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Faust: Prologue in Heaven: Difference between revisions
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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 === | ||
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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 ( | 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 | 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>. | ||