By Goethe, Johann Wolfgang von; Goethe, Johann Wolfgang von; Tantillo, Astrida Orle
A pathbreaking paintings which attracts out Goethe's pivotal effect at the improvement of Western society.
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For example, in a conversation with Eckermann (March 11, 1828), he described individuals with both inferior or weak (gering) and powerful (mächtig) entelechies. In his scientiﬁc works, he further spoke of lamed or thwarted entelechies (FA 1, 24: 464–5). 27 Faust, Capitalism, and Technology 37 active, and thus according to the angels’ own words, not worthy of being saved. The last and probably most famous lines of the play further emphasize the passive nature of Faust’s ﬁnal journey. He is being pulled or drawn up by the Eternal Feminine and is not raising himself or acting on his own accord.
29 Die Überzeugung unserer Fortdauer entspringt mir aus dem Begriff der Tätigkeit; denn wenn ich bis an mein Ende rastlos wirke, so ist die Natur verpﬂichtet, mir eine andere Form des Daseins anzuweisen, wenn die jetzige meinem Geist nicht ferner auszuhalten vermag (FA 2, 12: 301). Goethe describes such a notion of the afterlife on other occasions as well. See, for example, his similar sentiments in a conversation with Falk, January 25, 1813. Goethe’s Modernisms 38 Faust’s loss of soul Where did Faust go wrong?
It therefore encourages the same kind of dynamism that Goethe wrote about in the eye and that he saw throughout all of nature. One perspective immediately calls forth its opposite and vice versa. Or, to put this sentiment in Goethe’s own words in a letter to Zelter ( June 1, 1831), Faust was to be “an obvious puzzle” (ein offenbares Rätsel) that would “continually entertain human beings and give them something to worry about” (die Menschen fort und fort ergötze und ihnen zu schaffen mache). FAUST as a tragedy In the pages that follow, I propose an interpretation that has not yet been given to the play; namely, that the play is a tragedy because Faust goes to heaven.