Faust is the protagonist of a classic German legend; a highly successful scholar but one dissatisfied with his life who therefore 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. Translated as "fist" in High German, the name "Faust" suggests someone who resorts to extraordinary means to achieve goals, akin to if not actually including force; it also implies unusual tenacity and persistence.
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 that yearns for "more than earthly meat and drink" in his life.
Summary of the story 
Faust is bored and disappointed. He decides to call 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.
Sources of the legend 
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 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.
The origin of Faust's name and persona remains unclear, though it is widely assumed to be 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.
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 character in Polish folklore named Pan Twardowski also 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. Pan Twardowski may be based on the life of a 16th-century German emigrant to the then-capital of Poland, Kraków, or possibly on John Dee or Edward Kelley. According to the theologian Philip Melanchthon, the historical Johann Faust had studied in Kraków as well.
Related tales about a pact between man and the Devil include the legend of Theophilus of Adana, the 5th-century bishop; and the plays Mariken van Nieumeghen (Dutch, early 16th century, author unknown) and Cenodoxus (German, early 17th century, by Jacob Bidermann).
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 possible inspiration of Marlowe's version is John Dee (1527–1609), who practiced forms of alchemy and science and developed Enochian magic.
Goethe's Faust 
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 agrees to serve Faust until the moment he attains the zenith of human happiness, such that he cries out to that moment to "stay, thou art so beautiful!" (Faust, I, l.1700) — at which point Mephistopheles may take his soul. Faust is pleased with the deal, as he believes this happy zenith will never come.
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 as the "Holy Virgin, Mother, Queen, Goddess...The Eternal Feminine." The Goddess is thus victorious over Mephistopheles, who had insisted at Faust's death that he would be consigned to "The Eternal Empty."
Murnau's "Faust" 
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 - Faust unable to find a cure and therefore turning to Mephisto, renouncing God, the angel and science alike.
Goethe's Faust was the basis for three major operas:
There is also an operatic version by the British composer Havergal Brian.
It has inspired major musical works in other forms, such as the "dramatic legend" The Damnation of Faust by Hector Berlioz, Robert Schumann's Scenes from Goethe's Faust, the second part of Gustav Mahler's Symphony No. 8, Franz Liszt's Faust Symphony and Havergal Brian's Gothic Symphony.
The story of Faust is also woven into Dr. Mikhail Bulgakov's best-known novel, The Master and Margarita 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), whose name obviously refers to the composer of The Damnation of Faust mentioned above.
Damn Yankees is a musical comedy with a book by George Abbott and Douglass Wallop and music and lyrics by Richard Adler and Jerry Ross. The story is a modern retelling of the Faust legend set during the 1950s in Washington, D.C., during a time when the New York Yankees dominated Major League Baseball. The musical is based on Wallop's novel The Year the Yankees Lost the Pennant.
In 2006, the Phantom Regiment Drum and Bugle Corps's program for the summer was entitled Faust and was loosely based on the legend.
Translations into English 
In September 2006, Oxford University Press published an English, blank-verse translation of Goethe's work entitled Faustus, From the German of Goethe, now widely believed to be the production of Samuel Taylor Coleridge. The translation, which was published anonymously in 1821, was previously attributed to George Soane. Despite this evidence, the status of the translation as the work of Coleridge is still disputed by some Coleridge authorities.
Thomas 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.
In popular culture 
A number of popular movies are based upon the basic story-line of Faust selling his soul for some supernatural powers, one of the most notable being Ghost Rider.
See also 
- Cross Road Blues
- Deal with the Devil
- Eric, parody novel by popular author Terry Pratchett
- Jonathan Moulton, the "Yankee Faust"
- "Misery loves company" (Solamen miseris socios habuisse doloris in Latin) is a phrase from Marlowe's The Tragical History of Doctor Faustus)
- Staufen, Germany, a town in the extreme southwest of Germany, claims to be where Faust died (ca. 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.
- Works based on Faust
- Walter Alison Phillips (1911). "Faust". Encyclopædia Britannica (11th ed.).
- An 1875 edition is at: http://books.google.com/books?id=nwedgt6DDtoC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
- See, for example, this photo at: http://www.flickr.com/photos/uncle_buddha/220748038/
- Frank Baron, "Doctor Faustus, from History to Legend" (Wilhelm Fink Verlag: 1978)
- Leo Ruickbie: Faustus: The Life and Times of a Renaissance Magician. The History Press 2009. ISBN 978-0-7509-5090-9
- Meggs, Philip B.; Alston W. Purvis (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.
- Jonas, Hans (1958). The Gnostic Religion. p. 111.
- "Faust (1926)," at imdb.com (viewed May 5, 2012).
- A review of the controversial edition, Times Literary Supplement, Kelly Grovier
- Geiges, Leif (1981), Faust's Tod in Staufen: Sage – Dokumente. Freiburg im Breisgau: Kehrer Verlag KG
- Doctor Faustus by Christopher Marlowe, edited and with an introduction by Sylvan Barnet. Signet Classics, 1969.
- J. Scheible, Das Kloster (1840s).
Further reading 
- "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-10 1571135529, ISBN-13 978-1571135520.
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- Faust at the Open Directory Project
- Faust Study Guide
- The Faust Tradition from Marlowe to Mann, California State University, Chico
- Pacts with the Devil: Faust and Precursors
- Faust by Johann Wolfgang von Goethe at Project Gutenberg
- Tragical History of Dr. Faustus at Project Gutenberg (Quarto of 1604)
- Tragical History of Dr. Faustus at Project Gutenberg (Quarto of 1616)
- Jan Svankmajer's Faust
- The Pre-Death Thoughts of Faust by Nikolai Berdyaev
- A wiki page about Faust. Includes scene by scene commentary.
- Did Coleridge translate Goethe's Faust? An article by Kelly Grovier in the Times Literary Supplement
- For a free public domain copy of the work by Goethe from Project Gutenberg