How did Faust end? Doctor Faustus - who is he? It's a nasty day

Three introductory texts open the tragedy.

The first one is dedication to friends of youth, a memoir full of lyricism and tenderness about those who were with Goethe while working on the poem.

What follows Theatrical introduction, where a Theater Director, a Poet and a Comic Actor argue about the role of art in society. The director, a down-to-earth cynic, firmly believes in the serving role of art in general and theater in particular. Simple jokes, funny situations, intensity of primitive passions - there is no better way to lure the viewer into the theater and make the performance successful. The Comic Actor agrees with him, suggesting that the Poet should not think too much about eternal values ​​and advocating for momentary success. The poet opposes the use of high art, bestowed by heaven itself, as entertainment for an undemanding public. Concluding the argument, the Director proposes to get down to business decisively and reminds that the Poet and Actor have all the technical wonders of his theater at their disposal.

Prologue in the sky.

The sublime and pompous glorification of the miracles of God, proclaimed by the archangels, is interrupted by Mephistopheles, who points out, with the skeptical charm characteristic of the “spirit of denial”, the plight of people. Mephistopheles believes that the reason given by the Lord is of no use to people, “He calls this spark reason / And with this spark the cattle live as cattle.” The Lord points Mephistopheles to Faust as an example of the use of reason for the benefit of knowledge, and assures that Faust will overcome any difficulties along this path. Mephistopheles is sincerely surprised, believing the duality of the doctor’s nature to be the key to his downfall. This is how the argument goes. Faust was given by the Lord to Mephistopheles with the parting words to perform any experiments on him, because “.. by instinct, of his own accord/ he will break out of the dead end.” Another batch of the eternal struggle between light and darkness, good and evil begins.

First part

The subject of the dispute, the great scientist Faust spends a sleepless night in his cell, cluttered with tomes, instruments, scrolls and other attributes of the world of a scientist, striving at all costs to master the secrets of the universe and comprehend the laws of the universe. Doctor Faustus does not delude himself, admitting that despite the broadest knowledge in almost all areas of science, “I mastered theology, / pored over philosophy, / plowed jurisprudence / and studied medicine,” which he acquired during his life, true knowledge of nature He never managed to acquire everything that exists. An attempt to appeal to the most powerful spirit only once again demonstrates to the scientist the insignificance of his earthly deeds. The grief and despondency in which the doctor was immersed could not be dispelled by a visit from his neighbor, the schoolboy Wagner. This character is an excellent example of the desire to “gnaw the granite of science,” replacing true knowledge and inspiration with skillful intonations and borrowed thoughts. The schoolboy's arrogant stupidity irritates the doctor, and Wagner is thrown out. Gloomy hopelessness, the bitter realization that life was spent among retorts and flasks, in the vain darkness of constant searches, lead Faust to attempt suicide. The doctor intends to drink the poison, but at the moment when the cup is already raised to his lips, the Easter message is heard. The holy holiday saves Faust from death.

The scene of a folk festival, where in the crowd one can observe students, maidservants, noble ladies, burghers, beggars, light dialogues and funny jokes brings a feeling of light and air, sharply contrasting with the night tossing.

Faust, in the company of his student, Wagner, joins the society of cheerful townspeople. The veneration and respect of the surrounding residents, caused by the doctor’s medical successes, does not please him at all. The dual desire to simultaneously know all the earthly secrets and transcendental miracles evokes in Faust a call to the heavenly spirits that would help him master the truth. On the way, a black poodle meets them, and Faust takes him to his house.

The hero tries to cope with loss of spirit and lack of will, taking up the translation of the New Testament. According to his theory of active cognition, the doctor translates the Greek “logos” as “work,” interpreting the first phrase of the canon as “In the beginning was the work.” But the poodle's antics distract him from his scientific works. And suddenly Mephistopheles appears before Faust and the readers in the form of a wandering student.

Faust’s wary question about who the newcomer is gives rise to the famous remark “I am part of that force that always wants evil, but does good.” The doctor's new interlocutor, it turns out, is no match for the dull and stupid Wagner. Equal to the doctor in strength and sharpness of mind, in breadth of knowledge, Mephistopheles caustically and accurately laughs at human weaknesses, as if seeing through the tossing of Faust. Having put the doctor to sleep with the help of a choir and a round dance of spirits, Mephistopheles disappears, leaving the dozing scientist intrigued by the unexpected meeting.

The second visit of Mephistopheles, already in the guise of a secular dandy, entails an agreement according to which Faust gives his soul to the power of the devil. Blood seals the deal, and on Mephistopheles' wide cloak, like a flying carpet, the heroes set off on a journey. Faust is now young, handsome, full of strength - all the pleasures and illusions of the world are at his service. The first experience is love for Margarita, which at first seems to be the only possible earthly happiness, but soon turns into a tragedy, entailing death and grief.

Second part

The second part of the travels of Faust and Mephistopheles leads us to the imperial court, in the description of which one of the German states is easily guessed.

Act one begins with a scene of Faust resting in a beautiful summer meadow. The spirits of light evoke light, pleasant dreams and soothe the wounded and tormented soul of the doctor, who is punishing himself for the death of Margarita.

The next scene takes the heroes and spectators to the court. Luxury and gilding that cover up total impoverishment and impoverishment. The emperor's advisers are worried, but Mephistopheles, the cheerful prankster devil, throws a ball, in the whirlwind of which he manages to concoct a cunning plan to “improve” the financial situation. Coupons are used, signed by the hand of the emperor, whose nominal value, indicated on paper, is covered either by the treasury or by the “wealth of the bowels of the earth.” Of course, sooner or later the scam will burst, but for now the whole country is rejoicing, and doctors and the devil are celebrated as if they were heroic deliverers.

After the ball, in one of the dark galleries of the palace, Faust receives from the tempter an inconspicuous key at first glance, which turns out to be a pass to magical land ancient gods and heroes. From his wanderings, Faust brings Paris and Helen to the imperial court, thirsting for more and more entertainment. Secular ladies, according to tradition, criticize the appearance of a beauty, but Faust feels with his whole being that before him is an ideal female beauty, a marvelous fusion of spiritual and aesthetic traits. The Doctor strives to keep Elena, but the evoked image does not last forever, and soon disappears, leaving Faust in anguish.

Act two. The cramped Gothic room where Mephistopheles brings the doctor turns out to be his old laboratory. Heaps of volumes, receipts, rags and dust. While the doctor is in oblivion, Mephistopheles subtly mocks the stupidity and pomposity of Faust's former students. Having driven them away, Mephistopheles looks into the laboratory, where a diligent student, who now imagines himself as a creator, is trying to grow an artificial man, a homunculus, in a flask. The experiment turns out to be successful, and another creature from the world of shadows is born in the flask. The homunculus, together with Mephistopheles, decide to drag Faust into the other world in order to break the enchanted dream and bring the doctor to his senses.

Staying beyond the boundaries of reality, the doctor meets mythical and wonderful creatures, talks with sphinxes and lamias, sirens and Charon, who tells him where to find the beautiful Helen. Faust is unstoppable; the desire for a goal makes him obsessed. Sirens and Nereids, a homunculus and Faust, together with Mephistopheles, swirl in a round dance of either visions or incredible adventures, among which the homunculus sounds a monologue about the dual nature of his nature, which does not allow him to find peace and happiness.

Act three shows us the beautiful Helen at the gates of the palace of Menelaus in Sparta. Anxious and sad, Elena enters the palace, not knowing what to expect from the future. The magnificent verse, which Goethe brought as close as possible to the Greek hexameter, takes viewers back to the times of ancient tragedies. The events that unfold further in the palace require readers to know ancient Greek myths and ancient stories, referring to the times of internal strife in the country, when Athens fought with Sparta. Helen, together with her maids, must, according to the parka of Forkiada, accept death, but fog comes, with which the parka dissipates, and the queen finds herself in the courtyard of the castle. Here she meets Faust.

Handsome, wise and strong, like the embodiment of a dozen ancient Greek kings, Faust receives Helen as his beloved, and the result of this wondrous union is the son Euphorion, whose image Goethe deliberately gave a Byronic aura. A charming picture of family happiness, but the enjoyment of existence is suddenly interrupted by the disappearance of Euphorion. The young man is attracted by the struggle and challenge of the elements, he is carried upward, leaving only a shining trail. At parting, Elena hugs Faust and notes that “... the old saying is coming true for me, that happiness does not coexist with beauty...”. In Faust’s arms only her clothes remain, as if signifying the transitory nature of bodily beauty.

Act four. Return.

Mephistopheles, like any inhabitant of the other world who does not disdain exotic means of transportation, in seven-league boots returns Faust from ideally hexametric Greece to his native and nearby Middle Ages. Various options and the plans for how to achieve fame and recognition, which he offers to Faust, are rejected by the doctor one after another. Faust admits to the annoyed devil that he would like to try himself as the creator of the earth's firmament, having won a piece of fertile land from the sea. Mephistopheles objects to this that a great idea can wait, but now we need to help the emperor, who, having blessed and carried out a scam with securities, did not live for long in pleasure, and is now in danger, risking losing his throne, or even his life. A brilliant military operation, where our heroes demonstrate knowledge of military tactics and strategy, as well as undoubted sabotage abilities, ends in a resounding victory.

Act five, in which Faust is determined to realize his plan, which equates him with the demiurge. But bad luck - on the site of the future dam there is a hut of two old men, Philemon and Baucis. And was it in vain that Goethe gave these tertiary characters the names of the ancient Greek embodiments of a happy family old age... Faust offered them another home, but the stubborn ones refuse to leave the hut. Annoyed by the obstacle, Faust asks the devil to help cope with the situation. Mephistopheles resolves the issue in full accordance with the image. The old people, and with them the visiting guest, are killed by the guards, and the hut burns down from an accidental fire. Faustus is in grief, exclaiming and groaning.

The main theme of Goethe's tragedy "Faust" is the spiritual quest of the main character - the freethinker and warlock Doctor Faust, who sold his soul to the devil in order to gain eternal life in human form. The purpose of this terrible agreement is to soar above reality not only with the help of spiritual exploits, but also worldly good deeds and valuable discoveries for humanity.

History of creation

The philosophical drama for reading “Faust” was written by the author throughout his creative life. It is based on the most famous version of the legend of Doctor Faustus. The idea of ​​writing is the embodiment of higher spiritual impulses in the image of a doctor human soul. The first part was completed in 1806, the author wrote it for about 20 years, the first edition took place in 1808, after which it underwent several author's modifications during reprints. The second part was written by Goethe in his old age and published approximately a year after his death.

Description of the work

The work opens with three introductions:

• Dedication. A lyrical text dedicated to the friends of his youth who formed the author’s social circle during his work on the poem.
• Prologue in the theater. A lively debate between a theater director, a comic actor and a poet on the importance of art in society.
• Prologue in Heaven. After discussing the reason given by the Lord to people, Mephistopheles makes a bet with God about whether Doctor Faustus can overcome all the difficulties of using his reason solely for the benefit of knowledge.

Part one

Doctor Faustus, realizing the limitations of the human mind in understanding the secrets of the universe, tries to commit suicide, and only the sudden blows of the Easter gospel prevent him from realizing this plan. Next, Faust and his student Wagner bring a black poodle into the house, which turns into Mephistopheles in the form of a wandering student. The evil spirit amazes the doctor with its strength and sharpness of mind and tempts the pious hermit to again experience the joys of life. Thanks to the concluded agreement with the devil, Faust regains youth, strength and health. Faust's first temptation is his love for Margarita, an innocent girl who later paid with her life for her love. In this tragic story, Margarita is not the only victim - her mother also accidentally dies from an overdose of sleeping pills, and her brother Valentin, who stood up for his sister’s honor, will be killed by Faust in a duel.

Part two

The action of the second part takes the reader to the imperial palace of one of the ancient states. In five acts, permeated with a mass of mystical and symbolic associations, the worlds of Antiquity and the Middle Ages are intertwined in a complex pattern. The red thread runs through love line Faust and the beautiful Helen, the heroine of the ancient Greek epic. Faust and Mephistopheles, through various tricks, quickly become close to the emperor's court and offer him a rather unconventional way out of the current financial crisis. At the end of his earthly life, the practically blind Faust undertakes the construction of a dam. He perceives the sound of shovels of evil spirits digging his grave on the orders of Mephistopheles as active construction work, while experiencing moments of greatest happiness associated with a great deed realized for the benefit of his people. It is in this place that he asks to stop a moment of his life, having the right to do so under the terms of his contract with the devil. Now hellish torments are predetermined for him, but the Lord, appreciating the doctor’s services to humanity, makes a different decision and Faust’s soul goes to heaven.

Main characters

Faust

This is not just a typical collective image of a progressive scientist - it symbolically represents the entire human race. His difficult fate and life path not just allegorically reflected in all of humanity, they point to the moral aspect of the existence of each individual - life, work and creativity for the benefit of their people.

(The image shows F. Chaliapin in the role of Mephistopheles)

At the same time, the spirit of destruction and the force opposing stagnation. A skeptic who despises human nature, confident in the worthlessness and weakness of people who are unable to cope with their sinful passions. As a person, Mephistopheles opposes Faust with disbelief in the goodness and humanistic essence of man. He appears in several guises - now as a joker and joker, now as a servant, now as a philosopher-intellectual.

Margarita

A simple girl, the embodiment of innocence and kindness. Modesty, openness and warmth attract Faust's lively mind and restless soul to her. Margarita is the image of a woman capable of comprehensive and sacrificial love. It is thanks to these qualities that she receives forgiveness from the Lord, despite the crimes she has committed.

Analysis of the work

Tragedy has complex compositional structure- it consists of two voluminous parts, the first has 25 scenes, and the second has 5 actions. The work connects into a single whole the cross-cutting motif of the wanderings of Faust and Mephistopheles. Bright and interesting feature is a three-part introduction, which represents the beginning of the future plot of the play.

(Images of Johann Goethe in his work on Faust)

Goethe thoroughly reworked the folk legend underlying the tragedy. He filled the play with spiritual and philosophical issues, in which the ideas of the Enlightenment close to Goethe resonated. Main character transforms from a sorcerer and alchemist into a progressive experimental scientist, rebelling against scholastic thinking, which is very characteristic of the Middle Ages. The range of problems raised in the tragedy is very extensive. It includes reflection on the mysteries of the universe, the categories of good and evil, life and death, knowledge and morality.

Final conclusion

“Faust” is a unique work that touches on eternal philosophical questions along with the scientific and social problems of its time. Criticizing a narrow-minded society that lives by carnal pleasures, Goethe, with the help of Mephistopheles, simultaneously ridicules the German education system, replete with a mass of useless formalities. The unsurpassed play of poetic rhythms and melody makes Faust one of the greatest masterpieces of German poetry.

The work opens with a lyrical dedication

The poet sadly recalls the irrevocable time of his youth when he decided to write his poem. He dedicates the introduction to the poem to the relatives and friends of his youth, to those who have already died or are far away: “You are with me again, foggy visions that flashed to me long ago in my youth...” The poet gratefully remembers “everyone who lived on that radiant afternoon.” .

After the "Dedication" follows

“Theatrical introduction”, not directly related to the plot of the poem. The theater director, the Poet and the Comic Actor discuss the problems of artistic creativity in a conversation. Should art serve the crowd or remain true to its higher purpose? This conversation is a reflection of Goethe's own views on art.

Prologue in Heaven

The “Prologue in Heaven” contains the plot of the tragedy. The Lord, the archangels (Raphael, Gabriel and Michael) and Mephistopheles act here. The Archangels sing praises to the deeds of Hosiod, who created the Universe. They paint a picture of nature, the greatness of which cannot be comprehended by reason: “In space, embraced by a choir of spheres, the sun gives its voice, completing the prescribed cycle with a thunderclap... And with an incomprehensible speed the Earth rotates below, dividing the circle into the night with terrible darkness and the bright afternoon... “The doxology of the archangels is interrupted by Mephistopheles with his sarcastic remark: “I came to you, God, for an appointment to report on our situation...” Not everything on earth is as beautiful as the archangels just assured in their pompous tirades. On earth, says Mephistopheles, “people fight, toil,” there is “utter darkness, and it’s bad for a person that even I spare him for now.”

A dispute ensues between God and Mephistopheles.

For the first time the name of the learned man Faustus is heard, whom God cites as an example as his faithful and diligent servant. Mephistopheles replies that “this Aesculapius” is not like other slaves, that there is no humility and peace in him. He notes the contradictory, dual nature of Faust:

“He is eager to fight, and loves to take on obstacles, And he sees a goal beckoning in the distance, And he demands stars from the sky as a reward And the best pleasures from the earth, And his soul and his life will never be sweet...”

Mephistopheles believes that he can give Faustus earthly joys that will captivate him and make him forget about his high impulses for knowledge. God allows Mephistopheles to subject Faust to any temptations, to bring him down to any abyss, believing that his instincts will lead Faust out of the dead end. Mephistopheles accepts the argument, he is confident that he will win it, which will force Faust to “crawl in the dung” and “eat... the dust of a shoe.” If Faust admits that he is satisfied with life, his soul will be given to Mephistopheles. God grants Mephistopheles the right to fight for the soul of the scientist. A grandiose-scale struggle between good and evil, the sublime and the base begins.

Scene 2. “At the City Gates”

On a bright holiday, a motley crowd of walking townspeople heads out of town. Faust and his assistant Wagner - a dry pedant, a “boring, narrow-minded scholar” - join the festive crowd. All the surrounding residents revere Faust: he and his father tirelessly treated people, saving them from illness. He was not afraid of either the “pestilence” or the plague. Ordinary townspeople and peasants greet Dok-gor, bow to him and give way. But this sincere recognition does not bring joy to Faust. He is far from overestimating his own merits. To Wagner’s words that a doctor should be proud of such love from the people, Faust replies that he often treated people, without later knowing whether the treatment helped the person and whether he survived. Faust confesses to Wagner:

• “...two souls live in me, And both are at odds with each other. One, like the passion of love, is ardent and greedily clings to the ground entirely, the other is all behind the clouds and would rush out of the body.”
• While walking, a strange black dog accosts Faust and Wagner, which Faust mistook for a werewolf:
• “In circles, reducing their coverage, he is getting closer and closer to us. And, if I’m not mistaken, the flame behind him snakes along the ground of the glades.”
• Wagner reassures Faust: “You see, it’s not a ghost - it’s a simple dog. He grumbles, wags his tail, and lies down on his belly. Everything is like dogs and doesn’t look like a spirit.” Faust takes the dog with him.

Scenes 3 and 4. Faust's Study

Faust in his study

And again he is possessed by painful and grave doubts. At his feet is a black poodle - a dog that pestered him on a walk. In an effort to overcome growing anxiety, “lethargy in thoughts and confusion,” Faust sets about translating into German New Testament.

• “In the beginning was the Word,” he reads in the Gospel. But the interpretation of the Greek “Logos” as “Word” does not suit him, and he tries to substitute other concepts: first “Thought”, then “Power” and, finally, “Deed”. “In the beginning was the Deed!” - the verse says,” exclaims Faust, for for him to act is above all else.

But then a black dog distracts him from his studies

Faust tries to drive him out of the room, but the dog suddenly “puffed up like a bubble,” grew “high and wide” and eventually turned into Mephistopheles, who appears to the doctor for the first time in the guise of a wandering student. Faust is surprised: “That means what the poodle was stuffed with! Was the dog hiding the student inside? “To the owner’s question about his name, the unexpected guest replies that he is “part of that power that does good without number, wishing evil upon everyone... I am a spirit always accustomed to deny.”

The guest chuckles condescendingly at superhuman weaknesses, at the human lot, and admits to Faust that the world has so far endured his attacks “without damage.” Having not come to terms with the Universe as a whole, Mephistopheles harms in small ways:

• “I pestered him with earthquakes, forest fires and floods, - And no matter what! I didn't achieve my goal. Both the sea and the mainland are intact.”

Mephistopheles wants to seduce

Faust to entertain him with the small joys of life and “to confirm a friendly feeling.” He calls upon spirits for help; They lead a “round dance” around the doctor, sing about carnal joys, when “early early and before sunset - songs, festivities and round dances, the sky, the grass. And kisses recklessly...” Faust falls asleep to this round dance, and Mephistopheles meanwhile disappears. In the next scene, Mephistopheles again appears in Faust’s office, but now he has “become flamboyant.” He is wearing “a tight-fitting camisole, a cape on his shoulders, a cock’s feather on his hat, and a sword at his side...” This time, right off the bat, he invites the old hermit to dispel his melancholy and, dressed in a bright dress, “to experience after a long fast what life means.” completeness." Faustus refuses, saying that in any dress he will feel the “melancholy of existence,” that he “rejected life” and longingly awaits death. To this Mephistopheles ironically remarks to him

: “Death is not such a great visitor.” He persuades Faust to stop “flirting with melancholy”, offering him his company and assuring that Faust will not have to be bored with him: “I will give you what the world has not seen.” If the proposed pleasure captures Faust so much that he asks to stop this moment, then he will become the prey of Mephistopheles, and Mephistopheles is free to take his soul.

Faustus eventually agrees to sign a pact with the devil. According to this agreement, Mephistopheles must serve Faust and fulfill all his desires until he exclaims: “Stop, just a moment, you are beautiful!” Faust gives Mephistopheles a receipt signed in blood. Having sealed the agreement with blood, they set off on their journeys - right through the air, on Mephistopheles's widely spread cloak.

Scene 12. Garden

During the time

Between these scenes, youth returned to Faust - thirty years were thrown off his shoulders. Mephistopheles brought Faust together with a witch, who rejuvenated him by giving him a magic drink to drink and made him more receptive to sensual pleasures. Faust is now young, handsome, his blood is boiling, and he no longer knows any hesitation in his determination to experience all the pleasures of life and comprehend the highest happiness. Mephistopheles rejoices that he made him forget about his desire for knowledge and science.

However, what temptation did the lame devil come up with for his charge?

One of them is called Margarita, or Gretchen. She is fifteen years old, she is a simple, pure and innocent girl. Gretchen grew up in a small town where gossips gossip around the well, discussing everyone. Her family is not rich, although her father left a small fortune - both “a garden and a small house in the village.” There is no maid in the house, and the girl has to do all the housework herself. Her brother serves in the army, and her little sister, whom she nursed, recently died. There is a great distance between Faust and Gretchen with her naive simplicity. But this is precisely what captivates Faust in her. Seeing Margarita coming from the church on the street, Faust flared up with insane passion for her. In response to the offer to accompany her, the girl responds with an angry refusal. And then the devil pimp offers his services. Margarita responds to Faust with equally fiery love. They meet in the garden. Margarita picks a chamomile and, tearing off the petals one by one, wonders: “He doesn’t love me. Loves. No... He loves!

Her feeling is immense

We can only guess about its depth and strength if this meek and naive girl not only becomes Faust’s beloved, but also subsequently puts her mother to sleep on his advice so that she does not interfere with their dates. Faust is attracted to this young and inexperienced commoner, perhaps because with her he gains the feeling of beauty and goodness that he had previously strived for. Love gives them bliss, but it also becomes the cause of misfortune.

Scene 19. Night. street in front

Gretchen's home

Margarita's brother, Valentin, hears rumors that his sister, who was previously held up as an example to everyone, can no longer serve as a model of morality. Walking past Gretchen's windows, Valentin accidentally encounters Faust and Mephistopheles. Guessing that one of them is “the sisters’ lover,” he rushes into the fight. At a sign from his lame companion (“Courage, doctor! Sword out! Forward!”) Faust gets involved in battle. Together with Mephistopheles they fight against Valentine, and Faust stabs his beloved's brother to death. Seeing that Valentin is struck by a sword, Faust and his counselor disappear from the scene. Dying, Valentin curses his sister, calls her a whore and betrays her to universal shame.

So Faust fled

from paying for the murder, hastening to get out of the city. What happened to Margarita since then? The unfortunate girl became a serious criminal. As it turned out, she unwittingly killed her mother because she once did not wake up after taking a sleeping potion. Later, Margarita gave birth to a girl and, fleeing from people’s rumors, drowned her in the river. Now, branded a murderer and a harlot, she is imprisoned and awaiting execution. Faust learns about this misfortune and attacks Mephistopheles with reproaches. Mephistopheles reflects these reproaches with a cold smile, but promises to help him free Margarita. Faust enters the prison where Gretchen is languishing awaiting execution.

Margarita's mind was clouded

Bare-haired, barefoot, she sings a children's song in captivity and trembles at every rustle. When Faust appears, she does not recognize him. Taking him for an executioner, she begs to be allowed to live until the morning. He listens to her crazy talk in despair. She says something about a child who needs to be fed, asks not to lead her under the ax. Faust throws himself on his knees in front of her, calls her name (“Gretchen, Gretchen!”), breaks the shackles. Finally she realizes that this is a friend. Margarita's chains are falling. She can't believe her happy salvation. Faust hurries her: there is little time, she must run, leave the dungeon as quickly as possible. But Margarita hesitates, she reproaches her lover that he has become cold to her embrace, “forgot how to kiss”:

• “How indifferent you have become! Where have you lost your former passion? You were mine. Who stole you?

Margarita tells Faust

That she “put her mother to sleep... to death, and drowned her daughter in a pond.” Faust again asks her to hurry: “Let's go! Trust, don’t delay!” She tells Faust that there is no fate worse than “staggering around with a sick conscience, always looking out for enemies and detectives in ambush behind!” - and refuses to follow him into freedom. He decides to take her away by force. Mephistopheles, who appears at the door, hurries Faust. They leave the prison together, without persuading Margarita to come with them. “I submit to God’s judgment,” says the girl. Leaving, Mephistopheles says that Margarita is condemned to torment. However, a voice from above says: “Saved!” Preferring martyrdom and repentance to the escape arranged by the devil, Margarita saved her soul.

The Last Monologue of Faust (Part II)

Faust is old again

and feels that life is again approaching the end. Another blow awaits him - he goes blind and finds himself in complete darkness. A blind and weak old man standing on the edge of his grave, Faust still strives to fulfill his cherished dream: to build a dam in order to win back a piece of land from the sea, which was flooded every year by the sea tide, depriving the land of fertility.

The denouement is approaching

Mephistopheles foresees Faust's imminent death and summons lemurs, evil spirits, to prepare his grave. He hopes that Faust's soul will fall into his hands. Blind Faust hears the sound of shovels, and it seems to him that his people are busy building a dam. He is overcome by frantic joy and energy - he thinks that his cherished goal is already close. However, the blind Faust is unaware that these are not builders - evil spirits are swarming around him, digging his grave. Inspired by the idea of ​​creation, he continues to give commands: “Get up to work in a friendly crowd! Scatter the chain where I indicate. Picks, shovels, wheelbarrows for diggers! Align the shaft according to the drawing!” In his mind, such a grandiose picture of a rich, fertile and prosperous country arises, where “a free people in a free land” lives, that he utters secret words that he would like to stop the moment.

• I would like to see you on days like this.
• Then I could exclaim: “A moment!
• Oh, how wonderful you are, wait!
• The traces of my struggles are embodied,
• And they will never be erased."
• And, anticipating this triumph,
• I am experiencing the highest moment right now.

So the fateful words are spoken

Faust falls into the arms of the lemurs and dies. Mephistopheles is already anticipating the moment when, according to the agreement, he will take possession of his soul. However, heavenly forces appear here, and the struggle between evil spirits and angels begins. Mephistopheles showers the angels with curses. But the roses, scattered by the angels and ignited by the fiery breath of demons, burn the body of Mephistopheles. Unable to withstand the struggle, the demons flee, and the angels carry Faust's soul to heaven. Faust's soul is saved.

The tragedy of J. V. Goethe “Faust” was written in 1774 – 1831 and belongs to literary direction romanticism. The work is the main work of the writer, on which he worked throughout almost his entire life. The plot of the tragedy is based on the German Legend of Faust, the famous warlock of the 16th century. The composition of the tragedy attracts special attention. The two parts of Faust are contrasted: the first depicts the doctor’s relationship with the spiritually pure girl Margarita, the second depicts Faust’s activities at court and his marriage to the ancient heroine Helen.

Main characters

Heinrich Faust- doctor, scientist disillusioned with life and science. Made a deal with Mephistopheles.

Mephistopheles- the evil spirit, the devil, bet with the Lord that he could get Faust’s soul.

Gretchen (Margarita) – beloved of Faust. An innocent girl who, out of love for Henry, accidentally killed her mother, and then, having gone crazy, drowned her daughter. She died in prison.

Other characters

Wagner – Faust's disciple who created the Homunculus.

Elena- Ancient Greek heroine, beloved of Faust, with whom she had a son, Euphorion. Their marriage is a symbol of the union of the ancient and romantic principles.

Euphorion – the son of Faust and Helen, endowed with the features of a romantic, Byronic hero.

Martha- Margarita's neighbor, a widow.

Valentine- soldier, Gretchen's brother, who was killed by Faust.

Theater director, Poet

Homunculus

Dedication

Theatrical introduction

The director of the theater asks the Poet to create an entertaining work that will be interesting to absolutely everyone and will attract more spectators to their theater. However, the Poet believes that “sprinkling vulgarities is a great evil,” “the craft of mediocre scoundrels.”

The director of the theater advises him to move away from his usual style and get down to business more decisively - to “deal with poetry in his own way,” then his works will be truly interesting to people. The director provides the Poet and Actor with all the possibilities of the theater in order to:

“In this plank booth
You can, as in the universe,
Having gone through all the tiers in a row,
Descend from heaven through earth to hell."

Prologue in the sky

Mephistopheles appears to receive the Lord. The devil argues that people “illuminated by God’s spark” continue to live like animals. The Lord asks if he knows Faust. Mephistopheles recalls that Faust is a scientist who is “eager to fight and loves to take on obstacles” while serving God. The devil offers to bet that he will “take away” Faust from the Lord, exposing him to all sorts of temptations, to which he receives consent. God is sure that the scientist's instincts will lead him out of the dead end.

Part one

Night

Cramped gothic room. Faust sits awake reading a book. The Doctor reflects:

“I have mastered theology,
Poored over philosophy,
Jurisprudence hammered
And he studied medicine.
However, at the same time I
He was and remains a fool."

“And I turned to magic,
So that the spirit appears to me when called
And he discovered the secret of existence."

The doctor’s thoughts are interrupted by his student Wagner unexpectedly entering the room. During a conversation with a student, Faust explains: people actually know nothing about antiquity. The doctor is outraged by Wagner’s arrogant, stupid thoughts that man has already grown to know all the secrets of the universe.

When Wagner left, the doctor reflects on the fact that he considered himself equal to God, but this is not so: “I am a blind worm, I am the stepson of nature.” Faust realizes that his life is “passing in the dust” and is going to commit suicide by drinking poison. However, at the moment when he brings the glass of poison to his lips, bells ring and choral singing is heard - angels sing about the Resurrection of Christ. Faust abandons his intention.

At the gate

Crowds of people walking, including Wagner and Faust. The old peasant thanks the doctor and his late father for helping to “eliminate the plague” in the city. However, Faust is ashamed of his father, who, during his medical practice, gave people poison for the sake of experiments - while treating some, he killed others. A black poodle runs up to the doctor and Wagner. It seems to Faust that behind the dog “a flame is snaking across the land of the glades.”

Faust's work room

Faust took the poodle to his place. The Doctor sits down to translate the New Testament into German. Reflecting on the first phrase of scripture, Faustus comes to the conclusion that it is translated not as “In the beginning was the Word,” but “In the beginning was the Deed.” The poodle begins to play around and, distracted from work, the doctor sees how the dog turns into Mephistopheles. The Devil appears to Faust dressed as a traveling student. The doctor asks who he is, to which Mephistopheles replies:

"Part of the strength that is without number
He does good, desiring evil for everything."

Mephistopheles chuckles at human weaknesses, as if knowing what thoughts torment Faust. Soon the Devil is about to leave, but the pentagram drawn by Faust does not let him in. The devil, with the help of spirits, puts the doctor to sleep and, while he sleeps, disappears.

The second time Mephistopheles appeared to Faust in rich clothes: in a camisole made of karamzin, with a cape on his shoulders and a rooster feather on his hat. The devil persuades the doctor to leave the walls of the office and go with him:

“You will be comfortable here with me,
I will perform any whim."

Faust agrees and signs the contract in blood. They set off on a journey, flying through the air on the Devil's magic cloak.

Auerbach cellar in Leipzig

Mephistopheles and Faust join the company of merry revelers. The devil treats drinkers to wine. One of the revelers spills a drink on the ground and the wine catches fire. The man exclaims that this is hellfire. Those present rush at the Devil with knives, but he puts a “dope” on them - people begin to think that they are in a beautiful land. At this time, Mephistopheles and Faust disappear.

Witch's kitchen

Faust and Mephistopheles are waiting for the witch. Faust complains to Mephistopheles that he is tormented by sad thoughts. The devil replies that he can be distracted from any thoughts by a simple means - running a normal household. However, Faust is not ready to “live on a grand scale.” At the request of the Devil, the witch prepares a potion for Faust, after which the doctor’s body “gains heat” and his lost youth returns to him.

Street

Faust, seeing Margarita (Gretchen) on the street, is amazed by her beauty. The doctor asks Mephistopheles to introduce him to her. The devil replies that he just overheard her confession - she is as innocent as small child, therefore, evil spirits have no power over her. Faust sets a condition: either Mephistopheles arranges their date today, or he will terminate their contract.

Evening

Margarita reflects that she would give a lot to find out who the man she met was. While the girl leaves her room, Faust and Mephistopheles leave her a gift - a jewelry box.

On a walk

Margarita's mother took the donated jewelry to the priest, as she realized that it was a gift from evil spirits. Faust orders Gretchen to be given something else.

Neighbor's house

Margarita tells her neighbor Martha that she discovered a second jewelry box. The neighbor advises not to say anything about the mother’s find, starting to put on jewelry gradually.

Mephistopheles comes to Martha and reports about the fictitious death of her husband, who left nothing for his wife. Martha asks if it is possible to get a paper confirming the death of her husband. Mephistopheles replies that he will soon return with a friend to testify about the death, and asks Margarita to stay too, since his friend is an “excellent fellow.”

Garden

Walking with Faust, Margarita says that she lives with her mother, her father and sister have died, and her brother is serving in the army. The girl tells fortunes using a daisy and receives the answer “Loves”. Faust confesses his love to Margarita.

Forest Cave

Faust is hiding from everyone. Mephistopheles tells the doctor that Margarita misses him very much and is afraid that Henry has lost interest in her. The devil is surprised that Faust so simply decided to abandon the girl.

Martha's Garden

Margarita shares with Faust that she really doesn’t like Mephistopheles. The girl thinks that he might betray them. Faust notes the innocence of Margarita, before whom the Devil is powerless: “Oh, the sensitivity of angelic guesses!” .

Faust gives Margarita a bottle of sleeping pills so that she can put her mother to sleep, and they can be alone longer next time.

Night. Street in front of Gretchen's house

Valentin, Gretchen's brother, decides to deal with the girl's lover. The young man is upset that she has brought shame upon herself by having an affair without marriage. Seeing Faust, Valentin challenges him to a duel. The doctor kills the young man. Before they are noticed, Mephistopheles and Faust hide and leave the city. Before his death, Valentin instructs Margarita, saying that the girl must take care of her honor.

Cathedral

Gretchen attends a church service. Behind the girl, an evil spirit whispers to her thoughts that Gretchen is guilty of the death of her mother (who did not wake up from the sleeping potion) and brother. Besides, everyone knows that a girl carries a child under her heart. Unable to bear the obsessive thoughts, Gretchen faints.

Walpurgis Night

Faust and Mephistopheles watch the Sabbath of witches and sorcerers. Walking along the fires, they meet a general, a minister, a rich businessman, a writer, a ragpicker witch, Lilith, Medusa and others. Suddenly, one of the shadows reminds Faust of Margarita; the doctor dreamed that the girl was beheaded.

It's a nasty day. Field

Mephistopheles tells Faust that Gretchen has been a beggar for a long time and is now in prison. The doctor is in despair, he blames the Devil for what happened and demands that he save the girl. Mephistopheles notices that it was not he, but Faust himself who ruined Margarita. However, after thinking, he agrees to help - the Devil will put the caretaker to sleep, and then take them away. Faust himself will have to take possession of the keys and lead Margarita out of prison.

Jail

Faust enters the dungeon where Margarita is sitting, singing strange songs. She lost her mind. Mistaking the doctor for an executioner, the girl asks to delay the punishment until the morning. Faust explains that her lover is in front of her and they need to hurry. The girl is happy, but hesitates, telling him that he has lost interest in her embrace. Margarita tells how she put her mother to death and drowned her daughter in a pond. The girl is delirious and asks Faust to dig graves for her, her mother and brother. Before her death, Margarita asks God for salvation. Mephistopheles says that she is condemned to torment, but then a voice comes from above: “Saved!” . The girl is dying.

Part two

Act one

Imperial Palace. Masquerade

Mephistopheles appears before the emperor in the guise of a jester. The State Council begins in the throne room. The Chancellor reports that the country is in decline, the state does not have enough money.

Party garden

The devil helped the state solve the problem of lack of money by pulling off a scam. Mephistopheles put into circulation securities, the collateral of which was gold located in the bowels of the earth. The treasure will one day be found and cover all expenses, but for now the fooled people are paying in shares.

Dark gallery

Faust, who appeared at court as a magician, tells Mephistopheles that he promised the emperor to show the ancient heroes Paris and Helen. The Doctor asks the Devil to help him. Mephistopheles gives Faust a guide key that will help the doctor penetrate the world of pagan gods and heroes.

Knights' Hall

The courtiers await the appearance of Paris and Helen. When an ancient Greek heroine appears, the ladies begin to discuss her shortcomings, but Faustus is fascinated by the girl. The scene of the “abduction of Helen” by Paris is played out in front of the audience. Having lost his composure, Faust tries to save and hold the girl, but the spirits of the heroes suddenly evaporate.

Act two

Gothic room

Faust lies motionless in his old room. The student Famulus tells Mephistopheles that Wagner, who has now become a famous scientist, is still awaiting the return of his teacher Faust, and is now on the verge of a great discovery.

Laboratory in a medieval spirit

Mephistopheles appears to Wagner, who is at the awkward instruments. The scientist tells the guest that he wants to create a person, since, in his opinion, “for us, the former existence of children is an absurdity, archived.” Wagner creates the Homunculus.

The homunculus advises Mephistopheles to take Faust to the Walpurgis Night festival, and then flies away with the doctor and the Devil, leaving Wagner.

Classic Walpurgis Night

Mephistopheles lowers Faust to the ground, and he finally comes to his senses. The Doctor goes in search of Elena.

Act three

In front of the Palace of Menelaus in Sparta

Landed on the shores of Sparta, Helen learns from the housekeeper Phorkiades that King Menelaus (Helen's husband) sent her here as a victim for sacrifice. The housekeeper helps the heroine escape death by helping her escape to a nearby castle.

Castle courtyard

Helen is brought to Faust's castle. He reports that the queen now owns everything in his castle. Faust directs his troops against Menelaus, who is coming at him with war and wants revenge, and he and Helen take refuge in the underworld.

Soon a son, Euphorion, is born to Faust and Helen. The boy dreams of jumping so “that he might inadvertently reach the heavens in one leap.” Faust tries to shield his son from trouble, but he asks to leave him alone. Having climbed a high rock, Euphorion jumps from it and falls dead at the feet of his parents. Grieving Helen says to Faust: “The old saying comes true on me, That happiness does not coexist with beauty,” and, with the words “Take me, O Persephone, with a boy!” hugs Faust. The woman's body disappears, and only her dress and bedspread remain in the man's hands. Helen's clothes turn into clouds and carry Faust away.

Act Four

Highlands

Faust floats on a cloud to the rocky ridge, which was previously the bottom of the underworld. A man reflects on the fact that with the memories of love, all his purity and “best essence” goes away. Soon Mephistopheles flies to the rock on seven-league boots. Faust tells Mephistopheles that his greatest desire is to build a dam on the sea and

"At any cost in the abyss
Conquer a piece of land."

Faust asks Mephistopheles for help. Suddenly the sounds of war are heard. The Devil explains that the Emperor, whom they had previously helped, is in dire straits after the discovery of a securities scam. Mephistopheles advises Faust to help the monarch return to the throne, for which he can receive the seashore as a reward. The Doctor and the Devil help the Emperor achieve a brilliant victory.

Act five

Open area

A wanderer visits the elderly, loving married couple Baucis and Philemon. Once upon a time, the old people already helped him, for which he is very grateful to them. Baucis and Philemon live by the sea, nearby there is a bell tower and a linden grove.

Castle

The aged Faustus is outraged - Baucis and Philemon do not agree to leave the seashore so that he can bring his idea to life. Their house is located exactly on the spot that now belongs to the doctor. Mephistopheles promises to deal with the old people.

Deep night

The house of Baucis and Philemon, and with it the linden grove and bell tower, were burned. Mephistopheles told Faust that they tried to drive the old people out of the house, but they died of fright, and the guest, resisting, was killed by the servants. The house caught fire accidentally from a spark. Faustus curses Mephistopheles and the servants for being deaf to his words, since he wanted a fair exchange, and not violence and robbery.

Large courtyard in front of the palace

Mephistopheles orders the lemurs (grave ghosts) to dig a grave for Faust. The blind Faust hears the sound of shovels and decides that these are the workers making his dream come true:

“They put a limit to the frenzy of the surf
And, as if reconciling the earth with itself,
They are erecting, the shaft and embankments are being secured.”

Faust orders Mephistopheles to “recruit countless workers here,” constantly reporting to him on the progress of work. The Doctor reflects that he would like to see the days when a free people worked in a free land, then he could exclaim: “In a moment! Oh, how wonderful you are, wait!” . With the words: “And anticipating this triumph, I am now experiencing the highest moment,” Faust dies.

Coffin position

Mephistopheles waits for Faust's spirit to leave his body so that he can present to him their agreement, backed by blood. However, angels appear and, having pushed the demons away from the doctor’s grave, they carry Faust’s immortal essence into the sky.

Conclusion

Tragedy I. In Goethe “Faust” is philosophical work, in which the author reflects on eternal theme confrontation in the world and man between good and evil, reveals issues of human knowledge of the secrets of the world, self-knowledge, touches on important issues of power, love, honor, justice and many others at any time. Today, Faust is considered one of the pinnacles of German classical poetry. The tragedy is included in the repertoire of the world's leading theaters and has been filmed many times.

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Despite the fact that the name of Faust is surrounded by a huge number of legends and myths, both oral and literary, such a person existed in real life.
Was Faust a powerful sorcerer who sold his soul to the devil, or just a charlatan?
Information about the life of the historical Faust is extremely scarce.
He was born, apparently, around 1480 in the city of Knittlingen, and subsequently, through Franz von Sickingen, received a position as a teacher in Kreuznach, but was forced to flee from there due to persecution of his fellow citizens.
As a warlock and astrologer, he traveled around Europe, posing as a great scientist. 2
In 1507, the alchemist and philosopher Trithemius, in his letter to Johann Virdung, the court astrologer of the Elector of the Palatinate, wrote:
“It is said that Master George Sabellicus, Faustus the Younger, a fount of necromancy, an astrologer, a successful magician, a palm reader, an aeromancer, a pyromancer and a successful hydromancer, claimed that the miracles that Christ performed were not so amazing, and that he himself was able to repeat all this.
In the meantime, a teaching position became available, and he was appointed to the position under the patronage of Franz von Sickingen.”

Trithemius' letter is interesting not only because of the mention of Faust and the comparison of his deeds with the deeds of Christ, but also because his patron was named as one of the powerful personalities of that time, the leader of the "Free Knights" who rebelled against the pope and the bishops.
It is also amazing that Franz von Sickingen will become one of the main characters in the dramatic poem “ Goetz von Berlichingen", written by Faust's main literary father, Johann Wolfgang Goethe.
In addition, the letter states full name Fausta - George Sabellicus... 1
If we delve into the documents of that period, we will be surprised to meet the mentioned George more than once, and again in the same combination with the name Faust.
A certain Conrad Mutian Rufus claims that he met him, heard him “ranting at the inn,” and that he seemed to him “just a braggart and a fool.”

And in the ledger of the bishop of the city of Bamberg there is an entry about the payment of a fee for a horoscope to the “philosopher Doctor Faustus”.
Further, the census in Ingolstatt recorded the presence of "Dr. Jörg (Georg) Faust von Heideleberg", who was expelled from the city.
The record states that the said Doctor Faustus, before being expelled, allegedly claimed to be a knight of the Order of St. John and the head of one of the branches of the order from Carinthia, a Slavic province of Austria.
In addition, there is evidence from townspeople that he made astrological forecasts and predicted the birth of prophets. Moreover, in their memoirs he is specifically named - George Faust of Helmstedt, that is, from the town of Helmstedt.
Looking through the records of the University of Heidelberg, you can easily find a student who received a master's degree - he came to study from the indicated place and bore the same name. 1
Further, Faust's path is not lost in the wilds of history and does not disappear in the desert of time, as happens with almost all the characters of the Middle Ages.
Four years after his predictions about the prophets, he resurfaces in Nuremberg.
In the municipal book, with the firm hand of the burgomaster, it is written:
“Doctor Faustus, a famous sodomite and expert in black magic, is denied a safe conduct.”
A very revealing entry.
It is quite calmly mentioned, along with the fact that he is a sodomite, that he is also a black magician. Not with squeals and shouts of “To the stake!”, but simply in dry language with a resolution to “refuse safe conduct.”
And two years later, new documents appear on the investigation of the uprising in Munster, when the city was captured by sectarians who declared this city the New Jerusalem and their leader the King of Zion.
Local princes suppressed the uprising and recorded the entire investigative process in this case. This is where the omnipresent Doctor Faust emerges again, but without any connection with the uprising or with any otherworldly forces.
Just one phrase - “the philosopher Faustus hit the nail on the head, since we had a bad year.”
And that's it..

Obviously, the real Faust had an amazing ability to survive and adapt, since every time, having experienced shame and defeat, he resurfaced.
With blissful carelessness he handed out left and right business cards the following content:
“The great medium, second among magicians, astrologer and palmist, tells fortunes by fire, water and air.”
In 1536, at least two famous clients tried to use it to look into the future.
A senator from Würzburg wished to receive an astrological prediction regarding the outcome of Charles V's war with French king, and a German adventurer, going to South America in search of Eldorado, tried to find out the chances of success of his expedition. 3
In 1540, on a late autumn night, a small hotel in Württemberg was rocked by the crash of falling furniture and the stomping of feet, followed by heart-rending screams.
Later, local residents claimed that this terrible night a storm broke out under a clear sky; Flames burst out from the hotel chimney several times blue, and the shutters and doors in it began to slam by themselves.
Screams, groans, and incomprehensible sounds continued for at least two hours. Only in the morning the frightened owner and servants dared to enter the room from where all this was coming...
On the floor of the room, among the fragments of furniture, lay the crumpled body of a man. It was covered with monstrous bruises and abrasions, one eye was gouged out, the neck and ribs were broken.
It seemed as if the unfortunate man was being beaten with a sledgehammer!
It was the mutilated corpse of Doctor Johann Faust...
The townspeople claimed that the doctor’s neck was broken by the demon Mephistopheles, with whom he entered into a contract for 24 years. At the end of the period, the demon killed Faust and doomed his soul to eternal damnation.. 2
From Germany, Faustus's fame began to spread like wildfire, partly thanks to the publication of a collection of rather primitive legends called The History of Doctor Faustus (1587). 3
To the legends were also added several ingenuous humorous scenes, in which people fooled by Faust served as targets for ridicule.
Nevertheless, certain passages, such as the description of eternal torment in hell, had the power of true conviction, and the portrayal of Mephistopheles as the worst enemy of the human race and Faust as a mortally frightened sinner unmistakably affected the audience, touching the sensitive strings of readers.

Over the next century, two more new, revised editions of the book appeared, which enjoyed no less success.
Meanwhile, the oral tradition of stories about the amazing abilities of the sorcerer has not lost its strength. His alliance with Satan, judging by these stories, was manifested even in everyday life.
So, as soon as Faust knocked on a simple wooden table, a fountain of wine began to flow from there, or, by his order, fresh strawberries appeared in the depths of winter.
In one legend, a very hungry sorcerer swallowed a whole horse with a cart and hay.
When he got bored with the hot summer, dark forces poured snow so that he could ride a sleigh.
They also said that one night in a tavern, in the midst of a drunken revelry, Faust noticed four hefty men trying to roll a heavy barrel out of the cellar.
“What fools! - he cried. “Yes, I alone can do this!”
In front of the astonished visitors and the innkeeper, the sorcerer descended the stairs, sat astride a barrel and triumphantly rode up the steps straight into the hall. 3
The first legend of Doctor Faustus literary creativity used by English playwright Christopher Marlowe. In 1592, he wrote The Tragical History of the Life and Death of Doctor Faustus, where his character is presented as a powerful epic hero, overwhelmed by a thirst for knowledge and wanting to bring its light to people.
Marlowe's drama combined the funny and the serious, and modern British society was severely criticized in it.
Marlowe's Faustus is not just a buffoon or a tool of the devil - he enlists the help of Satan to explore the boundaries of human experience.
Often drama rises to the brilliant heights of true poetry, for example in the scene of the appearance of ghost Elena the Beautiful.
But the most powerful impression is made by Marlowe’s lines depicting Faust’s futile repentance when he finally realizes the exorbitance of the payment and understands the inevitability of the consequences of the deal.
The Renaissance spectator shuddered when Faust painted before him a picture of the eternal suffering that awaited him:
“Oh, if my soul must be tormented for my sins,
Put a limit to this endless torment!
Let Faust live in hell for at least a thousand,
Even if it takes a hundred thousand years, he will finally be saved.” 3
Faust himself died, unable to withstand the condemnation of his fellow citizens who did not accept his daring impulses to master universal knowledge. 1
The most famous work XX century, dedicated to the legendary character, became a novel German writer Thomas Mann's Doctor Faustus.
This is the name the novelist gives to the brilliant composer Adrian Leverkühn, who makes a deal with the devil in order to create music that can leave an outstanding mark on national culture. 1
So where did the so well-known parable about Faust’s connection with Satan come from?
Rumors of a pact between the doctor and the devil come mainly from Martin Luther.

Even when the real George Faust was alive, Luther made statements in which the doctor and warlock was declared an accomplice of otherworldly forces.
It was based on this accusation that the writers went on a rampage...
However, why did the great reformer Martin Luther suddenly turn his attention to an inconspicuous and ordinary petty charlatan and sorcerer?
For Luther, such alchemists and apologists of magic as Ficino, Pico della Mirandola, Reuchlin, Agrippa were peaks that he could not even imagine reaching.

Moreover, among the people and higher circles there was a persistent opinion that their mastery of natural magic allowed them to easily remove any obstacle, and especially any person standing in the way.
And then Luther attacks Faust with all the heat of his propaganda skill:
“Simon Magus tried to fly to heaven, but Peter's prayer made him fall... Faust tried to do the same in Venice. But he was thrown to the ground with force,” the great reformer broadcasts from the porch.
Let us be bold enough to say that Faust never flew or was thrown to the ground, but in the minds of the people he was already ranked among the accomplices of the devil.
His name George was forgotten and was replaced by Johann.
Indeed, what was good within the framework of mystical experiments under the pseudonym First (and this is how “Faust” is translated from the Old German language) Winner or, moreover, Lucky Winner, was not suitable for counter-propaganda.
Here it was appropriate to present him simply as a representative of the First Ivans, which gave a certain generalized image of the first initiates, who were initiated only because they contacted the black forces. 1
The greatest contribution to the creation of the image of Faust as the great disciple of the devil was made by Martin Luther's favorite comrade-in-arms, Philip Melanchthon, the main ideologist of the Reformation.
He wrote a biography of Johann Faust that was so popular that the bestseller was reprinted nine times at the time. It’s not surprising - how do you like this plot device that Faust was constantly accompanied by the evil spirit Mephistopheles, but he was not incorporeal, but appeared in the guise of a black dog?

So what is the reason for the hatred of Luther and his circle towards him?
Why was the ordinary black magician Faust rejected and accused of all mortal sins?
Why is the spearhead of propaganda directed at him as a typical representative of the mystical forces and magical societies of the Middle Ages?
Pick up any work about Faust.
Why is he doomed to eternal torment?
What is the essence of his agreement with the devil, condemned on all sides?
The reason for the curse is not a contract with Satan or a thirst for power.
In any story about Doctor Faustus, including Goethe's most recent version, the main motivating factor of the protagonist is the thirst for knowledge.
It is this thirst that puts the mark of a “sinner” on him and it is precisely this that is the reason for condemnation!
Indeed, from the point of view of the Renaissance, the era of the transition of a mystical civilization to a realistic one, the desire to learn, in essence, was sinful... 1
This is truly a diabolical need, since knowledge in the era of rationalism should not be penetration into the harmony of the cosmos, but a limited set of symbols and concepts that power offers.
Thus, the polemical fervor of Martin Luther and his comrade Melanchthon was not directed against the master of the University of Heidelberg, who lived by prophecies and predictions and moonlighted in small matters of black magic. Doctor Faustus in this case is an allegorical figure, moreover, chosen not by chance, but taking into account the historical context.
Simon Magus, mentioned by Luther in his first denunciatory speech about Faust, had two disciples - Faust and Fausta (as we now understand, the First and the First).

Faust betrayed his teacher by betraying his spells to Peter, which helped the apostle in competition with Simon. 1
What figures of that time posed a real threat to the coming Reformation, bringing with it the down-to-earth philosophy of ratio?
At whom did the stinging arrows of pamphlets and false biographies fly?
Currently, these figures, extremely popular in the Middle Ages, are relegated to the shadows and are known only to a very narrow circle of experts.
Firstly, this is Trithemius, the author of the book “Stenography”, which was sensational at that time, which discussed in detail the methods and techniques of telepathy. Everyone soon forgot about telepathy, but the book still remained the main basis of cryptography, a kind of manual for spies in terms of secret writing, quick learning foreign languages and "many other subjects not subject to public discussion."
His works on magic and alchemy still remain unsurpassed.
Other targets of the Protestants were those who, through their practical activities, refuted the rationalism of Martin Luther - Pico della Mirandola, Agrippa and Paracelsus. 1

Perhaps these are the main characters of that time or those of the main ones whose memory has survived to this day.
It was against them that the weapons of the sermons of Luther and Melanchthon were directed in the form of the condemnation of Doctor Faustus.
However, apparently, the devil’s accomplice and friend of the black dog Mephistopheles, about whose life and fall hundreds of pages were written, was not so simple.
And Faust received the highest satisfaction thanks to the fact that he became the prototype immortal work Goethe, who saw in him a figure equal to Prometheus.
And this is natural, because the poet himself was similar to Faust in terms of Dedication.
Goethe's interest in Faust was caused by his fascination with German antiquity, but above all by the opportunity to embody his views on man, his quests, spiritual struggles, and the desire to comprehend the secrets of the universe.
The great German poet Johann Wolfgang von Goethe worked on the drama “Faust” for about 30 years.
The first part of the famous work appeared in 1808, and the second only in 1832.
Its two colossal parts embody the image of Faust, tossing between contemplation and activity, Faust, believing in a better future for all humanity, and Faust, subjected to temptation.
Creating new image the main character, Goethe makes a sharp break with the previous tradition. In fact, it turns out that God saves Faust from death, for “whoever seeks is forced to wander” (Pasternak’s translation).
In other words, Goethe's Faust is a positive hero.
Disillusioned with science and intellectual pursuits, he is ready to give his soul to the devil for just one moment of such an experience that will bring him complete satisfaction.
“Low” pleasures are unable to satiate Faust’s soul; he finds the meaning of life in the faithful love of a simple girl whom he seduced and abandoned.
Ultimate salvation, however, is granted to Faustus because he strives to create a better society for all mankind. Thus, Goethe argues that a person can achieve virtue and spiritual greatness, despite the evil inherent in his nature.
Probably no one else has managed to create a work from the legend of Faust that is so distinguished. philosophical depth and psychologism, although she inspired many to create true masterpieces that were destined for a long life. 3

Hector Berlioz composed a dramatic cantata, The Damnation of Faust, which is still performed on the opera stage, and Faust by Charles Gounod (1818-1893) became one of the most beloved operas of all time.
The idea of ​​an opera based on the plot of “Faust” first arose from Gounod during his stay in Italy. Impressed by the majestic Italian landscapes, he began to make sketches related to Walpurgis Night. He thought of using them when he decided to write an opera. However, there have been no concrete plans for its creation yet.
In 1856, Gounod met J. Barbier (1825-1901) and M. Carré (1819-1872), then already famous librettists. They were attracted by the idea of ​​writing Faust, which the composer shared with them.
She was also supported by the management Lyric Theater in Paris.
Work began, but soon one of the drama theaters staged a melodrama on the same plot. The director of the Lyric Theater considered that the opera could not compete with melodrama, and as compensation he suggested that the composer write the opera “The Reluctant Doctor” based on Moliere’s comedy.
Gounod took on this order, and meanwhile the premiere of the melodrama, despite the luxurious production, was not a success. The management of the Lyric Theater considered it possible to return to the idea that had been abandoned, and Gounod, who did not stop working on Faust, but only slowed it down, soon presented the score.
Barbier and Carré, reworking Goethe's tragedy into a libretto, took only the first part as a basis, and focused the lyrical line from it.
The main changes affected the image of Faust. Faded into the background philosophical problems. Faust became the first operatic lyrical hero.
The tragedy was seriously shortened; some scenes, such as in Auerbach's cellar and at the city gates, where Faust and Margarita meet, were combined.
Wagner from Faust's pedantic assistant turned into Valentine's friend. One of the cheerful revelers, Zibel, became a modest young man, a faithful admirer of Margarita.
In Russia, A. S. Pushkin paid tribute to the legend of Faust in his wonderful “Scene from Faust.”
Goethe became acquainted with the creation of the Russian genius and sent Pushkin his pen, with which he wrote “Fausta,” as a gift.
We encounter echoes of Goethe’s “Faust” in “Don Juan” by A.K. Tolstoy (prologue, Faustian features of Don Juan, languishing over the solution to life - direct reminiscences from Goethe) and in the story in letters “Faust” by J.S. Turgenev. 2
Why did the murder of a pathetic charlatan attract the attention of so many brilliant artists?
Why do their works remain popular to this day?
Perhaps the answer is contained in the inscription on the memorial plaque of a hotel in Württemberg, which says that Faust - although ultimately condemned to eternal torment - enjoyed the power and pleasures of the forbidden knowledge of Satanic secrets for 24 years.
Forbidden, but... so tempting...

Sources of information:
1. Sinelnikov A. “Who are you, Doctor Faust?”
2. Wikipedia
3. article “Goethe’s Faust” (website www.veltain.ru)
4. Charles Gounod’s opera “Faust” on the website belcanto.ru/faust.html