Heine's dance poem "Doctor Faust": the axiology of the conception

The article examines a work by Heine which indicates methods of the formation of the scenario dramatic art of the 19th century. The "dance poem" was written between two revolutions. The writer considers the Faust idea in the context of the confessional era (European Reformation). The poem has a relevant historiosophical content. It raises the question of whether it is possible to make a transition to the kingdom of freedom through violence. The aim of the article is to study the Faust tradition in Heine's works, taking into account the main components of the cultural consciousness of the age - artistic and aesthetic, religious and philosophical. In connection with the aim, the signs of self-reflection (writer's reflection on text development) are analyzed, the Faust theme projection onto political and confessional issues is considered. The author's interpretation is included in the text of the poem: images refract in the system of concepts. The artistic text of a heterogeneous genre nature is studied. The analysis of the genre specificity of the poem allows to address a more general problem: the degree of tradition and innovation of Heine's art system. In Heine's literary biography, Goethe's figure took ean xclusive place. The writer considered that such books as Faust refine taste. He was convinced that everyone had to write his own Faust tragedy. Heine believed that Goethe did not achieve the goal. He did not feel the true spirit and the inner soul of the legend about Faust. Heine stresses the uniqueness of the forms of mythopoetic thinking. In the middle of the 1820s, the writer composed a drama about Faust. In the 1840s, he went back to the conception and formed it in a productive disagreement with his main interlocutor - Goethe. Heine regarded his poem as congenial to folk books and not inferior in the artistic attitude to the tragedy of the predecessor. Heine's interpretation is based on the vast tradition of prototexts. Heine, first of all, refers to the legend of Faust of the 16th century, and its version in the folk book by Johann Spies "Historia von Dr. Iohann Fausten, dem weitbeschreiten Zauberer und Schwartzkunstler etc.", which emerged in the Protestant environment and which is based on folklore genres. In the topography of the scenes there is a visible image of the world and its axiological limits: perceptions of temptation, truth, requital. The writer emphasizes the soteriological aspect - the motive of salvation - and does not accept the "acquittal" finale. The understanding of requital aimed at restoration of justice goes back to folklore. In the German Protestant humanistic tradition, in Goethe's tragedy Faust's soul finds forgiveness and escapes. Searching for the way of salvation in culture is connected with a discussion of the ways to achieve it (ascesis, love, predestination of events). Heine denies the idea of apocatastasis, universal salvation, according to which sinners will return to God by taking the cleansing suffering.

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