Eternal Feminism in Faust
Eternal Feminism in Faust
Goethe concludes his famous literary work Faust by exalting the “eternal feminine.” However, Goethe does not present us with a clear meaning of this term. I believe Goethe is saying that man’s struggle for knowledge and enlightenment can only be fully achieved when he recognizes and accepts that his soul is androgynous. The soul has a feminine component or counterpart which must be utilized so that he may be optimally guided in such a way as to acquire maximum spiritual and intellectual enlightenment. In my opinion, Goethe introduces the individual females in Faust’s life for the purpose of assisting him in his life journey as he pursues, not only knowledge, but more importantly, eternal redemption. I will demonstrate how female motifs and figures, including Gretchen, Helen, Galatea, and the Virgin Mary represent the “eternal feminine” and are used by Faust in an attempt to replace the feminine side of his soul which he is either unaware of or continually tries to ignore. At the beginning of the drama, Faust is in profound despair because he has failed to achieve his lifelong goal of total fulfillment through human omniscience. He even gave up his original altruistic purpose as a doctor in the quest for total understanding through years of academic study, but his selfish ambition was in vain. He has suppressed his feelings and is unaware of the feminine side of his soul which deeply yearns to be acknowledged and utilized. Faust does not understand that he will never come closer to fulfillment unless he also draws upon his feminine self to provide creativity, love, purity, and concern for others. As he is about to commit suicide, he is stopped by the bells ringing and the choir singing from Holy Mother Church. The church is often alluded to as “the bride of Christ,” and I believe she, the first feminine illustration mentioned, has intervened and saved Faust’s life. Unfortunately, Faust still refuses to listen to the inner yearning
Goethe concludes his famous literary work Faust by exalting the “eternal feminine.” However, Goethe does not present us with a clear meaning of this term. I believe Goethe is saying that man’s struggle for knowledge and enlightenment can only be fully achieved when he recognizes and accepts that his soul is androgynous. The soul has a feminine component or counterpart which must be utilized so that he may be optimally guided in such a way as to acquire maximum spiritual and intellectual enlightenment. In my opinion, Goethe introduces the individual females in Faust’s life for the purpose of assisting him in his life journey as he pursues, not only knowledge, but more importantly, eternal redemption. I will demonstrate how female motifs and figures, including Gretchen, Helen, Galatea, and the Virgin Mary represent the “eternal feminine” and are used by Faust in an attempt to replace the feminine side of his soul which he is either unaware of or continually tries to ignore. At the beginning of the drama, Faust is in profound despair because he has failed to achieve his lifelong goal of total fulfillment through human omniscience. He even gave up his original altruistic purpose as a doctor in the quest for total understanding through years of academic study, but his selfish ambition was in vain. He has suppressed his feelings and is unaware of the feminine side of his soul which deeply yearns to be acknowledged and utilized. Faust does not understand that he will never come closer to fulfillment unless he also draws upon his feminine self to provide creativity, love, purity, and concern for others. As he is about to commit suicide, he is stopped by the bells ringing and the choir singing from Holy Mother Church. The church is often alluded to as “the bride of Christ,” and I believe she, the first feminine illustration mentioned, has intervened and saved Faust’s life. Unfortunately, Faust still refuses to listen to the inner yearning