Although Goethe's play is subtitled A Tragedy, we should not assume that we are obliged to understand the play according to Aristotle's description in the Poetics. Certainly, in European literatures and in the late 17th century, tragedies have generally been understood in this way, a definition widely interpreted by neoclassical theorists. Thus, the term immediately evokes a series of categories still in common use; (hero, innocent, suffering, destiny, tragic flaw, guilt and repentance, overthrow, catastrophe). Even where these specific categories seem not to apply, neo-Aristotelian theory has left a substrate of hypotheses about the nature of drama and in particular of tragedy, namely that it is about individuals confronted with deep moral, emotional and psychological problems and that it is this psychological coherence necessary to make a drama “believable”. However, it is only with this new psychological orientation that love appears as the great subject of tragedy. Faust undoubtedly contains such passionate tragedy in the Gretchen sequence. From the perspective of the late 18th century, neoclassicism had significantly narrowed the meaning of tragedy, because at least in Germany and England, throughout the 17th century, it referred to any drama whose outcome was unfortunate . This recent shift in meaning suggests that tragedy features in the title not as a term to be taken for granted but as a term to be interrogated and defined by the play. Goethe suggests the genre of his play in the two prologues. At the end of the “Prelude on Stage”, the director calls his people to walk the “narrow” stage throughout the circle of creation to pass from heaven to hell to the world. It is an appeal to the "world...... middle of paper...... end, it frames its conflicts in terms of morality, its underlying subtext praising the supremacy of virtue and morality, and punishing carnal sin. In the story, the woman suffers, but through her difficulties, she achieves salvation and forgiveness: in Faust, Goethe introduces the sacrificial woman, the "eternal woman", "the eternal woman" or "ewige webliche, the feminine ideal which finally consumed the 19th century.” German romantics of the century. Thus, the story of Gretchen is Goethe's most famous addition to the Faust legend. Here we find the oldest core of the play, the most coherent sequence of scenes, realism, precise psychology, a delicate understanding of social questions - in short, the culmination of the love tradition of the 18th century and the great tragic love story of the 19th century. century. The “Gretchen episode” of Goethe's autobiography allows us to better understand Goethe's story.