfortas in Parsifal, Wolfram in Tannhäuser, the four villains in The Tales of Hoffmann, Golaud in Pelléas et Mélisande, and Mephistopheles in Faust. In 1964, he created the role of Abdul in the American premiere of Gian Carlo Menotti's The Last Savage. He was the first North American to sing the title role of Boris Godunov at the Bolshoi Theatre in Moscow, at the height of the Cold War in 1960.Liner notes by Allan Altman, Compact Disc "George London in Concert", VAI Audio, Catalog Number VAIA 1030 He frequently performed in English: Broadway show tunes and negro spirituals.
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Faust is a series of approximately 100 paintings created between 1976 and 1979 by Nabil Kanso. The paintings depict figural compositions in a sequence of scenes whose subjects are loosely based on Goethe’s 1808 play Faust Part One and Part Two.Nabil Kanso: Faust Paintings, 96 paintings and 8 drawings are reproduced from a series estimated at about 150 works, p. 10, NEV Editions, Atlanta, GA, 1996, In dealing with the human drama, the paintings in the series embody imagery reflecting various aspects of the entanglement of the relationship between three primary figures that may visually represent Faust, the old scholar who pledges his soul to the devil in exchange for youth and love, Mephistopheles, the Devil’s representative who provides Faust with his needs, and Margaret (Gretchen),Gretchen is short for Margaret (Maggie). In Goethe’s Faust Margaret is often called by the diminutive Gretchen. See William Chatterton Coupland: The Spirit of Goethe’s Faust, pp.
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Savoy Theatre programme: double bill of Captain Billy and The Vicar of Bray – Lewis appeared in both Lewis's first public appearance as a bass singer seems to have been in 1882, in a concert performance of Faust given by Gilardoni's pupils, during which Lewis made "the success of the evening" as Mephistopheles. By October 1884, at the age of 40, he was performing at the Savoy Theatre in the chorus of the D'Oyly Carte Opera Company in the revival of Gilbert and Sullivan's The Sorcerer and Trial by Jury. In March of the following year he originated the small role of Go-To in The Mikado,Savoy Theatre programme The Mikado, original 1885 production, accessed 13 May 2018 which was created because the baritone voice of Frederick Bovill, who played Pish-Tush, was not deep enough to bring out the bass line in the madrigal "Brightly Dawns Our Wedding Day".Ainger, Michael. Gilbert and Sullivan: A Dual Biography, Oxford University Press (2002), p.
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Sernett, Matthew, Dave Noonan, Ari Marmell, and Robert J. Schwalb. (Wizards of the Coast, 2006) Fiendish Codex II: Tyrants of the Nine Hells (2006) includes new content for devils and inhabitants of Baator, including the black abishai, blue abishai, green abishai, red abishai, and white abishai, the amnizu, the assassin devil (dogai), the ayperobos swarm, the harvester devil (falxugon), the hellfire engine, the kalabon, the legion devil (merregon), the malebranche, the narzugon, the nupperibo, the orthon, the paeliryon, the pain devil (excruciarch), the pleasure devil (brachina), the spined devil (spinagon), the steel devil (bueroza), and the xerfilstyx. The book also contains statistics the aspects of the Lords of the Nine, including Bel, Lord of the First; Dispater, Lord of the Second; Mammon, Lord of the Third; Belial and Fierna, Lords of the Fourth; Levistus, Lord of the Fifth; Glasya, Lord of the Sixth; Baalzebul, Lord of the Seventh; Mephistopheles, Lord of the Eighth; and Asmodeus, Lord of the Ninth .Laws, Robin D., and Robert J. Schwalb.
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Poet, lapsed Catholic and conscientious objector Louis Sacchetti is sent to a secret military installation called Camp Archimedes, where military prisoners are injected with a form of syphilis intended to make them geniuses (hence the punning reference to "concentration" in the novel's title). By breaking down rigid categories in the mind (according to a definition of genius put forward by Arthur Koestler), the disease makes the thought process both faster and more flexible; it also causes physical breakdown and, within nine months, death. The book is told in the form of Sacchetti's diary, and includes literary references to the story of Faust (at one point the prisoners stage Christopher Marlowe's Doctor Faustus and Sacchetti's friendship with ringleader Mordecai Washington parallels Faust's with Mephistopheles). It only becomes clear that Sacchetti himself has syphilis as his diary entries refer to his increasingly poor health, and become progressively more florid, until almost descending into insanity.
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In 1942 he starred in the world premiere of František Škroup's Columbus (composed in 1855). Among the other roles he performed Basilio in The Barber of Seville, Beneš in Dalibor, Chrudoš in Libuše, Gian Francesci in La Juive, the Grand Inquisitor in Don Carlos, Herrmann in Tannhäuser, Kecal in The Bartered Bride, Malina in The Secret, Marbuel in The Devil and Kate, Mephistopheles in Faust, Ramfis in Aida, Scarpia in Tosca, Tonio in Pagliacci, Vodník in Rusalka, and Volfram Olbramovič in The Brandenburgers in Bohemia.Archive of the National Theatre in Prague Since the 1920s Munclinger worked as a guest artist at the opera houses and concert stages in Budapest, Vienna, Berlin, Paris, Poznaň and Warsaw. After his retirement from the National Theatre in Prague in 1951 he was also active as a teacher at the Janáček Academy of Music and Performing Arts in Brno where he stimulated and helped to establish the first opera directing department.
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However, this attribution is controversial: Roger Paulin, William St. Clair, and Elinor Shaffer provide a lengthy rebuttal to Burwick and McKusick, offering evidence including Coleridge's repeated denials that he had ever translated Faustus and arguing that Goethe's letter to his son was based on misinformation from a third party.. Coleridge's fellow Romantic Percy Bysshe Shelley produced admired fragments of a translation first publishing Part One Scene II in The Liberal magazine in 1822, with "Scene I" (in the original, the "Prologue in Heaven") being published in the first edition of his Posthumous Poems by Mary Shelley in 1824. In 1828, at the age of twenty, Gérard de Nerval published a French translation of Goethe's Faust. In 1870–71, Bayard Taylor published an English translation in the original metres. In 1885, the Irish dramatist W. G. Wills loosely adapted the first part of Faust for a production starring Henry Irving as Mephistopheles and Ellen Terry as Margaret at the Lyceum Theatre, London.
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Its level of success is currently unknown. In 2008, Roberts played the Roman poet Ovid in the play The Art of Love alongside Adèle Anderson of Fascinating Aïda in London, the lead role in Richard O'Brien's Mephistopheles Smith: the Evangelist from Hell at the Edinburgh Festival Fringe in 2007, 16 characters in a two-hour workshop of The Unimportant History of Britain in London in 2008. Also in 2008, Roberts was asked by Paul Nicholas to play John Barsad in a new musical adaptation of A Tale of Two Cities at the Gatehouse Theatre, London, and was offered the lead in Gold, a fringe musical based on old school friends getting their school band back together after twenty-five years apart. Roberts has appeared in the television series Cranford as a featured character alongside Dame Judy Dench and Eileen Atkins and has collaborated with actor Stephen Donald (Blood Brothers, Brookside) in the north of England.
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Roy Knable (John Ritter) is a struggling Seattle plumbing salesman, former fencing athlete, and couch potato who lives with his neglected wife Helen (Pam Dawber), a vitamin product senior manager. After a fight (which involved Helen smashing the family television screen with one of Roy's fencing trophies as a wake-up call to reality), Mr. Spike (Jeffrey Jones) appears at the couples' door, offering them a new high-tech satellite dish system filled with 666 channels of programs one cannot view on the four big networks (CBS, NBC, ABC, and Fox). What Roy does not know is that Spike (later referred to as "Mephistopheles of the Cathode Ray") is an emissary from hell who wants to boost the influx of souls by arranging for TV junkies to be killed in the most gruesome and ironic situations imaginable. The 'candidates' are sucked into a hellish television world, called Hellevision, and put through a gauntlet where they must survive a number of satirical versions of sitcoms and movies.
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The Keeper that appears on this album, having returned from the first two Keeper of the Seven Keys albums and later to return on the third, could represent God, or the stupidity of humanity in the form of the seventh trooper in the song "Before the War." Instead of a space scene as on the cover of Keeper of the Seven Keys Part 1, the area under the Keeper's hood is filled with stars and a line of golden rings, in the fashion of Master of the Rings' artwork. The track "The Time of the Oath" reflects on Act V of Faust Part Two, written by Johann Wolfgang von Goethe. Andi Deris plays the part of Mephistopheles, reclaiming the soul of doctor Faust, whereas the Choir of the Orchestra "Johann Sebastian Bach", Hamburg, (conducted by Axel Bergstedt) sings the Dies irae from the traditional requiem, representing the angels rescuing Faust's lost soul.
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In an 1869 letter, Liszt makes a revealing comparison between Faust and Manfred: > In my youth I passionately admired Manfred and valued him much more than > Faust, who, between you and me, in spite of his marvellous prestige in > poetry, seemed to me a decidedly bourgeois character. For that reason he > becomes more varied, more complete, richer, more communicative ... (than > Manfred) ... Faust's personality scatters and dissipates itself; he takes no > action, lets himself be driven, hesitates, experiments, loses his way, > considers, bargains, and is interested in his own little happiness. Manfred > could certainly not have thought of putting up with the bad company of > Mephistopheles, and if he had loved Marguerite he would have been able to > kill her, but never abandon her in a cowardly manner like Faust. Despite Liszt's apparent antipathy toward the character of Faust, his residency in Weimar surrounded him with Goethe and the Faust legend at practically every turn.
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It had a limited West End run at Theatre Royal Haymarket until early 2016. He played Lucifer to Kit Harington's Faustus and Jenna Russell's Mephistopheles in Jamie Lloyd's production of Christopher Marlowe's Doctor Faustus at the Duke of York's Theatre, London In Summer of 2016 he played Peter Quince with Phill Jupitus as Bottom in Laurence Boswell's production of William Shakespeare's A Midsummer Night's Dream at Theatre Royal, Bath. In Autumn 2016, he portrayed Lenin in Tom Stoppard's Travesties with Tom Hollander at the Menier Chocolate Factory and at the Apollo Theatre when the play transferred to the West End in early 2017. It was directed by Patrick Marber He played King Cunobeline alongside Gina McKee in Tristan Bernays' Boudica at Shakespeare's Globe Theatre, directed by Eleanor Rhode in Autumn 2017 He appeared with Kelsey Grammer, as Circus Owner, Amos Calloway and various other comic characters in Nigel Harman's production of Andrew Lippa and John August's musical Big Fish at The Other Palace, in Dec 2017 In early 2018 he played both Dr John Buchanan Snr.
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Calum McDonald, "Doktor Faust", Tempo, 158, pp. 52-55 (1986). The opera received its Italian premiere at the Maggio Musicale Fiorentino on 28 May 1942 under the baton of Fernando Previtali and starring Enzo Mascherini as Faust, Renato Gigli as Mefistofele, and Augusta Oltrabella as the duchess. Previtali conducted another notable production of the opera at that house in 1964 with Renato Cesari as Faust, Herbert Handt as Mefistofele, and Luisa Maragliano as the duchess. La Scala staged the opera for the first time on 16 March 1960 under conductor Hermann Scherchen with Dino Dondi in the title role, Aldo Bertocci as Mefistofele, and Margherita Roberti as the duchess. The first performance of Doktor Faust in France occurred at the Théâtre des Champs- Élysées on 19 June 1963. Shortly thereafter, the work had its United States premiere on 1 December 1964 in a concert format presented by the American Opera Society at Carnegie Hall. The production was conducted by Jascha Horenstein and starred Dietrich Fischer-Dieskau in the title role with George Shirley as Mephistopheles and Ingrid Bjoner as the Duchess of Parma.
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After training at RADA, in 1953 James joined Peter Hall and John Barton's Oxford Playhouse-based Elizabethan Theatre Company. In 1956 he played his first season at Stratford, taking the roles of Guildernstern, Salerio in The Merchant of Venice and Claudio in Measure for Measure. Seasons at the Bristol Old Vic and the Old Vic, London, followed. Notable roles at the RSC included Sir Hugh Evans in The Merry Wives of Windsor, 1968; Gower in Pericles, 1969; Feste in Twelfth Night, 1969; The Boss in Günter Grass' The Plebeians Rehearse the Uprising, 1970; The Cardinal in John Webster's The Duchess of Malfi, 1971; Shylock in The Merchant of Venice, 1971; Iago in Othello, 1971; the title role in King John, 1974; Mephistopheles in Christopher Marlowe's Doctor Faustus, 1974; Chorus in Henry V, 1975; the title role in Henry IV, Parts 1 and 2, 1975–76; York in Henry VI, parts I, II and III, 1977–78; Jaques in As You Like It, 1977; Edgar in Strindberg's The Dance of Death, 1978; Cassius in Julius Caesar, 1983; Malvolio in Twelfth Night, 1984; and Sir Giles Overreach in Philip Massinger's A New Way to Pay Old Debts, 1984.
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The Pink Dominos, 1877 Wyndham returned to England in 1873 and appeared for various managements including the Bancrofts, in new plays and revivals of classics (as Jack Rover in Wild Oats and Charles Surface again). At the Court Theatre in May 1874, he played Bob Sackett in a new farce, Brighton; Who's Who in the Theatre records, "his success in that play was very great, and the play remained a trump card In his repertory for many years". The Times later described the play as "the founder of his fortunes, [which] set him off upon a theatrical course in which he was unrivalled". In September 1874 Wyndham inaugurated a series of matinées at the Crystal Palace in which, over three years, he presented nearly a hundred plays, and acted in many of them, in roles including Bassanio in The Merchant of Venice, and Mephistopheles in Faust and Marguerite; he staged but did not appear in Sophocles' Antigone and Oedipus at Colonus. Wyndham made his first appearance at the Criterion Theatre, in December 1875 in Brighton, and the following year he took over the management of that theatre, which he retained for more than 20 years.
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In January 2007, Words Without Borders, from Chicago, published Woodstock, a long poem by Brau based on the famous rock festival. FAUSTO - Cover Between 2009 and 2013 he wrote and published the following works: The Golem Project (El Proyecto Golem - Metzengerstein, October 2011), a story that takes place at an unspecified future date and narrates how the Israelis manage to bring Hitler back to life with his memory intact; The Child (El hijo – Metzengerstein, May 2012), a play about the theft of babies from political prisoners during the last Argentine military dictatorship; Faust (Fausto - Metzengerstein, December 2012), a play in which the character is now a bright Argentine biologist at Princeton, who, while considering the possibility of destroying the formula he has just discovered (which will enable man to live for a thousand years) is interrupted by the devil Mephistopheles, who has the mission of preventing that destruction; and Like Psalms (Como salmos - Metzengerstein, February 2013), twenty-six poems in which arguments with God and arguments about the existence of God build, through contradiction, a metaphysics in which the answer always seems to bring about a new question.
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Having quarrelled with the management of Covent Garden on a question of terms, Terry made his first appearance at Drury Lane, 16 October 1822, speaking an occasional address by Colman and playing Sir Peter.He then acted Crabtree, John Dory in Wild Oats, Cassio, Belarius in Cymbeline, Kent in Lear, Dougal in Rob Roy, Solomon in the Stranger, and Grumio, and was, 4 January 1823, the first Simpson in Poole's Simpson & Co. At the Haymarket, 7 July, he was the first Admiral Franklin in James Kenney's Sweethearts and Wives, and on 27 September the first Dr. Primrose in a new adaptation by T. Dibdin of the Vicar of Wakefield. The season 1823–4 at Drury Lane saw him as Bartolo in Fazio, Lord Sands, Menenius in Coriolanus, and as the first Antony Foster in a version of Kenilworth, 5 January 1824, and the following season as Orozembo in Pizarro, Justice Woodcock in Love in a Village, Adam in As you like it, Moustache in Henri Quatre, Hubert in King John, and Rochfort in an alteration of the Fatal Dowry. Among his original rôles were Zamet in Massaniello, 17 February 1825, and Mephistopheles in Dr. Faustus, 16 May.
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In 1965, with the Sofia Opera, he toured Germany, the Netherlands and France, and made his debut at the Metropolitan Opera of New York, as Ramfis in Aida, quickly followed by King Philip II in Don Carlo, and the title role in Boris Godunov. In two seasons with the Met, he sang as Raimondo in Lucia di Lammermoor, the Commendatore in Don Giovanni, Colline in La bohème. Important debuts followed at the Berlin State Opera, La Scala in Milan, the Vienna State Opera, the Monte Carlo Opera, the Palais Garnier in Paris, the Liceo in Barcelona, the San Carlo in Naples, the Royal Opera House in London, the Verona Arena, the Salzburg Festival, the Holland Festival, he also appeared in Moscow, Saint Petersburg, Prague, Budapest, Warsaw, Marseille, Toulouse, Chicago, Houston, among others. Other notable roles include; Mephistopheles in Faust, Creonte in Medea, Padre Guardiano in La forza del destino, Banquo in Macbeth, Zaccaria in Nabucco, Silva in Ernani, Enrico in Anna Bolena, Galitzky in Prince Igor, the four villains in The Tales of Hoffmann, Mosè in Mosè in Egitto, Marcel in Les Huguenots, Gremin in Eugene Onegin, etc.
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