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57 pages 1 hour read

Johann Wolfgang von Goethe

Faust, Part One

Fiction | Play | Adult | Published in 1829

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Scenes 8-14 Chapter Summaries & Analyses

Scenes 8-9 Summary

A group of merry-makers are reveling and singing at a tavern in Liepzig when Faust and Mephistopheles enter. Mephistopheles promises to find good company for Faust, and the revelers wonder about the two men and their odd behavior, promising to talk and figure out who they are. Mephistopheles starts talking to the men and telling them stories, though they still seem wary of him. He then offers them wine from his own supply, and magically produces for each man whatever kind of wine they ask for. They start drinking glass after glass of wine, but Mephistopheles warns them not to spill the wine. Faust asks to leave, but Mephistopheles says to wait and their “real bestiality will show” (I.8.2296). 

Sure enough, one of the men spills wine and it bursts into flames, setting him on fire. Mephistopheles controls the flame with magic and the group turns on him, as magic is against the law, and they draw their knives and advance on Mephistopheles. Mephistopheles casts a spell that makes the men think they’re outside in a beautiful vineyard, giving Mephistopheles and Faust a chance to escape. When the illusion on the men ends, the men freak out about what just happened and vow not to let Mephistopheles escape—but then realize they have “lead weights in both my feet” (I.8.2331).

In Scene 9, Faust and Mephistopheles go next to a witch’s kitchen, and Faust says he’s getting “sick of all this crazy magic stuff” (I.9.2337). Mephistopheles says Faust could just go out and live on the land instead of using magic to rejuvenate himself, but Faust refuses this. Mephistopheles says the witch they’re seeing can make potions that the Devil “can’t mix” (I.9.2377), and they come upon her animal servants, who say the witch isn’t back yet. As Mephistopheles talks to the animals, Faust stands in front of a mirror, in which he sees the “lovely image of a woman” (I.9.2436). Mephistopheles promises to find Faust “a little darling for you of that kind” so he can “try your luck” (I.9.2445-46).

The animals are starting to drive the men crazy, when the witch comes down the chimney. Mephistopheles and the witch reunite after she did not recognize him at first, as he appears as a man and not a demon. Mephistopheles asks the witch for “a good glass of the you-know-what” for Faust (I.9.2519), which she warns will be quite strong but Mephistopheles says he can handle. The witch begins a ceremony with Faust (which he decries as “raving mad”) (I.9.2553), and he drinks the potion, which Mephistopheles says “will warm the cockles of your heart” (I.9.2584). 

Mephistopheles says they must leave and promises that the potion will help Faust “appreciate your noble leisure” and “Cupid will stir in you” (I.9.2595-97). Faust asks to look at the woman in the mirror once more and Mephistopheles refuses. As an aside, Mephistopheles says to himself that thanks to the potion, “Soon any woman will be Helen [of Troy]” to Faust (I.9.2604).

Scenes 10-12 Summary

Faust is on a street at the start of Scene 10, where he sees a woman, Margareta (hereto after referred to as Gretchen, as Goethe uses both names), pass by. Faust offers to escort Gretchen and she refuses, telling Faust she can “get home on my own two feet” (I.10.2607-08). After she leaves, Faust expresses how taken he is with her beauty. Mephistopheles enters and Faust tells her about seeing Gretchen, who Mephistopheles tells him just made her confession at church. Mephistopheles says, “She’s a poor innocent little thing,/ […] I’ve no power over her” (I.10.2624-26). Faust is absolutely determined to have Gretchen in his bed straight away, though Mephistopheles instead suggests he’ll enjoy it more if he must wait longer for it to happen. Nevertheless, Mephistopheles promises to take Faust to Gretchen’s room, though she’s currently visiting a friend who lives next door. Faust says he wants to bring a gift, and Mephistopheles says he “know[s] some interesting places/ Where buried treasure’s left its traces” (I.10.2677-78).

Scene 11 takes place in the evening, where Gretchen is in her room. She muses about the gentleman she saw today (Faust), who she did think was handsome, before leaving. Mephistopheles and Faust enter and Faust is rapturous with joy and love about being where Gretchen lives and surrounded by all her belongings: “I was resolved, my lust brooked no delay—/ And now in dreams of love I wilt and melt away!” he says (I.11.2722-23). 

Mephistopheles warns that Gretchen will be back any minute and gives Faust a box full of gifts to leave for her, including “enough/ Jewellery in there to seduce a queen” (I.11.2736-37). They quickly leave (after Faust expresses some doubt about giving her the gifts), and Gretchen returns. She finds the gifts and is taken with them but does not believe they’re hers: “Whose can these wonderful things be?” she asks (I.11.2795). She says that as a young woman, beauty is not enough, and “gold’s all they care/ about,” but “for us poor folk there’s none to spare” (I.11.2803-05).

Scene 12 is set on a promenade, where Faust is pacing in thought. An angry Mephistopheles enters and tells Faust that a priest has taken all the jewels he gave Gretchen. Gretchen’s mother saw the jewels and “knew soon enough/ that there was something unholy about that stuff” (I.12.2821-22), forcing Gretchen to hand everything over to the church—much to Gretchen’s chagrin. Mephistopheles says that Gretchen can’t get the jewels or Faust out of her mind, and Faust tells Mephistopheles to bring her more gifts to replace the ones she lost. Faust says Mephistopheles should get to know Gretchen’s friend next door, and Mephistopheles comments that Faust is “just like all the lovesick fools I know” (I.12.2862).

Scenes 13-14 Summary

Scene 13 takes place at the neighbor Martha’s house. Martha, alone, is lamenting her husband, whom she said left her and could very well be dead, though she needs a death certificate to prove that. Gretchen enters and tells Martha about the second box of gifts, which Martha says she should hide at her house so Gretchen can keep the gifts without her mother finding out. Gretchen wonders, though, who bought the jewelry, and says she thinks “there’s something funny about it” (I.13.2895).

Mephistopheles then arrives at Martha’s house and comes in, flattering Gretchen by calling her a “fine lady” (I.13.2903). Mephistopheles tells Martha that he knew her husband and that he has passed away. He tells Martha a tale of her husband, whom he said had poor luck and took another lover, and found treasure that has since gone missing. While he’s telling this tale, Mephistopheles also tells Gretchen that she “deserve[s] to be married straight away” (I.13.2946). When Gretchen says she’s too young, Mephistopheles suggests she takes a lover instead, but Martha says “that’s not the custom in this country, sir” (I.13.2949).

Martha asks for evidence of her husband’s death, and Mephistopheles says that when two witnesses both testify to it, it’s officially declared. He says that he and a companion (Faust) will testify before a judge, and promises to bring his friend here. He asks that Gretchen be there to meet Faust when Mephistopheles brings him, and they all agree that the men will come back that evening.

Back on the street in Scene 14, Mephistopheles tells Faust of the plan, but Faust objects to telling the judge about the husband’s death when they have no proof, and bearing false witness. Mephistopheles says that Faust has made plenty of declarative statements in his career about the world and God, which he didn’t know any more about than he does about Martha’s husband’s fate. Mephistopheles promises Faust that he will be able to turn “Gretchen’s mind/ With vows of love” (I.14.3054-55), and Faust relents to the plan.

Scenes 8-14 Analysis

Scenes 7-14 are primarily defined by the introduction of Gretchen and the beginning of Faust’s romance with her, as he becomes immediately infatuated with her based on one brief meeting. In these scenes, Faust is driven by lust and physical attraction rather than the genuine love he later feels for Gretchen, and his primary instinct is to want to bed Gretchen immediately, telling Mephistopheles, “either by/ Tonight that sweet young thing shall lie/ Between my arms, or you and I/ Will have been together long enough” (I.10.2635-38). These scenes thus show Faust beginning to give into the devil’s ways by sinning. In addition to his lust for Gretchen, Faust also starts the slippery slope toward sin by giving into Mephistopheles’ plan to bear false witness to Martha’s husband’s death. Though Faust first protests this decision, he gives in, lured by the promise of Gretchen’s love and personal glory and going against his own moral code.

When Gretchen is introduced in these scenes, she is defined by her innocence; Mephistopheles recounts seeing her having nothing to confess at confession, and tells Faust that he has “no power over her” (I.10.2626). The emphasis placed on Gretchen’s essential innocence makes it clearer how far she’s fallen when she does start sinning and sets up why she may be redeemed at the end of the play. Goethe also immediately establishes the religious world that she lives in, from her mother giving her jewelry to the priest to Martha and Gretchen telling Mephistopheles that the women in their town do not take lovers. This sets up the stakes for Gretchen’s decision to sleep with Faust and puts it within the broader context of her religious society, foreshadowing the shame and punishment she faces for having premarital relations.

Gretchen’s desire to keep the jewelry—and decision to hide the second batch of jewels at Martha’s house—despite feeling as though there’s something wrong with them, though, also suggests her power to be corrupted when it personally benefits her, despite her essential innocence. Foreshadowing her later sinful actions, Gretchen’s behavior here illustrates her yearning for something more than her current quiet life of poverty, and hints that she would be open to breaking free from what her mother and church believe are best. Martha, though a minor character, also stands in contrast to Gretchen’s mother and their religious society, as she urges Gretchen to keep the jewels and hide them with her and befriends Mephistopheles. Mephistopheles remarks on Martha’s lack of piety, calling her a “proper witch” (I.14.3029).  

Before we meet Gretchen, the scene at the tavern in Auerbach illustrates on a smaller scale the consequences of sins and pleasure, a theme that is later explored in more depth through Gretchen’s storyline. Mephistopheles takes advantage of the men’s gluttony and desire for alcohol to punish them, using it to trick them and make them angry (and temporarily set one of them on fire). This also shows Mephistopheles’ evil penchant for trickery and punishing others, as well as his use of magic, which will recur throughout the play. 

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