The story of Faust begins in Heaven. Mephistopheles, the Devil, is visiting the Lord, complaining, as usual, about the Lord's creation, man. When the Lord asks him whether he knows Faust, Mephistopheles, saying he does, seizes the opportunity to bet with the Lord that he can lead Faust astray. The Lord is quite confident that .Faust knows the right way; he's also tolerant of Mephistopheles, whose role is to keep prodding man into action. Faust is a very learned professor, who, however, is dissatisfied with human knowledge, which by its nature is limited. Using magic, he conjures up the Earth Spirit in his darkened study. Regarding himself as more than mortal, he tries to claim the Earth Spirit as a colleague, but the Spirit rejects him scornfully and disappears. Despairing, Faust contemplates suicide. He is saved by the sound of the bells welcoming Easter morning. He and his research assistant, Wagner, go out into the sunlight and enjoy the greetings of the crowd, which remembers the medical attention given to the people by Faust and his father. Faust is still depressed, denying the value of medicine and feeling torn between the two souls in him, one longing for earthly pleasures, the other seeking the highest spiritual knowledge. A dog follows Faust and Wagner home. Back in his study, Faust tries to translate the Gospel of St. John, while the dog becomes restless. Eventually, the animal changes shape so monstrously that Faust realizes he is dealing with the Devil. Presto! There is Mephistopheles! At this first meeting, Mephistopheles introduces himself and his powers to Faust; then he tricks Faust into sleeping so that he can leave. When he returns, magnificently dressed, Mephistopheles makes a bet with Faust. He agrees to do anything Faust wants, but if Faust ever says that he is totally satisfied, that the moment is so perfect he wants time to stop, then he will die and Mephistopheles will have his soul. They sign their pact in blood. Mephistopheles tries to please his "master." He takes him to a Witch's Kitchen, where Faust is magically transformed into a young man.There, Faust is introduced to Margarete, who Mephistopheles is bound to use in satisfying Faust, resulting in difficult situations for Faust to wind his way out of the devil's hands. FAUST - While Faust has clearly recognizable human characteristics, he is larger than life. He embodies the best and the worst in man, and in many ways he is a symbol of all humanity. Faust is involved in most of the scenes, but he probably reveals himself most clearly through his monologues and through his conversations with Mephistopheles. The monologues show a man without satisfaction or inner peace, always striving. He is continually reaching for more knowledge, more power, more experience. ILLUSTRATIONS BY HARRY CLARKE

Goethe's Faust, a work which has attracted the attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century, hashad a seminal impact in musical realms.

"Issued in conjunction with the exhibition ... held at the Metropolitan Museum of Art, New York, from April 10, 1991, through June 16, 1991"--T.p. verso.

Excerpt from Illustrations of Goethe's Faust Retzsch's Celebrated Outlines have given to the eye the very essence of the leading occurrences in this tragedy. In the beauty of the young lovers, rivalling that which Ovid himself has described in his mythological youth, the diabolism of the face, hoof, and character of Mephistopheles, the action and shapes of the witches, animals, &c., and the tormenting passions that actuate the frames of Faust and Margaret, we peruse over again, in the translating language of the graver, the vivid and heart - displaying thoughts of the great German Poet. The scenes are so well selected for the Plates, that they afford a connected view of the whole drama. The exact repetition of costume in every spot, for instance, in Faust's study, and in Martha and Margaret's chambers, makes us feel at home with them, and traces a sort of biography of the inmates. The witch's kitchen, and the scenery and figures of the Blocksberg, astonish us by their variety. In their monstrous extravagances, they will excite only a pleasant smile, not disgust. The figures are drawn with similar propriety and expression. Margaret passes through the different gradations of reserve, maiden coyness, fondness, perplexity, yielding, ominous grief and despair. Faust's looks, gradually strained by the passions to the tension of despair, are conspicuous in the last plate. Mephistophelesvi introduction. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.