Faust: Prologue in Heaven - Revision history

Mrish: /* Commentary */

2006-03-02T20:11:02Z

Commentary

← Older revision		Revision as of 16:11, 2 March 2006
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	==Commentary==		==Commentary==
	This ~~frist~~ section of Goethe's celebration of human striving sets the mood for the vigorous, spirited, and critical look at Faust's striving toward self-identity even in the face of despair (Weigand 63, Heller 93). According to Heller, the grandeur and misery of striving are present in this first scene, setting the stage for Faust's journey toward self-discovery (93-94).		This first section of Goethe's celebration of human striving sets the mood for the vigorous, spirited, and critical look at Faust's striving toward self-identity even in the face of despair (Weigand 63, Heller 93). According to Heller, the grandeur and misery of striving are present in this first scene, setting the stage for Faust's journey toward self-discovery (93-94).

	Goethe's obvious [[allusion]] to the Old Testament's Book of Job suggests that this will be Faust's own test, and like Job, he will have to lose all he has in order to find his salvation.		Goethe's obvious [[allusion]] to the Old Testament's Book of Job suggests that this will be Faust's own test, and like Job, he will have to lose all he has in order to find his salvation.

Glucas at 16:32, 1 March 2006

2006-03-01T16:32:36Z

Glucas: /* Commentary */

2006-03-01T15:39:31Z

Commentary

← Older revision		Revision as of 11:39, 1 March 2006
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	==Commentary==		==Commentary==
			This frist section of Goethe's celebration of human striving sets the mood for the vigorous, spirited, and critical look at Faust's striving toward self-identity even in the face of despair (Weigand 63, Heller 93). According to Heller, the grandeur and misery of striving are present in this first scene, setting the stage for Faust's journey toward self-discovery (Heller 93-94).

	Goethe's obvious [[allusion]] to the Old Testament's Book of Job suggests that this will be Faust's own test, and like Job, he will have to lose all he has in order to find his salvation.		Goethe's obvious [[allusion]] to the Old Testament's Book of Job suggests that this will be Faust's own test, and like Job, he will have to lose all he has in order to find his salvation.

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	Mephistopheles has almost lost his spirit: when the world seems mostly evil, how can the devil have any fun? The Lord almost seems sympathetic toward Mephistopheles, and mentions Faust immediately. This seems to suggest that, seemingly contrary to the orthodox notion that seeks to obliterate evil, Mephistopheles seems to be an integral part of the Lord's design; this theme will be echoed again in [[Faust: Faust's Study (1)\|Faust's study]] when Faust asks Mephistopheles his name; the latter answers: "A humble part of that great power / Which always means evil, always does good" (ll. 1119-1120). Indeed, how can one be good if there exists nothing that can be pointed to as evil? Part of his duties, it seems, is to "prod and poke and incite [people] as a devil should," says the Lord, suggesting further the necessity of "evil." Indeed, the Lord's last words seem to suggest that he prefers the devils of the world to his own Heavenly Hoast. Indeed, who wouldn't?		Mephistopheles has almost lost his spirit: when the world seems mostly evil, how can the devil have any fun? The Lord almost seems sympathetic toward Mephistopheles, and mentions Faust immediately. This seems to suggest that, seemingly contrary to the orthodox notion that seeks to obliterate evil, Mephistopheles seems to be an integral part of the Lord's design; this theme will be echoed again in [[Faust: Faust's Study (1)\|Faust's study]] when Faust asks Mephistopheles his name; the latter answers: "A humble part of that great power / Which always means evil, always does good" (ll. 1119-1120). Indeed, how can one be good if there exists nothing that can be pointed to as evil? Part of his duties, it seems, is to "prod and poke and incite [people] as a devil should," says the Lord, suggesting further the necessity of "evil." Indeed, the Lord's last words seem to suggest that he prefers the devils of the world to his own Heavenly Hoast. Indeed, who wouldn't?

	Faust (like all humans?) is somewhere between the Heavenly Host and Mephistopheles. If the former symbolizes reason, then Mephistopheles must symbolize that which is animalistic, or bodily desires. While learning emphasizes the strengthening of mental faculties, Faust has not experienced this "earthly" side, as Mephistopheles suggests (l. 61). The Lord maintains that "My light," or reason, shall lead him back to goodness, but Mephistopheles seems to think he can distract Faust from this path: thus, the bet.		Faust (like all humans?) is somewhere between the Heavenly Host and Mephistopheles on a quest for self-realization. If the former symbolizes reason, then Mephistopheles must symbolize that which is animalistic, or bodily desires. While learning emphasizes the strengthening of mental faculties, Faust has not experienced this "earthly" side, as Mephistopheles suggests (l. 61). The Lord maintains that "My light," or reason, shall lead him back to goodness, but Mephistopheles seems to think he can distract Faust from this path: thus, the bet. Weigand suggests that Faust was a symbol of man's emancipation from authority (70).

	Unlike Job, where the bet is about whether or not Job will remain pious, this bet is about whether Faust will choose the right road even while under Mephistopheles' carte blanche. This heavenly wager will be [[Faust: Faust's Study (2)\|echoed later]] with that between Faust and Mephistopheles; cf. ll. 1459-1470.		Unlike Job, where the bet is about whether or not Job will remain pious, this bet is about whether Faust will choose the right road even while under Mephistopheles' carte blanche. This heavenly wager will be [[Faust: Faust's Study (2)\|echoed later]] with that between Faust and Mephistopheles; cf. ll. 1459-1470. Faust must discover his own path to salvation, through a self-realization that must walk a dangerous path, symbolic, perhaps, of the entire western world (Weigand 70-71).

	The scene ends with Mephistopheles praising the Lord in his own way as a decent sort who will talk with the devil. This is perhaps an important lesson of <i>Faust</i>.		The scene ends with Mephistopheles praising the Lord in his own way as a decent sort who will talk with the devil. This is perhaps an important lesson of <i>Faust</i>.

Glucas: /* Works Cited */

2006-03-01T15:22:21Z

Works Cited

← Older revision		Revision as of 11:22, 1 March 2006
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	==Works Cited==		==Works Cited==
	Goethe, Johann Wolfgang von. <i>Faust, Part 1</i>. <i>The Norton Anthology of Western Literature</i>. Vol. 2. 8th Ed. Trans. Martin Greenberg. Sarah Lawall, et al, eds. New York: W.W. Norton, 2006. [All primary text citations are taken from this edition unless otherwise noted.]		*Goethe, Johann Wolfgang von. <i>Faust, Part 1</i>. <i>The Norton Anthology of Western Literature</i>. Vol. 2. 8th Ed. Trans. Martin Greenberg. Sarah Lawall, et al, eds. New York: W.W. Norton, 2006. [All primary text citations are taken from this edition unless otherwise noted.]
			*Heller, Peter. "Faustian Striving: An Essay on Goethe's ''Faust''." Page and Barron. 93-108.
			*Page, Alex and Leon Barron, eds. ''Masterpieces of Western Literature: Contemporary Essays in Interpretation''. Vol. 2. Dubuque, Iowa: WM. C. Brown Book Company, 1966.
			*Weigand, Hermann J. "Goethe's ''Faust.''" Page and Barron. 69-92.
	----		----
	[[Faust]] \| [[Faust: Night (1)\|Night]] >		[[Faust]] \| [[Faust: Night (1)\|Night]] >

	[[Category:World Literature]]		[[Category:World Literature]]

Glucas at 14:52, 27 February 2006

2006-02-27T14:52:55Z

← Older revision		Revision as of 10:52, 27 February 2006
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	----		----
	[[Faust ~~Summary, Commentary, Notes~~]] \| [[Faust: Night (1)\|Night]] >		[[Faust]] \| [[Faust: Night (1)\|Night]] >

	[[Category:World Literature]]		[[Category:World Literature]]

Glucas: /* Lines 53-115: The Lord and Mephistopheles Make a Bet */

2006-02-26T00:46:56Z

Lines 53-115: The Lord and Mephistopheles Make a Bet

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	The "old aunt of mine, the famous snake" is an allusion to [http://www.answersingenesis.org/creation/v10/i4/snakes.asp Genesis' snake] that tricks Adam and Eve into eating the forbidden fruit. The snake's punishment, given by God, is to forever crawl on its belly and eat dust.		The "old aunt of mine, the famous snake" is an allusion to [http://www.answersingenesis.org/creation/v10/i4/snakes.asp Genesis' snake] that tricks Adam and Eve into eating the forbidden fruit. The snake's punishment, given by God, is to forever crawl on its belly and eat dust.

	"Carte blanche" in line 98 means "~~free reign~~." The Lord is allowing Mephistopheles to do what he wants in order to steer Faust away from the right road.		"Carte blanche" in line 98 literally means "blank check." The Lord is allowing Mephistopheles to do what he wants in order to steer Faust away from the right road.

	==Commentary==		==Commentary==

Glucas at 21:39, 25 February 2006

2006-02-25T21:39:08Z

← Older revision		Revision as of 17:39, 25 February 2006
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	=== Lines 53-115: The Lord and Mephistopheles Make a Bet ===		=== Lines 53-115: The Lord and Mephistopheles Make a Bet ===
	The Lord is often seen as representing the creative power of the universe; Mephistopheles, then, would be the nihilistic or desctructive force.		The Lord is often seen as representing the creative power of the universe; Mephistopheles, then, would be the nihilistic or desctructive force.

	The Lord begins to lose his temper, accusing Mephistopheles of being eternally accusatory. Their dialogue suggests something that never changes: Mephistopheles is eternally cynical. Yet, here he seems also comic, rather than tragic; cf. lines 56-58.		The Lord begins to lose his temper, accusing Mephistopheles of being eternally accusatory. Their dialogue suggests something that never changes: Mephistopheles is eternally cynical. Yet, here he seems also comic, rather than tragic; cf. lines 56-58.

			Mephistopheles seems genuinely dissatisfied with the current state of humanity — so much so, that he doesn't even like "tormenting the poor ninnies" anymore (l. 58).

	The Lord mentions [http://aix1.uottawa.ca/%7Ejesleben/faust/fausttimeline.html Faust] for the first time in line 59 as His "good servant," but Mephistopheles counters that Faust is "quite unsatisfied," suggesting that the view of the universe that the Heavely Host hold cannot satisfy humans for long.		The Lord mentions [http://aix1.uottawa.ca/%7Ejesleben/faust/fausttimeline.html Faust] for the first time in line 59 as His "good servant," but Mephistopheles counters that Faust is "quite unsatisfied," suggesting that the view of the universe that the Heavely Host hold cannot satisfy humans for long.
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	The "old aunt of mine, the famous snake" is an allusion to [http://www.answersingenesis.org/creation/v10/i4/snakes.asp Genesis' snake] that tricks Adam and Eve into eating the forbidden fruit. The snake's punishment, given by God, is to forever crawl on its belly and eat dust.		The "old aunt of mine, the famous snake" is an allusion to [http://www.answersingenesis.org/creation/v10/i4/snakes.asp Genesis' snake] that tricks Adam and Eve into eating the forbidden fruit. The snake's punishment, given by God, is to forever crawl on its belly and eat dust.

	"Carte blanche" in line 98 means "free reign."		"Carte blanche" in line 98 means "free reign." The Lord is allowing Mephistopheles to do what he wants in order to steer Faust away from the right road.

	==Commentary==		==Commentary==
Line 40:		Line 42:

	Humans (as insects) cannot help but be what they are, since the Lord made them that way. This "absolute" idea seems to be a critique of [http://earthshine.org/node/409 Neoclassicism]'s belief in absolutes. [http://www.wsu.edu/~brians/hum_303/romanticism.html Romanticism] emphasized the individual and his/her striving toward an understanding of the universe, away from notions of absolutes. In many ways, Goethe's Mephistopheles suggests some aspects of the romantic hero: a soul in [http://earthshine.org/node/434 revolt], melancholy and anti-social, cynical, and bored.		Humans (as insects) cannot help but be what they are, since the Lord made them that way. This "absolute" idea seems to be a critique of [http://earthshine.org/node/409 Neoclassicism]'s belief in absolutes. [http://www.wsu.edu/~brians/hum_303/romanticism.html Romanticism] emphasized the individual and his/her striving toward an understanding of the universe, away from notions of absolutes. In many ways, Goethe's Mephistopheles suggests some aspects of the romantic hero: a soul in [http://earthshine.org/node/434 revolt], melancholy and anti-social, cynical, and bored.

			Mephistopheles has almost lost his spirit: when the world seems mostly evil, how can the devil have any fun? The Lord almost seems sympathetic toward Mephistopheles, and mentions Faust immediately. This seems to suggest that, seemingly contrary to the orthodox notion that seeks to obliterate evil, Mephistopheles seems to be an integral part of the Lord's design; this theme will be echoed again in [[Faust: Faust's Study (1)\|Faust's study]] when Faust asks Mephistopheles his name; the latter answers: "A humble part of that great power / Which always means evil, always does good" (ll. 1119-1120). Indeed, how can one be good if there exists nothing that can be pointed to as evil? Part of his duties, it seems, is to "prod and poke and incite [people] as a devil should," says the Lord, suggesting further the necessity of "evil." Indeed, the Lord's last words seem to suggest that he prefers the devils of the world to his own Heavenly Hoast. Indeed, who wouldn't?

	Faust (like all humans?) is somewhere between the Heavenly Host and Mephistopheles. If the former symbolizes reason, then Mephistopheles must symbolize that which is animalistic, or bodily desires. While learning emphasizes the strengthening of mental faculties, Faust has not experienced this "earthly" side, as Mephistopheles suggests (l. 61). The Lord maintains that "My light," or reason, shall lead him back to goodness, but Mephistopheles seems to think he can distract Faust from this path: thus, the bet.		Faust (like all humans?) is somewhere between the Heavenly Host and Mephistopheles. If the former symbolizes reason, then Mephistopheles must symbolize that which is animalistic, or bodily desires. While learning emphasizes the strengthening of mental faculties, Faust has not experienced this "earthly" side, as Mephistopheles suggests (l. 61). The Lord maintains that "My light," or reason, shall lead him back to goodness, but Mephistopheles seems to think he can distract Faust from this path: thus, the bet.

	Unlike Job, where the bet is about whether or not Job will remain pious, this bet is about whether Faust will choose the right road even while under Mephistopheles' carte blanche.		Unlike Job, where the bet is about whether or not Job will remain pious, this bet is about whether Faust will choose the right road even while under Mephistopheles' carte blanche. This heavenly wager will be [[Faust: Faust's Study (2)\|echoed later]] with that between Faust and Mephistopheles; cf. ll. 1459-1470.

			The scene ends with Mephistopheles praising the Lord in his own way as a decent sort who will talk with the devil. This is perhaps an important lesson of <i>Faust</i>.

	==Study Questions==		==Study Questions==
Line 56:		Line 62:
	#The Lord says "As long as man strives, he is bound to err." What does he mean by this, and how does it fit into the context of their discussion?		#The Lord says "As long as man strives, he is bound to err." What does he mean by this, and how does it fit into the context of their discussion?
	#What seems to be Mephistopheles' role in the Lord's creation?		#What seems to be Mephistopheles' role in the Lord's creation?
			#What do Mephistopheles' final words suggest about his relationship with the Lord?

	==External Resources==		==External Resources==
	*[http://www.bartleby.com/19/1/1004.html Prologue in Heaven] on [http://www.bartleby.com/ Bartleby]		*[http://www.bartleby.com/19/1/1004.html Prologue in Heaven] on [http://www.bartleby.com/ Bartleby]
	*[http://www.tonykline.co.uk/PITBR/German/FaustIProl.htm Dedication] before the Prologue		*[http://www.tonykline.co.uk/PITBR/German/FaustIProl.htm Dedication] before the Prologue
			*[http://www.octc.kctcs.edu/crunyon/CE/03-Goethe/441.htm Notes on the Prologue] by Carl Runyon; see also his [http://www.octc.kctcs.edu/crunyon/CE/03-Goethe/FaustIntro.htm Faust Intro Notes]

	==Works Cited==		==Works Cited==
			Goethe, Johann Wolfgang von. <i>Faust, Part 1</i>. <i>The Norton Anthology of Western Literature</i>. Vol. 2. 8th Ed. Trans. Martin Greenberg. Sarah Lawall, et al, eds. New York: W.W. Norton, 2006. [All primary text citations are taken from this edition unless otherwise noted.]

	----		----

Glucas at 17:37, 25 February 2006

2006-02-25T17:37:53Z

@@ Line 3: / Line 3: @@
 ==Notes==
-"The Prologue in Heaven" is patterned on the [http://www.cliffsnotes.com/WileyCDA/LitNote/id-103,pageNum-42.html Book of Job]: essentially a meeting between God and Satan wherein the two make a wager: God allows Satan to test Job in order to prove that the latter's devotion is not based on materialistic reward. Goethe's The Lord seems to be closest to the image of [http://www.newadvent.org/cathen/08329a.htm Yahweh] in the Old Testament: one who demands that the righteous fear God and shun evil.
+"The Prologue in Heaven" is patterned on the [http://www.cliffsnotes.com/WileyCDA/LitNote/id-103,pageNum-42.html Book of Job]: essentially a meeting between God and Satan wherein the two make a wager: God allows Satan to test Job in order to prove that the latter's devotion is not based on materialistic reward. Goethe's The Lord seems to be closest to the image of [http://www.newadvent.org/cathen/08329a.htm Yahweh] in the Old Testament: one who demands that the righteous fear God and shun evil, yet also a bit easier going.
-===Lines 1-28===
+===Lines 1-28: The Heavenly Host ===
-Spoken by the [http://www.newadvent.org/cathen/01476d.htm Heavenly Host]: [http://www.newadvent.org/cathen/12640b.htm Raphael], [http://www.newadvent.org/cathen/06330a.htm Gabriel], and [http://www.newadvent.org/cathen/10275b.htm Michael], respectively.
+[[Image:Ptolemaic.gif|thumb|right|Ptolemaic Universe]]Spoken by the [http://www.newadvent.org/cathen/01476d.htm Heavenly Host]: [http://www.newadvent.org/cathen/12640b.htm Raphael], [http://www.newadvent.org/cathen/06330a.htm Gabriel], and [http://www.newadvent.org/cathen/10275b.htm Michael], respectively. These lines celebrate the Lord's Creation in all its sublime wonder. Raphael, representing the heavens,  praises the [http://home22.inet.tele.dk/hightower/spheres.htm harmony of the spheres] (the harmony of heavenly music), continuity, and order. He acknowledges that the Lord gives strength to the angels, yet remains mysterious and wonderful. He, like His creation, are solid and permanent, but remain unfathomable in many ways. The system that he is talking about is represented in the picture to the right: the [http://galileo.rice.edu/sci/theories/ptolemaic_system.html Ptolemaic], or geocentric, view of the universe.
 ==Commentary==
 Goethe's obvious [[allusion]] to the Old Testament's Book of Job suggests that this will be Faust's own test, and like Job, he will have to lose all he has in order to find his salvation.
-Implicit in the Heavenly Host's praise is the presence of light: a symbol of reason. While the Archangels speak in an elevated tone, Mephistopheles apologizes for his "lack of eloquence" (l. 33). The latter then suggests that humanity find the world a difficult place, despite its brilliant design. Man abuses Reason, seeking to soar ever higher, but always finding himself in stark reality. The implication of his speech impunes the Lord's creation by suggesting that humans can be easily turned from the light because they are so pathetic. Tthere seems to be an insect/worm [[motif]] throughout ''Faust'' when describing humans; look for more instances throughout the work.
+Implicit in the Heavenly Host's praise is the presence of light: a symbol of reason. They praise the Lord's creation, both solid and sublime, and seem to be the Lord's yes-men. Their speeches seem to be like that of a song, formal and well rehearsed.
 ==Study Questions==
 ==External Resources==
 ==Works Cited==

Glucas: /* Notes */

2006-02-24T16:36:19Z

Notes

← Older revision		Revision as of 12:36, 24 February 2006
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	==Notes==		==Notes==
	"The Prologue in Heaven" is patterned on the [http://www.cliffsnotes.com/WileyCDA/LitNote/id-103,pageNum-42.html Book of Job]: essentially a meeting between God and Satan wherein the two make a wager: God allows Satan to test Job in order to prove that the latter's devotion is not based on materialistic reward.		"The Prologue in Heaven" is patterned on the [http://www.cliffsnotes.com/WileyCDA/LitNote/id-103,pageNum-42.html Book of Job]: essentially a meeting between God and Satan wherein the two make a wager: God allows Satan to test Job in order to prove that the latter's devotion is not based on materialistic reward. Goethe's The Lord seems to be closest to the image of [http://www.newadvent.org/cathen/08329a.htm Yahweh] in the Old Testament: one who demands that the righteous fear God and shun evil.

			===Lines 1-28===
			Spoken by the [http://www.newadvent.org/cathen/01476d.htm Heavenly Host]: [http://www.newadvent.org/cathen/12640b.htm Raphael], [http://www.newadvent.org/cathen/06330a.htm Gabriel], and [http://www.newadvent.org/cathen/10275b.htm Michael], respectively.

	==Commentary==		==Commentary==

Glucas at 19:00, 22 February 2006

2006-02-22T19:00:02Z

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	==Summary==		==Summary==
	~~Patterned on the Book of Job, the~~ Lord and the Heavenly Host converse with [[Mephistopheles]]. The Archangels, Raphael, Gabriel, and Michael first praise creation, remarking on its order, continuity, mystery, and power. Implicit in their praise is the presence of light: a symbol of reason. While the Archangels speak in an elevated tone, Mephistopheles apologizes for his "lack of eloquence" (l. 33). The latter then suggests that humanity find the world a difficult place, despite its brilliant design. Man abuses Reason, seeking to soar ever higher, but always finding himself in stark reality. The implication of his speech impunes the Lord's creation by suggesting that humans can be easily turned from the light because they are so pathetic (there seems to be an insect/worm [[motif]] throughout ''Faust'' when describing humans). The Lord agrees to allow Mephistopheles to tempt Faust, and He futher agrees not to interfere: "As long as man strives, he is bound to err" (l. 77), but that a "good man still knows which road is the right one" (l. 89).		The Lord and the Heavenly Host converse with [[Mephistopheles]]. The Archangels, Raphael, Gabriel, and Michael first praise creation, remarking on its order, continuity, mystery, and power. The Lord agrees to allow Mephistopheles to tempt Faust, and He futher agrees not to interfere: "As long as man strives, he is bound to err" (l. 77), but that a "good man still knows which road is the right one" (l. 89).

	==Notes==		==Notes==
			"The Prologue in Heaven" is patterned on the [http://www.cliffsnotes.com/WileyCDA/LitNote/id-103,pageNum-42.html Book of Job]: essentially a meeting between God and Satan wherein the two make a wager: God allows Satan to test Job in order to prove that the latter's devotion is not based on materialistic reward.

	==Commentary==		==Commentary==
			Goethe's obvious [[allusion]] to the Old Testament's Book of Job suggests that this will be Faust's own test, and like Job, he will have to lose all he has in order to find his salvation.

			Implicit in the Heavenly Host's praise is the presence of light: a symbol of reason. While the Archangels speak in an elevated tone, Mephistopheles apologizes for his "lack of eloquence" (l. 33). The latter then suggests that humanity find the world a difficult place, despite its brilliant design. Man abuses Reason, seeking to soar ever higher, but always finding himself in stark reality. The implication of his speech impunes the Lord's creation by suggesting that humans can be easily turned from the light because they are so pathetic. Tthere seems to be an insect/worm [[motif]] throughout ''Faust'' when describing humans; look for more instances throughout the work.

	==Study Questions==		==Study Questions==
Line 14:		Line 18:

	----		----
	[[Faust Summary, Commentary, Notes]]		[[Faust Summary, Commentary, Notes]] \| [[Faust: Night (1)\|Night]] >

	[[Category:World Literature]]		[[Category:World Literature]]

← Older revision		Revision as of 12:32, 1 March 2006
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	==Notes==		==Notes==
	"The Prologue in Heaven" is patterned on the [http://www.cliffsnotes.com/WileyCDA/LitNote/id-103,pageNum-42.html Book of Job]: essentially a meeting between God and Satan wherein the two make a wager: God allows Satan to test Job in order to prove that the latter's devotion is not based on materialistic reward. Goethe's The Lord seems to be closest to the image of [http://www.newadvent.org/cathen/08329a.htm Yahweh] in the Old Testament: one who demands that the righteous fear God and shun evil, yet also a bit easier going.		"The Prologue in Heaven" is patterned on the [http://www.cliffsnotes.com/WileyCDA/LitNote/id-103,pageNum-42.html Book of Job]: essentially a meeting between God and Satan wherein the two make a wager: God allows Satan to test Job in order to prove that the latter's devotion is not based on materialistic reward. Goethe's The Lord seems to be closest to the image of [http://www.newadvent.org/cathen/08329a.htm Yahweh] in the Old Testament: one who demands that the righteous fear God and shun evil, yet also a bit easier going. Even though the original legend of Doctor Faustus was published in 1587, Goethe sets his play in latter 17th century, and its creation spans the 18th century (Weigand 69). This was a time of change — of revolt and revolution, where the individual took center stage (Heller 94). During this time, Heller writes, people believed that demons, devils, and spirits took human and animal forms, rather than their figurative dissemination of today (94).

	===Lines 1-28: The Heavenly Host ===		===Lines 1-28: The Heavenly Host ===
Line 35:		Line 35:

	==Commentary==		==Commentary==
	This frist section of Goethe's celebration of human striving sets the mood for the vigorous, spirited, and critical look at Faust's striving toward self-identity even in the face of despair (Weigand 63, Heller 93). According to Heller, the grandeur and misery of striving are present in this first scene, setting the stage for Faust's journey toward self-discovery (~~Heller~~ 93-94).		This frist section of Goethe's celebration of human striving sets the mood for the vigorous, spirited, and critical look at Faust's striving toward self-identity even in the face of despair (Weigand 63, Heller 93). According to Heller, the grandeur and misery of striving are present in this first scene, setting the stage for Faust's journey toward self-discovery (93-94).

	Goethe's obvious [[allusion]] to the Old Testament's Book of Job suggests that this will be Faust's own test, and like Job, he will have to lose all he has in order to find his salvation.		Goethe's obvious [[allusion]] to the Old Testament's Book of Job suggests that this will be Faust's own test, and like Job, he will have to lose all he has in order to find his salvation.
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	Implicit in the Heavenly Host's praise is the presence of light: a symbol of reason. They praise the Lord's creation, both solid and sublime, and seem to be the Lord's yes-men. Their speeches seem to be like that of a song, formal and well rehearsed.		Implicit in the Heavenly Host's praise is the presence of light: a symbol of reason. They praise the Lord's creation, both solid and sublime, and seem to be the Lord's yes-men. Their speeches seem to be like that of a song, formal and well rehearsed.

	While the Archangels speak in an elevated tone, Mephistopheles apologizes for his "lack of eloquence" (l. 33). Mephistopheles seems unimpressed with the Heavenly Host, and he seems somewhat put out and bothered from having to be here, like he's a regional manager being badgered by corporate. He accuses the whole host of being unrealistic: of having their heads in the clouds. He then suggests that he is more in tune with the actual lives of humans (ll. 38-39). Humanity find the world a difficult place, despite its brilliant design. Man abuses Reason, seeking to soar ever higher, but always finding himself in stark reality. The implication of his speech impunes the Lord's creation by suggesting that humans can be easily turned from the light because they are so pathetic. There seems to be an insect/worm [[motif]] throughout ''Faust'' when describing humans; look for more instances throughout the work.		While the Archangels speak in an elevated tone, Mephistopheles, the spirit of negation and nothingness, apologizes for his "lack of eloquence" (l. 33) (Heller 95). Mephistopheles seems unimpressed with the Heavenly Host, and he seems somewhat put out and bothered from having to be here, like he's a regional manager being badgered by corporate. He accuses the whole host of being unrealistic: of having their heads in the clouds. He then suggests that he is more in tune with the actual lives of humans (ll. 38-39). Humanity find the world a difficult place, despite its brilliant design. Man abuses Reason, seeking to soar ever higher, but always finding himself in stark reality. The implication of his speech impunes the Lord's creation by suggesting that humans can be easily turned from the light because they are so pathetic. There seems to be an insect/worm [[motif]] throughout ''Faust'' when describing humans; look for more instances throughout the work.

	Humans (as insects) cannot help but be what they are, since the Lord made them that way. This "absolute" idea seems to be a critique of [http://earthshine.org/node/409 Neoclassicism]'s belief in absolutes. [http://www.wsu.edu/~brians/hum_303/romanticism.html Romanticism] emphasized the individual and his/her striving toward an understanding of the universe, away from notions of absolutes. In many ways, Goethe's Mephistopheles suggests some aspects of the romantic hero: a soul in [http://earthshine.org/node/434 revolt], melancholy and anti-social, cynical, and bored.		Humans (as insects) cannot help but be what they are, since the Lord made them that way. This "absolute" idea seems to be a critique of [http://earthshine.org/node/409 Neoclassicism]'s belief in absolutes. [http://www.wsu.edu/~brians/hum_303/romanticism.html Romanticism] emphasized the individual and his/her striving toward an understanding of the universe, away from notions of absolutes. In many ways, Goethe's Mephistopheles suggests some aspects of the romantic hero: a soul in [http://earthshine.org/node/434 revolt], melancholy and anti-social, cynical, and bored.

	Mephistopheles has almost lost his spirit: when the world seems mostly evil, how can the devil have any fun? The Lord almost seems sympathetic toward Mephistopheles, and mentions Faust immediately. This seems to suggest that, seemingly contrary to the orthodox notion that seeks to obliterate evil, Mephistopheles seems to be an integral part of the Lord's design; this theme will be echoed again in [[Faust: Faust's Study (1)\|Faust's study]] when Faust asks Mephistopheles his name; the latter answers: "A humble part of that great power / Which always means evil, always does good" (ll. 1119-1120). Indeed, how can one be good if there exists nothing that can be pointed to as evil? Part of his duties, it seems, is to "prod and poke and incite [people] as a devil should," says the Lord, suggesting further the necessity of "evil." Indeed, the Lord's last words seem to suggest that he prefers the devils of the world to his own Heavenly ~~Hoast~~. Indeed, who wouldn't?		Mephistopheles has almost lost his spirit: when the world seems mostly evil, how can the devil have any fun? All we need to do is look at <i>[[Candide]]</i> for an example of what he's talking about. The Lord almost seems sympathetic toward Mephistopheles, and mentions Faust immediately. This seems to suggest that, seemingly contrary to the orthodox notion that seeks to obliterate evil, Mephistopheles seems to be an integral part of the Lord's design; this theme will be echoed again in [[Faust: Faust's Study (1)\|Faust's study]] when Faust asks Mephistopheles his name; the latter answers: "A humble part of that great power / Which always means evil, always does good" (ll. 1119-1120). Indeed, how can one be good if there exists nothing that can be pointed to as evil? Part of his duties, it seems, is to "prod and poke and incite [people] as a devil should," says the Lord, suggesting further the necessity of "evil." Indeed, the Lord's last words seem to suggest that he prefers the devils of the world to his own Heavenly Host. Indeed, who wouldn't?

	Faust (like all humans?) is somewhere between the Heavenly Host and Mephistopheles on a quest for self-realization. If the former symbolizes reason, then Mephistopheles must symbolize that which is animalistic, or bodily desires. While learning emphasizes the strengthening of mental faculties, Faust has not experienced this "earthly" side, as Mephistopheles suggests (l. 61). The Lord maintains that "My light," or reason, shall lead him back to goodness, but Mephistopheles seems to think he can distract Faust from this path: thus, the bet. Weigand suggests that Faust was a symbol of man's emancipation from authority (70).		Faust (like all humans?) is somewhere between the Heavenly Host and Mephistopheles on a quest for self-realization. If the former symbolizes reason, then Mephistopheles must symbolize that which is animalistic, or bodily desires. While learning emphasizes the strengthening of mental faculties, Faust has not experienced this "earthly" side, as Mephistopheles suggests (l. 61). The Lord maintains that "My light," or reason, shall lead him back to goodness, but Mephistopheles seems to think he can distract Faust from this path: thus, the bet. Weigand suggests that Faust was a symbol of man's emancipation from authority (70). Here, ironically, it takes the nihilistic Mephistopheles to animate the despairing Faust (Heller 95).

	Unlike Job, where the bet is about whether or not Job will remain pious, this bet is about whether Faust will choose the right road even while under Mephistopheles' carte blanche. This heavenly wager will be [[Faust: Faust's Study (2)\|echoed later]] with that between Faust and Mephistopheles; cf. ll. 1459-1470. Faust must discover his own path to salvation, through a self-realization that must walk a dangerous path, symbolic, perhaps, of the entire western world (Weigand 70-71).		Unlike Job, where the bet is about whether or not Job will remain pious, this bet is about whether Faust will choose the right road even while under Mephistopheles' carte blanche. This heavenly wager will be [[Faust: Faust's Study (2)\|echoed later]] with that between Faust and Mephistopheles; cf. ll. 1459-1470. Faust must discover his own path to salvation, through a self-realization that must walk a dangerous path, symbolic, perhaps, of the entire western world (Weigand 70-71).

			Heller suggests that Mephistopheles' pronouncement "Dust he'll eat" refers to his attempt to keep humanity's eyes diverted from the realm of the heavens by distracting them with "the dust of temporality" — distract them with the desires of the moment from the eternity of true being (95). As an unwilling servant of the Lord, Mephistopheles attempts to convince humanity that they — their concerns, their striving, their desires — are nothing more than the dust they taste. Mephistopheles keeps them distracted from their "effort to transcend the insufficiency of all temporal satisfaction, to defeat nonentity, to make still another attempt to relate himself to essential being" (Heller 95).

	The scene ends with Mephistopheles praising the Lord in his own way as a decent sort who will talk with the devil. This is perhaps an important lesson of <i>Faust</i>.		The scene ends with Mephistopheles praising the Lord in his own way as a decent sort who will talk with the devil. This is perhaps an important lesson of <i>Faust</i>.