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This theme has always been an important one in western literature, but it has gained in urgency during our own century.
Each generation must explore anew the problems of human estrangement and fulfillment — the best way to begin such a search is to see what the past has to offer.
Goethe's vision may not provide the perfect or the only answer, but it has been a source of inspiration to many readers for more than a hundred years and reflects the thoughts and experiences of one of the 19th century's most active and gifted minds.
The Faust legend first flourished in medieval Europe and is thought to have its earliest roots in the New Testament story of the magician Simon Magus Acts During the superstitious Middle Ages, the story of the man who sold his soul to the devil to procure supernatural powers captured the popular imagination and spread rapidly.
At some point the name of Faust was definitely attached to this figure. A cycle of legends, including some from ancient and medieval sources that were originally told about other magicians, began to collect around him.
One of the most widely-read magic texts of the period was attributed to Faust and many others referred to him as an authority. A famous German sage and adventurer born in was thought by many of his contemporaries to be a magician and probably did practice some sort of black magic.
Few details of his life are certain, but it is known that he capitalized on the situation by calling himself "Faust the Younger," thus acquiring the occult reputation of the legendary character.
After a sensational career, this Faust died during a mysterious demonstration of flying which he put on for a royal audience in It was generally believed that he had been carried away by the devil.
One of the scenes of Goethe's tragedy is set in Auerbach's Cellar in Leipzig, the city of this fatal exhibition, because the walls of the old tavern were decorated with representations of Faust's exploits, and the place was traditionally connected with him.
A biography of Faust, the Historia von D. Johann Fausten, based upon the shadowy life of Faust the Younger, but including many of the fanciful legendary stories, was published in Frankfurt in That same year it was translated into English as The Historie of the damnable life and deserved death of Doctor John Faustus.
In both these popular editions of the "Faust-Book," the famed magician's deeds and pact with the devil are recounted, along with much pious moralizing about his sinfulness and final damnation.
It was in this version that the legend took on a permanent form. When the Renaissance came to northern Europe, Faust was made into a symbol of free thought, anti-clericalism, and opposition to Church dogma.
The first important literary treatment of the legend was that of the English dramatist, Christopher Marlowe. Marlowe's Tragical History of Doctor Faustus , now usually referred to as Doctor Faustus was the forerunner of all later English tragedies and had a revolutionary effect on the development of dramatic art.
It is still renowned for its exciting theatricality, its beautiful blank verse, and its moving portrayal of a human soul in despair because he cannot accept God and so is condemned to damnation.
Marlowe used the English translation of the Faust-Book as his main source, but transformed the legendary magician into a figure of tragic stature and made his story a powerful expression of the main issues of Elizabethan thought.
As in the earlier versions, Marlowe's Faustus signs a pact with the devil which consigns his soul to hell in return for 24 years of unlimited power and pleasure.
Up to the moment of his death, however, this Faustus is free to resist his seduction by the forces of evil, despite having signed the pact.
In the final scenes Faustus becomes terrified by the thought of his impending damnation and desperately wants to save himself, but his faith in God's merciful love is not strong enough and he cannot repent.
After a painful struggle with himself, Faustus is carried off by the devil at the end of the play. In addition to the difference in the fate of the protagonist, Marlowe's drama varies from Goethe's in other significant ways.
At the outset Faustus does not invoke the devil because of moral or philosophical alienation, as does Faust, but only from a crass desire for power, and in his adventures afterward there is little effort made to explore the many kinds of human experience and ways to personal fulfillment that are examined in Goethe's poem.
It gathers together references from Christian, medieval, Roman , eastern, and Hellenic poetry, philosophy, and literature. The composition and refinement of Goethe's own version of the legend occupied him, off and on, for over sixty years.
The final version, published after his death, is recognized as a great work of German literature. The story concerns the fate of Faust in his quest for the true essence of life " was die Welt im Innersten zusammenhält ".
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. Part one of the story ends in tragedy for Faust, as Gretchen is saved but Faust is left to grieve in shame.
The second part begins with the spirits of the earth forgiving Faust and the rest of mankind and progresses into allegorical poetry.
Faust and his Devil pass through and manipulate the world of politics and the world of the classical gods, and meet with Helen of Troy the personification of beauty.
Finally, having succeeded in taming the very forces of war and nature, Faust experiences a singular moment of happiness.
Mephistopheles tries to seize Faust's soul when he dies after this moment of happiness, but is frustrated and enraged when angels intervene due to God's grace.
Though this grace is truly 'gratuitous' and does not condone Faust's frequent errors perpetrated with Mephistopheles, the angels state that this grace can only occur because of Faust's unending striving and due to the intercession of the forgiving Gretchen.
The final scene has Faust's soul carried to heaven in the presence of God by the intercession of the "Virgin, Mother, Queen, Goddess kind forever Eternal Womanhood.
The story of Faust is woven into Dr. Thomas Mann 's Doktor Faustus: Das Leben des deutschen Tonsetzers Adrian Leverkühn, erzählt von einem Freunde adapts the Faust legend to a 20th-century context, documenting the life of fictional composer Adrian Leverkühn as analog and embodiment of the early 20th-century history of Germany and of Europe.
The talented Leverkühn, after contracting venereal disease from a brothel visit, forms a pact with a Mephistophelean character to grant him 24 years of brilliance and success as a composer.
He produces works of increasing beauty to universal acclaim, even while physical illness begins to corrupt his body. In , when presenting his final masterwork The Lamentation of Dr Faust , he confesses the pact he had made: madness and syphilis now overcome him, and he suffers a slow and total collapse until his death in Leverkühn's spiritual, mental, and physical collapse and degradation are mapped on to the period in which Nazism rose in Germany, and Leverkühn's fate is shown as that of the soul of Germany.
Benet's version of the story centers on a New Hampshire farmer by the name of Jabez Stone who, plagued with unending bad luck, is approached by the devil under the name of Mr.
Scratch who offers him seven years of prosperity in exchange for his soul. Jabez Stone is eventually defended by Daniel Webster , a fictional version of the famous lawyer and orator, in front of a judge and jury of the damned, and his case is won.
Murnau , director of the classic Nosferatu , directed a silent version of Faust that premiered in Murnau's film featured special effects that were remarkable for the era.
Many of these shots are impressive today. In one, Mephisto towers over a town, dark wings spread wide, as a fog rolls in bringing the plague. In another, an extended montage sequence shows Faust, mounted behind Mephisto, riding through the heavens, and the camera view, effectively swooping through quickly changing panoramic backgrounds, courses past snowy mountains, high promontories and cliffs, and waterfalls.
In the Murnau version of the tale, the aging bearded scholar and alchemist, now disillusioned—by a palpable failure of his antidotal, dark liquid in a phial, a supposed cure for victims in his plague-stricken town—Faust renounces his many years of hard travail and studies in alchemy.
We see this despair, watching him haul all his bound volumes by armloads onto a growing pyre; he intends to burn everything.
But a wind comes, from offscreen, that turns over a few cabalistic leaves—from one of the books' pages, sheets not yet in flames, one and another just catching Faust's eye.
Their words contain a prescription for how to invoke the dreadful dark forces. Following Faust heeding these recipes, we see him begin enacting the mystic protocols: on a hill, alone, summoning Mephisto, certain forces begin to convene, and Faust in a state of growing trepidation hesitates, and begins to withdraw; he flees along a winding, twisting pathway, returning to his study chambers.
At pauses along this retreat, though, he meets a reappearing figure. Each time, it doffs its hat—in a greeting, that is Mephisto, confronting him.
Mephisto overcomes Faust's reluctance to sign a long binding pact with the invitation that Faust may try on these powers, just for one day, and without obligation to longer terms.
It comes the end of that day, the sands of twenty-four hours having run out, after Faust's having been restored to youth and, helped by his servant Mephisto to steal a beautiful woman from her wedding feast, Faust is tempted so much that he agrees to sign a pact for eternity which is to say when, in due course, his time runs out.
Eventually Faust becomes bored with the pursuit of pleasure and returns home, where he falls in love with the beautiful and innocent Gretchen. His corruption enabled, or embodied, through the forms of Mephisto ultimately ruins both their lives, though there is still a chance for redemption in the end.
Similarities to Goethe's Faust include the classic tale of a man who sold his soul to the Devil, the same Mephisto wagering with an angel to corrupt the soul of Faust, the plague sent by Mephisto on Faust's small town, and the familiar cliffhanger with Faust unable to find a cure for The Plague, and therefore turning to Mephisto, renouncing God, the angel, and science alike.
Directed by Brian DePalma , - A vain rock impresario, who has sold his soul to the Devil in exchange for eternal youth, corrupts and destroys a brilliant but unsuccessful songwriter and a beautiful ingenue.
Mexican comedian Chespirito acted as Faust in a sketch adaptation of the legend. 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.
At this point, Mephistopheles returns to take Faust's soul to hell, producing the signed contract for supporting his claim. The Faust legend has been the basis for several major operas: for a more complete list, visit Works based on Faust.
Psychodynamic therapy uses the idea of a Faustian bargain to explain defence mechanisms , usually rooted in childhood, that sacrifice elements of the self in favor of some form of psychical survival.
For the neurotic, abandoning one's genuine feeling self in favour of a false self more amenable to caretakers may offer a viable form of life, but at the expense of one's true emotions and affects.
From Wikipedia, the free encyclopedia. This article is about the German legendary character. For other uses, see Faust disambiguation.
Protagonist of a classic German legend. Main article: Goethe's Faust. Goethe's Faust is a genuinely classical production, but the idea is a historical idea, and hence every notable historical era will have its own Faust.
In Chisholm, Hugh ed. Cambridge University Press. Archived from the original on 23 March Retrieved 5 May The Gnostic Religion.