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Faust, Part One (Oxford World's Classics) (Pt. 1), by J. W. von Goethe
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This new translation, in rhymed verse, of Goethe's Faust--one of the greatest dramatic and poetic masterpieces of European literature--preserves the essence of Goethe's meaning without resorting either to an overly literal, archaic translation or to an overly modern idiom. It remains the nearest "equivalent" rendering of the German ever achieved.
The legend of Faust grew up in the sixteenth century, a time of transition between medieval and modern culture in Germany. Johann Wolfgang von Goethe (1749-1832) adopted the story of the wandering conjuror who accepts Mephistopheles's offer of a pact, selling his soul for the devil's greater knowledge; over a period of 60 years he produced one of the greatest dramatic and poetic masterpieces of European literature.
David Luke's recent translation, specially commissioned for the Oxford World's Classics series, has all the virtues of previous classic translations of Faust, and none of their shortcomings. Cast in rhymed verse, following the original, it preserves the essence of Goethe's meaning without sacrifice to archaism or over-modern idiom.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.
- Sales Rank: #90037 in Books
- Brand: Goethe, Johann Wolfgang Von/ Luke, David (TRN)
- Published on: 2008-07-15
- Original language: English
- Number of items: 1
- Dimensions: 5.00" h x .90" w x 7.70" l, .43 pounds
- Binding: Paperback
- 240 pages
Review
`Luke has done us all - including, if one may say so, Goethe - a potently good turn. We should take advantage of it.' D.J. Enright, Observer
`a translation "for our time" without signs of strain.' D. J. Enright, The Observer
`At last! A translation of Goethe's masterpiece which reads like a masterpiece in English. David Luke conveys the meaning, intellectual passion and Byronic raciness of the original. This is a poet's as well as a scholar's version, for David Luke has written original poems of great distinction.' Stephen Spender, Spectator
'scrupulous and well-informed, backed up by scholarly clarification of the text's difficult history ... one of the most spirited efforts to capture the great poetic drama' Independent
'a translation of really poetic quality, preceded by an informative introduction and a most useful synopsis of the various stages of composition of the drama ... This reissue is most welcome: for over and above having available for the non-Germanist an English version of this novel.' The Classical Era
'signs of struggle are remarkably few ... The price he pays for rhyming is never too high, and the profits are immense. Michael Hamburger once noted that while Faust had been translated again and again, no single version had established itself as a standard text for the English-speaking world. With his Parts One and Two, both in Oxford University Press World's Classics, Luke has provided us with exactly that.' Times Literary Supplement
Language Notes
Text: English, German (translation)
From the Publisher
The best translation of Faust available, this volume provides the original German text and its English counterpart on facing pages. Walter Kaufmann's translation conveys the poetic beauty and rhythm as well as the complex depth of Goethe's language. Includes Part One and selections from Part Two.
Most helpful customer reviews
119 of 125 people found the following review helpful.
Excellent Read
By 718 Session
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*.
47 of 50 people found the following review helpful.
Well Worth Reading - especially the extra notes!
By T. George
I am very glad to have been exposed to this classic and am definitely pleased to have read this particular translation of it. Though the rhythm was occasionally jarring (see review below), Luke's EXTENSIVE introduction (50 pages or so!) and explanatory notes helped me get so much out of this piece. I received glimpses of insight on German history, the Germanic culture, witchcraft, superstition, how 18th century "geniuses" viewed Shakespeare, traditional church customs, etc.
For those who don't know, the basic premise of this story is based on a German folk legend. In that legend from the 16th century, a learned man named Faust sold his soul to the Devil in order to gain more knowledge and understanding. As that legend grew and became incorporated in the Germanic culture, so did its appeal to many artists. There have been apparently many writers and such who have used this legend as a foundation for their works.
However, of all the Faust tales, Goethe's appears to be the preeminent one today. Why? Well, for one thing, he worked on this intermittantly from 1770 to 1808 with 3 main versions cited. Goethe became quite famous for many of his other works, and this one apparently gives great insight to his personal philosophies at different stages. Thus, many find it worth studying.
Also, as Goethe was a central figure in Germany's emergence from the Enlightenment era into the Romantic era, his work - and especially this piece - was celebrated by those trying to usher in a new way. While the number of submovements is slightly tricky to keep track of, the main thrust is that the young intellectuals idolized Goethe and championed his cause. His version of Faust became the source for many plays and even an opera which I think is still performed today.
But what about the tale itself? Goethe certainly has a genius and it blooms in a novel way in this piece. Though he left the Christian faith early on in life, he realized that the concepts of good, evil, sin, temptation, condemnation to hell, hedonism, etc. all had a dramatic weight to them that was irresistable to his as an artist. Thus, as he developed this piece, he leaned heavily on the faith, superstition and legends of his day in order to weave this tale. As such, you get a wonderful, power tale that gives you a great - though somewhat twisted - picture of the Germanic culture of his time.
HOWEVER, Goethe does some really odd things as well. For instance, as he added to this piece over the years, he often didn't change much of the former material. Therefore, in the piece there are many internal contradictions and dangling references. In addition, he tended to throw in verses he developed for other purposes - such as one of the prologues and the "Walpurgis Night Dream" scenario - which don't technically have anything to do with the storyline. Even his whole focus on Gretchen - while generally the focus of most plays and operas - actually wasn't a part of the original Faust legened. And yet, it all worked together somehow and was a delight to read.
All in all, I think reading this short, weighty classic was well worth the time. It helped add a piece of understanding about Euporean thought and culture 200 years ago as well as speak some to my own life.
33 of 35 people found the following review helpful.
"Breathe, spirit, soar!"
By OAKSHAMAN
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.
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