The role of "Faust" in the culture of the Epoch of Enlightenment. Analysis of the work of "Faust" (Goethe) Faust expression of advanced ideas of the Epoch of Enlightenment

"Faust" is a work that declared its greatness after the author's death and not subsidizing from the same time. The phrase "Goethe - Faust" is so on the hearing that he even did not even seek the literature about him, maybe even unaware who wrote whom - whether Goethe Faust, or Faust Gethete. However, the philosophical drama is not only an invaluable heritage of the writer, but also one of the brightest phenomena of the Epoch of Enlightenment.

Faust not only gives the reader fascinating plot, mysticism, and mystery, but also raises the most important philosophical questions. Goethe wrote this work throughout the sixty years of his life, and the play was published already after the death of the writer. The history of creating the work is interesting not only for a long time spent. The name of the tragedy opaquely hints at the Heohanna Faust who lived in the XVI century, which, by virtue of his advantages, acquired enviously. The doctor was attributed to supernatural abilities, allegedly he could even resurrect people from the dead. The author changes the plot, complements the play with heroes and events and, as if on the red carpet, solemnly enters the history of world art.

The essence of the work

The drama is opened by dedication, after two prologies and two parts follow. The sale of the soul of the devil is the plot for all times, in addition, a curious reader will also wait for the time in time.

The theater prologue begins the dispute between the director, actor and the poet, and each of them, in essence, its truth. The director is trying to clarify the Creator that it makes no sense to create a great work, since most viewers are not able to appreciate him to dignify that the poet stubbornly and indignantly replies to disagree - he believes that the crowd is not the taste of the crowd for a creative person creativity.

Turning over the page, we see that Goethe sent us to the sky, where a new dispute is tied, only between the feature of Mephistophele and God. According to the representative of Darkness, a person is not worthy of any praise, and God allows you to check the forces of your favorite creation in the face of the hardworking Faust to prove the traverse.

The following two parts are the attempt of Mephistofel to win a dispute, namely the devilish temptations one after another will go into the move: alcohol and fun, youth and love, wealth and power. Any desire without any obstacles until Faust finds that it is worthy of life and happiness and an equal soul that the devil usually takes for his services.

Genre

Goethe himself called his work of the tragedy, and literary criticism is a dramatic poem, which is also difficult to argue, because the depth of the images and the strength of the Lyrware "Faust" is an unusually high level. The genre nature of the book is leaning towards the play, although only individual episodes can be delivered on the scene. The drama also present an epic beginning, lyrical and tragic motives, so it is difficult to attribute to a certain genre, but it will not be mistaken to assert that the great work of Goethe is a philosophical tragedy, a poem and play in one person.

Main characters and their characteristics

1. Faust is the main character of the tragedy Goethe, an outstanding scientist and a doctor who knew the many sacraments of sciences, but still disappointed in life. He is not satisfied with those likely and incomplete information that owns, and it seems to him that nothing will help him come to know the highest meaning of being. The desperate character even thought about suicide. He concludes a contract with the messenger of the dark forces in order to find happiness - that, for what is really worth living. First of all, they are managed by the thirst for knowledge and freedom of spirit, so it becomes a difficult task for the trait.
2. "The particle of force who wanted eternally evil, which was doing only the good" - A rather controversial image of the feature of Mephistophele. The focus of evil forces, Massa Hell, genius temptation and antipode of Faust. The character believes that "everything that exists," he knows how to manipulate the best divine creation through his numerous vulnerabilities, and everything seems to indicate how a negative reader should refer to the line, but, damn it! The hero causes a sympathy of even God, what to talk about the reading public. Goethe creates not just Satan, but a witty, ulcer, insightful and cynical triker, from which so hard to take eyes.
3. Of the actors, it is also possible to separate Margarita separately (Gretchen). Young, modest, believer in God Prober, beloved Faust. Earth simple girl who paid his own life for saving his soul. The main character falls in love with Margarita, but it is not the meaning of his life.

Topics

The work that contains an agreement of the hardworking person and the line, in other words, a deal with the devil, gives the reader not only an exciting, full of adventure plot, but also topical topics for reflection. Mephistofel is experiencing the main character, giving him an absolutely different life, and now the "book worm" of Faust waiting for fun, love and wealth. In exchange for earthly bliss, he gives Mephistofly a soul, which after death should go to hell.

1. The most important topic of the work is the eternal confrontation of good and evil, where the side of evil, Mephistopheles, is trying to seduce the good desperate Faust.
2. After the initiation, the theme of creativity in the theater prologue was hidden. The position of each of the args can be understood, because the director thinks about the taste of the public, which pays money, the actor about the most profitable role in favor the crowd, and the poet - about the work as a whole. It is not difficult to guess how art understands Goethe and on whose side it costs.
3. "Faust" - so multifaceted work that here we will find even the theme of egoism, which is not striking, but when discovering explains why the character was not satisfied with the knowledge. The hero was enlightened only for himself, and did not help the people, so his information accumulated years was useless. This implies the topic of the relativity of any knowledge - the fact that they are unproductive without use, permits the question of why the knowledge of the sciences did not led Fow to the meaning of life.
4. Easily passing through the seduction of wine and fun, Faust and does not realize that the next test will make it much harder, because he will have to go to an unearthly feeling. Meeting young Margarita on the pages of the work and seeing the insane passion of Faust to her, we look at the topic of love. The girl attracts the chief hero with the purity and impeccable feeling of truth, in addition, she guesses about the nature of Mephistople. The love of characters entails misfortune, and in the dungeon Gretchen repents for her sins. The next meeting of lovers is expected only in heaven, but in the arms of Margarita Faust did not ask to post the moment, otherwise the work would end without the second part.
5. Looking close to the beloved Faust, we note that young Gretchen causes sympathy from readers, but it is guilty of his mother's death, which did not wake up after a sleepy potion. Also, by the fault of Margarita, her brother Valentin dying and an extramarital child from Faust, for which the girl is in the dungeon. She suffers from sins performed by her. Faust offers her to escape, but the captive asks him to leave, giving up completely to his torment and repentance. So the tragedy rises another topic - the theme of moral choice. Gretchen preferred the death and God's court with a hell, and thus saved her soul.
6. Great Heritage Goethe in itself and philosophical polemical moments. In the second part, we will again look into the Cabinet of the Faust, where the diligent Wagner works on the experiment, creating a person artificially. The image itself is a homuncule - a unique, hiding randering in his life and search. He languishes in real existence in the real world, although he knows that Faust can not realize. The intention of Goethe add to the play of such an ambiguous character, like a homunculus, is revealed in the representation of the entelech, the Spirit, which it comes into life before any experience.

Problems

So, Faust receives a second chance to spend his life, no longer sitting in his office. It is unthinkable, but any desire can have an internship, the hero surrounds such temptations of the devil, in front of which it is quite difficult to resist the usual person. Is it possible to remain when everything is subordinate to your will, the main intrigue of this situation. Problems of the work lies precisely in response to the question, is it really possible to resist the positions of virtue when everything you just want to come true? Goethe puts the Faust to us as an example, because the character does not allow Mephistophel to fully master his mind, but still looking for the meaning of life, then, for which the moment it can really do. Striving for truth, a kind doctor not only does not turn into a part of an evil demon, his tempter, but also does not lose its most positive qualities.

1. The problem of finding the meaning of life is also relevant in the work of Goethe. It is from the apparent lack of truth Faust and thinks about suicide, because his works and achievements did not bring him satisfaction. However, passing with Mephistofel through everything that the goal of human life, the hero still knows the truth. And since the work refers to, the view of the main character on the world around the world coincides with the worldview of this era.
2. If you carefully look at the main character, we can see that the tragedy at first does not produce it from his own office, and he himself does not really try to go out of it. In this important detail, the problem of cowardice is hidden. Studying science, Faust, as if afraid of life, hid from her books. Therefore, Mephistopel's phenomenon is important not only a dispute between God and Satan, but also for the very subject. Damn brings a talented doctor into the street, plunges him into the real world, full of mysteries and adventures, so the character ceases to hide in the tutorials and lives a newly, truly.
3. The work also presents to readers a negative image of the people. Mephistophelle still in the "Prologue in the sky" suggests that God's creation does not appreciate the mind and behaves like a cattle, so he is disgusted with people. The Lord as a reverse argument leads by Faust, but with the problem of ignorant crowd, the reader still collues in the zucchop where students are going. Mephistofel expects that the character will give up fun, but he, on the contrary, wants to retire soon.
4. The play brings to the light of fairly contradictory heroes, and Valentin, Brother Margarita, is also an excellent example. He stands up for the honor of his sister, when it climbs into a fight with her "ukhazhrah", soon dies from the sword of Faust. The work reveals the problem of honor and dishonor just on the example of Valentine and his sisters. A decent act of a brother causes respect, but here is pretty doubly: after all, dying, he curses Gretchen, thus betrays her universal shame.

The meaning of the work

After long joint adventures with the Mephistophele, Faust still acquires the meaning of existence, representing a prosperous country and free people. As soon as the hero understands that in constant labor and the ability to live for the sake of other truth, he pronounces cherished words "Moment! Oh, how beautiful you, having time "and dying . After the death of Faust Angels saved his soul from evil forces, awarding his unattracted desire to enlighten the resistance to the demone temptations in the name of achieving its goal. The idea of \u200b\u200bthe work is hidden not only towards the soul of the main character in paradise after agreement with Mephistofel, but also in the replica of Faust: "Only the deserves of life and freedom, who is going to fight every day."Goethe emphasizes his idea that thanks to overcoming the barriers for the benefits of the people and the self-development of Faust, the Massacre of Hell loses the dispute.

What does it take?

Goethe not only reflects the ideals of the educational era in his work, but also inspires us on meditation about the high purpose of man. Faust gives public a useful lesson: the constant desire for the truth, the knowledge of sciences and the desire to help the people save the soul from Hell even after the transaction with the line. In the real world there is no guarantee that Mephistofel will give us plentifully to be afraid before we are aware of the great meaning of being, so the attentive reader must mentally shake hands, praising him for resistance and thanking such a high-quality tip.

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GETEVSKY "FAUST" - deeply national drama. The most soulful conflict of her hero, the stroke faw, who rebels against the nursing in the vile German reality in the name of freedom of action and thought is nation. Such were the desires of not only people of the rebellious XVI century; The same dreams owned the consciousness and the entire generation of "storms and onslaught", together with which Guete performed on a literary field. But precisely because the masses in modern Goethe Germany were powerless to break the feudal junctions, "remove" a personal tragedy of a German man at the same time with the common tragedy of the German people, the poet had to look closely to the affairs of foreign, more active, more advanced peoples. In this sense, for this reason, in the "Faust", we are not talking about Germany alone, but ultimately about all humanity designed to transform the world with joint free and reasonable labor. Belinsky was equally right, and when she argued that "Faust" "is a complete reflection of the life of the modern German society", and when he said that in this tragedy "all moral questions were concluded, which only may arise in the chest of our internal person of our Time "Goethe began to work on the" Faust "with the daring of the genius. The theme "Faust" - the drama about the history of mankind, about the purpose of human history - was he, in all its volume, is still unclear; And yet he was taken for her in the calculation that halfway the story hens his idea. Guete relied here on direct cooperation with the "Genius of the Century". As residents of a sandy, silicon country are smart and jealously sent to their reservoirs, every leaked streams, all the stingy subsidiary moisture, so Goethe for a long life path with a relaxed persistence in his "Faust" every prophetic hint of history, the entire subsidiary historical meaning of the era.

The whole creative path Goethe in the XIX century. accompanies work on his main creation - "Faust". The first part of the tragedy was mainly completed in recent years of the XVIII century, but published entirely in 1808. In 1800, Götte worked on the Elena fragment, which was the basis of the III of the second part of the second part, which created mainly in 1825--1826 . But the most intensive work on the second part and its completion falls at 1827-1831. She was published in 1833, after the death of the poet.

The content of the second part, as is the first, is unusually rich, but three main ideological and thematic complexions can be distinguished. The first is associated with the image of the dilapidated regime of the feudal empire (acts I and IV). The role of Mephistofel is particularly significant here. With his actions, he seems to provoke the imperial courtyard, his big and small figures, pushes them to self-disabilities. He proposes the visibility of the reform (paper money) and, entertaining the emperor, stunning his Fyshmagoria Masquerade, followed by a clearly shutting the judovo character of the whole court life. The painting of the collapse of the Empire in Faust reflects the Gothev's perception of the Great French Revolution.

The second major theme of the second part is associated with the poet thinking over the role and meaning of the aesthetic development of reality. Goethe boldly shifts the times: Homeric Greece, a medieval knightly Europe, in which Elena Faust, and the XIX century, conditionally embodied in the son of Faust and Elena - Euforion, the image inspired by the vital and poetic fate of Bairon. This displacement of times and countries emphasizes the universal nature of the problem of "aesthetic education", if you use Shiller's term. The image of Elena symbolizes the beauty and art itself, and at the same time the death of Euforion and the disappearance of Elena mean a kind of "farewell to the past" - a refusal of all illusions related to the concept of Weimar classicism, as, in fact, has already been reflected in the artistic world of his "sofa" . The third is the main - the topic is revealed in the V Act. The feudal empire is collapsed, innumerable disasters marked the offensive of a new, capitalist era. "Robbery, trade and war," - formulates the moral of the new owners of Mephistofel and itself acts in the spirit of this morality, cynically exposing the offend of bourgeois progress. Faust at the end of its path formulates "the final conclusion of the wisdom of the earth": "Only the deserves of life and freedom, who goes to battle every day." The words spoken by him in their time, in the scene of the translation of the Bible: "In the beginning there was a case," they acquire a socio-practical meaning: the land, disheveled by the sea, Faust dreams of providing "many millions" people who will work on it. The abstract ideal of the act, expressed in the first part of the tragedy, the search for ways of individual self-improvement is replaced by a new program: the subject of acts are proclaimed "millions", which, becoming "free and active", in the tireless struggle with the formidable forces of nature are designed to create "paradise on earth".

Faust occupies a very special place in the work of the great poet. In it, we have the right to see the ideological result of it (more than sixty years) cycling creative activity. With unheard of courage and with confident, wise care of Goethe throughout his life (Faust started in 1772 and was finished a year before the death of the poet, in 1831) put his most cherished dreams and bright guesses into this his creation. "Faust" - the peak of the thoughts and the feelings of the Great German. All the best, truly living in poetry and universal thinking Goethe here found its most complete expression. "There is a higher courage: the courage of the invention, the creation, where the plan is extensive, the creative idea is, is such a courage ... Goethe in Fausta"

The courage of this idea was already the fact that no life conflict served as the subject of "Faust", and the consistent, inevitable chain of deep conflicts throughout a single life path, or, in the words of Goethe, "Credit and more than high and clean activities Hero ".

The plan of the tragedy, which contradicted all the adopted rules of dramatic art, allowed Goethe to invest in the "Faust" all his everyday wisdom and most of the historical experience of his time.

Two great antagonists of a mystery tragedy - God and the devil, and the soul of Faust - only the field of their battle, which will certainly end with the defeat of the devil. This concept explains the contradictions in the nature of the Faust, his passive contemplation and the active will, dedication and selfishness, humility and keenness, - the dualism of his nature by masterfully reveals at all stages of the Hero life.

The tragedy can be divided into five acts of unequal values, in accordance with the five periods of the life of Dr. Faust. In the act I, the contract with the devil, Faust metaphysics is trying to resolve the conflict of two shower - contemplative and active, which symbolize the Macrocosm and the Spirit of the Earth, respectively. Act II, the tragedy of Gretchen, completing the first part, reveals the Faust as a sensual in conflict with spirituality. Part two, taking a faust in the free world, to higher and clean areas of activity, through allegoric, is like a dreamy play, where time and space do not matter, and the characters become signs of eternal ideas. The first three acts of the second part form a single whole and constitute together the ACT III. In them, Faust appears by the artist, first at the courtyard of the emperor, then in classical Greece, where it connects with Elena Trojan, a symbol of a harmonious classical form. The conflict in this aesthetic kingdom arises between a pure artist engaged in art for art, and an eudemonist looking for personal enjoyment and fame. Elena tragedy culmination is a marriage with Faust, which finds the expression of the synthesis of classics and romanticism, which he was looking for and Goethe, and his favorite student J. Bayron. Goethe gave the poetic tribute by Bairon, having endowed it with the features of Euforion, the siblings of this symbolic marriage. In the IV act, the death of the Faust, it is represented as a warlord, an engineer, a colonist, a business man and the builder of the Empire. He is on top of his terrestrial accomplishments, but the inner disorder still torments him, because he is unable to achieve human happiness, without destroying human life, as unable to create a paradise on earth with abundance and work for all without resorting to bad tools. The devil, always present nearby, is actually necessary. This act ends with one of the most impressive episodes created by the Götte poetic fantasy - a meeting of Faust with care. She argues to him a close death, but he immediately ignores her, until the last breath, remaining a self-willed and unwise titan. The last act, the Ascension and Transfiguration of Faust, where Goethe freely used the symbolism of the Catholic Heaven, - Completes the Mystery of the Bulk Final, with the moles of the Saints and Angels for the salvation of the soul of Faust by the grace of good God.

The tragedy that began the "Prologue in Heaven", ends with an epilogue in the heavenly spheres. It should be noted that Götte did not escape here some barky and romantic pomp, to express the idea of \u200b\u200bthe ultimate victory of Faust over Mephistofel.

So 60-year-old labor was completed, which reflected in itself the complex creative evolution of the poet.

Goethe himself has always been interested in the ideological unity of the "Faust". In a conversation with Professor Luden (1806), he directly says that the interest of the "Fausta" is in his idea, "which unites the poems into a certain integer, dictates these particular and informs them an authentic meaning."

True, Goethe sometimes lost hope to subjugate the unified idea of \u200b\u200bthe wealth of thoughts and the aspirations that he wanted to invest in his "Faust". So it was in the eighties, on the eve of Goethe's flight to Italy. So it was later, on the outcome of the century, despite the fact that Goethe then has already developed a common scheme of both parts of the tragedy. It is necessary, however, to remember that Goethe by this time was still not the author of the two-part "Wilhelm Maister", not yet stood, as Pushkin said, "with a century on a par" in matters of socio-economic, and therefore could not invest a clearer social and economic The content in the concept of "free edge", to the construction of which should begin his hero.

But Goethe never ceased to ensure the "final withdrawal of all wisdom of earthly", in order to subjugate to him that extensive ideological and together the artistic world, which entered into his Faust. As the ideological content of the tragedy was specified, the poet again and again returned to the already written scenes, changed their alternation, inserted into them the philosophical centance necessary for a better understanding of the plan. In such a "coverage of the creative thought" of huge ideological and everyday experience and is the "Higher courage" of Goethe in Faust, which Great Pushkin spoke about.

Being a drama, about the ultimate goal of the historical, social being of mankind, "Faust" - is already due to this - not a historical drama in the usual sense of the word. It did not prevent guests to resurrect in his "Fausta", as once in the "Getz von Berlikhingen", coloring the late German Middle Ages.

Let's start with the very verse of tragedy. Before us is an improved verse of Gansa Saksa, the Nuremberg poet-shoemaker XVI century; Goethe told him the wonderful flexibility of intonation, as it can not be better than the transmitting and salty folk joke, and the top ups of the mind, and the finest movements of the feeling. The verse "Faust" is so simple and so people, that, the right, it is not worth a lot of work to learn by heart almost all the first part of the tragedy. Fausty lines say the most "non-leaturated" Germans, as verses from "grief from the mind", our compatriots. A lot of poems "Faust" became sayings, nationwide wound words. Thomas Mann speaks in his etude about the Goethew "Fausta" that he himself heard, as in the theater, someone from the audience simply exclaimed at the address of the author of the tragedy: "Well, he facilitated the challenge himself! He writes one quotes." In the text of the tragedy generously interspersed the heartfelt imitation of the Starioneese folk song. Unusually expressive and remarks themselves to the "Faust", recreable the plastic image of an old German city.

And yet, Goethe in his drama does not have so much reproduces the historical situation of the rebellious Germany of the XVI century, how much awakens for the new life, the stuffed creative forces of the people acting in the glorious time of German history. The legend of Faust is the fruit of the tense work of folk thoughts. It remains and under the feather of Goethe: Does not break the island of legends, the poet continues to saturate it with the latest folk thoughts and the aspirations of their time.

Thus, even in Prafaust, connecting its own creativity, Motifs Marlo, Lessing and Folk Legends, Goethe lays the foundations of its artistic method - synthesis. The second part of the "Fausta" will be the highest achievement of this method, in which antiquity and Middle Ages, Greece and Germany, Spirit and matter are woven.

The influence of Faust on the German and world literature is huge. Nothing compared with the poetic beauty with Faust, and in the integrity of the composition - except that the lost paradise of Milton and the Drante Divine Comedy.

At the beginning of the 19th century, Weimar was called "second Athens", he was a literary, cultural, music center of Germany and all of Europe. Here lived, leaf, Viland, Gerder, Schiller, Hegel, Heine, Schopengauer, Shelling and others. The majority of them were friends or guests Goethe. Which never translated into his huge house. And Goethe in a joke said that Vaimar consisted of 10 thousand poets and several residents. The names of the Great Vairesers are known to Dynam.

It does not fade interest in the work of the Self Y.-V. Goethe (1749-1832). And this is due not only to the genius of the thinker, but also the colossal number of problems they set.

We know a lot about Goethe as lyrics, playwright, the writer, much less he is known to us as a naturalist. And about the actual philosophical position of Goethe is known even less, although it is reflected in his main work - the Faust tragedy.

Goethe's philosophical views are the products of the era of the Enlightenment, rewarding the cult of the human mind. In the extensive area of \u200b\u200bthe worldview searches, Goethe entered Pantheism Spinoza, Humanism Voltaire and Rousseau, individualism Leibnitsa. "Faust", which Goethe wrote 60 years old, reflected not only the evolution of his own worldview, but also the entire philosophical development of Germany. Like many of his contemporaries, Goethe is taken for solving fundamental philosophical issues. One of them is the problem of human knowledge - became the central problem of the tragedy. Its author is not limited to the issue of truth or the unusportability of knowledge, the main thing for him was to find out what the knowledge is - evil or good, what is the ultimate goal of knowledge. This issue inevitably acquires a general philosophical meaning, for it covers knowledge not as contemplation, but as activity, active attitude of man to nature and man to man.

Nature

Nature always attracted Goethe, his interest in it was embodied in a variety of works on comparative morphology of plants and animals, physics, mineralogues, geology and meteorology.

In Fausta, the concept of nature is built in the spirit of Pantheism Spinoza. This is a single nature, creating and created at the same time, it is "the cause of itself" and therefore she is God. Goethe, interpreting spinozism, calls it by universal spirituality. Actually, it's not in the title, but in the fact that in the worldview of the poet, the understanding of nature is combined with elements of the artistic perception of the world. In Fausta, this is expressed very brightly: fairies, elves, witches, devils; Valpurgiyeva night as it were and personifies the "creative nature".

The concept of nature in Goethe has become one of the techniques of figurative understanding of the world, and the Getya God is more likely a poetic decoration and a long-range embodiment of nature itself. It should be noted that Goethe consciously simplifies somewhat and coats spinozism, giving him a mystical shade. Most likely it happens under the influence of the Cosmocentrism of ancient philosophy: Goethe, as the Greeks, wants to feel and know the nature at once, holistic and alive, but the other, not mystical, he does not find the way. "Inspected, unexpected, she captures us into the whirlwind of his plastic and rushes with us, while tired, we do not fall out of her hands ..."
In setting the problem of human relations to nature, Goethe idea is much further French materialists for which a person is just part of nature, its product. The unity of man and nature Goethe sees in a specific transformation of reality; Man is designed to change nature. The author of the tragedy himself - all his life - was a researcher of Nature. That is his Faust.

Dialectics

Faust represents not just the unity of poetry and philosophy, but rather something similar to the philosophical system, the foundation of which is quite dialectical. Goethe appeals, in particular, to the laws of contradiction, interdependence and at the same time confrontation.

So, the protagonist of the tragedy is Faust and Mephistofel. Without one, there is no other. To interpret Mephistofel is purely literary, as the evil force, the demon, the trait - it means to dear it. And Faust itself can not be the central hero of the tragedy. They do not oppose each other in views on science in the sense of logical-theoretical knowledge; The famous "sulae theory, my friend, and the tree of life magnificent green" could well say and Faust. But for the faust in the infertility of science - the tragedy, for Mephistophele - Farc, another confirmation of the human insignificance. Both see the shortcomings of humanity, but they understand them in different ways: Faust is fighting for human dignity, Mephistofel laughs at him, for "all that exists" decently death. The denial and skepticism embodied in the formation of Mephistople becomes the driving force that helps the Future in his search for truth. The unity and contradiction, the continuity and dispute of the Faust and Mephistofel constitute a peculiar axis of the entire semantic complex of the Getya tragedy.

The originality of the drama of the Faust itself, as a scientist, is also internally dialectically. He is not at all the unconditional personification of good, because the confrontation with Mephistophele passes through his soul, and he sometimes takes the top in Faust itself. Faust, therefore, rather the personification of knowledge as such, in which is hidden and equally real for the possibility of approving the truth, two ways, two choices - good and evil.

The metaphysical opposite of good and evil in Goethe seemingly removing or is likened to the underwater flow, which only at the end of the tragedy breaks into the surface with shiny transparency of the Faust. More obvious and clear looks like a contradiction between Faust and Wagner, which detects the difference not so much in order as in the means of knowledge.

However, the main problems of philosophical thinking of Goethe are dialectical contradictions of the process of cognition itself, as well as dialectical "tension" between knowledge and morality.

Knowledge

In the form of Faust, faith is embodied in the limitless possibilities of a person. The inquisitive mind and the donning of the Faust are opposed, it would seem that the fruitless efforts of the Dry Pedant Wagner, extinguished from life. They are antipodes in everything: in the image of labor and life, in understanding the meaning of human existence and the meaning of research search. One is alien to the worldly life of the reclusive of science, the other was fulfilled by the insatiable thirst for activity, the need to eat the entire caustic bowl of being with all its temptations and tests, takeoffs and falls, despair and love, joy and sadness.

One is a fanatic adherent of the "dry theory", which he wants to make peace. The other is an equally fanatical and passionate fan of "Eternally Green Tree of Life" and runs from book science. One is a harsh and virtuous Puritan, another - "pagan", a pleasure seeker, not very boring accounts with official morality. One knows what he wants and reaches the attack of his aspirations, the other all his life is striving for the truth and comprehends the meaning of being only at the time of death.

Wagner has long been a numerous name for hardworking and pedantic lacrima in science. Does this mean that Wagner does not deserve respect?

At first glance, it is low. At the beginning of the tragedy, we encounter it as a student of the Faust, which appears in a fairly cardinal form: in the night cap, sludge and lampada in hand. He himself admits that the world sees from his privacy, as in the telescope, at a distance. Wrinkling, looking at the peasant fun, Faust him for his eyes calls the "the poorest of the sons of the Earth", "boring prone", which is greedy looking for treasures among empty things.

But the years pass, and in the second part of the "Faust" we again meet with Wagner and with difficulty learn it. He became a matte, recognized scientist, selflessly worked on the completion of his "great discovery", while his former teacher still seeks the meaning of life. This tear and a scribe Wagner seeks his own - creates something that neither ancient Greek nor scholastic scholarships knew what even the dark forces and spirits of the elements - an artificial man, a homuncule. He even establishes the relationship between its discovery and scientific accomplishments of the upcoming times:

We are talking to "madman" and "fiction",
But, coming out of the dependence of the sad,
Over the years brain thinker skillful
Thinker artificially created.

Wagner appears as a brave thinker, disrupting the covers with the secrets of nature, implementing the "Dream of Science". And even if Mephistofel responds about it, albeit poisonous, but enthusiastically:

But Dr. Wagner is another conversation.
Your teacher, famous country, -
The only teacher on the call
Which will multiply the knowledge.
Living curiosity to it
Attracts listeners to darkness.
From the top of the department he announces
And the keys like the Apostle Peter,
Lands and sky mystery is laundered.
Everyone recognize his scientist weight
He overshadowes the rest right.
In the rays of his fame disappeared
The last defill of Faust Glory.

At the time, the second part of the "Faust" was written, such a characteristic believes Moscow, the author of the original study of the spiritual atmosphere of Germany of the end of the XVIII - the beginning of XIX, could be almost literally attributed to Hegel's philosopher of the Berlin period of his life to be recognized and Family, "topped with official laurels and informal adorations of students."

Hegel's name is known to those who are not strong in philosophy, but its universal dialectical theory is incomprehensible, "dry" for the uninitiated; But she is really a coincidence.

We do not know whether the Goethe is consciously hints at Hegel, but it is well known that they were quite closely familiar for many years, the Volkov holds parallel: Faust (Goethe himself) - Wagner (Hegel):

"Goethe's life ... full of bright events, passions, stormy water films. She seems to sparkle and hits the springs, underground intelligence keys - she is the whole adventure, an exciting novel ... His life is a bright night fire in the forest lake, mirror-reflective in quiet waters. Whether you look at the fire, you look at the zarry of his reflection, everything is equally firmly stuck and fascinates.

Hegel's life is only a bad photograph, on which the fire of the stealing ideas looks like a static and pale spot. On this "snapshot" it is difficult to even guess what they are depicted: burning or degeneration. His biography is just as pale by external events, as well as the biography of any ordinary school mentor or a conscientious official.

Heine somehow called the elderly Goethe "Eternal Youth", and Hegel had been teased from childhood with a "little old old man."

Paths and means of knowledge, as we see, can be different. The main thing is to move the process of knowledge. Without knowing the mind there is no man.

"In Acts, the beginning of being" is the great Faust formula.

"Faust" Goethe is also one of the first disputes on the topic: "Knowledge and morality". And if so, then the key to today's moral problems of science.

Faust: Parchments do not remove thirst.
The wisdom key is not on the pages of books.
Who taught the thought of each to the mysteries of life
Sprinder find their soul.

Invested in the mouth of the Faust praise "living" knowledge reflect the thought of two possibilities, two ways of knowledge: "pure" mind and "practical" mind fastened by a pulsating spring heart.

The intention of Mephistofel is to take possession of the soul of Faust, make him accept any of the mirages for the meaning of a person's life on Earth. His element is to destroy everything that elevates man, depreciates his desire for spiritual heights, to overtake the person himself in the dust. In this pathos, K in a closed circle, for Mephistopel, the whole meaning of being. Conducting the Faust through the full range of earth and "unearthly" temptations, Mephistofel is convinced that the holy people do not happen that anyone necessarily somewhere, on something and it will encounter that the knowledge itself will lead to the depreciation of the morality.

In the final, it would seem, Mephistofel can triumph: Faust took illusion for reality. He thinks that by his will people dig channels, turning yesterday's swamp into flowering land. Blinded, he can not see that this lemur will dig him a grave. A number of moral lesions and the loss of Faust - from the death of Margarita to the death of two old men, allegedly sacrificed the great idea of \u200b\u200buniversal happiness, - also seem to confirm the victory of the destructive concept of Mephistople.

But in fact, in the final - not a celebration, but the collapse of Mephistopel. True truth, mined by the Faust price of harsh trials and mistakes, cruel price of knowledge. He suddenly understood why it was worth living.

Only that worthy of life and freedoms,
Who every day for them goes to battle,
All life in the struggle, continuous
Child and husband and old man - let him behave
So that and saw in the glitter of the wonder
Free edge, free my people,
Then I would say: a moment,
Fine you, have been done, wait! ..

This moment of human weakness is the indicator of the larger forces of the Faust spirit.

Mephistofel does everything in his "inhuman" forces, in order to prevent the elevation of a person with the help of knowledge, detain it at the stage of analysis and - after testing the illusions - to overtake in the wrong. And it reaches a lot. But the mind overcomes the "Devil" beginning in knowledge.

Goethe retains educational optimism and turns it to future generations, when free work will be possible on free land. But the final conclusion arising from the "optimistic tragedy" of Goethe ("Only that worthy of life and freedom, who goes to battle every day ..."), future generations also managed to turn into evil, cycling on the "Boy" and "Fight" After paying millions of lives for seemingly bright ideas. Who will now indicate us the source of optimism and faith in force and good knowledge?

We'd better remember other words:
Oh, if, with nature on a par,
Be a man, man to me!

Filіna.I.
All Vіtertura is the culture in NCV. Buggles of Ukraine -2001r., №4 p .30-32

Results of the Enlightenment: "Faust" I. V. Guete.

The greatest German poet, a scientist, thinker Johann Wolfgang Guete (1749-1832) completes European enlightenment. According to the versatility, Goethe is standing next to the titans of Renaissance. Already contemporaries of young Goethe Choir talked about the genius of any manifestation of his personality, and in relation to the old Guete, the definition of "Olympian" was established.

The leaving from the Patrician-Burgers family Frankfurt am Main, Goethe received a wonderful homemade humanitarian education, studied at the Leipzig and Strasbourg Universities. The beginning of his literary activity had to form in the German literature of the Motion "Storm and Natisk", at the head of which he got up. His fame went beyond Germany with the publication of the novel "The suffering of a young verteter" (1774). By the stripes period include the first sketches of the Faust tragedy.

In 1775, Goethe moves to Weimar at the invitation of the young Duke of Saxen-Weimar who admired them and devotes himself to the affairs of this small state, wanting to realize their creative thirst in practical activity for the benefit of society. His ten-year administrative activities, including the post of first Minister, did not leave places for literary creativity and brought him disappointment. More closely familiar with the Kospea German reality writer H. Viland from the very beginning of the ministerial career Guete said: "Goethe will not be able to make a hundredth of what he would be happy to do." In 1786, Goethe Nastign a cruel mental crisis, who forced him to go to Italy for two years, where he, he said, "Rissed".

In Italy, the addition of his mature method begins, called "Weimar Classicism"; In Italy, he returns to literary creativity, from under his feather the drama "Iphigations in Tavrid", "Egmont", "Torcvato Tasso" come out. Upon returning from Italy to Weimar Guete retains only the post of Minister of Culture and the Director of the Weimar Theater. He, of course, remains a personal friend of the duke and gives advice on the most important political issues. In the 1790s, friendship of Goethe with Friedrich Schiller begins, unique in the history of culture of friendship and creative cooperation between two isometric poets. Together, they developed the principles of Weimar classicism and encouraged each other to create new works. In 1790, Goethe writes Reinekelis, Roman Elegances, Roman "Years of the Teachings of Wilhelm Meister", Burger idyll in Herman and Dorothea hexameters, ballads. Schiller insisted that Goethe continued to work on the "Faust", but "Faust. The first part of the tragedy "was completed after Schiller's death and published in 1806. Goethe did not assume more to return to this design, but settled in his house on the position of secretary, the writer I. P. Eckerman, the author of the "conversations with Goethe", urged Goethe to complete the tragedy. Working on the second part of the "Faust" was basically in the twenties, and she was published, according to the desire of Goethe, after his death. Thus, work on the "Faust" took over sixty years, she covered the whole creative life of Goethe and absorbed all the epochs of his development.

Just as in the philosophical stories of Voltaire, in the "Faust" the leading party is the philosophical idea, only compared to the Voltaire, it has found an embodiment in full, living images of the first part of the tragedy. The genre "Fausta" is a philosophical tragedy, and the general philosophical problems, to which Goethe appeals here, acquire a special educational color. The plot of Faust was repeatedly used in modern Goethe German literature, and he himself first met him a five-year-old boy at the representation of a folk puppet theater playing the old German legend. However, this legend has historical roots. Dr. Johann-Georg Faust was a wandering healer, a worker, a prunerator, an astrologer and an alchemist. The modern scientists, such as Paracels, responded about him as a charlatan-impostor; From the point of view of his students (Faust at the same time occupied the professorship at the university), he was a fearless seeker of knowledge and forbidden paths. The followers of Martin Luther (1583-1546) were seen in it the wicked, with the help of the devil who created imaginary and dangerous wonders. After his sudden and mysterious death in 1540, the life of Faust covered in many legends.

The bookcraft of Johann Shpis for the first time collected the oral tradition in the national book about Fausta (1587, Frankfurt am Main). It was an edification book, "the awesome example of the Devil's temptation to the body of the body and soul." The Shpisp also appears a contract with the devil for a period of 24 years, and the devil himself in the form of a dog, which turns around the servant of Faust, marriage with Elena (the same devil), Famulus Wagner, the terrible death of Faust.

The plot was quickly picked up by the author's literature. Genial contemporary Shakespeare Englishman K. Garlo (1564-1593) gave its first theatrical processing in the "tragic history of the life and death of Dr. Faust" (premiere in 1594). The popularity of the history of the Faust in England and Germany of the XVII-XVIII centuries is evidenced by drama processing in the pantomime and the representation of puppet theaters. Many German writers of the second half of the XVIII century used this plot. Drama G. E. Lessing "Faust" (1775) remained unfinished, Ya. Lenz in a dramatic passage "Faust" (1777) depicted Faust in Adu, F. Klinger wrote a novel "Life, Acts and Faust death" ( 1791). Goethe raised the legend to a completely new level.

For sixty years of work on the "Faust", Goethe created a product comparable by volume with the Homer Epos (12,111 of the "Faust" rows against 12,200 poems "Odyssey"). Imagining the experience of a lifetime, the experience of ingenious comprehending of all eras in the history of mankind, the work of Goethe rests on the ways of thinking and artistic techniques, distant from those adopted in modern literature, so the best way to get closer to it is a leisurely commented reading. Here we are only out of the plot of the tragedy in terms of the evolution of the main character.

In the prologue in heaven, the Lord concludes with the devil of the Mephistofel bet on human nature; The object of the experiment, the Lord chooses his "slave", Dr. Faust.

In the first scenes tragedy, Faust is experiencing a deep disappointment in the life he dedicated to science. He desperate to know the truth and now stands on the verge of suicide, from which he holds the ringing of Easter bells. Mephistofel penetrates the Future in the form of a black poodle, takes his true appearance and concludes a deal with Faust - the execution of any of his desires in exchange for his immortal soul. The first temptation is Wine in the cellar of Auerbach in Leipzig - Faust rejects; After a magical rejuvenation in the witch's kitchen, Faust falls in love with the young town and Margarita and I seduce it with Mephistople. From this Mephistophele of the poison dies Mother Gretchen, Faust kills her brother and runs from the city. In the scene of the Valpurgian night, in the midst of the witch shabby, the Foust is the ghost of Margarita, conscience wakes up in it, and it requires Mephistopel to save Gretchen, brought to a prison for killing the baby born. But Margarita refuses to run with Faust, preferring death, and the first part of the tragedy ends with the words of votes over: "Saved!" Thus, in the first part, unfolding in the conditional German Middle Ages, Faust, in the first life, the ex-home scientist, acquires the life experience of a private person.

In the second part, the action is transferred to the wide external world: to the court of the emperor, in the mysterious cave of mothers, where Faust is immersed in the past, in the pre-Christian era and from where Helen is beautiful. For a short marriage with her ends with the death of their son of Euforion, symbolizing the impossibility of the synthesis of antique and Christian ideals. Having received the seaside lands from the emperor, the old Faust finally acquires the meaning of life: the utopia of universal happiness, harmony of free labor on free land seems to be disheightered from the sea. Under the knock blade, the blind old man utters his last monologue: "I am going to the highest moment," and under the terms of the transaction it falls. The irony of the scene is that the Faust accepts the builders of the girlfriend Mephistofel, digging by him the grave, and all the works of the Faust for the arrangement of the edge are destroyed by flooding. However, Mephistophel does not get the soul of Faust: the soul of Gretchen's soul joins for him, and Faust avoids Hell.

Faust is a philosophical tragedy; In the center of it - the main questions of being, they determine the plot, and the system of images, and the artistic system as a whole. As a rule, the presence of a philosophical element in the content of the literary work implies an increased measure of convention in its artistic form, as it has already been shown on the example of the philosophical story of Voltaire.

The fantastic plot of "Faust" holds a hero in various countries and the epochs of civilization. Since Faust is a universal representative of mankind, all the world's space and the entire depth of history becomes inspired by the arena of his action. Therefore, the image of social life conditions is present in the tragedy only to the extent that it relies on the historical legend. In the first part there are also genre sketches of the people's life (the scene of the folk festival, for which Faust and Wagner are sent); In the second part, philosophically more complex, the reader passes a generalized and abstract review of the main eras in the history of mankind.

The central image of the tragedy - Faust is the last of the great "eternal images" of individualists born on the transition from the revival to a new time. It should be put next to the Don Quixote, Hamlet, Don Juan, each of which embodies some one extreme of the development of the human spirit. Faust detects the most points of similarity with Don Juan: both seek the forbidden areas of occult knowledge and sexual secrets, both are not stopped before the murder, the irrepression of desires leads both in contact with the hellish forces. But unlike Don Juan, whose search lies in a purely earthly plane, Faust embodies the search for all the completeness of life. The Faust Sphere is limitless knowledge. Just like Don Juan supplements his servant Sganarel, and Don Quixote - Sancho Pansa, Faust is completed in his eternal satellite - Mephistopel. The devil in Goethe loses the majesticity of Satan, Titan and Bogobor - this is the devil of more democratic times, and with Faust, he binds not so much hope to get His soul, as friendly affection.

The history of Faust allows guests in a new way, to critically approach the key issues of educational philosophy. Recall that the nerve of the educational ideology was the criticism of the religion and the ideas of God. Goethe God stands over the action of the tragedy. Lord "Prolog in Heaven" - a symbol of positive life, true humanity. Unlike the previous Christian tradition, God Goethe is not harsh and does not even fight with evil, but by contrast, communicates with the line and takes to prove it to him the infertility of the position of the full denial of the meaning of human life. When Mephistofel likes the person to a wild beast or a fussy insect, God asks him:

Do you know Faust? - He is a doctor? - He is my slave.

Mephistofel knows Faust as a doctor of science, that is, perceives it only on his professional affiliation to scientists, for the Lord Faust - his slave, that is, the carrier of the Divine Spark, and, offering Mephistofly, the Lord is confident in advance in its outcome:

When the gardener sits the village, the fruit is known to the gardener.

God believes in a person, only therefore it allows Mephistophely to tempt the Faust throughout his earthly life. Goethe Lord has no need to interfere in the further experiment, because he knows that the man of benefits is in nature, and his earthly searches only contribute to its improvement, elevation.

Faust by the beginning of action in the tragedy lost faith not only in God, but also to the science, which gave life. The first monologues of Faust speak about his deep disappointment in the lived life, which was given to science. Neither the scholastic science of the Middle Ages nor magic gives him satisfactory answers about the meaning of life. But the monologues of the Faust are created on the outcome of the era of the enlightenment, and if the historical Faust could know only medieval science, the criticism of the educational optimism sounds in the speeches of the Guhether Faust in relation to the possibilities of scientific knowledge and technical progress, criticism of the thesis on the omnipotence of science and knowledge. Goethe himself did not trust the extremes of rationalism and mechanistic rationalism, in his youth a lot was interested in alchemy and magic, and with the help of Magic signs Faust at the beginning of the play hoped to comprehend the mystery of earthly nature. Meeting with the spirit of the Earth for the first time opens by the Foust that a person is not impulsed, and is negligible compared to the world around him. This is the first step of the Faust on the path of the knowledge of his own essence and its self-restraint - in the artistic development of this thought and consists of the plot of the tragedy.

Goethe published the "Faust" since 1790, parts, which made it difficult for its contemporaries to assess the work. From the early statements, there are two attention to the compensation on all subsequent judgments about the tragedy. The first one belongs to the founder of Romanticism F. Shleg: "When the work is completed, it will embody the spirit of world history, it will become a true reflection of the life of mankind, his past, present and future. In Faust, Ideally depicts all humanity, he will become an embodiment of mankind. "

The creator of the romantic philosophy F. Shelling in the "art philosophy" wrote: "... because of a kind of struggle, which arises today in knowledge, this work received a scientific color, so that if some poem may be called philosophical, then it is applied Only to the "Faust" Goethe. The brilliant mind connecting the deepness of the philosopher with the power of an outstanding poet, gave us in this poem forever fresh source of knowledge ... "The interesting interpretations of the tragedy left I. S. Turgenev (article" Faust ", tragedy", 1855), American philosopher R. U. Emerson ("Goethe as a writer", 1850).

The largest domestic Germany V. M. Zhirmunsky stressed the strength, optimism, the rebellious individualism of the Faust, challenged the interpretation of his path in the spirit of romantic pessimism: "In general, the tragedy disappointment of the Faust [first scenes] is only the necessary stage of his doubt and truth quest" ("Creative History "Faust" Goethe ", 1940).

It is significant that on behalf of Faust is formed the same concept as from the names of other literary heroes of the same series. There are whole studies of contamination, hamletism, denunciation. The concept of "Foustovsky Man" has entered the publication of the book by O. Spengler "Sunset Europe" (1923). Faust for Spengler is one of two perpetual human types, along with Apollonian type. The latter corresponds to an ancient culture, and for the Faustic soul, the Prasimir is a clean unlimited space, and the "body" - Western culture, flourishing on the northernmost lowlands between the Elba and Taho simultaneously with the birth of a romance style in the X century ... Faustic - Galilean's dynamics, Catholically Protestant Dogmatic, the fate of the Lira and the ideal of Madonna, starting with Beatrice Dante to the final scene of the second part of the "Faust".

In recent decades, the attention of the researchers focused on the second part of the "Fausta", where, according to the German professor K. O. Konradi, "the hero, as it were, performs various roles that do not unite the personality of the artist. This gap between the role and the performer turns it into a pure allegorical figure. "

Faust had a huge impact on all world literature. The grand work was not completed, when "Manfred" appeared under his impression (1817) J. Bairon, "Scene from Faust" (1825) A. S. Pushkin, Drama H. \u200b\u200bD. Grabbe " Faust and Don Juan "(1828) and many continuations of the first part of the" Faust ". Austrian poet N. Lenau created his "Faust" in 1836, Gaine - in 1851. The heir to Goethe in the German literature of the XX century T. Mann created his masterpiece "Dr. Faustus" in 1949.

Fasting "Faust" in Russia was expressed in the story of I. S. Turgenev "Faust" (1855), in the conversations of Ivan, with a feature in the novel by F. M. Dostoevsky "Brothers of the Karamazov" (1880), in the image of Woland in the novel M. A. Bulgakov "Master and Margarita" (1940). The Getya "Faust" is a work, the summary of the educational thoughts and go beyond the literature of the Enlightenment, throughout the future development of literature in the XIX century.

State educational
Institution

Higher professional education

"St. Petersburg State
University of Economics and Finance "

Department of English and Translation

Philosophy abstract

On the topic:

"Faust philosophical problems I.Goyat"

Performed:

Student 2 courses of full-time compartment,

Group L - 201

Kasatkina Ksenia.

St. Petersburg

2011

1. Introduction P. 3.
2. Chapter 1. Stages of development of the problem of knowledge of themselves
   And the world is man. P. 4-5
3. Chapter 2. The appearance of the image of Faust. P. 6-7
4. Chapter 3. Philosophical Problems in the tragedy
   Goethe "Faust". P. 8-11
5. Conclusion. P. 12
6. Bibliography. P. 13

Introduction

Many philosophers and writers thoughtfully and reflects on the problem of knowing themselves and the world by a man. There are a large number of theories and opinions relating to this problem. The man began to know the world and herself and continues to do it in stages, and each stage has its own characteristics. The problem of the knowledge of the world by man is illuminated in many works. But not all of them are so bright and memorable as the tragedy I. "Faust". In his tragedy, Goethe reflects not over the same problem, but, in my opinion, the problem of knowing themselves and the world by man is paying more attention. That is why I want to allocate this philosophical problem from the rest, and tell about it more than about others.

Chapter 1. Stages of development of the problem of knowing themselves and the world by a man. one

Modern civilization has passed not one stage in its development. The period that is customary to call a new time began after the Renaissance, when the culture began to be freed from the authorities of the Church and the person again, as in the time of antiquity, realized himself in the center of the world.
Man has always been the main face of culture. The development of the self-consciousness of humanity is inseparable from thought about the nature of man. "What is a person?" "- Many thinkers tried to highlight this question. Some believed that human nature was due to the fact of the fall, others saw it in the intelligence of a person as creatures, the third - in her sociality. At earlier stages of development, this question existed in another The form - "What does the person depends on?". The paths of his understanding remain relevant and in our time. At first, mythology, and later religion gave their answers to this question.
In the early stages of myth-making, the person was dissolved in nature, he completely depended on it, but already rites sought to influence it. In the era of heroes, this desire has acquired the features of real actions - the ancient Greek heroes led the fight against the gods. This suggests that a person stood up at the next stage of the development of self-consciousness, realized himself as a creature capable of standing for himself. 2.
After the final design of Christianity, a person began to depend on the church. In the period of the Middle Ages, everything was subordinate to religion - culture, society, the state, the disbelief was pursued and strictly punishable. During this period, a legend took shape about the human contract with the devil, in which a person tried to draw the trait, and later with it to find and comprehend himself. This has become a symbol of changes in the worldview.
In the Epoch of Enlightenment, the worldview finally changed. Now the thinkers were puzzled by another question - "What depends on a person?", And the answer turned out to be unexpected: he depends on the person as the world and he himself. This discovery made the problem of the awareness of human essence, perhaps the most relevant issue of cultural studies.
The philosophers of the Epoch of Enlightenment considered a person from various positions that put on one such any characteristic of human nature: a reasonable or sensual beginning, an individual or public being, a conscious or mechanical action. Thus, the question of the essence of a person in the Epoch of Enlightenment was considered from various positions, each of which was undoubtedly important. A person learned and knows himself and the world not only from the scientific point, but also with the spiritual, the instrument of knowledge of the world of which is art. His figurative nature has always served as the basis for the idea of \u200b\u200bthe world more holistic than those that operate scientific knowledge.

Chapter 2. The appearance of the image of Faust. 3.

As the new anthropocentric civilization is being established, the need for a self-awareness of a European person began to form. The plot of the legends about Faust had a folk origin and expressed a long-standing dream of a man strong and free.
The image of Faust had prototypes, which appeared during the development of Christianity - this is the New Testament Simon Mag, Cyprian and Justin from Antioch, and Ferofil. The first who embodied the legend of Faust in the completed literary work was Johann Shpis. His book was called "History about Dr. Johanne Faust, a famous wholesale and warlock, as he signed an agreement with the devil, what miracles he wanted at that time, he heard himself and worked, until he finally had comprehended his deserved reward. Mostly extracted from his own posthumous writings and printed, in order to serve a frightening and disgusting example and sincerely warning to all godless and bold people. " In this work, Faust was convicted by the author for the worm, but about the fate of the hero in it was told so colorfully and vividly, which could be enjoyed from the narration, contrary to the moral teachings of the author. Pious work not only did not deprive the Dr. Faust of the former popularity, but even imagined her.
The history of Shpisu on Fausta summed up the five-year-old historical and folk development of Faustian and recorded in detail the Foustovsky plot, as well as the main circle of issues related to the crime and punishment of the bold hero.
The fate of the second book about Dr. Faust, published in 1599, was the same as the fate of the book of Shpis. No matter how sluggish was the scientist of the pennate Henrich Vidman, no matter how overwhelmed his book was condemned quotes from the Bible and the Fathers of the Church, she still quickly won a wide range of readers, as it contained a number of new ones who did not enter the narrative of the legend to the nice Warlock .
The legend of Faust is the history of proud person with unclean power. Catholic monks and Lutheran pastors pounded in every way, tried to prove that he was a pathetic, unhappy charlatan, died to painful death and was doomed to eternal flour in hell. But, contrary to this, People's Solva attributed to him supernatural exploits, brilliant victories in disputes and skirmishes with enemies, happiness in love. And although all the traditions also began with the fact that Faust entered into collusion with the devil, in many cases, unknown authors were prone to sympathize with the hero and enthusiastically admire them than to condemn him and curse.
It is these features of the legend inspired one of the predecessors of Shakespeare, the wonderful English playwright of Christopher Marlo, who wrote the "tragic history of Dr. Faust" in 1588.
Contrary to the judgments of Lutheran theologians and Moralists, Marlo explained the actions of his hero not by his desire for the carefree pagan epicury and a light profit, but an unauthorized thirst for knowledge. Thus, Marlo first returned this folk fiction his former ideological value, darkened by the testes of the official church.

Chapter 3. Philosophical problems in the tragedy Goethe "Faust". four

The vertex of the literary trend and the transformation of the image of the medieval warlock was the tragedy Goethe "Faust". In the form of Faust, the author united all the philosophical problems of the Epoch of Enlightenment, and this image became a symbol of philosophical searches of the era, the main trends of which were the distribution and popularization of scientific knowledge.
Goethe summarized the actual problems of the era and considered on the example of one personality, on the example of Faust. Goethe used a "stray plot", but sat down in modern philosophical content, showing a generic and large-scale image of human destiny in the fate of the hero.
The opposites colliding in the world in the tragedy are embodied in two mythological images - gentlemen and Mephistofel. The first expresses good and creation, the second is denial and destruction. Traditionally, in the legends of the images of God and the devil - symbols of good and evil fighting for the human soul. But Goethe rethinks this confrontation from the standpoint of modern philosophy.
There is a dispute about the possibilities of the human person between the Lord and Mephistofel. Mephistopheles - expresses medieval, who has learned the idea of \u200b\u200ba person - oddly enough, quite recently the former point of view of the church. Mephistofel believes the person is insignificant, a pitiful, subordinate flesh, prone to sin. The other point of view represents the Lord. Man is the crown of creation, the favorite creation of God. The Lord expresses humanistic views on a person - believes in his ability to strive for good and fight for him.
God at Goette is knowledge, truth and world mind. God personifies the highest principle, but does not interfere with people and only occasionally pronounces the verdict. God trusts a person, gives him freedom of choice.
The embodiment of evil in the work - Mephistofel. But his role, at least dual. In his attempts to awaken in Faust Lowestly, he acts as the devil-tempter. In the Christian ideology, the devil is not equal to God, he is lack of grace, darkness, lack of light. At Goethe, this feature acquires philosophical understanding. Always and in all Mephistofel - the force is negative. With his denial of the existing Mephistofel constantly not only tempts by Faust, but also pushes in search of a new one, thereby contributes to the transition to new stages of the development of self-consciousness. The proud Faustic Intrivation, connecting with Mephistophela determination in practical matters, turns out to be the lever, which leads ultimately the Faust to move, search and development.
At the beginning of the tragedy, we see Faust the scientists of old years, when he cursed his dreams of glory, and most of all - the vulgar patience was marked by the moment of awakening self-awareness. Called a turning point. Faust saw the enemy of its development - the inner closure and aimless absorption of other people's knowledge. True spiritual development in the opposite - in purposeful knowledge, productive thinking and active activity. Being in this arrangement of the Spirit, he concludes an agreement with Mephistofel.
The essence of the Faust Treaty with Mephistofel is that Mephistofel will get a soul of Faust in his power if he feels completely satisfied. This will mean that the person is negligible in his aspirations. For search and tests, youth is needed. The first thing that mets Mephistofel for Faust is returning to him youth and power.
From this point on, each episode of the tragedy becomes as if experiment, the breakfast of the Faust forces in the stream of real life. Mephistophelle offers by the village to get acquainted with the "small world", that is, by people in their private life, and then enter the "big world" - the life of the state, the sphere of public life. On the path of external life, consciousness may dwell at the level of family life, but can also achieve a state, larger scale.
In the tragedy Goethe and accuses, and justifies his heroes. The author shows that when a collision of a public and individual person should make a choice. In the episode with Margarita Mephistofel laughs with what seems in love with conventions. However, society does not allow violations of its age-old obstacles - and Goethe gives us to think about their essence. An excuse for heroes serve their ability to awareness of guilt and the ability to be responsible for the actions. On the life level, the question of happiness turns into questions about the ways to achieve it, about sin and redemption. It turns out that these concepts cannot cancel Mephistophel mockery.
In addition to the metaphysical side, which represents Mephistofel with its goats, evil in the work has another real side. These are the socio-social living conditions of a person. For Goethe, evil is the remnants of society, habits, prejudices and sustainable behaviors. And in the second part of the tragedy, the Goethe expands the ideas about the real side of the evil. This part of the tragedy is replete with caustic hints to the political situation of his time and expresses the enlightening criticism of the insolvency of monarchical regimes in Europe. Evil represents the state apparatus and the imperial power, the desire of which is very low and consist in inconsider and entertainment. Goethe brightly depicts a historical deadlock - the intentions of the authorities do not lead to the prosperity of society, the people live in poverty, the state does not develop in an economic or socio-cultural plan.
Passing the tests, Faust is gradually cleaned, moving to an increasingly higher stage of self-consciousness. Faust is close to absolute power. And even at this stage of development, which is not many, he remains susceptible to the well-established public behavior models. Inadvertently, he becomes the killer of the Philemon and Bavda, without giving a direct order of their murder.
At the end of the tragedy, Goethe draws his hero in a deep old man. But, despite his old age, a close death, Faust at Goethe is still optimistic about the future, everything also claims the activity of human action as the most important principle of human life.
Faust at the end of life does not pronounce the phrase "Stop Moment, you are fine!", In my last monologue, he dreams of time when he can see his people happy. For Faust, an incomplete immersion in individuals of life, non-treatment of pleasure was an end in itself, and the search and improving - a constant struggle.
Goethe created the image of a solid person, but at the same time showed the complexity of the essence of a person as such. Contradictions between personal and public, between the mind and feelings are becoming a tragic condition for the existence of a person. Throughout life, a person allows them and, constantly making a choice, develops. The man of the Epoch of Enlightenment is endowed with Will, but not always his choice, as Götte shows, leads to positive consequences.
The medieval contract of Faust and the feature acquires a new interpretation in the tragedy, is endowed with another, symbolic meaning. And the meaning is that the movement is the only way to live life. The stop leads to regression and degradation.
Goethe in his work approves faith in a person, in unlimited possibilities of reason to development. The struggle on Goethe becomes the vital law of eternal formation, which, in turn, becomes an eternal test.
Faust, which it is shown in the tragedy, is a titanic personality equal to the ability of the heroes of the Renaissance. Faust is not a Warlock, not a magician, as he performs in legend, he, above all, a free person, striving for his thoughts to penetrate the secrets of being. Faust, as a true person, experiences dissatisfaction with the achieved, dissimilarity. In this Goethe sees the key to the eternal improvement of the human person.
Goethe showed in Faust the same features that were worried about philosophers - enlighteners, but in contradictory unity: Faust thinks and feels, he is able to act automatically and at the same time it is able to take profound conscious decisions. He is the individuality seeking to freedom, and at the same time the meaning of life finds in the deeds for the benefit of other people. But the most important opening of the Goethe is the ability of Faust to search and develop in the conditions of tragic internal contradiction.

Conclusion.

Summing up, I can say that the problem of knowing yourself and the world is described in the tragedy Goethe "Faust" very detailed. Moreover, within its framework, two other philosophical problems are considered - confrontation of good and evil, as well as the problem of choice. Goethe managed to reveal these philosophical problems concerning the whole world, on the example of just a few heroes, combining the characteristic features of these problems from all stages of their development in one work, as well as make new ideas in thought about the problem of the struggle of good and evil, rethinking it, relying on His time.
It is not surprising that of all books based on the legend of Faust written by different authors, the tragedy Goethe "Faust" became the most famous, and remained in memory of not one generation. It can be considered a "guidebook" in philosophical problems, since the Goethe covers many problems immediately, and they are all described so interesting that they instantly encourage the reflection of anyone who takes his book in hand.

Bibliography:

1. Anikst A.A. Goethe and Faust. From plan to accomplish. - Moscow, "Book", 1983 - 271c.
2. Zhirmunsky V.M. Legend of Dr. Faust - M: Science, 1978
3. Locke J. Experience about human understanding // Man. M., 1991.
4. Russell Bertrand. The history of Western philosophy and its connection with political and social conditions from antiquity to the present day - Novosibirsk: Publishing House of Novosibirsk UN-TA: 1994.- 393 p.