Goethe’s Faust complicates the simple Christian moral of the original legend. A hybrid between a play and an extended poem, Goethe’s two-part closet drama is epic in scope. It gathers together references from Christian, medieval, Roman, eastern, and Hellenic poetry, philosophy, and literature. The composition and refinement of Goethe’s own version of the legend occupied him for over sixty years (though not continuously). The final version, published after his death, is recognized as a great work of German literature. The story concerns the fate of Faust in his quest for the true essence of life ( was die Welt im Innersten zusammenhalt ). Frustrated with learning and the limits to his knowledge, power, and enjoyment of life, he attracts the attention of the Devil (represented by Mephistopheles), who makes a bet with Faust that he will be able to satisfy him; a notion that Faust is incredibly reluctant towards, as he believes this happy zenith will never come. This is a significant difference between Goethe’s Faust and Marlowe’s; Faust is not the one who suggests the wager.