Goethe's Mephistopheles is altogether another conception.
By the side of it ranks the Faust Symphony (1854-1857), in which the moods of Goethe's characters - Faust, Gretchen and Mephistopheles - are depicted in three instrumental movements, with a chorus of male voices, supplying a kind of comment, by way of close.
Des Weltschmerzes (1876); Huber, Der Pessimismus (1876); von Golther, Der moderne P. (1878); Paulsen, Schopenhauer, Hamlet, Mephistopheles (1900); Kowalewski, Studien zur Psychologie des P. (1904).
The origin of the idea of Mephistopheles in Faust's mind is thus clear.
The form Mephistopheles adopted by Goethe first appears in the version des Christlich Meinenden, c. 1712.
The origin of the conception and name of Mephistopheles has been the subject of much learned debate.