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Related to Faust legend: Mephistopheles, Faustian Tale
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  • noun

Synonyms for Faust

an alchemist of German legend who sold his soul to Mephistopheles in exchange for knowledge


References in periodicals archive ?
The Faust legends, Goethe's recreation of the folklore, and then Barbier's masterful libretto from Goethe have provided such a story.
While the volume offers original insights, its main achievement is the monumental one of assembling and integrating an enormous amount of existing material on the Faust legend, thus providing a well-nigh inexhaustible source enhanced by bibliographies appended to each chapter.
It is a clever parody of the Faust legend starring Dudley Moore as Stanley Moon, a man desperate to win the girl of his dreams, who sells his soul to the Devil, aka George Spiggot (Peter Cook).
He knew both the dangers of temptation and its delights, never more clearly expressed than in his adaptation of the Faust legend which was filmed at least 15 times during the silent era.
This new play from celebrated writer David Napthine ( a reworking of the Faust legend ( is billed as a "hilarious and thought-provoking satire on the selling of New Labour's soul".
His 1967 Peter Cook-Dudley Moore starter "Bedazzled," a raucous rift on the Faust legend, remains a cult favorite, while the same year found Hepburn and Albert Finney at their best as the sparring couple in Donen's "Two for the Road.
Mephistopheles, in the Faust legend, is the name of the evil spirit in return for whose assistance Faust signs away his soul.
The Arc-based Boss company tackles the Faust legend at the Stockton arts complex tonight and tomorrow.
The Faust legend is no stranger to musical setting.
0 (18) is a modern Spanish reworking of the Faust legend about the man who trades his soul in return for power and pleasure.
Let me illustrate this point with Goethe's lifelong struggle with the meaning of the Faust legend, intended to represent humanity's quest to realize its destiny.
The story of Weldon's she-devil has been read as a reworking of the Faust legend, [1] and, indeed, that narrative, particularly in Goethe's Romantic version, provides a rich contrast between how masculine desire and activity relate to narrative and how Ruth's claim to desire and activity initiate narrative.
The same actors play figures from the Faust legend (folk-pop singer Suzzy Roche makes a delicious devil) as well as characters from Olga's in a style closer to dance than to kitchen-sink drama.
The interpretations that Alford proposes of Greek tragedy, as well as of the Faust legend are suggestive, as is his trenchant critique of popular culture.