A Hero for All Seasons? Illustrations for Goethe's 'Faust' and the Course of Modern German History Author(s): Françoise Forster-Hahn Source: Zeitschrift für Kunstgeschichte, 53. Bd., H. 4 (1990), pp. 511-536 Published by: Deutscher Kunstverlag GmbH Munchen Berlin Stable URL: http://www.jstor.org/stable/1482552 . Accessed: 11/11/2014 09:09
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This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions Franqoise Forster-Hahn A Hero forAll Seasons?Illustrations for Goethe's >Faust Illustrationsconstitute one of the most tangible The changingpictorial representations of Faust recordsof a text'scritical reception over the course clearlybespeak two major shiftsoccurring over of history,particularly so when the artistnegoti- time:one in thereading of the narrative structure, ates a considerablespan of timebetween the pro- the other in the perceptionof its contentand ductionof the textand the creationof the image. meaning.The two are closelyrelated both to the However earnestthe attempt to achievea >faithful< textualstructure of Goethe's tragedyand to the transferenceof word intoimage, the artist always historicaland culturalfabric of Germanyat large. bringspictorial conventions into play, not only SinceFaust occupiesa centralposition in modern literaryinterpretation, and, by dint of its imagi- German culture,visual representationsof Goe- nary)surfeit, theillustrationmanifests intricatelinks the's fictionalhero come to embody,again and to the political and culturalfabric of its own again,fundamental aspects as well as specificten- period.Hence, thevisual communication of a text denciesin Germanhistory. From the timeof the is nevermere >translation< of word intoimage, but firstpublic stagingof Faust in 1829,a potential rathera processthat adds a layerof meaning,one reciprocityestablishes itself between the imagery whichmay even defy the text itself. As bothverbal of stageproductions and illustrationsof the text, and pictorialrepresentation are exposed to shifts so much so thatit is oftenimpossible to unravel of interpretation,their interrelationship, too, fluc- the threadsof mutualinspiration. Because of the tuateswith the passage of time. Nevertheless, illus- complexand intricateweb of interconnectionsof trationsvisibly register how a texthas been read text,image, and performance,and theircommon at a specificmoment in history,for images, per- linkagesto the courseof history,the image tradi- haps morepoignantly than interpretative readings, tionsharply articulates profound shifts in the read- mirrorthe changingcultural role that literary ing of Goethe's text. works and theirauthors play beyond theirown The followingessay is notintended as a complete time. Because illustrationsfunction both as aes- surveyof nineteenth-and twentieth-centuryGer- theticartifacts in theirown rightand as a partial man illustrationsto Faust,nor does it considerall visualizationof the literarytext, they assume a the multiplereadings of Goethe's text.Instead, it dual role: as the former,they bring image tradi- attemptsto tracethe visual interpretation of Goe- tions into textualfocus; as the latter,they break the'sfictional character from hesitant philosopher throughliterary conventions and supply visual to nationalhero, and comes to recognize,in the evidenceof a text'scritical reception. The case of end,a radicalreversal of Faust's image in thework Goethe's Faust with the prolificproduction of of Max Beckmann.It is throughthe lense of illus- illustrationsfor the play signalsdramatic shifts in trationthat the political meaningattributed to theinterpretation of thetext, from the Napoleonic Goethe'sFaust comes into sharp focus. Therefore, Warsthrough the phase of unification, the Wilhel- as a case study,this analysis of thevisual portrayal minian Empire, the Weimar Republic, and the ofFaust illuminates the manifold intersections and ThirdReich. No less thanliterary interpretations, transformativeforces which give shape to artistic theseimages testify to the appropriationof Goe- production'. the's textby successivegenerations. Goethe had liberatedFaust fromthe stereotyp- SFora moredetailed analysis of German nineteenth cen- Tragedyor National Symbol?The Interpretationof tury illustrations,cf. Forster-Hahn, >>Romantic Goethe'sFaust in g9thCentury German Art,<< in Our 511 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions ical featuresof the popular medieval legend, trans- place in 18123. Faust, ein Fragment(1790) had been forminghim into a thoroughlymodern man. publishedwith a singleengraving by Johann Hein- Thoughhe was stillenmeshed in magicalpursuits rich Lips (1758- 1817),a frontispiecedepicting and metaphysicalstruggles, Goethe's Faust com- Faustin hisstudy, modeled on an etchingby Rem- binedthe philosophical reflection, the intense am- brandt4.The firstedition of Faust I (18o8)appeared bition,and the emotionallycharged erotic adven- withoutany illustrations.Only afterthe author's turesthat made him an entirelymodern man in deathin 1836was Wilhelmvon Kaulbachcommis- theeyes of contemporary audiences. Yet, through- sioned to design.twelve steel engravingsfor a out the nineteenthcentury, artists who were at- >Prachtausgabe<,or deluxe edition,of Goethe's tractedto Goethe'stragedy continued to resurrect works,but this projectnever came to fruitions. thepopular medieval aspects of thetale, for these Finally,in 1854,it was Cotta who publishedthe had come to symbolizea typicallyGerman tradi- richlyillustrated edition of Faust I, forwhich En- tion. From the momentthe firstillustrations ap- gelbertSeibertz provided the drawings.While it peared, they revealedthat German artistswere took halfa centuryfor a fullyillustrated text to drawingnot onlyon Goethe'stext but also on the appear on the market,artists produced graphic popularfable behind it. To be sure,this contradic- cycles,independent of the text,before the first tion did not escape Goethe, who took a highly public performanceof Goethe's play occurredin criticalposition on thequestion of pictorial repre- 1829. These >picturestories< effectively coined an sentationsof his text,and finallycame to thecon- image of Goethe's Faust long beforetheir hero clusionthat the work was essentiallyunsuited for foundpopular acclaim on stage.The mostsignifi- illustration.In 1805, he wrote to his publisher cant pictorialrepresentations of the earliernine- Cotta: >Den Faust dicht ich, geben wir ohne teenthcentury are Peter von Cornelius's Bilder Holzschnitteund Bildwerke.Es ist schwer,daf zu Goethe's Faust (1816)6, Umrissezu Goethe's etwas geleistetwerde, was dem Sinne und dem Faust. Gezeichnetvon MoritzRetzsch (1816)7, and Tone nach zu einem Gedichtpaft. Kupferund in France,Eugene Delacroix'sillustrations for the Poesie parodierensich gew6hnlichwechselweise. Frenchtranslation by AlbertStapfer (1828)8. Ich denkeder Hexenmeister soll sichallein aushel- Cornelius'scrisp engravingsgained importance fen<<2.Despite his own convictionthat Faust thatthe young artistcould neverhave imagined shouldnot be illustrated,Goethe himself executed whenhe undertookhis timely project. In i8ii,three severaldrawings for Faust L He did not,however, years afterthe publicationof FaustI, Cornelius intendthem to serveas >illustrations<,but rather executedthe first seven drawings while still resid- as sketchesfor a stageproduction planned to take ing in Frankfurt;he completedhis cyclein Rome Faust?Roots and Ramificationsof a ModernGerman tographicreproductions published by Bruckmann; cf. Myth,Monatshefte, Occasional Volumes 5 (Madison: Neubert, 1932,245; Wegner, 1962,79; Popitz, 1983, 170 The Universityof WisconsinPress, 1987), 82-123. and172. Cf. Fritzvon Ostini: Wilhelm von Kaulbach, 2 Goethein a letterto Cotta,quoted from Neubert, 1923. Bielefeldund Leipzig 1906, and Evelyn Lehmann and VI. ElkeRiemer: Die Kaulbachs.Eine Kiinstlerfamilie aus 3Cf. Forster-Hahn,in Our Faust?,83. Arolsen,Arolsen, 1978. 4 Neubert,1932, ill. p. 3;Wegner, 19, 41; Rembrandt's print 6 Bilderzu Goethe'sFaust von P. Cornelius.Gestochen had been identifiedas Faustsince the eighteenth cen- vonF. Ruscheweyh.Franckfurt am Mainbey F. Wen- tury,providing the model for numerous successive rep- ner,i816. For a criticalassessment ofCornelius' prints, resentationsof Faustin his study. cf.Alfred von Wolzogen: Peter von Cornelius, Berlin 5As earlyas 1836,Wilhelm von Kaulbachhad beencom- 1867;Hermann Riegel: Peter Cornelius. Festschrift zu missionedby Cotta to executetwelve drawings for steel des grossenKiinstlers ioo. Geburtstage,Berlin 1883; engravingsto illustratea >Prachtausgabe 512 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions duringthe autumnof thatyear. The entiresuite gorization.Cornelius distinguishedbetween the oftwelve scenes, including the title page, appeared protagonistsof the play by castingMephistopheles fouryears later, in 1816.The moststriking features with the conventionsof an emblematictradition of Cornelius's conceptionlie in his consistently whileconstruing Faust according to a modernpsy- neo-medievalsetting, his focus on the narrative chologyof character,yet framingthe encompas- elementsof Goethe's text,and, within this frame- singscenes in theperiod setting of a fictionalGer- work, his highlypersonal definition of the rela- man middleages. tionshipbetween Faust and Mephistopheles.Not The dramaticdominance of Faust comes into once does the artistallude to the broodingold even sharperfocus in the crucialeleventh scene, Faust in his study,the only image that had accom- Der Ritt(Faust I, 4399-4404: fig.i), in whichCor- paniedthe 1790 edition of Goethe's Faust, ein Frag- nelius poignantlyarticulates the relationshipbe- ment.Instead, Cornelius devotes half of his series tweenFaust and Mephistopheles.The picturerep- of imagesto thetragedy of Gretchen.In the sixth resentsFaust and Mephistopheles>speeding on- in >Marthe'sGarten< ff: scene, (FaustI, 3073 fig.I4) wardon blackhorses around the ravenstone<. Cor- wherethe four figures of Faust, Margaret, Mephis- nelius's Faust is a self-possessedand virilefigure topheles,and Marthaare united, the artist tellingly whose imperious expression and commanding pictureshis readingof Goethe's text:the setting, gesturebelie the horror Goethe's character experi- architecture,and costumesevoke a medievalGer- enced in the face of the dreadfulgallows scene, many,with the two couples secludedin a walled and the deeplydisturbing question he mustask: garden.Faust, in the guise of youthfulknight, is ?>Was weben die dort um den Rabenstein?< Cornelius.Eingeleitet von AlfredKuhn, Berlin1920; bertStapfer. Ornee d'un Portrait d'Auteur et de dix- Alfred Kuhn: Peter Cornelius und die geistigen septDessins composes d'apres les principales Scenes de Stromungenseiner Zeit, Berlin 1921; Felix Salomon: Die l'ouvrageet executessur Pierre par M. EugeneDela- Faustillustrationenvon Corneliusund Delacroix,doc- croix,Paris 1828; see also F. Salomon:Die Faustillustra- toraldissertation, Wiirzburg 1930; and, Maria-Luise von tionenvon Corneliusund Delacroix,Wiirzburg 1930; Graberg:Die Nibelungen-Illustrationenvon Johann GiinterBusch: Eugene Delacroix: Der Tod des Valentin, HeinrichFiissli und Peter Cornelius, doctoral disserta- Frankfurta. Main 1973; for a discussionof Delacroix's tion, Berlin 1970. sources,cf. Guinevere Doy: >>Delacroixet Faust,< 513 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions i. Petervon Cornelius.Der Ritt.From: Bilder zu Goethe'sFaust von P. Cornelius.Gestochen vonF. Ruscheweyh. 1816.Diisseldorf, Goethe-Museum ficationof evil who exercisestotal controlover thetext, and also embeddedthe story in a gloomy the entirescene. ApproachingGoethe's Faust as setting.In his attemptto picturethe subjective an >outsider<,largely unburdened by the heavy and irrationaldimensions of Faust, Delacroix went layersof historical and culturalmeaning that Faust farbeyond mere illustration of Goethe'snarrative. signifiedfor the German audience, the French art- Goethemust indeed have sensedthe close affinity istcould turn his attention to thedarker, the super- thatDelacroix exhibited for the >poetic< sensibility naturaland irrationalsides of Goethe'swork. For and >romantic 514 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions 2. EugeineDelacroix. Nacht, Offen Feld. Lithograph. From:Faust. Tragidie de M. de Goethe,traduite en frangais par M. AlbertStapfer. 1828.Diisseldorf, Goethe-Museum fafitund einen unruhigstrebenden Helden mit time. The clarity,even flatness,of these simple gleicherUnruhe des Griffelsbegleitet hat". line drawings,their lack of any shading- literal With his line-engravingsfor FaustI (1816)and or metaphorical- emptiedthe depictedevents of Faust II (1836),Moritz Retzschfollowed the style all internaland externalconnotations. Despite this of printcycles of Homer's Illiad and Odysseyby shallowness,Retzsch's prints achieved enormous Flaxmanand the brothersRiepenhausen, produ- popularitywell beyond Germany,and servedas cing a pictorialnarrative accompanied only by models for subsequentgraphic and theatricalin- subtitlesand briefexplanatory comments in the terpretationsin both England and Francelz. If preface.The edition of 1837, consistingof both Retzsch's Umrissezu Goethe'sFaust functioned FaustI and FaustII, was illustratedwith the most primarilyas a patternbook forthe canon of stan- completeset of imagesto Goethe's textup to that dard illustrations,it was Cornelius'shistoricizing " Goethe,in Schriftenzur Literatur,regarding >>Faust, 12 Retzschincluded in hispictorial sequence two scenes Tragediede Monsieurde Goethe,traduite en franqais whichbecame an integralpart of all later illustrations: parMonsieur Stapfer, orn&e de XVII dessins par Mon- Faustin his study and Margaret atthe spinning wheel; sieurDelacroix,<< in GoethesWerke, XII, Hamburg cf.Forster-Hahn in Our Faust?, 87. I96o,354-356. 515 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions Gretcheninto the centerpieceof his pictorialse- quence. Significantly,Cornelius omitted any ref- erenceto Faustas an introspectivescholar, casting himinstead in thepowerful role of Mephistophe- les's equal - if not superior- counterpart.This rupturewith Goethe's textmarks the beginning of the processthat transformed Faust froma ro- manticallysoul-searching and world-exploring subject, with his virtuesand failings,into the heroicembodiment of nationalidentity. Cornelius's pervasiveneo-medieval setting im- mediatelysignified to itsaudience a typically>Ger- man '3 Riegel,Peter Cornelius, 1833, 31. andhe continuesto describeFaust in comparisonto 4 Wolzogen,1867, 16: >>Es zeigt sich keine Spur von thefigure of Mephistopheles: ... ?wenn dieselbe nicht grauenvollemEntsetzen in dieserritterlich-straffen neben jenem olympisch blickenden Faust allzusehr Gestalt,die vielmehr mit imperatorischem Trotz dem einschrumpfte.< 516 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions I 121 I_1 4. AlexanderLiezen Mayer. Studierzimmer. Wood engraving.1876. From: Frenchedition, Paris, 1878. Diisseldorf,Goethe-Museum describedthem's, Engelbert Seibertz's steel en- to pave the way with his interpretationof Faust gravingsfor Cotta's richlyillustrated editions of as a man of bold gestures.Kaulbach's numerous FaustI and FaustII of 1854and 1858,6mark the pictorialrepresentations of Goethe'sworks, espe- turningpoint in the transformationof Faust into ciallyhis Goethe-Gallerie,had the dual effectof a truly Germanic hero. During the Vormirz popularizingGoethe for a wide Germanaudience period,Wilhelm von Kaulbachhad alreadybegun and moldingthe imageof his fictionalcharacters 15Goethe first learned about Cornelius's drawings hatman so oftdarzustellen gesucht, ich halte aber dafiir, throughBoisseree in May 1811when the artist had com- daftes wenigfiir die bildendeKunst geeignet ist, weil pletedonly part of his cycle.Whereas Goethe praised es zu poetischist. Retzsch hat mehr das wirklichDar- the >>geistreicheBehandlung<< in a letterto Cornelius zustellendeergriffen<<, quoted fromNeubert, 1923, in May 1811,he judgedthe engravingsharshly in 1828 IX-x. when he discussedCornelius's art with the painter 16Goethe, Faust. Eine Tragddievon Goethe.Mit Zeich- Stieler;>>Er m6ge den Corneliusschen,Faust< nicht nungenvon EngelbertSeibertz. Zwei Teile,Stuttgart leiden,..., er sei ihmzu altdeutsch... Dieses Gedicht and Tiibingen1854 and i858. 517 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions dictthe very state of reflectionand introspection. This subversionof the pictorial convention signals bernnodtunb trora)kbiccut O5c4tbie wirtrdca4ftboc fo c. - thatthe scholarwas only a >pupa< fromwhich a Zber aber abcr abcr, strong-willedman of action emergedovernight. Kaulbach'sstudent Seibertz went yet a stepfurther when he endowed Faust with the featuresof a blond Teuton, an iron-willed>man of action< (FaustII, 4, Ioo39ff:fig. 16). Seibertzinvented a highlynationalistic image of the Faustian hero that servedas a model for nearlya century,gaining specialcurrency during the periods of theWilhel- minianEmpire and theThird Reich. In 1900,Alex- \\\" ander Tille summarizedthe nationalisticrefash- ioningof Faust when he claimedthat ,erst Seibertz hat den rabenhaarigenChristuskopf des Berliner Faust ins Blonde, Germanischeiibersetzt, ihn dadurchseiner deutschen Abkunft zuriickerobert JertFoenmt ntr Stiliio.r und ihnwirklich zum geistigenNationalheros des deutschenStammes gestempeltis. The nationalistic makeoverof Faust parallels the contemporary ten- denciesin the readingof Goethe's drama.In his of to GustavNehrlich's r"aimlid bicfer %ccfiticr preface 1864 Zeichnungen tl'ierFitfcon liwngftmni Opclbbegicr nach Goethe's Faustzo, Heinrich Diintzer sug- 2luf ben Gottlicb fcittermigacn, wo gestedthat the essentially German character of the 3cnllenb:,,2td?, tricg id? Zir?" literarywork held a strongattraction for artists: >>Ein Werk von so wunderbarerAnziehung, so 5. WilhelmBusch. Pater Filucius. tiefemGehalt, wie die reicheWelt des Goethe- From:Pater Filucius. AllegorischesZeitbild. schen >Faust<,worin deutschesLeben, deutsches 1872.Diisseldorf, Goethe-Museum Sinnen und Fiihlen so ergreifendsich spiegeln, mufitevor allemden bildendenKiinstler michtig anregen...<<2I. Seibertz, in particular, had relocated Faust froma vaguelyspiritual and metaphysical forseveral future generations'7. In his illustration realm into the materialworld of contemporary As the Goe- of Faust in seiner StudierstubeIs(Faust I, 355ff: politicalrealities. centuryprogressed, fig.3), the artistinscribes into his portrayalof the the's text was read in ever closer rapportwith old Faust thefeatures of concentratedenergy and contemporarypolitics. The Kulturkampfwith its dominance:although Faust, sitting at his lectern, vicious anti-clericalism- chieflydirected against is cast in the traditionalcontemplative pose, his theJesuits - added a new subtextto the illustra- fiercelydetermined mien and clenchedfist contra- tionspublished during the 1870sand I88Os.When '7 In 1906, Ostini characterizedKaulbach's Goethe- '9 Tille,Westermanns Deutsche Monatshefte, 88, 1900, 769. Galerieas a culturalicon: KaulbachscheGoethe- zo Subscriptions-Einladungzur GustavNehrlich's Zeich- Galeriewar in den sechziger,Dieund siebzigerJahren ein nungennach Goethe's Faust. Mit erliiuternden Worten Kulturrequisit,das ... damals in keinem >besseren von HeinrichDiintzer, Coblenz n.d. [1864], no pagina- Hause< fehlte.< ~i8 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions 6. Petervon Cornelius.Nach demKirchgang, from: Bilder zu Goethe'sFaust von P. Cornelius. Gestochenvon F. Ruscheweyh.i816. Diisseldorf,Goethe-Museum AlexanderLiezen Mayer,a studentof Piloty, illus- poraryissues in some of theirmost popular man- tratedFaust I withfifty compositions (1876)22, he ifestations,the artistunabashedly conveyed his depictedFaust in his studywith Mephistopheles partisanshipwith Bismarck's politics enforcing an as the glib agentof evil in the guise of a Jesuit. explicitlynationalistic reading of Faust as an agent The model forLiezen Mayer's Mephistophelesis of German power. This dislocation of Faust readilyfound in WilhelmBusch's Pater Filucius broughtpictorial representation ever closer to the of 187223,a scathingcaricature of the avaricious trajectoryof Germannationalism. >>Jesuiter< 22 JohannWolfgang von Goethe,Faust. Eine Tragodie. S3Wilhelm Busch: Pater Filucius. Allegorisches Zeitbild, ErsterTheil. Illustrirt in 50oCompositionen von Alex- 1872.Busch's Die frommeHelene datesfrom the same ander Liezen Mayer. Mit Ornamentenvon Rudolf time. Cf. Gordon Craig, Germany 1866-1845, New Seitz,Miinich 1876. York, 1978, p. 74. 519 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions 7. FranzStassen. Kirchgang, from: Faust. Eine Tragodievon Goethemit 163 Federzeichnungen. n. d. Diisseldorf,Goethe-Museum ...... Franz Stassen,a memberof the >Werdandibund<, publishedhis illustrations for Faust I and FaustII, based on an It -?I outspokenly>v6lkisch< ideology24. comesas no surprisethat Stassen's images of Faust as a blond, Germanichero, a man fulfillinghis nationalmission through titanic deeds, were re- publishedin 193425.Both Seibertzand Stassenalso illustratedFaust II, and it is in some of theseim- ages that Faust becomes the role model for the enterprisingpioneer in the period of Germany's mostrapid industrial expansion between 1871 and 1914.Stassen's rendering of the Philemon and Bau- cis episode turnsinto an allegoryof colonial en- deavor, the >highmountains scene< (Faust II, 4, Ioo39ff:fig. 17) intoa platformfrom which Faust broadcaststhe worldly mission of an all-conquer- ing Germanichero. This insistentlyGermanic reading of Faust has continuedto informpictorial interpretations of the dramain the twentiethcentury. Stassen's im- pact was especiallypervasive in the picturingof :i Faust and Margaret,be it in thescene of theirfirst I'~i~seh, lic~E~D~G~i~C~u~,.!t~ in the arbor, or in room. ~IC~~aR~. ~I~P~L~I~IE~; *3..~ ~ meeting, Margaret's While Cornelius had integratedFaust and Mar- garet comfortablyinto the urban settingof a northern medieval town (FaustI, 2605-2606: i 24Faust. Eine Trag6dievon Goethemit I63 Federzeich- .. I I I' nungenvon Franz Stassen, n. d.; Faust.I2 Zeichnungen zum II. Teilevon FranzStassen, Berlin n. d. [1902]; this I. is a pictureportfolio without text, published in the series Teuerdank.Fahrten und Trdume deutscher ~.'1.F9i a Maler,22. Folge. z5Faust. Eine Trag6dievon Goethemit I63 Federzeich- .I nungenvon FranzStassen, Berlin 1934. I 'I '' i -F r 'i 8. ErnstLiebermann. Strasse, from: Goethes Faust, lie ErsterTeil. 1907.West Berlin,Staatliche Museen ~JV~eU?e~~LI~L~ 1Y? ?;I?1+ PreuifischerKulturbesitz, Kunstbibliothek 520 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions 4r.~I.?.~. A.4Alf. IcIi ..... -ail 51. ...... 9. Petervon Cornelius. Title page forScenen aus Goethe'sFaust in acht lithographischenBildern nach der Ausgabe des FiirstenAnton Radziwill. 1835. Diisseldorf,Goethe-Museum fig. 6), Stassen, and later Ernst Liebermann26, structthe conventional gender roles of nineteenth- furtherintensified the teutoniccharacteristics of centurybourgeois society. the couple (FaustI, 2605-2606:figs. 7, 8). They Ultimately,the identificationof Goethe's Faust croppedthe urban scenery down to thetwo main with the hero of German national destinyalso figures,and therebyfocussed on thevalues of inti- shaped the image of the author.Goethe, so long macy and Innerlichkeitin the protagonistis.The overshadowedby Schilleras the nation's >first< two figuresin theirnorthern costumes - discon- poet, ceased to be portrayedas the meditating nectedfrom their environment and pressedto the intellectand graduallyassumed heroic propor- very edges of the frame- gain a specificitythat tions in conjunctionwith the transformationof farexceeds the >gothic< fairytale ambience of Cor- Faustfrom doubting scholar to strong-willedman nelius'spictures. The virileFaust and demure Mar- of action. For Anton Radziwill'sFaust of 183527, garet,portrayed in such a mannerand setting,at Petervon Corneliusrendered Goethe in thetradi- once evokea Germantradition of feeling and con- tionalpose of a man immersedin thought,as the 26 GoethesFaust. ErsterTeil. Mit Bildernund Buch- Berlin1835: several artists produced drawings for this schmuckvon ErnstLiebermann, Hamburg 1907. seriesof lithographs;the titlepage, with a lithograph 27 Scenenaus Goethe'sFaust in achtlithographischen Bil- by Hosemann,was designedby Cornelius. dernnach der Ausgabe des Fiirsten Anton Radziwill ..., 521 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions _... .. _. _ ?- lk? 4<- ali J.-lk ?i4F IB~jo~ vcVb.PSKIrinrf ? .fff4K-&r?ipU F io. FranzStassen. Title page from: Faust. 12 Zeichnungenzum II. Teile.(1902). Diisseldorf,Goethe-Museum poet at workin theseclusion of his medievalstudy genius is completelyseparated from the cameo (fig.9). Cornelius's Goethe is set apartfrom his figuresof Faust and Mephistopheles(fig. io). By fictionalcharacters by means of the architectural fashioninga likenessof thepoet in themanner of >frame 522 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions ___j? "" i," i 1~- 4 ~? il"i~ 4 E~S ~-j I , ; :i: i s~ ~~ I:r ?, 1. * 1 1 ?; i .~. i ?I li? icii' is~ ?~5:L 'r '?? ;)"ti~Y- I ? c~F. ?: ?!r, =T?:*'; ?, I i * c: I 1 r ;~i. . ?':. ~~9~1~4BPC~-~.~F~L ..Li~PIJWSI;:' I_:. a i r ~' I * + li~-r ? I~ ~ la a ~ ~tr ?, ?:I" *e~" ;I w 7? n 'I' rr9 ??? ,d I i i i II. Oskar Graf.Grablegung, from: Faust eine Tragodievon Johann Wolfgang Goethe. Ersterund Zweiter Teil. 1923. WestBerlin, Staatliche Museen Preufischer Kulturbesitz, Kunstbibliothek thefeatures of the himself and Max fromthis na- poet (FaustII, 5,II6o4ff: Slevogtdeparted radically fig.11)28. Here, the portraitof the creatormerges tionalistinterpretation of the text. The socialcritic withthe imageof his creation.While the inscrip- Hubbuch relocatedFaust I into a contemporary tion of Goethe's personalfeatures into those of proletariansetting (Faust I, combiningseveral of his fictionalcharacter effectively blurs the bound- the sceneswith Gretchen:fig. 12). Publishedpri- aries between historicaland fictionalspace, the vatelyin an extremelysmall edition, this portolio poet - disconnectedfrom his historicalpersona - is in the role of pictured mythicalgenius. Fausteine von Goethe.Er- the numberof editionsof i8 Trag6die JohannWolfgang Among large luxury sterund zweiterTeil. Mit 39 Originalradierungenvon theI920s, onlythose illustrated by Karl Hubbuch Oskar Graf,Ziirich and Leipzig1923. 523 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions .. ! i...... FP:: itx .r N .r;N. % N.. ...... ~~ ...... j~i?~f ...... %? ?? il~I~]E~~ Tc Nr4?? : ...... N...... ,. ? ! 7 'i ...... i ii? i ..... ',!, . 12. Karl Hubbuch. Garten,from: Faust. io grofieund 4 kleine Originalradierungen.2nd ed. 1967. West Berlin,Staatliche Museen Preutiischer Kulturbesitz, Kunstbibliothek of etchingsz9challenges Faust's fitnessas national tive,Hubbuch adopted thejarring juxtapositions symbolfor the first time. Not onlyin hisprovoca- and displacementsof contemporaryexpressionist tive interpretationof Faust,but also in his break films,employing the techniqueof montage,com- withpictorial conventions, the artist articulates his biningseveral motives within a single composi- radicalcritique. While Arthur Kampf's illustration tion,and juxtaposingindividual scenes with frag- of Martha'sgarden (published in 1925,only a year mentaryparts of otherimages. Since all narrative afterHubbuch's portfolio)3o,harked back to Cor- coherenceof timeand space has been suspended, nelius (FaustI, 3073ff:figs. 13, 14), the modernity the world is plunged into a state of chaos not of Hubbuch's imagerygave a special edge to his unlikethat of the theater of theabsurd. This illog- critique.Instead of constructinga coherent narra- ical structuredefies not only traditionalpictorial 29 KarlHubbuch, Faust. iogrosse und 4 kleineOriginalra- derKunst des 20.Jahrhunderts, Frankfurt a. Main1982, dierungen.Abziige von den Originalplattenaus den 62-63and Popitz, Von Odysseusbis FelixKrull, 1983, Jahren 1922 - 1924,Munich 1967. This postwar edition 7/17. of ioo, editedby RichardHiepe, is based on thefirst 30oFaust eine Tragodievon Goethe.I und II. Mit Ra- editionof fivecopies datingfrom 1924; cf. Goethein dierungenvon ArthurKampf, Berlin 1925. 524 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions 13. ArthurKampf. Marthens Garten, from: Faust eine Tragodievon Goethe.I und II. 1925.West Berlin, Staatliche Museen Preufischer Kulturbesitz,Kunstbibliothek >order 31Max Slevogt,Goethes Faust. Zweiter Teil, Berlin 1927. Kunstdes 20.Jahrhunderts, Frankfurt a. Main 1982,64- Theportfolio in the Kunstbibliothek, without text, con- 81and Popitz,von Odysseusbis Felix Krull, 1983, 7/16. tains510o lithographs and 11 etchings;cf. Goethe in der 525 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions F ?? T ~ ....~ ~ . :] ' ...... -...... :. :%:'-i .-..??a 7.;/'i m- :.~-.~;~~-;:1.:--.. !,M.K :-' i! ! .,?c...-, _"fi _S .. i~.j ?!--y1 ;??c W,, t...... - \ "lp" ? .: -: .. . , ------jr. . "-; " ..r ii. ... ,.i -i '----,-"...' 'j 7 . ? -- ,= , iA, ''I .. .% . ,. . - , -- -3 ?. )...... '" , _"1 .. 14. Petervon Cornelius.Marthes Garten, from: Bilder zu Goethe'sFaust von P. von Goethe-Museum Cornelius.Gestochen F. Ruscheweyh.1816. Diisseldorf, theater,but theyalso enunciatea highlypersonal missionof Germany.His Faust, deeply marked readingof Faust's character.Slevogt seems to be by frailtyand introversion,literally turns his back the firstGerman artistof the twentiethcentury upon both the viewerand the man of action,ex- to depictFaust in his old age as an isolated,lonely pressinghis aversionto thetheatrical posturing of figure,a frailold man reckoningwith his failure Stassen'sillustrations (Faust II, 5, 11378ff:fig. 18; and guilt. In particular,his Faust ,in the high and, Ii475ff:fig. 19). mountains< Afterthe demise of theThird theold and (FaustII, 4, Ioo39ff:fig. I5) betrays Reich, melancholic soul-searching rather than the oftenrepressed question of Faust's guiltand re- assurednessof action,an image of introspection demptionpressed itselfanew upon graphicand ratherthan of Nordic heroics,as in Seibertz'sand theatricalvisualizations. Already during the Sec- exiledMax Beckmann Stassen'splates (FaustII, 4, Ioo39ff:figs. 16, 17). ond WorldWar, the posed Slevogt'spersonal vision of Faust as a tragicrather thevery questions that would dominatelater read- than a heroic figurebreaks completelywith the ings of the text.Commissioned by Georg Hart- popular identificationof Faust and the national mann of the Bauersche>Giesserei< in Frankfurt, 526 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions . e . . -. -. " ; - .. . .. , . -,. i0 , . .'. . . 1 4 01, ... 4. i:? .f M -2H "w " i " i:: .n ,- ,.. . - . , -, ,.. . .. , . , ... -...... ,, . : ,- ... i,??1, :: ~~ .~~~~~. . ..i:.;; .. , .. ..;: . \.., , 15. Max Slevogt.Faust im Gebirge,from: Goethes Faust. ZweiterTeil. 1927.West Berlin, Staatliche Museen PreuIischer Kulturbesitz, Kunstbibliothek Beckmannproduced over i5o pencildrawings for pictorialconception challenge, but also radically FaustII in Amsterdambetween 1943 and 1944. reverse,all nationalisticand heroicinterpretations Theywere published only in 1957,seven years after of his own time.While the nationalisticreading theartist's death, and thenin a verysmall edition3z. thathad prevailedin hisnative country for so long Beckmann'sunderstanding of the dramaand his was now raisedto itsmost strident pitch in fascist 32 MaxBeckmann, Goethe. Faust IL Teil,Hamburg, 1957. finisheddrawings were only publishedin 1984,Max Thisfirst and partial edition appeared in the small edi- Beckmann,Illustrationen zu Faust II. Federzeich- tionof 850 copies; for the first complete publication of nungen- Bleistiftskizzen.Interpretation von Rike Beckmann'sdrawings in the original size and with the Wankmiillerund Erika Zeise, Munichand Miinster artist'sreferences toGoethe's text, cf. Faust. Der Tragdi- 1984;cf. Goethe in der Kunst des 20. Jahrhunderts, die zweiterTeil mit 143Federzeichnungen von Max Frankfurta. Main 1982, 82-114 and Popitz, Von Odysseus Beckmann,Munich 1970; the pencilsketches for the bis FelixKrull, 1983, 7A8. 527 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions i "" : ,f i. le i~i. WZ:' If .. " _..I ..'". I! ,,.,ii . .. , 16. EngelbertSeibertz. Hochgebirge, from: Faust. Eine Trag6dievon Goethe.Zweiter Teil. I858. Diisseldorf, Goethe-Museum. 17. FranzStassen. Hochgebirge, from: Faust. Eine Tragodievon Goethe. n. d. Diisseldorf,Goethe-Museum propaganda,Beckmann, in his Dutchexile, gave away fromFaust the last vestigesof a national himselfover to a newand probing exploration of symboland excavatedfrom the text precisely those a textwith which he was, of course,intimately aspectsthat Germanic mystification had so assidu- familiar.He approachedthe taskof illustratingously suppressed. Faustwith an independenceand energyreleased Beckmannfashioned his powerfulimages at a by theperilous instability of his dailyexistence. fatefulintersection of biographyand politicalcir- Deeply scarredby the experienceof Hitler's cumstance.His recognitionof Faust's unavoidable falsely>Faustian< plans for Germany and person- guiltdid not inhibithim fromattributing to Me- allyvilified by theregime that persecuted him as phistophelesemotionally intense, deeply human a >degenerate 528 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions . 30% N.":.ki...... Am~*`?:;i?; - j ILL y- ZI, 1/ ]hi Cr verIhertfl( immertiefer, ftebetaUelinge fciiefer, fc4 unbanbre kfatig bridenib, 12temOclenb unb erftidenb; nict erftidtunb obne eeben, nim?tverbreifeInb, nid?t ergeben. Go ein unnauNfatfam9iToen, fc~meratic??affen, toibrig eoUen, 18. Max Slevogt.Die Sorge,from: Goethes Faust. Zweiter Teil. 1927. West Berlin,Staatliche Museen Preufischer Kulturbesitz, Kunstbibliothek. 19. FranzStassen. Faust, die Sorge, from: Faust, eine Trag6die von Goethe. 1934edition. West Berlin, Staatliche Museen Preuflischer Kulturbesitz, Kunstbibliothek complementarityholds the key to hisreading of Faustand Mephistopheles. The artist's own phys- thetext and to hiscreation of a modernallegory iognomy,and hence his identity, are ever-present of goodand evil. As Beckmannsuperimposes the in theseillustrations. Beckmann's self-identifica- profileof Mephistopheles over Faust's face, both tionwith the pair, rather than with one or another patternedafter his own features, he presents him- of thetwo protagonists, culminates in thefigure selfin a graphicoverlap of physiognomies that is of Faustin hisold age(Faust II, 5,Ix151ff: fig. 21), alsoa cypherfor his moral dilemma. The contours or inthat of Mephistopheles mourning the loss of of eachidentity emerge only from the counter- Faust'ssoul (Faust II, 5,11825ff: fig. 29). An atten- playof their difference. In lending his own features tivestudy of Beckmann'sillustrations, one that to bothFaust and Mephistopheles within a single extendsbeyond their precise relationship to Goe- image,Beckmann conflates his graphicstrategy the'stext to embrace the full scope of iconographic withhis message: through a portrayalof twoin- traditions,fully reveals the distance Beckmann has separablecharacters as necessaryparts of one con- won fromany historicizingconventions or na- figuration,herealizes in his image the ambivalence tionalideologies. In a comparisonto Stassen's and dualityinherent in therelationship between (Faust II, 5, II378ff:fig. 22) or Kampf's(Faust II, 529 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions zo. Max Beckmann.Finstere Galerie, from: Goethe. Faust.II. Teil. 1957.West Berlin, Staatliche Museen PreugischerKulturbesitz, Kunstbibliothek zi. MaxBeckmann. Faust im htchsten Alter, wandelnd, nachdenkend,from: Goethe. Faust. II. Teil.1957. West Berlin,Staatliche Museen Preugischer Kulturbesitz, Kunstbibliothek 20 22. FranzStassen. Die grauenWeiber, from: Faust. i2 Zeichnungenzum II. Teile. 1902. West Berlin, StaatlicheMuseen Preugischer Kulturbesitz, Kunstbibliothek 23. ArthurKampf. Offene Gegend, from: Faust eine Tragddievon Goethe.I und II. 1925.West Berlin, Staat- licheMuseen Preugischer Kulturbesitz, Kunstbibliothek 24. Max Beckmann.Die viergrauen Weiber, from: Goethe. Faust. II. Teil. 1957. West Berlin,Staatliche MuseenPreuiischer Kulturbesitz, Kunstbibliothek 25. Max Beckmann.Die dreiGewaltigen, from: Goethe.Faust. II. Teil. '957. WestBerlin, Staatliche Museen Kunstbibliothek 21 PreuiischerKulturbesitz, 530 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions ia~ ... ___.-7 ~~~~ ...... s~ ?..".------~ S---- B ~ ' i ' ";ti -1:.< ,! i~?? i C 1? s~R?~~L~; ~i.Y...:-.-i ?~~~~~~~~ ;,.iih /,, 22 24f : 1--<;;-?;:: ? ? " . . .,,. .=~~- ... -..., ...... ~E ~ 3Ir i L: ...: . ::S". ,?r r, 2 25 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions 26. ArthurKampf. Die dreigewaltigen Gesellen, from: Fausteine von I und West . ;. Tragodie Goethe. II. 1925. Berlin,Staatliche Museen Preugischer Kulturbesitz, Kunstbibliothek 5,io43ff: fig. 23) depictionsof the old Faust,Beck- visionof the ff: ?a, i mann's >greyhags< (Faust II, 5,I378 fig. 24) makes for a particularlystark contrast. Beckmann'shighly fragmented yet cogentdraw- ingsexcavate the psychological and spiritual,while Stassen'sand Kampf'shierarchical images merely conjurethe figments of power,as in the looming incarnationof the old Faust, who clingsdesper- atelyto commandover his worldlycreation. By . . . transferringthe conflictfrom the materialworld to thepsychological and, ultimately, metaphysical realm,Beckmann breaks the yoke thathad forced Faust into servitudeto Germannationalism. This does notmean, however, that no connection exists between the concrete historicalcircum- I~t stancesof theartist's own conditionand his inter- pretationof Goethe's text.Throughout his suite ....1 of drawings,Beckmann mediates between the externalityof historical existence and theinternal- ity of artisticimagination. The extentto which thisinterconnection finds its roots in the experi- ence of his own lifeis in two ,. ., particularlyapparent .. - instances:when he attributesthe features of Hitler and Goeringto the >threemighty ones< (Faust II, 4, io323ff:fig. 25), a group thathad been figured as aggressiveTeutonic mercenaries(Faust II, 4, 1o323ff:fig. 26); and,in hisreading of the Philemon and Baucis episode (FaustII, 5, io43ff: fig. 27). Ever sinceSeibertz used the episode of Philemon and Baucis as a symbol of imperialistendeavor 27. Max Beckmann.Philemon und Baucis zeigen dem Wandererden von Faustgeschaffenen Streifen Land, from:Goethe. Faust. II. Teil.1957. WestBerlin, StaatlicheMuseen Preufischer Kulturbesitz, Kunstbibliothek 532 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions --~f~ jr ~I~F~Plf~Y' ti ~-~i~Z ~E~i~-~8 ?il: IT~~LbT d f I?t~ ' i~FUo~ iP3rtr~ 'I +e 1. I C~" I .kr ;r ' X~ 5 a i 3 f;;;, '"~:~ :Ai .I' .i ~' r ii; ~-~1 2 ?k~i; 28. EngelbertSeibertz. Faust. Mephistopheles. Die dreigewaltigen Gesellen.Prachtiger Kahn, reich und bunt beladen mit Erzeugnis- senfremder Weltgegenden. From: E. Seibertz.Eine Tragodievon Goethe.IL . 858.Diisseldorf, Goethe-Museum. (FaustII, 5, III67ff: fig. 28), it had helped artists The impactof Beckmann'sdrawings on readings defineFaust as the>Mann der Tat< intent on fulfill- of Faust afterthe Second World War should not ing his national destinyin an age of industrial be underestimated,even though their first publica- expansion and political hegemony.In a sharp tion occurredonly in 1957,a year beforeGriind- breakwith this tradition, Beckmann instead iden- gens' productionof FaustII in Hamburg. The tifiesPhilemon and Baucis withthe contemporary strongvisual affinitiesthat exist betweenBeck- fate of the Jewishpeople. He reversesreceived mann's illustrationsand Griindgens'sinterpreta- meaningand uncoversutterly destructive forces tionof Mephistopheles - notto neglectthe shaping in Faust's mission. ofhis relationship to Faust- seemto go farbeyond 533 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions merecoincidence. The highlyemotional qualities of Beckmann'sMephistopheles, especially in the scene where he mournsthe loss of Faust's soul (FaustII, 5, 11825ff:fig. 29), may have inspired Griindgens'sconception as well as his mask33 (FaustII, 5, 11825ff:fig. 30). In Ernst Schr6der's 1966Berlin production of FaustII at the Schiller- theater,Faust and Mephistopheleswore identical costumes;and, both Klaus MichaelGriiber's stag- / ing in the Salpetrierein Paris of and Claus I I975 // Peymann'sStuttgart productions of 1977expose failureand guilt,destruction and defeat,rather than creation,heroic action, or nationalmission. Goethe's scenein themountain has t// closing gorges 1 oftenbeen omittedfrom postwar stage produc- tions,and the significanceof Faust's redemption , I -k has givenrise to controversyin recentGerman 'l literarycriticism. Beckmann closed his cycle of drawingsnot with his deeply personal view of Faust's redemption,but witha compleximage of thefall of man.In theiressence, then, Beckmann's illustrationsto Faust II, produced at an extraor- dinaryjuncture of historical,biographical, and ar- 29. Max Beckmann. um FaustsSeele betro- Mephisto tistic foreshadowthe new of gen, from:Goethe. Faust. II. Teil. 1957. West Berlin, moments, reading StaatlicheMuseen Preufiischer Kulturbesitz, Goethe'stext in Germanyfor the postwar decades. Kunstbibliothek If Goethe believedthat illustrations and poetic 30. GustafGrundgens as Mephistopheles.Hamburg, textsusually result in mutual>parody< - one me- Faust V. II, 1958. diummocking the other -, thelong artistic lineage of Faust illustrationssurely demonstrates a reci- procitybetween the receptionof a text and its interpretationin images. More tangible than words,and intricatelyenmeshed in culturaltradi- tions of its own, the image not only helped to popularizethe literarywork, but also insinuated itselfinto its readingat crucialmoments in Ger- man history.By reinventingFaust over time,art- ists assignedand reassignedto Goethe's fictional hero his shiftingroles, only to assess and reassess theideological contradictions they brought to the fore. 33 For a discussionof Griindgen's Faust productions, cf. SiegfriedMelchinger, Griindgens Faust, Frankfurt a. Main '959. 534 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions * A shorterversion of this paper was readat the The numberof each illustrationis precededby internationalsymposium Faust through Four Cen- a referenceto Goethe's Faust,Eine Trag6die,in: turies,Vierhundert Jahre Faust, held at Indiana Goethes Werke,Hamburger Ausgabe. Volume 3, University,Bloomington, October 1987. ed. Erich Trunz, Hamburg,5th ed., 1960. Documentation The researchfor this project was supportedby 20. Jahrhunderts,Vienna and Stuttgart1952. an IntramuralResearch Grant of the University Wegner,Wolfgang: Die Faustdarstellungvom I6. of California.I gratefullyacknowledge the kind Jahrhundertbis zur Gegenwart,Amsterdam 1962. assistance of the staffof the Kunstbibliothek, Schwerte,Hans: Faust und das Faustische,ein Ka- StaatlicheMuseen PreussischerKulturbesitz, Ber- pitel deutscherIdeologie, Stuttgart1962. Goethe lin and of the Goethe-Museum,Anton- und-Ka- im 20.Jahrhundert. Spiegelungen und Deutungen. tharina-Kippenberg-Stiftung,Diisseldorf and of Herausgegebenvon Hans Mayer,Hamburg 1967. the followinggraduate students at UCR: Naomi Dabezies, Andre:Visages de Faustaux XXe Siecle. Sawelson-Gorse,Stacy Miyagawa,Danielle Na- Litterature,Ideologie et Mythe, Paris, Presses Uni- thanson.I am gratefulto Denise Brattonfor edi- versitairesde France1967. Nationale Forschungs- torialassistance. und Gedenkstittender Klassischen deutschen The followingstudies do not representa com- Literaturin Weimar:Faust in derMalerei, Weimar plete bibliographybut were especiallyhelpful in 1969. Mahl, Bernd: >>Fragment- Mysterium- the preparationof thisessay: Spieltext. Die Biihnengeschichtevon Goethes Tille, Alexander:>>Goethes Faust in der moder- Faust.< 535 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions Aufnahmen: I, 2, 4, 6, 7, 9, 14, 16, I7 Goethe-Museum Diisseldorf. - 3, 5, 8, 10-13, 15, 18-30 Archiv der Verfasserin. 536 This content downloaded from 132.230.242.35 on Tue, 11 Nov 2014 09:09:09 AM All use subject to JSTOR Terms and Conditions