Literature and Society in Goethe’s Faust

1. Literature and Society in Goethe’s Faust David Pan Humanities Core Course Winter 2012, Lecture 1

2. A: literature imitates society B: society imitates literature

3. STRUCTURE OF FAUST • WALPURGIS NIGHT • Walpurgis Night • Walpurgis-Night’s Dream PRELUDE IN THE THEATER PROLOGUE IN HEAVEN • FAUST STORY • Night • Before the Gate • Faust’s Study • Auerbach’s Cellar in Leipzig • Witch’s Kitchen • GRETCHEN STORY • A Street • Evening • Promenade • The Neighbor’s House • A Street • Martha’s Garden • A Summer Cabin • Forest and Cavern • Gretchen’s Room • Martha’s Garden • At the Well • By the Ramparts • Night • Cathedral • GRETCHEN • STORY • Gloomy Day • – Field • Night • – Open Field • Dungeon DEDICATION Act 5: Burial Act 3: Helen Story Act 1: Emperor Story Act 5: Mountain gorges Act 4: Counter-Emperor Story Act 2: Classical Walpurgis Night Act 5: Baucis and Philemon Story Faust II Faust I

4. DEDICATION Wavering forms, you come again; once long ago you passed before my clouded sight. Should I now attempt to hold you fast? Does my heart still look for phantoms? You surge at me! Well, then you may rule as you rise about me out of mist and cloud. The airy magic in your path stirs youthful tremors in my breast. You bear the images of happy days, and friendly shadows rise to mind. With them, as in an almost muted tale, come youthful love and friendship. The pain is felt anew, and the lament sounds life's labyrinthine wayward course and tells of friends who went before me and whom fate deprived of joyous hours. They cannot hear the songs which follow, the souls to whom I sang my first, scattered is the genial crowd, the early echo, ah, has died away. Now my voice sings for the unknown many whose very praise intimidates my heart. (p. 3) The living whom my song once charmed are now dispersed throughout the world. And I am seized by long forgotten yearnings for the solemn, silent world of spirits; as on an aeolian harp my whispered song lingers now in vagrant tones. I shudder, and a tear draws other tears; my austere heart grows soft and gentle. What I possess appears far in the distance, and what is past has turned into reality. (p. 5) Source: Goethe, Johann Wolfgang von. Faust, First Part, trans. Peter Salm. New York: Bantam, 2007. This and all subsequent references to this text refer to the line numbers in this edition followed by the page numbers.

5. Goethe spends 60 years writing Faust • 1749 Goethe born August 28 in Frankfurt on Main. • 1765-68 Studies law in Leipzig. • 1768-69 Brief conversion to Christianity. Studies alchemy. • 1772 Begins work on Faust. • 1772 Practices law in Wetzlar. • 1774 Meets Charlotte von Stein. • 1774 The Sorrows of Young Werther. • 1775 Accepts ducal appointment at the court of Weimar. • Works for two decades to reopen a silver mine. • Approves the execution of a single mother for infanticide. • 1786-88 Leaves Charlotte von Stein and travels to Italy. • 1788 Takes Christiane Vulpius as mistress. • 1790 Essay in the Elucidation and Metamorphosis of Plants. • 1795-96 Wilhelm Meister’s Apprenticeship. • 1806 Completes Faust I. • 1806 Marries Christiane Vulpius. • 1831 Completes Faust II. • 1832 Goethe dies March 22 in Weimar. “Johann Wolfgang von Goethe." Encyclopædia Britannica. 2010. Encyclopædia Britannica Online. 22 Dec. 2010. Goethe, Johann Wolfgang von. Photograph. Encyclopædia Britannica Online. Web. 22 Dec. 2010.

6. STRUCTURE OF FAUST • WALPURGIS NIGHT • Walpurgis Night • Walpurgis-Night’s Dream PRELUDE IN THE THEATER PROLOGUE IN HEAVEN • FAUST STORY • Night • Before the Gate • Faust’s Study • Auerbach’s Cellar in Leipzig • Witch’s Kitchen • GRETCHEN STORY • A Street • Evening • Promenade • The Neighbor’s House • A Street • Martha’s Garden • A Summer Cabin • Forest and Cavern • Gretchen’s Room • Martha’s Garden • At the Well • By the Ramparts • Night • Cathedral • GRETCHEN • STORY • Gloomy Day • – Field • Night • – Open Field • Dungeon DEDICATION Act 5: Burial Act 3: Helen Story Act 1: Emperor Story Act 5: Mountain gorges Act 4: Counter-Emperor Story Act 2: Classical Walpurgis Night Act 5: Baucis and Philemon Story Faust II Faust I

7. MANAGER. You two who often stood by me in times of hardship and of gloom, what do you think our enterprise should bring to German lands and people? I want the crowd to be well satisfied, For, as you know, it lives and lets us live. The boards are nailed, the stage is set, And all the world looks for a lavish feast. (33-40, p. 7)

8. Title page of the Historia von D. Johann Fausten (1587) Story of Dr. Johann Faust, the notorious magician and necromancer, how he sold himself to the devil for a period of time, the strange adventures he saw and undertook, until he at last received his just reward. Multiple chapters from his own writings collected and printed as a terrifying example and heartfelt warning to all self- conceited, cunning, and godless people. Source: Wikimedia Commons. Wikimedia, 29 September 2008. Web. 20 December 2010, my translation.

9. From the preface to Necromancer: or Harlequin Dr. Faustus (1723) He was born in Germany, about the Beginning of the 14th Century, a Period of Dullness and Barbarism. Monkery and Imposition prevail’d much stronger than, perhaps, then ever will again: And Knowledge was in so few Hands, that an uncommon Share of Learning, or uncommon Qualifications, were sufficient to make a Man thought aConjurer. (Rich v-vi) 1723 preface criticizes the “Dullness and Barbarism” of those who viewed a man of learning as a “Conjurer.” Progress from Catholic repression to knowledge and learning. Source: [Rich, John.] The vocal parts of an entertainment, called the Necromancer or Harlequin Doctor Faustus. As perform'd at the Theatre Royal in Lincoln's-Inn-Fields. To which is prefix'd, a short account of Doctor Faustus; and how he came to be reputed a magician. London: printed and sold at the Book-Seller's Shop, at the Corner of Searle-Street, Lincoln's-Inn-Fields and by A. Dodd at the Peacock, without Temple-Bar, [1723]. Eighteenth Century Collections Online. Gale Cengage Learning, 1 June 2004. Web. 20 December 2010.

10. POET. Oh, speak no more of motley crowds to me, Their presence makes my spirit flee. Veil from my sight those waves and surges That suck us down into their raging pools. Take me rather to a quiet little cell where pure delight blooms only for the poet, Where our inmost joy is blessed and fostered By love and friendship and the hand of God. Alas! What sprang from our deepest feelings, What our lips tried timidly to form, Failing now and now perhaps succeeding, Is devoured by a single brutish moment. Often it must filter through the years Before its final form appears perfected. What gleams like tinsel is but for the moment. What’s true remains intact for future days. (51-74, pp. 7-9)

11. MANAGER. Above all, let there be sufficient action! They come to gaze and wish to see a spectacle. If many things reel off before their eyes, So that the mob can gape and be astounded, Then you will sway the great majority And be a very popular man. The mass can only be subdued by massiveness, So each can pick a morsel for himself. A large amount contains enough for everyone, And each will leave contented with his share. Give us the piece you write in pieces! Try your fortune with a potpourri That’s quickly made and easily dished out. What good is it to sweat and to create a whole? The audience will yet pick the thing to pieces. (89-103, p. 11)

12. COMEDIAN. We must present a drama of this type! Reach for the fullness of a human life! We live it all, but few live knowingly; If you but touch it [wo ihr’s packt], it will fascinate. A complex picture without clarity, Much error with a little spark of truth – that’s the recipe to brew the potion whence all the world is quenched and edified. The fairest bloom of youth will congregate to see the play and wait for revelation; then every tender soul will eagerly absorb some food for melancholy from your work. First one and then another thing is stirred, so each can find what’s in his heart. They weep and laugh quite easily; They honor fancy and they like their make-believe. The finished man you know is difficult to please; A growing man will ever show you gratitude. (167-83, pp. 15-17) Life Error Quenching Spectacle Variety Knowledge Truth Edifying Revelation Depth

14. RAPHAEL. The sun intones his ancient song in contest with fraternal spheres, and with a roll of thunder rounds out his predetermined journey. His aspect strengthens angels, but none can fathom him. The inconceivable creations are glorious as from the first. (243-50, p. 21)

15. MEPHISTOPHELES. Forgive me, butI can’t indulge in lofty words, Although this crowd will hold me in contempt; My pathos certainly would make you laugh, Had you not dispensed with laughter long ago. I waste no words on suns and planets, I only see how men torment themselves. Earth’s little god remains the same And is as quaint as from the first. He would have an easier time of it Had you not let him glimpse celestial light; He calls it reason and he only uses it To be more bestial than the beasts. (275-86, p. 23)

16. GOD: I am glad to let you have apparent freedom; I hold no hatred for the like of you. Of all the spirits that negate, The rogue to me is the least burdensome. Man’s diligence is easily exhausted, He grows too fond of unremitting peace. I’m therefore pleased to give him a companion Who must goad and prod and be a devil.— But you, my own true sons of Heaven, Rejoice in Beauty’s vibrant wealth. That which becomes will live and work forever; Let it enfold you with propitious bonds of Love. And what appears as flickering image now, Fix it firmly with enduring thought.(336-49, p. 29) Devil goads Man becomes Angels fix with thought • The primary source of human failure is stasis. • The devil is useful in promoting continual activity. • The goal is to turn this activity into something lasting.

17. Words of Mephistopheles in the Faustbuch (1587) Therefore is Hell called the Everlasting Pain, in which is never Hope for Mercy; so it is called utter Darkness, in which we see neither the Light, the Sun, Moon, nor Stars; and were our Darkness like the Darkness of Night, yet were there Hopes of Mercy: But ours is perpetual Darkness, clean exempt from the Face of God. Darkness without Hope Source: The surprizing life and death of Doctor John Faustus. To which is now added, the Necromancer: or, Harlequin, Doctor Faustus. As Performed at the Theater Royal in Lincoln's-Inn-Fields. Likewise, the whole life of Fryar Bacon, the Famous Magician of England: And the merry Waggeries of his Man Miles. Truly translated from the original copies. London: printed and sold by Edw. Midwinter, at the Looking-Glass on London-Bridge, 1740?. 22. Eighteenth Century Collections Online. Gale Cengage Learning, 1 June 2004. Web. 21 December 2010.

18. Final lines of The Necromancer, or Harlequin, Dr. Faustus (1740) Doctor waves his Wand, and the Scene is converted to a Wood; a monstrous Dragon appears, and from each Claw drops a daemon, representing divers Grotesque Figures; several Female Spirits rise in Character to each Figure, and join in Antick Dance. As they are performing, a Clock Strikes, the Doctor is seized, hurried away by Spirits, and devour’d by the Monster, which immediately takes Flight; and while it is disappearing, Spirits vanish, and other Daemons rejoyce in the following Words: Now triumph Hell, and Fiends be gay, The Sorc’rer is become our Prey. [At the End of the Chorus the Curtain falls. FINIS The scene is conceived as theatrical farce, making fun of the whole notion of demons and witches. Demons have the final word in the play. Source: The surprizing life and death of Doctor John Faustus. To which is now added, the Necromancer: or, Harlequin, Doctor Faustus. As Performed at the Theater Royal in Lincoln's-Inn-Fields. Likewise, the whole life of Fryar Bacon, the Famous Magician of England: And the merry Waggeries of his Man Miles. Truly translated from the original copies. London: printed and sold by Edw. Midwinter, at the Looking-Glass on London-Bridge, 1740?. 87-88. Eighteenth Century Collections Online. Gale Cengage Learning, 1 June 2004. Web. 21 December 2010.

19. FAUST: All right, who are you then? MEPHISTOPHELES: A portion of that power which always works for Evil and effects the Good. FAUST: What is the meaning of this riddle? MEPHISTOPHELES: I am the spirit that denies forever! And rightly so! What has arisen from the void deserves to be annihilated. It would be best if nothing ever would arise. And thus what you call havoc, deadly sin, or briefly stated: Evil, that is my proper element. FAUST: You call yourself a part and yet stand before me whole? MEPHISTOPHELES: I state the modest truth to you. While every member of your race – that little world of fools – Likes best of all to think himself complete – I am a portion of that part which once was everything, a part of darkness which gave birth to Light, that haughty Light which now disputes the rank and ancient sway of Mother Night, and though it tries its best, it won’t succeed because it cleaves and sticks to bodies. The bodies mill about, Light beautifies the bodies, yet bodies have forever blocked its way— and so I hope it won’t be long before all bodies are annihilated. (1335-50, p. 103-105)

20. Literature and Society • How does Goethe provide a new way to understand the devil? • How does this understanding of the devil reflect society? • How does this understanding of the devil affect society?

21. A: literature imitates society B: society imitates literature