In this article we shall attempt to show that despite the originality of Sartre's writings and the original philosophical views they contain, his reliance on Goethe's Faust in The Devil and the Good Lord proves that he was quite familiar with the components of the former and made intensive
use of them in his own play. A comparative analysis of the two texts will show that Sartre exploited any ethical problem, human act, historical name and fact which he was able to fit into his own philosophical and social positions and which could contribute to his dramatic art.
Sartre Studies International publishes articles of a multidisciplinary, cross-cultural and international character reflecting the full range and complexity of Sartre's own work. It focuses on the philosophical, literary and political issues originating in existentialism, and explores the continuing vitality of existentialist and Sartrean ideas in contemporary society and contemporary culture. Each issue contains a reviews section and a notice board of current events, such as conferences, publications and media broadcasts linked to Sartre's life, work and intellectual legacy.