Mephisto (novel) - Full Plot Synopsis

Full Plot Synopsis

The Prussian Ministerpräsident (Prime Minister) celebrates his 43rd birthday in 1936 in the Berliner Opernhaus (Berlin Opera House). The party is so magnificent and extravagant that the foreign guests feel intimidated. As the propaganda minister enters the hall, his presence creates a stir. He is surrounded by an ice-cold atmosphere. Despite his disability he walks through the hall directly towards the director of the state theatre, Hendrik Höfgen. Although he hates the 39-year-old, he allows himself to be photographed conversing with him. To guarantee a good consequence of his appearance, the Ministerpräsident delays his arrival to the party. Later he enters with his wife, Lotte Lindenthal.

The story then reverts back to the mid-1920s: Hendrik Höfgen, Otto Ulrichs and Hans Miklas belong to the Hamburger Künstlertheater (Artists' Theatre in Hamburg). Höfgen currently works there as an actor and director, and is friends with Otto Ulrichs, as they incessantly plan a "revolutionary theatre." The Hamburger Künstlertheater is the first rung on Höfgen’s career ladder. He works there 16 hours a day and often suffers from fits of excitement and nerves. He demonstrates superiority over his colleagues. When the Berlin actress Dora Martin has a guest performance, he hides in her dressing room. Although he didn’t see her performance, he congratulates her for it. Hans Miklas, a follower of the NSDAP, talks negatively of Martin because of her Jewish origin. In a harbour pub in Hamburg, he gets to know Juliette Martins. Her father is an engineer from Hamburg and her mother was African, giving Juliette her dark skin. She gives Höfgen dance lessons and becomes his mistress.

In the Hamburger Künstlertheater "Spring’s Awakening" ("Frühlings Erwachen") is being rehearsed. Here Höfgen acts as a tyrant towards his colleagues. He adjourns the rehearsal in the afternoon because of his dance lesson. Juliette is the only person he allows to address him as Heinz – not even his family are allowed this. Höfgen is introduced to Barbara Bruckner (the daughter of Geheimrat Bruckner) by his colleague Nicoletta von Niebuhr. She encourages Höfgen to woo Barbara. To Barbara’s surprise he does it, and they marry quickly. They spend their honeymoon in the Upper Bavarian lakes. Nicoletta joins them and is visited almost daily by the eccentric writer Theophil Marder. Two weeks after their return, Hendrik again meets with Juliette. Theophil Marder writes Nicoletta a telegram, saying that his feelings are hurt by his marriage; a wife must belong to her husband regardless of circumstances. Nicoletta von Niebuhr travels straight to him and gives up her job. She marries the man, 30 years her senior.

In 1928, Höfgen takes a role in a comedy in Vienna. He receives his place there on the recommendation of Dora Martin, Geheimrat Bruckner and Theophil Marder. He leaves the Hamburger Künstlertheater after an argument with Hans Miklas, after he called Lotte Lindenthal a blonde cow. Through the support of Dora Martin, Höfgen receives a role in the State Theatre in Berlin. There he makes his career; his fee triples. He even sings for the evening performance of Chansons in the Music Hall. Now he spends a week at the Reichskanzlerplatz (Chancellor of the Reich) and learns to drive. Geheimrat Bruckner and his daughter Barbara come to Berlin less and less often and withdraw from Höfgen.

He rents a room for Juliette in a remote corner of Berlin. Then he visits her during the week. In 1932, “Faust” is included in the play’s performance listings to commemorate 100 years since the death of Goethe. Höfgen takes the role of Mephisto, which becomes his most successful part. Höfgen can hardly believe that the Nazis will come to power, but on 30 January 1933, Hitler is named as the new Reichskanzler (Chancellor of the Reich). At this time, Höfgen starts shooting a film in Madrid. Dora Martin emigrates to America. Once the shooting in Spain is finished, Höfgen doesn’t return to Germany, instead travelling to Paris, because he had been warned that he was on the Nazi blacklist. After his colleague from Hamburg Angela Siebert puts in a good word for him with Lotte Lindenthal, Lotte decides to choose him as her partner for her debut performance at the Berlin State Theatre. Höfgen therefore is under the protection of the Ministerpräsident and can return to Germany. “Faust” is again written in the performance listings of the State Theatre. Höfgen tells Lotte that he would like to play Mephisto. Again, she manages to get him this part. Thanks to his patron, he organises the release of Otto Ulrichs, whom the Nazis had imprisoned in a concentration camp for his communist beliefs. Höfgen convinces him to take a job at the State Theatre. Meanwhile Hans Miklas feels betrayed by national socialism, since in his opinion it was of no benefit to Germany.

Höfgen wants the Nazis to know nothing of his relationship with the dark-skinned Juliette. He implores her to leave Germany and go to Paris. Since Juliette refuses, Höfgen finds no alternative but to allow Juliette to be arrested. In prison Höfgen tells her that he will get her sent to Paris and support her financially. In 1934, Barbara divorces Höfgen. She too lives in Paris. Nicoletta separates from her husband and returns to Berlin, to continue working as an actress. She works alongside Höfgen. The Ministerpräsident and the propaganda minister argue over the choice of the new director of the State Theatre. The Ministerpräsident wants Höfgen to take the post and the propaganda minister disagrees, but eventually gives in. Höfgen takes over the position of Cäsar von Muck, who is named president of the “Dichterakademie” (Poetry Academy). In Paris, von Muck encounters Höfgen’s negress lover. Out of revenge he spreads the information. The Führer engages Höfgen for a short conversation on the matter, then dismisses him, content that the issue has been dealt with.

Höfgen buys a huge villa in Grunewald and calls his sister and parents to Berlin. He now marries Nicoletta to put an end to the rumours of his relationship with a negress. Ulrichs once again works in underground communist circles. He now knows that Höfgen only lives for his fame. Ulrichs is again arrested. Höfgen begs for help from the Ministerpräsident, but he explains to Höfgen that he can no longer help and that he should say no more about it.

He plays his new role of Hamlet poorly, and suffers greatly from feelings of ineptitude. The premiere is very successful and the critics are impressed. The audience no longer assesses his artistic capabilities, but rather his relationship with power. At the end of the novel, he breaks down to his mother. She knows her son’s susceptibility to nervous breakdowns, but notices in his composure that his spiritual condition is deep-rooted.