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Faust
and then Fer gives the tern to my boyfriend !
Contents |
Author’s Notes/Introduction
Edit
The same old Faustian deal, as they say—sell your soul to the devil in return for nearly anything you want, usually extraordinary experiences while still alive, the greatest pleasures imaginable, etc. Because the devil can grant all wishes to those desperate, disaffected, or impatient enough. It’s not only a possible future rewards in heaven vs. rewards now dilemma, however, or an experience vs. knowledge, or a good vs. evil, or even a sensual vs. intellectual dilemma, although those are all a part; most importantly, the story is one about the basic curiosity, ignorance, and independent nature of man. Goethe mixes things up by making Mephisto less powerful than conventional, by making Faust a decent and basically good-willing individual, and by including bizarre scenes with subcharacters that have almost nothing to do with the central Gretchen plot. It should be noted here, however, that the Gretchen plot is simply an illustration of Faust’s overall desire for temporal experience, for sensual pleasure and the knowledge that he believes
Prelude/PrologueEdit
The story begins with a prelude and a prologue. The prelude is a dialogue in which the director asks the poet and the clown about the possible success of the following play. All three essentially make fun of the audience, describing it as simple-minded and inserting into their play formulaic elements that are bound to make it popular (like action). The prologue is a conversation between God, the archangels, and Mephistopheles in which (similar to Job) God mentions Faust and makes a wager with Mephisto whether he can be led away from God. Mephisto is clearly inferior to God, and their relationship is at best paternal and closer to lord-master.
Faust’s StudyEdit
Faust’s study. Faust complains that he has studied everything and knows everything there is to know about everything, and yet he still feels like he doesn’t understand life or really know anything (in a Socratic sense, he is wiser than before). “this world your mind invents” he says, or something similar. He also laments the fact that he has spent his whole life studying and no time living, no time experiencing that which he has been studying.
In his exasperation he calls the natural Spirit, which disappears soon after. Wagner, Faust’s student comes in, agrees with Faust’s complaints; then there is a cross-section of village life as all sorts of peasants talk, after which Faust and Wagner enter the scene, taking a walk and romantically talking about the images before them. Faust returns to his study, broods some more, the spirits outside hear him and Mephistopheles appears.
Faust immediately recognizes Mephisto for what he is, but is not discomfited. The two talk about life in a very rational fashion, Mephisto is charming and Faust unemotional, and finally they agree on a contract for Faust’s soul written in his own blood.
>>>Pg 53-55 excerpts explain the basic point of the Faustian story
- “for your signature, a drop of blood”
- “Now let us slake hot passions in the depths of sweet and sensual sin! Make me your magics—I’ll not care to know what lies behind their outward show. Let us plunge into the rush of things of time and all its happenings!”
- “the mere pleasure’s not the point! To dizzying, painful joy I dedicate myself, to refreshing frustration, loving hate! I’ve purged the lust for knowledge from my soul; now the full range of suffering it shall face, And in my inner self I will embrace…(etc., all good)”
- “you are just what you are. Do what you will”
- “what mere shadow of life you live”
Tavern in LeipzigEdit
Next, the duo visits Auerbach’s tavern in Leipzig. There is again a cross-section of peasant life, drinking and laughing. Mephisto entertains the peasants, plays with them, then performs a series of miracles—drilling holes in the table that spurt wine, frightening them with fire.
Witch’s KitchenEdit
Next, the two visit a witch’s kitchen. They converse with animals, and Faust drinks a potion that is supposed to help him with love. As the witch chants, Faust becomes confused with the mysticism and attempts to apply his scientific mind to what she is doing, without success.
Meeting Margareta in TownEdit
In the town, the two then meet Margareta. Faust wants her immediately, but Mephisto says he cannot do this. Mephistopheles then talks to Margareta/Gretchen and Martha, Margareta’s friend and guardian, and charms them into meeting with him and Faust later. Gretchen immediately finds Mephisto oddly discomfiting and dislikes him instinctively. That night, they take a walk together during which Mephisto entertains Martha and Faust and Margareta become close.
>>>Pg 96 conflict with Mephistopheles summarizes their relationship
- “it will come from my heart”
- “eternal love, faithfulness to the end, unique all-powerful passion—that will come from the heart too, will it now?”
Random CavernEdit
There is a brief interlude in a cavern somewhere, then Faust meets again with Gretchen; she asks him about religion and his lack of faith in the conventional sense, but he manages to pacify her with some clever wording.
Gretchen and FaustEdit
Gretchen and Lieschen get water at the well together, talking of another girl who has taken a lover. Gretchen reflects that she can no longer be angry at such transgressors because she has become one herself.
Faust and Mephisto are outside Gretchen’s house, where they attempt to woo her with song. Unfortunately Valentine, Gretchen’s soldier brother, is also there, and he attempts to defend her honor against the two. With Mephisto guiding his sword, and laming his opponent, professor Faust manages to kill Valentine. They disappear, and with his dying breaths, Valentine condemns Gretchen as a worthless slut.
Gretchen is in a cathedral at the funeral, with an evil spirit whispering in her ear that the congregation has deserted her because she is impure.
Walpurgis NightEdit
Walpurgis Night! Faust and Mephisto are climbing a mountain called the Brocken in the Harz mountain range in central Germany, conversing with will-o’-the-wisps, witches, other voices and choruses. A general, a minister, a parvenu, and an author all dejectedly comment on the state of the world, and suddenly Mephisto feels old and tired—everything feels like it is coming to an end. Then there are some other interesting interactions with characters such as The Fair One, Mr. Arsey-phantarsey, and Mr. At-your-service.
Interlude, also called dream of Walpurgis Night, or the wedding of Titania and Oberon (straight from Shakespeare’s Midsummer Night’s Dream).
Ending/PrisonEdit
Reality again, Faust and Mephisto walking in the country on a gloomy day, Faust lamenting what has become of Gretchen, Mephisto unsympathetic.
The duo visits the prison, where the book ends. Gretchen is basically insane, speaking to her dead baby, refusing to leave with Faust and escape her imminent execution. She does not even recognize Faust as who he is at first, asking him whether he is human or not when he enters. Then she is woken up from this reverie, becomes quite lucid, recognizes him and begins to speak rationally about her actions—drowning her baby, poisoning her mother, and all because of him. But she harbors no resentment and still seems to love him, holds him there as he frantically tries to get her to flee with him. Basically, she doesn’t want to leave because she sees no use in living on with a bad conscience, with the glares of the world on her and no hope in sight for salvation or redemption. All of her language is death-related. Finally, she prays to God, and Mephisto’s condemnation is overruled by heavenly blessing.
The final result is that Faust, seeing Gretchen’s fate, wishes he’d never been born. The consequences of his worldly experiences were decidedly unwelcome, but the effect was not to bring him away from God, but to bring him closer to Him through his final repentance, compassion, and regret; thus Mephisto unwittingly became God’s agent, and failed completely in his task.
AnalysisEdit
The prelude and prologue raise interesting questions, the first about the nature of theatre and literature and its function, the second about theological themes.
Mephisto’s powerlessness at times, his clear subservience to God, and his fun-loving charismatic side create interesting situations at times.
Mystery is an important element as well-- it is perhaps exactly the mystery Faust sought before so earnestly to pierce with his reason which is the necessary ingredient to a meaningful existence. In any case, it is a necessary ingredient for religion and religious devotion.
Faust could also be Scarlet Letterish story of social oppression and attempted rebellion (Hester Prynne=Gretchen)
There are many religious points to be made here, and not just of the occult. The entire Walpurgis Night sequence is rich in wordplay and interesting interactions, and commentary on cosmology, mysticism, and the role of religion in society.
And the Gretchen story? The Urfaust, the early version of the Faust manuscript, is shorter and focuses on this aspect of the Faustian progression towards ultimate redemption. What is key here is Gretchen’s angelic nature, which immediately knows Mephisto’s true being, and her imprisonment by society and its harsh sexual codes. Much more can be read into this, but by the end of the book Gretchen has become a martyr, blessed by God but dying for her love.
