Goethe's Faust I Outlined

Evanghelia Stead, Professor of Comparative Literature and Print Culture at UVSQ Paris Saclay, has published extensively on the fin-de-siècle, Greek and Latin myths in modern literature, texts and iconography, periodicals, and books as cultural objects, including Goethe's Faust I.

Acknowledgments

List of Figures

Abbreviations



Introduction: Air View and Ant Perspective



Moritz Retzsch’s Etchings after Goethe’s Faust I



1 Retzsch in the German States, a Borderline Celebrity

 1.1 Profile in Contrast

 1.2 Romantic Pranks and Rituals

 1.3 Portraits and Sociability

 1.4 A Poetic Mind

 1.5 The Toils of Fancy and Melancholy

 1.6 Fluctuating Fate in Nineteenth-Century German States

 1.7 Plights and Plusses of Comparison (Retzsch, Cornelius & Naeke)

 1.8 German Amendments in the Twentieth Century

 1.9 Conclusion



2 Faust I Outlined and the Original Retzsch Effect

 2.1 A Modern Fourfold Device

 2.2 Goethe’s Gifts

 2.3 In Goethe’s Orb

 2.4 Retzsch at Work: Early Correspondence

 2.5 A Speculation on Relics

 2.6 “Full of Spirit”

 2.7 Outline Reformation

 2.8 Retzsch in Colour


 2.9 To Conclude



3 German Editions and Copies: The Bait of Rich Morsels

 3.1 Avowable (and Uncertain) Cotta Portfolios

 3.2 From Portfolios to Albums

 3.3 Pirated Goods

 3.4 Styled for the Ladies

 3.5 Valuing Copies in Visual Circulation



4 First Steps in Britain

 4.1 A Momentous Gift from Perthes to Crabb Robinson

 4.2 Imported Wares and Motley Exemplars

 4.3 Media Coverage and Publicity (A Mediated Launch)

 4.4 A First English Point of View (George Soane’s Letterpress)

 4.5 Books as Cultural Objects: Readers and Cultural Representation

 4.6 Dibdin in Action



5 Retzsch Copied in Britain and Beyond

 5.1 Attractive and Collectable

 5.2 Cultural Adaptability

 5.3 Boosey’s 1820 Edition Re-issued?

 5.4 “A More Careful Abstract”

 5.5 Faustus as Template

 5.6 Retzsch Gains Ground in Other Garb and Guises

 5.7 Retzsch Wielded by Illustration

 5.8 Competing Formats

 5.9 “Bound to Please”

 5.10 First Conclusions on Foreign Circulation



6 Retzsch in France and Belgium

 6.1 Retzsch by Muret for Artists, Readers, and Print Collectors

 6.2 Three Little Audot

 6.3 A Francized Original Retzsch

 6.4 Copies vs Originals? The Brussels Case

 6.5 Retzsch in French Nineteenth-Century Print Culture

 6.6 Retzsch’s Diffuse Influence

 6.7 Conclusion



7 Extensive and Intensive Iconography

 7.1 Loose Leaves

 7.2 Copies, Copies, Copies …

 7.3 Bowdlerizing

 7.4 A Kiss’s Exceptional Fortune

 7.5 Spread and Sway on Style, Form and Set

 7.6 Extensive vs. Intensive Iconography

 7.7 Extensive Rations

 7.8 Intensive Inspiration

 7.9 Recycling and Authorship in Image Circulation



8 The Power of Parody: A Crow amongst Nations

 8.1 A Crow’s Quill

 8.2 Travesties

 8.3 Mischief in Images

 8.4 Homecoming and “Who Loves a Laugh”

 8.5 A Mocking Deity with a Meerschaum Pipe



9 Outlines in the Limelight

 9.1 Aptitudes and Assets

 9.2 Weimar Trials

 9.3 Staging: German Décors

 9.4 British and French Décors

 9.5 Time, Stage and the Arts

 9.6 Performance: Fixed, Inviolable Instants?

 9.7 Outfits: Models and Embodiment

 9.8 Creating Types

 9.9 In the Limelight over Time



10 Ink Worlds

 10.1 Devilish Relish of Converted Israelites

 10.2 Théophile Gautier from Travelogue to Aesthetics

 10.3 Visual Traps in Prose

 10.4 Pictures within the Picture in Illustrated Books

 10.5 Games of Fiction, Tricks and Screens



11 Two Gifted Women

 11.1 Goethe’s and Byron’s Gifts

 11.2 The Book as a Rose

 11.3 Twelve Apostles and a Faust



12 Artefacts: Poetics of Everyday Life

 12.1 Treasures of Gold and China

 12.2 Porcelain for the Many

 12.3 Moulded and Backlit

 12.4 In Tin and Frail Paper

 12.5 Conclusion



Conclusion: Grains of Sand as Cities



Appendix 1: Moritz Retzsch’s 26 Umrisse in Original and Copied Editions

Appendix 2: Moritz Retzsch’s Prints Remediated



Bibliography

Index on Moritz Retzsch

General Index