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• INTRODUCTION xi FAUST: A Tragedy DEDICATION 1 PRELUDE ON THE STAGE 3 PROLOGUE IN HEAVEN 9 PART ONE NIGHT (Faust's Study I: Easter Eve) 13 OUTSIDE THE CITY GATE (Easter-Day Walk) 23 FAUST'S STUDY (II: Easter Night) 32 FAUST'S STUDY (III: Pact and Student Scene) 40 AUERBACHS WINE-CELLAR IN LEIPZIG 53 WITCH'S KITCHEN (Rejuvenation) 60 A STREET (I: Margarete Accosted) 67 EVENING (Margarete's Room I) 69 PROMENADE (Street II: Mephistopheles' Report) 72 THE NEIGHBOR'S HOUSE (The Story of Schwerdtlein) 73 A STREET (III: False Witness) 77 (Martha's) GARDEN (I: Promenading Couples) 79 A SUMMERHOUSE (Martha's Garden II) 82 FOREST AND CAVE (Faust's Conscience) 83 GRETCHEN'S ROOM (II: Margarete at Her Spinning Wheel) 87 MARTHA'S GARDEN (III: Faust's Credo) 88 AT THE WELL (Gretchen and Lieschen) 91 BY THE RAMPARTS (Gretchen's Prayer) 92 NIGHT (Street IV: Valentine's Death) 93 CATHEDRAL (Mass, with Organ and Choir) 97 WALPURGIS NIGHT (Faust on the Brocken) 99 WALPURGIS NIGHT'S DREAM (Intermezzo) 108 AN EXPANSE OF OPEN COUNTRY (Faust's Rage) 112 NIGHT: OPEN FIELDS (The Gibbet) 114 PRISON (Margarete's Death) 114 PART TWO, in Five Acts Act I A PLEASANT LANDSCAPE (Faust's Recovery) 121 AN IMPERIAL PALACE THE THRONE ROOM (Council of State) 124 A GREAT HALL (Masquerade and Faust's Masque) 132 A GARDEN (Benefits of Paper Money) 154 A DARK GALLERY (The Mothers) 158 BRIGHTLY LI T ROOMS (Waiting for Faust) 162 KNIGHTS' HALL (The Rape of Helen) 163 Act II A HIGH-VAULTED, NARROW GOTHIC ROOM (Faust's Study IV) 169 LABORATORY (Creation of Homunculus) 175 CLASSICAL WALPURGIS NIGHT 180 The Pharsalian Fields 180 (Erichtho and the Aeronauts 180 * By the Sphinxes 181 * Peneus and Nymphs 186 * Faust, Chiron, and Manto 187 * Again by the Upper Peneus: Seismos' Mountain 191 * Mephistopheles and the Lamiae 196 * Anaxagoras, Thales, and Homunculus 200 * The Phorcides 202) Rocky Inlets of the Aegean Sea 204 (Nereus 206 * Proteus 209 * Galatea 214 * Homunculus merges with the sea 215) Act III (Helen: Classico-Romantic Phantasmagoria. An Intermezzo) BEFORE MENELAUS' PALACE AT SPARTA (Helen's Flight) 216 INNER COURTYARD OF A CASTLE (The Wooing and Defense of Helen) 231 A SHADED GROVE (The Life and Death of Euphorion) 241 Act IV HIGH MOUNTAINS 254 (Margarete Remembered 254 * Faust's Great Plan 256 * The Emperor in Danger 258 * Mephistopheles' Three Mighty Men 260) ON A FOOTHILL (Defeat of the Anti-Emperor) 261 THE ANTI-EMPEROR'S TENT (Rewards of Victory) 272 Act V A BROAD LANDSCAPE (Baucis and Philemon) 279 FAUST'S PALACE BEFORE THE PALACE 281 (Faust's Discontent 281 * The Destruction of Baucis, Philemon and Their Guest 285) FAUST ON THE BALCONY 286 (Mephistopheles' Report 286 * Four Gray Women in the Courtyard 287) WITHIN THE PALACE (Care, and the Blinding of Faust) 288 THE LARGE OUTER COURTYARD 290 (Faust's Death and Interment 292 * Mephistopheles Defeated 295) MOUNTAIN GORGES (Faust's Vision of Heaven and His Reunion with Margarete) 299 Chronology of the Composition of Faust 306 Goethe's Faust and the Present Translation 307 Bibliographical Note 314 Explanatory Notes 315.
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One of the great classics of European literature, Faust is Goethe's most complex and profound work. To tell the dramatic and tragic story of one man's pact with the Devil in exchange for knowledge and power, Goethe drew from an immense variety of cultural and historical material, and a wealth of poetic and theatrical traditions. What results is a tour de force illustrating Goethe's own moral and artistic development, and a symbolic, cautionary tale of Western humanity striving restlessly and ruthlessly for progress. Capturing the sense, poetic variety, and tonal range of the German original in present-day English, Stuart Atkins's translation presents the formal and rhythmic dexterity of Faust in all its richness and beauty, without recourse to archaisms or interpretive elaborations. Featuring a new introduction by David Wellbery, this Princeton Classics edition of Faust is the definitive English version of a timeless masterpiece.
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Goethe is the most famous German author, and the poetic drama Faust, Part I (1808) is his best-known work, one that stands in the company of other leading canonical works of European literature such as Dante's Inferno and Shakespeare's Hamlet. This is the first new translation into English since David Constantine's 2005 version. Why another translation when there are several currently in print? To invoke Goethe's own authority when speaking of his favorite author, Shakespeare, Goethe asserts that so much has already been said about the poet-dramatist 'that it would seem there's nothing left to say, ' but adds, 'yet it is the peculiar attribute of the spirit that it constantly motivates the spirit.' Goethe's great dramatic poem continues to speak to us in new ways as we and our world continually change, and thus a new or updated translation is always necessary to bring to light Faust's almost inexhaustible, mysterious, and enchanting poetic and cultural power. Eugene Stelzig's new translation renders the text of the play in clear and crisp English for a contemporary undergraduate audience while at the same time maintaining its leading poetic features, including the use of rhyme.
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• Fairest faust
• A new translation of Goethe's Faust
• Preface
• Introduction
• Dedication
• Prelude in the theater
• Prologue in heaven
• First part of the tragedy
• The second part of the tragedy in five acts.

"A poet, playwright, novelist, memoirist, and aphorist, Goethe was the German equivalent of Dante plus Shakespeare, a multifaceted universal genius. He put everything he had into this version of the famous myth of Faust, the man who sold his soul to the devil for worldly fame and riches. People face such choices every day - in this volume, Prof. Thomas Wayne presents the story in a contemporary voice."-- Provided by publisher.

"A poet, playwright, novelist, memoirist, and aphorist, Goethe was the German equivalent of Dante plus Shakespeare, a multifaceted universal genius. He put everything he had into this version of the famous myth of Faust, the man who sold his soul to the devil for worldly fame and riches. People face such choices every day - in this volume, Prof. Thomas Wayne presents the story in a contemporary voice."-- Provided by publisher.

A classic of world literature, Goethe's Faust is a philosophical and poetic drama full of satire, irony, humor, and tragedy. Martin Greenberg re-creates not only the text's varied meter and rhyme but also its diverse tones and styles-dramatic and lyrical, reflective and farcical, pathetic and coarse, colloquial and soaring. His rendition of Faust is the first faithful, readable, and elegantly written translation of Goethe's masterpiece available in English. At last, the Greenberg Faust is available in a single volume, together with a thoroughly updated translation, preface, and notes. "Greenberg has accomplished a magnificent literary feat. He has taken a great German work, until now all but inaccessible to English readers, and made it into a sparkling English poem, full of verve and wit. Greenberg's translation lives; it is done in a modern idiom but with respect for the original text; I found it a joy to read."-Irving Howe (on the earlier edition).
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• Introduction by Martin Swales-- translation of Goethe's Iphigenie auf Tauris-- end-notes.
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This drama in blank verse, first published in 1787, the first important work of Goethe's Classical period, stands the Iphigenia-Orestes story as treated by Aeschylus, Euripides and Racine on its head. In Goethe's drama Iphigenia, daughter of Agamemnon, leader of the Greek forces in the Trojan War, in exile as a priestess in the barbaric land of the Tauri (Crimea), breaks the Tantalid family curse. By her own unaided human efforts she saves the life of her brother Orestes who has murdered their mother because she murdered their father; at the same time she enables him to expiate his crime. The female identity of the central character is all-important. It is uniquely her voice, against all the other voices which are male, that brings resolution - not by preaching values but by the visceral force of belief in the rightness of the language of the heart. This translation by Roy Pascal, made in 1954 and broadcast in two separate BBC radio productions, is published for the first time. Martin Swales writes in his Introduction: 'Goethe's Iphigenia is one of the most perfect poetic dramas that the moral culture of Western Europe has produced - Few works can have such purchase on our contemporary concerns. The endless bloodletting of the play's prehistory, the desperate cycle of outrage followed by acts of retribution that fuel the flames; the play's understanding of the notion of sacrifice that conjoins the sacred and the violent into a poisonous brew - all these preoccupations speak with incomparable urgency to us today ...Roy Pascal's translation is a matchless example of German poetry rendered into English by a master.'.
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Faust occupies a central place in German literature, as the magnum opus of its greatest writer, as one of its greatest dramas, and as an epic poem of the highest quality-for, although it was written to be performed, it may also be regarded as a dramatic poem, prophetic perhaps of Berlioz's hybrid musical adaptation in La Damnation de Faust. The Faust story caught Goethe's attention from an early stage and the first published results of his engagement with it was Faust. A Fragment, published in 1790. He had however written a dramatic treatment of the story in his 20s, a fact which only became apparent over a century later, when the papers of Luisa von Gochhausen, a lady of the court of Weimar, were found to contain a transcription of this work, since known as the Urfaust (Original Faust). This early work was published in 1887. Faust. A Tragedy, Part One was finally completed in 1808 and was later revised and published in a new edition in 1829. The third act of Part 2 appeared in 1827, part of the first act a year later, and the complete text in 1832, shortly after the author's death. The entirety of Faust, parts 1 and 2 together, was performed for the first time in 1875, in Weimar. The translation presented in this volume encompasses only Part One, which is usually performed without its cerebral pendant piece, and remains the keystone of Goethe's career.
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The Greek fleet bound for Troy is becalmed. For the sake of a wind, Agamemnon, leader of the Greek forces, is persuaded that he must sacrifice his daughter Iphigenia. But as the priest raises his knife to slit the child's throat, the goddess Diana spirits her away. Clytemnestra, Agamemnon's wife, believing her beloved daughter to be dead, slays her husband in revenge on hisreturn from the Trojan wars. Their son, Orestes, avenges his father's death by killing his mother. Now, years later, as Iphigenia, a prisoner of the temple of Diana, looks across the sea to Greece, longing to return home, her brother Orestes arrives...
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In this sequel to "Faust", Mephistopheles takes Faust on a journey through ancient Greek mythology, conjuring for him the insurpassably beautiful Helen of Troy, as well as the classical gods. Faust falls in love with and marries Helen, embodying for Goethe his 'imaginative longing to join poetically the Romantic Medievalism of the germanic West to the classical genius of the Greeks'. Further to the themes of redemption and salvation in this great drama, are Goethe's eerie premonitions of modern phenomena such as inflation and the creation of life by scientific synthesis.
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• Introduction--
• 1. The Faustus of Goethe, translated by Samuel Taylor Coleridge (London: Boosey, 1821). With the 27 illustrations by Moritz Retzsch, re-engraved by Henry Moses--
• 2. Germaine de Stael, Germany [= de l'Allemagne, 1809], translated by Francis Hodgson, edited by William Lamb (London: John Murray, 1813). Part II 'On Literature and the Arts', Ch. 23, 'Faustus', pp. 181-226--
• 3. Extracts from Gothe's Tragedy of Faustus, explanatory of the plates by Retsch, translated by George Soane (London: Bohte, 1820). [January 1820] Page proofs for Bohte's planned second edition, translated by George Soane. [Sent to London Magazine, Nov 1821-- to Goethe June 1822]--
• 4. Retsch's Series of Twenty-six Outlines Illustrative of Goethe's Tragedy of Faust, translated by Daniel Boileau (London: Boosey, 1820). [June 1820], with Boileau's notes to Abraham Hayward's prose translation--
• 5. 'The Faustus of Goethe', translated by John Anster, Blackwood's Edinburgh Magazine, vol.
• 7. no. 39 (June 1820), 235-258--
• 6. Faust: a Drama by Goethe-- and, Schiller's Song of the Bell, translated by Lord Francis Leveson Gower. (London: John Murray, 1823). [corresponding text only]-- Stylometric Analysis of the Faust Translations,
• Chronology-- Bibliography-- Index.
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The major work of German literature, Johann Wolfgang von Goethe's Faust (1808), was translated into English by one of Britain's most capable mediators of German literature and philosophy, Samuel Taylor Coleridge. Goethe himself twice referred to Coleridge's translation of his Faust. Goethe's character wrestles with the very metaphysical and theological problems that preoccupied Coleridge: the meaning of the Logos, the apparent opposition of theism and pantheism. Coleridge, the poet of tormented guilt, of the demonic and the supernatural, found himself on familiar ground in translating Faust. Because his translation reveals revisions and reworkings of Coleridge's earlier works, his Faust contributes significantly to the understanding of Coleridge's entire oeuvre. Coleridge began, but soon abandoned, the translation in 1814, returning to the task in 1820. At Coleridge's own insistence, it was published anonymously in 1821, illustrated with 27 line engravings copied by Henry Moses after the original plates by Moritz Retzsch. His publisher, Thomas Boosey, brought out another edition in 1824.Although several critics recognized that it was Coleridge's work, his role as translator was obscured because of its anonymous publication. Coleridge himself declared that he 'never put pen to paper as translator of Faust', and subsequent generations mistakenly attributed the translation to George Soane, a minor playwright, who had actually commenced translating for a rival press. This edition of Coleridge's translation provides the textual and documentary evidence of his authorship, and presents his work in the context of other contemporary efforts at translating Goethe's Faust.
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Goethe's Faust reworks the late-medieval myth of Dr Faust, a brilliant scholar so disillusioned he resolves to make a contract or wager with the devil, Mephistopheles. The devil will do all he asks on Earth and seek to grant him a moment in life so glorious that he will wish it to last for ever. But if Faust does bid the moment stay, he falls to Mephisto and must serve him after death. In this first part of Goethe's great work the embittered thinker and Mephistopheles enter into their agreement, and soon Faust is living a life beyond his study and in rejuvenated form winning the love of the charming and beautiful Gretchen. But in this compelling tragedy of arrogance, unfulfilled desire and self-delusion, Faust, served by the devil, heads inexorably towards destruction.
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