Faust, Part One (Oxford World's Classics) 1st Edition

Kaufmann's 1960 translation remains the standard English version of this important work. It definitely could use some revision to bring a more dramatic focus to the English. Kaufmann is relatively florid in ways that the German isn't, or rather, his English seems more abstract than the German (which is astoundingly great but less complex than Kaufmann's English). That's important because, although Germanicists will disagree, the play is somewhat languid and dramatically flat, at least compared to classic English drama. At times, it reads like a closet drama instead of a play to be staged. This edition comes with a rambling and uninsightful introduction by Kaufmann that does little to help the reader.

I have no doubt that this is the best English translation of Faust. It is certainly the translation for those who love the tale. All the life and humor and glory shines through. It is not a "scholar's" translation. It is still fully alive.I know that people avoid Faust for being too formidable and daunting. They need not feel so. It is amazing just how smoothly the translation of Part One reads. You do not want to put it down. Yet it is so very accurate- a quick glance across to the opposing German original confirms that.As for Part Two, it doesn't read quite so smoothly, but that is no fault of the translator, since the original German also lacks the perfect flow and polish of Part One. Goethe didn't have sixty more years to perfect it as he did with the first part. In fact, we are only given a translation of the first and last acts. The intervening three acts are summarized in the introduction. My sole criticism of this edition is that the summary should have been actually bound between these two acts so that you do not have to flip back to the introduction to refresh your memory. Still, you can piece the full flavor and meaning out of Part Two in spite of these obstacles.The author tells us in the introduction that we shouldn't fall into the Germanic trap of analyzing the idea behind the story. He seems to insist that we appreciate it for poetry and characterization and leave it at that. To my mind that would be frivolous. The core idea in Faust is the tale of the German nation- indeed of most of western civilization. Faust the scholar and magician represents the dissatisfaction and arrogance of modern man. Not content with comprehending God's will and putting himself in accord with the Divine order he tries to play God himself in order to "improve" creation. He sells his soul to do this, but then he was incapable of faith in the first place (in spite of first hand dealings with the supernatural.) This is directly analogous to those scientists who unravel the glories and mysteries of creation every day, yet do not pause to appreciate the existence of a Creator. Needless to say, Faust's efforts always end in failure and dissatisfaction- and disaster for those whose life he touches (Gretchen.)The second part is a continuation of this theme, for Faust has learned nothing in Part One. If anything he is more ambitious and insatiable. He seeks after gold, influence, power, command, land, even progeny and a trophy wife (Helen of Troy.) It all turns out twisted. In fact, just short of his final, hard-won triumph he suddenly drops dead from old age. Nothing lasting- except ill effects- remain of his life's constant striving.Yet, Faust is saved. The translator says that this is unexplainable. He seems to attribute it to softness of heart on the part of Goethe. Nothing could be farther from the truth. As the Lord states in the Prologue: "A good man in his darkling aspiration/ Remembers the right road throughout his quest." In other words, the Lord knows that Faust was trying to do good- it was just that through his flaws and limitations he ended up making a mess of things. This was also Boethius' understanding- even when we do wrong it is out of a flawed quest to achieve the Good. Even Gretchen (who has now re-ascended to her place as part of the Divine Feminine) understands and forgives Faust. Faust has now the perspective to understand and learn from his errors on earth. He is now truly fit to teach other souls hard-won lessons of worth.May this also be the ultimate fate of all modern men.

Gothe's Faust, which is loosely based on an old German folk-tale, is about an academic who, dissatisfied with knowing all there is to know about everything, eschews suicide and instead sells his soul to the devil to learn and experience more. I started with a translation by noted 19th century author and feminist Anna Swanwick, but it was difficult to follow, so when my patience wore out, I did a little internet research and switched to the more recent David Luke translation reviewed here. The Luke translation isn't dumbed down at all, but is still far more accessible for my modern ear than the Swanwick translation. Once I understood what was going on, I went back to the Swanwick translation and enjoyed it. Each was clever in its own way.As an interesting sidenote, after reading through Faust, I read the Swanwick translations of Goethe's Egmont, and also Hermann and Dorothea, but didn't have the same issues. They were great. Maybe I was primed for them by my struggle through Faust. Who knows.

Faust: Part One (Oxford World's Classic)Goethe's "Faust" is arguably the most important milestone in Romantic literature. Taking the famous medieval legend of Dr. Faustus and his pact with the devil, Goethe adapted the tale of old, and transformed it into a great love story, and a probing poetical tract on the nature of good and evil, salvation and damnation, failing and striving, the innate search for truth and lasting fulfilment.Part One (first published 1808) features Faust's disgust with his life and the world at large, and attempting to unite with the Spirit of creation and soar above the petty corporality of earth, the proud old scholar is dashed to the ground, for he must first work his salvation out on earth by the sweat of his brow before he can be admitted into the presence of the Deity. In desperation, Faust tries to commit suicide, but then makes a wager with the devil: if Mephistopheles can show him that one moment of bliss he is searching for and succeeds in persuading him to cease all his human striving for that one moment, then his soul is forfeit. The devil agrees to the wager, grants Faust the gift of youth, and the adventures begin. He meets young Margareta and falls in love, a romance that leads to tragedy for the innocent maiden.David Luke's award-winning translation is one of the best I have read. While the rhythms do jar on occasion, this does not take away from the `flow' of this rendition. There will always be discrepancies when a text is taken out of its original language in any case, so it is more constructive to concentrate on the `readability', this translation succeeds in portraying the mood of Goethe's text and the personalities of his vibrant characters. In some instances, it may be argued the translation is too modern, for example, lines [2065 -2070] when Mephistopheles prepares his magic flying cloak for their journey to a new life of youthful debauchery:"One merely spreads one's cloak--you'll findIt give us aerial elevation.Though, please, this bold step for mankind,Imposes luggage-limitation.I'll set the burners going, heat some air, and lo!We travel light, the earth lies far below."Did Neil Armstrong land on the moon in Goethe's time? Of course not, but Luke's witty lines humorously displays Mephistopheles' rakish personality and has become one of my personal favourites in this English edition.The book features an informative introduction on Goethe's biography and the composition of Part One and includes a graph displaying how he edited and added to the scenes until he arrived at the text we know today. There is also a select bibliography, a general chronology of Goethe's life and career, and helpful explanatory endnotes for those who wish to study the details of the text more thoroughly. For "Urfaust" scholars, Luke highlights the lines that were part of Goethe's early draft.E.A. Bucchianeri, author of ...

As good as it gets