Somewhat akin to these pieces in spirit were the {696} Shrovetide Farces written in Germany by the simple Nuremberger who describes himself in the verses, literally translatable:
Hans Sachs is a shoe-
Maker and poet, too.
The people, always moral, delighted no less in the rough fun of these artless scenes than in the apothegms and sound advice in which they abounded.
[Sidenote: The spirit of the Sixteenth Century]
The contrast of two themes much in the thought of men, typifies the spirit of the age. The one motiv is loud at the beginning of the Reformation but almost dies away before the end of the century; the other, beginning at the same time, rises slowly into a crescendo culminating far beyond the boundaries of the age. The first theme was the Prodigal Son, treated by no less than twenty-seven German dramatists, not counting several in other languages. To the Protestant, the Younger Son represented faith, the Elder Son works. To all, the exile in the far country, the riotous living with harlots and the feeding on husks with swine, meant the life of this world with its pomps and vanities, its lusts and sinful desires that become as mast to the soul. The return to the father is the return to God's love here below and to everlasting felicity above. To those who can believe it, it is the most beautiful story in the world.
[Sidenote: Faust]
And it is a perfect contrast to that other tale, equally typical of the time, the fable of Faust. Though there was a real man of this name, a charlatan and necromancer who, in his extensive wanderings visited Wittenberg, probably in 1521, and who died about 1536-7, his life was but a peg on which to hang a moral. He became the type of the man who had sold his soul to the devil in return for the power to know everything, to do everything and to enjoy everything in this world.
{697} The first printed Faust-book (1587) passed for three centuries as a Protestant production, but the discovery of an older and quite different form of the legend in 1897 changed the whole literary problem. It has been asserted now that the Faust of this unknown author is a parody of Luther by a Catholic. He is a professor at Wittenberg, he drinks heartily, his marriage with Helena recalls the Catholic caricature of Luther's marriage; his compact with the devil is such as an apostate might have made. But it is truer to say that Faust is not a caricature of Luther, but his devilish counterpart, just as in early Christian literature Simon Magus is the antithesis of Peter. Faust is the man of Satan as Luther was the man of God; their adventures are somewhat similar but with the reverse purpose.
And Faust is the sixteenth century man as truly as the Prodigal or Pantagruel. To live to the full; to know all science and all mysteries, to drain to the dregs the cup crowned with the wine of the pleasure and the pride of life: this was worth more than heaven! The full meaning of the parable of salvation well lost for human experience was not brought out until Goethe took it up; but it is implied both in the German Faust-books and in Marlowe's play.
[Sidenote: Greatness of the Sixteenth Century]