Innumerable folk tales and invented stories were attached to his name. The first printed version is the Volksbuch (1587) of Johann Spiess, which, in English translation, was the basis of Christopher Marlowe's play Dr. Faustus (c.1588). Many versions followed, ranging from popular buffoonery to highly developed art forms. Spiess and Marlowe represent Faust as a scoundrel justly punished with eternal damnation, but Lessing instead saw in him the symbol of man's heroic striving for knowledge and power and therefore as worthy of praise and salvation.
Lessing's view of Faust as seeker was continued by Goethe in one of the greatest dramatic poems ever written. He enlarged upon the old legend, adding the element of love and the saving power of woman and giving the story a philosophical treatment. Goethe first came to grips with the theme in 1774 (in what is called the Urfaust). The first part of Faust appeared in 1808; it is more suitable for the theater than the more profound and philosophic second part (1833).
The many subsequent Faust novels and dramas, among them those of Klinger, Chamisso, Grabbe, and Lenau, could not rival the power and fame of Goethe's work. A recent variant of the Faust legend is Thomas Mann's novel Doktor Faustus (1947, tr. 1948). Goethe's Faust inspired innumerable composers of operas, oratorios, stage music, and symphonic works, including Berlioz, Gounod, Schumann, Liszt, and Boito. Spohr's and Busoni's Faust operas are based on other literary models.
See H. G. Meek, Johann Faust (1930); P. M. Palmer and R. P. More, Sources of the Faust Tradition (1936).
Faust or Faustus (Latin for "auspicious" or "lucky") is the protagonist of a classic German legend in which he makes a pact with the Devil in exchange for knowledge. The tale is the basis for many literary, artistic, cinematic, and musical works, such as those by Christopher Marlowe, Goethe, Mikhail Bulgakov, Thomas Mann, Hector Berlioz, Franz Liszt, Washington Irving, Charles Gounod, Randy Newman, Gustav Mahler and Oscar Wilde. The meaning of the word and name has been reinterpreted through the ages and has come to take on a connotation completely different from its original use, and is often used today to describe a man whose headstrong desire for self-fulfillment leads him in a diabolical direction.
The Faust of the early Faust-books — and of the ballads, dramas and puppet-plays which grew out of them — is irrevocably damned because he prefers human to "divine" knowledge; "he laid the Holy Scriptures behind the door and under the bench, refused to be called doctor of Theology, but preferred to be styled doctor of Medicine."
Plays and comic puppet theatre loosely based on this legend were popular throughout Germany in the 16th century, often reducing Faust to a figure of vulgar fun. The story was popularized in England by Christopher Marlowe, who gave it a classic treatment in his play The Tragical History of Doctor Faustus. But in Goethe's reworking of the story two centuries later, Faust becomes a dissatisfied intellectual who yearns for "more than earthly meat and drink."
The first printed source on the legend of Faust is a little chapbook bearing the title Historia von D. Iohan Fausten published in 1587. The book was re-edited and borrowed from throughout the 17th century. Other "Faustbooks" of that era include the following:
The 1725 Faustbook was widely circulated, and also read by the young Goethe.
The origin of Faust's name and persona remains unclear, though it is widely assumed to be based on the figure of German Dr. Johann Georg Faust (c. 1480–1540), a magician and alchemist probably from Knittlingen, Württemberg, who obtained a degree in divinity from Heidelberg University in 1509.
The character in Polish folklore named Pan Twardowski presents similarities with Faust, and this legend seems to have originated at roughly the same time. It is unclear whether the two tales have a common origin or influenced each other. Pan Twardowski may be based on a 16th century German emigrant to the then-capital of Poland, Kraków, or possibly John Dee or Edward Kelley. According to the theologian Philip Melanchthon, the historic Johann Faust had studied in Kraków, as well.
Other related tales involving a pact between man and the devil include the legend of Theophilus of Adana, the 5th century bishop; and the plays Mary of Nijmegen (Dutch, early 15th century, attributed to Anna Bijns) and Cenodoxus (German, early 17th century, by Jacob Bidermann).
The early Faust chapbook, while already in circulation in Northern Germany, found its way to England, where in 1592 an English translation was published, The Historie of the Damnable Life, and Deserved Death of Doctor Iohn Faustus credited to a certain "P. F., Gent[leman]". It was this work that Christopher Marlowe used as the basis for his more ambitious play, The Tragical History of Doctor Faustus (published c. 1604). Marlowe also borrowed from Acts and Monuments by John Foxe, on the exchanges between Pope Adrian and a rival pope. Another possible inspiration of Marlowe's version is John Dee (1527-1609), who practiced forms of alchemy and science and developed Enochian magic.
Goethe's Faust complicates the simple Christian moral of the original legend. A hybrid between a play and an extended poem, Goethe's two part "closet drama" is epic in scope. It gathers together references from Christian, medieval, Roman, eastern and Hellenic poetry, philosophy and literature; ending in a Faust who is saved, carried aloft to heaven, as Mephistopheles looks on.
The legend of Faust was an obsession of Goethe's. The composition and refinement of his own version of the legend occupied him for over sixty years (though not continuously). The final version, published after his death, is recognized as a great work of German literature.
The story concerns the fate of Faust in his quest for the true essence of life ("was die Welt im Innersten zusammenhält"). Frustrated with learning and the limits to his knowledge and power, he attracts the attention of the Devil (represented by Mephistopheles), who agrees to serve Faust until the moment he attains the zenith of human happiness, at which point Mephistopheles may take his soul. Faust is pleased with the deal, as he believes the moment will never come.
In the first part, Mephistopheles leads Faust through experiences that culminate in a lustful and destructive relationship with an innocent and nubile woman named Gretchen. Gretchen and her family are destroyed by Mephistopheles' deceptions and Faust's desires and actions. The story ends in tragedy as Gretchen is saved and Faust is left in shame.
The second part begins with the spirits of the earth forgiving Faust (and the rest of mankind) and progresses into rich allegorical poetry. Faust and his devil pass through the world of politics and the world of the classical gods, and meet with Helen of Troy (the personification of beauty). Finally, having succeeded in taming the very forces of war and nature Faust experiences a single moment of happiness.
The devil Mephistopheles, trying to grab Faust's soul when he dies, is frustrated as the Lord intervenes – recognizing the value of Faust's unending striving.
Black Metal Band 'Akercocke' were named after a monkey in the book Faust.