By Goethe, Johann Wolfgang von; Goethe, Johann Wolfgang von; Tantillo, Astrida Orle
A pathbreaking paintings which attracts out Goethe's pivotal impression at the improvement of Western society.
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Faust, in the end, becomes a scientist of the Newtonian, Cartesian ilk: someone who is more interested in conquering and controlling nature than in understanding it. Faust the technocrat emerges once Faust has lost his sense of beauty. Moreover, his feelings of self-satisfaction that ultimately spell his doom are linked to this modern stance. 33 Faust, of course, does not begin the play despising nature, but in desperately desiring to understand it. His first speeches in Part I reflect his frustration in his inability to understand nature.
Polar tensions drive the plant, as they do Faust, onward. In his account of the leaf’s development, Goethe focuses upon nature’s inner drive to become more specialized and articulated (#50). For some plants, they reach their pinnacle in reproduction, for other plants, in glorious, fragrant, but infertile blossoms (#7). In both cases, plants must strive to overcome, through polarities, their previous and more jejune state. Not all plants reach this articulated stage. With excessive nourishment, the plant remains at a more crude stage (roher) of development, and 18 For a more detailed discussion of this essay, see my Will to Create 64–78.
It is clear that Faust views his land reclamation project as his great and final achievement (11501–10). He further sees its completion as the culmination of his career (Höchsterrungene, 11563). In other words, once the project is done, he would have no desire to continue to work, but would lose his desire to act (the first condition of the bet). Faust, however, has also lost the second condition of the bet. The devil has tricked him into feeling satisfied. Faust is musing about the future possibilities because he falsely believes that his project is being completed as he speaks.