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The Legend of Faust • The Early Modern Period in Germany (1350-1600) also gave rise to legends. • Early modern legends are folk heroes, not warriors or chieftains. Different society. • Like earlier legends, folk heroes also exist on the margins of recorded history. • Examples: Johann Faust Till Eulenspiegel

The Legend of Faust The Early Modern Period in Germany (1350-1600) also gave rise to legends. Early modern legends are folk heroes, not warriors or chieftains

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The Legend of Faust

• The Early Modern Period in Germany (1350-1600) also gave rise to legends.

• Early modern legends are folk heroes, not warriors or chieftains. Different society.

• Like earlier legends, folk heroes also exist on the margins of recorded history.

• Examples: Johann Faust

Till Eulenspiegel

The Legend of Faust

• The historical Georg Faust is a shadowy character, probably lived c. 1480 – 1538.

• He is a contemporary of Martin Luther.

• Historical documents mention Faust in Heidelberg, Knittlingen, Wittenberg etc., but these may refer to different individuals.

• Faust seems to have been an astrologer and alchemist of ill-repute – not uncommon!

The Legend of Faust

• The legendary Faust was a Renaissance Man, active in all branches of arts and sciences.

• Some similar characters from the period:• Theophrastus Bombastus von Hohenheim (Paracelsus)• Leonardo da Vinci and Galileo Galilei (Italian)• Cornelius Agrippa (German)• John Dee (English)• Copernicus (Czech)

• Unlike these, the historical Faust seems to have been more of a swindler than a scientist.

The Legend of Faust

• The Faust legend is a conglomeration of these characters and medieval accounts of wizards and sorcerers, such as:• Merlin the Magician

• Simon Magus

• Theophilus

• The Faust legend arose – about 70 years after his death – as a loose collection of stories associated with character of Faust.

• Note the necessary stage of oral transmission.

The Legend of Faust

• The first version of Faust was published by Johann Spies in Frankfurt in 1587:

Historia von

D. Johann Faustendem weitbeschreyten Zauberer und Schwarzkünstler

• An independent manuscript version from Nürnberg may be slightly older.

• Spies presented a moralistic tale from a staunch Protestant perspective.

The Legend of Faust

• The defining element of all versions of the Faust legend is the Pact with the Devil.

• The Pact is ancient idea, found in a number of classical and medieval works.

• Faust fascinated Renaissance audiences because his pact called into question the great advances of the age – humanism, science, art, and philosophy.

The Legend of Faust

• The Spies Chapbook of 1587 (Volksbuch) presents Faust’s life as a warning not to seek forbidden knowledge or experience.

• The Chapbook is constructed as a frame tale: • opening chapters discuss his pact with Mephisto• concluding chapters discuss the consequences

• Interior chapters recount Faust’s adventures.

• Very episodic, entertaining, little moralizing in the interior chapters.

The Legend of Faust

• The Spies Volksbuch established a number of elements that are conventionally retained in later versions of the legend:

1. Faust’s career as a scholar and astronomer

2. His frustration with limitations of human knowledge

3. His turn toward necromancy to aid his search for knowledge

4. His pact with the evil spirit (Mephostophilis)

5. Cosmological discussions of heaven and hell

6. Visitations by various demons and spirits for amusement

7. Travel through European countries and capital cities

The Legend of Faust

8. A visit to the Imperial Court of Charles V as a Magician

9. A visit to the Pope in Rome, where he mocks the Pontiff

10. Pranks played on the other courtiers of Charles V.

11. Further pranks played on the middle class – horse traders, inn keepers, peasants, Jewish peddlers, etc.

12. Riotous living with his students – drinking and carousing!

13. The conjuration of classical heroes, esp. Helen of Troy

14. Failed attempts by pious men to return Faust to the Lord

15. A marriage to (a demon in the form of) Helen of Troy

16. Faust’s despair as his appointed time draws to a close

17. Faust’s gruesome death presented as a warning to others

The Legend of Faust

• The Spies chapbook was, to judge from translations and new editions, very popular.

• English Version (EFB) appeared in 1592:

The

Historieof the damnable life, and deserved death of

Doctor John Faustus,

Newly imprinted, and in convenient places imperfect matter amended: according to the true Copie, printed at Franckfort, and

translated into English by P. F. Gent.[leman].

The Legend of Faust

• A selection of chapters from The Damnable Life (EFB) is printed on pp. 92-145 of the Signet Classic edition of Marlowe.

• Suggested Reading for class!

• The EFB is a close translation of Spies, but it contains new material used by Marlowe.

• New versions of the legend often add new episodes appealing to their own audience.

The Legend of Faust

• Marlowe’s drama cannot be dated exactly: he may have used the German version, or only the English, or some combination:

The Tragicall History of

the Life and Deathof Doctor Faustus.

• Marlowe died in 1593, but the first printing of Doctor Faustus was in 1604. A later printing in 1616 contained a number of differences.

The Legend of Faust

• After Marlowe, a number of other editions were written in Germany:

• 1599 Expanded Chapbook edition by Widmann• 1674 New additions by Pfitzer (love for a village girl)• 1725 The “well-meaning Christian’s” children’s story• 1650-1750 English comedians presented a version based

on Marlowe throughout Germany; this was also the basis for the beloved Faust puppet play.

• 1759 G. E. Lessing wrote fragments of a Faust drama – this was the first version to save Faust from damnation!

The Legend of Faust

• Later versions of Faust legend in Germany

(Storm-and-Stress to Classicism):• 1778 Faust’s Life by Friedrich (Maler) Müller• 1791 Faust’s Life, Deeds, and Ride to Hell by Klinger• 1770-1808 Faust, Part One, by J. W. Goethe• 1833 Faust, Part Two by Goethe (publ. posthumously)

• Goethe’s work is a masterpiece of world literature, extremely influential on all subsequent versions of the legend.

The Legend of Faust

• Versions of the Faust legend continue to appear throughout Europe and America.

• Every generation presents its own version of the Faust legend, based upon their own aspirations, desires and fears.

• Modern versions of Faust do not usually punish Faust for seeking forbidden knowledge and experience.

• What would a contemporary American version look like?

Christopher Marlowe• Marlowe was born in Canterbury in 1564 (the same year

as Shakespeare), son of a shoemaker.• 1578 a student at King’s School, Canterbury• 1580 a scholarship to Corpus Christi College, Cambridge• 1584 received his BA• 1587 Cambridge rejected his MA, because he neglected

to continue his religious studies.• Marlowe probably working instead as a spy for Queen

Elizabeth, spying on English Catholics in France. • The Queen’s Privy Council intervened in Cambridge,

ordering them to grant Marlowe his degree, for he had been “engaged ... in matters touching the benefit of the country.”

Christopher Marlowe

• 1593 his roommate Thomas Kyd was arrested for heretical books; he claimed they belonged to Marlowe.

• Marlowe was arrested, but in effect put on probation.• On 30 May, as Marlowe had dinner with three friends at

Deptford, a quarrel broke out about the bill.• Marlowe struck Ingram Frizer during the argument. • Frizer then stabbed Marlowe through the eye “... in such

sort that the brains coming out at the dagger point and he shortly thereafter died.”

• Marlowe was posthumously accused of atheism, treason, and of holding the opinion “that they that love not tobacco and boys were fools…”

Christopher Marlowe

• Several conspiracy theories account for the murder.• Marlowe was possibly murdered on the orders of the

government, as a potentially embarrassing spy. • The barroom brawl was possibly staged. Frizer was

pardoned by Queen Elizabeth two weeks later.• Shakespeare:

When a man's verses cannot be read, nor a man's good wit seconded with the forward child understanding, it strikes a man more dead than a great reckoning in a little room.

“As You Like It" Act III, scene 2.

Doctor Faustus I

• A five-act play in the tradition of the Elizabethan theater.• Probably written c. 1592, the last year or so of his life. • The phrase “Faustian bargain” has entered the English

lexicon, referring to any deal made for a short-term gain with great costs in the long run.

• Prologue: Character of Faust introduced (cite 11-27).• Faustus, a well-respected German scholar, grows

dissatisfied with the limits of traditional forms of knowledge – philosophy, medicine, law, and theology – and decides that he wants to learn to practice magic (cite I.1. 47-60).

• He wants limitless dominion, knowledge and experience.

Doctor Faustus I

• Faustus is visited by good and evil angels, who each offer him advice. Religious framework (cite I.1. 67-74).

• Faustus summons a devil with thunder and lightning; he can’t bear to see his true appearance, but tells him to return as an old Franciscan Friar! (“That holy shape becomes a devil best” – criticism of Catholicism)

• Devil returns as Mephostophilis.• Faustus asks Mephostophilis about Lucifer and hell – the

theological discussions begin immediately. • Mephostophilis tries to warn Faustus about becoming a

slave to Lucifer!! (cite I.3.75-81)

Doctor Faustus I

• Faustus is unimpressed, he suggests a pact with Lucifer: for 24 years, he asks for use of the powers of dark magic with Mephostophilis as his servant. Then Lucifer can claim his soul! (cite I.3.82-100).

• Mephostophilis leaves to present the proposal to his master, Lucifer.

• Faustus' aide Wagner forces Robin to be his servant for seven years, otherwise he will plague him with lice.

• Robin is not too impressed (he already has lice).• Wagner summons two devils, which does the trick –

comic relief.

Doctor Faustus 2

• Mephostophilis returns with his master's answer: Lucifer agrees to the deal.

• Faustus is told to “write a deed of gift with thine own blood” (II.1. 36).

• Heavenly intervention: Faustus' blood dries unnaturally quickly before he can sign the pact.

• Faustus signs the pact with his blood, but a strange inscription appears on his arm: “Home fuge!”

• The pact is presented in legalistic detail (cite 2.1. 95-15).• Faust does not believe in “hell on earth”, requests a wife

– given a female devil instead (“here’s a hot whore indeed!” 151).

Doctor Faustus 2

• Theological discussions of creation, heaven and hell. Lucifer reminds Faustus not to think of Christ, for he is damned!

• Faustus promises to abjure God forever (2.2. 101-105)• To distract him, Lucifer and Belzebub present demonic

personifications of the Seven Deadly Sins. • Entertainment: “O, how this sight doth delight my soul”• Comic relief: stock character clowns Dick and Robin

try to do magic spells from one of Faustus' books.• Comic relief was an important feature of Elizabethan

Drama, often parallel action as farce instead of tragedy.

Doctor Faustus 3

• The chorus tells about the Faustus’ adventures and experiences flying on dragons through the universe.

• Faustus and his sidekick travel to Rome to see the Pope, playing tricks on him (criticism of Catholicism).

• Faustus and Mephostophilis dress as Cardinals and rescue Bruno, a rival to the pope supported by the German emperor.

• When the masquerade is discovered, the real cardinals take the blame and are led to prison to be executed.

• Faustus is invisible and plays pranks on the pope. He snatches his dish, takes away his wine, etc... finally even strikes the Pope!

Doctor Faustus 3 / 4• Comic Relief: Robin summons Mephostophilis, who is

annoyed, turns Robin into an ape and Dick into a dog.• Act 4 takes place at the court of Emperor Charles V.

Faustus is now famous as an astrologist, who provides entertainment through the use of black magic.

• Benvolio, a courtier, is introduced as an antagonist to Faustus. He is envious and distrustful.

• Faustus conjures the image of Alexander the Great for the emperor, while Benvolio pretends to fall asleep.

• Faustus put horns on Benvolio’s head, humiliating him in front of the court.

• Horns an allusion to cuckolding – i.e. his wife has been unfaithful. A further example of his pranks.

Doctor Faustus 4

• After the Emperor has laughed at Benvolio, he has Faustus remove the horns – “And hereafter sir, look you speak well of scholars” (4.2. 116).

• Benvolio and his friends resolve to kill Faustus for the humiliation he had to endure.

• They lay an ambush; Benvolio cuts off Faustus’ head.• While they discuss how to humiliate the dead body,

Faustus rises alive, terrifying his slayers (cite 4.3.69-93).• Slapstick comedy. • Another prank: Faustus and the horse courser. Example

of folk humour, getting even with unpopular social types. Note the pun on “horse-flesh” (whore’s flesh)

Doctor Faustus 4• Showdown between Faustus and a group of his drunken

victims at the court of the Duke of Vanholt. • Comic effect through the contrast of Faustus' courtesy

and the behaviour of the drunken party. • All of the clowns whom Faustus has tricked are there.

When they reproach Faustus with his deeds, he simply charms them, to the amusement of the nobles.

• First conjuring of Helen of Troy for the Duke. • Faustus might have achieved greatness, discovered new

lands, revealed hidden mysteries, increased human knowledge, but he has reduced himself to performing parlour tricks and playing pranks on the common people.

Doctor Faustus 5• Wagner speaks about Faustus’s approaching death. He

has made his will and given his belongings to Wagner. • Feasting and drinking with students – distractions in his

final days. • A scholar asks Faustus to conjure Helen of Troy, since

they believe she was the most beautiful of all women. • Helen of Troy appears, makes a profound effect on the

men (would have been played by a boy originally). • An Old Man appears, gives Faustus another warning. He

despairs and almost repents his sins (cite 5.1. 35-77).• To distract Faustus, Mephostophilis gives him Helen “to

glut the longing of his heart’s desire” (cite 5.1. 86-114).

Doctor Faustus 5

• Beginning of the End. Lucifer comes from hell and asks Mephostophilis how Faustus “doth demean himself?”

• Mephostophilis responds that Faustus “numbs himself with idle fantasies” (cite 5.2. 11-19).

• The scholars visit Faustus; he confesses his bargain with the devil. They urge him to repent, but he feels it is too late (cite 5.2. 40-65).

• The scholars leave to pray, he bids them farewell.• Good and Bad Angels comment on Faustus and his

errors (5.2. 106-139).• Soliloquy with one hour left to live (cite 5.2. 140-197).• The night is spent with “fearful shrieks and cries.”

Doctor Faustus 5• The conclusion is similar to medieval Morality Plays; the

mouth of hell appears and swallows the unrepentant sinner.

• The Chorus provides an epilogue:Cut is the branch that might have grown full straight,And burned is Apollo's laurel-bough,That sometime grew within this learned man.Faustus is gone: regard his hellish fall,Whose fiendful fortune may exhort the wise,Only to wonder at unlawful things,Whose deepness doth entice such forward witsTo practice more than heavenly power permits. (5.3. 1-8)

Doctor Faustus

Important Themes

1. The Idea of Sin – acting contrary to the will of God.In making a pact with Lucifer, Faustus not only renounces God, but he chooses to swear allegiance to the devil.His despair is a further sin – doubting God’s grace. Faustus receives admonitions to repent (Angels, Old Man, Scholars, etc.) – until the very last scene, when Marlowe removes the possibility of redemption. To heighten the dramatic effect, there is no forgiveness when Faustus begs for it.

Is Doctor Faustus a Renaissance Morality Play?

Doctor Faustus

2. Conflicting World ViewsConflict between the value systems of the middle ages and the Renaissance (Early Modern Period). Scholar R.M. Dawkins remarked that Doctor Faustus tells “the story of a Renaissance man who had to pay the medieval price for being one.”The medieval world placed God at the center of existence.In the age of secular humanism, man became the center of existence; Faustus’ obsession with individual experience and knowledge made him a poster boy for the age (and a kindred spirit to Marlowe).

Was Faustus as a humanist martyr?

Doctor Faustus

3. The Corruption of PowerIn the beginning, Faustus has heroic plans, he wants to transcend ordinary limitations, expand the boundaries of science, and unveil the secrets of the world (while making a little money and becoming famous, too).However, when Faustus gains limitless power, he contents himself with cheap tricks for the nobility and even cheaper pranks for the commoners. His great individualism degrades into selfishness and debauchery.

A tragedy of corrupted desire?

Doctor Faustus

4. The image of Man DividedFaustus often wonders whether he should repent. He is caught between two desires:

To do good and to serve God, orTo grasp the power and the pleasure that of the devil

External symbols of this interior struggle are the Good and the Bad Angels.A very Protestant idea (Martin Luther’s theology), that man is by nature weak and divided, and that one can be saved only by personal trust in God’s grace.

Faustus as an illustration of Lutheran theology?

A very different early modern legend is that of the German jester, Till Eulenspiegel.

Till Eulenspiegel

Woodcut by Hans Balding Grien in the 1515 edition of Eulenspiegel’s adventures.

• “Historical” Eulenspiegel lived c. 1300-1350. Note the stage of oral transmission.

• Stories compiled (probably) by Hermann Bote (1467-1520) in a Volksbuch, entitled Ein kurtzweilig Lesen von Dil Ulenspiegel, published in 1515.

• Stories of crude folk humor and satire, centered on the popular clown figure of Till Eulenspiegel.

Till Eulenspiegel

• Eulenspiegel remains a very popular figure in Germany today, though most of his tales have been “adapted” to modern tastes.

• Original tales are highly scatological and crudely satirical.

• Eulenspiegel is a clown, jester, actor, trickster, thief, liar, prankster, devil, saint, sadist, philanthropist, and even linguistic philosopher.

Till Eulenspiegel• The work follows the tradition of jestbooks

from the middle ages, Schwankbücher.

• These works mock or satirize the pretentiousness of the upper classes, or of mankind in general.

• His name “Owl-Mirror” suggests his role as a satirist (“wise reflection”).

• Eulenspiegel is a character of great contradictions and paradoxes, eloquent and vulgar, alternately repugnant and sympathetic.

Till Eulenspiegel• Eulenspiegel is sometimes seen as an

avenger of the peasant class, as a source of childlike justice and retribution.

• He usually deceives the dishonest, tricks those who are conceited or hypocritical.

• He loves linguistic games – he often takes people literally, leading to unintended consequences.

• Eulenspiegel shows a fascination with excrement, but the work is almost entirely lacking in sex.

Till Eulenspiegel12. How Eulenspiegel became sexton in the village of Büddenstedt and won a barrel of beer.

Woodcuts were very popular in the 16th century. Masterpieces of this art form in Germany were created by Albrecht Dürer, who was possibly involved in the woodcuts for the 1515 edition (B. Grien, who did some, was his pupil).

Till Eulenspiegel17. How Eulenspiegel got all the patients at a hospital healthy in one day.

Till Eulenspiegel19. How Eulenspiegel apprenticed himself as a baker’s boy to a baker.

Till Eulenspiegel20. How Eulenspiegel sifted flour by moonlight into the courtyard.

Till Eulenspiegel• The structure of the book is similar to the

Volksbuch of Dr. Faust – biographical frame with interior adventures.

• Entertaining and satirical, though without the strong religious and moral messages of Faust.

• Eulenspiegel’s death as absurd as his life, as he plays pranks until the very end.

• Even his burial is a reversal or a perversion of normal conventions.

Till Eulenspiegel• Eulenspiegel remains a popular figure in the folk imagination of Germany.

• Many statues of him can be found in the towns where he played his pranks.

• Richard Strauss wrote an opera about him, entitled Till Eulenspiegel’s Merry Pranks (1895).