Customer Reviews

Goethe's Faust (Parts 1 and 2)

5 star:		(17)
4 star:		(9)
3 star:		(4)
2 star:		(2)
1 star:		(4)

 

 

I have little to say about the play itself. Many consider Goethe the greatest German writer and Faust his masterwork. 300 years old and we are still reading and learning from it. It is an excellent read.

I am inspired to write this review because of Walter Kaufmann's excellent and (to read reviews) misunderstood translation. Kauffman's intentions are stated clearly in his introduction. Meter and rhyme are preserved as much as possible, and all the text that is translated (all of part one and sections of part two) is done exactingly without one line added or removed. Kaufmann's goal was to 1> re-create the rhythmic drive of Goethe's wit, 2> create a *readable* translation not just for the scholar but for the reader as well, 3> provide an exacting translation that avoids the embellishments of prior translations.

It should go without saying that any translation that doubles the length of a speech or replaces subtle humor with flowery speech is a poor one.

Kaufmann, unlike many other translators, has both the knowledge of German and an appreciation for cultural context to reach all of those goals. While this translation might not be the best for scholars (since much of Part Two is trimmed), it is the best translation for *readers*.

A lot of people (not only Germans) consider German literature as the finest in the world. Although I don't completely agree, I willingly admit it has its "stars" that could reach the level of World Literature. I offer just a few names of such novelists or playwrights: Grimmelshausen, Lessing, Schiller, Thomas Mann, Grass, Boll, and of course Johann Wolfgang Goethe with his famous play in two parts "Faust".

The play is based on a true story of a medieval scientist (alchimist) whose methods of research were considered magic. The story was so much exagerated by every generation that in 1587, as the original "Faustus" book appeared, it maintained that its primary character Faust has established an alliance with the devil himself, that it was the absolute evil that helped him making his discoveries. The Englishman Christopher Marlowe was the first to write a play based on "The tragical History of Doctor Faustus". In the 18th century, the young Goethe picked up the subject of Faust and began transforming it into a play that would eventually become the flag of the entire German literature. "Faust 1" was published for the first time in 1805 with great success. In 1832, just after the author's death, the continuation of the tragedy appeared. Since "Faust 2" didn't have any dramatical plot, it was presumed as unplayable on the stage and was more or less forgotten. Since its publishing, particularly "Faust 1" has played an important role in German culture. Many proverbs frequently used in German language originate in this play.

Before beginning his work, Goethe read the original story and made some artistic adjustments in the plot that should help him explain the themes he wanted to have explained. The first scene, Faust's famous monologue, is designed to make us think what really is valuable in our lives, what the price is you pay for knowledge, what the word "happiness" means and the importance of this word for our well-being. Then there is the devil himself, Mephisto, whose sarcastic and too human-like speaches made him one of the most intriguing character in the entire literature. He takes Faust on a trip to show the poor doctor how the world is really built. Faust, who doesn't believe in God (religion is another subject of the play), falls in love with a deeply religious girl called Gretchen. She is the pure personification of innocence, devinity and morale on Earth, without becoming a cliche. Faust, supported by Mephisto, seduces the poor girl. She can't live with her sins; as a result she kills her and Faust's child and is sentenced to death. Faust is desperate to save his lover, but Gretchen doesn't let him do it because she recognizes her guilt and is courageous enough to face her death. At the end, Gretchen is saved by God (! ) whereas Faust and Mephisto escape.

The play, written in a really wonderful language (the translation isn't bad, either), is a kind of a tale for adults full of humour, interesting philosophical views and irony (have you ever seen a serious play in which both God and devil participate?).

I haven't read "Faust 2" yet because it is more difficult to understand for laymen in Greek mythology. "Faust 1", on the other hand, is a book you MUST read if you are interested in literature. From my own experience, I know that not everybody likes "Faust", but give it a try. I, for my part, didn't regret a second spent on it.

While the translator deserves praise in his efforts of tackling a difficult work, the result is average at best. The excision of text, as has already been noted by other reviewers, is the biggest reason to avoid this translation, but I will admit that it is perhaps the most accessible and easily read translation available. For those with a serious interest in Goethe and Faust, I would recommend the Walter Arndt/Cyrus Hamlin critical edition from Norton. I believe that to be a much more accurate rendering of Goethe's exemplary work.

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.

I apologize for my ingorance if I'm wrong about this, but I don't believe anyone's translated Faust into English without trying to maintain a rhyme scheme. Readers of Homer will appreciate what I'm talking about when they consider Robert Fagles' wonderful new translations that are especially faithful and powerful because they don't compromise word-choice for what, in translation, can only be a synthetic kind of rhyme. I would much prefer a metrically unbalanced, blank verse extremely faithful word-for-word translation of Goethe than the forced-into-rhymed-verse Kaufmann has presented. I don't mean to belittle Kaufmann's abilities - for what his Faust is, it's great, possibly the best. But I feel like it's Kaufmann's Faust, not Goethe's. Some will argue that this is always the case with translation, but can't we come closer? Is the rhyme THAT important to us? I, for one, would gladly sacrifice it to authenticity.
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Actually, Stuart Atkins' translation is not force-rhymed, so that's probably the one to go with.

Goethe makes me wish I could be handy with other languages, including German. Walter Kaufmann's translation was my introduction to "Faust" but I bought several others to compare how differently they would measure up to Kaufmann's. Since I do not know German I am left with appreciating the sense of what Goethe intended. One encounter seals my devotion to Kaufmann. As Mephisto and Faust approach the witches, the devilish dealer encourages Faust to seek fulfillment in tilling the earth. Mephisto tells Faust quite plainly that he will find what he is looking for through his own exertion. But Faust rejects that option and Mephisto then says, "We need the witch then after all" (pg237). The other two translations render the line differently and while they are interesting reading, I find so much passion and poetry in Kaufmann's that I inevitably rely on it above the others.

While this version of Faust does its job in telling the story, Kaufmann sacrificed good translation for style. He mimicks the style of the German, but what rhymes in German doesn't rhyme in English. When I read it, I had to cover the page in German because as a fluent German speaker, I noticed how poorly it was translated. Some sentences are very odd. He translates "Der Faust traegt einen Schmuck" which means Faust wears jewelry as "He was a dandy beau." Read this version only for its story, not its translation.

Walter Kaufmann's magnificent translation of Goethe's "Faust" preserves the original poetic qualities of the classic play. He neither compromises the integrity of the work by using shallow 90's-words or mires it in unpleasant, unreadable "ye" and "thou"s. In my opinion, it is the best translation of "Faust" I have come across, and Kaufmann's commentary (being a native German himself) proves that he is an authority on both the idiomatic elements of the original work and the intent of Goethe's style. The only drawback to the book is that most of Part II is excluded; while Pt. II generally is considered to drag on ad nauseum by first-time readers, students of German romanticism miss rich imagery and lush allusions by receiving only a synopsis of the robust scenes of Pt. II. Otherwise, Kaufmann's work is unequaled.

The strength of this play is its story. Of course some quality is lost in translation and even an outstanding translator would not be able to copy the nuances of the original language. There are simply to much words and to much phrases for nearly one and the same in german. Wovon ich ein Lied singen könnte.
But Goethe is not about the beauty of words, his texts are based on conflicts which would be understandable in even the worst translation.
The conflict of ths play is between might and innosence, which are hard to combine. So it ist a modern theme, because there will be man seduced by power in every century. Even the desires will stay the same, a beautiful girl, respect and forbidden knowlege.

The translator worked all those thoughts out and did his job quite well. Some texts can be read in no time but stay in mind for years. Faust is some of this texts, buy it!

`Goethe's Faust', translated and with an introduction by Walter Kaufmann was quite a surprising find, as I had been, in an earlier life, quite a fan of Professor Kaufmann's works, but I simply had no idea he had translated the `Faust' of Johan Wolfgang von Goethe, the most famous of the many different literary renderings of this story. My surprise is based on the fact that Kaufmann was primarily a professor of Philosophy, who also did several important translations of Friedrich Nietzsche's most important works. But, I had him pegged as primarily a late 19th century / early existentialist scholar, even though late in his life, he did do a scholarly work on Hegel.
Once having recovered from my surprise, I recalled that Professor Kaufmann had written several semi-scholarly articles on Goethe, which were published in his `Critique of Religion and Philosophy' and `From Shakespeare to Existentialism'. I was also delighted, in that Walter Kaufmann singlehandedly convinced me to major in philosophy, all the way to entering a doctoral degree program on the subject. So, I was really quite thrilled to find this volume, since I was simply looking for a simple, hopefully competent translation of the German into English.
Before I go too much further, let me point out that Herr Kaufmann decided to NOT include all of Part II! And, not only did he drop parts, he dropped the entire first four of five acts, leaving only the prologues and Act V. Now fortunately, I really only wanted Act V anyway, so my goals were met with this translation, but if you happen to be intent on reading the entire Part II, look elsewhere for the complete text.
Needless to say, the good professor had a relatively sound reason for excluding 4/5 of a work which is commonly considered one of the monuments of 19th Century German literature. First, Part II was really a posthumous work, and Goethe really didn't spend as much time editing and refining it as he did with the much tighter Part I, which is actually performed very regularly in Germany and by many German faculties in U.S. colleges. The second reason is that most of Part II is deathly dry and not a pleasure to read. I can attest to this, having tried to read parts of it many years ago in a relatively pedestrian translation.
That aside, Herr Kaufmann promises us that his translation, which appears on the right side of the page, facing the original German text on the left, will leave nothing out and add nothing not said by Goethe's words. This is fine, but all one has to do is read a literal translation of some New Testament material to realize that a closely literal translation may not be the best of all possible worlds. My German is very rusty, and I am not a scholar of translations in general, but I do find Kaufmann's translation quite literal. Unfortunately, Herr Kaufmann is NOT a poet, and even with my creaky German, I can easily see how there is much in the tone of Goethe's German which is not captured by the English. I found it very interesting that Kaufmann made a point of quoting Edgar Allan Poe on some points, because I find Kaufmann's translation of Goethe's verses to come out sounding remarkably like Edgar Allan Poe's verses, especially those in `The Raven'.
Joined with this faithful translation is a fine introduction to the work, seeing Goethe's work far more from the philosophical rather than the literary point of view. Kaufmann's primary thesis is that Goethe's world view has much more in common with later 19th century literature and thought than with the 18th century, let alone the origins of the Faust legend. Here, I was really surprised to discover that the origins of the Faust story arose not only from a real person, but a real contemporary of Martin Luther. This little connection tickled me to no end, as I was researching Faust Part II to find an example of some thoughts in Paul's Letter to the Romans, one of Luther's favorite books of the Christian scriptures.
All in all, anyone who simply wants to become familiar with this work for their own pleasure can do much worse than use Kaufmann's translation, especially if you have some passing knowledge of German, so you can make use of the original text. And, I did verify Kaufmann's claim that in fact, Goethe's writing does contain an enormous amount of humor. That discovery alone makes this edition worthwhile.