Students of Faust have known for many years that Goethe was influenced by Swedenborg when he wrote that tragedy. They have differed only as to the extent and degree of this influence. The list of earlier investigators is too long to thank them individually and, at the same time, to point out why it is necessary once more to scrutinize this influence as far as the last scene of Faust is concerned. In general, it may be said that they have concentrated their investigations mainly on the way the “spirit-seer” of the eighteenth century influenced the spirits in our scene as to appearance, speech, food, abodes, and other incidentals. Since they all started their investigation with the generally accepted assumption that Faust had “saved” himself through his last earthly endeavors in behalf of his fellow-men, they saw no reason to check the way Goethe depicts his salvation against Swedenborg's doctrine of redemption. This investigation starts from the opposite assumption, viz. that the hero at the end of his terrestial journey has reached the lowest and most tragic moment of his life (see my “Julirevolution, St. Simonismus und die Faustpartien von 1831, ”Zeitschrift fuer deutsche Philologie, vol. 60).