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Faust as a Romantic Hero


Faust as a Romantic Hero

In Johann Wolfgang von Goethe’s Faust, the protagonist shows many attributes of a typical romantic hero. First, he is larger then life. He has obtained various postgraduate degrees, and conjures up spirits. In his effort to surpass understanding and gain experience he strikes a bargain with the Devil. He is “not scared of the Devil or hell” (Lawall & & Mack, 444) and proves that by making the deal with the Devil.

Second of all, he embodies the best and worst of humanity. He is a scholar and would be considered a Renaissance man. Previously in his life, he helped his dad, who was a medical professional, deal with sick individuals throughout an afflict. On the other hand, his lust for Margarete displays the worst of humanity. This desire resulted in the death of Margarete, her brother, her mother, and her infant. Margarete is an easy, innocent woman who Faust can physically have but not form an irreversible bond with (Lawall & & Mack, 438).

And lastly, he is a icon for all humanity. Faust is continuously aiming, and reaching for more power, more understanding and more experience (Mitchell, 5). While this continually results in failure, he never ever gives up attempting to gain more. He is also versatile, becoming despondent when he can’t acquire what he desires. The reader might see these failures as Faust’s catastrophe, as whatever he is associated with turns out terribly. But, in these failures he is representative of humanity. In the Beginning in Paradise the Lord mentions that “male errs as long as he will aim.” (Lawall & & Mack, 442)

Even a successful life has not pleased him. By any standard most people would consider his life a rich and full one. He has actually mastered the topics of philosophy, law, medication, and faith (Lawall & & Mack, 443). His proficiency is sought out by his students, townspeople, and others on the subjects in which he is a professional. Even though he has gotten this position of respect and prestige, he feels depressed because his life is unsatisfied. He feels all his achievements are in vain. He is so mournful that he is on the verge of suicide when the bells of Easter toll and the singing from the Easter services reminds him of his youth. He then decides versus suicide and instead undergoes a “rebirth” (Mitchell, 16).

Faust displays pride in lots of circumstances of the play, especially when he summons the Earth Spirit and is disappointed by the fact the Spirit does rule out him an equal and rebuffs him. Another instance is the deal made with Mephistopheles, where he will never ever be totally pleased. Anybody making such an offer is certainly guilty of the sin of pride. In his relationship with Mephistopheles you see Faust as a conceited and impatient guy. He views Mephistopheles as his servant to do his bidding (Mitchell, 17). When he signs his pact with the Devil, he wants to “experience all of life, to meet all of human potential, at which point he would resemble God.” (Mitchell, 17)

Faust appears to have a psychological outburst when he and Wagner are walking on Easter early morning. He weeps honestly and begs to be sent out to “far-off lands” (Lawall & & Mack, 460) to eliminate him of his discomfort and torment.

In Faust’s dealings with Margarete, he shows his delicate side. He can enthusiastic romantic love. While at the witches celebration he is haunted by a vision of Margarete. He becomes filled with anger and regret when he finds out of Margarete’s fate. When he attempts to save her from execution, she declines. He feels deep remorse for the position he has actually put Margarete in.

Faust program’s how imaginative he can be in the information of his bargain with Mephistopheles. If the Devil can ever make anything so pleasant that Faust calls out for time to stop, so he can further delight in the moment, then he will lose his wager with the Devil. This was Faust’s vehicle to enjoy all that life had to offer. So, the wager in between the Devil and Faust represents fulfillment.

The character of Faust fits the mold of a romantic hero. In reality, the atmosphere of Faust, part I, reflects the mood of Romanticism (Mitchell, 10). The aspects of Romanticism are emotions, subjectivity, and spontaneity, which all originate from the typical people. One example is Faust’s relationship with Margarete, which is passionate, but taking in due to the fact that both of them succumb to uncontrolled emotion. This is a really romantic idea of love. Von Goethe’s play is filled with the romanticism of seeking experience over understanding.

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