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    The Prologues to Goethe's "Faust", and the Question of UnityAuthor(s): D. J. EnrightSource: The Modern Language Review, Vol. 48, No. 2 (Apr., 1953), pp. 189-193Published by: Modern Humanities Research AssociationStable URL: http://www.jstor.org/stable/3719821 .Accessed: 26/12/2013 21:01

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    Miscellaneous Notesiscellaneous Notes

    The wishes are an important part of Prior's poem just as they are in the otherversions which we have considered. After the gods have made themselves known,as in Hagedorn, they offer to grant three wishes. The wife is quite ready to respond,but not with such wishes as Baucis and Philemon expressed in the other versionsof the story. Her requesting a ladle for her silver dish brings forth her husband'srebuke: What should be Great, You turn to Farce:

    I wish the Ladle in your A -- -.

    Consequently the third wish has to be used in getting the ladle out again. InPrior's 'Moral' at the end of the poem he makes it clear that without contentmentthere is no happiness. In a footnote to Hagedorn's poem he quoted from Prior's'The Ladle'.

    In his version of Philemon und Baucis Hagedorn, with his sensitiveness to formand rhythm which he had acquired to a great extent from English literature as wellas from the classics, composed a fable of an Anacreontic turn, characterized by easeand charm.

    BERTHA EED COFFMANNEWTON, MASS.

    THE PROLOGUES O GOETHE'S FAUST', AND THE QUESTION OF UNITY

    While there is much to admire in Professor Atkins' article on the early scenes ofFaustl-and above all the fact that his admiration is for Faust as a living workand not as a corpse for hungry commentators-it may be felt that he is too easily

    dogmaticin

    speakingof the drama's

    'unity'and

    over-ingeniousin

    relatingZueignung and Vorspiel auf dem Theater to the body of the work. The purpose ofthis note is to query assumption and treatment and to plead for a looser conceptionof unity which is yet consonant with the greatness of the complete Faust.

    The UnityProfessor Atkins postulates 'the lucidity of dramatic motivation and poetic

    design that distinguishes Faust as a whole.' In that the weight of commentary-though admittedly much Faust-commentary weighs rather light-is behind a con-trary opinion, Professor Atkins needs to present more evidence than he does here.And, though his method of attack is undoubtedly the proper one, it might seemthat he is attacking from the wrong direction in giving his attention to Zueignungand Vorspiel. Some commentators, after all, have been honest, and it is a littlehard of him to conclude that 'the critic of so generally admired a work as Faust whomakes its disunity a basic premise of his discussion either is grossly incompetent topractise his art or else is practising it with the...purpose of camouflaging anunfortunate patch of bleakness in...Goethe's total artistic achievement.' Thosewho have written about Faust in recent years-painfully conscious of the disreputeinto which the work has fallen, at least outside Germany and a handful ofGermariists-have hardly started from any such premise. Indeed, our temptationis to begin from a basic premise of its unity and, in a crusading spirit, to mani-pulate events of the Second Part into fitting in more smoothly with our admiration.'Unity' and 'disunity' are vague terms, and their need for definition is made the

    1 'A Reconsideration of...the prologues and early scenes in Goethe's "Faust",' ModernLanguage Review, XLvrI (July 1952), 362-73.

    The wishes are an important part of Prior's poem just as they are in the otherversions which we have considered. After the gods have made themselves known,as in Hagedorn, they offer to grant three wishes. The wife is quite ready to respond,but not with such wishes as Baucis and Philemon expressed in the other versionsof the story. Her requesting a ladle for her silver dish brings forth her husband'srebuke: What should be Great, You turn to Farce:

    I wish the Ladle in your A -- -.

    Consequently the third wish has to be used in getting the ladle out again. InPrior's 'Moral' at the end of the poem he makes it clear that without contentmentthere is no happiness. In a footnote to Hagedorn's poem he quoted from Prior's'The Ladle'.

    In his version of Philemon und Baucis Hagedorn, with his sensitiveness to formand rhythm which he had acquired to a great extent from English literature as wellas from the classics, composed a fable of an Anacreontic turn, characterized by easeand charm.

    BERTHA EED COFFMANNEWTON, MASS.

    THE PROLOGUES O GOETHE'S FAUST', AND THE QUESTION OF UNITY

    While there is much to admire in Professor Atkins' article on the early scenes ofFaustl-and above all the fact that his admiration is for Faust as a living workand not as a corpse for hungry commentators-it may be felt that he is too easily

    dogmaticin

    speakingof the drama's

    'unity'and

    over-ingeniousin

    relatingZueignung and Vorspiel auf dem Theater to the body of the work. The purpose ofthis note is to query assumption and treatment and to plead for a looser conceptionof unity which is yet consonant with the greatness of the complete Faust.

    The UnityProfessor Atkins postulates 'the lucidity of dramatic motivation and poetic

    design that distinguishes Faust as a whole.' In that the weight of commentary-though admittedly much Faust-commentary weighs rather light-is behind a con-trary opinion, Professor Atkins needs to present more evidence than he does here.And, though his method of attack is undoubtedly the proper one, it might seemthat he is attacking from the wrong direction in giving his attention to Zueignungand Vorspiel. Some commentators, after all, have been honest, and it is a littlehard of him to conclude that 'the critic of so generally admired a work as Faust whomakes its disunity a basic premise of his discussion either is grossly incompetent topractise his art or else is practising it with the...purpose of camouflaging anunfortunate patch of bleakness in...Goethe's total artistic achievement.' Thosewho have written about Faust in recent years-painfully conscious of the disreputeinto which the work has fallen, at least outside Germany and a handful ofGermariists-have hardly started from any such premise. Indeed, our temptationis to begin from a basic premise of its unity and, in a crusading spirit, to mani-pulate events of the Second Part into fitting in more smoothly with our admiration.'Unity' and 'disunity' are vague terms, and their need for definition is made the

    1 'A Reconsideration of...the prologues and early scenes in Goethe's "Faust",' ModernLanguage Review, XLvrI (July 1952), 362-73.

    18989

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    190 Miscellaneous Notes

    more obvious when Professor Atkins states that 'if. . . Faust is not a unified work ofart, it would be honest to concede that it is only an interesting failure.' Can one,with the best will in the world, neatly and cogently demonstrate the artistic unity

    of Faust in any accepted sense of that phrase? If approached under appropriateconditions, it has, I believe, a final 'unity'-easily missed since so much of thematerial offends against the most elementary rules, and particularly apt to be missed

    to-day, when technical adroitness is the pre-eminent virtue of our artists and art is

    inlcreasingly a craft. That final 'unity', I think, can only be suggested through theact of interpreting the play. Attempts to define it explicitly lead to the postulationof sonme 'guiding idea'-which certainly seems dishonesty when we set it againstGoethe's text. What the critic has to show is how, in spite of appearances, the endof the Second Part is directly related to the beginning of the First Part and hoxwmuch (though not all) of what happens between is relevant more and less obviouslyto the

    humanFaust

    aswell

    as tothe

    allegoricalhero. In view of the storms which

    f'ace him dturing the Second Part, he will be well advised not to make heavy weatherof the set-pieces which precede Prolog im Himmel.

    Zueignung'Nothing is lost, and much is gained, if Zueignung is recognized as a spokenprologue to Faust'-Professor Atkins refers to the conventional modesty of the

    prologue, to Goethe's avoidance of the first person nominative 'except in doubtingquestions', and to the diffidence of his allusion to the 'applause or approval w\hichcustom demands'. Calvin Thomas's comments seem more apt: 'These fine stanzasare in no sense a

    partof the drama of Faust, but

    simplyan " occasional"

    lyric.The

    poet, now in middle life, has determined to resume work upon Faust.' It is, asThomas remarks, a dedication of himself to the task ahead-rather than a dedicationto the theatre audience. Zueignung has all the appearances of an 'occasional'

    lyric written for a particular occasion: the printing of Faust. Pace Professor Atkins,a poem can be personal without repetition of the emphatic 'I', and in fact the

    'doubting questions' endow the piece with a strong flavour of the intimatelypersonal. The allusions to dead friends ('Der Schmerz wird neu...') strike a noteinimical to theatre, while what follows

    ' Sie h6ren nicht die folgenden Gesange...'-would cast a gloom over any living audience. The poet is more interested, here,in those who have passed away than in those who are present, and this is emphasizedby the reference, 'Ihr Beifall selbst macht meinemn Herzen bang'-less diffidencethan a pointed (and, for a spoken prologue, rather tactless) rejection of applause inadvance, while the final couplet ('Was ich besitze seh' ich wie im Weiten.. .')would be less out of place after the curtain's fall than before its rising. The 'occasion'is sentimental and private rather than dramatic and public the return of the

    middle-aged poet to the imaginative scenes of his youth-and its relevance is to hislife, not to his work.

    The question might not merit discussion but for the implications of ProfessorAtkins' treatment: 'Without Zueignung... the underlying earnestness of Vorspielmight well be disregarded... but Vorspiel must surely be more than satiric comedy

    if the next scene, Prolog im Himmel, is to be given serious attention.' This proposi-tion may strike us as somewhat derogatory to Prolog, an extremely impressivepiece of work, which should need no prior advertisement or gloss: the gravity ofMephistopheles' cynicism and of the Lord's caln assurance should enforce itself

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    Miscellaneous Notes 191

    upon any audience but the most backward. Yet Professor Atkins' fear lest it mightbe mistaken for pastiche finds alarming confirmation in Croce, who complains of'a dEgage manner, slightly in the style of Voltaire'. Even so, an author cannot

    insure himself against misinterpretation, and ideas which are so violently pre-conceived will hardly be removed by a score of prologues.Zueignung is 'to make unambiguously clear that...the following drama is

    fundamentally serious'. But 'the following drama' alone is in a position to makeits seriousness clear. As far as Prolog is concerned, poetic weight against poeticweight, Vorspiel seems to me to lead away from it rather than up to it.

    Vorspiel auf dem Theater

    Professor Atkins describes this as 'a continuation of that first prologue in animpersonal form'. It is true that 'the shift from flexible rhymed verse to strict

    ottava rima exemplifies within Vorspiel themetrical

    flexibilityof the text to

    follow'-though it is not exactly as metrical flexibility that the difficulty of Faustpresents itself. The real objection to this view of Vorspiel s suggested by ProfessorAtkins' remark, apropos of the fact that most commentators recognize Prolog asthe real beginning of the dramatic action: 'The inconsistency of discriminatingbetween prologues naturally does not trouble critics who regard Faust as a pleasingdramatico-lyric melange.' The two assumptions here are (a) that critics who sodiscriminate necessarily regard Faust as no more than 'a pleasing dramatico-lyricmelange' and (b) that it is inconsistent to discriminate. Surely scholar as well asinterpreter ives by discrimination ? The point to stress is'that in poetry' significance'cannot be

    separatedfrom

    'quality'.Perhaps it is only when one approaches the

    prologues as 'prose' collections of symbols later to be repeated, of preparatives orof ideas (as such), that one can avoid discriminating between the light jocularity ofVorspiel and the powerful, urgent and grim jocularity of Mephistopheles' Prologspeeches. All fish is not salmon because salmon is fish; and discrimination is not

    only necessary but also natural.In spite of some forcible aphorisms, the poetic pressure of Vorspiel s compara-

    tively low; it has certain characteristics of the set debate. Passing to Prolog,however, we are at once aware that the debate is there conducted in accents ofa deeper sincerity: the untroubled confidence of the Lord and the cynical assuranceof Mephistopheles, both claiming our sympathy, collide and co-exist in a state oftension not to be felt in the arguments of Director, Dichter and Lustige Person.Prolog im Himmel is the important, crucial, scene among these prologues-notmerely because it announces themes and broaches ideas, but because it does thisin poetry of a high order. We may doubt whether Prolog needs 'underlining':in any case,, is Vorspiel of such metal that it could ever be a key to the massivedoors of Faust? And what is to provide a key to Zueignung and Vorspiel?

    Yet possibly Professor Atkins is right in suggesting that commentators havedismissed Vorspiel a little too casually. He relates it in an interesting andstimulating way to Studirzimmer I.

    Vorspiel and Studirzimmer IIn Studirzimmer I Faust aspires to share all human experience, weal and woe.

    'Associirt euch mit einem Poeten' ('Herrn Mikrokosmus'), Mephistopheles jeers.Professor Atkins sees here a reintroduction of Vorspiel themes: 'Mephistopheles

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    Miscellaneous Notes

    is plausibly depreciating Faust's will to experience the lot of all mankind in a single(symbolic) human life, and yet at the same time it is ironically implied...thatpoetry can be the one valid means of stating a vision of life as meaningful totality.'

    He then states that the antithesis between Dichter in the high sense and Poet inMephistopheles' pejorative sense cannot be made, in Faust, without the Vorspiel.I doubt whether so much weight can be given to the Dichter n the trio-debate ofVorspiel: a different interpretation of the 'balance of power' between the threespeakers is possible.

    The Dichter's first speech, in the metre of Zueignung, echoes-and then exag-gerates-its sentiments. He too chooses 'Lieb' und Freundschaft' but is moreemphatically averse to the 'general public'. Eminently the Romantic Poet, heasks for an Ivory Tower in tones which lack the quiet sincerity of Zueignung, andhis attitude is effectively mocked by the Lustige Person. The latter makes a strong,

    not merely Mephisto-cynical, point: 'Wer sich behaglich mitzutheilen weiss....'He seems a less partial witness than the Dichter and, in spite of a natural zeal forhis own calling, the view he propounds is not unbalanced: 'Lasst Phantasie, mitallen ihren Ch6ren' etc.

    The Director s not merely mercenary, and if his allusions to 'Solch ein Ragout'are calculated to arouse the indignation of any true poet, yet he too has the rightto a certain indignation with this particular Poet-' Was traumet ihr auf eurerDichter-Hohe?' But the Dichter's third speech is unequivocally meant-' Wer ruftdas Einzelne zur allgemeinen Weihe' etc. The Lustige Person advises him, 'Greiftnur hinein in's volle Menschenleben ' And though the latter over-states, his

    suggestionthat artistic creation should resemble a love

    affair, unplannedand

    spontaneous, is interesting in view of what follows. On his final appearance theDichter recurs to the strain of melancholy nostalgia with a rather self-consciousglance back at 'Sturm und Drang'-' Gib meine Jugend mir zuriick ' The LustigePerson speaks up for the middle-aged Goethe, but the Director s allowed the lastword-one that will echo, with increasing significance, throughout Faust:

    Der Worte sind genug gewechselt,Lasst mich auch endlich Thaten sehn.

    As Calvin Thomas comments: 'Of course the Poet is Goethe, but-so is theManager and the Comedian.' The Dichter of Vorspiel is far from representing thewhole of Goethe: he is too narrowly, too consciously, 'the poet'. His colleagueshelp to correct his attitude, reminding him of art's human implications.

    Returning to Studirzimmer I, it might appear that the irony which ProfessorAtkins observes is, however, of a different kind. Mephistopheles corrects the high-flown 'romantic' attitude of Faust-'Du bist am Ende-was du bist'-rather asDirector and Lustige Person modify the Dichter's aestheticism. For Mephistopheles'most vicious attacks are often based in salutary commonsense-cf. Banquo on 'theinstruments of darkness'. The arriere-pensee s clear enough: only in active life canFaust vindicate Mephistopheles' cynicism. None the less, Mephistopheles' advice,up to that point, is good: only in active life can Faust vindicate the Lord's

    optimism. The Director's cry for 'deeds' looks forward, through Mephistopheles'mockery of Faust's literary cosmic yearnings, to the late Faust's words: 'DerErdenkreis ist mir genug bekannt...' While one should not deny the presence ofthe Dichter-Poet antithesis, the more important one is that between Literature and

    192

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    Mliscellaneous Notes 193

    Life-between impossible, destructive aspiration and the life of deeds of theErdenkreis. In stressing the former antithesis at the expense of the latter, ProfessorAtkins is blurring the drama's humanity: Faust, among other things, is a warningnot to confuse life with literature.

    How useful, though, is Vorspiel n clarifying this antithesis? In commentary it iseasy to be wise after the event, and it may well be that Studirzimmer I (backed upby the condition of the later Faust) illuminates Vorspiel rather than the otherway about.

    The Question of UnityProfessor Atkins twice refers to Faust as a tragedy. But it is likely that the

    peculiar difficulties experienced in investigating the work's unity are connectedwith the fact that it is not one. With its tragic First Part, its middle scenes ofcomedy, allegory and lyricism, and the compelling 'reconciliation' of its conclusion,Faust is nearer to The Winter's Tale than to Hamlet. And the critic of tragi-comedyrequires a subtler conception of 'unity' than that which we carry with us elsewhere.I doubt whether a useful purpose is served by assuming that Walpurgisnacht anhave its full original effect nowadays-or that, for instance, Classische Walpurgis-nacht fits justly and unobtrusively into the complete work. On the other hand,one would not support such ventures as Mr Louis MacNeice's two-thirds abridgmentor condone what the dust-cover of his translation calls 'the essential Faust'. Thosewho look forward to Faust's recognition as a living masterpiece must hope thatProfessor Atkins will turn his attention to the genuine and unique problems posedby the 'inside' of this unique work.

    D. J. ENRIGHTBIRMINGHAM

    THE PROLOGUES TO GOETHE'S 'FAUST', AND THE QUESTION OF UNITY:A PARTLAL EPLY

    Dr Enright observes that in my reconsideration of the prologues and earlyscenes in Faust I fail to support with evidence my assumption that Faust as a wholeis distinguished by 'lucidity of dramatic motivation and poetic design'. Since myremarks were concerned almost exclusively with half of a text itself far less than

    half of the whole Faust, I pointed out the weakness of certain 'fragmentarian'arguments with the sole purpose of encouraging my readers to look with me at thefirst part of Faust I without biographical and cultural-historical prejudice. Althoughconsiderations of space prevent my demonstrating, 'convincingly' or unconvincingly,the unity of Faust here, I nevertheless assure Dr Enright, and perhaps others,that I do not postulate a 'guiding idea' in any overtly narrow sense of the phrase.If but a few elements of Goethe's drama are brought into better focus than theywere in before and can now be exploited more advantageously in the interpretationof it as a whole, my article will have served a sufficient purpose. Three questions,however, can be given some answer. (1) Is Zueignung not a prologue because it has'a

    strongflavour of the

    intimately personal'? Perhaps-butI would still suggest

    that the 'intimately personal' might not be recognized by one unfamiliar with thehistory of the text of Faust and with Goethe's biography, and that those who readFaust as primarily a lyric might nevertheless consistently regard Zueignung as the

    M.L.R. XLVm 13

    Mliscellaneous Notes 193

    Life-between impossible, destructive aspiration and the life of deeds of theErdenkreis. In stressing the former antithesis at the expense of the latter, ProfessorAtkins is blurring the drama's humanity: Faust, among other things, is a warningnot to confuse life with literature.

    How useful, though, is Vorspiel n clarifying this antithesis? In commentary it iseasy to be wise after the event, and it may well be that Studirzimmer I (backed upby the condition of the later Faust) illuminates Vorspiel rather than the otherway about.

    The Question of UnityProfessor Atkins twice refers to Faust as a tragedy. But it is likely that the

    peculiar difficulties experienced in investigating the work's unity are connectedwith the fact that it is not one. With its tragic First Part, its middle scenes ofcomedy, allegory and lyricism, and the compelling 'reconciliation' of its conclusion,Faust is nearer to The Winter's Tale than to Hamlet. And the critic of tragi-comedyrequires a subtler conception of 'unity' than that which we carry with us elsewhere.I doubt whether a useful purpose is served by assuming that Walpurgisnacht anhave its full original effect nowadays-or that, for instance, Classische Walpurgis-nacht fits justly and unobtrusively into the complete work. On the other hand,one would not support such ventures as Mr Louis MacNeice's two-thirds abridgmentor condone what the dust-cover of his translation calls 'the essential Faust'. Thosewho look forward to Faust's recognition as a living masterpiece must hope thatProfessor Atkins will turn his attention to the genuine and unique problems posedby the 'inside' of this unique work.

    D. J. ENRIGHTBIRMINGHAM

    THE PROLOGUES TO GOETHE'S 'FAUST', AND THE QUESTION OF UNITY:A PARTLAL EPLY

    Dr Enright observes that in my reconsideration of the prologues and earlyscenes in Faust I fail to support with evidence my assumption that Faust as a wholeis distinguished by 'lucidity of dramatic motivation and poetic design'. Since myremarks were concerned almost exclusively with half of a text itself far less than

    half of the whole Faust, I pointed out the weakness of certain 'fragmentarian'arguments with the sole purpose of encouraging my readers to look with me at thefirst part of Faust I without biographical and cultural-historical prejudice. Althoughconsiderations of space prevent my demonstrating, 'convincingly' or unconvincingly,the unity of Faust here, I nevertheless assure Dr Enright, and perhaps others,that I do not postulate a 'guiding idea' in any overtly narrow sense of the phrase.If but a few elements of Goethe's drama are brought into better focus than theywere in before and can now be exploited more advantageously in the interpretationof it as a whole, my article will have served a sufficient purpose. Three questions,however, can be given some answer. (1) Is Zueignung not a prologue because it has'a

    strongflavour of the

    intimately personal'? Perhaps-butI would still suggest

    that the 'intimately personal' might not be recognized by one unfamiliar with thehistory of the text of Faust and with Goethe's biography, and that those who readFaust as primarily a lyric might nevertheless consistently regard Zueignung as the

    M.L.R. XLVm 13

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