Johann Wolfgang Goethe - Faust, Part Two

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Part TwoTranslated with an Introduction and Notes by DAVID LUKE OXFORD WORLDS CLASSICS
FAUST
PART TWO JOHANN WOLFGANG GOETHE was born in 1749, the son of a wellto-do citizen of Frankfurt. As a young man he studied law and briefly practised as a lawyer, but creative writing was his chief concern.

In the early 1770s he was the dominating figure of the German literary revival, his tragic novel Werther bringing him international fame. In 1775 he settled permanently in the small duchy of Weimar where he became a minister of state and director of the court theatre; in 1782 he was ennobled as von Goethe. His journey to Italy in 1786-8 influenced the development of his mature classical style; in the 1790s, he and his younger contemporary Schiller (1759-1805) were the joint architects of Weimar Classicism, the central phase of German literary culture. Goethe wrote in all the literary genres but his interests extended far beyond literature and included a number of scientific subjects. Faust, written at various stages of his life and in a variety of styles, became a constantly enlarged repository of his personal wisdom. His creative energies never ceased to take new forms and he was still writing original poetry at the age of more than 80.

In 1806 he married Christiane Vulpius (1765-1816), having lived with her for eighteen years; they had one surviving son, August (17891830). Goethe died in 1832. DAVID LUKE was a Student (Fellow) and Tutor in German at Christ Church, Oxford, until 1988. He has edited and translated the Penguin Poets Goethe (1964) and the Oxford Worlds Classics Faust Part One (1987, awarded the European Poetry Translation Prize in 1989) and Erotic Poems (1997), as well as various other works of German literature including Heinrich von Kleists stories, the tales of the Brothers Grimm, and Death in Venice and Other Stories by Thomas Mann.

Faust, Part Two (or as Goethe calls it Faust, der Tragdie zweiter Teil) may arguably be regarded either as a loose, almost independent sequel to Faust, Part One, or (as the word part suggests and as many critics insist) as the continuation of a single work called Faust. Readers will differ as to which approach makes better sense; in any case, largely for practical reasons, I have not tried to integrate this translation and edition of Part Two with that of Part One in a single bulky Faust volume.

I have assumed, however, that those who read this sequel, if such it is, will probably be acquainted with Part One in some form or another, and perhaps with my own version of it which was published by Oxford University Press in 1987. In this hope I here occasionally refer (by page or line or scene number) to the Part One text or to my introduction and notes to it. (In both translations I have preserved the standard line-numbering of the German text, and for greater clarity added editorial numbers to Goethes scenes; a scene-index appears on p. lxxxiii.) As with Part One, the German text is so well established that it makes no significant difference which of the many standard editions one translates from, but I have in fact used the relevant Reclam volume (Reclams Universal-Bibliothek, Stuttgart, 1986), which is itself based on volume 15 (Faust, II Teil, ed. Erich Schmidt, 1888) of the venerable Weimar Edition of Goethes works (1887-1919). 8, ed. 8, ed.

Gotthard Erler, 1965) of the more modern Berlin Edition, in which Goethes different Faust texts, peripheral writings, and other relevant material are presented in a rational and accessible way. The Weimarer Ausgabe and Berliner Ausgabe are referred to as WA and BA. For the complex problem of the genesis of Act V, which (as in the case of the genesis of Part One) must affect any interpretation of the conclusion and indeed of the whole of Part Two, an indispensable aid has been Ulrich Landecks recent text-critical edition of this Act (Der fnfte Akt von Goethes Faust II: kommentierte kritische Ausgabe, Artemis Verlag, Zurich 1981). As in the Part One edition, I have tried to condense what seemed to be the most important points for discussion into the introductory essay, using asterisks to relegate specific miscellaneous details to the Explanatory Notes; the Notes are placed after the text since they annotate it as well. They are also preceded by a few extracts from Goethes unpublished sketches and other material on the periphery of Part Two: the so-called paralipomena, which are, so to speak, a penumbral extension of his official text of

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