Gounod’s source was, of course, the epic verse play of Johann Wolfgang von Goethe (1747-1832) as well as the myriad versions of what was essentially a classic tale of a man’s pact with the devil in order to achieve riches, power or sublime pleasure.
To simply call Goethe a ‘poet’ is to do disservice to his ample activity many other pursuits, as a dramatist, author of novels, diplomat, administrator, teacher, musician, scientist, even as an artist. His body of work had a significant impact on European thought and culture, especially Faust and the novel Die Leiden des jungen Werghers (The Sorrows of the Young Werther), which was somewhat autobiographical. Werther had such an impact that young men throughout Europe identified with the hero by not only wearing similar outfits described in the novel but by attempting (or in some cases, successfully committing) suicide. The book was banned in some areas of Germany for this unfortunate turn of events and young men who were obsessed with the novel were said to be under the influence of “Werther-fieber” or “Werther-fever (in 1974 the “Werther effect” was identified as a term to be used to describe copycat suicides and suicide clusters which occur following the suicide of a celebrity). Werther was an important addition to the Sturm und Drang style of literature popular at the end of the 18th century, in which strong emotions against the constraints of rationalism and Enlightenment were given free rein.
Goethe’s magnum opus took him a total of 58 years to write, with Part I being published in 1808. Part II appeared posthumously in 1832. The basic story comes from legend and myth that was fabricated based on the life of an actual person, Georg Helmstetter, who attended the University of Heidelberg in the late 15th century. He eventually fashioned himself as Doctor Faustus, wandering Europe as an astrologer, magician and philosopher. Even Martin Luther was familiar with him, telling stories of Faust’s pact with the devil. An actual biography of Dr. Faustus appeared in 1562 (Manlius) and Johann Spies’ book Historia von D. Johann Faustus appeared in 1587. The Spies book was a runaway best seller and was translated into numerous languages. Christopher Marlowe’s The Tragical Historie of Doctor Faustus brought the story to literature and the stage. In London it was first performed at the Rose Theatre in 1594. After educated people began to turn away from legend and myth to explain natural phenomena in the 18th century, Faust became a favorite subject of puppet plays and comical farces. It was left to Goethe to revive the tale as a metaphor for the human struggle for an understanding of good and evil. The libretto of Gounod’s opera, devised by Jules Barbier and Michel Carré, follows Part I of the poem.