Crucified on the Pole of Incense and Legends of the East
There is a narrative standing by, eager for your arrival, but darkness quiets the bells of patience. It is sinful when evening falls, the sunset disappears, and a dream remains leaning on the window, mournful, yearning for the allurement of Jasmine
That is desiring thirst, written by the skill of the angels on the patch of light and turns it into a bow to hunt the flocks of coveting. Pain throws me balcony breathes closeness and imaginations.
Nostalgia exists in the instant of a hug Since our last rendezvous, your presence continues to captivate me. Since we last spoke…. you’ve never stopped asking the violets about the enticement of the shirt and the secret of the absence.
Silent Reverie
To embrace my dream in solitude, to rise by oneself to wander solo, no red rose can guarantee hope. I gaze into the mirror, feeling tired My evening holds a buried sorrow, My aspiration is a piece of poetry, My life appears like a faded outfit, set down at the portal of a blind oracle.
No voice to diminish my loneliness, no poem to rise from silence, no rendezvous to stir a wandering thought. While the bonds on your words create a cage, love constitutes a sin, And the letter rests on silent pages… Dismissed, as was my dream.
NASSER ALSHAIKH AHMED is a SAUDI ARABIAN bilingual poet and prose writer. He writes poetry and short stories in Arabic and English. He went to school at Sonoma State University in California, USA. Although his field of study is far from literature, his soul is immersed in poetry and writing.
He is a member of: 1-All Poetry.com 2-Soul Asylum Poetry Radio. New York-USA
Poetry Anthologies 1- Voracious Polyglots-USA 2- The Quilled ink SOUTH AFRICA 3- Wheel song Poetry- UK Online Magazines 1-Polis Magazino- Greece 2-ILA Magazine- USA 3- Grupo de trabajo de escritores ARGENTINA 3- www.youtube.com/c/Uddan Television
He has translated the works of several American, Japanese, and Australian poets from English to Arabic and published his translation in local journals. He has published a poetry book in Arabic ( العرافةara’fa) in 2013 by (Arabian house for science).
He has published an English poetry book (Whispered Vows) August 2023 by (WORLDWIDE PUBLISHER, JEANNETTE TIBURCIO MARQUEZ). He has published an English poetry book as a co-author with an American poetess (KRISTY RAINES FROM CALIFORNIA, USA) on 28th September 2025. He has won the second prize in the Zheng Nian Cup China Literally Award! 2023. He was awarded on 14-10-2023 by the L.A. Seneca International Academic Literary Award from the Italian Academy of Philosophical Arts and Sciences, Bari, Italy. Participated in the International Children’s Literature Forum in Dhaka, Bangladesh in December 2023, Participated in Oman’s International Cultural Festival, April 2024 Participated in the Indian International Literary Meeting Forum in November 2024 in Kolkata West.
This article provides a systematic analysis of the metaphysical and philosophical ideas present in Johann Wolfgang von Goethe’s tragedy Faust. Within the philosophical layer of the work, the human quest for boundless knowledge, the dialectical relationship between spirit and matter, the metaphysical nature of good and evil, and the issues of fate and free will are extensively explored. The study reveals the connection between the metaphysical views in the play and the traditions of German Classicism and Enlightenment philosophy. Furthermore, the dialogues between God, Mephistopheles, and Faust elucidate cosmic harmony, the dual nature of humanity, and the concept of spiritual development. The article also uncovers the philosophical roots of Goethe’s principle of “creation through negation,” providing a theoretical basis for modern interpretations of the work.
KEYWORDS
Goethe, Faust, metaphysics, philosophy, free will, fate, good and evil, dialectics, spirit and matter, Romanticism, Classicism.
INTRODUCTION
Johann Wolfgang von Goethe’s Faust is not only one of the greatest masterpieces of German literature but also one of the most significant metaphysical sources in the history of European intellectual thought. The play addresses fundamental philosophical problems such as the limits of human knowledge, spiritual development, free will, destiny, and the nature of good and evil. Goethe worked on this tragedy for nearly 60 years, from his youth until the end of his life, embedding within it the scientific-philosophical ideas of his era, the spirit of Enlightenment, Romantic thought, and Classical aesthetics.
The profound philosophical content of Faust reveals that the work consists of several layers. On one hand, it is the story of an individual’s search, inner contradictions, and intellectual dissatisfaction. On the other, it is a poetic interpretation of cosmic order, divine principles, and the essence of creation. For this reason, the tragedy serves as an essential source for scholarly research in philosophical literature, psychology, theology, ontology, and ethics.
This article examines the metaphysical problems in Faust from three essential perspectives:
The human quest for knowledge and its metaphysical limits
The dialectics of good and evil and their ontological foundations
The issues of fate, free will, and cosmic order
MAIN PART
1. The Human Quest for Knowledge and Its Metaphysical Limits
Goethe’s Faust revisits the ancient philosophical idea widely spread in European culture — the human quest for infinite knowledge. Faust embodies the archetype of the classical “seeker of wisdom.” Although he has studied nearly all conventional fields — medicine, philosophy, law, theology, and even astronomy — he still does not feel truly fulfilled. This existential void drives him toward metaphysical pursuits.
Faust’s dissatisfaction with knowledge is not accidental. During Goethe’s era, the rapid progress of science did not necessarily satisfy humanity’s spiritual needs. Enlightenment rationalism elevated reason as the sole path to divine truth, yet many existential questions remained unanswered. Goethe artistically portrays this tension, demonstrating the limits of scientific inquiry.
In his early monologues, Faust appears as a man intellectually saturated but yearning for deeper meaning. His reflections — “What use is all the knowledge I have gained? I still do not know the essential secrets of existence!” — express one of the central questions of classical metaphysics: What is the essence of being?
For Goethe, the pursuit of knowledge is not merely scientific activity but a fundamental characteristic of human nature. Faust’s longing arises from the dialectical relationship between the human inner world and external reality. Metaphysics emerges precisely at this boundary: when a person seeks to understand not only the material world but also the hidden system of existence. Knowledge alone is insufficient; Faust desires to understand “the innermost essence of reality.” Thus begins his journey toward the infinite.
Faust’s pact with the devil symbolizes this metaphysical pursuit. Although it is often interpreted as a moral downfall, it actually reflects the dramatic philosophical tension born from the thirst for ultimate truth. The pact represents Faust’s radical step in his quest for meaning beyond scientific knowledge — through emotions, human experiences, power, mystical energies, and spiritual transformations.
Faust’s desire for knowledge is based on perpetual movement. He never stops; each new search demonstrates the creative power of the human mind. Goethe argues that although humans may never reach perfection, striving toward it is the driving force of human progress. Therefore, “active striving” becomes one of the central principles of Goethe’s metaphysics.
Faust’s journey reveals several paradoxes: the more he seeks truth, the more distant it becomes; the more he learns, the more he realizes his own limitations. This echoes the Romantic concept of the “paradox of infinity” — the human spirit is vast, yet impossible to fully express.
Thus, Faust’s tragedy lies not in his failures but in his endless striving.
In the end, the work raises one profound metaphysical question:
“To what extent can a human being truly understand themselves?”
Goethe offers no definitive answer, for metaphysics naturally resists final conclusions. Yet the play suggests that the pursuit itself is the highest expression of humanity.
2. The Metaphysical Nature of Good and Evil: The Phenomenon of Mephistopheles
One of the most significant philosophical symbols in Faust is Mephistopheles. He is not merely a devil but an ontological category — the “principle of negation” (das verneinende Prinzip). This concept is far more complex than the traditional dualism of good and evil.
Classical theology views evil as a destructive, absolute force. Goethe rejects this notion. For him, evil is a necessary element of creation. Mephistopheles’ famous line — “I am the spirit that negates… I strive for evil, yet unknowingly create good” — captures this idea.
Mephistopheles does not destroy good; he tests and therefore strengthens it. This aligns with dialectical philosophy: contradictions propel development. Good cannot exist without evil, because evil reveals its true value.
Mephistopheles embodies:
1. The principle of critical reason
He mocks, doubts, exaggerates — similar to Voltaire’s satire or Socratic questioning. His criticism does not destroy the world but forces consciousness to rise above itself.
2. A cosmic balancing force
In the “Prologue in Heaven,” God affirms Mephistopheles’ role in the divine order. This is a radical metaphysical claim: evil has a place within the divine plan.
3. The shadow of the human psyche
Mephistopheles personifies Faust’s own doubts, fears, and suppressed desires — resembling the Jungian “shadow archetype.”
Mephistopheles never fully triumphs. He strives for destruction, but the essence of existence is creation and growth. Evil is limited by the cosmic supremacy of good. This optimistic interpretation forms the backbone of Goethe’s metaphysics.
3. Fate, Free Will, and Cosmic Order
Among the metaphysical themes in Faust, fate and free will hold special significance. The play begins with the “Prologue in Heaven,” where God allows Mephistopheles to test Faust, yet expresses complete confidence in Faust’s eventual salvation.
Here Goethe presents a central idea of German Classicism: the universe is directed toward a positive purpose.
Faust is free, but responsible for his decisions. His involvement in Gretchen’s tragedy, his indulgence in worldly pleasures, and his moral failures all stem from his choices. Yet these experiences foster his spiritual growth.
In Faust, fate is not predestination but a realm of possibilities shaped by human desire and action. Goethe emphasizes: even Faust’s gravest mistakes do not doom him because he never stops striving. Hence the metaphysical conclusion:
“Only those who strive shall be saved.”
Movement is the highest principle of Goethean metaphysics.
Evil also plays a role in the cosmic order. Mephistopheles is not an enemy of creation but a force ensuring balance. All contradictions in the cosmos aim toward harmony.
Thus, Faust’s mistakes guide him to a higher spiritual state — a deeply optimistic metaphysical vision.
CONCLUSION
Goethe’s Faust is a literary phenomenon that embodies centuries of European intellectual and aesthetic development. At its core lie the human striving for infinity, the metaphysical foundations of existence, and the process of spiritual maturation. The tragedy is therefore not only a masterpiece of German literature but also a universal philosophical text.
The analysis shows that Goethe reinterprets the key categories of classical metaphysics — good and evil, spirit and matter, freedom and fate, knowledge and infinity, divine order and cosmic harmony. Faust’s unending search arises from humanity’s creative nature. His goal is to understand the world, to know himself, and to pursue the infinite. Thus, Faust becomes a metaphysical archetype — the artistic-symbolic image of the seeking mind.
Mephistopheles reveals the dialectical tensions within this search. He represents not absolute evil but the force of negation — the principle that questions, challenges, and ultimately strengthens creation. Thus, good and evil in Faust appear not as rigid opposites but as dynamic elements that drive human development.
Free will is central to the tragedy. Faust consciously makes his choices and bears their consequences. These choices illustrate that human freedom is inseparable from moral responsibility. Fate, therefore, is not fixed but shaped through creativity, striving, and spiritual growth.
The “Prologue in Heaven” expands the work to a cosmic scale, presenting the universe as a harmonious system guided by spiritual evolution. Faust’s salvation, despite his errors, reflects Goethe’s optimism about human nature. Humanity’s true worth lies in its striving, its ever-evolving consciousness, and its pursuit of the good.
In Faust, the dialectic of spirit and matter also plays a crucial role. Faust’s worldly desires clash with his higher aspirations, revealing the ontological tension inherent to human existence. Goethe shows that spiritual ascent is possible only when these opposing forces find harmony.
In conclusion, the metaphysical layers of Faust explore humanity’s place in existence, the limits of knowledge, creative thinking, moral responsibility, and divine order. The play portrays humans not as passive beings but as creators capable of understanding, shaping, and transcending their lives. Goethe celebrates humanity’s spiritual ascent and eternal striving toward the infinite — the perpetual mission of humankind.
USED LITERATURE
Goethe, J. W. von. Faust I & II. Translated by Walter Kaufmann, Anchor Books, 1961.
Boyle, Nicholas. Goethe: The Poet and the Age. Oxford University Press, 1991.
Atkins, Stuart. Goethe’s Faust: A Literary Analysis. Harvard University Press, 1958.
Gray, Ronald. Goethe the Alchemist: A Study of Alchemical Symbolism in Goethe’s Literary and Scientific Works. Cambridge University Press, 1952.
Safranski, Rüdiger. Goethe: Life as a Work of Art. Liveright Publishing, 2017.
Kittler, Friedrich. Discourse Networks 1800/1900. Stanford University Press, 1990.
Pinkard, Terry. German Philosophy 1760–1860: The Legacy of Idealism. Cambridge University Press, 2002.
Beiser, Frederick. The Romantic Imperative: The Concept of Early German Romanticism. Harvard University Press, 2003.
Hegel, G. W. F. Phenomenology of Spirit. Oxford University Press, 1977.
Magee, Glenn. Hegel and the Hermetic Tradition. Cornell University Press, 2001.
Nilufar Mo‘ydinova was born in Qo‘shtepa district, Fergana region, Republic of Uzbekistan. She is a graduate of the Uzbekistan State University of World Languages. She works as a manager at the “Fair Print” printing service. Her articles have been published in Bekajon, Kenya Times, The Diaspora Times Global, and Synchaos. She is a member of the International Writers’ Association of Argentina (Grupo de Trabajo de Escritores Internacionales – Argentina), a holder of international certificates, a Global Ambassador for Peace, and a participant in international anthologies and conferences. She is also a recipient of the “Ambassador of Friendship” honorary badge.
Cervical Cancer in Adolescent Girls (HPV — Human Papillomavirus)
Cervical cancer is one of the most serious and widespread oncological diseases affecting women worldwide. The primary cause of this disease is the human papillomavirus (HPV), a common virus that is mainly transmitted through sexual contact. While most HPV infections resolve spontaneously, certain high-risk types of the virus can cause abnormal changes in cervical cells, which may eventually develop into cancer if left untreated.
In adolescent girls, HPV infection is often asymptomatic, making early detection difficult. Due to the immaturity of the immune system and lack of awareness, the virus may persist in the body for a long period. Factors such as early initiation of sexual activity, multiple sexual partners, weakened immunity, and insufficient access to preventive healthcare increase the risk of cervical cancer development.
Effective prevention strategies play a crucial role in reducing the incidence of cervical cancer. Vaccination against HPV at an early age is considered the most reliable method of prevention. In addition, promoting a healthy lifestyle, providing sexual health education, and encouraging regular gynecological examinations are essential measures for early diagnosis. Timely detection of precancerous changes significantly improves treatment outcomes and reduces mortality rates.
Ahmedova Dilorom Mahmudovna is a leading lecturer in Pediatrics at the Abu Ali ibn Sina Public Health Technical School in Yangiyer.
Field of study: Preschool Education and Methodology
Puchon University
Master’s student in Educational Management
Types of Visual Activities in Preschool Educational Institutions
Puchon University
Field of Study: Educational Management
Student of Group 1-C
Abdullayeva Feruza Khayrulla qizi
Middle group teacher at Preschool Educational Institution No. 18,
Gulistan City, Syrdarya Region
ABSTRACT
This article highlights the role of visual activities in the comprehensive development of children in Preschool Educational Institutions (PEIs), as well as their importance in the formation of aesthetic knowledge. Visual activities contribute significantly to the intellectual, emotional, and creative growth of preschool children.
In preschool educational institutions, visual activities help develop analytical and synthetic thinking skills in children whose cognitive abilities are still insufficiently developed. Through visual activities, children are taught to perceive and represent the world through various colors, enrich their imagination, and learn to protect and care for nature and animals.
Object of the Research
The process of conducting visual activity lessons in preschool educational institutions and the observance of safety rules by teachers during the organization of these activities.
Main Part
A. Types of Visual Activities
Types of visual activities refer to the process of depicting objects, phenomena, or imagined images from the surrounding environment using various tools. This is a creative activity primarily based on visual perception and representation, and it is manifested in the following forms:
1. Drawing – Graphics and painting are widely used in preschool educational institutions within this field.
2. Sculpting – The use of three-dimensional forms. This method is applied when children create various objects using clay. It contributes to the development of fine motor skills and sensory perception. For example, children learn to distinguish between hard and soft, big and small objects.
3. Decorative and Applied Art (patterns and ornaments) – This type is mainly used with senior and preparatory group children, as they are capable of decorating with aesthetic taste. Considering the creative thinking and ability of older preschool children to create images, this activity can be effectively implemented.
White paper, colored paper, and cardboard – Essential materials for creating visual works. In preschool educational institutions, white and colored paper and cardboard are widely used in visual activities.
Handout materials – Cards or various objects appropriate to the age group and topic, which help children acquire new knowledge.
Construction sets – LEGO blocks and sets designed for assembling parts, such as Mosaic, Tangram, and the Columbus Egg. These sets enable children to learn unconventional forms of sculpting.
Herbariums – Collections of dried plants commonly used in education, scientific research, or decorative and applied art. Flowers, leaves, and various plants collected during walks with preschool children can be dried and used in creative activities. For example, dried straw can be used to create decorative fairy-tale characters or animate certain scenes.
Colored pencils – Pencils of various colors used for drawing, coloring, and creative activities. They are generally divided into three types:
1. Standard colored pencils – Wooden pencils used for coloring.
2. Watercolor pencils – Coloring tools that produce color when mixed with water.
3. Pastel pencils – Soft pencils that produce bright and vivid colors.
Porcelain dough – Due to its properties, such as softness, flexibility, smoothness, and ability to take any desired shape, it is convenient for creative activities.
In preschool educational settings, children can also be shown that natural dyes can be obtained by cutting red beetroot into pieces and applying it to paper.
Conclusion
The conducted analysis shows that through various types of visual activities, children enrich their inner world, develop aesthetic taste, learn to perceive nature and the environment, and are taught not to harm them. In addition, visual activities help children understand changes occurring in the surrounding world, including seasonal changes in nature.
Expected Results
During visual activity sessions, children learn to complete tasks in an orderly manner without disturbing others, respect one another, share learning materials, and work collaboratively. Upon completion of the activity, children experience satisfaction and joy from their own work.
References
1. Sakulina, N. R. Drawing, Appliqué, and Clay Work in Kindergarten.
2. Kamorova, T. S. Visual Arts Lessons.
3. Khasanova, T. Sh. Teaching Visual Activities. Tashkent, 2020.
4. Mahmudova, O. A., & Mahmudova, S. A. Technologies of Working with Plastic Materials in the Preschool Education System (Textbook). Tashkent, 2019.
5. Abdirasilov, S. F. Methods of Teaching Visual Arts. Tashkent, 2012.
6. Shodiyev, A. S. Preschool Education Pedagogy. Tashkent, 2018.
A flowerpot under a flowerpot—my perplexity is faster than a racehorse.
If destiny allows,
I would build a minaret—as grand as a pharaoh’s pyramid—out of a single poem.
I would plant flowers
all around it.
Then I would climb it gently
and gaze upon the world and its people.
I would ask applause for my poems
from whoever has read them—if anyone has.
I cherish poetry deeply,
even though it wounds my heart.
Wandering through astonishing flower gardens,
I place poetry
as a crown upon my head.
Let people send me their love
and call me king—I no longer mind.
Silence is comforting;
it buries the cries and sounds
of sorrow.
The morning sun is magnificent:
the flowers can hear
the sound of its light.
These mountains stand proud;
they pay no mind
to those who pass beneath them.
The sky is a vast embrace—wide enough to hold
every glance.
The poet is the guide of my soul;
from the light of faith
my feelings begin to bloom.
(Translated by Azam Abidov)
Nurbek Norchayev is a representative of modern Uzbek poetry and a poet. He was born on April 18, 1993, in Koson district of Kashkadarya region, Republic of Uzbekistan.
