Oswald Spengler, answered from the texts and cited to the page.
The prime symbol is everything. Faustian civilization is the civilization of pure and limitless space — the civilization whose soul, from its first Romanesque stirrings in the tenth century between the Elbe and the Tagus, has organized every dimension of its existence around the drive toward the infinite.1 What I mean by that is not merely spatial exploration, though Columbus and the conquest of the earth's surface belong here, as do the climbing of impossible mountain-peaks and the exploration of the polar regions.2
The prime symbol runs deeper: it is the soul-form that generates Galilean dynamics, Catholic and Protestant dogmatics, the great Baroque dynasties with their cabinet diplomacy, and the art of the fugue.3 The nude statue is Apollonian — it celebrates the bounded, sensuously present body. The fugue is Faustian — it unfolds through time toward a horizon that is never finally reached.
The deepest expression of this soul in the domain of knowledge is what I called an infinitesimal music of the boundless world-space: dynamics and analysis, Romanesque ornament, Gothic cathedrals, Christian-German dogma, and the dynastic state are all one and the same world-feeling rendered in different media.4 They were born together and they will age together.
What distinguishes Faustian existence from its two great counterparts — the Apollonian and the Magian — is above all the inner structure of the ego. The Greek described his selfhood as soma, a body, and had no genuine sense of inner development, no real inward history.5 The Magian soul, for its part, inhabited a cavern-world: world-space and world-time alike were enclosed, and the governing certainty was that everything has its appointed hour, written in the stars, irrevocably ordained from creation.6
The Faustian existence is led with deep consciousness and introspection of the ego — memoirs, reflections, retrospects, prospects, conscience — a resolutely personal culture that the Apollonian world never knew and the Magian world would have found alien.7 And this soul cannot go back upon itself.8 To resist the direction of Faustian development is still to move within it — the opponent of advanced ideas looks on his fight as itself an advance; the agitator for reversal intends a continuance of development.9
The will-to-power is intolerant: all that is Faustian wills to reign alone, in sharp contrast to the Apollonian world of coexistent individual things, which was tolerant as a matter of course.10 Every Faustian movement means to win; every Classical attitude only wants to be.11 That is Faustian civilization: the civilization of infinite soul-space, whose mathematics is the calculus, whose architecture reaches vertically toward heaven, whose politics is always a struggle for sole dominion, and whose tragedy is the man who wants to win — not merely to exist.
the Faustian soul, whose prime-symbol is pure and limitless space, and whose 'body' is the Western Culture that blossomed forth with the birth of the Romanesque style in the tenth century in the Northern plain between the Elbe and the Tagus.The Decline of the West Vol I, Form and Actuality, pp. 214–215
the expansion of the Copernican world-picture into that aspect of stellar space that we possess today; the development of Columbus' discovery into a worldwide command of the earth's surface by the West; the perspective of oil-painting and of tragedy-scene; the sublimed home-feeling; the passion of our Civilization for swift transit, the conquest of the air, the exploration of the Polar regions and the climbing of almost impossible mountain-peaks — we see, emerging everywhere the prime-symbol of the Faustian soul, Limitless Space.The Decline of the West Vol I, Form and Actuality, p. 383
Faustian are: Galileian dynamics, Catholic and Protestant dogmatics, the great dynasties of the Baroque with their cabinet diplomacy, the destiny of Lear and the Madonna-ideal from Dante's Beatrice to the last line of Faust II.The Decline of the West Vol I, Form and Actuality, pp. 214–215
An infinitesimal music of the boundless world-space — that is the deep unresting longing of this soul... Dynamics and Analysis are in respect of meaning, form-language and substance, identical with Romanesque ornament, Gothic cathedrals, Christian-German dogma and the dynastic state. One and the same world-feeling speaks in all of them.The Decline of the West Vol I, Form and Actuality, p. 485
The Apollonian existence is that of the Greek who describes his ego as soma and who lacks all idea of an inner development and therefore all real history, inward and outward.The Decline of the West Vol I, Form and Actuality, pp. 214–215
the prime thing that the humanity of this Culture, from poor slaves and porters to the prophets and the caliphs themselves, feels as the Kismet above him is not a limitless flight of the ages that never lets a lost moment recur, but a Beginning and an End of 'This Day,' which is irrevocably ordained and in which the human existence takes the place assigned to it from creation itself.The Decline of the West Vol II, Perspectives of World-History, p. 251
the Faustian is an existence which is led with a deep consciousness and introspection of the ego, and a resolutely personal culture evidenced in memoirs, reflections, retrospects and prospects and conscience.The Decline of the West Vol I, Form and Actuality, pp. 214–215
To go back upon this basic form of his existence, let alone transform it, is entirely beyond the power of Faustian man.The Decline of the West Vol I, Form and Actuality, pp. 386–387
One fights against 'advanced' ideas, but all the time he looks on his fight itself as an advance. Another agitates for a 'reversal,' but what he intends is in fact a continuance of development.The Decline of the West Vol I, Form and Actuality, pp. 386–387
The will-to-power is intolerant — all that is Faustian wills to reign alone. The Apollonian feeling, on the contrary, with its world of coexistent individual things, is tolerant as a matter of course.The Decline of the West Vol I, Form and Actuality, pp. 386–387
Every 'movement' means to win, while every Classical 'attitude' only wants to be and troubles itself little about the Ethos of the neighbour.The Decline of the West Vol I, Form and Actuality, pp. 386–387