Goethe. Tragedy Faust. Questions about the work!! ! Help who read!!! and got the best answer

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Night. The office of a medieval scientist.
Doctor Faust sits in gloomy thoughtfulness. Desperate to unravel the secrets of nature, to find the meaning of existence, he decides to die. Like a call of love, youth and happiness, the cheerful song of girls can be heard outside. Faust is confused; the cup of poison trembles in his hand. It is the night of Holy Easter, Blagovest saves Faust from suicide. “I have been returned to the earth, thanks for this to you, holy chants!”
But outside of himself, he curses everything earthly, science, God, who are unable to return to him the fire and faith of his youth. In desperation, Faust appeals to the evil spirit. Mephistopheles instantly appears in front of him. He offers Faust gold, fame, power. But Faust yearns only for beautiful youth, capable of returning love.
God allows Mephistopheles to subject Faust to any temptations, to bring him down to any abyss, believing that his instincts will lead Faust out of the dead end. Mephistopheles, as a true spirit of negation, accepts the argument, promising to make Faust grovel and “eat the dust of a shoe.”
A grandiose-scale struggle between good and evil, great and insignificant, sublime and base begins.
Mephistopheles, ready to fulfill his every desire, evokes a vision of Margarita. In return, he demands that after death Faust belongs entirely to him. The condition is signed; Faust accepts a cup of magic drink from the hands of Mephistopheles.
Ordinary townspeople and peasants feast in the square. Faust appears, shining with youth and beauty, and they now
bow to him and give way.
But this sincere recognition does not please the hero. He does not overestimate his own merits.
He is not even attracted to young beauties swirling in a whirlwind of a waltz.
5-6. Once again experiencing bitterness from the irreparability of what happened, Faust exclaims: “I offered barter with me, not violence, not robbery. For deafness to my words, curse you, curse you!”
He is feeling tired. He is old again and feels that life is coming to an end again. But another blow awaits him - Faust goes blind. However, he distinguishes the sound of shovels, movement, and voices. He is overcome by frantic joy and energy - he understands that his cherished goal is already dawning.
The blind Faust is unaware that Mephistopheles played an insidious trick on him. Around Faust, it is not builders who are swarming in the ground, but lemurs, evil spirits. At the direction of the devil, they dig Faust's grave.
The hero, meanwhile, is filled with happiness. In a spiritual impulse, he pronounces his last monologue, where he concentrates the experience gained on the tragic path of knowledge. Now he understands that it is not power, not wealth, not fame, not even the possession of the most beautiful woman on earth that grants the truly highest moment of existence. Only a common action, equally necessary for everyone and realized by everyone, can give life the highest completeness.
This is how a semantic bridge stretches to the discovery made by Faust even before meeting Mephistopheles: “In the beginning there was a thing.” He understands that “only those who have experienced the battle for life deserve life and freedom.”

If the task were set: to name 10 or even 5 of the greatest books of all times and peoples, then Goethe’s “Faust” would certainly be among them, combining high poetry, classical perfection and the deepest philosophical thought. Faust is a real historical figure: a rebel, doctor, alchemist and warlock who lived in the 16th century in Germany. Already during his lifetime, he was accompanied by a rumor: he allegedly sold his soul to the devil. It is for this reason that he became a character in folklore books and puppet farces. But not only them. Faust is the hero of the drama by the Englishman and contemporary of Shakespeare Christopher Marlowe, the novel of the same name by the German Klinger - the founder of the pre-romantic movement “Storm and Drang” (he owns the play with that name), as well as a number of other literary works.

But only Goethe's masterpiece achieved greatness forever. “Faust” is the pinnacle of humanistic thought, a great dramatic epic about Man, the heights and bases of his passions, incessant wanderings in search of truth and the meaning of life, ups and downs, the acquisition of Freedom and Love.

During Goethe's lifetime, his most famous book was The Sorrows of Young Werther. All of Europe cried over this novel for several decades. The strange fashion for suicide due to unrequited love turned almost into an epidemic: hundreds of young people followed Werther’s bad example and cowardly committed suicide. In his youth, Napoleon Bonaparte raved about Werther, read it many times and even took it with him on the inglorious Egyptian campaign. Having become emperor, at the zenith of his glory, he, at whose feet lay the whole of Europe, met in Erfurt with the then sixty-year-old ruler of his youthful thoughts and expressed his sincere and genuine admiration. The modern reader, so famous and popular in the past, no longer touches a nerve, leaving, as a rule, completely indifferent: the “suffering” looks unconvincing, tearful and sentimental and certainly does not justify suicide. Faust is a different matter - a cauldron of passions of incredible intensity and the greatest tension of the mind, a storehouse of inexhaustible wisdom, a book for centuries and millennia.

Goethe worked on his Main Book essentially all his life, for a total of about six decades: the first sketches were made back in student years, last corrections - a month before his death in 1832. Initially, there was a so-called “Ur-Faust”, destroyed by the author himself. Then different fragments were published. In 1808, the first part of the great book was published. Then a creative pause followed, and only in 1825 did Goethe actively begin work on the 2nd part, which was published after the death (in the same year) of the brilliant poet.

Contemporaries waited for the final version of Faust for almost a quarter of a century. Nowadays it is perceived as a whole work, in the organic unity of both parts, permeated general idea. Despite the apparent chaos and incoherence of individual scenes and inserted episodes, there is not a single extra stone here - from the initial Dedication, which delighted Schiller, to the last chord - the final couplet about the Eternal Femininity, which gave rise to a continuous series of philosophical interpretations and poetic imitations - from European romantics to Russian symbolists.

In the process of working on, as he himself put it, the “main task” of life and work, Goethe formulated the ideological core of the great dramatic epic:

The ideal desire to penetrate nature and experience it holistically.

The emergence of the spirit as the genius of the world and action.

The dispute between form and formlessness.

Preference for formless content over empty form. "..."

Personal enjoyment of life, viewed from the outside.

In vague passion - the first part.

Enjoyment of activities outside. The joy of creative contemplation of beauty is the second part.

Inner pleasure of creativity...

The main carriers and exponents of these ideas are two central and seemingly polar figures - Faust and Mephistopheles. It would seem that they are two living embodiments of Good and Evil. But no! Faust is not a walking virtue at all; in the 1st part, ultimately, it is he who is the root cause of many deaths - both Margarita - his beloved, and the child - the fruit of their secret love affair, and Margarita’s mother, who was put to sleep forever, and her brother, killed in a duel . So many deaths - and all for the sake of satisfying momentary lust.

And yet Faust is the bearer of the spirit of the greatest fighter - for Life, for Truth, for Love, for Immortality! His creative quest is aimed primarily at overcoming the existing intolerant situation. He strives to break out of the vicious circle of Lies. The salvation from the loss of faith in life, people, knowledge can only be love:

Don't bother me with secrets.

In deep knowledge there is no life -

I cursed the false light of knowledge,

And glory... its ray is random

Elusive. Worldly honor

Meaningless like a dream... But there is

Direct benefit: the combination of Two souls...

(Translation by Alexander Pushkin)

Mephistopheles is no less contradictory and more majestic in this contradiction. Yes, he is the devil, a fiend of hell, his goal is to take possession of the soul of Faust. But he is also the bearer of healthy skepticism, living dialectics:

I deny everything - and in this my essence,

Then, that only to fail with thunder,

All this rubbish that lives on earth is good...

Thus, Mephistopheles - the bearer of the destructive principle - is at the same time a creative force, for he destroys the old, obsolete, in the place of which a new, more progressive one immediately appears. Hence the creative-dialectical slogan of Mephistopheles: “I always want evil and always do good.” He does not so much seek to cause mischief as he follows the very objective and far from ideal laws of human existence, adapting to the dark passions and passions of the people around him and, first of all, of course, his supposed antipode - Faust. In fact, by and large, according to the dialectical essence inherent in them, they are, if not twin brothers, then certainly two sides of the same ineradicable contradiction at the core of the entire life conflict.

Who is closer to the author himself? It looks like both. With equal dedication, he poured his soul into both. For truth is not in the rupture of polar opposites, but in their union, which expresses real struggle as the source of all development.

The plot of Faust is textbook simple. Having known everything, disappointed in everything and filled with melancholy, the old scientist (Faust) decides to end his life once and for all by taking poison, but then the devil-tempter (Mephistopheles) appears and offers a deal: he will return the old man’s youth, taste for life, and fulfill any of his desires, but in return, of course, he will have to give up his soul. Moreover, the devil is in no hurry - Faust himself decides - but only after achieving the highest bliss - that the time has come to repay the debt:

As soon as I exalt a single moment,

Crying out: “Just a moment, wait!” -

It's over and I'm your prey

And there is no escape for me from the trap.

Then our deal comes into force

Then you are free, I am enslaved.

Then let the hour hand become

The death knell will ring for me.

(Translation hereinafter by Boris Pasternak)

Agreeing to the insidious proposal, Faust is not at all as simple and naive as it might seem at first. A bearer of the highest philosophical wisdom, he understands perfectly: there will be no stopping, for movement is eternal. Goethe also knows this. That is why in the finale the soul of Faust, who finally achieved the highest happiness and died, does not pass into the undivided possession of Mephistopheles. For her there is a struggle between the forces of light and darkness, good defeats evil, and the devil is left with nothing. The overall result of Goethe’s great creation is the best confirmation of what was said:

But between the appearance of Mephistopheles, the conclusion of the deal, the acquisition of youth in the 1st part and death (and in essence - a step into immortality, into eternal afterlife) in the 2nd part - the hero’s still long life, rich in extraordinary events. On his path, recreated by the poetic genius of Goethe, there are two Lights of love - Margarita and Elena the Beautiful. The first is an innocent and fragile girl (she is 14 years old when she meets Faust), lively and quivering, like wild flower. The second is a symbol of female attractiveness and inexhaustible sensuality, but is far from an example of marital fidelity: let us recall that during her adventurous life, Elena changed more than one marriage bed and finally quarreled Olympic Gods and became the cause of the long and bloody Trojan War. And yet, in human memory, she remained an ideal of beauty and pleasure, which Faust wanted to achieve, naturally, not in an abstract, but in a sensually materialized form.

With the help of the almighty Mephistopheles, Faust became Helen's last lover. And yet the true glory of Goethe and all German literature brought the image of Margarita (Gretchen). The story of a seduced and ruined girl is traditional in world culture, including folklore. In "Faust" a non-traditional solution to this tragic and unfading theme is found. Horrified by what he had done, Faust tries to save his beloved, who was sentenced to beheading, and rescue her from death row. The prison scene is one of the peaks of Goethe's poetic genius.

However, Gretchen's salvation did not happen with the help of evil spirits, but with the participation of Divine Providence. Saved in heaven, Margarita at the end of the tragedy returns to her unfaithful lover in the form of a disembodied soul from the retinue of the Mother of God. Moreover, she becomes a guide to the empyrean soul of Faust, snatched from the clutches of the devil, just as previously happened with Beatrice in Dante's Paradise.

You're great, last, wait!

And the passage of centuries would not be bold

The trace left by me!

In anticipation of that wondrous moment

I am now tasting my highest moment.

(Translation by Nikolai Kholodkovsky)

Like all great works, Faust is philosophically aphoristic. One or two lines express the deepest thought in it, which a thick scholastic tome is sometimes unable to briefly formulate. This also applies to the famous aphorism about the incompatibility of empty theorizing and living, colorful life: “Theory, my friend, is gray, but the tree of life is ever green.” This also applies to the great slogan of Goethe himself, which he put into the mouth of Faust, which is repeated to this day by all the transformers of the world: Im Anfang war die Tat! - In the beginning there was a thing!

Aesthetic problems and the meaning of the composition of the drama “Faust”.

The prologue in the sky and the contract scene, which create a kind of semantic frame not only for the first part, but also for the future second part, appeared during the work on the first part. In the prologue, the Lord and Mephistopheles argue about the purpose of man and the boundaries of the human spirit: M claims that man is evil by nature and that he can be satisfied with primitive animal pleasures, while G believes in the boundlessness of quests and vague aspirations, which, despite all delusions, will lead to the good person on the true path. Faust was chosen as the bet in this dispute. Already in this scene, the stylistic polyphony clearly appears, permeating the entire poetic structure of the tragedy: the high biblical style (chorus of angels) alternates with the casually colloquial, familiar speeches of Mephistopheles. In the same way, in Faust’s first monologue, colloquial verse suddenly turns into the high pathos of iambic lines, and everyday scenes, reduced to the brink of obscenity, are replaced by the deeply lyrical songs of Margarita and the philosophical thoughts of Faust. A special place in the first part is occupied by “Dedication” and “Theatrical Introduction”, with which the tragedy begins. “Dedication” is a heartfelt lyrical verse, which contains both a mournful memory of youth and departed friends, and reflection on the fate of the future creation. In the poet’s consciousness, the past and the present, personally experienced and the artistic world he created are fused. “Theater Entry” is a conversation between the Theater Director, the Poet and the Comedian about the tasks of the theatrical spectacle, the mission of art and the artist, which everyone interprets in their own way. In aphoristically compressed verses, G formulates his theoretical ideas about the organizing and transformative role of art The second part of the tragedy is permeated with symbolism, allegories, mythological images and associations. The fantastic element sharply intensifies and becomes dominant. The “small world” of earthly human relations in the first part is replaced by the “big world”: history (ancient and medieval) and the cosmic scope of nature. In the second part, the problem of empirical motivation is removed. In the second part, each act is a play in its own right. In the second part there is classical dramaturgy: the introduction of a chorus, beyond the action - epic. In general, the genre for reading is drama, which the author himself designated - tragedy. 2 Walpurgis nights: medieval and ancient. The medieval walpurg night is a temptation that a person cannot help but succumb to (after Gretchen kills the child, F himself kills Valentin, Gr’s brother, and is forced to flee). Antique valp n-harmony (Sphinx, Grifen - man is harmonious with nature). "F" - reflected the problems of the era of enlightenment and fertilized the literature and art of the last time for a long time.

Such a multifaceted work as Goethe’s “Faust” is capable of opening up to its reader a range of questions that are in one way or another connected with the deep meaning of human existence. You don’t even need to dive into the rich symbolism of the tragedy to see themes and images that are significant for modern people.

Is harmony possible between reason and feeling?

The dispute about the soul of Faust between the Lord and evil spirit, perhaps, seems like a cruel whim. The act of God, who allowed Mephistopheles to tempt Faust, looks inhumane in the light of further events that happened with the medieval healer. And, nevertheless, the dispute that occurs in the soul of every person repeatedly during his life unfolds with no less cruelty and drama. And it leaves no less wounds than Goethe’s fictional Faust received during the tragedy. This dispute is a manifestation of the struggle between reason and feeling, an attempt to form one’s own unique attitude towards one’s own passions, to see passion and the so-called sensory dialogue in a new light. The timeless essence of this problem, the lack of understanding of oneself, from which a person of any era is capable of suffering, is perfectly illustrated by Goethe's Faust. Quotes about a frozen moment and the keys of wisdom in the spring of one’s own soul have long become popular, and have been mentioned countless times in texts devoted to the philosophical understanding of the finitude of existence and its fullness of suffering.

The meaning of crime and repentance

Goethe intertwined many lines in the plot. But the writer gave the central place in the whole drama to the motive of the crime. Faust, created by Goethe, resorts to illegal actions more than once after he becomes interested in the young Margarita. And the girl, too, indulging passion, becomes a criminal. First, through a misunderstanding, accidentally killing his mother with a sleeping potion. And then consciously, deliberately taking the life of his own child. But only after both lovers, who broke the law, meet for the last time, the story reaches its climax, and it becomes clear what truths Goethe wanted to show the triumph of. Faust, the analysis of which as a whole work is always difficult, does not contain moral judgments lying on the surface, but invites the reader to dialogue and reflection.

At first there was a matter

An ardent lover, a great doctor, a philosopher trying to penetrate the secrets of existence - these are not all the epithets that can be awarded to Faust as a hero and a real person. The central feature of his character is his readiness for action. At the beginning of the work, the reader finds Faust translating an ancient treatise and sees how the philosopher and healer hesitates when translating the word “logos”.

The hero is inclined to the unconventional formulation “first there was business”, since it is close to his soul. He is always ready to act decisively. Whether it is about saving a life, seducing a young beauty, or conspiring with the Devil, Faust (Goethe) always finds the strength to overcome doubts and take a step. Although he is by no means a simpleton, free from internal tossing. The writer endowed his hero with a kind of golden ratio of character: Faust is simultaneously able to sincerely feel and think deeply about the issues that concern him, without losing the ability to act and make decisions.

“Faust” is a work that declared its greatness after the death of the author and has not subsided since then. The phrase “Goethe - Faust” is so well known that even a person who is not interested in literature has heard about it, perhaps without even knowing who wrote whom - either Goethe’s Faust, or Goethe’s Faust. However philosophical drama- not only the priceless heritage of the writer, but also one of the brightest phenomena of the Enlightenment.

“Faust” not only gives the reader a fascinating plot, mysticism, and mystery, but also raises the most important philosophical questions. Goethe wrote this work over sixty years of his life, and the play was published after the writer’s death. The history of the creation of the work is interesting not only because of the long period of its writing. The name of the tragedy itself opaquely hints at the physician Johann Faust, who lived in the 16th century, who, due to his merits, acquired envious people. The doctor was credited with supernatural abilities, supposedly he could even resurrect people from the dead. The author changes the plot, supplements the play with characters and events and, as if on a red carpet, solemnly enters the history of world art.

The essence of the work

The drama opens with a dedication, followed by two prologues and two parts. Selling your soul to the devil is a plot for all times; in addition, a journey through time awaits the curious reader.

In the theatrical prologue, a dispute begins between the director, actor and poet, and each of them, in fact, has their own truth. The director tries to explain to the creator that there is no point in creating a great work, since most viewers are not able to appreciate it, to which the poet stubbornly and indignantly responds with disagreement - he believes that for creative person What matters first is not the taste of the crowd, but the idea of ​​creativity itself.

Turning the page, we see that Goethe sent us to heaven, where a new dispute ensues, only this time between the devil Mephistopheles and God. According to the representative of darkness, man is not worthy of any praise, and God allows him to test the strength of his beloved creation in the person of the hardworking Faust in order to prove the opposite.

The next two parts are Mephistopheles’ attempt to win the argument, namely, the devil’s temptations will come into play one after another: alcohol and fun, youth and love, wealth and power. Any desire without any obstacles, until Faustus finds what exactly is worthy of life and happiness and is equivalent to the soul that the devil usually takes for his services.

Genre

Goethe himself called his work a tragedy, and literary critics called it a dramatic poem, which is also difficult to argue about, because the depth of the images and the power of the lyricism of Faust are extraordinary. high level. The genre nature of the book also leans towards the play, although only individual episodes can be staged. The drama also contains an epic beginning, lyrical and tragic motives, so it is difficult to attribute it to a specific genre, but it would not be wrong to say that great work Goethe is a philosophical tragedy, poem and play rolled into one.

The main characters and their characteristics

1. Faust is the main character of Goethe's tragedy, an outstanding scientist and doctor who learned many of the mysteries of the sciences, but was still disillusioned with life. He is not satisfied with the fragmentary and incomplete information that he has, and it seems to him that nothing will help him come to the knowledge of the highest meaning of existence. The desperate character even thought about suicide. He enters into an agreement with the messenger dark forces in order to find happiness - something for which life is truly worth living. First of all, he is driven by a thirst for knowledge and freedom of spirit, so he becomes a difficult task for the devil.
2. “A piece of power that always wanted evil and did only good”- a rather contradictory image of the devil Mephistopheles. Focus evil forces, messenger of hell, genius of temptation and antipode of Faust. The character believes that “everything that exists is worthy of destruction,” because he knows how to manipulate the best of divine creation through his many vulnerabilities, and everything seems to indicate how negatively the reader should feel about the devil, but damn it! The hero evokes sympathy even from God, let alone the reading public. Goethe creates not just Satan, but a witty, caustic, insightful and cynical trickster from whom it is so difficult to take your eyes off.
3. From characters You can also highlight Margarita (Gretchen) separately. A young, modest, commoner who believes in God, beloved of Faust. An earthly simple girl who paid to save her soul own life. Main character falls in love with Margarita, but she is not the meaning of his life.

Themes

The work, containing an agreement between a hardworking person and the devil, in other words, a deal with the devil, gives the reader not only an exciting, adventure-filled plot, but also relevant topics for thought. Mephistopheles tests the main character, giving him a completely different life, and now fun, love and wealth await the “bookworm” Faust. In exchange for earthly bliss, he gives Mephistopheles his soul, which after death must go to hell.

1. The most important theme of the work is the eternal confrontation between good and evil, where the evil side, Mephistopheles, tries to seduce the good and desperate Faust.
2. After the dedication, the theme of creativity lurked in the theatrical prologue. The position of each of the disputants can be understood, because the director thinks about the taste of the public who pays money, the actor thinks about the most profitable role to please the crowd, and the poet thinks about creativity in general. It is not difficult to guess how Goethe understands art and on whose side he stands.
3. “Faust” is such a multifaceted work that here we will even find the theme of selfishness, which is not striking, but when detected, explains why the character was not satisfied with knowledge. The hero was enlightened only for himself, and did not help the people, so his information accumulated over the years was useless. From this follows the theme of the relativity of any knowledge - the fact that they are unproductive without application, resolves the question of why knowledge of the sciences did not lead Faust to the meaning of life.
4. Easily passing through the seduction of wine and fun, Faust has no idea that the next test will be much more difficult, because he will have to indulge in an unearthly feeling. Meeting young Margarita on the pages of the work and seeing Faust’s insane passion for her, we look at the theme of love. The girl attracts the main character with her purity and impeccable sense of truth, in addition, she guesses about the nature of Mephistopheles. The characters' love leads to misfortune, and in prison Gretchen repents for her sins. The next meeting of lovers is expected only in heaven, but in the arms of Margarita, Faust did not ask to wait a moment, otherwise the work would have ended without the second part.
5. Taking a closer look at Faust's beloved, we note that young Gretchen evokes sympathy among readers, but she is guilty of the death of her mother, who did not wake up after taking a sleeping potion. Also, due to Margarita’s fault, her brother Valentin and an illegitimate child from Faust also die, for which the girl ends up in prison. She suffers from the sins she has committed. Faust invites her to escape, but the captive asks him to leave, surrendering completely to her torment and repentance. So in the tragedy another theme arises - the theme moral choice. Gretchen chose death and God's judgment I will run away with the devil, and thereby save my soul.
6. Goethe's great legacy also contains philosophical polemical moments. In the second part, we will again look into Faust's office, where the diligent Wagner is working on an experiment, creating a person artificially. The very image of the Homunculus is unique, hiding the answer to his life and search. He yearns for real existence in real world, although he knows what Faust cannot yet realize. Goethe's plan to add such an ambiguous character as the Homunculus to the play is revealed in the representation of entelechy, the spirit, as it enters life before any experience.

Problems

So, Faust gets a second chance to spend his life, no longer sitting in his office. It’s unthinkable, but any wish can be instantly fulfilled; the hero is surrounded by temptations of the devil that are quite difficult to resist. to an ordinary person. Is it possible to remain yourself when everything is subordinated to your will - the main intrigue of such a situation. The problem of the work lies precisely in the answer to the question: is it really possible to maintain a position of virtue when everything you desire comes true? Goethe sets Faust as an example for us, because the character does not allow Mephistopheles to completely master his mind, but still seeks the meaning of life, something for which a moment can really wait. A good doctor who strives for the truth not only does not turn into a part of the evil demon, his tempter, but also does not lose his most positive qualities.

1. The problem of finding the meaning of life is also relevant in Goethe’s work. It is precisely because of the seeming absence of truth that Faust thinks about suicide, because his works and achievements did not bring him satisfaction. However, going through with Mephistopheles everything that could become the goal of a person’s life, the hero still learns the truth. And since the work relates to, the main character’s view of the world coincides with the worldview of this era.
2. If you look closely at the main character, you will notice that the tragedy at first does not let him out of his own office, and he himself does not particularly try to leave it. This important detail hides the problem of cowardice. While studying science, Faust, as if afraid of life itself, hid from it behind books. Therefore, the appearance of Mephistopheles is important not only for the dispute between God and Satan, but also for the subject himself. The devil takes a talented doctor out into the street, immerses him in the real world, full of mysteries and adventures, so the character stops hiding in the pages of textbooks and lives again, for real.
3. The work also presents readers with a negative image of the people. Mephistopheles, even in the “Prologue in Heaven,” says that God’s creation does not value reason and behaves like cattle, so he is disgusted with people. The Lord cites Faust as an opposite argument, but the reader will still encounter the problem of the ignorance of the crowd in the tavern where students gather. Mephistopheles expects the character to succumb to the fun, but he, on the contrary, wants to leave as soon as possible.
4. The play brings to light quite controversial characters, and Valentin, Margarita's brother, is also an excellent example. He stands up for the honor of his sister when he gets into a fight with her “suitors” and soon dies from Faust’s sword. The work reveals the problem of honor and dishonor using the example of Valentin and his sister. The brother’s worthy deed evokes respect, but it is rather ambiguous: after all, when he dies, he curses Gretchen, thus betraying her to universal shame.

The meaning of the work

After long adventures together with Mephistopheles, Faust finally finds the meaning of existence, imagining a prosperous country and a free people. As soon as the hero understands that the truth lies in constant work and the ability to live for the sake of others, he utters the cherished words “In a moment! Oh, how wonderful you are, wait a minute" and dies . After Faust's death, angels saved his soul from evil forces, rewarding him with an insatiable desire to be enlightened and resistance to the temptations of the demon in order to achieve his goal. The idea of ​​the work is hidden not only in the direction of the protagonist’s soul to heaven after an agreement with Mephistopheles, but also in Faust’s remark: “Only he is worthy of life and freedom who goes to battle for them every day.” Goethe emphasizes his idea by the fact that thanks to overcoming obstacles for the benefit of the people and Faust’s self-development, the messenger of hell loses the argument.

What does it teach?

Goethe not only reflects the ideals of the Enlightenment era in his work, but also inspires us to think about the high destiny of man. Faust gives the public a useful lesson: the constant pursuit of truth, knowledge of science and the desire to help people save the soul from hell even after a deal with the devil. In the real world, there is no guarantee that Mephistopheles will give us plenty of fun before we realize great meaning existence, therefore the attentive reader should mentally shake Faust’s hand, praising him for his perseverance and thanking him for such a high-quality hint.

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