Faust in the context of Doctor of medicine


Faust in the context of Doctor of medicine

⭐ Core Definition: Faust

Faust (/fst/ FOWST, German: [faʊst] ) is the protagonist of a classic German legend based on the historical Johann Georg Faust (c. 1480–1540). The erudite Faust is highly successful yet dissatisfied with his life, which leads him to make a deal with the Devil at a crossroads, exchanging his soul for unlimited knowledge and worldly pleasures. The Faust legend has been the basis for many literary, artistic, cinematic, and musical works that have reinterpreted it through the ages. "Faust" and the adjective "Faustian" imply sacrificing spiritual values for power, knowledge, or material gain.

The Faust of early books – as well as the ballads, dramas, movies, and puppet-plays which grew out of them – is irrevocably damned because he prefers human knowledge over divine knowledge: "He laid the Holy Scriptures behind the door and under the bench, refused to be called doctor of theology, but preferred to be styled doctor of medicine". Chapbooks containing variants of this legend were popular throughout Germany in the 16th century. The story was popularised in England by Christopher Marlowe, who gave it a classic treatment in his play The Tragical History of Doctor Faustus (c. 1592).In Goethe's reworking of the story over two hundred years later, Faust seduces a pious girl who then dies by suicide, but after many further adventures Faust is saved from damnation through the intervention of penitent women, including the girl whose life he ruined.

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Faust in the context of Deal with the Devil

A deal with the Devil or Faustian bargain is a cultural motif exemplified by the legend of Faust and the figure of Mephistopheles, as well as being elemental to many Christian traditions. According to traditional Christian belief about witchcraft, the pact is between a person and the Devil or another demon, trading a soul for diabolical favours, which vary by the tale, but tend to include youth, knowledge, wealth, fame and power.

It was also believed that some people made this type of pact just as a sign of recognising the minion as their master, in exchange for nothing. The bargain is a dangerous one, as the price of the fiend's service is the wagerer's soul. For most religions, the tale may have a bad end, with eternal damnation for the foolhardy venturer. Conversely, it may have a comic twist, in which a wily peasant outwits the devil, characteristically on a technical point. The person making the pact sometimes tries to outwit the devil, but loses in the end (e.g., man sells his soul for eternal life because he will never die to pay his end of the bargain. Immune to the death penalty, he commits murder, but is sentenced to life in prison).

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Faust in the context of Anton Kaulbach

Wilhelm Anton Kaulbach (8 August 1864 – 23 April 1934) was a German portrait painter.

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Faust in the context of Mephistopheles

Mephistopheles (/ˌmɛfɪˈstɒfɪlz/ MEF-ist-OF-il-eez, German: [mefɪˈstoːfəlɛs] ), also known as Mephostophilis or Mephisto, is a demon featured in German folklore, originating as the chief devil in the Faust legend. He has since become a stock character appearing in other works of arts and popular culture. Mephistopheles never became an integral part of traditional magic.

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Faust in the context of Johann Georg Faust

Johann Georg Faust (/fst/ FOWST, German: [ˈjoːhan ˈɡeːɔʁk ˈfaʊst]; c. 1480 or 1466 – c. 1541), sometimes also Georg Sabellicus Faustus and known in English as John Faustus, was a German itinerant alchemist, astrologer, and magician of the German Renaissance. He was often called a conman and a heretic.

Doctor Faust became the subject of folk legend in the years soon after his death, transmitted in chapbooks beginning in the 1580s, and was notably adapted by Christopher Marlowe as a tragic heretic in his play The Tragical History of the Life and Death of Doctor Faustus (1588-1592). The Faustbuch tradition survived throughout the early modern period, and the legend was again adapted in Johann Wolfgang von Goethe's closet drama Faust (1808), Hector Berlioz's musical composition La damnation de Faust (premiered 1846), and Franz Liszt's Faust Symphony of 1857.

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Faust in the context of Works based on Faust

Faust has inspired artistic and cultural works for over four centuries. The following lists cover various media to include items of historic interest, enduring works of high art, and recent representations in popular culture. The entries represent works that a reader has a reasonable chance of encountering rather than a complete catalog.

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Faust in the context of Oberon (Weber)

Oberon, or The Elf-King's Oath (J. 306) is a 3-act romantic opera with spoken dialogue composed in 1825–26 by Carl Maria von Weber. The only English opera ever set by Weber, the libretto by James Robinson Planché was based on the German poem Oberon by Christoph Martin Wieland, which itself was based on the epic romance Huon de Bordeaux, a French medieval tale. It was premiered in London on 12 April 1826.

Against his doctor's advice, Weber undertook the project commissioned by the actor-impresario Charles Kemble for financial reasons. Having been offered the choice of Faust or Oberon as subject matter, he travelled to London to complete the music, learning English to be better able to follow the libretto, before the premiere of the opera. However, the pressure of rehearsals, social engagements and composing extra numbers destroyed his health, and Weber died in London on 5 June 1826.

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Faust in the context of Damn Yankees

Damn Yankees is a 1955 musical comedy with a book by George Abbott and Douglass Wallop, music and lyrics by Richard Adler and Jerry Ross. The story is a modern retelling of the Faust legend set during the 1950s in Washington, D.C., during a time when the New York Yankees dominated Major League Baseball. It is based on Wallop's 1954 novel The Year the Yankees Lost the Pennant.

The show ran for 1,019 performances in its original Broadway production. Adler and Ross's success with it and The Pajama Game seemed to point to a bright future for them, but Ross suddenly died of chronic bronchiectasis at age 29, several months after Damn Yankees opened.

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