Faust is the protagonist of a classic German legend. He is a scholar who is highly successful yet dissatisfied with his life, so he makes a pact with the Devil, exchanging his soul for unlimited knowledge and worldly pleasures. The Faust legend has been the basis for many literary, artistic, cinematic, and musical works that have reinterpreted it through the ages. Faust and the adjective Faustian imply a situation in which an ambitious person surrenders moral integrity in order to achieve power and success for a delimited term.
The Faust of early books—as well as the ballads, dramas, movies, and puppet-plays which grew out of them—is irrevocably damned because he prefers human to divine knowledge; "he laid the Holy Scriptures behind the door and under the bench, refused to be called doctor of Theology, but preferred to be styled doctor of Medicine". Plays and comic puppet theatre loosely based on this legend were popular throughout Germany in the 16th century, often reducing Faust and Mephistopheles to figures of vulgar fun. The story was popularised in England by Christopher Marlowe, who gave it a classic treatment in his play, The Tragical History of Doctor Faustus. In Goethe's reworking of the story two hundred years later, Faust becomes a dissatisfied intellectual who yearns for "more than earthly meat and drink" in his life.
- 1 Summary of the story
- 2 Sources
- 3 Locations linked to the story
- 4 Literary appropriations
- 5 Cinematic appropriations
- 6 Musical appropriations
- 7 See also
- 8 Notes
- 9 Sources
- 10 Further reading
Summary of the story
Faust is bored and depressed with his life as a scholar. After an attempt to take his own life, he calls on the Devil for further knowledge and magic powers with which to indulge all the pleasure and knowledge of the world. In response, the Devil's representative, Mephistopheles, appears. He makes a bargain with Faust: Mephistopheles will serve Faust with his magic powers for a set number of years, but at the end of the term, the Devil will claim Faust's soul and Faust will be eternally damned. The term usually stipulated in the early tales is 24 years; one year for each of the hours in a day.
During the term of the bargain, Faust makes use of Mephistopheles in various ways. In many versions of the story, particularly Goethe's drama, Mephistopheles helps him to seduce a beautiful and innocent girl, usually named Gretchen, whose life is ultimately destroyed. However, Gretchen's innocence saves her in the end, and she enters Heaven. In Goethe's rendition, Faust is saved by God's grace via his constant striving—in combination with Gretchen's pleadings with God in the form of the Eternal Feminine. However, in the early tales, Faust is irrevocably corrupted and believes his sins cannot be forgiven; when the term ends, the Devil carries him off to Hell.
Many aspects of the life of Simon Magus are echoed in the Faust legend of Christopher Marlowe and Johann Wolfgang von Goethe. Hans Jonas writes, "surely few admirers of Marlowe's and Goethe's plays have an inkling that their hero is the descendant of a gnostic sectary and that the beautiful Helen called up by his art was once the fallen Thought of God through whose raising mankind was to be saved." The tale of Faust bears many similarities to the Theophilus legend recorded in the 13th century, writer Gautier de Coincy's Les Miracles de la Sainte Vierge. Here, a saintly figure makes a bargain with the keeper of the infernal world but is rescued from paying his debt to society through the mercy of the Blessed Virgin. A depiction of the scene in which he subordinates himself to the Devil appears on the north tympanum of the Cathedrale de Notre Dame de Paris.
The character in Polish folklore named Pan Twardowski presents similarities with Faust, and this legend seems to have originated at roughly the same time. It is unclear whether the two tales have a common origin or influenced each other. According to the theologian Philip Melanchthon, the historical Johann Faust had studied in Kraków as well.
The origin of Faust's name and persona remains unclear, though some sources also connect the legendary Faust with Johann Fust (c. 1400–1466), Johann Gutenberg's business partner, or suggest that Fust is one of the multiple origins to the Faust story. Others believe he is based on the figure of Dr. Johann Georg Faust (c.1480–1540), a magician and alchemist probably from Knittlingen, Württemberg, who obtained a degree in divinity from Heidelberg University in 1509. Scholars such as Frank Baron and Leo Ruickbie contest many of these previous assumptions.
The first known printed source of the legend of Faust is a small chapbook bearing the title Historia von D. Johann Fausten, published in 1587. The book was re-edited and borrowed from throughout the 16th century. Other similar books of that period include:
- Das Wagnerbuch (1593)
- Das Widmann'sche Faustbuch (1599)
- Dr. Fausts großer und gewaltiger Höllenzwang (Frankfurt 1609)
- Dr. Johannes Faust, Magia naturalis et innaturalis (Passau 1612)
- Das Pfitzer'sche Faustbuch (1674)
- Dr. Fausts großer und gewaltiger Meergeist (Amsterdam 1692)
- Das Wagnerbuch (1714)
- Faustbuch des Christlich Meynenden (1725)
The 1725 Faust chapbook was widely circulated and also read by the young Goethe.
Related tales about a pact between man and the Devil include the plays Mariken van Nieumeghen (Dutch, early 16th century, author unknown), Cenodoxus (German, early 17th century, by Jacob Bidermann) and The Countess Cathleen (Irish Legend of unknown origin believed by some to be taken from the French play "Les marchands d'âmes").
Staufen, a town in the extreme southwest of Germany, claims to be where Faust died (c. 1540); depictions appear on buildings, etc. The only historical source for this tradition is a passage in the Chronik der Grafen von Zimmern, which was written around 1565, 25 years after Faust's presumed death. These chronicles are generally considered reliable, and in the 16th century there were still family ties between the lords of Staufen and the counts of Zimmern in nearby Donaueschingen.
In Christopher Marlowe's original telling of the tale, Wittenburg where Faust studied was also written as Wertenberge. This has led to a measure of speculation as to where precisely his story is set. Some scholars have suggested the Duchy of Württemberg; others have suggested an allusion to Marlowe's own Cambridge (Gill, 2008, p. 5), but the likely placement of Wittenberg is the historical capital of Wüttemberg, what is now the city of Stuttgart.
Marlowe's Doctor Faustus
The early Faust chapbook, while in circulation in northern Germany, found its way to England, where in 1592 an English translation was published, The Historie of the Damnable Life, and Deserved Death of Doctor Iohn Faustus credited to a certain "P. F., Gent[leman]". Christopher Marlowe used this work as the basis for his more ambitious play, The Tragical History of Doctor Faustus (published c. 1604). Marlowe also borrowed from John Foxe's Book of Martyrs, on the exchanges between Pope Adrian VI and a rival pope.
Another important version of the legend is the play Faust, written by the German author Johann Wolfgang von Goethe. The first part, which is the one more closely connected to the earlier legend, was published in 1808, the second posthumously in 1832.
Goethe's Faust complicates the simple Christian moral of the original legend. A hybrid between a play and an extended poem, Goethe's two-part "closet drama" is epic in scope. 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 for over sixty years (though not continuously). 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 Goddess is thus victorious over Mephistopheles, who had insisted at Faust's death that he would be consigned to "The Eternal Empty."
Bulgakov's The Master and Margarita
The story of Faust is woven into Dr. Mikhail Bulgakov's best-known novel, The Master and Margarita (1928-1940) with Margarita being modeled on Gretchen and the Master on Faust. Other characters in the novel include Woland (whose description recalls Mephistopheles) and Mikhail Alexandrovitch Berlioz (the head of Massolit).
Mann's Doctor Faustus
Thomas Mann's 1947 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 1930, 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 1940. 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.
Additional dramatic selections
- Faust (1866) by Estanislao del Campo
- The Death of Doctor Faustus (1925) by Michel de Ghelderode
- Dr. Faustus Lights the Lights (1938) by Gertrude Stein
- My Faust (1940) by Paul Valéry
- Faust, a Subjective Tragedy (1934) by Fernando Pessoa
- Faust (2009) by Edgar Brau
F.W. Murnau, director of the classic Nosferatu, directed a silent version of Faust that premiered in 1926. Murnau's film featured special effects that were remarkable for the time and many of these shots are still impressive today. In one, Mephisto towers over a town, dark wings spread wide, as a fog rolls in bringing the plague. In another, Faust rides with Mephisto through the sky, as the camera seems to swoop across a landscape that includes snowy mountains, cliffs and waterfalls.
In this version of the story, Faust is an elderly scholar and alchemist who is frustrated at his inability to help the plague-stricken population. He summons Mephisto, who overcomes Faust's reluctance to sign a pact by telling him he can try it for one day with no obligation. At the end of that day, having been restored to youth and helped by Mephisto to steal a beautiful woman from her wedding feast, Faust is sufficiently tempted that he agrees to extend the pact for eternity. Eventually he becomes bored with the pursuit of pleasure and returns home, where he falls in love with the beautiful and innocent Gretchen. His corruption (in the form 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 and therefore turning to Mephisto, renouncing God, the angel, and science alike.
The Faust legend has been the basis for three major operas:
- Mefistofele, the only completed opera by Arrigo Boito
- Doktor Faust, begun by Ferruccio Busoni and completed by his pupil Philipp Jarnach
- Faust, by Charles Gounod to a French libretto by Jules Barbier and Michel Carré from Carré's play Faust et Marguerite, in turn loosely based on Goethe's Faust, Part 1
Faust has inspired major musical works in other forms:
- The Damnation of Faust by Hector Berlioz
- Scenes from Goethe's Faust by Robert Schumann
- Faust Symphony by Franz Liszt
- Symphony No. 8 by Gustav Mahler
- Histoire du soldat by Igor Stravinsky
- Epica and The Black Halo by symphonic progressive metal band Kamelot are sequential concept albums loosely based on the Faust narrative.
- Alternative rock band Radiohead alludes to Faust in their album In Rainbows, and in the song "Faust Arp".
- The group Switchfoot's song "Faust, Midas, And Myself" tells a Faustlike story.
- Walter Alison Phillips (1911). "Faust". In Chisholm, Hugh. Encyclopædia Britannica (11th ed.). Cambridge University Press.
- Jonas, Hans (1958). The Gnostic Religion. p. 111.
- An 1875 edition is at: Par Gautier de Coincy; Par M l'Abbé Poquet (1857). Les miracles de la Sainte Vierge (in French). Parmantier/Didron.
- See, for example, this photo at: Ballegeer, Stephen. "Notre-Dame, Paris: Portal on the north transept". flickr.
- Meggs, Philip B.; Purvis, Alston W. (2006). Meggs' History of Graphic Design, Fourth Edition. Hoboken, NJ: John Wiley & Sons, Inc. p. 73. ISBN 0-471-69902-0.
- Jensen, Eric (Autumn 1982). "Liszt, Nerval, and "Faust"". 19th-Century Music (University of California Press) 6 (2): 153. doi:10.2307/746273.
- Baron, Frank (1978). Doctor Faustus, from History to Legend. Wilhelm Fink Verlag.
- Ruickbie, Leo (2009). Faustus: The Life and Times of a Renaissance Magician. The History Press. ISBN 978-0-7509-5090-9.
- Geiges, Leif (1981). Faust's Tod in Staufen: Sage – Dokumente. Freiburg im Breisgau: Kehrer Verlag KG.
- Goethe, Faust, Part Two, lines 12101-12110, translation: David Luke, Oxford World Classics, ISBN 9780199536207.
- "Faust (1926)". IMDb. Retrieved May 5, 2012.[unreliable source?]
- Doctor Faustus by Christopher Marlowe, edited and with an introduction by Sylvan Barnet. Signet Classics, 1969.
- J. Scheible, Das Kloster (1840s).
- The Faustian Century: German Literature and Culture in the Age of Luther and Faustus. Ed. J. M. van der Laan and Andrew Weeks. Camden House, 2013. ISBN 978-1571135520
- A philosophical interpretation: Seung, T.K.. Cultural Thematics: The Formation of the Faustian Ethos. Yale University Press. 1976. ISBN 978-0300019186