we must understand it as having the universal consecration. If Faust were to follow the devilish advice and leave her to her fate, it is hard to see how he can ever escape from the downward path he has so far followed. This reminds us of what the occultists teach is a general law; that whenever the higher part of our nature aspires and strives to the divine, the lower part of one's self stirs to fiercer opposition. From these the angels draw their power,
it is all over with the man, and he is lost at any rate. Mephistopheles is perfectly at home here, but not Faust; he but half enters into it, and at the point when the wild carnival is at its highest, there rises before him a vision of Margaret, sad, pale, and with a slender blood-red mark about her neck. Each age has to meet this problem, each states the solution in its own form; many are the answers, but very few, only one in an age, comes to be accepted as the voice of that age; and the inner sense of these is very nearly the same, though the external forms may be far different.
And all Thy works, sublime and splendid, This stinging repulse brings Faust down lower than before.  Coleridge's fellow Romantic Percy Bysshe Shelley produced admired fragments of a translation first publishing Part One Scene II in The Liberal magazine in 1822, with "Scene I" (in the original, the "Prologue in Heaven") being published in the first edition of his Posthumous Poems by Mary Shelley in 1824.. The story concerns the fate of Faust in his quest for the true essence of life ("was die Welt im Innersten zusammenhält"). Ramon Valdez played Mephistopheles (presenting himself also as The Devil), and in this particular version, Faust sells his soul by signing a contract, after which Mephistopheles gives him an object known as the "Chirrín-Chirrión" (which resembles a horse whip) which grants him the power to make things, people or even youth or age, appear or disappear, by speaking the object's name, followed by the word "Chirrín" (for them to appear) or "Chirrión" (for them to disappear). The problem of our day demands that Faust should question everything, defy precedents and tradition, try every power of the human soul for pain and joy; and yet not perish like the Protestant Faust, not surrender in blind faith to the church, like the medieval. During the term of the bargain, Faust makes use of Mephistopheles in various ways. So far, he has dealt with a perverted Mephistophelean world; but now he is himself, under the guidance of Mephistopheles, to pervert the hitherto calm and quiet world of Margaret. As the Lord says to him: And after Mephistopheles has wagered that Faust's strivings will end in his falling completely from the right way, the Lord tells him: The heavens close, and Mephistopheles is left alone, a characteristic sneer from him ending the scene. Here, a saintly figure makes a bargain with the keeper of the infernal world but is rescued from paying his debt to society through the mercy of the Blessed Virgin. He has studied the four faculties, and now finds that the truth is no more within his grasp than before; he has much learning, but it does not give him the truth. Faust's nature, however, needs a much longer experience and trial; the evil spirit must go out of him by the way it came in. The incarnation of evil and denial, he shows a vast knowledge, an equanimity that rarely is disturbed, and a directness of assertion that does not need to use any literal misstatement. Each time, it doffs its hat—in a greeting, that is Mephisto, confronting him. We need not fear for Faust, for even as he makes the agreement, his contempt is great for all that Mephistopheles can offer: A short scene follows in which Mephistopheles, disguised in Faust's professorial robes, has an interview with a boy just come to college, and asking advice and instruction.
But I have a contract to do the second part as well! Thomas Mann's 1947 Doktor Faustus: Das Leben des deutschen Tonsetzers Adrian Leverkühn, erzählt von einem Freunde adapts the Faust legend to a 20th-century context, documenting the life of fictional composer Adrian Leverkühn as analog and embodiment of the early 20th-century history of Germany and of Europe.
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