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Johann Wolfgang von GoetheA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Scene 22 takes place outside Gretchen’s door, where her brother, the soldier Valentine, has arrived. Valentine laments the sin that Gretchen has committed, saying how he used to constantly brag about her as “the pride of her sex” (I.22.3636). Now, however, he despairs and other men sneer at him over what his sister has become, and he says he can’t blame them, because it’s true.
Valentine sees Mephistopheles and Faust sneaking to Gretchen’s door, and vows to “take him” if it’s the man who slept with Gretchen (I.22.3648). Mephistopheles and Faust talk about stealing more gifts for Gretchen, and Mephistopheles sings a song about how women should beware men who will steal their innocence and then leave them. Valentine interrupts them and challenges them to a fight. Mephistopheles casts a spell on Valentine so that he’s unable to fence, and Faust uses that opportunity to strike him. The men run away while Valentine lies wounded.
A crowd gathers and Gretchen comes out, discovering her brother on the verge of death. In his final speech, Valentine shames Gretchen to her face, calling her a disgraced “whore” and a “slut” and predicting that the whole town will soon turn against her, forcing her to live among the “beggars and cripples to hide and weep” (I.22.3761). He tells Gretchen, “Let God forgive you as he may—/ But on earth be cursed till your dying day!” (I.21.3762-63). Martha accuses Valentine of blasphemy and Valentine says he wishes he could strangle her, before turning back to Gretchen and saying that she “stabbed me in the heart” (I.22.3773), but that he will himself die “as the soldier I’m still proud to be” (3775).
Scene 23 is set at a cathedral during a mass for the dead, which Gretchen is attending. An evil spirit taunts Gretchen and asks what she’s thinking about, also revealing that Gretchen’s mother passed away from the poison Faust gave her. Gretchen is anguished and feels stifled, and as the church choir sings, the evil spirit continues to taunt her. Gretchen exclaims that she can’t breathe and asks a neighbor for smelling salts before fainting.
Scene 24 takes place at Walpurgis Night in the Harz Mountains. Faust and Mephistopheles climb through the mountains to reach the summit, and are eventually guided by a will-o’-the-wisp. When they find a suitable place to stop, a whole fleet of witches and warlocks begin to arrive, eventually all settling on the ground. Mephistopheles complains that it’s now too crowded and suggests they go off somewhere else to another social gathering.
The two go up to a group sitting around a fire, where various people, like a General, Minister, and Author, are discussing how much better things used to be. Mephistopheles suddenly looks very old and says that the “world must be on its last legs” (I.24.4095). Mephistopheles then points out another woman to Faust, Lilith, who he says was “Adam’s first wife” and likes to trap young men (I.24.4119). The two join in with the revelry and start dancing, while another “skeleton,” dubbed Mr. Arsey-Phantarsey, complains about the goings-on.
Faust stops dancing and says that he sees Gretchen, though she looks like her “feet have been fastened somehow” (I.24.4185), and that it looks as though her neck has been slashed with a knife. Mephistopheles tells Faust that he’s a “gullible fool” and it’s just an illusion, as an enchantress “takes the shape of every man’s sweetheart” (I.24.4199-200). It gets announced that a show is about to start, which is presented during the next scene, Scene 25. A Walpurgis Night’s Dream or The Golden Wedding of Oberon and Titania is an intermezzo scene based loosely on Shakespeare’s A Midsummer Night’s Dream, which depicts the wedding between Oberon and Titania. Much of the play consists of a large cast of characters commenting on the action in satirical epigraphs that don’t connect at all to the larger Faust story, including a Curious Traveller, a Weathervane, a Dancer, a Worldling, a Fiddler, an Idealist, a Realist, and more. The play ends as an orchestra plays, and says that everyone is fading away as daylight breaks.
Scene 26, the only scene in the play to be written in prose, is set on a gloomy day in the country, where Faust and Mephistopheles are talking. Faust is openly lamenting about Gretchen’s fate, as she is now locked up in prison. He yells at Mephistopheles for hiding Gretchen’s imprisonment from him and “lull[ing] me with vulgar diversions” (I.26.<10>). Mephistopheles responds that Gretchen is “not the first” to suffer such a fate (I.26.<13>), and Faust lashes out, calling on the Earth Spirit to change Mephistopheles back into a dog and chastising him for “calmly sneer[ing] at the fate of thousands” (I.26.<28-29>).
Mephistopheles reminds Faust that he chose to align himself with the Devil, and Faust tells Mephistopheles to save Gretchen. He scoffs at this and says that if Faust goes to see her, avenging spirits in the town will get him for killing Valentine. Nevertheless, Faust tells Mephistopheles to take him to Gretchen and to free her. Mephistopheles responds that he can distract the jail guard while Faust gets his keys, and then will keep watch while Faust breaks Gretchen out of jail.
The two men set off and storm through the country on black horses. On their way, they see a guild of witches “scattering something” in a “ritual deed” (I.27.4404), but continue to ride on.
The final scene of Faust Part I is set in a prison, where Faust breaks into the room where Gretchen is being held. Gretchen, who is mad with despair, does not recognize Faust at first, mistaking him for the hangman while crying over her lover who “now [is] far away” (I.28.4435). She finally recognizes Faust and they embrace, but she will not go with Faust when he begs her to leave quickly with him. She asks how it is that he doesn’t find her a “vile thing” (I.28.4504), confessing that she poisoned her mother and drowned their son when he was born.
As Faust continues to plead with Gretchen to leave with him, she says that she will not, because if she escapes she believes she will be caught again anyway and does not want to lead a life of begging and guilt. Faust continues to insist she come and tries to physically carry her, but she still resists, speaking of how she feels a crowd is coming for her to watch her execution: “Oh why was I born, at such a cost!” Faust responds (I.28.4596). Mephistopheles enters and says they must leave now, and Gretchen is upset by his presence. In the play’s final moments, Gretchen prays to the Holy Father to save her, and though Mephistopheles says “she is condemned,” another voice from above announces that Gretchen is “redeemed” (I.28.4611-12). Mephistopheles and Faust vanish and Gretchen’s voice calls for Faust repeatedly, eventually “dying away” (I.28.4614).
The final seven scenes of Faust Part I include Gretchen’s downfall and then salvation, as she is cursed by her brother, taunted by evil spirits, left by Faust, and imprisoned and slated for execution. Gretchen reaches her lowest point in this act, going seemingly mad with guilt, and it is assumed that the disgrace and social ostracizing that Valentine predicts for her comes true. By the end of the play, Gretchen is alone in prison, with Faust coming to save her but leaving her alone to die as she calls out for him.
Yet Gretchen’s soul is saved, as a voice from above says she is redeemed in the play’s final moments. In this sense, for as much as Goethe explores the consequences of sin in Faust Part I, he also reveals the possibility of redemption and atoning for one’s sins. Gretchen, though she has repeatedly sinned, is also shown in the play to be an essentially good person, who has been wholly punished for her sins and expresses deep remorse. Because of this, she is redeemed in the eyes of God.
Gretchen’s salvation paves the way for Faust’s own salvation in Part II, which ends with Gretchen’s soul guiding him into heaven. As this part ends, however, Faust is still struggling between sin and morality. Faust sins by killing Valentine, and then leaves Gretchen both after Valentine’s death and again at Gretchen’s cell, displaying a sense of selfishness. Faust puts his own well-being above Gretchen’s to avoid punishment for Valentine’s death, by escaping both times before he can face the consequences for his action.
Faust is also wracked with guilt and sadness over Gretchen’s fate, however, and he displays his love and compassion for her by going back to her prison cell despite the evil spirits out to get him. The disagreement he has with Mephistopheles in Scene 26, as he yells at Mephistopheles for not caring at all about the fate of Gretchen and other women like her, also shows how he still remains essentially different from Mephistopheles and his evil ways, and has not yet been fully corrupted, maintaining a sense of compassion for others.
The essential difference between Faust and Mephistopheles is also suggested during Walpurgis Night, as the men sing a song that references the story of Adam and Eve and the Tree of Knowledge. Faust sings that he “climbed to pick that golden pair” of apples on the Tree of Knowledge (I.24.4131), while Mephistopheles says that to him, the tree was just a “monstrous hole […]/ But I like big holes just the same” (I.24.4138-39). From this, we can gather that while Mephistopheles doesn’t care at all about getting more knowledge, for Faust his quest for knowledge is still continuing at the end of the play, despite Mephistopheles’ influence and the pleasures he’s found. Rather than spiritually stagnating, he is continuing to search for meaning and will presumably continue this quest as he goes on to Part II.
By Johann Wolfgang von Goethe