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It is usually thought to be very clever to say that Faust finally becomes a Don Juan, but this means very little, since the real question is in what sense he becomes one. Faust is a daemonic figure like a Don Juan, but higher. The sensuous first becomes significant in him only after he has lost the entire preceding world, but the consciousness of this loss is not erased, it is constantly present, and he seeks therefore in the sensuous not so much enjoyment as a diversion of mind. His doubting soul finds nothing in which it can rest, and now he reaches after love, not because he believes in it, but because it has a present element in which there is rest for a moment, and a striving which distracts and diverts his attention from the nothingness of doubt. Hence his enjoyment does not have the cheerful serenity which distinguishes a Don Juan. His countenance is not wreathed in smiles, his brow is not unclouded, and happiness is not his companion; the young women do not dance into his embrace, but he frightens them to him. What he seeks is not merely the pleasure of the sensuous, but what he desires is the immediacy of the spirit. As the shades of the underworld, when they got hold of a living being, sucked his blood, and lived as long as this blood warmed and nourished them, so Faust seeks an immediate life by which he can be renewed and strengthened. And where can this be found better than in a young woman, and how can he absorb it more perfectly than in the embrace of love? As the Middle Ages tell of sorcerers who understood how to prepare an elixir for the renewal of youth, and used the heart of an innocent child for that purpose, so is this the strengthening potion his starved soul needs, the only thing which is able to satisfy him for a moment. His sick soul needs what I might call a young heart’s first green shoots; and with what else shall I compare an innocent feminine soul’s first youth? If I were to call it a blossom, I should say too little, for it is more, it is a flowering: the soundness of hope and faith and trust shoots forth and blossoms in rich variety, and soft impulses move the delicate shoots, and dreams shade their fruitfulness. Thus it affects a Faust, it beckons to his restless soul like a peaceful isle in the quiet sea. That it is transient no one knows better than Faust; he does not believe in it any more than he believes in anything else; but that it exists, of that he convinces himself in the embrace of love. Only the fullness of innocence and childlikeness can for a moment refresh him. 204-205

 

Soren Aabye Kierkegaard

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What Goethe has somewhere said about Hamlet, that in relation to his body his soul was an acorn planted in a flower-pot, which at least breaks the container, is also true of Margaret’s love. Faust is too great for her, and her love must finally break her soul in pieces. And the moment for this soon comes, for Faust doubtless feels that she cannot remain in this immediacy; he does not carry her up in the higher realms of the spirit; for it is from these he flees; he desires her sensually-and abandons her. ... It might seem that it would be more difficult for reflection to be set in motion in Margaret; that which really tends to stop it is the feeling that she was absolutely nothing. And yet there lies in this a tremendous dialectical elasticity. If she were able to hold the thought fast that she was, in the strictest sense of the word, absolutely nothing, then reflection would be excluded, and then she would not have been deceived; for when you are nothing, then there is no relation, and where there is no relation, there can be no talk of a deception. So far she is at peace. However, this thought cannot be held fast, but instantly changes into its opposite. That she was nothing is merely an expression for the fact that all the finite differences of love are negatived, and is therefore the exact expression for the absolute validity of her love, wherein again lies her absolute justification. His conduct is then not merely a deception, but an absolute deception, because her love was absolute. And herein she will again be unable to find rest; for since he has been her all, she will not even be able to hold this thought fast except through him; but she cannot think it through him, because he was a deceiver. As her environment becomes more and more alien to her, the inner movement begins. She has not merely loved Faust with all her soul, but he was her vital force, through him she came into being. This has the effect, while her soul is not less moved than Elvira’s, of making the individual moods less violent. She is on the way to developing a fundamental emotional tone, and the individual mood is like a bubble rising from the deep without strength to maintain itself, which is not so much replaced by a new bubble as it is dissolved in the general mood that she is nothing. This fundamental mood is again a state of mind that is felt, that does not receive expression in any particular outbreak; it is inexpressible, and the attempt that each particular mood makes to give life to it, to raise it up, is in vain. The total mood is therefore constantly present as an undertone of impotence and faintness. The individual mood gives it expression, but it does not soothe, it does not ease, it is-to use an expression of my Swedish Elvira which is certainly very apt, though a man will scarcely feel its full import-like a false sigh which disappoints, and not like a genuine sigh, which is strengthening and beneficial. Nor is the individual mood full-toned and energetic, since her expression is too heavily encumbered.

 

Soren Aabye Kierkegaard

 

This is the point where love becomes possible. We see the other with the eye of the heart, an eye not clouded by fear manifesting as need, jealousy, possessiveness, or manipulation. With the unclouded eye of the heart, we can see the other as other. We can rejoice in the other, challenge the other, and embrace the other without losing our own center or taking anything away from the other. We are always other to each other — soul meeting soul, the body awakened with joy. To love unconditionally requires no contracts, bargains, or agreements. Love exists in the moment-to-moment flux of life.

 

Marion Woodman

 

My mind has touched the farthest horizons of mortal imagination and reaches ever outward to embrace infinity. There is no knowledge beyond my comprehension, no art or skill upon this entire planet that lies beyond the mastery of my hand. And yet, like Faust, I look in vain, I learn in vain... For as long as I love, no woman will ever look on me in love.

 

Susan Kay

 

The soul seeks God by faith, not by the reasonings of the mind and labored efforts, but by the drawings of love; to which inclinations God responds, and instructs the soul, which co-operates actively. God then puts the soul in a passive state where He accomplishes all, causing great progress, first by way of enjoyment, then by privation, and finally by pure love.

 

Jeanne Marie Bouvier de la Motte (Madame Guyon) Guyon

 

But Goethe tells us in his greatest poem that Faust lost the liberty of his soul when he said to the passing moment: "Stay, thou art so fair." And our liberty, too, is endangered if we pause for the passing moment, if we rest on our achievements, if we resist the pace of progress. Change is the law of life. And those who look only to the past are certain to miss the future.

 

John F. Kennedy