Faust. The name comes from Latin word faustus – happy, fortunate. The image of F. accompanied Goethe all his life; the initial sketch of the tragedy “Prafaust” dates back to 1773-1775; the tragedy as a whole was completed in 1831 (the last amendments were made by Goethe shortly before his death, in 1882). As work on the tragedy progressed, F.'s image acquired an increasingly grandiose philosophical dimension. IN final version tragedy F. acts as a representative of all humanity, its indomitable thirst for life, the will to knowledge, creation and creativity. The extraordinary scale of the upcoming drama becomes clear already in “Prologue in Heaven,” where heaven and hell begin to argue over F.’s soul. Lord God and Mephistopheles. Goethe himself noted the similarity of this prologue with the biblical “Book of Job,” where God and Satan argue about Job’s soul. Throughout the tragedy, F. goes through a series of metamorphoses. In the first part, F. appears, a highly experienced scientist and sage of the Reformation era, who mastered all the sciences of his time, but was deeply disillusioned with book knowledge. He wants to comprehend the “inner connection of the universe.” But this is precisely what abstract science cannot provide. F. is cramped in his workroom, he is passionately eager for people, for living nature. We see him on a walk, among the common people, and in communication with nature (scene “At the Gate”): on these walks F. is accompanied by Wagner, his pedantic, limited student. Topic “F. and nature” is one of the key themes of the entire work. F. is a man of strong, titanic impulses (it is no coincidence that his image fascinated Goethe so much in his youth, when he was working on the tragedies “Prometheus” and “Mohammed”). It is F.'s boundless passion for mastering the secrets of nature, for knowledge, for comprehending the world and people that makes F. agree to an agreement with Mephistopheles. Main feature F. is an eternal worry, so he puts forward a special condition of the contract: the devil will win only if F. wants to “stop the moment.” But F. is sure that this will never happen. From now on, F. will have to go through a series of temptations and sensual temptations. At first it’s a rough drinking session in Aerbach’s cellar. Then a magical drink made in the witch's kitchen restores his youth and youthful unbridled ardor. One of major events the first part is F.’s meeting with Margarita. Love for this young girl transforms and enriches F. immensely; for the first time after fruitless, lonely philosophizing, simple humanity awakens in him. However, Margarita's world is too narrow for F., and a tragic split arises in his soul. Passion for Margarita and the machinations of Mephistopheles lead F. to serious crimes: he is guilty of the death of Margarita’s mother and the murder of her brother Valentin. After this, F. is forced to flee the city with his companion; Mephistopheles draws him into an unbridled Sabbath of satanic forces (“Walpurgis Night”). However, even at this critical moment, when F. seems to be entangled in grave sins, his will to good turns out to be stronger. Repentance for his deeds and immense compassion for Margarita to some extent cleanse his soul, he makes a desperate, albeit hopeless attempt to rescue Margarita from prison. The second part of Faust is noticeably different from the first; F.'s image takes on a fundamentally new meaning here. Goethe repeatedly emphasized that F. is not only the hero of the work in the usual sense of the word, his image is necessary for understanding the unity of the tragedy. The spheres of F.’s activity are increasingly expanding - in comparison with the first part: this and government activity, and philosophical debates, and immersion in the world of primordial Hellenic legends and myths, Greek beauty and, finally, tireless creative work, conquering new lands from the sea. Goethe's desire to cover in the second part a huge span of history - from antiquity to the first quarter of the XIX c. - forces him to constantly resort to allegories. While working on the second part, Goethe informed W. Humboldt in October 1826 that it covered “three thousand years, from the fall of Troy to the capture of Missolunga” (the city where Byron died).
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In the image of the main character of the tragedy “Faust”, Goethe sees not only a reflection of himself, but also a man of his time, the period of Enlightenment, the heyday of German culture and philosophy.
Goethe and the Enlightenment
Johann Wolfgang Goethe certainly combined all the signs of genius. He was a poet, prose writer, outstanding thinker, an ardent supporter of romanticism. This is where one of the greatest eras in Germany - Enlightenment. A man of his country, Goethe was instantly accepted into the ranks of the most prominent German philosophers. His sharp style immediately began to be compared with Voltaire's.
Biography
Goethe was born in 1749 into a wealthy patrician family. The basics of all sciences were taught to him at home. Later the poet entered the school, but this was not enough for him. He also graduated from the University of Strasbourg. After the treatise “Suffering” was published young Werther", he gained worldwide fame.
Goethe held an administrative position under the Duke of Saxe-Weimar for a long time. There he tried to realize himself, convey the advanced ideas of that century to everyone else and serve for the benefit of society. Having become prime minister of Weimar, he became disillusioned with politics. His active position did not allow me to engage in creativity.
Italian period
The writer fell into depression and left to recuperate in Italy, the country of the Renaissance, masterpieces by da Vinci, Raphael, philosophical searches truth. It was there that his writing style developed. He again begins to write stories and philosophical narratives. Upon his return, Goethe retained the position of Minister of Culture and the work of the head of the local theater. The Duke is in his friend Schiller and often consults with him in important matters country politics.
Goethe and Schiller
One of turning points in the life and work of Johann Wolfgang was his acquaintance with Schiller. Two first-class authors not only begin to develop together the Weimar classicism founded by Goethe, but also constantly push each other to create new masterpieces. Under the influence of Schiller, Goethe wrote several novels and continued work on Faust, which Friedrich so wanted to see. Nevertheless, Faust was published only in 1806, when Schiller was no longer alive. The first part was created under the tireless supervision of Eckermann, Goethe's personal secretary, who insisted that the tragedy be published. The second part, at the behest of the author himself, was released posthumously.
Tragedy "Faust"
Without undue exaggeration, we can say that “Faust” is the poet’s main work. The tragedy in two parts was written over the course of sixty years. From “Faust” one can judge how the evolution of the writer’s creativity took place. By creating passages at certain periods of his life, Goethe concluded in this tragedy the whole meaning of life.
Doctor Faustus
The poet did not invent the main plot line; he took it from folk tales. Later story Thanks to the thinker himself, many writers will retell Faust, weaving this plot into the basis of their books. And Goethe learned about this legend when he was only five years old. As a boy he saw puppet theater. It told a terrible tale.
The legend is partly based on real events. Once upon a time there lived Johann Georg Faust, a doctor by profession. He traveled from city to city and offered his services. If traditional medicine did not help, he took up magic, astrology and even alchemy. Doctors who were more successful and well-known in their community said that Faust was a simple charlatan who could deceive any naive person. The healer's students at the university, where he briefly taught, spoke of the doctor with great warmth, considering him a seeker of truth. Lutherans called him a servant of the devil. The image of Faust seemed to them in all the dark corners.
The real Faust died at a very mysterious circumstances, quite suddenly, in 1540. Then legends and speculation began to be made about him.
The image of Faust in Goethe's tragedy
The work about Faust is long life path a person who is endowed with a special view of the world, the ability to feel, experience, be disappointed and hope. The main character makes a deal with the devil only because he wants to understand all the secrets of the world. He wants to find the elusive truth of existence, to find the truth, and constantly desperately seeks out more and more new knowledge. He soon realizes that he himself will not be able to find answers to the questions, will not be able to reveal all the secrets.
For the sake of knowledge, the hero is ready to pay any price. After all, everything that is in Faust’s life, everything that moves him, is a quest. Goethe endows the hero with the full range of all existing emotions. In the work, he is sometimes in ecstasy from having discovered a grain new information, then on the verge of suicide.
The main task of the hero is not just to understand the world, but to understand himself. The image of Faust in the tragedy “Faust” is somewhat reminiscent of His life does not revolve in a circle, does not return to its origins. He constantly moves forward, making new discoveries, exploring the unknown. He pays for gaining knowledge with his soul. Faust is well aware of what he wants, and for this he is ready to summon the devil.
Basic positive traits, which the image of Faust in the tragedy “Faust” absorbed, is perseverance, curiosity, and goodwill. Main character He doesn’t just strive to acquire new knowledge, he wants to help others with it.
The image of Faust in Goethe's tragedy also has negative qualities: the desire to gain knowledge immediately, vanity, doubt, carelessness.
The main character of this work teaches that you cannot look back and regret something, you need to live in the present, look for what makes a person happy. Despite the horrific deal, Faust lived absolutely happy life, never regretting it until the last moment.
Image of Margarita
Margarita, a modest girl, naive in many matters, became the main temptation for the already middle-aged hero. She turned the scientist’s whole world upside down and made him regret that he had no power over time. The poet himself was very fond of the image of Margarita in the tragedy "Faust", probably identifying it with the biblical Eve, who served the forbidden fruit to Adam.
If all the years of his life Faust relied on his mind, then, having met this seemingly ordinary girl on the street, he begins to rely on his heart and feelings. After meeting Faust, Margarita begins to change. She puts her mother to sleep in order to get a date. The girl is not as carefree as her first description might seem. She is proof that appearances can be deceiving. Having met Mephistopheles, the girl subconsciously understands that it is better to avoid him.
Goethe took the image of Margarita from the streets of his time. The writer often saw sweet and kind girls whom fate threw into extremes. They cannot get out of their environment and are doomed to spend their lives the way the women of their family did. Striving for more, these girls fall further and further down.
Having found her happiness in Faust, Margarita believes in a better outcome. However, a series of tragic events prevents her from enjoying love. Faust himself kills her brother, unwillingly. He curses his sister before his death. The misfortunes do not end there, and, having suffered more than she should have, having gone crazy, Margarita ends up in prison. In a moment of complete despair, a higher power saves her.
The image of Mephistopheles in the tragedy "Faust"
Mephistopheles is fallen angel, who is in an eternal dispute with God about good and evil. He believes that a person is so corrupt that, succumbing to even a slight temptation, he can easily give his soul to him. The angel is sure that humanity is not worth saving. Faust, according to Mephistopheles, will always be on the side of evil.
In one of the lines of the work, Mephistopheles is described as a devil who previously had sharp claws, horns and a tail. He does not like scholasticism, preferring to move away from boring sciences. Being evil helps the hero, without knowing it, to find the truth. The image of Mephistopheles in Faust is complex of contradictions.
Often in conversations and disputes with Faust, Mephistopheles reveals himself to be a genuine philosopher who observes with interest the actions of man and progress. However, when he communicates with other people or evil spirits, he chooses other images for himself. He keeps up with his interlocutor and supports conversations on any topic. Mephistopheles himself says several times that he does not have absolute power. The main decision always depends on the person, and he can only take advantage of the wrong choice.
Many of Goethe’s own thoughts were invested in the image of Mephistopheles in the tragedy “Faust”. They expressed themselves in sharp criticism of feudalism. At the same time, the devil profits from the naive realities of the capitalist system.
Despite the superficial similarity between the demon and the main character, the image of Mephistopheles in the tragedy “Faust” is absolutely opposite to him in the main thing. Faust strives for wisdom. And Mephistopheles believes that there is no wisdom. He believes that the search for truth is an empty exercise, because it does not exist.
Researchers believe that the image of Mephistopheles in Faust is the subconscious of the doctor himself, his fears of the unknown. At the moment when good begins to fight evil, the demon talks to the main character. At the end of the work, Mephistopheles is left with nothing. Faust voluntarily admits that he has achieved the ideal and learned the truth. After this, his soul goes to the angels.
Hero of all times
The eternal image of Faust became the prototype for many heroes new literature. Nevertheless, he seems to complete a whole string of literary “loners” who are accustomed to struggling with life’s problems on their own. Of course, the image of Faust has notes of the sad thinker Hamlet or the expressive defender of humanity, the desperate Don Quixote, and even Don Juan. Faust is most like a womanizer in his desire to come to the truth in the secrets of the Universe. However, while Faust knows no bounds in his quest, Don Juan dwells on the needs of the flesh.
Each of the listed heroes has their own antipodes, which make their images more complete and partially reveal internal monologue everyone. Don Quixote has Sancho Panza, Don Juan has an assistant Sganarelle, and Faust fights philosophical battles with Mephistopheles.
Influence of the work
After the publication of the tragedy about the desperate lover of knowledge, many philosophers, cultural scientists, and researchers found the image of Goethe’s Faust so fascinating that they even identified a similar type of person, which Spengler called “Faustian.” These are people who are aware of infinity and freedom and strive for it. Even at school, children are asked to write an essay in which the image of Faust must be fully revealed.
This tragedy had a significant impact on literature. Inspired by the novel, poets and prose writers began to reveal the image of Faust in their creations. There are hints of it in the works of Byron, Grabbe, Lenau, Pushkin, Heine, Mann, Turgenev, Dostoevsky and Bulgakov.
The philosophical tragedy “Faust” is the main work of the great Goethe’s entire life (he created it throughout his career - almost 60 years - and finished it before his death) and the main work of the entire classical era. “Faust” is a kind of summary of the entire century and the development of European literature of an entire era. The work is based on the medieval legend about the warlock Faust, who sells his soul to the devil. Goethe reinterprets this famous plot in the spirit of educational and humanistic ideas. Faust is a scientist who strives not only for the broadest knowledge, but also comes to the idea of the need to serve knowledge to people. The hero goes through many trials. He is accompanied by Mephistopheles - the devil, the “spirit of denial”. These are two eternal opposites: Faust is a creator, he is dissatisfied with his achievements, he is in eternal search; Mephistopheles is a cynic, satiated with knowledge about life and people, he is trying to prove that people are worse than animals, that they are wasting their minds. The agreement between man and the devil must prove or disprove the main problem: what is the essence of man, the meaning of his existence - in high aspirations (and the main one is the desire for knowledge) or in the earthly, momentary, prosaic?
Initially, Goethe conceptualized the plot in the spirit of the ideas of Sturm und Drang: Faust is a rebellious titanic nature, rebelling against dead scholastic science (which in Goethe is projected onto modern flat rationalism). He strives for true knowledge of nature through contact with life - it is not without reason that, conjuring spirits with the help of a magic book, he chooses the Spirit of the Earth “closer” to him. A stormy genius, in short. Traditional motives folk book and puppet comedy: an ironic review of science in Faust’s first monologue, an alliance with Mephistopheles, the figure of Faust’s limited, diligent and self-satisfied student - Wagner, “the miracle of wine.” + the moral and philosophical quest of the poet-sturmer and the social motive that worried many contemporaries - the tragedy of a seduced girl who killed her child (this kind of trial took place in Frankfurt in 1772) + imitation of Shakespeare - rough insert songs (including “ Song about a flea), alternating poetic and prose scenes, sometimes deliberately crude (a feast in the Auerbach tavern).
As we worked on the second part, scenes appeared that not only filled in the gaps in the coherent development of the plot (the appearance of M. in the form of a poodle, the witch’s kitchen), but also were fundamentally important for the overall philosophical concept: the prologue in the sky and the contract scene, creating a kind of semantic frame not only the first, but also future second parts.
Faust begins with a poetic introduction.
Theatrical introduction(prologue) leads behind the scenes of the theater, where the Theater Director, Poet and Comedian talk about the tasks of theatrical spectacle, the mission of art and the artist. Each judges from the standpoint of his profession: The director looks at the theater as a commercial enterprise, the Poet as high art, aimed at posterity, Comedian - as a quick and effective response to requests modern viewer, who needs to be shown and explained in a concentrated form own life. All three points of view are valid. This is a warning about the complexity and ambiguity of life. Shows what the performance will be like.
Prologue in Heaven: characters God, Mephistopheles, angels. The Lord and Mephistopheles argue about man: does man spoil his own life? M. and God are symbolic images.
M. – skeptic of the 18th century, a symbol of denial. God is a good-natured old man. A picture of the peaceful coexistence of God and M., in contrast to the world, where there is a sharp distinction between evil and good. God singles out F. as a person in whom all of humanity can be represented. And the observation of F begins.
God considers man's contradictions to be good. God needs M. in order for him to slow down a person, force him to act, because. a state of calm and satisfaction deprives a person of action. Denial forces a person to act. The theme of the work is the test of man in general in the person of Faust. His wanderings are allowed from above.
Historical plan of the work: 1) timeless - prologue in the sky, 2) antiquity - 2nd part, 3) 16th century - 1st part. For what? F. a symbol of a person in general? could live in different times and do different things.
Part I. F.’s long monologue about how his life was in vain, he learned everything, but the secrets of the universe remained inaccessible to him. Resorts to magic, summons a spirit, but cannot keep it? understands that there is a barrier to human knowledge. Wants to drink poison.
Scene 2 – Easter festivities. Contrast between F. and Wagner. V. – limited complacency. When a black poodle appears, F. immediately senses something wrong, but V. does not. Start of action. F. brings the poodle home. He sits down to translate the Holy Scriptures (we remember that the Bible was translated into German in the 16th century). He agonizes over the verse “In the beginning was the Word.” Looks for options - thought, force, deed (the fact is that the Greek word “logos” has all these meanings). Stops at the word “business”? action as the fundamental principle of human existence. Then the poodle turns into Mephistopheles, a conversation takes place between them, and after a while (not at their first meeting) they enter into an agreement. Please note: F. needs from M. not just momentary pleasures, but the very opportunity to exhaust his desires, “stop the moment,” recognizing it as beautiful, and thereby put a limit to the aspirations of his spirit. F. decides to experience all the joys and sorrows, all of existence.
In Part I, fantasy is combined with life-likeness. Walpurgisnacht (popular beliefs) and Margarita (philistine drama) come together.
Part II – many images associated with antiquity. In general, it is completely permeated with symbolism, allegories, mythological images and associations. characters - symbols general ideas. The fantastic element here becomes dominant. The “small world” of earthly human relations of the first part is replaced by “ big world", macrocosm: history (antiquity and the Middle Ages) and the cosmic scope of nature. Here and " Science fiction"with a satirical overtone (the little man Homunculus drawn by Wagner in a flask, leading scientific disputes with M.) and the problem of synthesis artistic culture two eras - an allegorical marriage of the Greek Helen, symbolizing antique art, perfect beauty, and Faust - the embodiment of modern times, the birth and death of their son - the beautiful young man Euphorion, in whom contemporaries unmistakably recognized Byron (however, some comrades say that Byron is not the main thing here, and I won’t write what is most important, because very difficult).
This part is F.’s path from individual self-affirmation through a crisis to a broader social activities. Having received from the emperor a coastal strip of barren land as a reward for his victory, he dreams of protecting it from floods and cultivating it for the benefit of people. In this he sees the goal and meaning of his life, the dying highest satisfaction with what he has achieved. But F. develops the land in his own way, he destroys nature (linden trees) and culture (small chapel), the home of Philemon and Baucis. In this, a certain scientist Copradi sees the accession new form labor, the victim of which is nature (know this point of view!)
Angels take F.'s soul to heaven: saved because life has passed in activity, his “stopped moment” will actually last for eternity. The business he has conceived goes beyond a single human life. In the last monologue there is the apotheosis of F. But the same Copradi believes that F. did not deserve salvation, God simply forgave him out of mercy. After all, the death of Gretchen, Philemon and Baucis, Valentine cannot be crossed out, and only Divine mercy, forgiveness and oblivion of guilt amnesty the perpetrator.
I am now tasting my highest moment.
I. Goethe
Goethe wrote his tragedy “Faust” over 25 years. Its first part was published in 1808, the second only a quarter of a century later. This work had a strong influence on the entire European literature first half of the 19th century century.
Who main character whose name it is named after famous tragedy? What is he like? Goethe himself spoke about him this way: the main thing in him is “tireless activity until the end of his life, which becomes higher and purer.”
Faust is a man with high aspirations. He devoted his entire life to science. He studied philosophy, law, medicine, theology, and achieved academic degrees. Years passed, and he realized with despair that he was not one step closer to the truth, that all these years he had only moved away from the knowledge of real life, that he had exchanged “the lush color of living nature” for “decay and trash.”
Faust realized that he needed living feelings. He turns to the mysterious spirit of the earth. A spirit appears before him, but it is just a ghost. Faust acutely feels his loneliness, melancholy, dissatisfaction with the world and with himself: “Who will tell me whether to part with my dreams? Who will teach? Where should I go? - he asks. But no one can help him. It seems to Faust that a skull, “glittering with white teeth,” and old instruments with the help of which Faust hoped to find the truth are looking mockingly at him from the shelf. Faust was already close to being poisoned, but suddenly he heard the sound of Easter bells and threw away the thought of death.
Faust's reflections included the experiences of Goethe himself and his generation about the meaning of life. Goethe created his Faust as a man who hears the call of life, the call new era, but cannot yet escape from the grip of the past. After all, this is precisely what worried the poet’s contemporaries—German enlighteners.
In accordance with the ideas of the Enlightenment, Faust is a man of action. Even translating to German the Bible, he, disagreeing with famous phrase: “In the beginning was the Word,” clarifies: “In the beginning was the Deed.”
Mephistopheles, the spirit of doubt, stimulating action, appears to Faust in the form of a black poodle. Mephistopheles is not just a tempter and the antipode of Faust. He is a skeptical philosopher with a brilliant critical mind. Mephistopheles is witty and sarcastic and compares favorably with the schematic religious character.
Goethe put a lot of his thoughts into the mouth of Mephistopheles, and he, like Faust, became an exponent of the ideas of the Enlightenment. So, dressed in the clothes of a university professor, Mephistopheles ridicules the admiration that reigned in scientific circles for the verbal formula, crazy cramming, behind which there is no place for living thought: “You must trust words: you cannot change one iota in words...”
Faust enters into an agreement with Mephistopheles not for the sake of empty entertainment, but for the sake of higher knowledge. He would like to experience everything, to know both happiness and sorrow, to know the highest meaning of life. And Mephistopheles gives Faust the opportunity to taste all earthly blessings, so that he can forget about his high impulses for knowledge. Mephistopheles is confident that he will make Faust “crawl in the dung.” He confronts him with the most important temptation - love for a woman.
The temptation that the lame devil came up with for Faust has a name - Margarita, Gretchen. She is fifteen years old, she is a simple, pure and innocent girl. Seeing her on the street, Faust flares up with insane passion for her. He is attracted to this young commoner, perhaps because with her he gains the feeling of beauty and goodness that he had previously strived for. Love gives them bliss, but it also becomes the cause of misfortune. The poor girl became a criminal: fearing people's rumors, she drowned her newborn child.
Having learned about what happened, Faust tries to help Margarita and, together with Mephistopheles, enters the prison. But Margarita refuses to follow him. “I submit to God’s judgment,” the girl declares. Leaving, Mephistopheles says that Margarita is condemned to torment. But a voice from above says: “Saved!” By choosing death over escaping with the devil, Gretchen saved her soul. Material from the site
Goethe's hero lives to be a hundred years old. He goes blind and finds himself in complete darkness. But even blind and weak, he tries to fulfill his dream: to build a dam for people. Goethe shows that Faust did not succumb to the persuasion and temptations of Mephistopheles and found his place in life. In accordance with the ideals of the Enlightenment, the main character becomes the creator of the future. This is where he finds his happiness. Hearing the clinking of the builders' shovels, Faust imagines a picture of a rich, fruitful and prosperous country where “a free people in a free land” lives. And he utters secret words that he would like to stop the moment. Faust dies, but his soul is saved.
The confrontation between the two main characters ends with the victory of Faust. The seeker of truth did not become prey dark forces. Faust's restless thought and aspirations merged with the quest of humanity, with the movement towards light, goodness, and truth.
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Faust is the main hero of the great tragedy in two parts, as written by Johann Wolfgang von Goethe. This is the enemy of the readers and writers of our land, and I will not transfer it entirely from Mikola Lukash. This tragedy strikes and haunts everyone who tries to comprehend and understand its depth.
The main character is a highly intelligent person who is like the ruler of the Universe. Faust is a character who distinguishes all humanity. All the hero’s wrath is embodied in one person. Throughout the entire work, the author creates a unique situation when Faust is forced to choose between good and evil. This technique is useful for readers, because it gives the opportunity to improve the hero’s behavior in various situations.
Is Kim really a Faust? We can definitely say that he is a professional in his own right. The hero and his father rejoiced people, cursed them out of illness. The locals respected him for nothing. On the cob of creation, if Faust and his lieutenant Wagner came to the place, then people showed respect to the main character: they bowed to him and walked the way.
Faust is an intellectual and a human being, who can not only talk, but also act. The main character of the work translates the New Testament into German language.
Faust of life's discontents. You want to get a good night's sleep. Mephistopheles helps him in this matter: to discourage him from being young. The main character of the work becomes handsome, his blood boils, and he is ready for various feats. The first important thing for a new body is to show yourself a new feeling. Faust falls in love with a young girl who grew up in a small town and was very practical. Her name was Margarita abo Gretchen. He noticed the beauty when she turned around from the church. He himself is a hero of understanding, which is also the right thing to do. With the help of Mephistopheles, Faust was able to bewitch the girl’s heart and reveal spiritual beauty.
Faust’s successful creation will rise in price together with Mephistopheles. He listens to his thoughts and easily gets carried away. The butt of this can be used against Valentin, Margaret's brother. The rest, having sensed Faust, rushes into battle. The lead hero, listening to Mephistopheles, accepts the call and stabs his brother to death. If Faust had been far-sighted, then death could have been avoided.
Regardless of anything, Faust tries to turn Margaret. The wife appears and wants to return the girl for punishment. Vaughn tells you about the greedy speech that she committed: the murder of a child. It is good for them to leave this miserable place and flow away from it at once. Gretchen was very determined and began to sing to submit to God’s judgment.
At the end of his work, Faust becomes old again, but this can lead to even greater change. Yogo mriya - don’t row. You cannot believe Mephistopheles, who called his ears to prepare the grave. Faust wants to renew the earth so that the seas will flood. The lead hero forgets that he has contacted a demon. He suspects that Mephistopheles is stirring up his dreams, and Faustus is saying his words of love about those who started to sing.
The author depicts the problem of good and evil. Faust himself is at the center of the conflict. The thoughts of the main character are lofty, they are not meant to help people, but at the same time they are meant to do evil and set people up for sin. Faust tries to preserve the purity of the soul and heal the evil spirits. In my opinion, the author emphasizes that early on, good overcomes evil.
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