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Part Two

25.09.2019 Zulugami 9 Comments

Faust summons their spirits from Hades , but the emperor and the male members of his court criticize Paris's appearance, while the women of the court criticize Helen's appearance. Faust falls in love with Helen.

In a fit of jealously toward Paris, who is now abducting Helen, Faust destroys the illusion and the act ends in darkness and tumult. Mephistopheles transports the unconscious Faust into his old study.

Mephistopheles, donning Faust's robe once again, resumes his conversation with the freshman, who is now a cynical baccalaurus. The Homunculus , an artificial human being created by Wagner, Faust's former famulus, by means of an alchemical process, leads Faust and Mephistopheles to the "Classical Walpurgisnacht ", where they encounter gods and monsters from Greek antiquity.

Faust, still searching for Helen, is led by the sybil Manto into the Underworld. Mephistopheles, meanwhile, meets the Phorkyads or Phorcydes another name for the Graeae three hideous hags who share one tooth and one eye between them, and he disguises himself as one of them.

Guided by the sea-god Proteus , the Homunculus is initiated into the process of becoming fully human, but his glass flask shatters, and he dies. The third act begins with Helen's arrival at the palace of Menelaus in Sparta, accompanied by women, who, as in Classical drama , constitute the chorus.

The hideous Phorkyas appears at the hearth, and warns Helen that Menelaus means to sacrifice her and her attendants.

Distraught at this new knowledge, Helen implores Phorkyas to save them. Phorkyas transports Helen and the chorus to Faust's fortress, where Helen and Faust declare their love for each other.

After defeating Menelaus' army, Faust proclaims the pastoral beauty of the Arcadian countryside. The scene changes in time and space: a range of rocky caverns, with a shadowy grove extending to the foot of the rocks.

Phorkyas, now Faust and Helen's attendant, explains to the newly-woken chorus that during the past interval Faust and Helen have had a spirited son named Euphorion, who charms all with his beauty and gift for music.

The wild Euphorion, becoming increasingly bold in his flight, falls to his death in allusion to Icarus , whereupon the sorrowful Helen disappears in a mist to Hades in allusion to the legend of Orpheus.

The chorus of women, undesirous of joining their mistress in the Underworld, revert to nature, which they extol in songs of praise. As the act ends, Phorkyas is revealed to be Mephistopheles in disguise.

In the fourth act, Faust finds himself taken away from Arcadia to a mountain top in Germany. Watching a cloud, that is separating into two parts, he recognizes in one part Helen and in the other Gretchen. The cloud with the form of Helen moves eastward, while the cloud of Gretchen rises heavenward.

Then Mephistopheles, who has left behind his Greek appearance, joins Faust again. After she leaves, Whistler says she's got one more thing to lose. On her way to the mansion, Xander arrives with Willow's message, but decides to tell Buffy that Willow said to "kick his ass" instead of telling her that they are trying to restore Angel's soul.

Buffy asks him to free Giles while she deals with Angelus. Chaos reigns inside the mansion as Spike leaves his wheelchair and attacks Angelus with a crowbar, and is subsequently attacked by Drusilla while Xander rescue Giles. During the fight, Angelus recovers before Buffy can defeat his vampire lackey and successfully removes the sword from Acathla.

He and Buffy begin to duel, both going for the kill, with Angelus eventually gaining the upper hand. As Acathla starts to awaken, Spike knocks a dismayed Drusilla unconscious and is carrying her from the fray. On his way out, Spike sees Angelus approaching an unarmed Buffy with a sword and believes that Angelus is actually going to kill Buffy.

He shrugs, unmoved, and leaves. Angelus notes that Buffy is all alone, with no weapons and no friends. He asks her what is left, and thrusts his sword at her head. Eyes closed, she stops the blade with her hands. She opens up her eyes, and says "me", echoing Whistler's assertion that in the end all she has left is herself.

At the same time, a weak Willow is performing the restoration ritual and falls into a trance. Her friends watch in shock and surprise as she starts reciting perfect Romanian. Spike embraces Drusilla while he drives away in his car.

Buffy fights ferociously, and quickly backs Angelus up against the statue just as Willow finally succeeds with the Ritual of Restoration ; the Orb of Thesulah glows and vanishes. As Buffy is about to land the killing blow, suddenly Angel's soul is restored. He is confused and doesn't understand what is happening, not yet remembering his time as Angelus. His soul is seemingly "healed".

However, the re-ensoulment has come too late; Acathla opens his mouth and the bright, shining vortex begins to expand outward. Angel hears something behind him, but Buffy reassures him that everything is fine. After a final kiss, Buffy tells Angel to close his eyes. When he complies, she violently stabs Angel through the chest into the vortex. A shocked Angel says "Buffy? Buffy watches as Angel is sucked into Acathla's dimension and the vortex closes behind him, then begins to weep as she realizes everything she has lost.

Joyce finds a note on Buffy's bed, noticing that her clothes have been strewn everywhere and her closet emptied. After its opening episode failed to impress, part two of "The End of Time" I hoped would have much more to offer. What with the closing moments of Part 1 heralding the long awaited return of the Time Lords in an aesthetically glorious and bombastic cliff-hanger. The result that I yearned for was unfortunately not what I had hoped it might have been. The upshot being that "The End of Time" proceeded on its downward trajectory.

Self indulgent and lacking the basic remnants of a coherent plot it's a story that is a victim of RTD's determination to pull out all the stops and afford David Tennant the right to a colossal send off. Putting spectacle ahead of coherence it also feels like a self congratulatory pat on the back by Davies who was quitting the series as its executive producer to pass the torch on to renowned writer Steven Moffat.

It has become patently obvious that resurrecting the Doctors own people who he long thought dead is an obligatory conceit and that he had waited to unleash upon his audience at the last moment. The mechanism of their return to be fair, although contrived functions well on its own. However with RTD at the helm it follows that he adds one strand to the plot which within the context of the narrative leaves one of numerous gaping plot holes. Not to mention that when we are initially reintroduced to the Time Lords it quickly becomes apparent that they have been reduced to becoming third rate pantomime villains with former James Bond actor Timothy Dalton leading the charge as the malevolent and determined Lord President.

An antagonist whose exact personae isn't made clear until nearer the episodes conclusion and which then feels like a shamefully gratuitous, obliging nod to the shows past. The entrance of the Time Lords also comes at the expense of one major plot line established in Part one. After setting up the building blocks he took the time to construct he unconscionably wipes the slate clean utilising an all too accessible plot device which just feels tired and lazy.

Leaving a somewhat bemused looking John Simm here once more as the crazed arch rival the Master who has been reduced to being a disposable plot device rather than a major threat.

In the previous plots place we're left with a supposed Time Lord stratagem which in essence and application makes zero sense as to the motive behind it. A victim it may be of RTD once More attempting to mould a clumsily constructed analogy of his views on religion.

Never the less the performances on display are uniformly of the highest order. David Tennant pours out his soul and gives a heart wrenching performance as the Docto, whose "song" is coming to an end.

Although in context with previous incarnations of the protagonist his gnashing of teeth and wailing at the injustices of his symbiotic "death" seem rather undignified for the man who has gazed in to the gaping black hole with more restrained fortitude. Bernard Cribbens is once more effortlessly endearing as the Doctor's pseudo-companion the charming Wilfred Mott who combines wisdom, compassion and valour in another breathtaking performance.

Dalton soldiers on the best he can with the questionable material he has been given and does manage to evoke some menace as the Lord President while John Simm is more than competent as the twisted, psychotic Master who is not at fault for how the villain's personae has been left devoid of the more rational, charming unprincipled villain audiences had become accustomed when Roger Delgado first took up the part in the early 's.

The rest of the cast which includes Catherine Tate reprising her role as former companion Donna Noble, Jacqueline King as her mother Sylvia as well as Sinead Keenan and Lawry Lewin as the alien Vinvocci add solid support.

However, neither they nor the primary actors can save the whole sorry farrago drowning in a sea of over indulgent ineptitude, leaving it wallowing in a pool of absurdity. What with a daredevil Doctor plummeting god knows how many feet from a Vinvocci spaceship and through a sky-glass, rising relatively uninjured to an overdrawn finale where the Doctor visits those select companions and acquaintances he has known throughout his tenth life.

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