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Goethes Faust #1 of 2
Faust, First Part
Goethe’s masterpiece and perhaps the greatest work in German literature, Faust has made the legendary German alchemist one of the central myths of the Western world. Here indeed is a monumental Faust, an audacious man boldly wagering with the devil, Mephistopheles, that no magic, sensuality, experience, or knowledge can lead him to a moment he would wish to last forever. Here, in Faust, Part I, the tremendous versatility of Goethe’s genius creates some of the most beautiful passages in literature. Here too we experience Goethe’s characteristic humor, the excitement and eroticism of the witches’ Walpurgis Night, and the moving emotion of Gretchen’s tragic fate.
This authoritative edition, which offers Peter Salm’s wonderfully readable translation as well as the original German on facing pages, brings us Faust in a vital, rhythmic American idiom that carefully preserves the grandeur, integrity, and poetic immediacy of Goethe’s words.
This authoritative edition, which offers Peter Salm’s wonderfully readable translation as well as the original German on facing pages, brings us Faust in a vital, rhythmic American idiom that carefully preserves the grandeur, integrity, and poetic immediacy of Goethe’s words.
327 pages, Paperback
First published January 1, 1808
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About the author
Johann Wolfgang von Goethe
13.3k books6,788 followersA master of poetry, drama, and the novel, German writer and scientist Johann Wolfgang von Goethe spent 50 years on his two-part dramatic poem
Faust
, published in 1808 and 1832, also conducted scientific research in various fields, notably botany, and held several governmental positions.
George Eliot called him "Germany's greatest man of letters... and the last true polymath to walk the earth." Works span the fields of literature, theology, and humanism.
People laud this magnum opus as one of the peaks of world literature. Other well-known literary works include his numerous poems, the Bildungsroman Wilhelm Meister's Apprenticeship and the epistolary novel The Sorrows of Young Werther .
With this key figure of German literature, the movement of Weimar classicism in the late 18th and early 19th centuries coincided with Enlightenment, sentimentality (Empfindsamkeit), Sturm und Drang, and Romanticism. The author of the scientific text Theory of Colours , he influenced Darwin with his focus on plant morphology. He also long served as the privy councilor ("Geheimrat") of the duchy of Weimar.
Goethe took great interest in the literatures of England, France, Italy, classical Greece, Persia, and Arabia and originated the concept of Weltliteratur ("world literature"). Despite his major, virtually immeasurable influence on German philosophy especially on the generation of Georg Wilhelm Friedrich Hegel and Friedrich Wilhelm Joseph von Schelling, he expressly and decidedly refrained from practicing philosophy in the rarefied sense.
Influence spread across Europe, and for the next century, his works inspired much music, drama, poetry and philosophy. Many persons consider Goethe the most important writer in the German language and one of the most important thinkers in western culture as well. Early in his career, however, he wondered about painting, perhaps his true vocation; late in his life, he expressed the expectation that people ultimately would remember his work in optics.
George Eliot called him "Germany's greatest man of letters... and the last true polymath to walk the earth." Works span the fields of literature, theology, and humanism.
People laud this magnum opus as one of the peaks of world literature. Other well-known literary works include his numerous poems, the Bildungsroman Wilhelm Meister's Apprenticeship and the epistolary novel The Sorrows of Young Werther .
With this key figure of German literature, the movement of Weimar classicism in the late 18th and early 19th centuries coincided with Enlightenment, sentimentality (Empfindsamkeit), Sturm und Drang, and Romanticism. The author of the scientific text Theory of Colours , he influenced Darwin with his focus on plant morphology. He also long served as the privy councilor ("Geheimrat") of the duchy of Weimar.
Goethe took great interest in the literatures of England, France, Italy, classical Greece, Persia, and Arabia and originated the concept of Weltliteratur ("world literature"). Despite his major, virtually immeasurable influence on German philosophy especially on the generation of Georg Wilhelm Friedrich Hegel and Friedrich Wilhelm Joseph von Schelling, he expressly and decidedly refrained from practicing philosophy in the rarefied sense.
Influence spread across Europe, and for the next century, his works inspired much music, drama, poetry and philosophy. Many persons consider Goethe the most important writer in the German language and one of the most important thinkers in western culture as well. Early in his career, however, he wondered about painting, perhaps his true vocation; late in his life, he expressed the expectation that people ultimately would remember his work in optics.
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Displaying 1 - 30 of 2,547 reviews
April 17, 2020
I reread Faust yesterday, and it left me wondering ... pondering ... again ... as so often!
Why don't we talk more about Gretchen? And I mean Gretchen as a subject, not as a toy to be used by Faust and Mephistopheles in their joint midlife crisis distractive game?
Why don't we talk more about the amazing achievements of the modern world, in which a brother like Valentin wouldn't get to call his sister a whore for having a lover? Why don't we talk more about the bliss of choice? Gretchen today could have her dark affair with a middle-aged charismatic narcissist and then raise a child on her own. She doesn't have to die (or marry to become Dorothy to Casauban or Effi to Innstetten either!). Let us celebrate the end of Gretchen's life as a social evil and the beginning of Gretchen as a sexual being without guilt, shame and doom? The world will never be free from Faustian egomaniacs, but they may face women who speak up and expect more than Gretchen ever could for herself. Gretchen lived too early, too much.
Just some thoughts on reading Faust yet again!
This is not a review. More a continued discussion with myself on a play that keeps challenging me since high school.
I cannot attempt to write a review of Goethe's Faust. It is a much too personal experience, growing with each time I reread it. Since high school, I have been thinking at least five times:
"This is the perfect Goethe moment, his work is written for ME, NOW, it can't get any better, deeper, or any more satisfying."
Well, apparently it can. After maybe three or four years, I picked up Faust again, and found that I had finally grown up enough to identify with his most famous quote, the one I had reverently learned by heart as a student.
Banging my head against the wall today while marking papers, trying to figure out how to explain the developments in the world to my own children and the adolescents I am in charge of, I looked up and literally felt Mephisto's presence in the room. Unable to get rid of the feeling, I looked at my shelf with my all time favourites, picked up my Faust, with its almost broken spine, and opened it to read ...
... my own life ...
...the struggle to find answers, the longing for knowledge and understanding, the futile hope that my teaching will make a difference, and the creepy, scary thought that it might all be meaningless, because the majority of our planet is sold, body and soul, to devilish shallowness and indifference.
... It almost sets my heart burning ...
"Now here I am, a fool for sure!
No wiser than I was before:
Master, Doctor’s what they call me,
And I’ve been ten years, already,
Crosswise, arcing, to and fro,
Leading my students by the nose,
And see that we can know - nothing!
It almost sets my heart burning."
"Da steh ich nun, ich armer Tor!
Und bin so klug als wie zuvor;
Heiße Magister, heiße Doktor gar
Und ziehe schon an die zehen Jahr
Herauf, herab und quer und krumm
Meine Schüler an der Nase herum –
Und sehe, daß wir nichts wissen können!
Das will mir schier das Herz verbrennen."
As hopeless as the message and the rest of the Faust plot is, it gave me solace to share this moment, yet again, with the master of masters, Goethe.
Now here I am, a fool for sure!
Why don't we talk more about Gretchen? And I mean Gretchen as a subject, not as a toy to be used by Faust and Mephistopheles in their joint midlife crisis distractive game?
Why don't we talk more about the amazing achievements of the modern world, in which a brother like Valentin wouldn't get to call his sister a whore for having a lover? Why don't we talk more about the bliss of choice? Gretchen today could have her dark affair with a middle-aged charismatic narcissist and then raise a child on her own. She doesn't have to die (or marry to become Dorothy to Casauban or Effi to Innstetten either!). Let us celebrate the end of Gretchen's life as a social evil and the beginning of Gretchen as a sexual being without guilt, shame and doom? The world will never be free from Faustian egomaniacs, but they may face women who speak up and expect more than Gretchen ever could for herself. Gretchen lived too early, too much.
Just some thoughts on reading Faust yet again!
This is not a review. More a continued discussion with myself on a play that keeps challenging me since high school.
I cannot attempt to write a review of Goethe's Faust. It is a much too personal experience, growing with each time I reread it. Since high school, I have been thinking at least five times:
"This is the perfect Goethe moment, his work is written for ME, NOW, it can't get any better, deeper, or any more satisfying."
Well, apparently it can. After maybe three or four years, I picked up Faust again, and found that I had finally grown up enough to identify with his most famous quote, the one I had reverently learned by heart as a student.
Banging my head against the wall today while marking papers, trying to figure out how to explain the developments in the world to my own children and the adolescents I am in charge of, I looked up and literally felt Mephisto's presence in the room. Unable to get rid of the feeling, I looked at my shelf with my all time favourites, picked up my Faust, with its almost broken spine, and opened it to read ...
... my own life ...
...the struggle to find answers, the longing for knowledge and understanding, the futile hope that my teaching will make a difference, and the creepy, scary thought that it might all be meaningless, because the majority of our planet is sold, body and soul, to devilish shallowness and indifference.
... It almost sets my heart burning ...
"Now here I am, a fool for sure!
No wiser than I was before:
Master, Doctor’s what they call me,
And I’ve been ten years, already,
Crosswise, arcing, to and fro,
Leading my students by the nose,
And see that we can know - nothing!
It almost sets my heart burning."
"Da steh ich nun, ich armer Tor!
Und bin so klug als wie zuvor;
Heiße Magister, heiße Doktor gar
Und ziehe schon an die zehen Jahr
Herauf, herab und quer und krumm
Meine Schüler an der Nase herum –
Und sehe, daß wir nichts wissen können!
Das will mir schier das Herz verbrennen."
As hopeless as the message and the rest of the Faust plot is, it gave me solace to share this moment, yet again, with the master of masters, Goethe.
Now here I am, a fool for sure!
February 23, 2016
A summary:
Faust: I WANT TO EXPERIENCE EVERY HUMAN EMOTION,I WANT TO GAIN THE KNOWLEDGE OF ALL FOUR ELEMENTS,I WANT TO FEEL THE PLEASURES OF THIS WORLD!
Mephistopheles: Yeah,sure thing bro,but before you do that I want to take you to this weird pub,hook you up with a minor whom you'll knock up & make you attend a completely pointless annual witch ball.Sounds good?
Faust: You had me at "hook up with a minor",bro.
Faust: I WANT TO EXPERIENCE EVERY HUMAN EMOTION,I WANT TO GAIN THE KNOWLEDGE OF ALL FOUR ELEMENTS,I WANT TO FEEL THE PLEASURES OF THIS WORLD!
Mephistopheles: Yeah,sure thing bro,but before you do that I want to take you to this weird pub,hook you up with a minor whom you'll knock up & make you attend a completely pointless annual witch ball.Sounds good?
Faust: You had me at "hook up with a minor",bro.
January 6, 2012
First impression: Goethe could write his tuckus off. Rarely have I encountered prose that commingles in such bounty the trifecta of being, at once, gorgeous to the eye, imbued with passion and saturated with depth and meaning. Faust has all three and I was pulled into the seductive narrative from the momentous opening (wonderfully titled “Prologue from Heaven”) through the final dramatic climax.
I must briefly pause here to add a qualifier to my comments which relate to the version I experienced and not to my enjoyment of it.
***
Audible.com, usually a professional, high quality purveyor pulled a bit of a bamboozle on me in this case. I acquired the “unabridged” reading (by full cast) which came in at 4 hours in length. Now, that is just about right for Part 1 of Faust and so I thought I was in for a treat as I listened along with my own copy of the novel. Turns out, much to my chagrin, that the 4 hours was an “adaptation” of both Parts 1 and 2. Thus, as wonderful as the experience was, I did not get a chance to absorb all of the detail and nuances of the story.
I plan to read the complete Faust (Parts 1 and 2) in the future and will share my thoughts on the work as a whole at that time.
***
End sad story pause
So God, like a lonely parent maybe in need of a hug, allows Satan to throw a temptation Faust’s way to prove that the man is still “of the flock” in a scaled down, boil-free, version of the Book of Job. As my introductory quote illustrates, Faust is a brilliant scholar who has completed a study of all the world’s knowledge (and I thought I read a lot) and yet feels no wiser for the accomplishment. Feeling that there is more to existence than rote knowledge of the past (which echoes Goethe’s own belief in the primacy of emotion over reason) Faust longs for deeper meaning and understanding that is hidden from him. He becomes depressed and contemplating suicide (Goethe’s non-subtle hint that Faust’s faith is more than a tad shaky allow the Devil "access" to him).
Faust is visited by Mephistopheles and offered a life of hedonistic excess and earthly pleasures as a means of gaining greater understanding of the universe.
Faust, who apparently had never watched any episodes of The Twilight Zone, foolishly agrees and bargains away his soul. Faust will die and the Devil will win if Faust can ever be made to be “content” with a moment in his life.
If ever I lie down in sloth and base inaction, / Then let that moment be my end! / If by your false cajolery / You lull me into self-sufficiency, / If any pleasure you can give / Deludes me, let me cease to live! / I offer you this wager!"From here the two take flight (literary) on a world-wind tour of debauchery and more debauchery. “Let's plunge ourselves into the roar of time, the whirl of accident; may pain and pleasure, success and failure, shift as they will -- it's only action that can make a man.”
Soon after this, we are introduced to Gretchen, the other main player in this tragedy, whose relationship with Faust will explore key issues of faith and redemption. It was this relationship that I thought received the shortest shrift in the adaptation that I listened to so I will leave further thoughts on this until I have experienced the complete work.
The language is gorgeous and drips emotion on almost every line. Some might think this falls too far into the realm of melodrama, but I loved it and found it vigorous and passionate. The end is wonderful with the necessary questions answered but certain larger queries left for us to contemplate.
A wonderful experience (abridged though it may have been) and one that I strongly encourage everyone to read.
4.0 stars. HIGHLY RECOMMENDED!!
P.S. I didn’t have a place to slide this into my review, but I wanted to share one last quote from the story, this one from the devil. He and Faust have begun their tour of vice and come across a coven of witches who don’t recognize the Prince of Lies.
"Do you know me now? Skinny, cadaverous bitch, / do you know your lord and master? Why don't I / Smash you to pieces, tell me why, / You and your ape-familiars? Must I teach / You some respect for my red doublet? What / Is this cock's feather, eh? My face / have I been hiding it? You learn your place, / Old hag! Am I to name myself or not?"Good, good stuff.
October 11, 2020
علم، معرفت،شهرت،ثروت
بخاطر چه چیزهای کمارزشی با شیطان معامله میکنید.
من اگر روزی با مفیستوفلس روبرو بشم، ازش میخوام آخرین روزی که باهم بودیم رو تا ابد زندگی کنم.
بخاطر چه چیزهای کمارزشی با شیطان معامله میکنید.
من اگر روزی با مفیستوفلس روبرو بشم، ازش میخوام آخرین روزی که باهم بودیم رو تا ابد زندگی کنم.
August 8, 2017
I read Johann Goethe's Faust in English and partially in German during a college course many years ago. It had a huge impact on me as a person and me as a writer. Due to it being somewhat "out there," I held back a full 5 rating; however, I cannot stress how much this book makes you think. Beware, it's a little heavy on the literary side, but it's still worth a read, even if you just read the first portion. That said, 4 out of 5 stars...
Detailed Review(about 1/3 of a paper I wrote about it a few years ago)
When I first picked up Goethe’s famous masterpiece Faust, I was hesitant about reading it. I read Goethe’s work while lying on my bed a few hours before I went to sleep. My room was quiet because everyone else was already asleep. I was able to read and consciously take in the contents of the work. I generally don’t like to be told what literature to read; however, after reading through the Prologue in Heaven, I was intrigued by the plot of Faust. As I began reading the first part, I was a bit disturbed by the fact that it was not in prose, but that it was in poetical verse. I have never been a great fan of poetry as a genre of literature. Thus I had mixed feelings when it came to reading Goethe’s famous literary work Faust from the beginning.
I wanted to learn something from the story, as I do from all literature. Authors don’t just write for ‘no’ reason; they wish to accomplish something. I then strove to understand the reasons for the literary work’s existence. When I skimmed Faust for the first time, I tried to read it for pleasure, but it was a little too hard. I needed to stop and understand what as going on in each scene. However, I soon realized that I was able to place myself inside the text in several different ways. It was at this point that Faust actually appealed to me; I saw myself in the novel as the character of Faust, fighting against the devilish Mephistopheles. I have always struggled with wanting everything from material things to the admiration of others. As a man of flesh and blood, I naturally want great intelligence, power and love. I have always wanted to be number one - a perfectionist - just like Faust.
So, while I was reading Faust, I was truly reading a biography of my own life, albeit on a much larger scale. I too have lost some faith in my religion, and I wonder if I will be saved; however, unlike Faust, at the time I read it, I had yet to want someone as much as he wanted Margaret (Gretchen). Maybe if I were under the devil’s spells like Faust was, I would have fallen just as hard for the woman. I do have the addictive personality that would lead me in the same direction as Faust. With all of this in mind, I read through the novel as though I were Faust. I took on his persona, argued with Mephistopheles, and wished that I had never been born in the end of the work. It is not easy to live a life completely free from the clutches of evil. When you are hopeless and in despair, you need help. Often, humans are not strong enough to recognize from whom they are getting help. Faust enabled me to foresee what would happen to me if I were subject to the devil’s influence.
Faust is a man worthy of my admiration. All throughout the book, both Faust and the actions he sought fascinated me. Like I said before, I felt as though I was reading or watching a movie of my own life. It was as though a dream had come true where I was able to align myself with the devil. The fears that I have in reality weren’t present enough in my dreams to stop myself from associating with some Mephistophelean devil. I was able to see what would happen if I took on the persona of evil incarnate turned into man. Faust enabled me to have an out of body experience where I could see what would happen to me if I became what I have always been curious about becoming: A devil-influenced man.
Throughout the work of Faust by Goethe, I was able to live experiences vicariously. Faust enabled me to try things that I only dreamed about trying. I really felt as though I were reading a novel about myself. I think that this is why the Faustian theme has persisted throughout time; men (and women) everywhere have struggled within themselves fighting between good and evil to achieve their goals and desires. I am no different.
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on Goodreads, and then I send it on over to my WordPress blog at https://thisismytruthnow.com, where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by. Note: All written content is my original creation and copyrighted to me, but the graphics and images were linked from other sites and belong to them. Many thanks to their original creators.
Detailed Review(about 1/3 of a paper I wrote about it a few years ago)
When I first picked up Goethe’s famous masterpiece Faust, I was hesitant about reading it. I read Goethe’s work while lying on my bed a few hours before I went to sleep. My room was quiet because everyone else was already asleep. I was able to read and consciously take in the contents of the work. I generally don’t like to be told what literature to read; however, after reading through the Prologue in Heaven, I was intrigued by the plot of Faust. As I began reading the first part, I was a bit disturbed by the fact that it was not in prose, but that it was in poetical verse. I have never been a great fan of poetry as a genre of literature. Thus I had mixed feelings when it came to reading Goethe’s famous literary work Faust from the beginning.
I wanted to learn something from the story, as I do from all literature. Authors don’t just write for ‘no’ reason; they wish to accomplish something. I then strove to understand the reasons for the literary work’s existence. When I skimmed Faust for the first time, I tried to read it for pleasure, but it was a little too hard. I needed to stop and understand what as going on in each scene. However, I soon realized that I was able to place myself inside the text in several different ways. It was at this point that Faust actually appealed to me; I saw myself in the novel as the character of Faust, fighting against the devilish Mephistopheles. I have always struggled with wanting everything from material things to the admiration of others. As a man of flesh and blood, I naturally want great intelligence, power and love. I have always wanted to be number one - a perfectionist - just like Faust.
So, while I was reading Faust, I was truly reading a biography of my own life, albeit on a much larger scale. I too have lost some faith in my religion, and I wonder if I will be saved; however, unlike Faust, at the time I read it, I had yet to want someone as much as he wanted Margaret (Gretchen). Maybe if I were under the devil’s spells like Faust was, I would have fallen just as hard for the woman. I do have the addictive personality that would lead me in the same direction as Faust. With all of this in mind, I read through the novel as though I were Faust. I took on his persona, argued with Mephistopheles, and wished that I had never been born in the end of the work. It is not easy to live a life completely free from the clutches of evil. When you are hopeless and in despair, you need help. Often, humans are not strong enough to recognize from whom they are getting help. Faust enabled me to foresee what would happen to me if I were subject to the devil’s influence.
Faust is a man worthy of my admiration. All throughout the book, both Faust and the actions he sought fascinated me. Like I said before, I felt as though I was reading or watching a movie of my own life. It was as though a dream had come true where I was able to align myself with the devil. The fears that I have in reality weren’t present enough in my dreams to stop myself from associating with some Mephistophelean devil. I was able to see what would happen if I took on the persona of evil incarnate turned into man. Faust enabled me to have an out of body experience where I could see what would happen to me if I became what I have always been curious about becoming: A devil-influenced man.
Throughout the work of Faust by Goethe, I was able to live experiences vicariously. Faust enabled me to try things that I only dreamed about trying. I really felt as though I were reading a novel about myself. I think that this is why the Faustian theme has persisted throughout time; men (and women) everywhere have struggled within themselves fighting between good and evil to achieve their goals and desires. I am no different.
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on Goodreads, and then I send it on over to my WordPress blog at https://thisismytruthnow.com, where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by. Note: All written content is my original creation and copyrighted to me, but the graphics and images were linked from other sites and belong to them. Many thanks to their original creators.
January 25, 2021
هر کسی که راه میرود میتواند گم بشود
زمانی فرا میرسد که بدجور به خودت میلرزی...نه برای آنچه بر سرت خواهد آمد...بلکه برای آنچه از کف دادهای...زندگی و عمری که خرج ایدئولوژی و آرمانی کردی که حالا بهش شک داری!!!...شاید بگویی باز وضعات بهتر از آن داعشیها و نظامیانی است که آدمها را کشته و کودکان را سر بریدهاند...اما نیست....تو هم زندگیات را قربانی کردهای!!!
چیزی که میتوانست یه هدیه بزرگ باشد را برای هیچ و پوچ به هدر دادی!؟...تو هم یک فاوستی...و من نیز...فاوست تاریخ انسانی ماست که پی بردهایم بیثمر در پی هیچ تمام شد...و حالا که بعد هزارهها بیدار شدهایم، با جنونی همهگیر میخواهیم یک شبه رهِ هزارساله را برویم تا شاید آنچه از کف دادهایم را بدست آوریم...همین است که وارد عصری شدهایم که ماشینآلات سریعالسیر از هر سو سَر برآوردهاند...به راستی کە انسان جراتِ ایستادن و اندیشیدن را ندارد
شاید بجای گم شدن در این همه راه ایستاد و در خود گم شد...یا کامل غرق میشوی یا...نمیدانم...گوته که میگوید: هر قصد بزرگی در آغاز غلط مینماید!!!
January 13, 2018
Preface & Notes
Chronology
Introduction
Translator's Note
The Writing of 'Faust'
Further Reading
--Faust, Part I
Notes
Chronology
Introduction
Translator's Note
The Writing of 'Faust'
Further Reading
--Faust, Part I
Notes
December 28, 2021
school read. i wanna give you a zero, but that‘s not possible. so i give you… a one.
May 30, 2022
god I'm so happy I finished this book, I want to cry. It could have been worse, but still -
April 21, 2019
I had to read this for my German class - sure, this is not the ideal starting point for a book but is definitely not the reason why I hated it so much. I disliked the book because of how problematic it is.
Let's get something clear - I am 16 years old and definitely not the original target group for this book. I am queer and a feminist. I am educated and know my rights. So pretty much the opposite of a woman back in the 19th century, when the first part was written.
I still am able to appreciate Goethe as a poet and an important historical figure.
Sure, this book is very much quoteable - Goethe was a poet afterall. But a book is about more than just pretty quotes.
And yes, I do get that this book is a very important monument in literature bla bla bla I know
But this doesn't make a book good, you know?
Warning: the rest includes spoilers!
The figure of Faust disgusted me. He basically is an old but well educated white guy in his mid life crisis. And Fausts character was only aggravated after he met Mephisto.
And now let's take some time to look at Faust and to find out why I hate him so much.
My passionate hate for Faust was born early: when he tried to kill himself. (starting at line 690, even though I can only quote my German edition)
He basically tried to kill himself because he was bored and felt like crossing a border. Nice, I know. But let's give Goethe a pass on that because a play needs drama, right?
But it only gets worse! I almost screamed when Faust met Margarete, or as he calls her: Gretchen.
Gretchen? How old is she supposed to be? Like 6 years?
No, she actually is 14! As if this would make such a difference. And let's not forget that Faust was, even after his literal rejuvenation, around 50 years old! That makes him not only nasty but also pedophile!
He is 50 years old and makes a 14 year old fall in love with him and that only because he forces her to! This is in no way art and if you don't think there's anything wrong with that, what is wrong with you.
He literally breaks into her house too! He walks around smelling at her clothes and looking at her room - I'd call this a creep and a stalker, just saying.
During their so-called 'relationship' he makes her feel bad for being less educated than he is (starting line 3215). Quite disgusting if you ask me.
He also kills her mother and his brother. This relationship is absolute #goals.
But well, Gretchens brother was quite an idiot too. He likes to brag with his sister being a virgin (line 3630 following) and slut shames her when she's not a virgin anymore. (line 3736) #goals
There's also a brief mention of Faust being antisemitic (line 2841) but I'll give a concerned pass on that when you look at the time period Goethe was living in.
Okay, let's summarise thismasterpiece piece of art.
Three different preludes for an unfinished almost autobiographical story about an old white guy experiencing a crisis? "No" (line 2668)
Let's get something clear - I am 16 years old and definitely not the original target group for this book. I am queer and a feminist. I am educated and know my rights. So pretty much the opposite of a woman back in the 19th century, when the first part was written.
I still am able to appreciate Goethe as a poet and an important historical figure.
Sure, this book is very much quoteable - Goethe was a poet afterall. But a book is about more than just pretty quotes.
And yes, I do get that this book is a very important monument in literature bla bla bla I know
But this doesn't make a book good, you know?
Warning: the rest includes spoilers!
The figure of Faust disgusted me. He basically is an old but well educated white guy in his mid life crisis. And Fausts character was only aggravated after he met Mephisto.
And now let's take some time to look at Faust and to find out why I hate him so much.
My passionate hate for Faust was born early: when he tried to kill himself. (starting at line 690, even though I can only quote my German edition)
He basically tried to kill himself because he was bored and felt like crossing a border. Nice, I know. But let's give Goethe a pass on that because a play needs drama, right?
But it only gets worse! I almost screamed when Faust met Margarete, or as he calls her: Gretchen.
Gretchen? How old is she supposed to be? Like 6 years?
No, she actually is 14! As if this would make such a difference. And let's not forget that Faust was, even after his literal rejuvenation, around 50 years old! That makes him not only nasty but also pedophile!
He is 50 years old and makes a 14 year old fall in love with him and that only because he forces her to! This is in no way art and if you don't think there's anything wrong with that, what is wrong with you.
He literally breaks into her house too! He walks around smelling at her clothes and looking at her room - I'd call this a creep and a stalker, just saying.
During their so-called 'relationship' he makes her feel bad for being less educated than he is (starting line 3215). Quite disgusting if you ask me.
He also kills her mother and his brother. This relationship is absolute #goals.
But well, Gretchens brother was quite an idiot too. He likes to brag with his sister being a virgin (line 3630 following) and slut shames her when she's not a virgin anymore. (line 3736) #goals
There's also a brief mention of Faust being antisemitic (line 2841) but I'll give a concerned pass on that when you look at the time period Goethe was living in.
Okay, let's summarise this
Three different preludes for an unfinished almost autobiographical story about an old white guy experiencing a crisis? "No" (line 2668)
April 1, 2022
YouTube kitap kanalımda hayatımda yarım bıraktığım ilk kitap olan Faust hakkında konuştum: youtu.be/g0tV0SSIK2k
Goethe 14 yaşındayken buharlı makine icat edilmiş, 21 yaşındayken Hegel doğmuş, 40 yaşındayken Fransız İhtilali olmuş, 66 yaşındayken Waterloo Savaşı olmuş.
Ben 26 yaşındayken ise hayatımın en önemli gündemi koronavirüs işte.
Faust'u ben yazamazdım, hatta sadece ben değil, Goethe'den başka da kimse yazamazdı. Latince'de faustus mutlu olmaya yazgılı olmak demekti zaten. Şeytan onun ruhunu çalıp ona hüküm kurmak istese bile mutlu olmaya, Tanrı ile olmaya yazgılı bir insandı Faust. Sanayi Devrimi'nin insanları koşullandırdığı her şeyi bilme diktesinde olan bir çağda o da her şeyi bilmek isteyenlerden başka bir şey değildi. Bu konuda Goethe'nin bir fikri vardı.
26 yaşındayken bir toplantıda tanıştığı Weimar dükü, Goethe'ye, gel kardo burada takıl hem Faust'u bitirirsin hem de kitabın son şeklini burada alır dedi ama beklemediği bir şey oldu Goethe'nin, o da Weimar klasisizmi. Schiller'in de içinde bulunduğu Fırtına ve Coşku akımına nazaran Weimar klasisizmi, gestalt, gehalt ve inhalt adı verilen içerik, Yunan ilhamı ve estetik öncüllerinden oluşurdu. Yani Puşkin'in üç güvenilir kartı tutumluluk, ölçülülük ve çalışkanlık, Reich'in üç erdemi sevgi, çalışma ve bilgi, ilk mimarlık kuramcısı Vitruvius'un iyi bir mimari tasarım için belirlediği üç öncül fayda, kalıcılık ve güzellikti ya, işte Goethe'nin de kendisi için belirlediği muhteşem üçlü bunlardı.
Zaten Goethe'nin sanat ülküsü, “İnsan hayatını, dünyayı, öteki alemleri, hatta ahireti de büyük tabiatın cüzleri olarak ele almak ve ahenkli bir bütünlük içinde hepsinin yerini ve rolünü göstermek”ti. Sadece bu dünyanın varlığını değil, öte yaşamın varlığını da bir bütün içinde değerlendirerek, gestalt'a, yani parçaların barındığı bütüne ulaşabilmekti Goethe'nin amacı.
Albert Camus'nün Tersi ve Yüzü kitabında kendi felsefesini ve kendi madalyonunu dünya-insan ikiliğiyle kurması gibi Goethe de kendi madalyonunu üç taraflı kurmuştu: Tanrı-şeytan-insan. Yani Ivan Karamazov'un yaşadığı ve cebelleştiği üçlü.
Ama Nietzsche Goethe'ye o öldükten yıllar sonra "Alman dilinin baş mimarı Goethe’dir." demişti. Goethe de belki bunu hissetmiş olacak ki, Faust'u neredeyse Nietzsche'nin Dionysoscu içkin üstinsanı olarak tasarlamıştı. Dinamikti, kabına sığmıyordu, aktifti, her şeyi bilmek istiyordu Faust, mutlak mükemmeliyeti arıyordu fakat her insanın düştüğü yanılgı gibi ruhunu şeytana satmıştı. Faust'un şeytanı şeytan fakat belki de bizim de para, iktidar, ün, şehvet hırslarımız da kendi şeytanlarımız olabilir. Faust, Yunan mitolojisindeki Helena ile karşılaşsa bile bu ona yetmemişti, daha çok şeyi bilip o bildiklerini Kubrick'in 2001: Bir Uzay Destanı filmindeki monolite aktarmak istemişti belki.
Hatta ve hatta İncil'in başlangıcı olan Yuhanna "Başlangıçta söz vardı." şeklinde başlıyorsa, Dostoyevski'nin İncil'i "Başlangıçta acı vardı." Goethe'nin İncil'i ise "Başlangıçta eylem vardı." şeklinde olurdu. Çünkü Ruslar acıyla, Almanlar eylemle varoluşlarına ulaşırdı.
Faust kitabının cevap aradığı iki soru vardı en nihayetinde:
1- İnsan tam olarak nefsini şeytana teslim edip sapıklığa düştükten sonra, kendi kuvveti ile doğru yolu bulabilir mi bulamaz mı?
2- Ölümlü bir insan için durulacak ve geçilmeyecek anlar var mıdır?
Ben cevaplayayım...
1- Evet.
2- Evet.
Başta yazdığım filmi de izleyin bu arada kesin. Bir de Roman Polanski'den Rosemary'nin Bebeği izlerseniz üstüne çok iyi cila olur.
Goethe 14 yaşındayken buharlı makine icat edilmiş, 21 yaşındayken Hegel doğmuş, 40 yaşındayken Fransız İhtilali olmuş, 66 yaşındayken Waterloo Savaşı olmuş.
Ben 26 yaşındayken ise hayatımın en önemli gündemi koronavirüs işte.
Faust'u ben yazamazdım, hatta sadece ben değil, Goethe'den başka da kimse yazamazdı. Latince'de faustus mutlu olmaya yazgılı olmak demekti zaten. Şeytan onun ruhunu çalıp ona hüküm kurmak istese bile mutlu olmaya, Tanrı ile olmaya yazgılı bir insandı Faust. Sanayi Devrimi'nin insanları koşullandırdığı her şeyi bilme diktesinde olan bir çağda o da her şeyi bilmek isteyenlerden başka bir şey değildi. Bu konuda Goethe'nin bir fikri vardı.
26 yaşındayken bir toplantıda tanıştığı Weimar dükü, Goethe'ye, gel kardo burada takıl hem Faust'u bitirirsin hem de kitabın son şeklini burada alır dedi ama beklemediği bir şey oldu Goethe'nin, o da Weimar klasisizmi. Schiller'in de içinde bulunduğu Fırtına ve Coşku akımına nazaran Weimar klasisizmi, gestalt, gehalt ve inhalt adı verilen içerik, Yunan ilhamı ve estetik öncüllerinden oluşurdu. Yani Puşkin'in üç güvenilir kartı tutumluluk, ölçülülük ve çalışkanlık, Reich'in üç erdemi sevgi, çalışma ve bilgi, ilk mimarlık kuramcısı Vitruvius'un iyi bir mimari tasarım için belirlediği üç öncül fayda, kalıcılık ve güzellikti ya, işte Goethe'nin de kendisi için belirlediği muhteşem üçlü bunlardı.
Zaten Goethe'nin sanat ülküsü, “İnsan hayatını, dünyayı, öteki alemleri, hatta ahireti de büyük tabiatın cüzleri olarak ele almak ve ahenkli bir bütünlük içinde hepsinin yerini ve rolünü göstermek”ti. Sadece bu dünyanın varlığını değil, öte yaşamın varlığını da bir bütün içinde değerlendirerek, gestalt'a, yani parçaların barındığı bütüne ulaşabilmekti Goethe'nin amacı.
Albert Camus'nün Tersi ve Yüzü kitabında kendi felsefesini ve kendi madalyonunu dünya-insan ikiliğiyle kurması gibi Goethe de kendi madalyonunu üç taraflı kurmuştu: Tanrı-şeytan-insan. Yani Ivan Karamazov'un yaşadığı ve cebelleştiği üçlü.
Ama Nietzsche Goethe'ye o öldükten yıllar sonra "Alman dilinin baş mimarı Goethe’dir." demişti. Goethe de belki bunu hissetmiş olacak ki, Faust'u neredeyse Nietzsche'nin Dionysoscu içkin üstinsanı olarak tasarlamıştı. Dinamikti, kabına sığmıyordu, aktifti, her şeyi bilmek istiyordu Faust, mutlak mükemmeliyeti arıyordu fakat her insanın düştüğü yanılgı gibi ruhunu şeytana satmıştı. Faust'un şeytanı şeytan fakat belki de bizim de para, iktidar, ün, şehvet hırslarımız da kendi şeytanlarımız olabilir. Faust, Yunan mitolojisindeki Helena ile karşılaşsa bile bu ona yetmemişti, daha çok şeyi bilip o bildiklerini Kubrick'in 2001: Bir Uzay Destanı filmindeki monolite aktarmak istemişti belki.
Hatta ve hatta İncil'in başlangıcı olan Yuhanna "Başlangıçta söz vardı." şeklinde başlıyorsa, Dostoyevski'nin İncil'i "Başlangıçta acı vardı." Goethe'nin İncil'i ise "Başlangıçta eylem vardı." şeklinde olurdu. Çünkü Ruslar acıyla, Almanlar eylemle varoluşlarına ulaşırdı.
Faust kitabının cevap aradığı iki soru vardı en nihayetinde:
1- İnsan tam olarak nefsini şeytana teslim edip sapıklığa düştükten sonra, kendi kuvveti ile doğru yolu bulabilir mi bulamaz mı?
2- Ölümlü bir insan için durulacak ve geçilmeyecek anlar var mıdır?
Ben cevaplayayım...
1- Evet.
2- Evet.
Başta yazdığım filmi de izleyin bu arada kesin. Bir de Roman Polanski'den Rosemary'nin Bebeği izlerseniz üstüne çok iyi cila olur.
Read
November 13, 2024„Der Faust“, DAS deutsche Drama über die Verführbarkeit des Intellektuellen. Trotz meines fortgeschrittenen Alters war dies meine erste Lektüre. Zuvor war mir nur die Verfilmung mit Gustav Gründgens in der Rolle des Mephistopheles bekannt. Den Anstoß hat die vorangegangen Lektüre von Bulgakows „Meister und Margarita“ gegeben, das das Faustmotiv aufgreift und in die frühe Sowjetunion überträgt. Tatsächlich taucht der Name „Volant“ bereits bei Goethe als einer der Pseudonyme des Teufels auf. Dabei ist Mephisto nicht DER Teufel an sich, eher eine mittlere Kategorie der teuflischen Wesen. Er selbst definiert sich als Ein Teil von jener Kraft, Die stets das Böse will und stets das Gute schafft. Dass dem nicht so ist, davon wird sich Faust überzeugen. Nicht nur hilft er dem alten Gelehrten durch einen Verjüngungstrank die unschuldige Margarete zu verführen, auch macht er Faust zum Mörder von Gretchens Bruder und Gretchen selbst zu unwissentlichen Mörderin ihrer Mutter. Und als Gretchen schwanger wird und ihr Neugeborenes (aus Unkenntnis, im Schock, aus Scham?) tötet, sind Faust und Mephisto schon über alle Berge, bzw. genauer auf dem Bocksberg bei der Walpurgisnacht.
Ich habe den Faust gänzlich ohne Erläuterungen gelesen, um mir selbst einen ersten Eindruck zu verschaffen und Goethes Kunst unverwässert zu genießen. Allerdings hat mich die rigide Sexualmoral gegenüber Frauen jener Zeit und Gretchens tragische Schicksal persönlich berührt, vermutlich genau so wie von Goethe beabsichtig. Ein Rating maße ich mir nicht an.
Ich habe den Faust gänzlich ohne Erläuterungen gelesen, um mir selbst einen ersten Eindruck zu verschaffen und Goethes Kunst unverwässert zu genießen. Allerdings hat mich die rigide Sexualmoral gegenüber Frauen jener Zeit und Gretchens tragische Schicksal persönlich berührt, vermutlich genau so wie von Goethe beabsichtig. Ein Rating maße ich mir nicht an.
November 10, 2024
The story of Faust is all over the place, and no wonder – what we have now is a strange mishmash of scenes Goethe wrote at various different times in his life, and later tried to jam together using Pritt-Stick and chewing-gum. If you approach it purely on the level of narrative, it seems pretty shaky.
The same could be said, of course, for some of Shakespeare's plays. What makes them interesting is the language and the ability of characters to speak so directly to the human condition – and that's really what's going on here as well. Except it's sort of like having the emotional younger Shakespeare of Falstaff in the same scene as the mature later Shakespeare of A Winter's Tale, because here you get stuff written by Goethe when he was young and full of Sturm und Drang histrionics rubbing shoulders with passages of middle-aged Classical even-handedness.
The earlier bits are the ones that seem most Goethe-like to me – grand self-reflexions full of high emotion and images of the natural world:
Which in the David Luke translation becomes:
Luke does a decent job, on the whole, of suggesting to English readers why Goethe's ‘play’ (really more of a long poem, though it does get staged, with various tactical omissions) is so especially important for German-speakers. Many of Luke's passages are extremely beautiful: the stately quatrains which make up the play's Dedication, and which end
…become in Luke's version,
…which I think is very good. Many of the most powerful monologues are also cleverly reorganised to be turned into natural-sounding English verse, and you can see why this translation won so many prizes when it came out in the 80s.
On individual lines, he is a bit less consistent. Most of the more famous lines in the play – Gefühl ist alles; Verweile doch! du bist so schön! – fortunately don't depend on too much poetic pizazz. Sometimes, though, Luke doesn't even really try. When the Earth Spirit in his version tells Faust, ‘You match the spirit you can comprehend,’ this hardly suggests the thickly assonant extravagance of the original Du gleichst dem Geist, den du begreifst.
This has always been the problem with Goethe, because his most characteristic feature is his mastery of the language, which is obviously not an easy thing to put across in a different one. For me, the best lines here are so wonderful because they capture something of the essence of how German works: as, for example, when Mephistopheles, complaining about Enlightenment rationalism, says, Den Bösen sind sie los, die Bösen sind geblieben, where all the distinction is compressed into that elegant variation in article, from den to die. (Luke has, ‘The Evil One / They're rid of, evil is still going strong’, which isn't particularly inspiring.)
And all this, of course, is only ‘Part One’! Goethe still couldn't leave it alone, and was adding to the second part (which I haven't yet read) until the year he died. The fact that Faust makes sense historically but not narratively, and poetically but not logically, is certainly a goldmine for critics; the Oxford World's Classics edition comes with two-page spider chart which attempts to untangle the various strands of Urfaust, Faust: A Fragment, and other esoteric stages in the writing process. In a sense these flaws are a feature – they leave enough space in the work for you to dream yourself into it. I hardly wanted to wake up.
The same could be said, of course, for some of Shakespeare's plays. What makes them interesting is the language and the ability of characters to speak so directly to the human condition – and that's really what's going on here as well. Except it's sort of like having the emotional younger Shakespeare of Falstaff in the same scene as the mature later Shakespeare of A Winter's Tale, because here you get stuff written by Goethe when he was young and full of Sturm und Drang histrionics rubbing shoulders with passages of middle-aged Classical even-handedness.
The earlier bits are the ones that seem most Goethe-like to me – grand self-reflexions full of high emotion and images of the natural world:
Bin ich der Flüchtling nicht? der Unbehauste?
Der Unmensch ohne Zweck und Ruh',
Der wie ein Wassersturz von Fels zu Felsen brauste
Begierig wütend nach dem Abgrund zu?
Which in the David Luke translation becomes:
Who am I? The unhoused, the fugitive,
The aimless, restless reprobate,
Plunging like some wild waterfall from cliff to cliff
Down to the abyss, in greedy furious spate!
Luke does a decent job, on the whole, of suggesting to English readers why Goethe's ‘play’ (really more of a long poem, though it does get staged, with various tactical omissions) is so especially important for German-speakers. Many of Luke's passages are extremely beautiful: the stately quatrains which make up the play's Dedication, and which end
Was ich besitze, seh' ich wie im Weiten,
Und was verschwand, wird mir zu Wirklichkeiten
…become in Luke's version,
All that I now possess seems far away
And vanished worlds are real to me today
…which I think is very good. Many of the most powerful monologues are also cleverly reorganised to be turned into natural-sounding English verse, and you can see why this translation won so many prizes when it came out in the 80s.
On individual lines, he is a bit less consistent. Most of the more famous lines in the play – Gefühl ist alles; Verweile doch! du bist so schön! – fortunately don't depend on too much poetic pizazz. Sometimes, though, Luke doesn't even really try. When the Earth Spirit in his version tells Faust, ‘You match the spirit you can comprehend,’ this hardly suggests the thickly assonant extravagance of the original Du gleichst dem Geist, den du begreifst.
This has always been the problem with Goethe, because his most characteristic feature is his mastery of the language, which is obviously not an easy thing to put across in a different one. For me, the best lines here are so wonderful because they capture something of the essence of how German works: as, for example, when Mephistopheles, complaining about Enlightenment rationalism, says, Den Bösen sind sie los, die Bösen sind geblieben, where all the distinction is compressed into that elegant variation in article, from den to die. (Luke has, ‘The Evil One / They're rid of, evil is still going strong’, which isn't particularly inspiring.)
And all this, of course, is only ‘Part One’! Goethe still couldn't leave it alone, and was adding to the second part (which I haven't yet read) until the year he died. The fact that Faust makes sense historically but not narratively, and poetically but not logically, is certainly a goldmine for critics; the Oxford World's Classics edition comes with two-page spider chart which attempts to untangle the various strands of Urfaust, Faust: A Fragment, and other esoteric stages in the writing process. In a sense these flaws are a feature – they leave enough space in the work for you to dream yourself into it. I hardly wanted to wake up.
February 25, 2016
Dear friend, all theory is gray, and green the golden tree of life.
What else to say? Towering as an archetype, akin to Hamlet, the Inferno and White Whale -- this tale of pact has been absorbed into a our cultural bones, like an isotope. It is more telling to consider that I listened to Tavener while reading this. I recently gave Pandora a spin but found that I owned more Schnittke than was afforded by my"station" but if I leave such, will I miss those Penn Station ads?
I will say that I should've read my Norton critical edition, well actually, my wife's copy -- the one I bought for her in Columbus, Ohio ten years ago. I went with a standard Penguin copy and I'm sure many of the historic references were lost for me.
No one should consider that I regard Faust as emblematic of power politics in the US or a possible Brexit across the water. I'm too feeble for such extrapolation.
What else to say? Towering as an archetype, akin to Hamlet, the Inferno and White Whale -- this tale of pact has been absorbed into a our cultural bones, like an isotope. It is more telling to consider that I listened to Tavener while reading this. I recently gave Pandora a spin but found that I owned more Schnittke than was afforded by my"station" but if I leave such, will I miss those Penn Station ads?
I will say that I should've read my Norton critical edition, well actually, my wife's copy -- the one I bought for her in Columbus, Ohio ten years ago. I went with a standard Penguin copy and I'm sure many of the historic references were lost for me.
No one should consider that I regard Faust as emblematic of power politics in the US or a possible Brexit across the water. I'm too feeble for such extrapolation.
March 21, 2014
Not since watching Breaking Bad have I been so enthralled by a man's descent into depravity.
October 1, 2015
Faust by Goethe was the very first book (apart from textbooks, of course) I ever put my hands on. It was assigned to me when I was in middle school for my Spanish class. I know it's a German play, but the teacher was encouraging us to read by asking the whole classroom to donate a book for the course, put it in a box with the others and then randomly pick up one of them each month — now that I think of it, the teacher should have payed more attention to the books we brought, since I don't think Faust was appropriate for a twelve-year-old. I chose, however, this play by Goethe, having no idea what it was about. And, well, I remained so for twelve years more, since I never read more than ten pages perhaps, until four days ago that I finally got a copy of it. Unlike many readers I know, I didn't acquire my taste for literature and reading from an early age; I didn't grew up reading stories and I didn't ever feel like I was immersed in a magic world of fantastic creatures and rainbows — what some people claim literature is about. Instead, I got interested in such delightful activities for two main reasons. One of them was that I was a Radiohead fan in high school and there's this song based on Orwell's 1984, but I was told that it was based on Animal Farm (false), so I thought it would be a good idea to read it. The other reason is that by this same time I took a philosophy course and I remember I was so amazed by Plato's allegory of the cave that I finally decided I wanted to know more about life, and I thought books had the answers of the many questions I asked myself and everything I wanted to know; that within their pages I was going to find the answer. Now that I've read a little bit more, I've come to realize that literature is such a passionate and sublime art indeed, but it hardly provides answers and it actually makes you question more and more — which is great, don't get me wrong, for it makes you try harder to think for yourself — but I'd say one answer makes two more questions. In this everlasting search for meaning I found myself in Dr. Heinrich Faust, the main character in this poetic play. Even though, unlike him, I haven't studied philosophy, medicine and theology with ardent zeal, I do feel like a wretched fool. I think Goethe's point was to make an emphasis in this lack of something in human understanding and that no matter how hard we try there'll be always something greater than us that we won't be able to understand with our minds designed for only three dimensions, like Ivan Karamazov said. It's important to take into consideration the fact that Goethe did believe in God, that for him, God was this higher being that begot mankind; but he was not in favor of the way the Church was organized; and both, believes and disbelieves are brought up to discussion throughout the whole play. He believed, for instance, that God made the Universe perfect and so did the Angels believed; but that's when Mephistopheles, the fallen angel, enters the scene, asking for permission to say a word. He says the Universe isn't perfect since Man still feels miserable. Then he makes a wager with God upon Faust's soul, with arguments based on the book of Job, that is, that if Faust's life is changed by blow after blow of tragedy, he would stop being God's faithful son, though unlike the Biblical character, who at the end realises about God's highness, in this play Faust seems to be more and more miserable. Also, there's the fact that in Job the fallen angel didn't exactly hang out with him, like Mephisto did with Faust. Thus, when the man's life comes to an end, he on whose side Faust is, will keep his soul. Therefore, there are many converging points in both books, but they differ from each other.
So Faust is a very learned man who has studied everything that ever existed, and yet he still feels he's missing something about existence, something that isn't written down in those books and that perhaps cannot be put to words. He even struggles while trying to translate the word logos in the Gospel of Luke: "In the beginning was the Word". He wonders whether it was the deed instead of the word, because he feels that words, literacy, do not lit his soul the way perhaps a passionate deed would. He then expresses the words that have become famous because of their depth and their importance in this work: 'Two souls, alas, dwell in my breast, each seeks to rule without the other.' Thus, he begins to look beyond theories and tries something new: magic and alchemy. I don't want to get into specific details about the plot, but there's a point when he summons the Earth Spirit, something that according to some sources, was Goethe's own contribution to his supernatural play, being no former record of such a spirit either in Christianity or in pagan mythology — I think for Goethe, the Earth Spirit represented an instance of God, like when Moses saw the brush burned in fire. And it's the Spirit who lowers this learned man to his human condition, making him aware of his delimited understanding. Faust, however, persists and trying to prove his godliness, he tries to commit suicide, when suddenly the the church bells ring and an angelic choir from above is heard, announcing Christ's resurrection. Later in the play, Faust finds a lost poodle and takes it home, when suddenly the animal reshapes into Mephistopheles, who unlike the Earth Spirit, makes the doctor believe he can achieve anything if he stays with him and serves him when his soul leaves his body; to which Faust answers that little does he care for the afterlife when all he wants is to actually feel he's living this life. The agreement is settled with blood.
Then at a witch's place, Faust sees a beautiful woman in the mirror and he asks Mephisto to grant him the wish of possessing so beautiful a woman and after some mumbo-jumbo by the witch, he takes a potion of sorts to achieve his passionate goals. Then he meets Gretchen, also known as Margaret, and that's what Faust's misery gets worse — and even worse for Gretchen, who before meeting Faust and his horrid companion was such a pure creature that at first Mephisto does not think he can get her. Eventually Gretchen is persuaded by Faust enchantments — of course, gotten by such a supernatural aid — but as her passion towards Faust increases, misfortune falls upon her family, until the final disgrace comes, before which Faust is ushered by Mephisto to the Walpurus Night: an exotic event hosted by witches and having paganism as entertainment — I guess it's like the Super Bowl for witches. Later, we find out that during this exotic and frightful evening, Gretchen lost her mind after his brother, murder by Faust's evil companion, called her a whore in his last adieu, so she drowns her baby, is taken to prison and given a death sentence. Faust blames Mephistopheles for distracting him at the Walpurus Night instead of taking him to save Gretchen. This is when I realised Goethe used Mephisto to point out the flaws of our minds, sometimes in earnest, sometimes in jest, like people's tendency to blame external, sometimes supernatural causes for their mistakes. Gretchen's given the chance to scape prison helped by her lover and his friend, but instead of going evil ways, she chooses what would seem as tragedy and condemnation to some, like Mephistopheles, but under the gaze of the Heavenly, she's saved, leaving an open door for Faust to go the same way and make the right decision. I'm afraid Goethe wrote the second part until the last year of his life. The redirection of Margarete's path was perhaps inevitable once she entered Faust's toxic influence, but in the end she had the chance to choose either condemnation or salvation, and perhaps that's Goethe's main point: to remark virtue through iniquity. It works similarly, perhaps, as Milton did in his Paradise Lost. As a matter of fact, like the latter took the epic poems as notary influence, Shakespeare had the same kind of impact with the author of Faust — nonetheless, his gift and his technique stand on their own.
This is a must-read classic and it is one of those books I call a literary delight. But all the subjects I've tried (perhaps unsuccessfully) to expose in this review are precisely the reasons why I don't think Faust is a good choice for a twelve-year-old beginner. Not because of its difficulty, but I think as one grows older one has a better chance of appreciating Goethe's perfectly constructed verses, of having a different perspective upon all the sorrowful, theological, obscure and erotic points by him exposed. It's frightening yet beautiful; it's heavenly yet humane; it's a play and a poem. I'm not as learned as Doctor Faust, but I think I found in reading this book the kind of fervor he was looking for.
[Faust and the Earth Spirit. Illustrated by Goethe himself.]
So Faust is a very learned man who has studied everything that ever existed, and yet he still feels he's missing something about existence, something that isn't written down in those books and that perhaps cannot be put to words. He even struggles while trying to translate the word logos in the Gospel of Luke: "In the beginning was the Word". He wonders whether it was the deed instead of the word, because he feels that words, literacy, do not lit his soul the way perhaps a passionate deed would. He then expresses the words that have become famous because of their depth and their importance in this work: 'Two souls, alas, dwell in my breast, each seeks to rule without the other.' Thus, he begins to look beyond theories and tries something new: magic and alchemy. I don't want to get into specific details about the plot, but there's a point when he summons the Earth Spirit, something that according to some sources, was Goethe's own contribution to his supernatural play, being no former record of such a spirit either in Christianity or in pagan mythology — I think for Goethe, the Earth Spirit represented an instance of God, like when Moses saw the brush burned in fire. And it's the Spirit who lowers this learned man to his human condition, making him aware of his delimited understanding. Faust, however, persists and trying to prove his godliness, he tries to commit suicide, when suddenly the the church bells ring and an angelic choir from above is heard, announcing Christ's resurrection. Later in the play, Faust finds a lost poodle and takes it home, when suddenly the animal reshapes into Mephistopheles, who unlike the Earth Spirit, makes the doctor believe he can achieve anything if he stays with him and serves him when his soul leaves his body; to which Faust answers that little does he care for the afterlife when all he wants is to actually feel he's living this life. The agreement is settled with blood.
"Gray, my friend, is every theory,
and green alone life's golden tree."
Then at a witch's place, Faust sees a beautiful woman in the mirror and he asks Mephisto to grant him the wish of possessing so beautiful a woman and after some mumbo-jumbo by the witch, he takes a potion of sorts to achieve his passionate goals. Then he meets Gretchen, also known as Margaret, and that's what Faust's misery gets worse — and even worse for Gretchen, who before meeting Faust and his horrid companion was such a pure creature that at first Mephisto does not think he can get her. Eventually Gretchen is persuaded by Faust enchantments — of course, gotten by such a supernatural aid — but as her passion towards Faust increases, misfortune falls upon her family, until the final disgrace comes, before which Faust is ushered by Mephisto to the Walpurus Night: an exotic event hosted by witches and having paganism as entertainment — I guess it's like the Super Bowl for witches. Later, we find out that during this exotic and frightful evening, Gretchen lost her mind after his brother, murder by Faust's evil companion, called her a whore in his last adieu, so she drowns her baby, is taken to prison and given a death sentence. Faust blames Mephistopheles for distracting him at the Walpurus Night instead of taking him to save Gretchen. This is when I realised Goethe used Mephisto to point out the flaws of our minds, sometimes in earnest, sometimes in jest, like people's tendency to blame external, sometimes supernatural causes for their mistakes. Gretchen's given the chance to scape prison helped by her lover and his friend, but instead of going evil ways, she chooses what would seem as tragedy and condemnation to some, like Mephistopheles, but under the gaze of the Heavenly, she's saved, leaving an open door for Faust to go the same way and make the right decision. I'm afraid Goethe wrote the second part until the last year of his life. The redirection of Margarete's path was perhaps inevitable once she entered Faust's toxic influence, but in the end she had the chance to choose either condemnation or salvation, and perhaps that's Goethe's main point: to remark virtue through iniquity. It works similarly, perhaps, as Milton did in his Paradise Lost. As a matter of fact, like the latter took the epic poems as notary influence, Shakespeare had the same kind of impact with the author of Faust — nonetheless, his gift and his technique stand on their own.
This is a must-read classic and it is one of those books I call a literary delight. But all the subjects I've tried (perhaps unsuccessfully) to expose in this review are precisely the reasons why I don't think Faust is a good choice for a twelve-year-old beginner. Not because of its difficulty, but I think as one grows older one has a better chance of appreciating Goethe's perfectly constructed verses, of having a different perspective upon all the sorrowful, theological, obscure and erotic points by him exposed. It's frightening yet beautiful; it's heavenly yet humane; it's a play and a poem. I'm not as learned as Doctor Faust, but I think I found in reading this book the kind of fervor he was looking for.
"I awake with horror in the morning,
and bitter tears well up in me
when I must face each day that in its course
cannot fulfill a single wish, not one!"
[Faust and the Earth Spirit. Illustrated by Goethe himself.]
August 30, 2021
dieses Buch ekelt mich an
October 12, 2023
I'm so happy I'm done with this fucked up book *happy dance*
December 4, 2013
There's something discomforting about the vague moral convictions of Goethe's Faust character. One would assume, that even a scholar living in Goethe's time would find the typical preoccupations of Christian morality somewhat boring, if not basically delusional and overzealous. After all, the cacophony of self-doubt racing through his mind is not initially brought on by anything that resembles religious guilt. He's a man plagued by the hermetic stuffiness of a lifestyle of perpetual deep thought. All of his forced questions about the complexity of the universe have not been adequately revealed to him in the immense amount of reading and study that he has undertaken throughout the course of his life. Something is missing. In the opening soliloquy he desperately gropes out loud in an attempt to locate the source of his emptiness. He intones ...
"What theatre! Oh, but nothing more.
Where can I grasp you, never-ending Nature?
Breasts, where? You founts of all of life,
That earth and heaven hang upon love
And where the parched soul craves to be,
You flow, you give to drink, but not to me."
Of course, much of this monologue does hint at the power that God might potentially have to grant this wish, but Goethe is ambiguous at best. In the beginning it's difficult to tell whether Faust harbors any faith in God. The question of God's abilities and/or existence is a concern of Faust's, but his frustrations and lamentations seem more bestial and secular in tone. Faust desires some sort of ineffable experience; he desires a base inflammation of the senses, most importantly of his own passion for life. It could be argued that Mephistopheles appears essentially because Faust desires to lose himself in sublime sinfulness. God might only show up to suggest that his mortal frustrations and complex questions can in fact be answered, but only by one book. More importantly, if it were for the grace of God's true presence in Faust's existence, his questions would abate under the reverent awe of his own faith. It's obviously not there.
It's at this point that Mephistopheles appears, offering what any average mortal would desire in the throes of their own suffering, brought on by an overwhelming abundance of probing, difficult questions; namely the earthly pleasures of amorous love. To be clear, Gretchen's character is offered to Faust to appease the longings of his heart more than that of his loins. Having the position and immortal power that Mephistopheles does, he understands that Faust will be more than willing to accept his wager. But, as most critics suggest, Mephistopheles also knows that a character such as Faust, despite not really being a man of faith, will ruin such an immediate route to happiness. Naturally, Gretchen detects the way in which this internal struggle of Faust's causes him to be so distant. Not only that, but she distrusts Mephistopheles, and is committed to God.
There is a clunky and somewhat fragmented quality to the way that Goethe presents many of the difficult concerns of Faust and his wager with Mephistopheles. Initially, he is so troubled, merely by the thought that all of his worldly academic efforts are made in vain. His frustration with the futility of his effort to enlighten himself and to better understand the beautiful complexity of the world, reaches a sort of peak, at which point he loses faith in virtually everything. At first amused by the idea of the very appearance of Mephistopheles, he's eventually perplexed by how effortlessly he can access the very happiness which he could hardly even give a name to. Is he, in this sense, troubled once again by the knowledge that he possesses, the knowledge of the disappointing outcome of his temporary pleasures? One could almost draw a parallel to Nietzsche's description of the existential frustration that cripples Shakespeare's Hamlet from acting on his anger due to the knowledge that he has of the awful situation occurring around him.
To an atheist, especially an academic one, virtually all of this might sound a little silly. The reality of the situation is that Mephistopheles is actually quite fun. As he says in response to Faust's question of who Mephistopheles is, "A part of the power who wills evil always but always works the good." He perplexes Faust by presenting himself as a merely a part of a duality that constitutes peoples paradoxical understanding of the wholeness of God. This might sound confusing to some, but what he's doing is mockingly suggesting to Faust that his attachment to traditional notions of sin and goodliness is ridiculous. Toward the end, Faust ignorantly insists that the wager is destined to end in despair and disappointment. Mephistopheles, already aware of how seemingly full of disappointment most mortal situations might appeal to human beings, basically has a little fun with Faust's misguided convictions of goodness. So then is this a tragedy? Toward the end of the first part of Goethe's morally confusing masterpiece, it becomes increasingly difficult to believe that there is anything tragic about the fate of Faust.
"What theatre! Oh, but nothing more.
Where can I grasp you, never-ending Nature?
Breasts, where? You founts of all of life,
That earth and heaven hang upon love
And where the parched soul craves to be,
You flow, you give to drink, but not to me."
Of course, much of this monologue does hint at the power that God might potentially have to grant this wish, but Goethe is ambiguous at best. In the beginning it's difficult to tell whether Faust harbors any faith in God. The question of God's abilities and/or existence is a concern of Faust's, but his frustrations and lamentations seem more bestial and secular in tone. Faust desires some sort of ineffable experience; he desires a base inflammation of the senses, most importantly of his own passion for life. It could be argued that Mephistopheles appears essentially because Faust desires to lose himself in sublime sinfulness. God might only show up to suggest that his mortal frustrations and complex questions can in fact be answered, but only by one book. More importantly, if it were for the grace of God's true presence in Faust's existence, his questions would abate under the reverent awe of his own faith. It's obviously not there.
It's at this point that Mephistopheles appears, offering what any average mortal would desire in the throes of their own suffering, brought on by an overwhelming abundance of probing, difficult questions; namely the earthly pleasures of amorous love. To be clear, Gretchen's character is offered to Faust to appease the longings of his heart more than that of his loins. Having the position and immortal power that Mephistopheles does, he understands that Faust will be more than willing to accept his wager. But, as most critics suggest, Mephistopheles also knows that a character such as Faust, despite not really being a man of faith, will ruin such an immediate route to happiness. Naturally, Gretchen detects the way in which this internal struggle of Faust's causes him to be so distant. Not only that, but she distrusts Mephistopheles, and is committed to God.
There is a clunky and somewhat fragmented quality to the way that Goethe presents many of the difficult concerns of Faust and his wager with Mephistopheles. Initially, he is so troubled, merely by the thought that all of his worldly academic efforts are made in vain. His frustration with the futility of his effort to enlighten himself and to better understand the beautiful complexity of the world, reaches a sort of peak, at which point he loses faith in virtually everything. At first amused by the idea of the very appearance of Mephistopheles, he's eventually perplexed by how effortlessly he can access the very happiness which he could hardly even give a name to. Is he, in this sense, troubled once again by the knowledge that he possesses, the knowledge of the disappointing outcome of his temporary pleasures? One could almost draw a parallel to Nietzsche's description of the existential frustration that cripples Shakespeare's Hamlet from acting on his anger due to the knowledge that he has of the awful situation occurring around him.
To an atheist, especially an academic one, virtually all of this might sound a little silly. The reality of the situation is that Mephistopheles is actually quite fun. As he says in response to Faust's question of who Mephistopheles is, "A part of the power who wills evil always but always works the good." He perplexes Faust by presenting himself as a merely a part of a duality that constitutes peoples paradoxical understanding of the wholeness of God. This might sound confusing to some, but what he's doing is mockingly suggesting to Faust that his attachment to traditional notions of sin and goodliness is ridiculous. Toward the end, Faust ignorantly insists that the wager is destined to end in despair and disappointment. Mephistopheles, already aware of how seemingly full of disappointment most mortal situations might appeal to human beings, basically has a little fun with Faust's misguided convictions of goodness. So then is this a tragedy? Toward the end of the first part of Goethe's morally confusing masterpiece, it becomes increasingly difficult to believe that there is anything tragic about the fate of Faust.
November 11, 2020
اگه میتونستم مفیستوفلس رو ببینم چیکار میکردم
هزار بار از خدا چیزی خواستم و بهم نداده اگهمطمین بودم اون چیزی که میخوام رو بهم میده چیکار میکردم ؟
منم کاری که فاوست کرد رو میکردم
مهم نیست بعدش چی میشه ولی فکر کنم یه آرزو هایی ارزششو داره
(صوتیشو گوش دادم و الانم یه فیلم از ش دیدم که اصلاااا خوب نبودم و انگار یه فیلم صامت ازش هست که حالا میخوام اونو ببینم )
هزار بار از خدا چیزی خواستم و بهم نداده اگهمطمین بودم اون چیزی که میخوام رو بهم میده چیکار میکردم ؟
منم کاری که فاوست کرد رو میکردم
مهم نیست بعدش چی میشه ولی فکر کنم یه آرزو هایی ارزششو داره
(صوتیشو گوش دادم و الانم یه فیلم از ش دیدم که اصلاااا خوب نبودم و انگار یه فیلم صامت ازش هست که حالا میخوام اونو ببینم )
December 1, 2016
Boy…this is very dramatic, isn’t it?
February 27, 2017
Goethe's Faust, particularly the first part is one of the monuments of western literature. The characters of Mephisto, Faust and Margarite and unforgettable. It has, of course inspired operas from Berlioz to Busoni and books writers such as Thomas Mann. It was actually adapted from an earlier version by Christopher Marlowe but Goethe's version is even more sinister and lifelike. a Must!
April 17, 2018
What a tragedy! How beautifully, subtly crafted. This was one of the most heart wrenching books I've read in a long time.
September 13, 2022
Eigentlich sehr unterhaltsam aber zwei Sterne Abzug weil Faust ist ein krass nerviger, rückgratloser, pädophiler alter Mann und ich hoffe ihm rutschen beim Händewaschen die Ärmel runter
August 31, 2024
با ترجمه آقای سعید جوزی خوندم و خب به دلیل پانویس ها و توضیحاتشون ،خیلی بهتر میشد ارتباط برقرار کرد با کتاب و مفهوم مستتر تو ابیات
گوته با توجه به زمانه ای که توش میزیسته حرف ها و جهت گیری های مخالف با اکثریت هم داشته و واقعا اون قسمت ها و ابراز شجاعانه وهوشمندانهاش برام ارزشمند بود
مثلا اشاره به گرد بود زمین
یا انتقاد به کلیسا
توصیفات یه قسمتایی خیلی زیبا بود و هرچند چشمان خسته بودن نمیتونستم از شدت زیبایی، کتاب رو ببندم.
قبل از شروع کتاب، انتظار داشتم سخت خوان باشه و مثل یک «باید» و «وظیفه» بخونمش ولی قسمت هایی بود که از درجه لذتی که کتاب بهم میداد مبهوت میشدم.
البته جاهاییم بود که دیگه انقدر به اساطیر یونان ربط پیدا میکرد و پر از استعاره رفرنس بود که آهنگ ابیات از دستم در می رفت، اطلاعات زیاد بود و هضمش دشوار، میدیدم که فقط دارم پانویس کتاب میخونم و این خسته کننده اش میکرد مثلا قسمت رویای شب والپورگیس
(احتمالا کتاب هر خطش پر لذت و نکته بینی باشه برای کسی که به شرایط اجتماعی سیاسی اروپا در زمان نوشتار کتاب مسلط باشه و تبار خدایان یونانی هم به خوبی بشناسه)
به واسطه فاوست پیش از پیش ترغیب شدم اطلاعاتمو در مورد اساطیر و تئوگونی و تبار خدایان افزایش بدم.
در نهایت شرمندگی شخصیت مفیستوفلس برام جالب بود و حس میکنم خیلی از عقاید گزنده از زبان این شخصیت بیان شد و اعتراضیم نمیشد کرد چون راحت میشد در جواب گفت خب شیطانه دیگه از شیطان چه توقعی دارین! ولی صداقت وگزندگیبعضی از حرفاشو دوس داشتم و همینطور روش گوته
برای بیان این صحبتا...
🎵 چگونه است که از سرِ انسانهای بیخرد،
هرگونه امید محو نمیگردد؛
وقتی که از دیدن چیزها فقط ظاهرش را میبینند.
و این یکی، حریصانه زمین را به طمع گنج می کاود؛
اما به محض یافتن کرمی، از خوشحالی سر از پا نمیشناسد!
🎵 آه! که اعمالِ ما، همچون رنجهایمان،
ساختارِ زندگی را جریان میدهند.
🎵 مذبله هایی بی ارزش که بیهودگیشان،
وابستهام کرده اند به این دنیای بیدزده.
🎵 وای که بهتر میبود اگرهمه این کهنهآلات را دور میریختم؛
تا اینکه با فکر کردن بیهوده به آن سرگیجه بگیرم.
چیزهایی که از نیاکانت به ارث بردهای،
برای افزودن به مال ومنال خویش گردآوردهای.
چیزی که سودمند نباشد، بی گمان باریست بر دوش؛
و آنچه مفید باشد در چشم زدنی پدیدار گردد.
🎵 چه نیک بخت است آنکه همچو امیدی دارد؛
در این اقیانوس مملو از خطا شناور ماندن!
🎵یکی از رنگی ترین و واید ترین تصویر های که کتابی باعث شده تصور کنم:
تماشا کن، چگونه شعله ارغوانی و تابناکِ خورشید در حال مرگ.
از میان سبز تودههای پیچخورده و سنگ فرش شده کلبهها،
سوسو میزند در افق، غرق شده و دور میشود.
و از پیاش روز، عمر خویش از کف مینهد؛
اما او همچنان رهسپار، تا در جایی دیگر،
روزی دیگر و حیاتی دیگر سر از خاک بر آرد.
آه! کاش بالهایی می داشتم تا ترک زمین گویم؛
در پی خورشید، سیرکنان در مدار جاویدش، مینگریستم، پرتو ابدی غروبش.
از ایوان لاجورد افق، همپای گردونه آفتاب،
گسترهی دنیای خاموش زیر پاهایم،
کوهسارهایی همه شعله ور، درههایی غنوده،
در آغوش امن سایههای تیره،
غلیان نهرهای نقرهفام، بر بستر جویبارهای زربفت.
و هیچ چیز که از پرواز خداگونهام باز دارد؛
توانش نیست.
کوههای سرکش و همه دامنه و گردنههایش،
و اینک اقیانوس، با سواحل داغ و آرامش بخش،
خویش را به اهتزاز می آرد.
... آه! روح با سبک بالی به پرواز میآید،
حال آنکه تن برای همراهیاش بالی ندارد.
🎵 نفرین بر رویاهای پوچی که در آن گمراهانه،
تظاهر می داریم به اینکه شهرت، نام ناپایدارمان را؛
جاودان میسازد
🎵 مانند یک بیماری همیشگی که فراگیر شده است؛
دست در گریبان است، از نسلی به نسل دیگر.
و رخنه میکند آرام، از جایی به جای دیگر.
خرد دیوانگی میشود و نعمت عذاب،
پس وای بر آن که بازمانده آن نسلهاست؛
که از قوانینی که با ما زاده شده است،
افسوس! هیچ سخنی در کار نیست.
🎵خاکستری، دوست گرانقدرم تئوری!
و سبز است درخت زربافت زندگی.
Grau, teuer Freund , ist alle theorie
Und grun ist des Lebens goldner Baum
فلسفه معروف گوته که تجربه زندگی را در تحرک میداند. (کسبِ رنگ خالص زندگی تنها با فعالیت است مه به دست نیآید اما با تفکر و پیشبینی محض تنها نتیجهای مبهم و محو به رنگ خاکستری عاید خواهد شد.)
🎵 تو که با شیطان هم پیالهای،
آیا می هراسی از چنین شعلهای؟
🎵 کلیسا معدهی بسیار خوبی دارد؛
سرزمینهای بسیاری را بلعیده،
و هرگز هم به سوهاضمه دچار نشده.
بانوان عزیز! تنها کلیساست که میتواند؛
مال حرام را هضم نماید!
...
زنجیرها و بندهای طلا را طوری گرفت؛
انگار که میوهای آلوده به گل و لایاند.
تشکر کرد، اما به اندازهی سبدی پر از گردو؛
نه بیش و نه کمتر از آن.
در عوض سعادتِ آسمانی را به ایشان وعده داد؛
و آنها نیز با خوشحالی باورش داشتند.
( گوته در مقابل مذهبیون که به وی تاخته و او
را به توهین به انجیل متهم کردند به کنایه میگفت که این سخنان را نه من بلکه مفیستوفلس که شخصیت منفی و تیره داستان است عنوان کرده است.)
🎵 در هر شادی، اندکی رنج است؛
و پایان هر دردی نیز آرامش درونی است.
🎵 چگونه بود کهه برای توصیف سیاهبختی دیگران، جز کلماتی زننده در ذهن نمییافتم؟
چگونه سیاهکاریشان را بیش از آنچه بود مینمایاندم؛
با آنکه در چشم خویش چندان زشت نمیافتم.
و گناهشان را چندان بزرگ نمیدیدم؛
باز بر خود نقش صلیب میکشیدم.
🎵
تو زشتکاری خود با گناهی نهان آغاز کردی؛
...
ننگ، آنگاه که زاده گشت،
پنهان به جهان آورده گشت.
در حریر قیرگونِ شب به حجابش کشیدند؛
چشم و گوشهایش را به مهر بستند.
میخواستند به شوق که به قتلش رسانند؛
اما بزرگ گردید و رشد کرد.
نگشت نه تنها زیبا و دلپسند،
که هر روز نیز نفرت انگیزتر از روز قبل،
چهرهی کریهاش را به نمایش گذارد؛
در روز روشن، برهنه وبیحجاب.
🎵 آه این بانوی عموزادهام! اوقاتم را تلخ میسازد؛
انجام شده را میسازد و ساخته شده را عرضه میدارد.
زایش هر نویی را به تأخیر میاندازد،
تنها روشهای نوست که چشمان را خیره می سازد.
🎵 هر گردبادی به سمت بالا جریان مییابد؛
پندارت این است که تو خود میرانی،
حال آنکه همان جریان است که تو را میراند.
🎵 اگر در هر گام سرزنش بر کلامش جاری نکند؛
آن گام را برداشته نشده میپندارد.
آنچه بیش از همه او را میآزارد،
آن است که پیشرفت دیگران را ببیند.
اگر کسی در حلقهای به دور خود بچرخد،
آنچنان که در آسیای فرسوده خود میگردد؛
آنگاه هرچیزتان را خوب و شایسته میدید،
گوته با توجه به زمانه ای که توش میزیسته حرف ها و جهت گیری های مخالف با اکثریت هم داشته و واقعا اون قسمت ها و ابراز شجاعانه وهوشمندانهاش برام ارزشمند بود
مثلا اشاره به گرد بود زمین
یا انتقاد به کلیسا
توصیفات یه قسمتایی خیلی زیبا بود و هرچند چشمان خسته بودن نمیتونستم از شدت زیبایی، کتاب رو ببندم.
قبل از شروع کتاب، انتظار داشتم سخت خوان باشه و مثل یک «باید» و «وظیفه» بخونمش ولی قسمت هایی بود که از درجه لذتی که کتاب بهم میداد مبهوت میشدم.
البته جاهاییم بود که دیگه انقدر به اساطیر یونان ربط پیدا میکرد و پر از استعاره رفرنس بود که آهنگ ابیات از دستم در می رفت، اطلاعات زیاد بود و هضمش دشوار، میدیدم که فقط دارم پانویس کتاب میخونم و این خسته کننده اش میکرد مثلا قسمت رویای شب والپورگیس
(احتمالا کتاب هر خطش پر لذت و نکته بینی باشه برای کسی که به شرایط اجتماعی سیاسی اروپا در زمان نوشتار کتاب مسلط باشه و تبار خدایان یونانی هم به خوبی بشناسه)
به واسطه فاوست پیش از پیش ترغیب شدم اطلاعاتمو در مورد اساطیر و تئوگونی و تبار خدایان افزایش بدم.
در نهایت شرمندگی شخصیت مفیستوفلس برام جالب بود و حس میکنم خیلی از عقاید گزنده از زبان این شخصیت بیان شد و اعتراضیم نمیشد کرد چون راحت میشد در جواب گفت خب شیطانه دیگه از شیطان چه توقعی دارین! ولی صداقت وگزندگیبعضی از حرفاشو دوس داشتم و همینطور روش گوته
برای بیان این صحبتا...
🎵 چگونه است که از سرِ انسانهای بیخرد،
هرگونه امید محو نمیگردد؛
وقتی که از دیدن چیزها فقط ظاهرش را میبینند.
و این یکی، حریصانه زمین را به طمع گنج می کاود؛
اما به محض یافتن کرمی، از خوشحالی سر از پا نمیشناسد!
🎵 آه! که اعمالِ ما، همچون رنجهایمان،
ساختارِ زندگی را جریان میدهند.
🎵 مذبله هایی بی ارزش که بیهودگیشان،
وابستهام کرده اند به این دنیای بیدزده.
🎵 وای که بهتر میبود اگرهمه این کهنهآلات را دور میریختم؛
تا اینکه با فکر کردن بیهوده به آن سرگیجه بگیرم.
چیزهایی که از نیاکانت به ارث بردهای،
برای افزودن به مال ومنال خویش گردآوردهای.
چیزی که سودمند نباشد، بی گمان باریست بر دوش؛
و آنچه مفید باشد در چشم زدنی پدیدار گردد.
🎵 چه نیک بخت است آنکه همچو امیدی دارد؛
در این اقیانوس مملو از خطا شناور ماندن!
🎵یکی از رنگی ترین و واید ترین تصویر های که کتابی باعث شده تصور کنم:
تماشا کن، چگونه شعله ارغوانی و تابناکِ خورشید در حال مرگ.
از میان سبز تودههای پیچخورده و سنگ فرش شده کلبهها،
سوسو میزند در افق، غرق شده و دور میشود.
و از پیاش روز، عمر خویش از کف مینهد؛
اما او همچنان رهسپار، تا در جایی دیگر،
روزی دیگر و حیاتی دیگر سر از خاک بر آرد.
آه! کاش بالهایی می داشتم تا ترک زمین گویم؛
در پی خورشید، سیرکنان در مدار جاویدش، مینگریستم، پرتو ابدی غروبش.
از ایوان لاجورد افق، همپای گردونه آفتاب،
گسترهی دنیای خاموش زیر پاهایم،
کوهسارهایی همه شعله ور، درههایی غنوده،
در آغوش امن سایههای تیره،
غلیان نهرهای نقرهفام، بر بستر جویبارهای زربفت.
و هیچ چیز که از پرواز خداگونهام باز دارد؛
توانش نیست.
کوههای سرکش و همه دامنه و گردنههایش،
و اینک اقیانوس، با سواحل داغ و آرامش بخش،
خویش را به اهتزاز می آرد.
... آه! روح با سبک بالی به پرواز میآید،
حال آنکه تن برای همراهیاش بالی ندارد.
🎵 نفرین بر رویاهای پوچی که در آن گمراهانه،
تظاهر می داریم به اینکه شهرت، نام ناپایدارمان را؛
جاودان میسازد
🎵 مانند یک بیماری همیشگی که فراگیر شده است؛
دست در گریبان است، از نسلی به نسل دیگر.
و رخنه میکند آرام، از جایی به جای دیگر.
خرد دیوانگی میشود و نعمت عذاب،
پس وای بر آن که بازمانده آن نسلهاست؛
که از قوانینی که با ما زاده شده است،
افسوس! هیچ سخنی در کار نیست.
🎵خاکستری، دوست گرانقدرم تئوری!
و سبز است درخت زربافت زندگی.
Grau, teuer Freund , ist alle theorie
Und grun ist des Lebens goldner Baum
فلسفه معروف گوته که تجربه زندگی را در تحرک میداند. (کسبِ رنگ خالص زندگی تنها با فعالیت است مه به دست نیآید اما با تفکر و پیشبینی محض تنها نتیجهای مبهم و محو به رنگ خاکستری عاید خواهد شد.)
🎵 تو که با شیطان هم پیالهای،
آیا می هراسی از چنین شعلهای؟
🎵 کلیسا معدهی بسیار خوبی دارد؛
سرزمینهای بسیاری را بلعیده،
و هرگز هم به سوهاضمه دچار نشده.
بانوان عزیز! تنها کلیساست که میتواند؛
مال حرام را هضم نماید!
...
زنجیرها و بندهای طلا را طوری گرفت؛
انگار که میوهای آلوده به گل و لایاند.
تشکر کرد، اما به اندازهی سبدی پر از گردو؛
نه بیش و نه کمتر از آن.
در عوض سعادتِ آسمانی را به ایشان وعده داد؛
و آنها نیز با خوشحالی باورش داشتند.
( گوته در مقابل مذهبیون که به وی تاخته و او
را به توهین به انجیل متهم کردند به کنایه میگفت که این سخنان را نه من بلکه مفیستوفلس که شخصیت منفی و تیره داستان است عنوان کرده است.)
🎵 در هر شادی، اندکی رنج است؛
و پایان هر دردی نیز آرامش درونی است.
🎵 چگونه بود کهه برای توصیف سیاهبختی دیگران، جز کلماتی زننده در ذهن نمییافتم؟
چگونه سیاهکاریشان را بیش از آنچه بود مینمایاندم؛
با آنکه در چشم خویش چندان زشت نمیافتم.
و گناهشان را چندان بزرگ نمیدیدم؛
باز بر خود نقش صلیب میکشیدم.
🎵
تو زشتکاری خود با گناهی نهان آغاز کردی؛
...
ننگ، آنگاه که زاده گشت،
پنهان به جهان آورده گشت.
در حریر قیرگونِ شب به حجابش کشیدند؛
چشم و گوشهایش را به مهر بستند.
میخواستند به شوق که به قتلش رسانند؛
اما بزرگ گردید و رشد کرد.
نگشت نه تنها زیبا و دلپسند،
که هر روز نیز نفرت انگیزتر از روز قبل،
چهرهی کریهاش را به نمایش گذارد؛
در روز روشن، برهنه وبیحجاب.
🎵 آه این بانوی عموزادهام! اوقاتم را تلخ میسازد؛
انجام شده را میسازد و ساخته شده را عرضه میدارد.
زایش هر نویی را به تأخیر میاندازد،
تنها روشهای نوست که چشمان را خیره می سازد.
🎵 هر گردبادی به سمت بالا جریان مییابد؛
پندارت این است که تو خود میرانی،
حال آنکه همان جریان است که تو را میراند.
🎵 اگر در هر گام سرزنش بر کلامش جاری نکند؛
آن گام را برداشته نشده میپندارد.
آنچه بیش از همه او را میآزارد،
آن است که پیشرفت دیگران را ببیند.
اگر کسی در حلقهای به دور خود بچرخد،
آنچنان که در آسیای فرسوده خود میگردد؛
آنگاه هرچیزتان را خوب و شایسته میدید،
October 12, 2007
Goethe’s Faust is a novel rich in metaphor, elaborate verse, imagery, depth, and meaning that not only employs symbolic characters and scenes, but also through such literary techniques weaves its main philosophy of striving and experience as mankind’s rightful path.
Ironically, Faust reveals his disapproval for books as a true source of knowledge in understanding the world; we must turn to life and living, and experience instead. I call this ironic because while he denounces books, Faust is a book. The text itself seems to imply that although it’s imbued with intense profundity, one must “live” it in order to truly understand it. That is to say, reading doesn’t do its inherent meaning justice.
This does not, however, mean that Goethe’s Faust is inaccessible and as useless as the moth and cobweb infested library of Faust’s room, instead, Goethe breaks this obstacle to grant the reader a qualitative experience of his philosophy that sidesteps the barriers of denotation. since Goethe presents us a Play as opposed to a documentation of thought on his philosophies, he doesn’t tell us about striving and experience, he shows us.
Ironically, Faust reveals his disapproval for books as a true source of knowledge in understanding the world; we must turn to life and living, and experience instead. I call this ironic because while he denounces books, Faust is a book. The text itself seems to imply that although it’s imbued with intense profundity, one must “live” it in order to truly understand it. That is to say, reading doesn’t do its inherent meaning justice.
This does not, however, mean that Goethe’s Faust is inaccessible and as useless as the moth and cobweb infested library of Faust’s room, instead, Goethe breaks this obstacle to grant the reader a qualitative experience of his philosophy that sidesteps the barriers of denotation. since Goethe presents us a Play as opposed to a documentation of thought on his philosophies, he doesn’t tell us about striving and experience, he shows us.
November 8, 2023
👺Mephistopheles, that old devil, tempts Faust, who, in exchange for his soul, is granted the magic he believes will give him all the godlike power and love he craves.
This causes all sorts of destruction and heartbreak to those closest to him. Will he be damned and lose his soul? Only at the very end do we find out.
Years later Goethe added Act 2.
👹The story, originally written as a stage play, is firmly part of our mythology now. I suppose most cultures know something about it or have their own versions of it.
This causes all sorts of destruction and heartbreak to those closest to him. Will he be damned and lose his soul? Only at the very end do we find out.
Years later Goethe added Act 2.
👹The story, originally written as a stage play, is firmly part of our mythology now. I suppose most cultures know something about it or have their own versions of it.
February 22, 2012
Who knew that this book, one of the most famous in literature, was actually two separate works that seem only slightly related? I certainly didn't. The first part is a fairly ordinary play that gets dunked in profundity through the inclusion of Mephistopheles. There are only a few main characters here, and there wasn't much depth to any of them. I've heard that the German is tremendously good, but it's impossible for me to judge. I switched back and forth in this part between two different translations. I liked the free kindle version better than my Oxford edition, but I wasn't really taken in with the language of either, except in some small parts. On its own, I have to say that I enjoyed the first part.
The second part is unlike anything I've ever read. If I didn't know that it had been invented in my lifetime, I'd swear that Goethe got himself into some very, very fine LSD. It's very weird, jumps all over the place, and gives the impression that anything, no matter how fantastical, could be made to occur. It feels like it could never be produced as a play. There are way too many speakers -- I hesitate to call any of them characters. In this second part, a mood might start talking, or a mythological creature, or an inanimate object, or anything at all for that matter. And I have no idea how, if staged, anyone would know which "character" was speaking at any time. (Unless, like in a childrens play, Thales or Speed-Booty, wore a placard saying who he was.)
The stage directions can be just as dumbfounding. At one point, one direction says: "To the younger members of the audience who did not applaud." Now how exactly is one supposed to pull that direction off in a manner that is at all intelligible? What if the entire audience applauded? It is one of the stranger directions I've ever seen in a play, and it made me think that Goethe may have been over a hundred years ahead of his time. Or maybe he just realized that this was a "play" that would only ever be read, and he was just having some fun with the directions.
Ultimately, this work is a long piece of lyric poetry, and I'm willing to accept that in German it is remarkably great poetry. I suppose that people who don't speak English might have just as hard a time figuring out what's so great about Shakespeare, and that makes me sad. But, reading Proust made me decide to learn French. I never felt anything like that tug towards German while reading Faust.
The second part is unlike anything I've ever read. If I didn't know that it had been invented in my lifetime, I'd swear that Goethe got himself into some very, very fine LSD. It's very weird, jumps all over the place, and gives the impression that anything, no matter how fantastical, could be made to occur. It feels like it could never be produced as a play. There are way too many speakers -- I hesitate to call any of them characters. In this second part, a mood might start talking, or a mythological creature, or an inanimate object, or anything at all for that matter. And I have no idea how, if staged, anyone would know which "character" was speaking at any time. (Unless, like in a childrens play, Thales or Speed-Booty, wore a placard saying who he was.)
The stage directions can be just as dumbfounding. At one point, one direction says: "To the younger members of the audience who did not applaud." Now how exactly is one supposed to pull that direction off in a manner that is at all intelligible? What if the entire audience applauded? It is one of the stranger directions I've ever seen in a play, and it made me think that Goethe may have been over a hundred years ahead of his time. Or maybe he just realized that this was a "play" that would only ever be read, and he was just having some fun with the directions.
Ultimately, this work is a long piece of lyric poetry, and I'm willing to accept that in German it is remarkably great poetry. I suppose that people who don't speak English might have just as hard a time figuring out what's so great about Shakespeare, and that makes me sad. But, reading Proust made me decide to learn French. I never felt anything like that tug towards German while reading Faust.
January 4, 2013
Sitting on the shelf with the children of Homer, Virgil, Dante, Shakespeare, Milton and Coleridge, Goethe's Faust is amazing in its poetry and depth. There are parts of this play/poem which seem to capture the whole drama of Man's fall and redemption within a single rhyming couplet. David Constantine's translation modernizes this amazing piece of High German lit, but George Madison Priest's translation seems, at least to me, to have a more seductive flow and more tempting poetry.
September 12, 2024
The story of Dr. Faustus, as told by Christopher Marlowe, was one of the stories that intrigued me the most as a kid. But when I was forced to read Goethe's poetic take on this old story in high school, I couldn't stand it. My 16-year-old brain thought this was the most pretentious schlock that the Germans ever inflicted upon the world of art.
Decades later, here I am giving it a second look. I initially tried to listen to it on audio, thinking a performance would really bring it to life. After all, this version was meant for the stage. Well, that didn't help! I tried about five different performances from Everand and YouTube, and the lines were all spoken in community theater monotone. So far, "Faust" was as incomprehensible as my alcoholic neurology professor lazily reading straight out of Kaplan and Saddock in a lecture hall full of sleepy medical students the morning after Mardi Gras.
But I have a beautiful leather-bound copy on my shelf that I managed to lug around with me unread since the mid-Nineties, so I decided to crack that thing open.
And I had a completely different experience. I was surprised at how well Goethe was able to convey so many deep moments of human psychology in just a few lines of verse, and how funny the book could really be.
The play is divided into two parts, which were, in fact, originally published separately. It is Part One that most people think of when they consider the story of "Faust". It contains the familiar plot of a middle-aged doctor who grows frustrated that, after a long career of study and practice in science, medicine, and metaphysics, he is no closer to understanding the mysteries of life, the universe, and everything. I was shocked at how much Faust was actually just like me! Only I have never turned to magic as a means of gaining some pretense of control over my life, despite all the Psychick TV, The Anti-Group, Coil, and Current 93 albums I've listened to.
But why do I say that Faust reminds me of myself? Well, I think most of us can relate to Faust. When we are young, we desire and we strive to meet those desires, but we think we have a lot of time to meet those goals. The next thing we know, we are old, and likely have not achieved what we'd hoped--and even if we did, this served as only a temporary satiation. We ultimately do not stop striving. And so this is why philosophers like Schopenhauer adore Goethe, who inspired a system of escape from such silliness. But am I silly for wanting to learn as much as I can before I shed this mortal coil? Am I silly for studying, like Faust, medicine and philosophy, especially at my age, when multiple lifetimes would never bring me understanding? Perhaps. Or perhaps happiness is in the journey, not in the destination.
Mephistopheles, in the meantime, is a demon who makes a wager with God that he can lead Faust astray. This idea is straight out of the Book of Job in the Old Testament. He appears to Faust first as a poodle and then as a student, and together they go on multiple debaucherous adventures. Throughout the play, it is Mephistopheles that has some of the best dialogue ever put to pen. I can easily see how he could sweet talk his way into Faust's soul and even into the angelic heavenly court to make a gambling bet with God! The little slick bastard!
The play ends rather abruptly after Faust falls in love with an innocent woman named Gretchen (or is it Margaret?) and inadvertently causes her destruction. We don't know what becomes of Faust or Mephistopheles. Oddly enough, this is where the play ended for many years until Goethe finished his second part, but even today, the two parts are not often produced in their entirety.
I'll review Part Two separately, so I'll just leave you with an encouragement to at least give Part One a try. This part of the play is not very long and contains most of the elements that fans of fantasy will appreciate. At this point, I still don't think it's the finest work of literature I've read, perhaps because I don't understand German, but I certainly did enjoy it.
And if any of you have any recommendations for a really good English or French audio or live performance, let me know in the comments below!
Decades later, here I am giving it a second look. I initially tried to listen to it on audio, thinking a performance would really bring it to life. After all, this version was meant for the stage. Well, that didn't help! I tried about five different performances from Everand and YouTube, and the lines were all spoken in community theater monotone. So far, "Faust" was as incomprehensible as my alcoholic neurology professor lazily reading straight out of Kaplan and Saddock in a lecture hall full of sleepy medical students the morning after Mardi Gras.
But I have a beautiful leather-bound copy on my shelf that I managed to lug around with me unread since the mid-Nineties, so I decided to crack that thing open.
And I had a completely different experience. I was surprised at how well Goethe was able to convey so many deep moments of human psychology in just a few lines of verse, and how funny the book could really be.
The play is divided into two parts, which were, in fact, originally published separately. It is Part One that most people think of when they consider the story of "Faust". It contains the familiar plot of a middle-aged doctor who grows frustrated that, after a long career of study and practice in science, medicine, and metaphysics, he is no closer to understanding the mysteries of life, the universe, and everything. I was shocked at how much Faust was actually just like me! Only I have never turned to magic as a means of gaining some pretense of control over my life, despite all the Psychick TV, The Anti-Group, Coil, and Current 93 albums I've listened to.
But why do I say that Faust reminds me of myself? Well, I think most of us can relate to Faust. When we are young, we desire and we strive to meet those desires, but we think we have a lot of time to meet those goals. The next thing we know, we are old, and likely have not achieved what we'd hoped--and even if we did, this served as only a temporary satiation. We ultimately do not stop striving. And so this is why philosophers like Schopenhauer adore Goethe, who inspired a system of escape from such silliness. But am I silly for wanting to learn as much as I can before I shed this mortal coil? Am I silly for studying, like Faust, medicine and philosophy, especially at my age, when multiple lifetimes would never bring me understanding? Perhaps. Or perhaps happiness is in the journey, not in the destination.
Mephistopheles, in the meantime, is a demon who makes a wager with God that he can lead Faust astray. This idea is straight out of the Book of Job in the Old Testament. He appears to Faust first as a poodle and then as a student, and together they go on multiple debaucherous adventures. Throughout the play, it is Mephistopheles that has some of the best dialogue ever put to pen. I can easily see how he could sweet talk his way into Faust's soul and even into the angelic heavenly court to make a gambling bet with God! The little slick bastard!
The play ends rather abruptly after Faust falls in love with an innocent woman named Gretchen (or is it Margaret?) and inadvertently causes her destruction. We don't know what becomes of Faust or Mephistopheles. Oddly enough, this is where the play ended for many years until Goethe finished his second part, but even today, the two parts are not often produced in their entirety.
I'll review Part Two separately, so I'll just leave you with an encouragement to at least give Part One a try. This part of the play is not very long and contains most of the elements that fans of fantasy will appreciate. At this point, I still don't think it's the finest work of literature I've read, perhaps because I don't understand German, but I certainly did enjoy it.
And if any of you have any recommendations for a really good English or French audio or live performance, let me know in the comments below!
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