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<p align="center"> <a href="http://jeanatacc.com/2011/wp-content/uploads/2013/11/Faust.jpg"><img class="alignnone size-medium wp-image-3554" alt="Faust" src="http://jeanatacc.com/2011/wp-content/uploads/2013/11/Faust-226x300.jpg" width="226" height="300" /></a></p>
<p align="center">Goethe's <i>Faust</i></p>
<p align="center"><a href="http://upload.wikimedia.org/wikipedia/commons/e/e6/Faust_und_Mephisto%2C_Stich_von_Tony_Johannot.jpg"><i>http://upload.wikimedia.org/wikipedia/commons/e/e6/Faust_und_Mephisto%2C_Stich_von_Tony_Johannot.jpg</i></a></p>
<p align="center"><i> </i><i> </i></p>
Name: <i>Faust</i>

Author: Johann Wolfgang von Goethe

Date: Published 1808(Part 1)

Finished  1832

“The story of Faust is based on a sixteenth-century German Legend: a traveling physician and a practitioner of black magic, Johann or Georg Faust, was reputed to have sold his soul to the Devil in exchange for infinite knowledge” (Fiero). Goethe's <i>Faust </i>is a classic tale of a mans faith being tested in the face of great temptation, not unlike the tale of Job from the Bible. At least that is how is appears on the surface. Others would glean that <i>Faust</i> is about a man who outsmarts the devil in his dealings, and is still granted redemption. Goethe's <i>Faust</i> should be preserved not only for its caliber as a play, but for its timeless message of salvation in the face of temptation, and for its recognition of innate human good.

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Europe (and much of the Western World) at the time was beginning to appreciate the human condition, romanticizing both traditional and non traditional heroes. In addition to this, Nationalism began to really take hold, paving the way for larger than life heroes.

“Working to fulfill their own personal vision, Romantic poets, painters, and composers freed themselves from independence on the patronage of the Church and state. At the same time, they defended the ideals of liberty and brotherhood associated with emerging nationalism. They opposed entrenched systems of slavery and institutional limitations to personal freedom. The nineteenth century did not produce more heroes than other centuries, but it celebrated the heroic personality as representative of the Romantic sensibility” (Fiero)

This piece is typical of its time in reference to its religious connotations. Around the same time, in other places in the world, people are dealing with the religious implications of magic and witchcraft. Across the Atlantic, and even closer to home in Europe, thousands are being put to death for practicing witchcraft. That aside, Faust is unique in that it presents a Hero going against the norm in order to accomplish something good and wholesome, albeit, rather accidentally.

<i>Faust </i>retells a fairly standard religious parable in a way that skews the traditional religious connotations. Not only does the main character make a deal with the devil, but he personally gains throughout most of the piece. It is only towards the end where he last minute selfless acts, followed by an untimely demise enable him to enter heaven without first losing his bargained soul to a demon. This lines up quite well with the climate of religious separation that most of Europe is facing at the time.

Goethe's <i>Faust </i>is unusual both in its construction and in its machinations. <i>Faust</i> is really laid out more like an epic poem, and less like a play. Stranger still is the fact that its speed and timing seem better suited to the big screen than it is to the stage. “As a play, it deliberately ignores the Classical unities of time and place – indeed, its shifting 'cinematic' qualities make it more adaptable to modern film than to traditional stage. Despite a cosmic breadth, which compares with Milton's <i>Paradise Lost </i>or <i>Dante's Divind Comedy</i>, Goethe's <i>Faust </i>focuses more narrowly on the human condition.” (Fiero)

Faust was very well received in its time, and in fact the genre itself was very much celebrated in Germany. Goethe's <i>Faust</i> was merely his rendition of a German folklore, and as such was well received. Today's reaction to Goethe's <i>Faust</i> is very positive. It has wiggled its way into modern day pop culture, having many media offshoots that can attribute their inspiration to the original by Goethe. It has even become common enough in english to refer to any deal with the devil as a “Faustian” contract or deal.

Personally, I absolutely love this piece. It deals with darker concepts than we have seen thus far, but still manages to make a hero out of Faust. It parallels the book of Job from the bible particularly well. Really, what was most impressive for me, was being able to follow this man down his dark, treacherous path, and walk out the other side still convinced that good shall conquer over evil... however accidentally it may seem.

Being based off of a well known local fable, there were already many renditions this story in circulation well before Goethe took an attempt, in fact one of which may have influenced Goethe. It goes without saying then, that at this moment in time in Germany, there were many stories dealing with this exact concept of dealing with demons.

When compared to the likes of Mary Shelley's <i>Frankenstein</i> we can see that both main characters can be classified as “figures of heroic evil” (Fiero). I draw this    comparison because it can be argued that Faust is no hero, as he merely got away with      his dealings with the devil, the fact of which that he was dealing with the devil in the first place in most circles would classify him as immediately evil. There is where the similarities cease. While <i>Frankenstein </i>seems to parallel the story of Satan's downfall, <i>Faust</i> seems to more closely resemble the ensuing war between heaven and hell, over         the souls of all mankind.

<i>Faust </i>should be preserved for future generations not just for its literary achievements, or even for its religious imagery or connotations, but for celebrating the human condition. What I mean by this is that <i>Faust</i> is unique in that it represents man exactly as man is, misguided and ignorant, but well meaning. Ultimately, good intentions trump bad decisions. Of course, not everyone gets a “get out of jail free card” when dealing with demons, but that is why <i>Faust </i>is considered the quintessential Romantic hero. I believe it is important for us, and for generations to come to        remember that, while only human, given the right opportunities we can accomplish  great things.

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Citations

<i>“Faust” Encyclopedia Britannica Online. </i>Encyclopedia

Encyclopedia Britannica Inc. 2013

Web. 24 October 2013

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“Paul Brians” Department of English, Washington State University

Pullman, 99164-5020 June 14, 1995

Last revised September 28, 2000

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“Goethe's Baccalaureus and the concept of romantic irony in Faust” Essay, Journal

Shookman, Ellis European Romantic Review, Routledge Sep 2009

Vol. 20 Issue 4, p491-511