Faust: Faust's Study (1)
Summary
Faust is in his study translating the Gospel of John into German. The black poodle that Faust brought home begins to act wild and Faust tries to stop its madness. Spirits outside of Faust's door begin to speak about how something is inside that needs help. Faust then uses a spell to defend himself. After this the black poodle transforms into a monster. Faust tries to use magic spells and a crusifix to drive the evil spirit away. Then the poodle turns into Mephisto, the devil. Mephisto and Faust chat for a moment before Mephisto must take his leave. Faust asks Mephisto who he really is, but Mephisto cleverly avoids the answer to the question. Mephisto is trapped by a pentagram and Faust will not remove it to let him go. Mephisto then tricks Faust into falling asleep by summoning spirts that sing him to sleep and Mephisto escapes.
Notes
The Gospel of John
As Faust enters his study, he gives the poodle a pillow to rest on, as he translates the Book of John into German. He starts out in John chapter 1, verse 1. "In the begining was the Word-so goes the text. And right off I'm given pause" (l. 1004-1005). It seems in this passage that Faust may be doubting the supreme being of God and his word. This next passage is another example of Faust's doubt. I'm unable to see the word as having supreme value (1. 1006-1007). The Greek term for "word" is logos. Faust argues that a mere word cannot have such great significance (Gray 143). Faust didn't want to use the term "word" in the passage. He tried thinking of several other terms to put in place of "word". He tries the term "power". He finaly decided on the phrase 'Im Anfang war die Tat!' Translated means 'In the begining was the deed' (Gray 143).
Mephisto
As Faust is working on translating the Gospel of John to German, the poodle transforms into a bigger dog, growing larger before Faust's eyes. Spirits outside start banging on the door to try to get in. Faust then tries to defend himself by using The Spell of the Four Elements (l. 1054). Then, the poodle transforms into Mephisto. Mephisto is dressed as a traveling scholar. When Mephisto tries to leave Faust's study, he relizes that he can't because there is a pentagram at the door. Faust offers a suggestion that Mepisto can get out by going out the window. Mephisto states that the devils have to leave the way they came in (l. 1196).
The Spell of the Four Elements
Faust's Spell of the Four Elements refers to the traditional magical practices of invoking the energy of the elements of nature--earth, air, fire, and water--for assistance during a casting. This process is called "elemental balancing" (Adams 58). The purpose of Faust's spell in lines 1055 through 1071 is to force Mephisto to leave his study. Each of the creatures mentioned in the first verse of the spell represent one of the elements. Each of the elements has a specific tool that represents it. For example, fire is represented by the wand. The elements also represent a balance between for things: "intellect (air), will (fire), emotions (water), and body (earth)" (Adams 58). It is believed that without a balance of the elements and what they represent, practicing magic can be dangerous whoever attempts it.
Pentagram
In lines 1179-1187, Faust and Mephisto make references to a pentagram that Faust had drawn on his entryway. The pentagram, also referred to as a pentacle, has been used for centries throughout the practice of witchcraft. Beginning with line 1055, Faust chants The Spell of the Four Elements, so it should be mentioned that the pentagram is the pagan symbol for earth, one of the four elements. The pentagram is a five-pointed star, much like the kind we draw as children. Practitioners of white magic (Wicca) consider the uppermost point to represent life, and the other four points represent each of the four elements of nature used in white magic: earth, air, fire, and water (Adams 61). The pentagram is considered to be a symbol of protection. In the text, the pentagram is used by Faust to keep evil spirits from entering his domain, however, because of the break in the pentagram, it is not whole; thus, spirits may enter but cannot leave (l. 1185-1188). As a side point of interest, had the pentagram been upside down, it would be the symbol for Satanism.
Commentary
The Poodle
"Everything that creates the yearning to escape from the monotony of daily life is romantic" (Walzel 3).
Faust's Study 1 is important to the rest of the story because this is where he invokes Mephisto into his home. Mephisto is disguised as a poodle, a black poodle. The meeting of the dog forshadows the rest of the story when Faust says "I think I see him winding a magic snare, quietly, around our feet, a noose which he'll pull tight in the future, when the time is right" (543 l.935-938).
The Lord of the Flies
Faust refers to Mephisto as "Lord of the Flies, Destroyer, Liar" after the demon changes from a black poodle into its human form (l.1116). All of these names are references to the Devil. However, it is Lord of the Flies that stands out the most. This refers to the Biblical name for the Devil, Beelzebub. Perhaps, the name is more easily recognized in conjunction with William Golding's novel, The Lord of the Flies, which took its name from this passage (Rosenfield). When Simon discovers the fly-ridden pig's head that the children have erected in Golding's novel to pay homage to the outside forces at work around them, he becomes ill and goes through a spell. This represents an internal journey for the sole purpose of understanding oneself (Rosenfield). When Faust pressures Mephisto into staying with him, and ultimately signs a contract for his soul in the next section, he is embarking on the same journey that Simon undertakes. Faust must come to terms with the life that provides no stimulation for him in the course of his journey. Though the reader at this point does not know if Faust will become involved with Mephisto for certain, Faust's eagerness to have dealings with the demon forshadows this journey. He says: "So even in Hell there's law and order! I'm glad, for then a man might sign a contract with you gentlemen" (l.1197-1199). We are left with the question: Can Faust find a meaning to life that will satisfy both his life and himself through his dealings with Mephisto?
Dual Personalities of One Character
Faust's Study is the first section in which the personalities of Mephisto and Faust may be compared side to side. It begins to become obvious that each character's personality works off that of the other, much in the same way that a person might witness different sides to the same person. One might even say that Faust represents the "good" side of a person, while Mephisto represents the "bad" side. Faust is a representative of mankind "whose history on earth is one of lust and hate and greed" but in death, still goes to Heaven (Willcocks 37). Mephisto is not reedeemable, nor does he care to be. With that being said, we move into Mephisto and Faust being the two side of a character. By Faust taking the abandoned poodle into his home in the beginning of the section, readers are introduced to his kind side. Throughout the work so far, Faust has been somewhat of a model human, although he does dip into the occult, which by nature, is a sin against God. However, with his still favored in the eyes of the Lord, but Mephisto's appearance causes him to fall slightly. Faust shows signs of greed, at trying to retain the demon's services. He continues his fall from grace by hinting that he would consider making a pact with Mephisto in lines 1197-1199. Mephisto, on the other hand, represents the other side to a character. His is that side that "...we dread and hate above all other creatures..." due to his sarcasm, cynacism, and purely annoying personality (Willcocks 44). He comes before Faust, completely sarcastic, yet at the same time is very clear-headed. Where Faust panicked upon the poodle's metamorphosis into Mephisto and began to recite The Spell of the Four Elements frantically, Mephisto retains a level head. This allows him to dodge Faust's questions to his identity beginning with line 1114. Later, Mephisto also uses this trait to trick Faust into giving him an outlet to escape. Mephisto tells Faust to "let me entertain you in my own way." (1217-1218). He then brings in a group of spirits to entertain Faust, knowing that the spirits will sing Faust to sleep, allowing Mephisto to escape. Faust could never have come up with such a plan, nor is he capable of keeping such a clear and level head, as we witness in later sections. So, with their different personalities, readers witness man's struggle to embrace the dark side or the light side.
Study Questions
(1) Why was Mephisto avoiding answering Faust's questions of his real identity?
(2) Why did Faust not like the term "word" in the passage from the Gospel of John?
(3) What did the poodle turn into first?
(4) What did the poodle turn into second?
(5) What are the four elements in Faust's Spell of the Four Elements, and why are they important to the text? What is their occult significance?
(6) What is the significance behind Faust calling to Mephisto as "Lord of the Flies"?
(7) What is the purpose of the pentagram on Faust's doorway?
(8) Why is Mephisto able to enter Faust's study, even though he is a demon?
(9) How did Mephisto get Faust asleep?
(10) What does Mephisto use to aid him in his escape from the study after Faust had fallen asleep, and what does it do?
(11) Why does Mephisto need help in leaving if Faust were already asleep?
External Resources
Works Cited
Adams, Anton, and Mina Adams. The Learned Arts of Witches and Wizards. New York: Metro Books, 1998. 58 & 61.
Gray, Ronald D. Goethe: A Critical Introduction. Cambridge University Press. New York: 1967.
Rosenfield, Claire. "Men of a Smaller Growth: A Psychological Analysis of William Golding's 'Lord of the Flies'" Literature and Psychology XI (1961): 93-101. Contemporatry Literary Criticism. Literature Resource Center. 03 Mar. 2006. Keyword: Faust + Lord of the Flies.
Walzel, Oskar F. "German Romanticism". New York: Frederick Ungar Co., 1965.
Willcocks, Mary Patricia. "Between the Old World and the New." Goethe and the World-Will. Freeport, NY: Books for Libraries Publishers, 1967. 33-49.
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