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MephistophelesTemplate:Efn (Template:IPAc-en Template:Respell, {{#invoke:IPA|main}}), also known as Mephostophilis<ref name=":3">Template:Cite book</ref> or Mephisto,<ref name=":1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> is a demon featured in German folklore, originating as the chief devil in the Faust legend.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He has since become a stock character appearing in other works of arts and popular culture. Mephistopheles never became an integral part of traditional magic.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He is also referred to as the Shadow of Lucifer and Prince of Trickery.
During the medieval and Renaissance times, Mephistopheles is equated with the devil due to his high position in the hellish hierarchy. He is one of the seven great princes of Hell, along with being one of the first four angels who rebelled against God and fell.<ref>Template:Cite book</ref>
OriginsEdit
Around the fifteenth to seventeenth centuries in Europe, the age of witchcraft waned, and the Devil became more of a fixture in literature until the later eighteenth century. Once the idea of Satan's "metaphysical existence" seemed less pressing, he became a symbol in literature representing evil characters, evil meanings, corruption, etc.<ref name="Easlea 105–106">Template:Cite journal</ref> Sometimes, authors had a more sympathetic depiction of Satan, which would later be called the Romantic Devil. Those who believed in pantheistic mysticism<ref>Template:Cite journal</ref>— the belief that an individual experiences a mystical union with the divine, believing that God and the universe are one—often held that the angels fell from Heaven because they loved beauty and wanted to have Heaven for themselves.<ref>Template:Cite journal</ref> This idea led to the work Faust by Johann Wolfgang von Goethe (1749-1832), in which Goethe created his version of the Devil, Mephistopheles. Goethe's Mephistopheles has been highly influential.<ref name="Easlea 105–106"/>
Devil vs. MephistophelesEdit
The Enlightenment and Romantic eras in Europe increased the variety of views of the Devil.<ref>Template:Cite book</ref> The Devil, also known as Satan or Lucifer, is understood to be the chief adversary of God. He is the leader of the fallen angels and the chief source of evil and temptation. The Devil is the ruler of Hell and is the prince of evil spirits. In the Christian tradition, the Devil is a creation who was subject to the divine will and who misused the divine nature.<ref>Template:Cite journal</ref>
Mephistopheles is seen as Hell's messenger, making him the servant of the Devil. In the Faust legend, he plays the roles of trickster, liar, cheater, and negotiator, making deals for souls, although he can also be intelligent, ironic, and charming. Mephistopheles can shapeshift into any animal, person, knight, etc., through magic and illusion.<ref>Template:Cite book</ref> He is the opponent of beauty and freedom, and he causes the death of the individuals and works to ruin lives.<ref>Template:Cite journal</ref>
Etymology and Name MeaningEdit
The name Mephistopheles is a corrupted Greek compound.<ref name=":0"> Template:Cite book </ref> The Greek particle of negation (μή, mē) and the Greek word for "love" or "loving" (φίλος, philos) are the first and last terms of the compound, but the middle term is more doubtful.
Three possible meanings have been proposed, and three different etymologies have been offered:
- "not loving light" or "not a friend of light" <ref name=":3" />(φῶς, phōs; the old form of the name being Mephostopheles)
- "not loving Faust" or "not a friend of Faust"<ref name=":3" />
- mephitic, pertaining to poisonous vapors arising from pools, caverns, and springs.<ref name=":0" />
Mephistopheles' name was possibly taken from the Hebrew words "mephiz", or destroyer, and "tophel", or slander. The name was invented for the historical alchemist Johann Georg Faust by the anonymous author of the first Faustbuch (published 1587).<ref name=":1" /> Mephistopheles was not previously part of the traditional magical or demonological lore. In the play, Doctor Faustus (1604), created by Christopher Marlowe, Mephistopheles was written more as a fallen angel than as familiar demon. In the drama Faust, written in two parts by J.W. von Goethe, Mephistopheles appears as cold-hearted, humorous, and ironic.<ref>Template:Cite journal</ref>
In the Faust legendEdit
Mephistopheles is associated with the Faust legend, based on the historical Johann Georg Faust. In the legend, Faust, an ambitious scholar, makes a deal with the Devil at the price of his soul, with Mephistopheles acting as the devil's agent. The legend has come to symbolize the consequences of what happens when the quest for empowerment and realization escape the "intellectual and moral restrictions of the Christian medieval order."<ref name=zapf>Template:Cite journal</ref>
The name appears in the late-sixteenth-century Faust chapbooks – stories concerning the life of Johann Georg Faust, written by an anonymous German author. The first of these chapbooks, Historia von D. Johann Fausten (1587) is believed to be the first literary appearance of the Faust and Mephistopheles character.<ref name=zapf/> In the 1725 version, which Goethe read, Mephostophiles is a devil in the form of a greyfriar summoned by Faust in a wood outside Wittenberg.
From the chapbooks, the name Mephistophilis entered Faustian literature. Many authors have used it, from Goethe to Christopher Marlowe. In the 1616 edition of Marlowe's The Tragical History of Doctor Faustus, Mephostophiles became Mephistophilis.
In later adaptations of the Faust material, Mephistopheles frequently figures as a title character: in Meyer Lutz's Mephistopheles, or Faust and Marguerite (1855), Arrigo Boito's Mefistofele (1868), Klaus Mann's Mephisto, and Franz Liszt's Mephisto Waltzes. There are also many parallels with the character of Mephistopheles and the character Lord Henry Wotton in The Picture of Dorian Gray by Oscar Wilde.<ref>{{Cite He is also interpreted as a mysterious figure in the movie Ghostrider. web|url=https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/modules/fulllist/special/interdisciplinaryandcreativecollaboration/faustbooks/doriangray/%7Ctitle = The Picture of Dorian Gray by Oscar Wilde (1891)}}</ref>
Mephistopheles in PerformanceEdit
Goethe's FaustEdit
In Goethe's Faust, the role of Mephistopheles is quite complex, and Josef Kainz describes the role as one of the most significant challenges for an actor in world theater. The character constantly changes in tone throughout the play, giving the character a feeling of minor to no consistency in performance on stage. When Mephisto first meets Faust, he describes how his spirit being “Nothing” conflicts with the world’s spirit of “Something” (Part I Scene III, 1362-1366). The devil is in constant conflict with the world he is placed into, which explains the fluctuation of roles Mephisto portrays on the stage or screen. For an actor to play Goethe's Mephisto, they are called upon to embody this “Nothing” and disconnect themselves from the “Something” that makes them earthly. To achieve this characterization, actors are encouraged to be dramatic and rough in tone and gestures, contradicting traditional elements of classical theater.<ref name=":2">Template:Cite book</ref>
Marlowe's Dr. FaustusEdit
In Marlowe's Doctor Faustus, the roles of Dr. Faustus and Mephistopheles between the two actors, Sandy Grierson and Oliver Ryan, in 2016. While playing both roles, the Scottish actor, Sandy Grierson, expressed that Mephistopheles is more humane than what is portrayed in other plays and novels.<ref>{{#invoke:citation/CS1|citation |CitationClass=web
}}</ref> The character correlates to the idea of humanity when Mephistopheles pleads with Faustus to reconsider his deal. "O Faustus, leave these frivolous demands" (Act II, Scene 1). Mephistopheles portrays a sense of feeling to prevent Dr. Faustus from making the incorrect decision. Concluding that Mephistopheles is portrayed as less condescending and cold-hearted. Arthur Darvill, who plays as Rory Williams, a companion of the Eleventh Doctor in the television series Doctor Who, even played as Mephistopheles in the 2011 Shakespeare's Globe Theatre's production of Doctor Faustus, expressed how thrilling his experince was on Shakespeare's Globe Youtube Channel.<ref>Template:Cite AV media</ref>
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InterpretationsEdit
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Devil, Damnation, and HellEdit
Although Mephistopheles appears to Faustus as a demon – a worker for Lucifer – critics claim that he does not search for men to corrupt, but comes to serve and ultimately collect the souls of those who are already damned. Willard Farnham explains, "Nor does Mephistophiles first appear to Faustus as a devil who walks up and down on earth to tempt and corrupt any man encountered. He appears because he senses in Faustus' magical summons that Faustus is already corrupt, that indeed he is already 'in danger to be damned'."<ref>Template:Cite book</ref>
Mephistopheles is already trapped in his own Hell by serving the Devil. He warns Faustus of the choice he is making by "selling his soul" to the devil: "Mephistophilis, an agent of Lucifer, appears and at first advises Faust not to forego the promise of heaven to pursue his goals".<ref>Template:Cite journal</ref> Farnham adds to his theory, "...[Faustus] enters an ever-present private hell like that of Mephistophiles".<ref>Krstovic & Lazzardi 1999, p. 8</ref>
Though Mephistopheles can be interpreted as vile through his actions, he profoundly warns Faustus of God’s wrath if he does not repent. Osman Durrani describes the character as “simultaneously, an example of gross depravity and a morally aware theologian.” <ref name=":3" />
Dorothy L. Sayers' play, The Devil to Pay, published in 1939, portrays Mephistopheles as a familiar of the devil as well. Sayers created Mephistopheles to seem mischievous and daunting, while doing the devil's bidding. In this play, it appears as if Mephistopheles' actions were done willingly. Mephistopheles did not necessarily warn Dr. Faustus; rather, he persuaded him to believe that he was to be his servant instead. Once Dr. Faustus was gone, Mephistopheles called into the Hell-Mouth, "Lucifer, Lucifer! The bird is caught..."[Mephistopheles].<ref>Template:Cite journal</ref>
This interpretation of Mephistopheles falls in line with the Protestant revisioning of magic, specifically conjuring. In the late 1580's, popular Protestant writers argued that conjurations were "theatrical spectacles", in which Satan allowed demons to appear as if they had been summoned and controlled by humans. This performance further damns the soul of the magician and allows for the demon to collect his soul for Lucifer. These revisions were widely circulated before Marlowe's Dr. Faustus premiered and were integrated into his work.<ref>Template:Cite journal</ref>
Nature vs. EvilEdit
The nature between God and evil is complex amongst the theological issues. In Abrahamic religions, God is inherently deemed as good and not capable of being evil, though those religions also have to acknowledge the existence of evil in the world. Through the ideals of the Society of Jesuits, the Roman Catholic religious order expressed that nature is undistorted by original sin.<ref>Template:Cite book</ref> Mephistopheles also appears as a nature spirit, a Naturgeist.,<ref>Template:Cite journal</ref> though he is still deemed as evil or rather destructive amongst many scholars. However, Jane K. Brown suggests that Mephistopheles is Faust's "mediator to the world," that he is neither evil or destructive.<ref name="Brown 1985 475–490">Template:Cite journal</ref> Brown suggests that nature is where God and the devil meet and this is where humans live. Mephistopheles, then, represents one of the two souls that humans naturally possess, Faust's struggle between the "divine principle (mind or spirit) and the world (physical nature)."<ref name="Brown 1985 475–490"/> Mephistopheles is a nature spirit representing the unsegmented world through the human experience.<ref>Template:Cite journal</ref>
SexualityEdit
One interpretation of the character is that Mephistopheles presents himself as a sexual voyeur. This voyeurism can represent Faust’s sexual confusion and temptation. An example would be Faust’s interactions with Helen of Troy, in which, given temptation, Mephistopheles loosens his grip on Faust as he falls further from God and Heaven.<ref name=":2" />
Mephistopheles can also be perceived as a homoerotic character. When observing male angels during the burial scene in Goethe's Faust, he can be seen as becoming physically aroused. Later on, he becomes consumed by his feelings as he is engulfed in flames. This is believed to be the Lord's plan since the beginning in order to save Faust from damnation. By tempting Mephistopheles's homoerotic nature he is unable to focus on corrupting Faust, subsequently saving him.<ref name=":3" />
See alsoEdit
{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}}
- Beelzebub
- Devil in Christianity
- Prince of Darkness
- Satan
- Mephiskapheles, Ska band whose name is a play on Mephistopheles
- Mr. Mistoffelees, a character from the musical Cats
- Servant, television series
- Mephisto (Marvel Comics) a character from Marvel Comics based on the Demon.
- William Shakespeare mentions "Mephistophilus" in The Merry Wives of Windsor (Act I, Scene I, line 128), and by the 17th century the name became independent of the Faust legend.<ref name="Russell 1992, p. 61">Burton Russell 1992, p. 61
8. "Call Me Little Sunshine" by heavy-metal band Ghost 2022</ref>
NotesEdit
ReferencesEdit
BibliographyEdit
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- Andersson, Love. ““The Devil to Pay” : Temptation and Desire in Christopher Marlowe’s Doctor Faustus.” DIVA, 2021, www.diva-portal.org/smash/record.jsf?pid=diva2%3A1527786&dswid=197
- Smith, Warren D. “The Nature of Evil in “Doctor Faustus.”” The Modern Language Review, vol. 60, no. 2, Apr. 1965, p. 171, https://doi.org/10.2307/3720056
External linksEdit
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