Faust: The Second Part of the Tragedy () is the second part of the tragic play Faust by Johann Wolfgang von Goethe. It was published in 1832, the year of Goethe's death. Only part of Faust I is directly related to the legend of Johann Faust, which dates to at latest the beginning of the 16th century (thus preceding Marlowe's play). The "Gretchen" subplot, although now the most widely known episode of the Faust legend, was of Goethe's own invention. In Faust II, the legend (at least in a version of the 18th century, which came to Goethe's attention) already contained Faust's marriage with Helen and an encounter with an Emperor. But certainly Goethe deals with the legendary material very freely in both parts. Acts Act I Graceful area. Faust, bedded on flowery turf, weary, restless, seeking sleep. Dusk. Ghost circle, floating moves, graceful little figures. The first act opens with an appeal by Ariel to forgive Faust and ease the cares of his suffering. Hall of the Throne. State Council in anticipation of the emperor. Trumpets. Servants of all kinds, beautifully dressed, step forward. The emperor ascends the throne, to his right the astrologer. The first act sees Mephistopheles (playing the role of a fool) saving the imperial finances of the Emperor – and so the Holy Roman Empire – by money creation, introducing the use of paper money instead of gold to encourage spending (and economic recovery). Spacious room with side chambers, decorated and dressed up for the masquerade. This is by far the most extensive section of the first act, describing the Florentine carnival from the perspective of Goethe, above all based on Antonio Francesco Grazzini's Tutti i trionfi (1559) – a collection of contemporary "songs and hard lifts". A parade of Florentine notables, including Dante and Gianni Schicchi, pass by. Lustgarten, morning sun. Faust, Mephistopheles, decent, not remarkable, according to custom, dressed, and both knees exposed. The "Emperor of Thumb" (to use a devilish term of Mephistopheles) describes how much he enjoyed the recent celebrations, and wants more "dergleichen Scherze" (5988). The Emperor appears and blesses the newly introduced paper money from Mephisto, which is adorned with pictures of Simon Magus. The Emperor begins to understand its meaning and to squander it, as do his advisors. Goethe here satirizes the introduction of paper money during the French Revolution, with various advisors possibly representing Danton, Sieyès and