The Romanticism period is marked by changes in societal beliefs as a rejection of the values and scientific thought pursued during the Age of Enlightenment. During this period, art, music, and literature are seen as high achievement, rather than the science and logic previously held in esteem. Nature is a profound subject in the art and literature and is viewed as a powerful force. Searching for the meaning of self becomes a noble quest to undertake. In the dramatic tragedy of “Faust” by Johann Wolfgang von Goethe, we find a masterpiece of Romanticism writing that includes the concepts that man is essentially good, the snare of pride, and dealing with the supernatural. The concept that man is essentially good is the central theme in “Faust”. …show more content…
The first appearance of Faust in the story finds him having doubts about himself and the worth of his time spent in education. Undeterred by this depression, we see his pride has not diminished as he declares he is “cleverer than these stuffed shirts, these Doctors, M.A.s, Scribes and Priests, I’m not bothered by a doubt or a scruple, I’m not afraid of Hell or the Devil” (Goethe 633). Turning to magic to fill the void in his life, Faust conjures a spirit, but shrinks back from it in fear. In the ensuing argument between them, Faust asserts that he is the spirits “equal” (Goethe 637). Mephisto’s second visit at Faust’s residence leads them to having a drawn out discussion over the proposal of Mephisto serving Faust in exchange for his soul. Common sense might ask why a person would willingly discuss a deal with the devil knowing that it probably won’t end well. This instance would have to be answered that the imperious pride of Faust made him “so rash that he would give no heed to the salvation of his soul He thought the devil could not be so black as he is painted nor hell so hot as is generally supposed” (Fischer 107). In spite of his vast education, Faust’s pride pulls him into wagering his soul with Mephisto and causing the deaths of others and his …show more content…
Beginning in Heaven with a meeting between God and the archangels, the tale of Faust and his journeys show an abundance of supernatural beings, places, and powers. Mephisto following Faust home disguised as a poodle and then morphing into his true form is a striking scene. Conjuration is shown by Faust summoning a spirit as well as Mephisto when he summons rodents to chew the window sill to break a devil’s trap so that he can escape Faust’s house. Wine that changed into hellfire is the primary event at Aurbach’s Cellar. After being warned to “don’t spill any” (Goethe 677), one of the drunkards named Siebel spills wine and sets himself on fire. Leaving the cellar, Faust and Mephisto visit a witch’s kitchen where Faust drinks a potion that makes him appear young again. Further on, Mephisto uses a spell on Gretchen’s brother to render him helpless as Faust delivers the fatal blow. Climbing a mountain on Walpurgis Night finds Faust and Mephisto at a witch’s gathering where they see not only the fabled Lilith but a proctophantasmist as well. The latter is especially notable as it is not a common profession even in the supernatural
"Romanticism -- Britannica Online Encyclopedia." Encyclopedia - Britannica Online Encyclopedia. Web. 3 Dec. 2010. .
In the literary `movements' of neo-classicism and romanticism, Voltaire's Candide and Goethe's The Sorrows of Young Werther represent the literary age in which they were written. In the following composition, textual evidence will be provided to demonstrate how each book accurately represents either the neo-classicism age or the romanticism age. Candide and The Sorrows of Young Werther will be examined separately, and then examined together. After, a discussion about how each age seems to view the nature of man and the significance of moral and spiritual values will be presented. Also, a personal interpretation of the conclusion of each book will be given. Lastly, quotes and examples will be given to show which of the two literary ages offers more to the reader.
The first victims of satire in Faust are Satan and God, who appear in somewhat small-scale form in an early scene that parallels the Book of Job. In Goethe's Heaven reigns "The Lord," to whom a trio of archangels ascribe creation. Enter Mephistopheles, and all semblance of seriousness is lost. Introduced as a demon, and arguably THE Devil, he is witty, cynical, and in general a caricature of what religionists throughout the ages have labeled pure evil. The Lord proceeds to give Mephistopheles permission to go to his "good servant" Faust,...
Romanticism was a movement to experience passion and desire to the fullest. Goethe portrays Faust doing this through an evil pact with the devil. Many evils come about because of his experiences, yet he is saved. This says that to be human, one is to experience their humanness to the fullest. In “Bedazzled,” Eliot Richards also makes a pact with the devil to experience his greatest desires, mainly love. On this basic level these two correlate very well.
At First the article Touches on the questioning of what Faust is. In summery, Faust is the protagonist of an old German story about a guy who is actually really successful, but at the same time is somewhat dissatisfied with his life life. He had a serious lust for earthly happiness, alo...
Goethe, Johann W. V. “Faust.” The Norton Anthology of World Literature: 1800-1900. Eds. Sarah Lawall and Maynard Mack. 2nd ed. Vol. E. New York: W. W. Norton, 2002. 774. Print.
transformation of the lives of others as well as his own. In this respect, the lesson of the Romantic hero is comprised less of romance than of utility. Following the trends of the Goethe’s contemporary evolving society, the means by which Faust succeeds in accomplishing his goals are largely selfish, brutal, and unethical. This is perhaps Goethe’s single greatest reflection on the modern nature of heroism.
Faust has a overall negative character, evident in his speech. Even from his very first appearance in the play, Faust shows a very negative perspective within the first part of his monologue. This monologue consists of Faust's many achievements in life and how he is still yearning for more. The contents of this monologue seem to show ambitious goals and a positive attitude to continually improve, but Faust's tone of voice indicates that he is dissatisfied and greedy for more knowledge. His godless nature is also hinted in this first monologue when he states that he studied, "...to [his] sorrow, theology" (Goethe, 365). He implies that theology is more of a waste of time than studying any other subject, rejecting God. In addition to disrespecting God, he implies that he is equal to God: "Am I a god? The light pervades me so!" (Goethe, 439). Faust's desire is to become more than human is in a way challenging God. Furthermore, Faust also shows signs of arrogance, as he...
Having attained all that he desires from the knowledge of man, Marlowe’s character Faustus turns to the only remaining school of thought that he feels he must master which is the art of necromancy. In his pursuits, he manages to summon the devil Mephistopheles, arch demon of hell, and strikes a deal to trade his immortal soul with Lucifer in exchange for being granted an infinite amount of power and knowledge that extends even beyond the limits of human understanding. However in the process of negotiating the terms of his pact, it becomes clear that Faust is in a constant state of uncertainty in terms of whether he should repent and forsake the arrangement or simply go through with it. This underlying theme of internal struggle is introduced very early and reappears in later acts with the appearance of established binaries that suggest a theme of division not only among the character of John Faustus, but within the written text as a whole. This suggests that Faustus is meant to serve as a symbol for the divided nature of man and the consequences of failing to negotiate the struggles that are a result of the divided self.
Mephistopheles was very much of a skeptic and a gambler. In the "Prologue in Heaven", Mephistopheles bet the Lord that he could turn Faust against him and make him do evil. This was ironic because most people would never dream of speaking to the Lord in this way. This showed that Mephistopheles was self- confident and witty. He was very set in his ways and beliefs and found it difficult to believe that God could keep total control over Faust, or any one else for that matter.
Faustus' hunger for immediate gratification suggests immense self-torment and self-denial. Weighing his options at each instant of time, he maximizes his pleasure and minimizes his pain, apparently discounting the implications of his decisions on his prospects and happiness in the future. Rebelling against God, he invites the devil's temptations, hoping to obtain an offer like Satan's to Jesus in the desert wilderness. One understands why Satan imputes an infinite value to Christ's soul. However, why does Faustus' soul warrant twenty-four years of service by Mephostophilis?
III. Faustus is portrayed as a very individual character. He changes and is shaped by the events that happen all around him. Everything he does affects his future outcome. For example his decision to give up his studies of medicine were very un-stereotypical of a character that is studying to be a doctor to do. Even more so is his decision to take upon the necromantics of the devil. He says, “Then read no more; thou hast attain'd that end: A greater subject fitteth Faustus' wit.” (1.11) He believes that he has learned enough information about all the great things of the world and there is nothing left to study that will intrigue him as much as magic will. His curious personality affects the play because his decisions determine the plot. For example the Seven Deadly Sins entice him so he becomes convinced not to repent his sin. This characterizes him as gullible, curious and adventurous. He becomes obsessed with his magic and he absolutely loves having the powers to do anything he pleases. An example of this is when he conjures up Helen. He knows he can do whatever he wants without reservation so he chooses to conjure the woman who launched a thousand ships. This shows that not only is he gullible, curious and obsessed but also Faustus only wishes for the best in whatever he does; the best that will please him.
Obviously, Faust has fallen into a inhumane state of living, through the pursuit of the unattainable. He becomes greedy, desperate and feels justified in whatever it takes to achieve a position of the over man. At that time, Christians and society in general considered his pursuit for lust immoral, unjust and irresponsible. When Faust sets his sights on an object, whether knowledge or women, he demands nothing less of himself than that which will get it. In many situations dedication to an act is reputable; education, sports, career. It seems then, that to become the übermensch and pursue excellence, one must stay dedicated to one's goal and dismiss the world around him.
He creates plans to acquire the magic and what to do with them. For example, Faustus’ naturally ambitious characteristic leads him to say, “I’ll have them fly to India for gold, ransack the ocean for orient pearls” (Marlow 1.1, 109-110). Faustus goes on and on about the limitless potential he sees that the power of the supernatural can give to the world so much he asks his servants to call on the local summoners of Germany to assist him in summoning a well-known demon for their time. The demon, Mephistophilis, does not want to become Faustus’ servant, so he strikes a daring deal that the demons can’t say no to. Fasutus tells Mephistophilis to go to Lucifer and “[say] he surrenders up to him his soul, so he will spare him four and twenty years … Having thee ever to attend on me”(1.3, 317 – 320). Faustus is known amongst his peers as a well-known scholar but as well as a magician. He knows many things about life that lesser-men of his time would love to have of at least one specialty in a topic. He throws away his potential for jobs in other fields for magic which would require his soul. Faustus is not wise enough to understand he has a realm of possibilities of professions to join outside of sorcery but still gravitates towards the territory of magic and mystery. Recent studies suggest a correlation with millennials, and depression. Although more girls suffer from it and are 2 times as likely than a boy to
Frank Manley. “The Nature of Faustus.” Modern Philosophy 66.3 (Feb, 1969): 218-231. The University of Chicago Press. Web. 15 Nov. 2013