Faust ( FOWST, German: [faʊst] ) is a tragic play in two parts by Johann Wolfgang von Goethe, usually known in English as Faust, Part One and Faust, Part Two, based on the German folk legend Faust. Nearly all of Part One and the majority of Part Two are written in rhymed verse. Although rarely staged in its entirety, it is the play with the largest audience numbers on German-language stages. Faust is considered by many to be Goethe's magnum opus and the greatest work of German literature.
The earliest forms of the work, known as the Urfaust, were developed between 1772 and 1775; however, the details of that development are not entirely clear. Urfaust has twenty-two scenes, one in prose, two largely prose and the remaining 1,441 lines in rhymed verse. The manuscript is lost, but a copy was discovered in 1886.
The first appearance of the work in print was Faust, a Fragment, published in 1790. Goethe completed a preliminary version of what is now known as Part One in 1806. Its publication in 1808 was followed by the revised 1828–29 edition, the last to be edited by Goethe himself.
Goethe finished writing Faust, Part Two in 1831; it was published posthumously the following year. In contrast to Faust, Part One, the focus here is no longer on the soul of Faust, which has been sold to the devil, but rather on social phenomena such as psychology, history and politics, in addition to mystical and philosophical topics. The second part formed the principal occupation of Goethe's last years.
Contents
Nomenclature
The original 1808 German title page of Goethe's play read simply: "Faust. / Eine Tragödie" ("Faust. / A Tragedy"). The addition of "erster Teil" (in English, "Part One") was retroactively applied by publishers when the sequel was published in 1832 with a title page which read: "Faust. / Der Tragödie zweiter Teil" ("Faust. / The Tragedy's Second Part").
The two plays have been published in English under a number of titles, and are usually referred to as Faust, Parts One and Two.
Faust, Part One
The principal characters of Faust Part One include:
Heinrich Faust (see also Faust), a scholar, sometimes said to be based on Johann Georg Faust, or on Jacob Bidermann's dramatized account of the Legend of the Doctor of Paris, Cenodoxus
Mephistopheles, the Devil
Gretchen, Faust's love (short for Margarete; Goethe uses both forms)
Marthe Schwerdtlein, Gretchen's neighbour
Valentin, Gretchen's brother
Wagner, Faust's attendant
Faust, Part One takes place in multiple settings, the first of which is Heaven. Mephistopheles (Satan) makes a bet with God: he says that he can lure one of God's servants, Faust, who is striving to learn everything that can be known, away from righteous pursuits. The next scene takes place in Faust's study where the aging scholar, struggling with what he considers the vanity and uselessness of scientific, humanistic, and religious learning, turns to magic for the showering of infinite knowledge. He suspects, however, that his attempts are failing. Frustrated, he ponders suicide, but rejects it as he hears the echo of nearby Easter celebrations begin. He goes for a walk with his assistant Wagner and is followed home by a stray poodle.
In Faust's study, the poodle transforms into Mephistopheles, dressed as a travelling student who refuses to give his name. He reveals to Faust that although the misshapen pentagram carved into Faust's doorway has allowed him to enter, he cannot leave. Faust is surprised that Mephistopheles is bound by mystical laws, and from this reasons that he could make a pact. Mephistopheles says that he is willing to make a deal but wishes to leave for the night. Faust refuses to release him because he believes it would be impossible for him to catch Mephistopheles again. Mephistopheles then tricks him into permitting a demonstration of his power; Faust falls asleep listening to the song of the spirits, allowing Mephistopheles to escape by calling upon rats to chew away the pentagram.
Faust, Part Two
Rich in classical allusion, in Part Two the romantic story of the first Faust is put aside, and Faust wakes in a field of fairies to initiate a new cycle of adventures and purpose. The piece consists of five acts—relatively isolated episodes—each representing a different theme. Ultimately, Faust goes to Heaven. He had lost his wager with Mephistopheles, that he would never seek to remain in a transcendental moment and have it prolonged forever. However, God had won his wager from the Prologue (and thus Faust's soul) as the transcendental moment was derived from his righteous pursuits. Angels, who arrive as messengers of divine mercy, declare at the end of Act V: "He who strives on and lives to strive / Can earn redemption still" (V, 11936–7).
Relationship between the parts
Throughout Part One, Faust remains unsatisfied; the ultimate conclusion of the tragedy and the outcome of the wagers are only revealed in Faust, Part Two. The first part represents the "small world" and takes place in Faust's own local, temporal milieu. In contrast, Part Two takes place in the "wide world" or macrocosmos.
Role of music in Goethe’s play
Notably, Goethe’s Faust — "is permeated by music in both of its parts. It is, however, not granted to Heinrich Faust. Music resounds around him, not from within him. Margarete’s expression is musical in nature; spirits can be heard singing in chorus; the students bawl their ditties; and even Mephisto has his songs. It is precisely Faust’s exclusion from the music of Faust that Goethe uses as a literary device to bring the character into sharp relief."
Translations
In 1821, a partial English verse translation of Faust (Part One) was published anonymously by the London publisher Thomas Boosey and Sons, with[[ illustrations by the German engraver Moritz Retzsch. This translation was attributed to the English poet Samuel Taylor Coleridge by Frederick Burwick and James C. McKusick in their 2007 Oxford University Press edition, Faustus: From the German of Goethe, Translated by Samuel Taylor Coleridge. In a letter dated 4 September 1820, Goethe wrote to his son August that Coleridge was translating Faust. However, this attribution is controversial: Roger Paulin, William St. Clair, and Elinor Shaffer provide a lengthy rebuttal to Burwick and McKusick, offering evidence including Coleridge's repeated denials that he had ever translated Faustus and arguing that Goethe's letter to his son was based on misinformation from a third party.
Coleridge's fellow Romantic Percy Bysshe Shelley produced admired fragments of a translation first publishing Part One Scene II in The Liberal magazine in 1822, with "Scene I" (in the original, the "Prologue in Heaven") being published in the first edition of his Posthumous Poems by Mary Shelley in 1824.
In 1828, at the age of twenty, Gérard de Nerval published a French translation of Goethe's Faust.
In 1850, Anna Swanwick released an English translation of Part One. In 1878, she published a translation of Part Two. Her translation is considered among the best.
In 1870–71, Bayard Taylor published an English translation in the original metres. This translation, which he is best known for, is considered one of the finest and consistently remained in print for a century.
Calvin Thomas: Part One (1892) and Part Two (1897) for D. C. Heath.
Alice Raphael: Part One (1930) for Jonathan Cape.
Mori Ōgai: 1913 both parts into Japanese.
Guo Moruo: Part One (1928) and Part Two (1947) into Chinese.
Historic productions
Part One
May 24, 1819: Premiere of selected scenes. Castle Monbijou, Berlin
January 29, 1829: Premiere of the complete Part One. Braunschweig
In 1885, the Irish dramatist W. G. Wills loosely adapted the first part of Faust for a production starring Henry Irving as Mephistopheles and Ellen Terry as Margaret at the Lyceum Theatre, London.
In 1908, Stephen Phillips and J. Comyns Carr freely adapted the first part of Faust for a production at Her Majesty's Theatre. It starred Henry Ainley as Faust, Herbert Beerbohm Tree as Mephistopheles and Marie Lohr as Margaret.
1960: Deutsches Schauspielhaus, Hamburg: Directed by Peter Gorski, and produced by Gustaf Gründgens (who also played Mephistopheles), with Will Quadflieg (Faust), Ella Büchi (Gretchen), Elisabeth Flickenschildt (Marthe), Max Eckard (Valentin), Eduard Marks (Wagner), Uwe Friedrichsen (Student). The film of this performance was very successful.
1989: Fragments from Part One. Piccolo Teatro di Milano: Director Giorgio Strehler, scenographer Josef Svoboda
October 26, 2006: Teatro Comunale Modena, Italy: Directed by Eimuntas Nekrošius; complete playing length (with intervals): 4½ hours
Part Two
1990: Fragments from Part Two. Piccolo Teatro di Milano: Director Giorgio Strehler, scenographer Josef Svoboda
2003 of Ingmar Thilo; with Antonios Safralis (Faust), Raphaela Zick (Mephisto), Ulrike Dostal (Helena), Max Friedmann (Lynceus), and others
2005 Michael Thalheimer at the Deutsches Theater, Berlin, with a.o. Ingo Hülsmann, Sven Lehmann, Nina Hoss and Inge Keller
Entire piece
1938: World premiere of both parts, unabridged, at the Goetheanum in Dornach, Switzerland
July 22–23, 2000: The Expo 2000 Hanover performance: Directed by Peter Stein; both parts in their complete version, with Christian Nickel and Bruno Ganz (the young and the old Faust), Johann Adam Oest (Mephistopheles), Dorothée Hartinger, Corinna Kirchhoff and Elke Petri. Complete playing length (with intervals): 21 hours
Adaptations
Ludwig van Beethoven's song "Es war einmal ein König": Aus Goethes Faust, Op. 75, No. 3 (1809)
In 1814 Franz Schubert set a text from Faust Part I, scene 18 as "Gretchen am Spinnrade" (D 118; Op. 2). It was his first setting of a text by Goethe. Later Lieder by Schubert based on Faust: D 126, 367, 440 and 564.
Antoni Henryk Radziwiłł's opera Faust (1835) is based on the original version of Faust Part I. Composed between 1808 and 1832, it received its first complete performance in Berlin in 1835. Created in close contact with Goethe, Radziwiłł’s musical setting is considered to have influenced the author’s subsequent revisions of his drama.
Robert Schumann's secular oratorio Scenes from Goethe's Faust (1844–1853)
Hector Berlioz's "légende dramatique" La damnation de Faust (1846)
Franz Liszt's Faust Symphony (1857)
Charles Gounod's opera Faust (1859)
Arrigo Boito's opera Mefistofele (1868; 1875)
Gustav Mahler's Symphony No. 8 (Mahler) (1906) sets the text of the final scene of Faust Part II in its lengthy second movement.
F. W. Murnau's film Faust (1926) is based on older versions of the legend as well as Goethe's version.
Havergal Brian's opera Faust written in 1955–56.
Peter Gorski directed Gustaf Gründgens in the 1960 film, Faust. Havergal Brian's opera Faust written in 1955–56.
Stanley Donen directed Peter Cook and Dudley Moorein the 1967 film, Bedazzled.