CHAPTER VI Faust Part One

Faust presents a serious problem for a study that aims to see Goethe's major plays in relation to each other and observe constant tendencies in Goethe's dramatic form. But at least it can be said that Part I fits into the sequence. It is a drama with orthodox claims; it is a success on the stage; and it has clear links with the other plays in spite of its very different form. Part II, on the other hand, is a different kind of work. It has the appearances of being a continuation of Faust's drama, but it is immensely elaborate, and more poem than play. A much later addition, it is done in a completely different style, in which the genuine dramatic or theatrical plays little part. And above all, any discussion of its main beauty and meanings raises a great number of problems that have little to do with drama. For this reason it scarcely belongs to my subject, which is the evolution of Goethe's dramatic form. In a way, of course, it could be called the final stage of the evolution, but it has so far overshot the mark of either drama or theatre that it may better be described as an epilogue abjuring the form. Obviously there still remains a certain difficulty, because Goethe has made strenuous efforts to provide clear bridges from Part I to Part II; and in some respects, for example in relation to Faust himself and Mephistopheles, it is not easy to speak of Part I without

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Goethe's Major Plays
Table of contents

Table of contents

  • Title Page iii
  • Preface v
  • Contents xi
  • Chapter I - Introduction 1
  • Chapter II - Götz Von Berlichingen 12
  • Chapter III - Clavigo, Stella, Egmont 25
  • Chapter IV - Iphigenie Auf Tauris 55
  • Chapter V - Torquato Tasso 95
  • Chapter VI - Faust Part One 149
  • Chapter VII - General Features of Goethe's Major Plays 203
  • Translations 217
  • Index 233
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