PT 2026.F2H42 
 
 First part of Goethe's Faust 
 
 3 1924 026 191 910 
 
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GOETHE'S FAUST 
 
 PAET I. 
 
THE FIRST PART OF 
 
 GOETHE'S EAUST 
 
 TOGETHER WITH THE PROSE TRANSLATION, NOTES 
 AND APPENDICES OF THE LATE 
 
 ABEAHAM HAYWAED, Q.C. 
 
 EFULLY REVISED, WITH INTRODUCTION 
 
 /> 
 
 BY 
 
 . A. BUCHHEIM, Ph.D. 
 
 . OF THE GERMAN LANGUAGE AND LITERATURE AT KING'S 
 COLLEGE, LONDON 
 
 LONDON 
 
 GEOEGE BELL & SONS, YOEK ST., COVENT GAEDEN 
 
 AND NEW YORK 
 
 1892 
 

 CHISWICK PUFSS ;— <!. WHITTINGHAM AND CO. TOOKS COURT, 
 CHANCEKY LANE. 
 
PREFACE. 
 
 VARIOUS causes have combined to diminisli in the 
 course of time the popularity of Hayward's trans- 
 lation of Groethe's "Taust," which attracted so much 
 attention when it was first published. He adopted the 
 first of the three methods of translating poetry enume- 
 rated by Groethe, and produced a schlicht prosaisehe 
 Uehersetzung. This method has, according to the poet, 
 " its own peculiar advantages ; " but as Hayward's 
 version entirely lacked the poetical element, it was 
 gradually superseded by several excellent translations 
 in verse.' In addition to this, it was well known that 
 Hayward's version, though on the whole meritorious 
 and faithful enough, was by no means reliable through- 
 out. A number of his grave errors were pointed^ ^eut 
 from the beginning, but not all of them. Moreover, 
 the Notes, though containing some valuable informa- 
 tion, were often quite irrelevant or far too prolix, and 
 not in aU instances in correspondence with modem 
 Faust criticism. These remarks are certainly not in- 
 
 ' I need only mention here the well-known translations of 
 Prof. Blackie, J. Anster, Sir T. Martin, C. T. Brooks, "W. D. 
 Scones, T. E. Webb, Miss Swanwick, J. A. Bird, and Bayard 
 Taylor, The versions of the last three translators have occa- 
 sionally been of service to me in revising Hayward's translation. 
 
VI PREFACE. 
 
 tended as a reproach on Hay ward's way of carrying out 
 his task. He deserves, in fact, all praise for having 
 produced about sixty years ago so creditable a perfor- 
 mance, and what pains he took with his translation is 
 fully testified by his Notes. Still, if his work was not 
 to vanish entirely from the book market, it was neces- 
 sary to subject it to a thorough revi^on. This I have 
 done to the best of my ability. I have corrected his 
 renderings whenever they seemed to me wrong, and 
 have substituted simple and homely expressions and 
 phrases for the stiff and pedantic terms and turns of 
 speech occurring in the old version.' 
 
 As regards the Notes, I have cut out from them every- 
 thing which seemed to me irrelevant, and have corrected 
 or supplemented occasionally those which I have left. I 
 have, however, done still more than was first projected. 
 In order not to leave the reader entirely in the dark 
 regarding some rather perplexing and abstruse pas- 
 sages, I have inserted a number of original notes. To 
 annotate the text completely would have swelled this 
 volume to double its size ; but to enable earnest readers 
 of the tragedy to make a thorough study of it, I have 
 drawn up a short list of books which wiU be found very 
 serviceable for the purpose. 
 
 I have, besides, prefixed a sketch of the Faust legend, 
 which, supplementing as it does Hayward's instructive 
 essay on the same subject, will, it is hoped, be read 
 with some interest. 
 
 ' Cp. the excellent article " On the Translation of Faust;' by 
 Prof. W. P. Andrews, lathe "Atlantic Monthly "of Dec, 1890. 
 
PREFACE. vn 
 
 All Hayward's Prefaces and Appendices have been 
 retained, but the former are now arranged more syste- 
 matically than in the previous editions. His Appendices, 
 to which I have also added some original Notes, contain 
 some very interesting matter, and they show, like his 
 Notes, the state of Faust criticism sixty years ago. 
 They have, therefore, as we should say in German, a 
 litterar-historisches Interesse. 
 
 Besides revising Hayward's translation and editorial 
 matter, I have also corrected the numerous misprints, 
 wrong references, Ac, which had been left standing since 
 the issue of the second revised edition in 1834. It seems 
 that since the publication of the latter, Hayward turned 
 to other literary pursuits which were more congenial to 
 the bent of his intellect, and so he did not subject his 
 work, later on, to another, final revision. Had he done 
 so, he would certainly have issued it ia a more perfect 
 shape, and he would most probably have corrected such 
 grave errors as, for instance, the one which occurred in 
 the " Song of the Spirits," where he curiously translated 
 the lines (1145-46) :— 
 
 Andere schwimmen 
 Ueber die Seen — 
 
 " Others are swimming over the seas " instead of " over 
 the lakes." 
 
 It has been considered advisable to give the original 
 German together with the translation, and in order to 
 make the perusal of the volume more convenient for the 
 reader, I have placed the two opposite each other, and 
 
Viii PREFACE. 
 
 inserted the reference numbers to the Notes in the 
 translation. 
 
 The text chosen for the present purpose is a reprint 
 of the edition of 1808, and the numbering of the lines 
 is that adopted by the late Gr. von Loeper in his excellent 
 edition of the drama. 
 
 I have taken considerable pains with the editing of 
 this book. The process of revising another author's 
 work is under all circumstances an irksome one, and in 
 the present instance it was for various reasons particu- 
 larly so ; but I shall consider my labour amply rewarded 
 if I have the satisfaction of having rescued from oblivion 
 a meritorious work, and of having furnished a fresh 
 stimulus to the study of one of the greatest poems of 
 all ages. 
 
 c. a. euchheim. 
 
 King's College, London, 
 Aprils 1S92. 
 
CONTENTS. 
 
 PAGE 
 
 The Faust Legend. A General Suevey. By 
 
 C. A. BUCHHEIM xi 
 
 List of Books for the Study of Goethe's " Faust " xxv 
 
 Text of Part I. and Translation .... 1 
 
 Notes 389 
 
 Translator's Appendices : — 
 
 I. Abstract of the Second Part of "Faust," 
 
 etc - . . - 427 
 
 IL An Historical Notice of the Story, etc. . 441 
 
 Translator's Prefaces 456 
 
A 
 
 THE FAUST LEGEND. 
 I. 
 
 THEEEFOLD task is imposed upon the literary 
 historian who wishes to give a satisfactory, though 
 only general account of the Faust Legend. First he 
 has to trace the idea underlying the legend itself; 
 secondly, he must give a sketch of the person who, by a 
 combination of circumstances, became the central figure 
 of the legend, and finally he has to record the various 
 accounts of the traditional hero current after his death. 
 The first task seems to be the most important, involving 
 as it does a remarkable phase in the history of civiliza- 
 tion, or rather of mankind. Besides, it is impossible 
 thoroughly to understand the drift of Groethe's great 
 poem without being acquainted with what has been 
 called the "Magus Legend." The interest which at- 
 taches to the second task — the description, namely, of 
 the person known by the name of Faiist— is, on the 
 whole, of minor importance. It is only antiquarian, or 
 rather biographical, since it merely concerns the life 
 and doings of a mysterious individual who, at best, was 
 nothing else but a highly-gifted adventurer. The third 
 task, on the other hand, has both an historical and 
 
xii THE FAUST LEGEND. 
 
 a litel-ary interest combined, that is to say, a litterar- 
 hidorisches Interesse. 
 
 The idea imdeiiying the Faust Legend is, properly 
 speaking, as old as the human race. What is the basis 
 of the great, nay, almost universal legend ? Nothing 
 else but the morbid desire to penetrate the mysteries 
 of nature — ^the over- weening pride which defiantly re- 
 volts against supernatural agencies — combined with the 
 aspiration to subject them to the human will, and, 
 in some instances at least, the yearning after truth. - 1 
 will pass over the incidents which might be cited from 
 the Bible, where we could find the germ of the Paust 
 Legend; else I should have to begin with Adam and 
 leave ofE with Simon the Sorcerer ; and I will confine 
 myself, as far as antiquity is concerned, to pagan 
 times. 
 
 The contest of the Titans and the G-iants, and still 
 more so the revolt of Prometheus, partake, in some 
 respects, of the character of the Faust Legend. It is 
 the rebellion against the limits imposed upon man by 
 a superior power — the effort to effect emancipation 
 from the deities. Later on that contest entered a new 
 phase, and a kind of compromise took place. Those who 
 understood the laws of nature, and were able, in some 
 respects, to control her forces, were supposed to be in 
 communion with the divine powers ; for in those primitive 
 days, as we know, the manifestations of nature were, in 
 themselves, considered as individual deities.' The con- 
 sequence was that those men who were initiated in the 
 laws of nature were, although not actually placed on a 
 
THE FAUST LEGEND. xiu 
 
 level with the Gods, still looked upon as their confidants, 
 as their high-priests, so to say. This happened with the 
 Greek philosopher Pythagoras, who, both on account of 
 his mystico-religious character and his intellectual 
 superiority, was looked up to with reverential awe. He 
 was', in fact, regarded as a man who stood in close com- 
 munion with the Gods, as a magician in the higher 
 sense of the word. 
 
 From the times of Pythagoras down to the dawn of 
 Christianity the behef in magical powers spread most 
 extensively, but this need not surprise us if we bear 
 in mind that in those days superstition, mysticism, 
 and immorality were rampant. The more depraved 
 and superstitious an age is, the more it is prone to 
 believe in magical and spiritual manifestations. This 
 circumstance will sufficiently explain the admiration, 
 ■ which bordered on veneration, enjoyed by the well- 
 known Pythagorean philosopher, ApoUonius Tyanensis 
 (a contemporary of Christ), who was said to have worked 
 miracles, and whose adventurous life has been made the 
 subject of an extensive theological controversy. This 
 then was the characteristic feature of the belief in magic 
 in that period. It had lost the poetical charm of a 
 Promethean striving, and become the handmaid of re- 
 ligion, or rather of superstition. 
 
 In the Christian era the belief in magic assumed 
 a new aspect. It sank a step lower in public estimation, 
 and persons who practised the so-called " occult sciences " 
 were no longer considered as men endowed with a 
 divine inspiration, but as magicians who were in league 
 
S'v THE FAUST LEGEND. 
 
 with Satanic or demoniac powers. In fact, the super- 
 natural powers, or " Gods of Antiquity," were, in them- 
 selves, placed on a lower level. They were no longer 
 considered as deities dwelling in eternal ether above the 
 visible world, but as demons relegated to the dark 
 regions of hell. The consequence was that the exer- 
 cise of magic was condemned by the Church. A false 
 etymology came to the assistance of the new interpreta- 
 tion of magic art. The Grreek word necromanteia, de- 
 noting "divinatiqn through communion with the dead," 
 was transformed into the expression " nigromantia," 
 and translated the " Black Art," which name contained 
 in itself the condemhation of the " occult science." A 
 compromise was, however, effected in this phase also of 
 the belief in magic art. It was conceded that besides 
 the "Black Art" there was a "White Art," which 
 confined itself to invoking good spirits only. The 
 Blaeh Art, in its comprehensive meaning, was con- 
 demned by the Christian religion, or rather by its 
 visible representative — the Church. This was chiefly 
 done because it was considered nefarious to investigate 
 the mysteries of nature by way of speculation or re- 
 search, since man ought to believe implicitly, and not 
 to think or reflect. It was also considered antagonistic 
 to the Christian faith to secure by magical agencies that 
 which, according to the doctrines of the Church, man was 
 not to possess at all — the goods of this world, namely. 
 
 Hence it came to pass that two classes were, in 
 general, denounced by the Church — the philosopher and 
 the experimentalist. The former class included some of 
 
THE FAUST LEGEND. XV 
 
 the profoundest thinkers and scholars, whilst the latter 
 class contained in its ranks, besides some scientific men, 
 numbers of charlatans, such as alchymists, inventors of 
 the elixir of Hfe, etc. The numbers of the last-named 
 class were legion ; those of the former were naturally 
 much smaller, because many of its members belonged to 
 the most distinguished in the world of scholarship and 
 philosophy. I need only just mention the names of 
 some of these. In the tenth century Pope Sylvester II., 
 the learned tutor of Otto II., Emperor of Germany, 
 was by a strange irony of fate considered a sorcerer on 
 account of his knowledge of mathematics and astronomy 
 and his skiU. in mechanics. In the thirteenth century the 
 same fate befell the famous Fraociscan friar, Roger 
 Bacon, who was honoured with the [great name of " the 
 father of modern science." The famous Dominican 
 friar, Albert, Count of Bollstadt, commonly called 
 " Albertus Magnus," was, on account of his familiarity 
 with mechanics, but more especially in consequence of 
 his " alchymistic " and chemical pursuits, branded with 
 the stigma of sorcerer. The zealous Christian missionary. 
 Raymond Lully, surnamed " Doctor illuminatus," was 
 thrown in the same category. In the sixteenth century 
 we meet with men like the distinguished physician and 
 philosopher, Agrippa von Nettesheim, and the famous 
 but fantastic Swiss physician, Theophrastus Paracelsus, 
 both of whom were, on account of their intellectual 
 superiority, reputed as being in league with the Devil. 
 
 The Church did, however, not only confine itself to the 
 condemnation' of the Black Art, but it also reserved for 
 
xvi THE FAX7ST LEGEND. 
 
 itself the privilege of procuring a free pardon, as it were, 
 for those who had forfeited the salvation of their souls 
 by a league with the evil powers. The air of the Middle 
 Ages was impregnated with superstition, so that it might 
 have been difficult to eradicate the common belief in 
 magic. Still, it would have conferred a great blessing 
 on mankind, and would have greatly promoted the cause 
 of civilization, if the representatives of the Christian 
 religion, or of the Church, had strenuously opposed 
 that superstitious belief. Unfortunately they omitted 
 to do so, partly frbm ignorance, and partly because it 
 would seem that every religion, or new form of religion, 
 retains as a rule, Consciously or unconsciously, some 
 elements of the creed which it endeavours to replace. 
 Thus the Christian religion did not discard the 
 heathenish belief in magic, and Protestantism retained 
 the same belief tra|ismitted to it by Eoman Catholicism. 
 It should also be remembered that the power and in- 
 fluence of the Church was, in the Middle Ages, actually 
 strengthened by humouring, as it were, the belief in 
 magic ; for whilst acknowledging its existence it placed 
 itself above it by promising deliverance from the Evil 
 One to thos^ who, even at the eleventh hour, appealed 
 to its protection. 
 
 The traditional instances which show the superior 
 power of the Church over that of Satan are numerous, 
 and I will only confine myself to mentioning the well- 
 known story of the CUician monk and coadjutor, 
 Theophilus of Adana, of whom it was related that he 
 had made a regular compact with the Devil, It was 
 
THE FAUST LEGEND. XVll 
 
 ambition whicli prompted him to mate over his soul to 
 the infernal powers, and this seems to be the first in- 
 stance in which the giving of a bond is recorded. 
 Later on, the curious feature was added to this trans- 
 action that the bond was signed by the blood of the 
 victim. It is further related that the ambitious monk 
 having repented his covenant with the Devil, the Virgin 
 Mary somehow recovered the bond, and laid it on the 
 breast of the " repentant sinner " whUst he was sleeping 
 exhausted in a church, after forty days' prayer and fast- 
 ing. This legend, which was first told in a Greek 
 biography of TheophHus, was subsequently made the 
 subject of Latin, German, and French plays and poems. 
 Li this respect the traditional coadjutor may be con- 
 sidered as the forerunner of Faust, and it is a remart- 
 able coincidence that the tradition of the rescue of 
 TheophiluB by the Virgin Mary has, in some degree, 
 been adopted by Goethe, who saw in it, perhaps, the 
 symbol of beneficent female influence. At the conclu- 
 sion of Part IL of Goethe's "Faust," Doctor Mariauus 
 addresses the following invocation to the Virgin Mary : 
 
 Jwngfram, Mutter, Konigin, 
 Gbttin, bleibe gnddig, 
 
 and the Chorus Mysticus concludes the poem with the 
 following celebrated words : 
 
 Das Vnheschreihliehe, 
 
 Hier ist es gethan — 
 
 Das ewig Weibliche 
 
 Zieht uns hinan. 
 I 
 
Xviii THE FAUST LEGEND, 
 
 The intercessioa of the Virgin Mary on behalf of 
 those who, after having devoted themselves to the Devil, 
 had appealed to her, is of frequent occurrence in the 
 traditions of magic and sorcery. This feature disap- 
 peared, of course, with the Eeformation, not so much 
 because it considered a league with the Devil as so great 
 a sin that the person who committed it was irrevocably 
 lost, but simply because it did not recognize the efB- 
 ciency of any intermediate agency or supernatural inter- 
 cession. A deadly malady, against which there is no 
 remedy, must end fatally unless nature "helps itself;" 
 and so it was assumed that those who had formally 
 given themselves over to the Devil had, according to 
 the tenets of the Protestant Church, forfeited the sal- 
 vation of their souls for ever, unless they were saved by 
 their own moral efEorts — ^that is to say, by sincere re- 
 pentance. This was a great advance in the traditional 
 belief in magic, and the almost universal superstition 
 entered a new stage. The whole process was simpli- 
 fied in a most rational manner. It was no longer ne- 
 cessary to trouble any supernatural agency to make the 
 Devil lose his prey. The victim had the remedy in 
 himself. He had only to repent, and his compact with 
 the Devil was naturally cancelled. On the other hand, 
 the belief in magic assumed externally a more complex 
 aspect ; more especially at the time when a single per- 
 sonage was found round whom the various traditions 
 gathered with a kind of natural selection. I allude, of 
 course, to Faust, in whom the crystallization of the 
 legend took place. 
 
THE FAUST LEGEND. xix 
 
 As regards that person, who has become immortal 
 through the halo shed round him by tradition and 
 poetry, it is quite certain that there lived towards the 
 end of the fifteenth and the first half of the sixteenth 
 century a man who bore the name of Famt. The latter 
 is not identical with the German equivalent of the 
 English word "fist;" but is, according to Jatob 
 Grrimm, an abbreviation of the Latin term " faustus," 
 i.e., propitious, felicitous. 
 
 II. 
 
 We have, in fact, the authentic record of two persons 
 bearing the name of Faust, and it has been conjectured 
 bhat they were identical. The first authentic mention 
 of an adventurer who has been identified with the hero 
 of the legend, dates from the year 1607. His full name 
 is given as " Magister Georgius SabelUus Faustus junior, 
 fons necromanciorum astrologus," etc., and he is de- 
 scribed — ^which must not astonish us after hearing his 
 characteristic title — as a bragging vagabond, as a vagrant 
 magician, who understood how to gain even the protec- 
 tion of so enlightened a man as Franz von Sickingen. 
 Another authentic record of the same personage we 
 have from the year 1S13. He is there simply called 
 Georgius Faustus, and described as a charlatan who 
 lived on the credulity of his good-natured fellow- 
 sitizens. There also exists an account of Faust from 
 the year 1539, which fully coincides with the former 
 
XX THE FAUST LEGEND. 
 
 descriptions. A contemporary of Faust relates, in a' 
 book publislied in 1548, several incidents of which he 
 asserts himself to have been an eye-witness, and which 
 stamp him as a magician. This seems to be the first 
 account of Paust, adorned with various magic stories, 
 and it is a remarkable fact that it was written by a 
 Protestant clergyman. 
 
 Another account, dating from 1562, gives further- 
 particulars of Faust — some of which form the basis of 
 the legend in its expanded form — such as the fact that 
 he was bom at Knittlingen in Wiirttemberg ; that he 
 endeavoured to fly, and that the Devil threw him to the 
 ground. We may confidently assume that if he had 
 really been able to raise himself into the air by some 
 mechanical process, his success would have been equally 
 attributed to the Devil. 
 
 In the account just mentioned the prsenomen of Faust 
 is given as Johannes, whilst in the first account he is 
 called Georg} Besides the discrepancy in the names, 
 there is also one between the dates of the two Fausts, 
 •which circumstances have naturally led to the con- 
 jecture that there were two- different personages named 
 Faust or Faustus, trading in the department of 
 magic. On the other hand, it has been attempted to 
 
 ' Goethe applies to Faust the IDhristian name of Heinrich, 
 which seems to have been a special favourite with him, and 
 which is certainly more suitable in the present drama than 
 either Georff or Johann would be. In the same way he assigned 
 to Egmont the prsenomen Heinrich instead of Lamoral. Cf . my 
 edition of Goethe's "Egmont' ("Clarendon Press Series"), 
 p. 110, 1. 22, n. 
 
THE FAUST LEGliND. xxl 
 
 reconcile the discrepancies, and to assume that the two 
 different Fausts were, in fact, one and the same person, 
 the data of whose biographies differ. At any rate, it 
 may be taken for granted, as stated above, that there 
 existed a clever adventurer who was what used to be 
 called in those days a fahrender Schuler, " a roving 
 scholar " or " student," ' who came in contact with the 
 leaders of the Eeformation, and who became, in the 
 course of time, the central figure of all the various 
 stories and legends which form the " Faustsage," such 
 as it is now known. 
 
 Various reminiscences of classical and Teutonic or 
 Northern mythology were now interwoven with the 
 Faust Legend. Thus the story that Faust attempted 
 to fly may be traced to the myth of Icarus ; but the 
 most striking instance of the intimate connection of 
 the " Faustsage " with antiquity is perhaps to be found 
 in the introduction of the G-reek "Helena" into the 
 Teutonic legend. The mention of Faust's roaming 
 through the air by means of a magic cloak would seeaa 
 to be a counterpart of the cloak used by the Northern 
 god "Wodan" for carrying the heroes through the air. 
 
 After the recorded death of Faust he seems to have 
 been forgotten, since people were too much occupied 
 with more portentous objects to concern themselves 
 with the doings of a traditional hero who was said 
 to have been carried off by the Devil. 
 
 The legend had, however, taken such a firm root 
 
 ' Cf. p. 39 and n. 51, in this volume. 
 
XXU THE FAUST LEGEND. 
 
 among the people that it only required some external 
 impulse to be fully reviyed with all its fantastic 
 details. This was done in 1687, when there appeared 
 at Frankfort-on-the-Main the first original "Faust- 
 buch," published anonymously by the printer Johann 
 Spiesz. The author of the book seems to have been an 
 intimate friend of the publisher, and he wished the 
 book to be issued " as a warning to all Christians." 
 
 It would far exceed the scope of the present volume 
 to give a detailed account of the " Spiesz' sehe," or oldest 
 '•' Faustbuch," and it may sufSqe to mention that the im- 
 port of that remarkable publication, which is assumed to 
 have been written by a Protestant clergyman, was to show 
 that it was Faust's inordinate striving after universal 
 knowledge that caused his ruin, and the author adds 
 rather poetically, Er nahm an sich Adlerfliigel ; wolUe 
 alle Grmid im Himmel und a%f Erden erforschen — " He 
 took unto him eagle's wings and wanted to find out the 
 cause of aU things ia Heaven and on Earth." In these 
 few words we have the essence of the " Faustsage." The 
 original " Faustbuch " seems to have attracted general 
 attention on its appearance. A rhymed version of the 
 story was published at the begianing of 1588, and what 
 is still more remarkable, is the fact that shortly 
 after the " Faustbuch " had appeared in Germany, there 
 was published ia London a " Ballad of the Life and 
 Death of Dr. Faustus, the great Sorcerer." A slightly 
 altered reprint of Spiesz' s edition made its appearance 
 at Frankfort in the above-mentioned year. An enlarged 
 edition was issued in 1691, and a reprint of the same in 
 
THE FAD ST LEGEND. xxiil 
 
 the following year. It was also translated into Low 
 German, Danish, English, and even into French ; hut 
 what speaks more than aU these data for the lively 
 interest which the great Teutonic legend inspired in 
 those days — as in otir own — is the fact that shortly 
 after the publication of the English version (about 
 1588 or 1589), Marlowe wrote his poetical drama, "The 
 Tragical History of Dr. Paustus," which, by the bye, is 
 the only production on the same subject which may 
 worthily be placed by the side of Goethe's great drama. 
 Eaust's Famulus, Christoph Wagner, who is so inti- 
 mately connected with the life and doings of the adven- 
 turous magician, found a biographer in the year 1593, 
 when a " Volksbuch " was published giving an account of 
 his life. In 1599 a scholar named Georg Eudolf 
 Widman wrote a learned and pedantic account of the 
 " Life and Death of Eaust,'' in three parts. It is, how- 
 ever, utterly devoid of the charming simplicity of the 
 original "Eaustbuch." Widman's version was re- 
 edited in a shorter form by the physician Pfizer in 1679, 
 and in 1728 there appeared a free, popular, and concise 
 adaptation of Widman's and Pfizer's version combined. 
 On the title-page we find the statement that " this book 
 has been put into print as a warning to all sinners by 
 a Christian-minded man." This version, which met with 
 general favour and went through a number of editions, 
 was read by Goethe when a child, and it is a remarkable 
 fact that, whilst every well-educated person in Germany 
 reads Goethe's " Faust," the charming " Volksbuch " is 
 still a favourite with the lowest strata of the people, who 
 
XXIV THE FAUST LEGEND, 
 
 buy it, printed on a kind of grey blotting-paper, at the 
 fairs for a few Pfennige. 
 
 It may be assumed that besides reading the more 
 modem version of the " Faustbuch," Goethe was likewise 
 acquainted with the well-known puppet-play treating of 
 the same subject. Pictorial art also probably contri- 
 buted to impress it deeply on his mind; for it was 
 during his stay at Leipzig that he had frequent occasion 
 to see in " Auerbach's Keller " the picture representing 
 Faust as riding out of the cellar on a large wine-barrel.* 
 In addition to these external influences, Leseing's famous 
 letter on " Faust " must also have acted as a powerful 
 incentive to the young poet, and thus we find that 
 during his stay, in 1770, at Strasburg (where, more- 
 over, he probably witnessed the performance of a " Faust- 
 spiel" acted there in those days), the idea of drama- 
 tizing the great subject was confirmed in him. Ac- 
 cording to some he began the composition between 
 1770-71 ; it was, however, not before the year 1790 
 that he issued the greater portion of it under the title 
 of " Faust, Bin Fragment," whilst the complete form 
 of Part I. made its appearance as late as the year 
 1808, and since that time it has grown so much in 
 public estimation that it is now universally acknow- 
 ledged as the greatest dramatic representation of the 
 problem of mankind. 
 
 1 Cf. p. 147, n. 78, in this volume. 
 
A LIST 
 
 OP SOME BOuKS rOE THE STUDY OF 
 GOETHE'S "EATJST."' 
 
 German. 
 
 1. Duntzer, H. Goethe's "Faust." Erster und Zweiter 
 Theil. Zum erstenmal vollstandig erlantert. [The most ex- 
 haustive, and indispensable commentary on Goethe's poem.] 
 
 2. Duntzer, H. Zur Goetheforschung. [Contains an inte- 
 resting article on the Gochenhausen manuscript of Goethe's 
 " Faust," and some valuable essays on Part II.] 
 
 3. SchmMt, Erich. Goethe's "Faust" in urspriinglicher 
 Gestalt. Also, Goethe's " Faust " in the Weimar Edition. 
 
 4. Marhach, 0. Goethe's "Faust." Erster und Zweiter 
 Theil. [Commentary.] 
 
 5. Schreyer, H. Goethe's "Faust" nach seiner Einheit 
 vertheidigt. [Commentary.] 
 
 6. Strehlke, Fr. Paralipomena zu Goethe's "Faust.'' Ent- 
 wurfe, Skizzen, Vorarbeiten und Fragmente. [Highly inte- 
 resting for the thorough study of the histoiy of the composition 
 of Goethe's drama.] 
 
 7. Strehlke, Fr. Wbrterbuch zu Goethe's " Faust." [One 
 of the most useful books in the vast Faust literature.] 
 
 8. Hauffe. Die Faustsage und der historische Faust. [A 
 useful monograph on the Faust legend.] 
 
 9. Creizenach, M. Die Buhnengeschichte des Goethe'schen 
 "Faust." Also, "Geschichte des Volksschauspiels von Dr. 
 Faust." 
 
 10. Fischer, Kuno. Goethe's "Faust." Ueber die Entstehung 
 
 i Instead of giving a bewildering list of commentaries, treatises, &c., it 
 . has been considered advisable to limit the number to a few very useful 
 publications. 
 
xxvi A LIST OF BOOKS. 
 
 und Composition des Gediohtes. [A thoughtful and spirited 
 monograph, which has proved very suggestive to the editor in 
 his Faust-studies.] 
 
 11. Scherer, W. Vortrage iiber Goethe. 
 
 Vi.' Carri&e, M. Goethe's "Faust." Mit Einleitungen 
 und Erlauterungen. 2 Bde. [Text and commentary.] 
 
 13. Schroer, K. J. "Faust" von Goethe. Mit Einleitung 
 und fortlaufender Erklarung. 2 Bde. [Text and commen- 
 tary.] 
 
 14. Loeper's edition of " Faust," mentioned in the Preface. 
 
 15. Engd, K. Das Volksschauspiel Dr. Johann Faust. Mit 
 einem Anhang, Bibliotheca Faustiana. [Very meritorious.] 
 
 16. Hememann, Wm. Goethe's " Faust " in England und 
 Amerika. [A very carefully executed and most useful biblio- 
 graphy of English translations, &c.] 
 
 English. 
 
 1. Boyesen, E. H. Goethe and Schiller. Including a Com- 
 mentary on Goethe's "Faust." [This valuable treatise has 
 been translated into German.] 
 
 2. Coupland, W. C. The Spirit of Goethe's " Faust." [One 
 of the best contributions to English Faust criticism in recent 
 times.] 
 
 3. Wwrd, A. W. The English Drama. Select Plays. 
 Marlowe : Tragical History of Dr. Faustus. Greene : 
 Honourable History of Friar Bacon and Friar Bungay. 
 [This volume is of the greatest importance for the study of the 
 Faust tradition. The relation between Marlowe's " Faustus " 
 and Goethe's " Faust " is most intelligently worked out.] 
 
 The annotated editions published in this country and 
 America which are known to me, have been mentionefi in my 
 Notes at the end of the volume. 
 
FAUST. 
 
ZUEIGNUNG. 
 
 I HE naht euch wieder, schwankende Gestalten, 
 Die friJh sioh einst dem triiben Bliok gezeigt. 
 Versuch' ioh wohl, euch diesmal fest zu halten ? 
 Piihl' ioh mein Herz noch jenem Wahn geneigt ? 
 Ihr drangt euch zu ! Nun gut, so miigt ihr walten, 5 
 
 Wie ihr aus Dnnst und Nebel um mich-steigt ; 
 Main Busen fiihlt sich jugendlich erschiittert 
 Vom Zauberhauch, der euren Zug umwittert. 
 
 Ihr bringt mit euch die Bilder froher Tage, 
 Und manche Hebe Schatten steigen auf ; 10 
 
 Gleioh einer alten, halbverklungnen Sage, 
 Kommt erste Lieb' und Freundsohaft mit herauf ; 
 Der Schmerz wird neu, es wiederholt die Klage 
 Des Lebens labyrinthisoh irren Lauf, 
 
 Und nennt die Gruten, die, um schone Stunden 15 
 
 Yom Gluck getausoht, vor mir hinweggeschwunden. 
 
 Sie horen nicht die folgenden Gesange, 
 Die Seelen, denen ich die ersten sang ; 
 Zerstoben ist das freundliche Gedrange, 
 Verklungen, ach, der erste Wiederklang. 20 
 
 Mein Eeid ertcint der unbekannten Menge, 
 Ihr Beifall selbst macht meinem Herzen bang, 
 Und was sich sonst an meinem Lied erfreuet, 
 Wenn es noch lebt, irrt in der Welt zerstreuet. 
 
 Und mioh ergreift ein langst entwbhntes Sehnen 25 
 
 Naoh jenem stillen, ernsten Geisterreich ; 
 Es schwebet nun in unbestimmten Tonen 
 Mein lispelnd Lied, der Aeolsharfe gleich ; 
 Bin Schauer faszt mioh, Thrane folgfc den Thranen 
 Das strenge Herz, es fiihlt sich mild und weieh ; ' 30 
 
 Was ich besitze, seh' ich wie im Weiten, 
 Und was verschwand, wird mir zu Wirklichkeiten, 
 
DEDICATION.^ 
 
 YE approach, again, ye waTering forms, which, once, 
 in the morning of life, presented yourselTCs to 
 my trouhled view ! Shall I try, this time, to hold you 
 fast ? Do I feel my heart still inclined to that illusion ? 
 Te crowd upon me ! weU then, ye may hold dominion 
 over me, as ye rise around out of vapour and mist. My 
 bosom feels youthfully agitated hy the magic breath 
 which surrounds your train. 
 
 Te bring with you the images of happy days, and 
 many loved shades arise : like to an old half -forgotten 
 tradition, rises first-love, •with friendship, in their com- 
 pany. The pang is renewed; the plaint repeats the 
 labyrinthine mazy course of life, and names the dear 
 ones, who, cheated of fair hours by fate, have vanished 
 away before me. 
 
 They hear not the following lays — the souls to whom 
 I sang my first. Dispersed is the friendly throng — the 
 first echo, alas, has died away ! My sorrow resounds 
 among a strange crowd : their very applause saddens my 
 heart ; and those who were once gladdened by my song 
 — if still living, stray scattered through the world. 
 
 And a yearning, long unfelt, for that quiet pensive 
 spirit-realm seizes me. In half -formed tones my lisping 
 lay is hovering like the iEolian harp. A tremor seizes 
 me: tear follows tear: the austere heart feels itself 
 growing mild and soft. What I have, I see as in the 
 distance ; and what is gone, becomes a reality to me. 
 
VORSPIEL AUF DEM THEATER. 
 
 DiREKTOB. Theateedichtek. Lustigb Pekson. 
 
 Bwektor. 
 
 IHR Beiden, die ihr mir so oft ^ 
 
 In Noth und Trubeal beigestanden, 
 Sagt, was ihr wohl in deutsohen Landen 
 Von unsrer Untemehmung hefft ! 
 
 let wiinsohte sehr, der Menge zu behagen, S 
 
 Besonders weil sie lebt and leben laszt. 
 Die Pfosten sind, die Bretter aufgeschlagen, 
 Und Jedermann erwartet sich ein Pest. 
 Sie sitzen schon mit hohen Augenbraunen 
 Gelassen da und mochten gem erstaunen. lo 
 
 loh weisz, wie man den Geist des Volks versohnt, 
 Dooh so verlegen bin ioh nie gewesen ; 
 Zwar sind sie an das Beste nichfc gewbhnt, 
 AUein sie haben sohreoklich viel gelesen, 
 Wie machen wir's, dasz Alles frisoh und neu 15 
 
 Und mit Bedeutung auch gef allig sei ? 
 Denn freilich mag ioh gem die Menge sehen, 
 Wenn sich der Strom nach unsrer Bnde drangt, 
 Und mit gewaltig wiederholten Wehen 
 Sich duroh die enge Gnadenpforte zwangt, 20 
 
 Bei hellem Tage, schon vor Vieren, 
 Mit Stoszen sich bis an die Kasse fioht 
 Und, wie in Hungersnoth um Brod an Backerthiiren, 
 Um ein Billet sich fast die Halse bricht. 
 Dies Wunder wirkt auf so verschiedne Leute 25 
 
 Der Dichter nur ; mein Preundi o.. thu es heute ! 
 
PRELUDE OJT THE STAGE.'' 
 
 Manager — Theatee-Poet — Mbebtman.^ 
 
 Manager. 
 
 YE two, ■who have so often stood by me in need and 
 tribulation, say, what hopes do you entertain of 
 our undertaking in German lands ? I wish very much to 
 please the multitude, particularly because they live and 
 let live. The posts, the boards, are put up, and every one 
 looks forward to a feast. There they sit already, cool, 
 with raised eyebrows, and would fain be set a wondering. 
 I know how the spirit of the people is propitiated ; yet 
 I have never been in such a dilemma as now. True, 
 they are not accustomed to the best, but they have read 
 a terrible deal. How shall we manage it — that all be 
 fresh and new, and still be pleasing and instructive ? * 
 For assuredly I like to see the multitude, when the 
 stream rushes towards our booth, and, with powerfully- 
 repeated efforts, forces itself through the narrow portal 
 of grace — when, in broad daylight, before the hour 
 of four, they elbow their way to the paying-place, and 
 risk breaking their necks for a ticket, as in a famine at 
 bakers' doors for bread. It is the poet only that works 
 this miracle on such a motley crowd — my friend, oh ! 
 do it to-day ! 
 
6 * TORSPIEL AUF DEM THEATEE. 
 
 ai Bichier, 
 
 0, sprioh mir nicht von jener bunten Menge, 
 Bei deren Anbliok uns der Geist entflieht ! 
 Verhiille mir das wogende Gedrange, 
 
 Das wider Willen uns zum Strudel zieht. 3° 
 
 Nein, fiihre mioh zur stillen Himmelsenge, 
 Wo nur dem Dichter reine Freude bliiht, i^ 
 
 Wo Lieb' und JFreundsohaft unsers Herzens Segen 
 Mit Gotterband erschaffen and erpflegen. 
 
 Aoh, was in tiefer Brust uns da entsprungen, 35 
 
 Was sich die Lippe schuchtern vorgelallt, 
 Miszrathen jetzt und jetzt vielleicbt gelungen, , 
 Verschlingt des wilden Augenblioks Gewalt.H s "^ 
 Oft, wenn es erst durch Jahre durohgedrungen, 
 Erscheint es in voUendeter Gestalt. 40 
 
 Was glanzt, ist fur den Augenbliok geboren, 
 Das Bchte bleibt der Nachwelt unverloren. 
 
 Lustige Person. 
 Wenn ich nur nichts von Naohwelt horen sollte ! 
 Gesetzt, dasz ich von Napl^elt reden wollte, 
 Wer machte denn der Mtwelt Spasz ? 45 
 
 Den will sie dooh und soil ihn haben. 
 - Die Gegenwart von einem braven Knaben 
 Ist, dacht' ich, immer auch schon was. 
 Wer sich behaglich mitzutheilen weisz, 
 Den wird des Volkes Laune nicht erbittern ; 50 
 
 Er wunsoht sich einen groszen Kjeis, 
 Um ihn gewisser zu erschiittem. 
 Drum seid nur brav und zeigt euch musterhaft, 
 Laszt Phantasie mit alien ihren Choren, 
 Vernunft, Verstand, Empflndung, Leidensohaft, 55 
 
 Doch, merkt euch wohl, nicht ohne Narrheifc horen ! 
 
 DvreHor. 
 Besonders aber laszt genug geschehn ! 
 
PRELUDE ON 'I'lIE STAGE. 
 
 Poet. 
 Oh! speak not to me of that motley multitui 
 at whose very aspect one's spirit takes flight. V 
 from me that surging throng, which draws us, agaii 
 our will, into the whirlpool. No! conduct me to t 
 quiet, heavenly nook, where alone pure enjoyme 
 blooms for the poet — where love and friendship, wi 
 godlike hand, create and cherish the bliss of our hear 
 Ah ! what there hath gushed from us in the - dept 
 of the breast, what the lip coyly whispered to its( 
 — now failing, and now perchance succeeding — t 
 wild moment's sway swallows up. Often only when 
 has endured through ages, does it appear in complet 
 form. What glitters, is bom for the moment; t 
 genuine remains unlost to posterity. 
 
 Merryman. 
 If I could but hear no more about posterity ! Suppo 
 I chose to talk about posterity, who then would ma 
 fun for cotempora^ies ? That they will have — ai 
 ought to have it. The presence of a good fellow, to 
 is also worth something, I should think. Who kuoi 
 how to impart himself agreeably — he will never 1 
 soured by popular caprice. He desires a large circle, 
 agitate it the more certainly. Then do but try yoi 
 best, and show yourself a model. Let fancy, with s 
 her choruses, — reason, understanding, feeling, passic 
 be heard, but — mark me well — not without folly. 
 
 Manager. 
 But, most particularly, let there be incident enoug 
 
8 VOESPIEL AUF DEM THEATER. 
 
 Man kommt, zu sohau'n, man will am liebsten sehn. 
 
 Wird Vieles vor den Augen abgesponnen, 
 
 So dasz die Menge staunend gaffen kann, 60 
 
 Da habt ihr in der Breite gleioh gewonnen, 
 
 Ihr seid ein vielgeliebter Mann. ^ , . 
 
 Die Masse konnt ihr nur durch Masse zwingen ; 
 
 Ein Jeder sucht sich endlich selbst was aus. 
 
 Wer Vieles bringt, wird Manchem etwas bringen, 65 
 
 Und jeder geht zufrieden aus dem Hans. 
 
 Gebt ihr ein Stiiok, bo gebt es gleioh in Stuoken ! 
 
 Soloh ein Bagout, es musz euch gliioken ; 
 
 Leicht ist es vorgelegt, so leicht als ausgedacht. 
 
 Was hilft's, wenn ihr ein Ganzes dargebracht ? 70 
 
 Das Fublikam wird es euch doch zerpfliicken. 
 
 Dichter. 
 Ihr fiihlet nicht, wie sohleoht ein solches Handwerk sei, 
 Wie wenig das dem echten K.unstler zieme. 
 Der saubern Herren Pfusoherei 
 Ist, merk' ioh, schori bei euch Maxime. 75 
 
 Direktor. 
 Ein solcher Vorwurf laszt mioh ungekrankt ; 
 Ein Mann, der recht zu wirken denkt, 
 Musz auf das beste Werkzeug halten. i >, ' 
 
 Bedenkt, ihr habet weiches Holz zu spalten,'^^,,.. * ' 
 Und seht nur hig^J[ij]ppBn ihr sohreibt ! ' 80 
 
 Wenn Diesen Langeweile treibt, 
 Kommt Jener satt vom iibertisohten Mahle, 
 Und, was das AUersohlimmste bleibt, 
 Gar Mancher kommt vom Lesen der Journale. 
 Man eilt zerstreut^^ij. i^ns wie zu den Maskenfesten, 85 
 Und Neugier nur beflugelt jeden Schritt; 
 Die Damen geben sich und ihren Putz zum Besten 
 Und spielen ohne Gage mit. 
 Was traumet ihr auf eurer Dichterhohe ? • 
 Was maoht ein voiles Haus euch froh ? 90 
 
PRELUDE ON THE STAGE. 9 
 
 People come to look;" their greatest pleasure is to see. 
 If much is spun ofE before their eyes, so that the many 
 can gape with astonishment, you have then gained 
 immediately hy diffuseness ; you are a great favourite. 
 Tou can only subdue the mass by mass. Each even- 
 tually picks out something for himself. Who brings 
 much," -will bring something to many a one, and all leave - 
 the house content. If you give a piece, give it at once 
 in pieces ! With such a hash, you cannot but succeed. 
 It is easily served out, as easily as invented. What 
 avails it to present a whole ? the public wiU pull it to 
 pieces for you notwithstanding. 
 
 Poet. 
 Tou feel not the baseness of such a trade ; how little 
 that becomes the true artist ! The bungling of these 
 fine gentlemen, I see, is already a maxim with you. 
 
 Manager. 
 Such a reproof does not mortify me at aU. A man 
 who intends to work properly, must have an eye to 
 the best tool. Consider, you have soft wood to split ; 
 and only look whom you are writing for ! Whilst one 
 is driven by ennui, the other comes satiated from a 
 meal of too many dishes ; and, what is worst of all, 
 many a one comes from reading the newspapers. People 
 hurry unheedingly to us, as to masquerades ; and curio- 
 sity only wings every step. The ladies give themselves 
 and their finery as a treat, and play with us without 
 pay. What are you dreaming about on your poetical 
 height ? What is it that makes a full house merry ? 
 
10 VORSPIEL AUF DEM THEATER. 
 
 Beseht die Gonner in der N'dhe 1 
 
 Halb siud sie kalt, halb siud sie roh ; 
 
 Der, nach dem Sohauspiel, hofft ein Kartenspiel, 
 
 Her eine wilde Kacht an einer Dime Busenk< ♦•-o-^^'' 
 
 Was piagt ihr armen Thoren viel '' '^Vv^^M- 95 
 
 Zu solchem Zweck die holden Musen ? 
 
 loh sag' euch, gebt nur mehr und immer, immer mehr. 
 
 So kannt ihr euch vom Ziele nie verirren ; 
 
 Suoht nur die Mensohen zu verwirren, 
 
 Sie zu befriedigen, isfc sohwer 100 
 
 Was f allt euoh an ? Entzuckung oder Schmerzen ? 
 
 Dichier. 
 G-eh hin und such dir einen andern Knecht ! 
 Der Diohter sollte wohl das hoohate Eecht, 
 Das Menschenrecht, das ihm Natur vergonnt, , 
 Um deinetwillen freventlich verscherzen !">*'-'' * ' 105 
 Woduroh jD^wegJ er alle Herzen ? 
 Woduroh beslegt er j§des Element ? 
 1st es der Binklang nioht, der aus dem Busen dringt 
 Und in sein Herz die Welt zuriicke sohlingt ? 
 Wenn die Natur des Eadens ew'ge Lange, iia 
 
 Gleiohgiiltig drehend, auf die Spin del zwingt; 
 Wenn aller Wesen unharmon'sohe Menge 
 Verdrieszlioh duroh einander klingt, 
 Wer theilt die flieszend immer gleiohe Eeihe \ 
 Belebend ab, dasz sie sioh rhy thmisoh regt ? \'; 115 
 Wer ruft das Einzelne zur allgemeiueu Weihe, ' 
 Wo es in herrlichen Akkorden schlagt ? i 
 
 Wer laszt den Sturm zu Leidensohaften wiithen ? > 
 Das Abendroth im ernsten Sinne glUhn ? 
 Wer schiittet alle sohonen Pruhlingsbliithen 120 
 
 Auf der Geliebten Pfade hin ? 
 Wer flioht die unbedetitend griinen Blatter 
 Zum Ehrenkranz Verdiensten jeder Art ? , / 
 
 Wer sichert den Olymp, vereinet Gbtter? — 
 Des Menschen Kraft, im Dichter offenbart ! nj 
 
PRELUDE ON THE STAGE. ]1 
 
 Look closely at your patrons ! Half are indifferent, 
 half coarse. One hopes for a game of cards after the 
 play ; another, a -wild night on the bosom of a wench. 
 Why, poor fools that ye are, do ye give the sweet 
 Muses much trouble for such an end ? I tell you, only 
 give more, and more, and more again; thus you can 
 never be wide of your mark. Try only to mystify the 
 people ; to satisfy them is hard — What overcomes you ? 
 Delight or pain ? 
 
 Poet. 
 Begone ' and seek thyseK another servant ! The 
 poet, forsooth, is wantonly to sport away for thy sake 
 the highest right, the right of man, which Nature 
 bestows upon him ! By what stirs he every heart ? 
 By what means subdues he every element ? Is it not 
 the harmony,— which bursts from out his breast, and 
 iraws the world back again into his heart? When 
 Nature, carelessly winding, forces the thread's inter- 
 minable length upon the spindle ; when the confused 
 multitude of all beings jangles out of tune and harsh, 
 ^who, life-infusing, so disposes the ever equably-flow- 
 ing series, that it moves rhythmically 9^^ Who calls the 
 individual to the general consecration — where it strikes 
 in glorious harmony ? ? Who bids the tempest rage to 
 passions ? the evening-red glow in the pensive spirit ? 
 Who scatters on the loved one's path all beauteous 
 i)lossomings of spring ? Who wreathes the unmeaning 
 jreen leaves into a garland of honour for deserts of all 
 iinds f Who ensures Olympus ? — ^unites the Gods ? 
 VEan's power revealed in the Poet. 
 
12 VORSPIEL AUF DEM THEATER. 
 
 Lustige Person. 
 So brauohi^sie, denn, die schonen Krafte, 
 Und trfflbtpie dicht'risohen Gesohafte, 
 Wie man ein Liebesabenteuer treibt ! 
 Zufailig naht man sioh, man fiihlt, man bleibt 
 Und nach und nach wird man verflochten ; 1 30 
 
 Es wachst das Gliiok, dann wird es angefochten, 
 Man ist entziiokt, nun kommt der Schmerz heran 
 Und, eh man Biob's versiebt, ist's eben ein Boman. 
 Laszt uns auch so ein Scbauspiel geben ! 
 'Greiffc nur hinein ins voile Mensohenleben ! 135 
 
 Ein Jeder lebt's, niobt Vielen ist's bekannt, 
 Und wo ihr's paokt, da ist's interessant. 
 In bunten Bildern wenig Klarheit, 
 Viel Irrthum und ein Funkchen A/yahrheit, 
 So wird der bestejTrank gebraut, *>'V.'-'" 140 
 
 Der alle Welt e^uiokt und auferbaut. 
 Dann sammelt siofi. der Jljigend sohonste BlUthe 
 Vor eurciBfi _^pj.el und lautcht %er Offenbarung, ^ 
 Dann'^sauget jedes zartliohe Gemiithe l^fe. >-* - " 
 
 Aus eurem Werk sieh melanohol'sohe Nahrung, .' ,j,, 145 
 Dann wird bald dies, bald jenes aufgeregt, ■^*-^' \ 
 Ein Jeder siebt, was er im BJerzen tragt. 
 Koch sind sie gleich h^^it, zu weinen und zu lacheu, 
 ~ Sie ehren nooh den ochwung.erfreuen sioh am Schein ; 
 Wer fertig ist, dem ist nichts i'eoht zu machen, J 50 
 
 Ein Werdender wird immer dankbar sein, 
 
 'ji--'^ DicMer. 
 
 So gieb mir auch die Zeiten wieder. 
 Da ich noch seibst im Werden war, 
 Da sioh em QiJ^ll gedrangter Lieder 
 
 Ununterbrochen neu gebar, 155 
 
 Da Nebfil mir die Welt verhiillten, 
 Die Kno3^''Wunder nooh verspraoh, 
 Da ich die Jau^end Blumen brach, 
 Die alle TM^^eichlich fiillten. 
 
 Ich hatte nichts und dooh genug : / 160 
 
 Den Drang nach Wahrheit und die Lust am Trag. 
 
PRELUDE ON THE STAGE. 13 
 
 Merryman. 
 Employ these fine powers then, and carry on your 
 poetical aflfairs as one carries on a love-adventure. — 
 Accidentally one approaches, one feels, one stays, and 
 Httle by little one gets entangled. The happiness in- 
 creases, — then it is disturbed ; one is delighted, — then 
 conies distress ; and before one is aware of it, it is even 
 a romance. Let us also give a play in this manner. Do 
 but grasp into the thick of human life ! Every one lives 
 it, — ^to not many is it known ; and seize it where you 
 will, it is interesting. Little clearness in motley images ! 
 much falsehood and a spark of truth ! ' this is the way 
 to brew the best potion, which refreshes and edifies all 
 the world. Then assembles youth's fairest flower to see 
 your play, and listens to the revelation. Then every 
 gentle mind sucks melancholy nourishment for itself 
 from out your work ; then one while this, and one while 
 that, is stirred up ; each one sees what he carries in his 
 heart. They are as yet equally ready to weep and to 
 laugh ; they still honour the soaring, are pleased with 
 the glitter. One who is formed, there is no such thing 
 as pleasing; one who is forming, will always be grateful. 
 
 Poet. 
 Then give me also back again the times, when 1 
 myself was stiU forming ; when a fountain of crowded 
 lays sprang freshly and unbrokenly forth ; when mists 
 veiled the world before me, — the bud still promised 
 marvels ; swhen I gathered the thousand flowers which 
 profusely filled all the dales ! I had nothing, and yet 
 enough,— the longing after truth, and the pleasure in 
 
14 VOfiSPIEL AUF DEM THEATER, 
 
 , ,, f : y 
 
 Gfieb ungebandigt jene Triebe, '^■■'; 
 
 Das tiefe, schmerzenvoUe Gluck, '■ 
 
 Des Hasses ICraft, die Macbt der Liebe, 
 
 Gieb meine Jugend mir zaruck ! '^5 
 
 Lmtige Person, f i ' " (^ 
 
 per Jugend, gute^&^d, bedarfst du allenfalls, if- / "" 
 Wenn dich in 8oWh(ia&n Feinde drangen, 
 Wenn mit Gewallf ail deinen Hals ->-<<' y' 
 
 Sioh allerliebste Madchen hangen, ^^,; ^ 
 
 Wenn fern des schnellen^Laufes KranzPi;' /i . 170 
 
 Vom schwer er^MMen Zjtele'winket, ■^'^■ 
 Wenn nach dem heft'genl.'Wirbeltanz 
 Die Nachte schmausend man ver.trinket. 
 Dooh ins bekannte Saifcenspiel v" 5^. ; 
 Mit Muth und Anmuth einzugreifen, 175 
 
 Nach einem selbstgesteokten Ziel 
 Mit holdem Irren hinzusohweifen, 
 Das, alte Herr'n, ist eure Pflicht, 
 Und wir vereiren euob darum nicht minder. 
 Das Alter macM nioht kindisch, wie man sprioht, iSo 
 
 Es findet uns nur nooh als wahre Kinder. 
 
 BireMor. 
 Der Worte sind genug gewechselt, 
 Laszt mioh. auch endlioh Thaten sehn ! 
 Indesz ihr Komplimente dreohselt, 
 
 Kann etwas Niitzliobes geschehn. 185 
 
 Was Mlft es viel von Stimmung reden ? 
 Dem Zaudernden ersoheint sie nie. 
 Gebt ihr euch einmal fiir Poeten, 
 So kommandirt die Poesie ! 
 
 Euch ist bekannt, was wir bediirfen, 190 
 
 Wir wollen stark Getranke schliirfen ; 
 Nun braut mir unverzuglich dran ! 
 Was heute nioht geschieht, ist morgen nicbt gethan, 
 Und keinen Tag soil man verpassen ; 
 
 Das Mogliche soil der Entsohlusz 195 
 
 Beherzt sogleich beim Schopfe fassen, 
 Er will es dann nicht fahren lassen 
 
PRELUDE ON THE STAGE. 15 
 
 delusion ! Give me back those impulses untamed, — the 
 deep, pain-fraught happiness, the energy of hate, the 
 power of love ! — Give me back my youth ! 
 
 Merryman. 
 Youth, my good friend, you want indeed, when foes 
 press you hard in the fight, — when lovely lasses cling 
 with ardour round your neck, — when from afar, the 
 garland of the swift course beckons from the hard- 
 won goal, — when, after the dance's maddening whirl, 
 one drinks away the night carousing. But to strike 
 the familiar lyre with spirit and grace, to sweep along, 
 with happy wanderings, towards a self-appointed aim ; 
 — that, old gentlemen, is your duty,' and we honour 
 you not the less on that account. Old age does not 
 make childish, as men say ; it only finds us still as true 
 children> 
 
 Manager. 
 "Words enough hare been interchanged ; let me now 
 see deeds also. Whilst you are turning compliments, 
 something Tiseful may be done. What boots it to 
 stand talking about being in the vein? The hesita- 
 ting never is so. If ye once give yourselves out for 
 poets, — command poesy. Ton well know what we want; 
 we would sip strong drink — now brew away immediately ! 
 What is not doing to-day is not done to-morrow ; and 
 no day should be wasted. Eesolution should boldly 
 seize the possible by the forelock at once. She will then- 
 
16 VORSPIEL AUF DEM THEATER. 
 
 Und wirket weiter, well er musz. 
 
 Ihr wiszt, auf unsern deutschen Buhnen 
 
 Probirt ein Jeder, was er mag ; zoo 
 
 Drum Bohonet mir an diesem Tag 
 
 Prospekte nicht und nioht Masohinen, 
 
 Gebraucht das grosz- und kleine Himmelslicht, 
 
 Die Sterne diirfet ihr versohwenden ; 
 
 An Wasser, Feuer, Felsenwanden, 205 
 
 An Thier- uad Vogeln fehlt es nioht. 
 
 So schreitet in dem engen Bretterhaus 
 
 Den ganzen Kreis der Sohopfung aus, 
 
 Und wandelt mit bedacht'ger Sohnelle 
 
 Vom Himmel durch die Welt zur HoUe ! 210 
 
 not let it go, and works on, because she cannot lielp it. 
 You Imow, upon our G-erman stage, every one tries 
 what he likes. Therefore spare me neither scenery nor 
 machinery upon this day. Use the greater and the 
 lesser light of heaven ; '° you are free to squander the 
 stars; there is no want of water, fire, rocks, beasts, 
 and birds. So traverse, in this narrow booth, the whole 
 circle of creation; and travel, with considerate speed, 
 from Heaven, through the World, to Hell. 
 
FAUST. 
 
 EnSTE TEAGODIE. 
 
PEOLOG IM HIMMEL. 
 
 Dee Hekb. Die himmlischen Heerschaaeen. 
 Naohhek Mephisiopheles. 
 
 Die drei Erzengel treten vor. 
 
 Raphael. 
 
 DIB Sonne tont naoh alter Weise 
 In Bruderspharen Wettgesang, 
 Und ihre vorgeschriebne Beise A^*''^^" ^ 
 Vollendet sie mit Donnergang. 
 Ihr Anbliok giebt den EnMln^ta^ke, 5 
 
 ^ Wenn Keiner sie ergninllen mag ; 
 Die unbegreiflioh hohen Werke 
 Sind herrlich wie am ersten Tag. 
 
 Qahriel. 
 IJnd sohnell und unbegreiiiioh sohnelle 
 Drett^BJph Ujinher der Erde Praoht ; 10 
 
 Es weonserf"Paradieseshelle 
 Mit tiefer schauervoUer Nacht ; 
 Es sohaumt das Meer in breit^. Mussen 
 Am tiefen Grand der Felseii*auf, 
 Und Eels und Meer wird fortgerissen ^ 15 
 
 In ewig Bohnellem Spharenlauf. 
 
 Michael. 
 Und Sturme brausen um die Wette 
 Vom Meer aufs Land, vom Land aufs Meer 
 Und bilden, wuthend, eine Kette 
 Der tiefsten Wirkung rings umher ; lo 
 
PEOLOGUE IN HEAVEN." 
 
 j The Lord — the Heavenly Hosts. Afterwards 
 
 Mephistopheles. 
 
 The Three Archangels come forward. 
 
 Raphael. 
 
 THE sun chimes in, as ever, with the emulous music 
 of his . brother spheres, and performs his pre- 
 scribed journey with thundering miarch. His aspect 
 gives strength to the angels, though none can fathom 
 him. Thy inconceivably sublime works are glorious as 
 on the first day. 
 '' Odbriel. 
 
 And rapid, inconceivably rapid, the splendour of the 
 earth revolves ; the brightn^ss of paradise alternates 
 with deep, fearful night. The sea foams up in broad 
 waves at the deep base of the rocks ; and rock and sea 
 are whirled on in the ever rapid course of the spheres. 
 
 Michael. 
 And storms are roaring as if in rivalry, from sea 
 to land, from land to sea, and form all around a chain 
 of the deepest efEect in their rage. There, flashing 
 
20 PROLOG IM IIIMMEL. 
 
 ]5a flammt oiii blitzendes Verheeren 
 Dem Pfade vor des Donnersohlags ; 
 Doch doiiie Boten, Heir, verehren 
 Das sanfte Wandeln deines Tags. 
 
 Zu Drei. 
 Der Anbliok giebt den Bngeln Starke, 25 
 
 Da Keiner dioh ergriinden mag, 
 Und alle deiue hohen Werke 
 Sind herrlich. wie am ersten Tag. 
 
 Mejphisto'pheles. 
 Da dii, Herr, dioh einmal wieder nahst 
 Und fragst, wie AUes sich bei una befinde, 30 
 
 Und du mich sonst gewohnlioh gerne sahst, , ^ 
 Sq siehat du mich auch unter dem Geainde./*****^ 
 V 'V'erzeih, ioh kann nicht hohe Worte machen, ,-, ^ - 
 Und wenn mioh auch der ganze Kreis verhohnf ; 
 Mein Pathos brachte dioh gewisz zum Lachen, 35 
 
 Hattat du dir nioht das Lachen abgewohnt. 
 Von Sonn' und Welten weisz ioh niohts zu aagen, 
 Ioh sehe nur, wie sioh die Mensohen plagen. 
 Der kleine Gott der Welt "bleibt stets von gleiohem Schlag 
 Und ist so wunderlich als wie am ersten Tag. 40 
 
 Bin wenig besser wiird' er leben, -_■ ■-" ,, 
 Hattst du ihm nicht den Sohem aes Himmelslichts gegeben ; 
 Er uenn^'s Vei^nunft und braiicht's allein, 
 Nur thieftsoher als jedes Thier zu sein. 
 Er soheint mir, mit Verlaub von Euer Gnaden, 45 
 
 Wie eine der laugbeinigen Zikaden, 
 Die immer fliegt und fliegend spriugt 
 Und gleioh im Gras ihr altes Liedcheio. singt. 
 Und lag' er nur noch immer in dem Grase 1 
 I -1 jeden Quark begrabt er seine Naae. ca 
 
 Ber Kerr. 
 Ilaat du mir weiter niohts zu sagen ? 
 Kommst du nur immer anzuklagen ? • 
 Ist auf der Erde ewig dir niohts reoht ? 
 
PROLOGUE IN HEAVEN. 21 
 
 desolation flares before the path of the thunder-clap. 
 But thy messengers," Lord, revere the gentle movement 
 of thy dayf^ 9^ 
 
 The Three. 
 
 The aspect gives strength to the angels, though none 
 . can fathom thee, and all thy sublime works are glorious 
 as on the first day. 
 
 Mephistopheles. 
 Since, Lord, you j^pproach once again, and inquire 
 how things are going on with us, and on other occa- 
 sions were generally not displeased to see me — there- 
 fore is it that you see me also among your suite. 
 Excuse me, I cannot talk fine, not though the whole 
 circle should cry scorn on nie. My pathos would cer- 
 tainly make you laugh, had you not left off laughing. 
 I have nothing to say about suns and worlds ; I only 
 mark how men are plaguing themselves. The little 
 god of the world continues ever of the same stamp, and 
 is as odd as on the first day. He would lead a some- 
 what more pleasant Ufe, had you not given him a 
 glimmering of heaven's light. He calls it reason, and 
 uses it only to be more brutal than any brute. He 
 seems to me, with your Grace's leave, like one of the 
 long-legged grasshoppers, which is ever flying, and 
 bounding as it flies, and then sings its old song in the 
 grass ; — and would that he did but he always in the 
 grass ! He thrusts his nose into every puddle. 
 
 The Lord. 
 Have you nothing else to say to me ? Are you always 
 coming for no other purpose than to denounce? Is 
 nothing ever to your Uking upon earth ? 
 
22 PROLOG IM HIMMEL. 
 
 MephitiopJieles. Jjx' 
 
 Nein, Herr, ich find' es dort, wie immer, herzlioh schlecht. 
 Die Mensohen dauern mich in ihren Jammertagen ; 55 
 Ich mag sogar die armen selbst nioht plagen. 
 
 Ber Herr. 
 Kennst du den Faust ? 
 
 MepMsto'pheles. 
 Den Doktor ? 
 
 Ber 'Re/rr. 
 
 Meinen Kneoht .' 
 
 ^>i.'- M.epMsto'gheles. 
 
 ' Fiirwahr, er dient euch auf besondre Weise. 
 Nicht irdisoh ist des Th(yen Trank neoh Speise. 
 Ihn treibt die GaE^-faiig' ui die^ Feme, 60 
 
 Br ist sich seiner Tofmeit nalo bewuszt : 
 Vom Himmel fordert er die sohonsten Sterne 
 Und von der Erde jede hoohste Lust, 
 TJnd alle Nah' und alle Feme 
 
 Befriedigt nioht die tiefbewegte Brust. , ,, 65 
 
 '■•- ■ ■■ ' A>-'' \ - 
 
 Der Herr. . > 
 Wenn er mir jetzt auch nur verworren dient, 
 So ward' ich ihn bald in die Klarheit fuhren. j^y ~' •'- 
 
 'Weisz doch der Gartner, wenn das Baumchen griint, 
 Dasz Bliith' und Frucht die kunft'gen Jahre ziereu; ' ■" 
 
 MeipMatopTieles. 
 Was wettet ihr ? Den soUt ihr noch verlieren, 70 
 
 "Wenn ihr mir die Erlaubnisz gebt, 
 Ihn meine Strasze sacht zu fuhren ! 
 
 Ber Herr. 
 So lang' er auf der Erde lebt, 
 
 /So lange sei dir's nioht verboten. 
 
 ( Es irrt der Mensch^ so lang' er strebt. ) 
 
 1i 
 
PROLOGUE IN HEAVEN. 23 
 
 Me^Mstopheles. 
 
 No, Lord ! I find things there, as ever, miserably 
 
 bad. Men, in their days of wretchedness, move my 
 
 pity ; even I myself have not the heart to torment the 
 
 poor things. 
 
 The Lord. 
 
 Do you know Faust ? 
 
 Mephistopheles. 
 
 The Doctor? 
 Mv. servant! 
 
 The Lord. 
 
 Mephietopheles. 
 '!> Verily ! he serves you in a strange fashion. The 
 .iiool's meat and drink are not of earth. The ferment 
 impels him towards the far away. He himself is half 
 conscious of his madness. Of heaven — he demands its 
 brightest stars ; and of earth — its every highest enjoy- 
 ment ; and all that is near, and all that is far, contents 
 not his deeply-agitated breast. 
 
 The Lord. 
 Although he does but serve me in perplexity now, 
 I shall soon lead him into light. When the tree buds, 
 the gardener knows that blossom and fruit will deck 
 the coming years. 
 
 Mephietopheles. 
 What will you wager ? you shall lose him yet, if you 
 give me leave to guide him quietly my own way. 
 
 The Lord. 
 So long as he lives upon the earth, so long be it not 
 forbidden to thee, f Man is liable to error, whilst he 
 is striving./ "~ 
 
24 PROLOG III HIMMEL. 
 
 Mejphistophelei. 
 Da dank' ich euch ; denn mit den Todten „ , ,^^ 
 Hab' ioh mioh niemals gern befangen. ^•* ' ('■. 
 Am Meisten lieb' ich mir die voUen, frisohen Wangen,' 
 Pur einen Leiclinam bin ich nioht zu Haus ; 
 Mir geht es wie der Katze mit der Maus. 80 
 
 Ber Herr. 
 
 Nun gut, es sei dir iiberlaaaen ! 
 
 Zieh diesen Geist von seinem Urquell ab 
 
 Und fiihr ihn, kannst du ihn erfassen, 
 
 Auf deinem Wege mit herab 
 
 Jnd steh beschamt, wenn du bekennen muszt : 85 
 
 ' Ein guter Mensoh in seinem dunkeln Drangfe - 
 vlsji-jsioh des reohten Wages wob^ bewuszt. J 
 
 Mephistopheles. 
 Sohon gut, nur dauert.ea nioht lange ! ^^^, 
 
 Mir ist fiir meine Wette;gar nicht bange.-^ ' 
 Wenn ioh zu meinem Zweok gelange, 9° 
 
 Brlaubt ihr mir Triumph aus voUer Brust. 
 Staub soil er fressen, und mit Lust, * 
 
 Wie meine Muhme, die beriihmte Sohlange. 
 
 Ber Herr. 
 Du darfst auoh da nur frei ersoheinen ; , 
 Ich habe deines Gleichen nie gehaszt. ^^' 95 
 
 Von alien Geistern, die verneinek, 
 Ist mir der SchallSjjam Wsuigsten zur Last. 
 Des Menschen Thatigkeit kann allzu leioht ersohlaffen, 
 Er liebt sioh bald die uiibedingteBuh ; , , 
 Drum geb' ich gern ihm den Gesellen zu, 100 
 
 Der reizt und wirkt und musz als Teufel sohaiffen. 
 ■ Doch jbr, die echten Gottersohne, 
 Ei'freut euch der lebendig reiohen Schone ! 
 Das Werdende, das ewig wirkt und leht, ', : 
 Umfasz' euch mit der Liebe holden Schranken, 105 
 
 Und was in schwankender Erscheinung schwebt, 
 Befestiget mit dauernden Gedanken ! 
 
 [Der Hvmmel schUeszt, die Brzengel vertheilen sich.] 
 
PROLOGUE IN HEAVEN. )ib 
 
 MejpMstopheles, 
 I am much obliged to you for tliat ; for I have never 
 had any fancy for the dead. I like plump, fresh cheeks 
 the best. I am not at home to a corpse. I am like 
 the cat -with the mouse. 
 
 The Lord. 
 Enough, it is permitted thee. Divert this spirit from 
 his original source, and bear him, if thou canst seize him, 
 down on thy own path with thee. And stand abashed, 
 when thou art compelled to own — a good man, in his in- 
 distinct strivings, is still conscious of the right way.'' 
 
 Mephistopheles . 
 
 Well, well, — only it will not last long. I am not at all 
 
 in fear about my wager. Should I succeed, excuse my 
 
 triumphing with my whole soul. Dust shall he eat, 
 
 and with a relish, like my cousin, the renowned snake. 
 
 The Lord. 
 There also you are free to act as you like. I have 
 never hated the like of you. Of all the spirits that 
 deny, the waggish scoffer is the least offensive to ine." 
 Man's activity is all too prone to slumber: he soon 
 ^ets fond of unconditional repose ; I am therefore glad 
 to give him a companion, who stirs and works, and 
 must, as devil, be doing. But ye, the true children of 
 heaven, rejoice in the living profusion of beauty. The 
 creative essence," which works and lives through aU 
 time, embrace you within the happy bounds of love ; 
 and what hovers in changeful seeming, do ye fix firm 
 with everlasting thoughts. 
 
 [Ileaven closes, the Archangels disperse.^ 
 
26 PROLOG IM HIMMEL 
 
 Mephisfopheles (all&fl^ 
 Von Zeit zu Zeit seh' ich den Alien gern 
 Und hiite michyinit ihin^zu breohen. 
 Es ist gar hubs^ von einem groszen Herrn, 
 So menschlich mit dem Teufel selbst zu sprechen. 
 
 Mephistopheles {alone). 
 I like to see the Ancient One occasionally," and take 
 care not to break with him. It is really civil in so 
 great a Lord, to speak so kindly with the Devil himself. 
 
DEE TEAGODIE 
 
 ERSTER THEIL. 
 
NAOHT. 
 
 In einem hoehgewolbten, engen, gothischen Zimmer Fatjst 
 uwuMg auf seinem Sessel am PuUe. 
 
 FoMst. 
 
 HABB nun, aoh, Philosophie, 
 Juristerei nnd Medizin 
 TJnd leider auch Theologie 
 Durohaus studirt, mit heiszem Bemiihn ! 
 Da steh' ioh nun, ieh armer Thor, S 
 
 TJnd bin so klug als wie zuvor ; 
 Heisze Magister, heisze Doktor gar 
 TJnd ziehe sohon an die zehen Ja^r', i /, 
 Herauf, herab und quer und krumm 
 Meine Sohiiler an der Nase herum — lo 
 
 _-— 4Jnd sehe, dasz wir nichts wissen konnen ! 
 Das will mir s^lfier das Herz rerbrennen. 
 Zwar bin icb gescheiter als alle die Laff^n, 
 Doktoren, Magister, Schreiber und Pfaffen ; 
 Mich plagen keine Skrupel noch Zweifel, 1 5 
 
 Fiirchte mich weder vor Holle noch Teufel — 
 Dafiir ist mir auoh alle iFreud' entrissen,-Jr 
 Bilde mir nicht ein, was B,eoh.t's zu wissen, 
 Bilde mir'nicbt ein, ioh konnte was lehren. 
 Die Menschen zu bessern und zu bekehren. 20 
 
 Auoh hab' ioh weder Gut nooh Geld, 
 Nooh Bhr' und Herrliohkeit der Welt. 
 Es moohte kein Hund so langer leben ! 
 
 -iS^Drum hab' ioh mich der Magife ergeben, 
 
 Ob mir durch Geistes Kraft und Mund 25 
 
 Nicht manoh Geheimnisz wiirde kund, 
 Dasz ioh nicht mehr mit saurem Schweisz 
 
FIEST PART OF THE TRAGEDY. 
 
 NIGHT." 
 
 Faust in a high-vaulted narrow Gothic chamber, seated 
 restlessly at his desk. 
 
 Faust. 
 
 I HAVE now, alas, by zealous exertion, thorougHy 
 mastered philosophy, the jurist's craft, and medi- 
 cine, — and to my sorrow, theology too. Here I stand, 
 poor fool that I am, just as wise as before. I am called 
 Master, ay, and Doctor, and have now for nearly ten 
 years been leading my pupils about — up and down, 
 crossways and crooked ways — by the nose; and see 
 that we can know nothing ! This it is that almost bums 
 up the heart within me. True, I am cleverer than all 
 those wiseacres — doctors, masters, clerks, and priests. 
 No doubts nor scruples trouble me ; I fear neither hell 
 nor the devil. '^^or this very reason is aU joy torn 
 from me." I no longer fancy I know a.nyf.liiTig wrrth 
 kno wing ; I no longer fancy I could teach anything to 
 better and to convert mankind. Then I have neither 
 goods nor money, nor honour and rank in the world. 
 No dog would like to live so any longer. I have there- 
 fore devoted myself to magic " — whether, through the 
 power and voice of the Spirit, many a mystery might 
 not become known to me ; that I may no longer, with 
 
30 NACHT. 
 
 Zu sagen brauohe, was ich nicht weisz, 
 
 Dasz ich erkenne, was die Welt 
 
 Im Innersten zusammenhalt, 3° 
 
 Sohau' alle Wivkenskraft und Samen 
 
 Und thu' nioht mehr in Worten kramen. 
 
 0, sahst du, voUer Mondensehein, 
 ' "Zum letzten. Mai anf meine Pein, t-' "^ 
 
 Den ich so manohe Mitternaoht 35 
 
 An diesem Polt herangewacht : 
 
 Dann iiber Buchern und Papier, 
 
 Triibsel'ger Freund, ersohienst du mir ! 
 
 Ach, konnt' ich doch auf Bergeshohn 
 
 In deinem lieben Liohte gehn, 40 
 
 Um Bergeshohle mit Geistern sehweben, 
 
 Auf-Wiesen in deinem Dammer weben, 
 
 Von allem Wissensqualm entladen 
 
 In deinem '^au gesund mioh baden ! 
 
 T'^^Jj ! Steok' ich in dem Kerker iiooh ? 45 
 
 Verfluchtes dumpfes Mauerloch, 
 Wo selbst das liebe Himmelslicht 
 Triib duroh gemalte Scheiben bricht ! 
 ■ Besohrankt von diesem Bucherhauf, 
 Den Wiirme nagen, Staub bedeckt, ' 50 
 
 Den bis ans tphe Gewolb' hinauf 
 Ein angeraucht Papier umsteokt ; 
 Mit Glasern, BUchspn rings umstellt, 
 Mit Instrnmenten voUgepfropft, 
 Urvater Hausrath drein gestopft— 55 
 
 Das ist deine Welt ! Das heiszt eine Welt ! 
 
 Und fragst du noch, warum dein Herz 
 Sioh bang in deinem Busen klemmt, 
 Warum ein unerklarter Sohmerz 
 Dir alle Lebensregung hemmt ? 60 
 
 Statt der lebendigen Natur, 
 Da Gott die Menschen soKufhi^jn, 
 Umgiebt in Eauch und Moder nur 
 Dioh Thiergeripp und Todtenbein. 
 
NIGHT-SCENE. 31' 
 
 bitter sweat, be obliged to speak of what I do not 
 loiow ; that I may learn what holds the world togethen 
 in its inmost core, see all the springs and seeds of pro- 
 duction, and rummage no longer in empty words. 
 
 Oh ! would that thou, radiant moonlight, wert look- 
 ing for the last time upon mj misery ; thou, for whom 
 I have sat watching so many a midnight at this desk ; 
 then, over books and papers, melancholy friend, didst 
 thou appear to me ! Oh ! that I might wander on the 
 mountain-tops in thy loved light — hover with spirits 
 round the mountain caves — flit over the fields in thy 
 glimmer, and, disencumbered from all the fumes of 
 knowledge, bathe myself soimd in thy dew ! 
 
 Woe is me ! am I still penned up in this dungeon ? — 
 accursed, musty, waUed hole ! — where even the pre- 
 cious light of heaven breaks mournfully through painted 
 panes, stiated by this heap of books, — which worms 
 eat — dust begrimes — which, up to the very top of the 
 vault, a smoke-smeared paper encompasses ; with glasses, 
 boxes ranged round, with instruments piled up on all 
 sides, ancestral lumber stufEed in with the rest. This 
 is thy world, and what a world ! 
 
 And dost thou stiU ask, why thy heart flutters con- 
 finedly in thy bosom ? — Why a vague aching deadens 
 withiu thee every stirring principle of life ?— Instead 
 of the animated nature, for which God made man, thou 
 hast nought around thee but beasts' skeletons and dead 
 men's bones, in smoke and mould. 
 
82 NACHT. 
 
 Flieh ! Auf ! Hinaus ins weite Land ! 6S 
 
 TJnd dies gelaeimniszvolle Buch 
 
 Von Nostradamus' eigner Hand, 
 
 1st dir es nicht Geleiti geniig*? 
 
 Erkennest dann der Sterne Lauf, 
 
 Und wenn Natur dioh unter waist, 7° 
 
 Dann geht die Seelenkraft dir auf, 
 ~Wie spricht ein Gejsli zum andern Geist. 
 ' Umsoiist, dasz trocknes Sinnen hier 
 
 Die heil'gen Zeichen dir erklart : 
 
 Ihr schwebt, ihr Geister, neben mir, 75 
 
 Antwortet mir, wenn ihr mioh hort ! 
 
 [Er schldgt das Bucli auf und erhlickt_das Zeichen des 
 
 MaTcrohosmus.] 
 Ha ! Welche Wonne flieszt in diesem Blick 
 Auf einmal mir durbh alle meine Sinnen ! 
 loh fiiiile junges, heil'ges Lebensgluok 
 Neugliihend mir duroh. Nerv'- und Adern rinnen. 80 
 
 War es ein Gott, der .dipse Zeichen schrieb, 
 Die mir das innre Toben stillen, 
 Das arme Herz mit Freude fullen 
 TJnd mit geheimniszvollem Trieb 
 
 Die Krafte der Natnr rings um mich her enthUllen ? 85 
 Bin ich ein Gott ? Mir -wird so lioht U \ 
 
 loh Bohau' in diesen reinen Zugen 
 Die wirkende Natur vor meiner Seele liegen. 
 Jetzt erst erkenn' ich, was der Weise spricht : 
 " Die Geisterwelt ist nicht verschlossen ; «, ,■>: 90 
 
 Dein Sinn ist zu, dein Herz ist todt! 
 Auf, bade, Schiiler, unverdrossenji 
 Die ird'sche Brust im Movgenroth ! " 
 
 [^Er leschaut das Zeichen.] 
 Wie Alles sioh zum Ganzen webt ! 
 
 Eins in dem Andern wirkt und lebt ! 95 
 
 Wie Himmelskrafte auf und nieder steigen 
 TJnd sich die goldnen Bimer reiehen ! 
 Mit segenduftenden Schwingen j' 
 Vom Himmel durch die Erde dringen, 
 Harmonisch all' das All durohklingen ! 100 
 
NIGHT-SCENE. 33 
 
 Up ! away ! Out into the wide world ! And this mys- 
 terious hook, from Nostradamus' own hand/" is it not 
 sufficient company for thee ! Thou then knowest the 
 course qf the stars, and, when nature instructs thee, the 
 soul's essence then rises up to thee, as one spirit speaks 
 to another. It is in vain that dull poring here expounds 
 the holy signs to thee ! Te are horering, ye Spirits, 
 near me ; answer me if you hear me. 
 
 [He opens the took and perceives the sign of the 
 MacroGosm!^^'] 
 
 Ah ! what rapture thrills all at once through all my 
 senses at this sight ! I feel youthful, hallowed life- joy, 
 new-glowing, shoot through nerve and vein. Was it a 
 god that traced these signs, which stUl the storm 
 within me, fill my poor heart with gladness, and, by a 
 mystical intuition, unveil the powers of nature all 
 around me ? Am I a god ? All grows so bright ! I i 
 see, in these pure lines, Nature herself working in my 
 soul's presence. Now for the first time do I conceive what 
 the sage saith, — " The spirit-world is not closed. Thy 
 sense is shut, thy heart is dead ! Tip, acolyte ! '^^ bathe, 
 untired, thy earthly breast in the morning-red." 
 
 [He contemplates the sign."] 
 
 How all weaves itself into a whole ; one works and 
 lives in the other. How heavenly powers ^' ascend and 
 descend, and reach each other the golden buckets, — 
 with bliss-exhaling pinions, press from heaven through 
 earth, all ringing harmoniously through the All, 
 
34 NACHT. 
 
 Welch Schauspiel ! Aber ach, ein Sohauspiel nur ! 
 
 Wo fass' ich. dioh, unendliohe Nafciir ? 
 
 Buoh, Briiste, wo ? Ihr Qaellen alles Lebens, 
 
 An denen IJi.mm,el und Brde haugfc, 
 
 Dahin die -v^eU* Brast sioh. draugt — ■ 105 
 
 Ihr qafSUb, ihr irankt, und aohmaoht' ich so vergebens ? 
 
 \_Er sdhldgt unwilUg das Buch urn und erhlickt das 
 Zeichen des Erdgeisies.} 
 
 Wie anders wirkt dies Zeiohen auf mich ein ! 
 
 Du, Geist der Erde, bist mir naher ; 
 
 Schon fuhr ich meine Krafte hoher, 
 
 Schon gliih' ioh wie von neaem Wein. ,^; ,,.,,,. , no 
 
 Ich fiihle Muth, mich in die Welt zn wagen, 
 
 Der Erde Weh, der Erde Gliick zu tragea, ,■ 
 
 Mifc Stiirmen mich hex'amzi:^ghlagen ''■i 
 
 Und in des SchifTbruchs Kuirsonen nicht zu zagen. 
 
 Es wolkt sich i^ber mir — 115 
 
 Der Mond verbirgt sein Licht — 
 , JDiei l^ampe schwindet, ! 
 
 Es dampft ! — Es zucken rothe Strahlen 
 
 Mir um das Haupt — Es weht 
 
 Bin Schauer vom Gewolb' herab 120 
 
 IJnd faszt mich an ! 
 
 i,Ich fiihl's, du schwebst um mich, erflehter Geist ! 
 
 Buthiilledich! ~ti ..>„-, 
 
 Ha, wie's in meinem Herzen reiszt ! 
 
 Zu neuen Gefiihlen 125 
 
 All' meine Sinnen sich erwiihlen ! 
 
 Ich fiihle ganz mein Herz dir hingegeben ! 
 
 Du muszt, du muszt, und kostet' es mein Leben ! 
 
 [Er faszt das Such und spriehi das Zeichen des Geisies 
 geheimmszvoll aus. Es zuckt sine rothlicJie Flamme, 
 DEK Geist erscheint in der Flamme.'] 
 
 Geist. 
 Wer ruft mir ? 
 
 Faust (abgewendet). 
 Schreckliches Gesicht ! 
 
NIGHT-SCENE. 35 
 
 What a show ! but ah ! a show only ! Where shall 
 I seize thee, infinite nature ? Te breasts, where ? ye 
 sources of all life, on which hang heaven and earth, 
 towards which the blighted breast presses — ye gush, ye 
 feed, and am I thus languishing in vain ? 
 
 [ife turns over the book indignantly, and sees the 
 sign of the Spirit of the Earth.'] 
 How differently this sign affects me ! Thou, Spirit 
 of the Earth, art nearer to me. Already do I feel my 
 energies exalted, already I glow as with new wine ; I feel 
 courage to venture into the world ; to endure earthly 
 weal, earthly woe; to wrestle with storms, and stand 
 unshaken mid the shipwreck's crash. — Clouds thicken 
 over me ; the moon hides her light ; the lamp dies 
 away ; exhalations arise ; red beams flash round my 
 head ; a cold shuddei;ing flickers down from the vaulted 
 roof and seizes me ! " I feel it — thou art hovering 
 round me, invoked Spirit. Unveil, thyself ! £h. ! what 
 a tearing in my heart — aU my senses are up-stirring to 
 new sensations ! I feel my whole heart surrendered to 
 thee. Thou must — thou must ! — should it cost me my 
 Ufe. 
 
 [fle seises the hook and pronounces mystically the 
 
 sign of the Spirit. A red flame flashes wp ; the 
 
 Spieit appears in the flame.] 
 
 Spirit, 
 Who calls to .me? 
 
 Faust (averting his face). 
 Horrible vision ! 
 
36 KACHT. 
 
 Geist. 
 Du hast mich machtig augezogen, 130 
 
 An meiner Spbare lang' gesogen, 
 Und nuu — 
 
 Faust, 
 Wch, ioh ertrag' dich nicht ! 
 
 Geist. 
 Du flehsfc erathmend mich zu Bchauen, 
 Meine Stimtue zu. horen, mein Antlitz za sehn ; 
 Mich neigt dein machtig Seelenflehn : 135 
 
 Da bin ich I^Welch erbarmlich Grauen 
 Paszt Ueb ermenschen d ich !/ "Wo ist der Seele Euf ? 
 Wo ist SleBruBt, die eine Welt in sich ersohuf 
 Und trug nnd hegte ? Die mit Freudebeben 
 Erschwoll, sich uns, den Geistern, gleich zu heben ? 140 
 Wo bist du, Paust, des Stimme mir erklarig, 
 
 Dpmsich an mich mit alien Kraften drang ? 
 
 Bist du eg, der, von meinem Hauch nmwittert. 
 
 In alien Lebenstiefen zittert, 
 
 Ein furchtsam weggekriimmter Wurm ! 
 
 Faust. ■: 
 
 Soil ich dir, Plammenbildung, weichen ? 
 Ich bin's, bin Faust, bin deines Gleichen ! 
 
 Geist. 
 \ In Lebensfluthen, im Thatensturm 
 "'-l^airiohanfundab, 
 
 Wehe hin nnd her! 
 
 Geburt und Grab, 
 
 Ein ewiges Meer, 
 
 Bin weohselnd Weben, 
 
 Ein glUhend Leben, 
 
 J SO 
 
NIGHT-SCENE. 37 
 
 Spirit. 
 Thou hast compelled me hither, hast, long been suck- 
 ing at my sphere. And now — 
 
 Faust. 
 Woe is me ! I endure thee not. 
 
 Spirit. 
 Thou prayest, panting, to see me, to hear my voice, 
 to .see my face. Thy powerful invocation worts upon 
 me. I am here ! What pitiful terror seizes thee, 
 the demigod! Where is the soul's calling? Where is 
 the breast, that created a world in itself, and upbore 
 and cherished it ? which, with tremors of delight, 
 swelled to lift itself to a level with us, the Spirits. 
 Where art thou, Faust ? whose voice rang to me, who 
 pressed towards me with all his energies PjArt thou 
 he ? thou, who, at the bare perception of my breath, art 
 shivering through all the depths of life, a trembling, 
 writhing worm ? 
 
 Faust. ^ 
 Shall I yield to thee, thing of flame ? I am he, am 
 Faust thy equal. 
 
 Spirit. 
 In the tides of life, in action's storm, 
 I am tossed up and down, 
 I drift hither and thither, 
 Birth and grave. 
 An eternal sea, 
 A changeful weaving, 
 A glowing life — 
 
38 NACHT. 
 
 ^ ''\ 
 So sohaff' ich am sausenden Webstahl der Zeit i; 
 
 Und wirkg^der Gottheit lebendiges Kleid. 
 
 vJ^ *■' 
 
 Faiist. „^f'--'r' 
 Der du die weite Welt umsohweifst,' 
 Geschaftiger Geist, wie nah fiihl' ich mich dir ! 
 
 Oeisi. ■ I ■■■ 
 
 Du gleichst dem Geist, den du begreifst, - 
 Nichtmir! [Versehwindet.} i( 
 
 Faust (zusammenstiirzend). 
 Nicht dir ? 
 Wem denn ? 
 
 Ich, Ebenbild der Gottheit ! 
 Und nioht einmal dir ! 
 
 [Es Uopft. 
 O Tod ! Ich kenn's — das ist mein Famulus — it 
 
 Es wird mein schonstes Gliick zu nichte .' 
 Dasz diese Fi)Ug)^er Gesichtej. -^J' ' - ^ 
 Der trockne Schleicher stciren musz ! 
 
 .„ [Wagneb, im Schlafroche und der Nachimiitze, eir, 
 Lampe in der Hand. Faust wendet sich unwilUg. 
 
 Wagner. 
 Vei'zeiht ! Ich hor' euch deklamiren ; j , ^(, . 
 
 Ihr las't gewisz ein griechisch Trauerspiel ? V j. 
 
 In dieser Kunat mocht' ich was profltiren ; 
 Denn heut zu Tage wirkt das viel. 
 Ich hab' es ofters ruhmen horen, 
 Ein Kombdiant konnt' einen Pfarrer lehren. 
 
 Fausi. 
 Ja, wenn der Pfarrer ein Komddiant ist; i, 
 
 Wie das denn wohl zu Zeiten kommen mag. 
 
 Wagner. 
 Achj wenn man so in sein Museum gebannt ist 
 
NIGHT-SCENE, 89 
 
 Thus I work at tlie whizzing loom of time, 
 And weave the living clothing of the Deity. 
 
 Faiist. 
 Busy spirit, thou who sweepest round the wide world, 
 how near I feel to thee ! 
 
 Spirit. i 
 
 Thou art lite the Spirit whom thou dost comprehend, Jj 
 not like me. [The Spibit vanishes.'] y 
 
 Faust (collapsing). 
 Not thee ? Whom, then ? I, the image of the Deity, 
 and not even like thee ! [A knocking at the door.] 
 
 Oh, death ! I know it — that is my famulus '^ — My fairest 
 happiness is turned to nought. That the pedantic 
 groveller must disturb this fulness of visions ! 
 
 [Wagnee enters in his dressing-gown and night-cap, 
 with a lamp in his hand. Patist turns in dis- 
 pleasure.] 
 
 Wagner. ^^ 
 
 Excuse me — I hear you declaiming ; you were surely 
 reading a Grreek tragedy? I should like to improve 
 myself in this art, for now-a-days it influences a good 
 deal. I have often heard say, a player might instruct 
 a preacher. 
 
 Faust. 
 Yes, when the preacher is a player, as may likely 
 enough come to pass occasionally. 
 
 Wagner. 
 Ah! when a man is so confined to his study, and 
 
rj-k 
 
 40 NACHT. 
 
 TJnd sieht die Welt kaum einen Feiertag, 
 
 Kaum duroh ein Fernglas, nur von weiten, , 
 
 Wie soil man sie darch Ueberredung leiten ? '■' i8i 
 
 Faust. , 
 
 Wenn ihr's nicht fuhlt, ihr werdet's nicht erjagen, 
 Wenn es nicht aus der Seele dringt , 
 Und mit urkraftigem Behagen*-*^* ■, 
 Die Herzen aller Horer zwingt. .^[ 
 
 Sitzt ihr nur immer ! Leimt zuBammen, i8 
 
 Braut ein ^Bagout von Andrer Schmaus 
 Und D^St die J^^mprlichen Flammen 
 Aus Gurem Aschenhaufchen^aus ! 
 Bewuiidrung von Kindern und Affen, 
 Wenn euch darnach der Gaumen steht ; 19 
 
 Doch werdet ihr nie Herz zu Herzen 3chaffen.I«rV '• 
 Wenn es euch nicht von Herzen geht. 
 
 Wagner. /!.{>'''' 
 Allein der Vortrag macht des Eedners GlUck ; 
 Ich fiihV es wohl, noch bin ich weit zuriick. 
 
 Faust. 
 Such' er den redliohen Gewinn l^f*^' 19 
 
 Sei er kein schellenlauter Thor ! ' 
 Es tragt Verstand und rechter Sinn 
 Mit wenig Kunst siqh selber vor ; 
 Und wenn's euch Ernst 1st, was zu sagen. 
 
 Ist's nothig, Worten nachzujag^n J,/ * ' 
 
 Ja, eure Eeden, die so blinked sind, , 
 
 In denen ihr der Menschheit Schnitzel krauselt, 
 
 Sind unerquicklich wie der Nebelwind, 
 
 Der herbstlich durch die diirren Blatter sauselt. 
 
 Wagner. 
 Ach Gott ! Die Kunst ist lang, 
 Und kurz ist unser Leben. ; 
 
 Mir wird bei meinem kritischen Bestreb.en -^ 
 Doch oft nm Kopf und Busen bang, frl^' ' ■• 
 
 Wio sohwer sind nicht die Mittel zu erwerben, ' ' 
 
NIGHT-SCENE. 41 
 
 hardly sees tlie world of a holiday — hardly through 
 a telescope, only from afar^how is he to lead it by 
 persuasion ? 
 
 Faust. \ 
 If you do not feel it, you will not get it by hunting 
 for it, — if it does not gush from the soul, and subdue 
 the hearts of all hearers with powerful delight. Sit at 
 it for ever — glue together — cook up a hash from the 
 feast of others, and blow the paltry flames out of your 
 own little heap of ashes ! Tou may gain the admira- 
 tion of children and apes, if you have an appetite for 
 it ; but you will never touch the hearts of others, if it 
 does not flow fresh from your own. 
 
 Wagner. 
 But it is the delivery ^' that mates the orator's success. 
 I feel well that I am still far behind-hand. 
 
 Faust. \) 
 
 Seek honest gain only ! — Be no fool with loud tinkling 
 bells ! — Season and good sense are expressed with little 
 art. And when you. are seriously intent on saying 
 something, is it necessary to hunt for words ? Ay, 
 your speeches, which are so glittering, in which ye 
 crisp the shreds of humanity," are unrefreshing as the 
 mist-wind which rustles througli the withered leaves 
 in autumn. 
 
 Wagner. 
 
 Oh, Grod ! art is long, and our life is short. Often 
 indeed, during my critical studies, do I feel oppressed 
 both in head and heart. How hard it is to obtain 
 
tl "•"- 
 
 42 NACHT. 
 
 Duroh die man zu den Quellen steigt ! 
 Und eh man nur den halben Weg erreicht, 
 Musz wohl ein armer Teufel sterben. 
 
 k»^ ■ • ■'' Fausi. A . ■''■ 
 
 Das Pergament, ist das der heil'ge Bronrien, 
 ; , jWoraus .ein Trunk den Durst auf ewig stillt ? 
 { iJrcfufdkung hast du nicht gewonnen, 
 ' Wenn sie dir nicht aus eigner Seele qnillt. ', ' 
 
 Wagner. 
 Verzeiht ! Es ist ein grosz Ergetzen, T " . 
 Sioh in den Geist der Zeiten zu versetzen, 
 Zu schauen, wie vor uns ein weiser Mann gedacht, 
 Und wie wir's dann zuletzt so herrlich weit gebraoht. ' 2 
 
 Faust 
 O ja, bis an die Sterne weit ! , , ;! ' ' '' 
 
 Mein Preund, die Zeiten der Vergangenhei^; \ 
 
 Sind uns ein Buoh mit sieben Siegeln. 
 Was ihr den Geist der Zeiten heiszt, 
 Das ist im Grund der Herren eigner Geist, 
 In dem die Zeiten sioh bespiegeln.,''^;;'' ' 
 Da ist's denn wahrlich oft ein Jammer ! f ' 
 Man laujft euokbei dem ersten J31ipl? davpr;,.,,. 
 Bin Kenrichtfisz und eine Eumpelliammer 
 Und hochstens eine Haupt- und Staatsaktion 
 Mit trefflichen pragmatischen Maximen, ,, 
 
 Wie sie den Puppen wohl im Munde ziemen !^'' 
 
 Wagner. 
 Allein die, Welt ! Des Menschen Herz und Geist ! 
 Mocht' Jeglicher dbch was davon erkennen. 
 
 Faust. 
 Ja, was man so erkennen heiszt ! 
 Wer da,rf 4a^ Kind beim reohten Namen nennen ? 
 Die Werii^en, die was davon erkannt,_ 
 Die thoricht gnug ihr voiles Herz nicht wahrten,'; 
 
NIGHT-SCENE. 43 
 
 the means by whicli one mounts to the fountain-head ; 
 and before he has got half way, a poor devil must 
 probably die ! 
 
 Faiist. 
 Is parchment the holy well, a drink from which allays 
 the thirst for ever? Thou hast not gained refresh- 
 ment, if it gushes not from thy own soul. 
 
 Wagner. 
 Excuse me ! It is a great pleasure to transport one- 
 self into the spirit of the times ; to see how a wise man 
 has thought before us, and to what a glorious height 
 we have at last carried it. 
 
 Faust. 
 Oh, yes, up to the very stars. My friend, the past 
 ages are to us a book with seven seals.^^ What you term 
 the spirit of the times is at bottom only your own 
 spirit, in which the times are reflected. A miserable 
 exhibition, too, it frequently is ! One runs away from 
 it at the first glance ! A dust-barrel and a lumber- 
 room ! — and, at best, a heroic play,^' with fine pragmati- 
 cal saws, such as may befit the mouths of the puppets ! 
 
 Wagner. 
 But the world ! The heart and mind of man ! Every 
 one would like to know something about that. 
 
 Faust. 
 Ay, what is called knowing! Who dares call the 
 child by its true name?'" The few who have ever 
 known anything about it, who sillily enough did not 
 
44 NACHT. 
 
 Dem Pobtel ihr Gefuhl 'iha Sohauen offenbarten, 
 
 Hat man von je gekrepzigt und verbr^jirjj.j : 
 
 Ich bitt' euoh, Freund, es ist tief m der Nabht ; 
 
 Wir miissen's diesmal unterbrechen. 'i. ■<-^£-f ' ''-"^ 7 
 
 Wagner. 
 Ich hatte gem nur immer fortgewacht, 
 Um so gelehrt mit euch mich zu besprechen. 
 Dooh morgen, als am ersten Ostertage, ^ j 
 
 Erlaub|i nur ein- und andre Frage ! ,^ ,^,^^ 
 
 Mit Eif^nab' ich mich der Studien beflissen ; ' ' 
 Zwar weisz ich viel, dooh mocht' ich AUes wissen. [i41 
 
 Faust {oMeiri). , 
 
 Wie nur dem Kopf nicht alleHpffnung schwindet, 
 Der immerfort an schalenrZeuge klebt, V-^ ' j 
 
 Mit gier'ger Hand nach Schatzen grabt 
 Und froh ist, wenn er RegenwUrmer flndet ! 
 ^^ 
 Darf eine solche Menschenstimme hier, 
 Wo GeisterfuUe mich umgab, ertonen ?-5' ' 
 Doch ach, fiir diesmal dank' ich dir, 2 
 
 Dem armliphsten von alien Erdendqhnen. 
 Du rissest mich von der Verztweiflung los, ' 
 Die mir die Sinne schon zerstoreh. wollte. 
 Ach, die Erscheinung war so riesengrosz, 
 Dasz ich mich recht als Zwerg empflnden sollte. 2 
 
 Ich, Ebenbild der Crotthejt, da^s sich schon ^ 
 
 Ganz nah gedimktdem Spiegel ew'ger Wahrheit, 3 ' 
 
 Sein selbst.gML^gz.m Himmelsglanz und -Klarheit 
 Und abgefwe^fsaen Erdensohn ; 
 
 Ich, mehr als Cherub, dessen freie Kraft i 
 
 Schon durch die Adern der Natur zu flieszen 
 Und, sohaffend, Gotterleben zu genieszen, 
 Sich ahnungsvoll vermasz, wie musz ich's bUsze;i'^' '' 
 Ein Donnerwort hat mich hinweggerafft. 3"' ' , 
 
 ■ ■' i i>^ 
 Nicht darf ich dir zu gleiohen mich vermessen.'t*^ 2 
 
NIGHT-SCENE. 45 
 
 keep a guard over their full hearts, who revealed what 
 they had felt and seen to the multitude, — these, time 
 immemorial, have been crucified and burned. I beg, 
 friend — the night is far advanced---for the present we 
 must breat ofi. 
 
 Wagner. 
 I could fain have kept waking to converse with you 
 so learnedly. To-morrow, however, on Easter-day, permit 
 me a question or two more. Zealously have I devoted 
 myself to study. True, I know much; but I would 
 fain know all. [Exit.] 
 
 Faust (alone). 
 
 How strange that aU hope is not lost to this brain, 
 which clings perseveringly to trash, — gropes with greedy 
 hand for treasures, and exults at finding earth-worms ! 
 
 Dare such a human voice sound here, where all around 
 me teemed with spirits ? Tet ah, this once I thank 
 thee, thou poorest of all the sons of earth. Thou didst 
 snatch me from despair, which threatened to destroy ' 
 my sense. Alas ! the vision was so giant-great, that I 
 should feel like a dwarf. 
 
 I, formed in G-od's own image, who already thought 
 myself near to the mirror of eternal truth ; who revelled, 
 in heaven's lustre and clearness, with the earthly part 
 of. me stripped ofE; I, more than cherub, whose free 
 spirit already, in its imaginative soarings, aspired to 
 ?lide through nature's veins, and, in creating, enjoy the 
 life of .gods — how must I atone for it ! A thunder- word 
 las swept me wide away. 
 
 I dare not presume to compare myself with thee. If 
 
46 NACHT. , 
 
 Hab' ioh die Kraft dickans^uziehn besessea, 
 So hatt' ich dioh zu haMn Keine Kraft. 
 In jenem sel'gen Augenblicke, 
 Ich f uhjje m^h 99jd^3Ja so grosz ; 
 
 Du stieszest grausam mion zuruoke 2 
 
 Ins ungewisse Menschenloos. J' •■'^ U^^' "'"' 
 Wer lehret miob ? Was soil ich meiden p 
 Soil ioh gehorchen jenem Drang ? >-'■ , 
 Aoh, linsre Thaten selbst, bo gut als unsre Leiden, 
 Sie henjmen unsers Lebens Gang.'^ .2 
 
 ''"'\. ^" . -'i.-j 
 
 Dem Herriiohsten, was auch der Geist empfamgen, 
 
 Drangt immer fremd- und fremder Stoff sich an ; 
 Wenn wir zum Guten dieser Welt gelangen, ^•. 
 Dann heiszt das Bessre Trug und Wahn. - 
 Die uns das Leben gaben, herrliche Gef iihle, 2 
 
 , Ersf(ari;en,in dem irdisohen Gewiihle. 
 
 {■•"'•- "^t '" 
 
 Wenn Phantasie sich sonst mit kuhnem Flug i, 
 Und hoffnungsvoU zym Bwigen erweitert, 
 So ist ein kleiner Iraijjm ihr nun genijig,^^ ' ' ;. ■.; '^ " 
 Wenn Gliick auf QJij(?k im Zeitenstrudel soheitert. 2 
 
 Die Sorse nisteVgleich im tiefen Herzen, 
 Dort wirteji^ smeeheime Schmerzen,; ; •! , •" 
 
 Unrahig Wiegt sie sich und storgt Lust und liuh ; 
 Sie deckt' sich* stets mit n^euep. Mask'en zu, ^ 
 
 Sie mag als Haus und Hof^ats Weib ujid Kind orscheinen 
 Als Feu^r, Wasser, Dolch und Gift ; \" ' 2 
 
 Da bebst vor AUem, was nicht trifft, v' \ ' ,.' ( 
 
 Und was du nie verlierst, das muszt du stets beweinen. 
 
 Den Gcitteru gleich' ich nicht ! Zu tief ist es gefiihlt 
 Dem Wurme gleich' ich, der den Staub durchwiihlt, 3 
 Den, wie er sichim Staube nahrend lebt, 
 Des Wandrers Trttt verniohtet und begrabt. '■'• ' 
 
 Ist es nicht ^aub^ was diese hohe Wand 
 Aus Jaupdjgyt Fachfirn mir verenget, 'v "^' ' 
 Der Trodel, der mit tausendfaohem Tand | ; 
 
 In dieser Mottenwelt mich dranget ? ' 
 
 Hier soil ich finden, was mir fehlt ? 
 
NIGHT-SCENE. 47 
 
 I have possessed the power to draw thee to me, I had 
 no power to hold thee. In that blest moment, I felt so 
 little, so great ; you cruelly thrust me back upon the 
 uncertain lot of humanity. Who will teach me ? What 
 am I to shun ? Must I obey that impulse ? Alas ! our 
 actions, equally with our sufferings, clog the course of 
 our lives. 
 
 Something foreign, and more foreign, is ever clinging/ 
 to the noblest conception the mind can form. When we 
 have attained to the good of this world, what is better 
 is termed deception and illusion. The glorious feelings 
 which gave us life, grow torpid in the worldly bustle.'^ 
 If phantasy, at one time, on daring wing, and full of 
 hope, diluted to infinity, — a little space is now enough 
 for i^r. when venture after venture has been wrecked in 
 the whirfpool of time. Care straightway nestles in the 
 depths of the hear^natches vague tortures there, rocks 
 herself restlessly, ^and friglTtars joy and peace away. 
 She is ever putting on new masks ; she msiy appear as 
 house and land, as wife and child, as fire, water, dagger 
 and poison. Ton tremble before all that does not befall 
 you, and must be always waiUng what you never lose. 
 
 I am not like the godheads ; I feel it but too deeply. 
 I am like the worm, which drags itself through the 
 dust, — which, as it seeks its living in the dust, is 
 crushed and buried by the step of the passer-by. 
 
 Is it not dust all that in a hundred shelves narrows 
 this lofty wall ? The lumber which, with a thousand- 
 fold frippery oppresses me in this moth- world ? Here 
 shall I find what I want ? Am I to go on reading in 
 
48 NACHT. 
 
 Soil ich vielleicht ia tausend Bucheru leseu, 
 
 Dasz uberall die Menschen sich gequalt, 
 
 Dasz hie und da ein GlUoklicher gewesen ? — 
 
 Was grinsest du mir, hohler Schadel, her, 
 
 Als dasz dein Hirn, wie meines^ einst verwirret, 
 
 Den leichten Tag gesucht und in der Dammrung sohw 
 
 Mit Lust naoh Wahrheit, jammerlich geirret P 
 
 Ihr Instrumente freilioh spottet mein , 
 
 Mit Ead und Kammen, Walz' und Biigel. ' 'K^.^^^f^ 
 
 Ich stand am Thor, ihr solltet Schlussel sein ; js***' 
 
 Zwar euer Bart ist kraus, dooh hebt ihr nicht die Eiege 
 
 Geheimniszvoll am liohten Tag, 
 
 Laszt sich Natur des Schleiers nicht beraubeu, 
 
 Und was sie deinem Geist nicht offenbaren mag, 
 
 Das zwingst du ihr nicht ab mit Hebeln und mit Schraul 
 
 Du alt Gerathe, das ich nicht gebraucht, 
 
 Du stehst nur hier, well dich mein Yater brauohte. 
 
 Du alte KoUe, du wirst angeraucht, 
 
 So iang' an diesem Pult die triibe Lampe sohmauchte. 
 
 Weit besser hatt' ich dooh meiu Weniges verpraszt, 
 
 Als mit dem Wenigeu belastet hier zu schwitzen ! 
 
 Was du ererbt von deinen Vatern hast, 
 
 Brwirb es, um es zu besitzen. 
 
 Was man nicht niitzt, ist eine schwere Last ; 
 
 Nur was der Augenblick erschafft, das kann er niitzen. 
 
 Doch warum heftet sich mein Blick auf jene Stelle ? 
 Ist jenes Plaschchen dort den Augen ein Magnet ? 
 Warum wird mir auf einmal lieblich belle, 
 Als wenn im naoht'gen Wald uns Mondenglanz umwel 
 
 Ich griisze dich, du einzige Fhiole ! 
 Die ich mit Andacht nun herunterhole, 
 In dir verehr' ich Menschenwitz und -Kunst. 
 
NIGHT-SCENE. 49 
 
 a thousand books, that men have t6iled everywhere, that 
 now and then there has been a happy one ? 
 
 Thou, hollow skull, what mean'st thou by that grin ? 
 but that thy brain, like mine, once bewildered, sought 
 the bright day, and, with an ardent longing after truth, 
 went miserably astray in the twilight ? 
 
 Te instruments are surely mocking me, with your 
 wheels and cogs, cylinders and bows. I stood at the 
 gate, ye were to be the key ; true, your wards are 
 curiously twisted, but you raise not the bolt. Inscru- 
 table at broad day, nature does not suffer herself to be 
 robbed of her Teil ; and what she does not choose to 
 reveal to thy mind, thou wilt not wrest from her by 
 levers and screws. 
 
 Thou, antiquated lumber, which I have never used, 
 thou art here only because my father used you. Thou, 
 old scroll, hast been growing smoke-besmeared since 
 the dim lamp first smouldered at this desk. Far 
 better would it be for me to have squandered away the 
 little I possess, than to be sweating here under the 
 burthen of that little. What thou hast inherited from 
 thy sires, enjoy it, in order to possess it.^'' What one 
 does not make use of, is an opprc ssive burthen ; what 
 the moment brings forth, that only can it profit by. 
 
 But why are my looks fastened on that spot : is that 
 phial there a magnet to my eyes? Why, of a sudden 
 is all so exquisitely bright, as when in the wood at 
 night moonlight surrounds us ? 
 
 I hail thee, thoii precious phial, which I now take 
 down with reverence; in thee I honour the wit and 
 
50 , , NACHT. 
 
 Du Inbegrifif der holdeu ScLlummersafte, 
 
 Du Auszug aller todfclioh feinen Krafte, 
 
 Erweise deinem Meister deine Gunst ! 
 
 loh sehe dich, es wird der Schmerz gelinderfc, 
 
 loh fasse dioh, das Streben wird gemindert, 
 
 Des Geistes Fluthstrom ebbet nach und nach. 
 
 Ins hohe Meer werd' ich hinausgewiesen, 
 
 Die Spiegelflufch erglanzt zu meinen Fiiszen, 
 
 Zu neuen Ufern lookt ein neuer Tag. V 
 
 Ein Feuerwagen sohwebt auf leichten Schwingea - 
 An mioh heran ! loh fUhle mich bereit, 
 Auf neuer Bahn den Aether zu durchdringen 
 Zu neuen Spharen reiner Thatigkeit. 
 Dies hohe Leben, diese Gotterwonne, 
 Du, erst noch Wurm, und die verdienest du ? 
 Ja, kehre nur der holden Erdensonne 
 Entsohlossen deinen Eiicken zu I 
 Vermesse dich, die Pforten aufzureiszen, 
 Vor denen Jeder gern voriiberschleicht ! 
 Hier ist es Zeit, duroh Thaten zu beweisen, 
 Dasz Manneswurde nicht der Gotterhohe weicht, 
 Vor jener dunkeln Hcihle nicht zu beben, . 
 In der sich Pbantasie zu eigner Qual verdammt, 
 Nach jenem Durchgarfg ninzustreben, 
 Um dessen engen Mund die ganze Holle flamtnt, 
 Zu diesem Schritt sich heiter zu entschlieszen, 
 Und war' es mit Gefahr, ins Nichts dahinznflieszen. 
 
 Nun komm herab, krjSrstallne reine Schale, 
 Hervor aus deinem alten Futterale, P%4 
 
 An die ich Tiele Jahre nicht gedacht ! ^ n 
 
 Du glanztest bei derVater Preudenfeste, ) 
 
 Er|eitertest die ernsten Gaste, 
 Wenn Einer dioh dem Andern zugebracht. 
 Der vielen Bilder kiinstlich reiche Praoht, 
 Des Trinkers Pflioht, sie reimweis zu erklarenjl^jl^ 
 Auf einen Zug die Hohlurig auszuleeren, ^, •) ' 
 
 Erinnert mich an manohe Jugendnaeht. * 
 
 Ich werde jetzt dioh keinem Nachbar reichen, 
 Ich werde meinen Witz an deiner Kunst nicht zeiger 
 
NIGHT-SCENE. CI 
 
 art of man. Thou essence of soothing soporific juices, 
 thou concentratiin of all refined deadly powers, show 
 thy favour to thy master ! I see thee, and the pang 
 is mitigated ; I grasp thee, and the struggle abates ; 
 the spirit's fiood-tide ebbs by degrees. I am beckoned 
 out into the wide iea. ; the glassy flood glitters at my 
 feet ; another day invites to other shores. 
 
 A chariot of fire floats, on light pinions, down to me. 
 I feel prepared to permeate the realms of space, on a 
 new track, to new spheres of pure activity. This sub- 
 lime e:^tence, this god-like beatitude, dost thou, 
 worm but now, dost thou merit it ? Ay, only resolutely 
 turn thy back on the lovely sun of this earth ! Dare to 
 tear open the gates which each willingly slinks by ! 
 Now is the time to show by deeds that man's dignity 
 yields not to divine sublimity, — to quail not in presence 
 'of that dark abyss, in which phantasy damns itself to 
 its own torments — to struggle onwards to that pass, 
 round whose narrow mouth all Hell is flaming ; calmly 
 to resolve upon the step, even at the risk of dropping 
 into nothingness. 
 
 Now come down, pure crystal goblet, on which I have 
 not thought for many a year, — come forth from your 
 old ease ! Tou glittered at my ancestors' festivities ; you 
 gladdened the grave guests, as one passed you to jthe 
 other. The gorgeousness of the many artfully-wrought 
 images," — ^the drinker's duty to explain them in rhyme, 
 to empty the contents at a draught, — remind me of 
 many a night Of my youth. I shall not now pass you 
 to a neighbour : I shall not now display my wit on your 
 
52 NACHT. 
 
 Hier ist ein Saft, der eilig trunken maoht. 
 
 Mifc brauner Muth erfullt er deine Hohle. 
 
 Den ich bereitet, den ich wahle, 
 
 Der letzte Trunk sei nun mit ganzer Seele 
 
 Als festlich hoher Gmsz dem Morgan zugebracht ! 
 
 {Er setzt die Schale an den M 
 
 Gloclcenklang und OJiorgesang. 
 
 CHOS nER ENGEL. 
 
 Christ ist erstanden ! 
 IVeude dem Sterblichen, 
 Den die verderblichen, 
 Schleichenden, erblichen 
 Mangel umwanden. 
 
 Faust. 
 Welch tiefes Summen, welch ein heller Ton 
 Ziehfc mit Gewalt das Glas von meinem Munde ? 
 Verkiindiget ihr dumpfen Glocken schon 
 Des Osterfestes erste Feierstunde ? 
 Ihr Chore, singt ihr schon den trostliohen Gesang, 
 Der einst um Grabesnaoht von Engelslippen klang, 
 Gewiszheit einem neuen Bunde ? 
 
 CHOR DER WEIBER. 
 
 Mit Spezereien 
 Hatten wir ihn gepflegt, 
 Wii", seine Treuen, 
 Hatten ihn hingelegt ; 
 Tiicher und Binden 
 EeinKch umwanden wir, 
 Ach, und wir findgn 
 Christ nicht mehr hier. 
 
NIGUT-SCENE. 63 
 
 devices. Here is a juice which soon intoxicates. It 
 fills your cavity with its brown flood. Be this last 
 draught — which I have prepared, which I choose — 
 quaffed, with my whole soul, as a solemn festal greeting 
 to the morn. [Replaces the goblet to his mouth.] 
 
 The ringing of hells and singing of choruses. 
 
 CHOEUS OF ANGELS. 
 
 Christ is arisen ! 
 Joy to the mortal, 
 Whom the corrupting. 
 Creeping, hereditary 
 Imperfections enveloped. 
 
 Faust. 
 What deep humming, what clear strain, draws irre- 
 sistibly the goblet from my mouth? Are ye hollo v^- 
 sounding bells already proclaiming the first festal hour 
 of Easter ? Are ye choruses already singing the com- 
 forting hymn, which once, round the night of the 
 sepulchre, pealed forth, from angel lips, assurance to a 
 new covenant ! 
 
 CHOEUS OF WOMEN. 
 
 With spices 
 
 Had we embalmed him ; 
 We, his faithful ones. 
 Had laid him out. 
 Clothes and bands 
 Cleanlily swathed we round ; 
 Ah ! and we find 
 Christ no more here ! 
 
6i HACHT. 
 
 CBOB DER EXCEL, 
 
 Clirist ist erstanden ! 
 Selig der Liebende, 
 Der die betriibende, 
 Heilsam und iibende 
 Piixfung bestanden. 
 
 Faiist. 
 Was suoht ihr, machtig und gelind, 
 Thr Himmelstone, mioh am Staube ? 
 Klingt dort umher, wo weiche Menschen sind. 
 Die Botschaft hoi-' ich wohl, allein mir fehlt der Glaub 
 Das Wunder ist des Glaubens liebstes Kind. 
 Zu jenen Spharen wag' ich nioht zu streben, 
 Woher die holde Nachricht tont, 
 
 Und doch, an diesen Klang von Jugend auf gewohnt, 
 Ruft er auch jetzt zuriick mich in das Leben. 
 Sonst stiirzte sich der Himmelsliebe Kusz 
 Auf mich herab in ernster Sabbathstille ; 
 Da klang so ahnungsvoll des Glockentones Fiille, 
 Und ein Gebet war briinstiger Genusz ; 
 Ein nnbegreiflioh holdes Sehnen 
 Trieb mich, duroh Wald und Wiesen hinzugehn, 
 Und unter tausend heiszen Thranen 
 Fiihlt' ich mir eine Welt entstehn. 
 Dies Lied Terkiindete der Jugend muntre Spiele, 
 Der Priihlingsfeier freies Gluck ; 
 Erinnrung halt mioh nun mit kindlichem Gef iihle 
 Vom letzten, ernsten Schritt zuriick. 
 O tonet fort,' ihr siiszen Himmelslieder ! 
 Die Thrane quillt, die Erde hat mich wieder ! 
 
 CHOE DER jiJNGER. 
 
 Hat del- Begrabene 
 Schon sich nach oben, 
 Lebend Erhabene, 
 Herrlich crhoben ; 
 Ist er in Werdelust 
 Seha£Fender Freude naU 
 
NIGUT-SCENE. 55 
 
 CHORUS OF ANGELS. 
 Clirist is arisen ! <" 
 
 Happy the loving one, 
 Who the afflicting, 
 Wholesome and chastening 
 Trial has stood ! 
 
 Faust. 1/ 
 Why, ye heavenly tones, subduing and soft, do 
 y ou seek me out in the dust ? Peal out, where tender 
 men are to be found ! I hear the message, but want 
 faith. Miracle is the pet child of faith. I dare not 
 aspire to those spheres from whence the glad tidings 
 sound; and yet, accustomed to this sound from infancy, 
 it even now calls me back to life. In other days, the kiss of 
 heavenly love descended upon me in the solemn stillness 
 of the Sabbath; then the full-toned bell sounded so 
 fraught with mystic meaning, and a prayer was intense 
 enjoyment. A longing, inconceivably sweet, drove me 
 forth to wander over wood and plain, and amidst a 
 thousand burning tears, I felt a world arise for me. 
 This anthem harbingered the gay sports of youth, the 
 unchecked happiness of spring festivity. Recollection 
 now holds me back,'* with childlike feeling.-f rom the last 
 decisive step. Oh ! sound on, ye sweet heavenly strains ! 
 The tear is flowing, earth has me again. 
 
 CHOEUS OF DISCIPLES. 
 
 Whilst the Buried One, 
 Who was sublime in his life, 
 Has already on high 
 Gloriously raised himself ! 
 Whilst he is, in reviving bliss,'' 
 Near to creative joy. 
 
6c KACHT. 
 
 Acb, an der Erde Brust 
 Sind wir zum Leide da. 
 Liesz er die Seinen 
 Schmacbtend uns bier zui'uck ; 
 Acb, wir beweinen, 
 Meister, dein Gliick ! 
 
 CHOBDEE ENGEL. 
 
 Cbi'ist ist erstanden 
 Aus der Verwesung Schoosz ! 
 Beiszet Ton Banden 
 Freudig euch los ! 
 Thatig ihn Preisenden, 
 Liebe Beweisenden, 
 Briiderlich Speisenden, 
 Predigend Eeisenden, 
 AVonne Verheiszenden, 
 Euch ist del' Meister nah, 
 Euoh ist er da ! 
 
HIGHT-SCENE. 6? 
 
 Ah ! on earth's bosom 
 Are we for suffering here ! 
 He left us, his own, 
 Languishing here below ! 
 Alas ! we weep over, 
 Master, thy happy lot ! 
 
 CHOEUS OF ANGELS. 
 
 Christ is arisen 
 
 Out of corruption's lap. 
 
 Joyfully tear yourselves 
 
 Loose from your bonds ! 
 
 Ye, in deeds giving praise to him, 
 
 Love manifesting, 
 
 Breaking bread brethren-like, 
 
 Travelling and preaching him 
 
 Bliss promising — 
 
 You is the master nigh, 
 
 For you is he here ! 
 
VOE DEM THOE. 
 Spaziergdnger oiler Art xiehen Jtinam. 
 
 Eimge HandwerlcshwscJie. 
 "\ X rARUM denn dort hiaaus ? 45S • 
 
 Andre. 
 Wir gehn hinaua aufs Jagerhaus. 
 
 Die Ersteri. 
 Wir aber wollen naoh der Muhle wandern. 
 
 Ein Handwerlcsbwsch. 
 loh rath' ench, naoh dem Wasserhof zu gehn. 
 
 Zweiter. 
 Der Weg dahin ist gar nicht sohon. 
 
 Die Zweiten. 
 Was thust denn du ? 
 
 Ein Driiter. 
 
 loh gehe mit den Andern. 460 
 
 Vierter. 
 Nach Burgdorf kommfc herauf ! Gewisz, dort fludet ihr 
 Die schonsten Madohen und das beste Bier 
 Und Handel von der ersten Sorte. 
 
 ' Funfier. 
 
 Du iiberlustiger Gesell, 
 
 Jnckt dich zum dritten Mai das Fell ? 465 
 
 loh mag nicht hin, mir graut es vor dem Orte. 
 
BEPOEE THE GATE. 
 
 Promenaders of all hinds pass out. 
 
 Some Mechanics. 
 TT T'HYthatway? 
 
 ' ^ Others. 
 
 We are going up to the Jagerhaus. 
 
 The Former. 
 
 f 
 
 But we, are going to the mill. 
 
 A Mechanic. 
 I advise you to go to the Wasserhof. 
 
 A Second. 
 The road is not at all pleasant. 
 
 The Others. 
 And what will you do then ? 
 
 A Third. 
 I am going with the others. 
 
 A Fourth. 
 Come up to Burghdorf ; you are there sure of finding 
 the prettiest girls and the best beer, and rowfe of the first 
 order. 
 
 A Fifth. 
 You wild fellow, is your skin itching for the third time ? 
 I don't like going there ; I have a horror of the place. 
 
60 VOR DEM THOK. 
 
 Bienstnuxdchen. 
 Nein, nein, ioh gehe naoh der Stadt zuriiok. 
 
 Andre. 
 Wir finden ihn gewisz bei jenen Pappeln stehen. 
 
 Brste. 
 Das ist fur mich kein groszes Gluok ; 
 Er wird an deiner Seite gehen, 470 
 
 Mit dir nur tanzt er auf dem Plan. 
 Was gehn mich deine Freuden an ! 
 
 Andre. 
 Heut ist er sicher nioht allein ; 
 Der Krauskopf, sagt er, -wurde bei ihm sein. 
 
 SchiHer. 
 Blitz, wie die waokern Dirnen schreiten ! 475 
 
 Herr Bruder, komm, wir miissen sie begleiten. 
 Ein starkes Bier, ein beizender Toback 
 Und eine Magd im Putz, das ist nun mein Geschmaok, 
 
 Biirgerrmidchen. 
 Da sieh mir nur die sohonen Knaben ! 
 Es ist wahrhaftig eine Schmach ; 480 
 
 Gesellschaft konnten sie die allerbeste haben 
 Und laufen diesen Magden nach ! 
 
 Zweiter ScMler {mm ersten). 
 Nicht so gesohwind ! Dort hiuten kommen zwei, 
 Sie sind gar niedlich angezogen, 
 
 's ist meine Nachbarin dabei ; 485 
 
 Ioh bin dem MSdchen sehr gewogen. 
 Sie gehen ihren stillen Schritt 
 Und nehmen uns doch auoh am Eade mit. 
 
 Ersier. 
 Herr Bruder, neiu ! Ich bin uicht gern genirt. 
 
BEFORE THE GATE. CI 
 
 Servant- Girl. 
 No, no, I shall return to the town. 
 
 Another. 
 We shall find him to a certainty by those poplars. 
 
 The First. 
 That is no great gain for me. He will walk by your 
 side. With you alone does he dance upon th^ green. 
 What have I to do with your pleasures ? 
 
 The Second. 
 He is sure not to be alone to-day. The curly-head, 
 he said, would be with him. 
 
 Stvdent. 
 Zounds ! how the buxom wenches step out ; come 
 along, brother, we must go with them. Strong beer, 
 stinging tobacco, and a servant-girl in full trim, — that 
 now is my taste. 
 
 Citizen's Daughter. 
 Now do but look at those fine lads ! It is really a 
 shame. They might have the best of company, and 
 are running after these servant-girls. 
 
 Second Student to the First. 
 Not so fast ! There are two coming up behind ; they 
 are triialy dressed out. One of them is my neighbour ; 
 I have a great liking for the girl. They are walking 
 in their quiet way, and yet will suffer us to join them 
 in the end. 
 
 The First. 
 No, brother. I do not like to be under restraint. 
 
62 VOR DEM THOK. 
 
 Geschwind, dasz wir das Wildpret nicht verlieren ! 490 
 Die Hand, die Sanastags ihren Besen fiihrt, 
 Wird Sonntags dich am Besten karessiren. 
 
 Burger. 
 Nein, er gefallt mir nicht, der neue Burgemeistor ! 
 Nun, da er's ist, wird er nur taglich di-eister. 
 Und fiir die Stadt, was thut denn er ? 4i;5 
 
 Wird es nicht alle Tage schlimmer ? 
 Gehorchen soil man mehr als immer 
 Und zahlen mehr als je vorher. 
 
 Bettler (singf). 
 Ihr guten Herr'n, ihr schonen Frauen, 
 So wohlgeputzt und backenroth, S°" 
 
 Belieb' es euch, mich anzuschauen, 
 Und seht und mildert meine Noth ! 
 Laszt hier mich nicht vergebens leiern ! 
 Nur der ist froh, der geben mag. 
 
 Ein Tag, den alle Menschen feiern, 505 
 
 Er sei fiir mich ein Erntetag. 
 
 Andrer Burger. 
 Nichts Bessera weisz ich mir an Sonn- und Feiertagen 
 Als ein Gesprach von Krieg und Kriegsgesch'rei, 
 Wenn hinten, weit, in der TUrkei 
 
 Die Volker auf einander schlagen. 510 
 
 Man steht am Eenster, trinkt sein Glaschen aus 
 Und sieht den Elusz hinab die bunten Schiffe gleiten ; 
 Dann kehrt man Abends froh nach Haus 
 Und segnet Pried' und Priedenszeiten. 
 
 Dritier Burger. 
 Herr Nachbar, ja, so lass' ich's auch geschehn: 515 
 
 Siembgen sich die Kopfe spalten, 
 Mag Alios duroh einander gehn, 
 Doch nur zu Hause bleib's beim Alten. 
 
 Alte {zu den Bilrgennddchen). 
 Ei ! Wie geputzt ! Das schoue ^unge Blut ! 
 
BEFORE THE GATE. 63 
 
 Quick, lest we lose the game. The hand that wields the 
 broom on Saturdays, will fondle you best on Sundays. 
 
 Burgher. 
 No, the new Burgomaster is not to my taste ; now that 
 he has become so, he is daily getting bolder ; and what 
 is he doing for the town? Is it not growing worse 
 every day ? One is obliged to submit to more restraints 
 than ever, and pay more than in any time before. 
 
 Beggar (sings). 
 Te good gentlemen, ye lovely ladies, so trimly dressed 
 and rosy cheeked, be pleased to look upon me, to regard 
 and relieve my wants. Do not suffer me to sing here in 
 vain. The free-handed only is light-hearted. Be the 
 day, which is a holiday to all, a harvest-day to me. 
 
 Another Burgher. 
 I know nothing better on Sundays and holidays than 
 a chat of war and war's alarms, when people are fighting 
 far away in Turkey. A man stands at the window, 
 drinks a glass, and sees the painted vessels glide down 
 the river ; then returns home glad at heart at eve, and 
 blesses peace and times of peace. 
 
 Third Burgher. 
 Ay, neighbour, I have no objection to that; they 
 may break one another's heads, and turn everything i 
 topsy-turvy, for aught I care ; only let things at home | 
 remain as they are. 
 
 An Old Woman to the Citizens' Daughters. 
 Heyday! How smart! the pretty young creatures. 
 
64 VOR BEM THOK. 
 
 Wer soil sich nioht in euch vergaffen ? — 510 
 
 Nur nicht so stolz ! Es ist schon gut ! 
 
 Und was ihr wunscht, das wuszt' ioh wohl zu sohafiFen. 
 
 BurgeTmddehen. 
 Agathe, fort ! Ich nehme micli in Aoht, 
 Mit solohen Hexen offentlich zu gehen ; 
 Sie liesz mioh zwar in Sankt Andreas' Nacht 525 
 
 Den kunft'gen Liebsten leiblioh sehen — 
 
 Die Andre. 
 Mir zeigte sie ihn im Krystall, 
 Soldatenhaft mit mehreren Verwegnen ; 
 Ich seh' mich um, ich such' ihn uberall, 
 Allein mir will er nicht begegnen. 530 
 
 Soldaten. 
 Burgen mit hohen 
 Mauern und Zinnen, 
 Madchen mit stolzen, 
 Hohnenden Sinnen 
 
 Mocht' ioh gewinnen ! 535 
 
 Kiihn ist das Miihen, 
 Herrlich der Lohn ! 
 
 Und die Trompete 
 
 Lassen wir werben, 
 
 Wie zu der Freude, 540 
 
 So zum Verderben. 
 
 Das ist ein Sturmen ! 
 
 Das ist ein Leben ! 
 
 Madchen und Burgen 
 
 Mussen sich geben. 54 ^ 
 
 Kiihn ist das Miihen, 
 
BEFORE THE GATE. 65 
 
 Who would not be smitten with you ? Only not so 
 proud! it is all very well; and what you wish I could 
 undertake to get you. 
 
 Gitizen's Daughter. 
 Come along, Agatha. I take care not to be seen with 
 such witches in public; true, on Saint Andrew's eve, 
 she showed me my future sweetheart in flesh and blood.'° 
 
 The Other. 
 She showed me mine in the crystal, soldierlike, with 
 other bold fellows; I look around, I seek him every- 
 where, but I can never meet with him. 
 
 Soldier. 
 Towns with lofty 
 Walls and battlements, 
 Maidens with proud 
 Scornful thoughts, 
 I fain woidd win. 
 Bold the adventure. 
 Noble the reward. 
 
 And the trumpets 
 
 Are our summoners 
 
 As to joy 
 
 So to death. 
 
 That is a storming. 
 
 That is a life for you ! 
 
 Maidens and towns 
 Must surrender. 
 Bold the adventure. 
 
66 YOR DEM THOR. 
 
 Herrlioh der Lohn ! 
 Und die Soldaten 
 Ziehen davon. 
 
 Faust und Wagner. 
 
 Faiist. 
 Vom Eise befreit sind Strom und Bache 550 
 
 Durch des Friihlings holden, belebenden Blick, 
 Im Thale griinet Hoffnungsgliiok ; 
 Der alte Winter in seiner Sohwache 
 Zog sioh in rauhe Berge zuriick. 
 
 Von dorther sendet er fliehend nur SS5 
 
 Ohnmaohtige Sohauer koruigen Eises 
 In Streifen Uber die griinende Flur. 
 Aber die Sonne duldet kein Weiszes, 
 Ueberall regt sioh Bildung und Streben, -- 
 
 Alles will sie mit Parben beleben ; 560 
 
 Doch an Blumen fehlt's im Eevier, 
 Sie nimmt geputzte Menschen dafiir. 
 Kehre dich um, von diesen Eohen 
 Naoh der Stadt zuriick zu sehen. 
 Aus dem hohlen, flnstern Thor 565 
 
 Dringt ein buntes Gewimmel hervor. 
 Jeder sonnt Bich heute so gern. 
 Sie feiern die Auferstehung des Herrn, 
 Denn sie sind selber auferstanden ; 
 Aus niedriger Hauser dumpfen Gemaohern, 570 
 
 Aus Handwerks- und Gewerbesbanden, 
 Aus dem Druok von Giebeln und Dachern, 
 Aus der Straszen quetschender Enge, 
 Aus der Kirohen ehrwiirdiger Nacht 
 Sind sie Alle ans Licht gebracht. 575 
 
 Sieh nur, sieh, wie behend sich die Menge 
 Durch die Garten und Felder zerschlagt, 
 Wie der Musz in Breit' und Lange 
 So manchen lustigen Nachen bewegt, 
 Und, bis zum Sinken iiberladen, 580 
 
 Entfernt sich dieser letzte Kahn. 
 Selbst von des Barges fernen Pfaden 
 
BEFORE THE GATE. 67 
 
 Noble the reward — 
 And the soldiers 
 Are off. 
 
 Faust and Wagnee. 
 
 Favst. 
 Eiver and rivulet are freed from ice" hy the gay 
 quickening glance of spring ; the joys of hope are 
 budding in the dale ; old winter, in his weakness, has 
 retreated to the bleak mountains. From thence he 
 sends, in his flight, nothing but impotent showers of 
 hail, in belts, over the green-growing meadows. But 
 the Sun endures no white. Production and growth are 
 everywhere stirring; he wants to enliven everything 
 with colours ; the landscape wants flowers, he takes 
 gaily-dressed men and women instead. Turn and look 
 back from this rising ground upon the town. Forth 
 from the gloomy portal presses a motley crowd. Every 
 one suns himself so willingly to-day. They celebrate 
 the rising of the Lord, for they themselves have arisen ; 
 — from the damp rooms of mean houses, from the 
 bondage of trade and industry, from the confii ement 
 of gables and roofs, from the stifling narrowness of 
 streets, from the venerable gloom of churches, are they 
 all raised up to the open light of day. But look, look ! 
 how quickly the mass scatters itself through the gardens 
 and fields ; how the river, in breadth and length, tosses 
 many a merry bark upon its surface, and how this last 
 boat, overladen almost to sinking, moves ofE. Even 
 from the farthest paths of the mountain, gay-coloured 
 
C8 TOK DEM THOK. 
 
 Blinken uqs farbige Kleider an. 
 
 loh hore sohon des Dorfs Getiimmel, 
 
 Hier ist des Volkes wahrer Himmel, 585 
 
 Zufrieden jauohzet Grosz und Klein : 
 
 Hier bin ich Mensch, hier darf ick's sein. 
 
 Wagner. 
 Mit euch, Herr Doktor, zu spazieren, 
 Ist ehrenvoll und ist Gewinn ; ' 
 Doch wiird' ich nioht allein mioh her verlieren, 590 
 Weil ich ein Feind von allem Eohen bin. 
 Das Fiedeln, Schreien, Kegelschieben 
 Ist mir ein gar verhaszter Klang ; 
 Sie toben, wie vom bosen Geist getrieben, 
 Und nennen's Freude, nennen's Gesang. 595 
 
 BAUERN UNTER DER LINDE. 
 
 TANZ UND GESANG. 
 
 Der Schafer putzte sich zum Tanz 
 
 Mit bunter Jacke, Band und Kranz, 
 
 Schmuck war er angezogen. 
 
 Schon uin die Linde war es voll, 
 
 Und Alles tanzte schon wie toll. goo 
 
 Juchhe! Juohhel 
 
 Juchheisa! Heisa! He! 
 
 So ging der Eiedelbogen. 
 
 Er driiokte hastig sich heran ; 
 
 Da stiesz er an ein Madchen an 50, 
 
 Mit seinem Ellenbogen. 
 
 Die frische Dime kehrt sich um 
 
 Und sagte : Nun, das find' ich dumm. 
 
 Juchhe ! Juchhe ! 
 
 Juchheisa ! Heisa ! He ! gj^ 
 
 Seid nioht so ungezogen ! 
 
 Doch hurtig in dem Kreise ging's ; 
 Sie tanzten rechts, sie tauzten links, 
 Und alle Eocke flogen. 
 
BEFORE THE GATE. 69 
 
 dresses glance upon us. I hear already the hustle of 
 the village ; here is the true heaven of the multitude ; 
 big and little are huzzaing joyously. Here, I am a man. 
 — here, I may be one. 
 
 Wagner. 
 To walk with you. Sir Doctor, is honour and profit ; 
 but I would not lose myself here alone, because I 
 am an enemy to coarseness of every sort. This fiddling, 
 shouting, skittle-playing, are sounds thoroughly detest- 
 able to me. People run riot as if the devil was driving 
 them, and call it merriment, call it singing. 
 
 RUSTICS UNDER THE LIME-TEEE. 
 
 DANCE AND SONG. 
 
 The shepherd dressed himself out for the dance, 
 With party-coloured jacket, ribbon and garland. 
 Smartly was he dressed ! 
 The ring round the lime-tree was already full, 
 And all were dancing like mad. 
 
 Huzza ! Huzza ! 
 
 Tira-lira-hara-Ia ! 
 MeiTily went the fiddle-stick. 
 
 He pressed eagerly in. 
 
 Gave a maiden a push 
 
 With his elbow : 
 
 The buxom girl turned round 
 
 And said— Now that I call stupid. 
 
 Huzza ! Huzza ! 
 
 Tira-lira-hara-la ! 
 Don't be so ill-bred. 
 
 Yet nimbly sped it in the ring ; 
 They turned right, they turned left. 
 And all the petticoats were flying. 
 
70 TOR DEM THOR. 
 
 Sie wnrden roth, sie wurden warm 6] 
 
 Und ruhtcn athmend Arm in Arm. 
 Juchhe! Juchbe! 
 Jnchbeisa ! Heisa ! He ! 
 Und Hiift' an Ellenbogen. 
 
 Und thu mir doch nicht so vertraut ! 6: 
 
 Wie Mancher hat nicht seine Brant 
 
 Belogen und betrogen ! 
 
 Er scbmeichelte sie doch bei Seit', 
 
 Und von der Linde scholl es weit : 
 
 Juchhe I Juchhe ! ft 
 
 Juchheisa ! Heisa ! He ! 
 
 Geschrei und Eiedelbogen. 
 
 Alter Bauer. 
 Herr Doktor, das ist schon von each, 
 Dasz ihi- una heute nicht versohmaht 
 Und unter dieses Volksgedrang' 63 
 
 Als ein so hochgelahrter geht. 
 So nehmet auch den schonsten Krug, 
 Den wir mit frisohem Trunk gefiillt. 
 Ich bring' ihn ?u und wiinsche laut, 
 Dasz er nicht nur den Durst euoh stillt : 6; 
 
 Die Zahl der Tropfen, die er hegt, 
 Sei euren Tagen zugelegt ! 
 
 FaViSt. 
 loh nehme den Erquiokungstrank, 
 Erwidr' euch Allen Heil und Dank. 
 
 \_I)as Volk tammelt sick in Kreis uniber 
 
 Alter Bauer. 
 Furwahr, es ist sehr wohl gethan, & 
 
 Dasz ihr am frohen Tag ersoheint ; 
 Habt ihr es vormals dooh mit uns 
 An bosen Tagen gut gemeint! 
 Gar Mancher steht lebendig hier, 
 Den euer Vater noch zuletzt 6. 
 
 Der heiszen Fieberwuth entrisz, 
 Als er der Seuche Ziel gesetzt. 
 Auch damals ihr, ein junger Mann, 
 
BEFORE THE GATE. ?1 
 
 They grew red, they gi-ew warm, 
 And rested panting arm-in-arm, 
 
 Huzza ! Huzza ! 
 
 Tira-lira-hara-la ! 
 And elbow on hip. 
 
 Have done now ! Don't be so familiar ! 
 
 How many a man has cajoled and 
 
 Deceived his betrothed. 
 
 But he coaxed her aside, 
 
 And far and wide echoed from the lime-tree 
 
 Huzza ! Huzza ! 
 
 Tira-lira-hara-la ! 
 Shouts and fiddle-sticks. 
 
 Old Peasant. 
 Doctor, this is really good, of you, not to scorn us 
 to-day, and great scholar as you are, to mingle in this 
 crowd. Take then the fairest jug, wliicli we have filled 
 ■with fresh liquor. I pledge you in it, and pray aloud 
 that it may not only quench your thirst — may the 
 numher of drops which it holds be added to your days ! 
 
 Faust. 
 I accept the refreshing draught, and wish you all 
 health and happiness in return. 
 
 ^The people collect round him.] 
 
 Old Peasant. 
 Of a surety it is well done of you, to appear on this 
 glad day ; you who have heen heretofore our friend in 
 evil days. Many a one stands here alive whom your 
 father tore from the hot fever's rage, when he stayed 
 the pestilence. You too, at that time a young man. 
 
72 VOR DEM THOB. 
 
 Ihr gingt in jedes Krankenhaus ; 
 
 Gar manche Leiche trug man fort, 650 
 
 Ihr aber kamt gesund heraus, 
 
 Bestandet manche harte Proben ; 
 
 Dem Heifer half der Heifer droben. 
 
 Alle. 
 Gesundheit dem bewahrten Mann, 
 Dasz er noch lange helfen kann ! £55 
 
 Famt. 
 Vor Jenem droben steht gebiickt, 
 Der helfen lehrt und Hiilfe schickt ! 
 
 [Er geht ndt Wagnebn weiter.'] 
 
 Wagner. 
 Welch ein Gefiihl muszt du, o groszer Mann, 
 Bei der Verehrung dieser Menge haben 1 
 O gluoklich, wer von seinen Gaben 660 
 
 Solch einen Vortheil ziehen kann ! 
 Der Vater zeigt dich seinem Knaben, 
 Ein Jeder fragt und draugt und eilt. 
 Die Fiedel stookt, der Tanzer weilt. 
 Du gehst, in Beihen stehen sie, 665 
 
 Die Miitzen fliegen in die Hoh, 
 Und wenig fehlt, so beugten sich die Knie, 
 Als kam' das Venerabile. 
 
 Famt 
 Nur wenig Schritte noch hinauf zn jenem Stein ! 
 Hier wollen wir von unsrer Wandrung rasten. 670 
 Hier sasz ich oft gedankeuvoll allein 
 Und qualte mich mit Beten und jnit Fasten. 
 An Hofifnung reich, im Glauben fest, 
 Mit Thranen, Seufzen, Handeringen 
 Dacht' ich das Bnde jener Pest 675 
 
 Vom Herrn des Himmels zu erzwingen. 
 Der Menge Beifall tijnt mir nua wie Hohn. 
 O, kdnntest du in meinem Innern lesen, 
 Wie wenig Vater und Sohn 
 Solch eines Euhmes werth gewesen ! 680 
 
BEFORE THE GATE. 73 
 
 ■went into every sict house; many a dead body was 
 borne forth, but you came out safe, you endured many a 
 sore trial ; the helper was helped by the Helper aboVe. 
 
 All. 
 Health to the trusty man — may he long have the 
 power to help ! 
 
 Fa^lst. 
 Bend before Him on high, who teaches how to help, 
 and sends help. [He proceeds with Wagnee.] 
 
 Wagner. 
 What a feeling, great man, must you experience at 
 the honours paid you by this multitude. Oh, happy 
 he who can turn his gifts to so good an account. 
 The father points you out to his boy; all ask, and press, 
 and hurry round ; the fiddle stops, the dancer pauses. 
 As you go by, they range themselves in rows, caps fly 
 into the air, and they all but bend the knee as if the 
 Host were passing. 
 
 Faust. 
 Only a few steps further, up to that stone yonder ! 
 Here we will rest from our walk. Here many a time 
 have I sat, thoughtful and soUtary, and mortified my- 
 self with prayer and fasting. Rich in hope, firm in 
 faith, I thought to extort the stoppage of that pestilence 
 from the Lord of Heaven, with tears, and sighs, and 
 wringing of hands. The applause of the multitude now 
 sounds to me like derision. Oh ! couldst thou read in my 
 inmost soul, how little father and son have merited such 
 
74 VOR DEM THOR. 
 
 Mein Vater war ein dunkler Ehrenmann, 
 
 Der liber die Natur und ihre heil'gen Kreise 
 
 In Eedliohkeit, jedooh auf seiae Wei^e, 
 
 Mit grillenhafter Miihe sann ; 
 
 Der in Gesellsohaft von Adepten 6: 
 
 Sich in die schwarze Kiiche schlosz 
 
 Und nach unendlichen Kezepten 
 
 Das Widrige zusammengosz. 
 
 Da ward ein rother Leu, ein kiihner Freier, 
 
 Im lauen Bad der Lilie vermahlt, 6i 
 
 Und beide dann mit offnem Flammenfeuer 
 
 Aus einem Brautgemach ins andere gequalt. 
 
 Erschien darauf mit bunten Farben 
 
 Die junge Kdnigin im Glas, 
 
 Hier war die Arzenei, die Patienten starben, 6i 
 
 Und Niemand fragte, w-er genas. 
 
 So haben wir mit hollischen Latwergen 
 
 In dieaen Thalern, diesen Bergen 
 
 Weit sohlimmer als die Pest getobt. 
 
 Ich habe selbst den Gift an Tausende gegeben ; 7( 
 
 Sie welkten bin, ich musz erleben, 
 
 Dasz man die frechen Morder lobt. 
 
 Wagniir. 
 Wie konnt ihr euch dariim betriiben ! 
 Thut nicht ein braver Mann genug, 
 Die Kunst, die man ihm iibertrug, 7c 
 
 Gewisaenhaft und piinktlich auszuuben ? 
 Wenn du als Jungling deinen Vater ehrst, 
 So wirst du gern von ihm empfangen ; 
 Wenn du als Mann die Wissenschaft vermehrst, 
 So kann dein Sohn zu hoh'rem Ziel gelangen, 71 
 
 Fati:st. 
 O gliicklich, wer noch hoffen kann, 
 Aus diesem Meer des Irrthums aufzutanchen ! 
 irVVas man nicht weisz, das eben brauohte man, A 
 HTlnd was man weisz, kann man nicht brauchenT' \ 
 '"Doch lasz uns dieser Stunde sohones Gut - ' 71 
 
 Duroh solcheu Triibsinn nicht verkUmmem ! . 
 
BEFORE THE GATE. 75 
 
 an honour ! My father was a worthy, obscure man, 
 who, honestly but in his own way, meditated, with 
 whimsical application, on nature and her hallowed 
 circles ; who, in the comj/any of adepts, shut himself up 
 in the dark kitchen,'" and fused contraries together 
 after numberless recipes. There was a red lion, a bold 
 lover, married to the lily in the tepid bath, and then 
 both, with open flame, tortured from one bridal chamber 
 to another. If the young queen, with varied hues, then 
 appeared in the glass — this was the physic; the patients 
 died, and no one inquired who recovered." Thus did 
 we, with hellish electuaries, rage in these vales and 
 mountains far worse than the pestilence. I myself 
 have given the poison to thousands ; they pined away, 
 and I must now live to hear the reckless murderers 
 praised ! 
 
 Wagner. 
 How can you make yourself uneasy on that ac- 
 count? Is it not enough for a good man to practise 
 conscientiously and scrupulously the art that has been 
 handed over to him ? If, in youth, you honour your 
 father, you will willingly learn from him : if, in man- 
 hood, you extend the bounds of knowledge, your son 
 may mount still higher than you. 
 
 Faust. 
 
 Oh, happy he, who can still hope to emerge from 
 
 this sea of error! That which we know not is just 
 
 what we require, and what we know is of no use. But 
 
 let us not embitter the blessing of this hour by such 
 
76 VOB DEM THOR. 
 
 Setrachte, wie in Abendsonneglnth 
 
 Die griinumgebnen Hiitten schimmern. 
 
 Sie riickt und weicht, der Tag ist iiberlebt, 
 
 Dorfc eilt sie bin und fordert neues Leben. 
 
 O, dasz kein Fliigel mich vom Boden hebt, 
 
 Ihr nach und immer nach zu St.reben ! 
 
 Ich sah' im ewigen Abendstrahl 
 
 Die stille Welt zu meinen Fiiszen, 
 
 Entzundet alle Hbhn, beruhigt jedes Thai, 
 
 Den Silberbach in goldne Strome flieszen. 
 
 Nicht hemmte dann den gottergleicben Lauf 
 
 Der wilde Berg mit alien seinen Sobluchten ; 
 
 Schon tbut das Meer sioh mit erwarmten Buohten 
 
 Vor den erstaunten Augen auf. 
 
 Doch scheint die Gottin endlich wegzusinken ; 
 
 AUein der neue Trieb erwacht, 
 
 Ich eile forlj, ihr ew'ges Licht zu trinken, 
 
 Vor mir den Tag und hinter mir die Nacht, 
 
 Den Himmel iiber mir und unter mir die Wellen. 
 
 Bin schoner Traum, indessen sie entweicht ! 
 
 Ach, zu des Geistes FlUgeln wird.RO leicht 
 
 Kein korperlicher Flugel sich gesellen. ^ 
 
 Dooh ist es Jedem eingeboren, 
 
 Dasz sein GefUhl hinanf und vorwarta dringt, 
 
 Wenn uber uns, im blauen Eaum verloren, 
 
 Ihr schmetterndjjied die Lerche singt, 
 
 Wenn iiber achroffen Kchtenhohen 
 
 Der Adler ausgebreitet sohwebt, 
 
 Und iiber Flachen, iiber Seen 
 
 Der Kranich nach der Heimath strebt. 
 
 Waqr. 
 
 vagner. 
 
 Ich hatte selbst oft grillenhafte Stunden, 
 Doch solchen Trieb hab' ich noch nie empfunden. 
 Man sieht sich leicht an Wald und Feldern satt, 
 Des Vogels Fittig werd' ich nie beneiden. 
 Wie anders tragen uns die Geistesfreuden 
 Von Buch zu Buch, von Blatt zu Blatt ! 
 Da werden Winternachte hold und schon, 
 Bin selig Leben warmet alle Glieder, 
 
BEFORE THE GATE. 77 
 
 inelanclioly reflections. See, how the green-girt cottages 
 shimmer in the setting Sun ! He bends and sinks — the 
 day is done. Yonder he hurries off, and quickens other 
 life. Oh ! that I have no wing to lift me from the 
 ground, to struggle after, for ever after, him ! I should 
 see, in everlasting evening beams, the stilly world at my 
 feet, — every height on fire, — every vale in repose, — the 
 silver brook flowing into golden streams.*" The rugged 
 mountain, with all its dark defiles, would not then break 
 my godlike course. — Already the sea, with its heated 
 bays, opens on my enrapfSred sight. Tet the god seems 
 at last to sink away. But the new impulse wakes. I 
 hurry on to drink his everlasting light,^the day before 
 me and the night behind,"' — the heavens above, and 
 under me the waves. — A glorious dream, but he vanishes. 
 Alas ! no bodily wing will so easily be joined to the 
 wings of the mind."" Tet it is the inborn tendency 
 of our being that our feelings strive upwards and on- 
 wards ; when, over us, lost in the blue expanse, the lark 
 sings its trilling lay ; when, over rugged pine-covered 
 heights, the outspread eagle soars; and over marsh and 
 sea, the crane struggles onwards to her home."' 
 
 ■Jf Wagner. 
 
 I myself have often had my whimsical moments, but 
 I never yet experienced an impulse of the kind. One 
 soon looks one's fill of woods and fields. I shall never 
 envy the wings of the bird. How differently the plea- 
 sures of the mind bear us, from book to book, from 
 page to page. With them, winter nights become cheer- 
 ful and bright, a happy life warms every limb, and, 
 
78 VOK DEM THOR. 
 
 Und, aoh, entrollst du gar ein wUrdig Pergamen, 
 So Bteigt der gauze Himmel zu dir nieder. 
 
 Fault. 
 Du bist dir nur des einen Triebs bewuszt ; 
 O, lerne nie den andern kennen ! 
 Zwei Seelen wohnen, ach, in meiner Brust, 
 Die eine will sich von der andern trennen ; 
 Die eine halt in derber Liebeslusfc 
 Sich an die Welt mit klammfernden Organen ; 
 Die andre hebt gewaltsam sich vom Dust 
 Zu den Gefilden hoher Ahnen. 
 O, giebt ea Geister in der Luft, 
 Die zwischen Erd' und Himmel herrschend weben, 
 So steiget nieder aus deni goldnen Dnft 
 Und fiihrt mioh weg zu neaem, buntem Leben ! 
 Ja, ware nur ein Zaubermantel mein 
 Und triig' er mifih in fremde Lander, 
 Mir Bollt' er um die kbstliohsten Gewander, 
 Mcht feil um einen Konigsmautel sein. 
 
 Wagner. 
 Berufe nicht die wohlbekannte Schaar, 
 Die stromend sich im Dunstkreis uberbreitet, 
 Dem Mensohen tausendfaltige Gefahr 
 Von alien Enden her bereitet. 
 Von Norden dringt der soharfe Geisterzahn 
 Auf dich herbei mit pfeilgespitzten Zungen ; 
 Von Morgen ziehn vertrooknend sie heran 
 Und nahren sich von deinen Lungen ; 
 Wenh sie der Mittag aus der Wiiste sohickt, 
 Die Gluth auf Gluth um deinen Scheitel haufen, 
 So bringt der West den Schwarm, der erst erquiokt, 
 Um dich und Feld und Aue zu ersaufen. 
 Sie horen gem, zum Schaden froh gewandt, 
 Gehorohen gem, well sie uns gem betriigen ; 
 Sie stellen wie vom Himmel sich gesandt " 
 
 Und lispeln englisch, wenn sie liigen. 
 Doch gehen wir ! Brgraut ist schon die Welt, 
 
BEFORE THE GATE. 79 
 
 ah ! wlien you unroll a venerable parchment, all heaven 
 descends to you. 
 
 Faust. 
 Thou art conscious only of one impulse. Oh, never 
 become acquainted with the other ! Two souls, alas ! 
 dwell in my breast : ** the one would fain separate 
 itself from the other. The one with sensuous love 
 clings to the world with tenacious organs: the other 
 lifts itself energetically from the mist to the realms of 
 an exalted ancestry.'"' Oh ! if there be spirits in the air, 
 which hover ruling 'twixt earth and heaven, descend ye, 
 from your golden atmosphere, and lead me off to a new 
 varied life. Ay, were but a magic mantle mine, and 
 could it bear me into foreign lands, I would not 
 part with it for the costliest garments — not for a king's 
 mantle. 
 
 Wagner. 
 Invoke not the well-known troop,*' which diffuses 
 itself, streaming, through the atmosphere, and pre- 
 pares danger in a thousand forms, from every quarter, 
 to man. The sharp-fanged spirits, with arrowy tongues, 
 press upon you from the north; from the east, they 
 come parching, and feed upon your lungs. If the south 
 sends from the desert those which heap fire after fire 
 upon thy brain, the west brings the swarm which oidy 
 refreshes, to drown fields, meadows, and yourself.- 
 They readily listen, ever keenly alive for mischief: 
 they obey with pleasure, because they take pleasure to 
 delude; they feign to be sent from heaven, and lisp like 
 angels when they lie. But let -us be going ; the earth is 
 
80 VOR DKM THOR. 
 
 Die Luft gekuhlt, der Nebel fallt ! 
 ,»>^CAm Abend schatzt man erst das Haus. — 
 
 Was stehst du so und bliokst erstaunt hinaus ? 
 Was kann dioh. in der Dammrung so ergreifen ? 
 
 Faust. 
 Siehst du den sohwarzen Hund duroh Saat und 
 
 Stoppel Btreifen ? 
 
 Wagner. 
 Ich sah ihn lange sohon ; nicht wichtig schien er mir. 7 
 
 Faust. 
 Betraoht ihn recht ! Fur was haltst du das Thier ? 
 
 Wagner. 
 Fiir einen Pudel, der auf seine Weise 
 Sioh auf der Spur des Herren plagt. 
 
 Faust. 
 Bemerkst du, wie in weitem Schneokenkreise 
 Br um uns her und immer naher jagt ? 
 Und irr' ich nicht, so zieht ein Feuerstrudel 
 Auf seinen Pfaden hinterdrein. 
 
 Wagner. 
 Ich sehe nichts als einen schwarzen Pudel ; 
 Es mag bei euch wohl Augentauschung sein. 
 
 Faust. 
 Mir soheint es, dasz er magisch leise Sohlingeu 
 Zu kunft'gem Band um unsre Fiisze zieht. 
 
 Ich seh' ihn ungewisz und furchtsam uns umspringen, 
 Weil er statt seines Herrn zwei Uubekanute sieht. 
 
BEFORE THE GATE. 81 
 
 already grown grey, the air is chill, the mist is falling ; 
 it is only in the evening that we set a proper value on 
 our homes. Why do you stand still, and gaze with 
 astonishment thus ? What can thus fix your attention 
 in the gloaming ? 
 
 Faust. 
 Seest thou the hlack dog ranging through the com 
 and stuhble ? 
 
 Wagner. 
 I saw him long ago; he did not strike me as any- 
 thing particular. 
 
 Faust. 
 Mark him well ! For what do you take the brute ? 
 
 Wagner. 
 For a poodle, who, in his way, is puzzling out the 
 track of his master. 
 
 Faust. 
 Dost thou mark how, in wide spiral circles, he courses 
 round and ever nearer us ? And, if I err not, a line of 
 fire follows upon his track." 
 
 Wagner. 
 I see nothing hut a black poodle ; you may be de- 
 ceived by some optical illusion. 
 
 Faust. 
 It appears to me, that he is drawing light magical 
 nooses, to form a toil around our feet. 
 
 Wagner. 
 I see him bounding hesitatingly and shyly around us, 
 because, instead of his master, he sees two strangers. 
 
 G 
 
82 VOR DEM THOR. 
 
 Faust. 
 Der Kreis wird eng ; schon ist er nah ! 
 
 Wagner, 
 Du siehst,. ein Hund, und kein Gespenst ist da. 1 
 Er knurrt und zweifelt, legt Bich auf den Bauch, 
 Er wedelt. Alles Hundebrauch. 
 
 FcMst 
 Geselle dich za uus ! Komm bier ! 
 
 Wagner. 
 Es ist ein pudelnarrisch Thier. 
 Da stehest still, er wartet auf ; i 
 
 Du spriobst ibn an, er strebt an dir hinauf ; 
 Verliere was, er wird es bringen, 
 Nach deinem Stock ins Wasser springen. 
 
 Faust. 
 Du hast wohl Kecht ; ich finde nicht die Spur 
 Von einem Geist, und Alles ist Dressur. i 
 
 Wagner. 
 Dem Hunde, wenn er gut gezogen, 
 Wird selbst ein weiser Mann gewogen. 
 Ja, deine Gunst verdient er ganz und gar, 
 Er, der Studenten treflSicher Scolar. 
 
 [8ie gehen in das Stadtthot 
 
BEFOKE THE GATE. 83 
 
 Faust. 
 The circle grows narrow ; lie is already close. 
 
 Wagner. 
 Tou see, it is a dog, and no phantom. He growls and 
 hesitates, crouches on his belly and wags with his tail — 
 aU asdogs are wont to do. 
 
 Faust. 
 Come to us ! — Hither ! 
 
 Wagner. 
 It's a droll creature of a dog. Stand still, and 
 he will sit on his hind legs ; speak to him, and he 
 will jump upon you ; lose aught, and he will fetch it to 
 you, and jump into the water for your stick. 
 
 Faust. 
 I believe you are right ; I find no trace of a spirit, 
 and all is training. 
 
 Wagner. 
 Even a wise man may become attached to a dog 
 when he is well brought up. Ay, he richly deserves 
 all your favour, — he, the apt pupil of the students. 
 
 [They enter the gate of the town.y 
 
STUDIRZIMMEE. 
 
 Fatjst (mii dem Fudel heremtretend). 
 
 VERLASSBN hab' ich Feld und Auen, Szs 
 
 Die eine tiefe Nacht bedeokt, 
 Mit ahnungsvollem, heirgem Grauen 
 In tins die bessi'e Seele weckt. 
 Entsohlafen sind nun wilde Triebe 
 Mit jedem nngestumen Thun ; 830 
 
 Es reget sioh die Mensohenliebe, 
 Die Liebe Gottes regt eich nun. 
 
 Sei ruhig, Pudel ! Eenne nioht bin und wieder ! 
 
 An der Schwelle was schnoperst du hier ? 
 
 Lege, dich hinter den Ofen nieder ! 835 
 
 Mein bestes Kissen geb' ioh dir. 
 
 Wie du drauszen auf dem bevgigen Wege 
 
 Durch Kennen und Springen ergotzt uns hast, 
 
 So nimm nun auch von mir die^PHege 
 
 Als ein willkommner stiller Gast. 840 
 
 Aoh, wenn in unarer engen Zelle 
 
 Die Lampe frenndlich wieder brennt, 
 
 Dann wird's in unserm Busen helle, 
 
 Im Herzen, das sioh selber kennt. 
 
 Vernunft fangt wieder an zu sprechen 845 
 
 Und HoiTnung wieder an zu bliihn ; 
 
 Man sehnt sioh nach des Lebena Bachen, 
 
 Aoh, nach des Lebens Quelle hin. 
 
 guurrenicht, Pudel ! Zu den heiligen Tonen, 
 
 Die jetzt meine ganze Seel' umfassen. 850 
 
 Will der thierische Laut nicht passen. 
 
/ 
 
 FAUST'S STUDY. 
 Faust entering with the Poodle. 
 
 I HAVE left plain and meadow veiled in deep night, 
 ■which wakes the better soul within us with a holy 
 feeling of foreboding awe. Wild desires are now sunk 
 in sleep, with every deed of violence : the love of man is 
 stirring — the love of God is stirring now. 
 
 Be quiet, poodle ! Eun not hlfner and thither. "Why 
 are you snuffling at the threshold';' Lie down behind 
 the stove ; there is my best cushion for you. As with- 
 out, upon the mountain path, you amused us by running 
 and gambolling, so now receive my kindness as a wel- 
 come quiet guest. 
 
 Ah! when the friendly lamp is again burning in our 
 narrow cell, then all becomes clear in our bosom, — in 
 the heart that knows itself. Reason begins to speak, 
 and hope to bloom, again; we yearn for the streams, 
 ay, for the fountain, of life. 
 
 Growl not, poodle ! The brutish sound ill harmonizes 
 with the hallowed tones which now possess my whole 
 
86 STUDIKZIMMER. 
 
 Wir Bind gewohnt, dasz die Menschen verhohnen, 
 Was sie nicht verstehn, dasz sie vor dem Guteii 
 
 und Schonen, 
 Das ihnen oft beschwerlioh ist, murren ; 
 Will es der Huod wie sie beknurren ? 855 
 
 Aber ach, schon^fiihl' ich bei dem besten Willen 
 
 Befriedigung nicht mehr aus dem Busen quillen. 
 
 Aber warum musz der Strom so bald versiegen, 
 
 Und wir wieder im Durste liegen ? 
 
 Davon hab' ich so viel Erfahrung. 860 
 
 Doch dieser Mangel laszt sich ersetzen, 
 
 Wir lernen das Ueberirdisohe sohatzen, 
 
 Wir sehnen uns nach OflFenbarUng, 
 
 Die nirgends wUrd'ger und schoner brennt 
 
 Als in dem Neuen Testament. 865 
 
 Mich drangt's, den Grundtext aufzuschlagen, 
 
 Mit redlichem Gefiihl einmal 
 
 Das heilige Original 
 
 In moin geliebtes Deutsch zu iibertragen. 
 
 [^Er sahldgt ein Volum auf und schicht sich an.] 
 Geschrieben steht : Im Anfang war das Wort ! 870 
 
 — Hier stock' ich schon ! Wer hilft mir welter fort ? 
 Ich kann das Wort so hoch unmoglich sohatzen ; 
 Ich musz es anders ubersetzen, 
 Wenn ich vom Geiste recht erleuchtet bin. 
 Geschrieben steht : Im Anfang war der Sinn. 875 
 
 Bedenke wohl die erste Zeile, 
 Dasz deine Feder sich nicht Ubereile ! 
 Ist es der Sinn, der AUes wirkt und schafft ? 
 Es sollte stehn ; Im Anfang war die Kraft 1 
 Doch, auoh indem ich dieses niederschreibe, 8Sc 
 
 Schon warnt mich was, dasz ich dabei nicht bleibe. 
 Mir hilft der Geist ! Auf einmal seh' ich Eath 
 Und schreibe getrost : Im Anfang war die That ! 
 
 Soil ich mit dir das Zimmer theilen, 
 
 Pudel, so lasz das Heulen, ggc 
 
 So lasz das Bellen ! 
 
 Solch einen storenden Gesellen 
 
Faust's studt. 87 
 
 soul. We are accustomed to see men deride what they 
 do not understand *' — to see them grumble at the good 
 and beautiful, which is often troublesome to them. Is 
 the dog disposed to snarl at it like them ? 
 
 But ah ! I feel already that, much as I may wish for 
 it, contentment wells no longer from my breast. Yet 
 why must the stream be so soon dried up, and we again 
 lie thirsting ? I have had so much experience 'of that ! 
 This want, however, admits of being compensattied. We 
 learn to prize the supernatural; we long for revela- 
 tion," which nowhere bums more majestically or more / 
 beautifully than in the New Testament. I feel impelled / — 
 to open the original text— to translate for once, with 
 upright feeling, the sacred original into my beloved 
 German. [He opens a volume, and applies himself to if] 
 
 It is written : In the beginning was the Word. 
 Here I am already at a stand ! Who will help me on ? 
 I cannot possibly value the Word so highly ; I must 
 translate it differently, if I am truly inspired by the 
 spirit. It is written: In the beginning was the 
 Sense. Consider well the first line, that your pen be 
 not over hasty. Is it the Sense that influences and 
 produces everything? It should stand thus: In tke 
 beginning was the Power. Yet, even as I am, writing / 
 down this, something warns me not to keep to it. The i^ 
 
 spirit comes to my aid ! At once I see my way, and ■: 
 write confidently : In the beginning was the Deed. -- / 
 
 If I am to share the chamber with you, poodle, cease" 
 your howling — cease your barking. I cannot endure so 
 
88 STUDIBZIMMER. 
 
 Mag ioh nioht in der Nahe leiden. 
 
 Biner von uns Beiden 
 
 Musz die Zelle meiden. 8yo 
 
 TJngera heb' ioh das Gastreoht auf. 
 
 Die Thiir ist offen, hast freien Lauf. 
 
 Aber was musz ich seben ! 
 
 Kann das natiirlich geschehen ? 
 
 Ist es Sohatten ? Ist's Wirklichkeit ? 895 
 
 Wie wird mein Pudel lang und breit ! 
 
 Er hebt sich mit Gewalt, 
 
 Das ist nicht eines Hundes Gestalt ! 
 
 Welch ein Gespenst braoht' ich ins Hans ! 
 
 Schon sieht er wie ein Nilpferd ans, 900 
 
 Mit fenrigen Augen, schreckliohem Gebisz. 
 
 O, dn bist mir gewisz ! 
 
 Fur solche halbe Hollenbrut 
 
 Ist Salomonis Schlussel gut. 
 
 Geisier {auf dem Oange). 
 Drinnen gefangen ist Einer ! 905 
 
 Bleibet hauszen ! Eolg' ihm Keiner ! 
 Wie im Eisen der Fnohs, 
 Zagt ein alter Hollenluchs. 
 Aber gebt Acht ! 
 
 Sohwebet hin, sohwebet wieder, 910 
 
 Auf und nieder, 
 Und er hat sich losgemaoht. 
 Konnt ihr ihm niitzen, 
 Laszt ihn nicht sitzen ! 
 Denn er that uns Allen 915 
 
 Schon Tiel zu Gefallen. 
 
 A 
 
 Fcmat. 
 Erst zu begegnen dem Thiere, 
 Branch' ich den Spruoh der Viere : 
 
 Salamander soil glUhen, 
 
 Undene sich winden, 920 
 
89 
 
 troublesome a companion near to me. One of us two 
 must quit the cell. It is witli reluctance that I with- 
 draw the rights of hospitality ; the door is open — the 
 way is clear for you. But what do I see ! Can that 
 come to pass by natural means ? Is it shadow ? Is it 
 reality ? How long and broad my poodle grows ! He 
 raises himself powerfully; that is not the form of a 
 dog ! What a phantom I have brought into the house ! 
 — ^He looks already like a hippopotamus, with fiery eyes, 
 terrific teeth. Ah ! I am sure of thee ! Solomon's key 
 is good for such a half -hellish brood. 
 
 Spirits (in the passage). 
 One is caught within ! 
 Stay without, follow none 
 As in the gin the fox. 
 Quakes an old lynx of hell. 
 
 But take heed ! 
 Hover thither, hover back, 
 
 Up and down, 
 And he is loose ! 
 If ye can aid him, 
 Leave him not in the lurch. 
 For he has already done 
 Us many a service. 
 
 Faust. 
 First to confront the beast, . 
 Use I the spell of the four : 
 
 Salamander shall glow,°° 
 
 Undine twine. 
 
90 STUDIRZIMMEB, 
 
 Sylphe verschwinden, 
 Kobold sich mUhen. 
 
 Wer sie nicht kennte, 
 
 Die Blemente, 
 
 Ihre Kraft 925 
 
 Ilnd Eigenschaft, 
 
 Ware kein Meister 
 
 Ueber die Geister. 
 
 Verschwind in Flammen, 
 
 Salamander ! 930 
 
 Bauschend fliesze zusammen, 
 
 TJndene ! 
 
 Leucht in Meteorenschone, ♦ 
 
 Sylphe! 
 
 Bring hausliche Hiilfe, 935 
 
 Incubus ! Incubus ! 
 
 Tritt hervor und maohe den Schluaz ! 
 
 Keines der Viere 
 
 Steckt in dem Thiere. 
 
 Es liegt ganz ruhig und grinst mich an ; 940 
 
 Ich hab' ihm noch nicht weh gethan. 
 
 Du soUst mich horen ^ 
 
 Starker beschworen. 
 
 Bist du, Geselle, 
 
 Bin Fluchtling der Hdlle, 945 
 
 So sieh dies Zeiohen, Q_^ 
 
 Dem sie sich beugen, '" " -- 
 
 Die schwarzen Schaaren ! 
 
 Schon schwillt es auf mit borstigen Haaren. 
 
 Verworfnes Wesen ! 550 
 
 Kannst du ihn lesen ? 
 Den Nieentsprossnen, 
 Unausgesprochnen, 
 
Faust's study. 91 
 
 Sylph vanisli, 
 Kobold stall toil. 
 
 Who does not know 
 
 The elements, 
 Their power and properties, 
 
 Were no master 
 
 Over the spirits. 
 
 Vanish in flamie, 
 
 Salamander ! 
 Eushingly flow together. 
 
 Undine ! 
 Shine in meteor beauty, 
 
 Sylph! 
 Bring homely help, 
 Incubus ! Incubus ! s 
 Step forth and finish the work. 
 
 No one of the four 
 
 Lurks in the beast. 
 He lies undisturbed and grins at me. 
 
 I have not yet hurt him. 
 Thou shalt hear me conjure stronger. 
 
 Art thou, fellow, 
 
 A scapeling from hell ! 
 
 Then see this sign ! 
 
 Before which bow the dark hosts. 
 
 He is already swelling up with bristling hair. 
 
 Reprobate ! 
 
 Canst thou read him ? — 
 
 The unoriginated. 
 
 Unpronounceable, 
 
92 STUDIRZIMMER. 
 
 Dnrch alle Himmel Gegossnen, 
 
 Freventlioh Dnrohstoohnen ? 955 
 
 Hinter den Ofen gebannt, 
 
 Sohwillt es wie ein Elephant, 
 
 Den gauzen Baum fuUt es an, 
 
 Eb will zum Nebel zerflieszen. 
 
 Steige nicht zur Deoke hinan ! 960 
 
 Lege dich zn des Meisters Fiiszen ! 
 
 Da siehst, dasz ich nicht vergebens drohe, 
 
 loh versenge dich mit heiliger Lohe ! 
 
 Erwarte nicht 
 
 Das dreimal gluhende Licht ! 965 
 
 Erwarte nicht 
 
 Die starkste von meinen Eiinsten ! 
 
 Mephistopheles iritt, mdem der Nebel fallt, geMeidet wie 
 ein fahrender SeholasMimSflwnter dem Ofen hervor. 
 
 MepMsiopheles. 
 Wozu der Larm ? Was steht dem Herrn zu Diensteu ? 
 
 Faust. 
 Das also war des Pudels Kern ! 
 Ein fahrender Scolast ? Der Kasus macht mich lachen, 970 
 
 loh salutire den gelehrten Herrn ! 
 
 Ihr habt mich weidlioh schwitzen maohen. 
 
 Fatist. 
 Wie nennst du dich ? 
 
 Mephistopheles. 
 Die Frage scheint mir klein 
 Piir Einen, der das Wort so sehr verachtet, 
 Der, weit entfernt von allem Schein, 975 
 
 Nur in der Wesen Tiefe trachtet. 
 
 Faust, 
 Bei euch, ihr Harm, kauu man das Wesen 
 
taust's study. 93 
 
 Through all heaven diffused, 
 Vilely transpierced ? 
 
 Spellbound behind the stove, it is swelling like an 
 elephant ; it fills the whole space, it is about to vanish 
 into mist. Else not to the ceiling! Down at thy 
 master's feet ! Thou seest I do not threaten in vain. 
 I will scorch thee with holy fire. Wait not for the 
 thrice glowing light. Wait not for the strongest of my 
 spells. 
 
 Mephistopheles comes forward as the mist sinks, in the 
 * dress of a Tra/oelUng Scholar," from behind the stove. 
 
 Mephistopheles. 
 Wherefore such a fuss ? What may be your pleasure ? 
 
 Faust. 
 This, then, was the kernel of the poodle ! A tra- 
 velling scholar ? The casus makes me laugh. 
 
 Mephistopheles. 
 I salute your leariied worship. Tou have made me 
 sweat with a vengeance. 
 
 Faust. 
 What is thy name ? 
 
 Mephistopheles. 
 The question strikes me as trifling for one who rates 
 the Word so low; who, far estranged from all mere 
 outward seeming, looks only to the essence of things. 
 
 Faust. 
 With Buch gentlemen as you, one may generally 
 
94 STUDIRZfMMER. 
 
 Gewohnlich aus dem Namen lesen, 
 
 Wo es sich allzu deutlich weist, 
 
 Wenn man euoh Fliegengott, 'Verderber, Lugner heiszt. 58c 
 
 Nun gut, wer bist du denn ? 
 
 MepMstopheles. 
 
 Ein Theil von jener Kraft, 
 Die stets das Bose will und stets das Gute schafft. 
 
 Famt. 
 Was ist mit diesem Eathselwort gemeint ? 
 
 MepMstopheles. 
 Ich bin der Geist, der stets verneint ! 
 Und das mit Recht ; denn Alles, was entsteht, 985 
 
 Ist werth, dasz es zu Grunde geht ; 
 Drum besser war's, dasz nichts entstUnde. 
 So ist denn Alles, was ihr Sunde, 
 Zerstorung, kurz das Bbse nennt, 
 Meiu eigentliohes Element, 59c 
 
 Faust. 
 Du nennst dich einen Theil uiid stehst doch ganz vor mir ? 
 
 MepMstopheles. 
 Bescheidne Wahrheit sprech' ich dir. 
 Wenn sich der Mensch, die kleine Narrenwelt, 
 Gewohnlich fiir ein Ganzes halt : 
 
 Ich bin ein Theil des Theils, der Anfangs Alles war, 995 
 Ein Theil der Pinsternisz, die sich das Licht gebar, 
 Das stolze Licht, das nun der Mutter Nacht 
 Den alten Hang, den Raum ihr streitig macht. 
 Und doch golingt's ihm nicht, da es, so viel es strebt, 
 Verhaftet an den Korpern klebt ; 1000 
 
 Von Korpern stromt's, die Kcirper macht es sohon, 
 Ein Kcirper hemmt's auf seinem Gange. 
 80, hoff ' ich, dauert es nicht lange, 
 Und mit den Korpern wird's zu Grunde getoi. 
 
FAUST^S STUDY. 95 
 
 learn the essence from the name, since it appears but 
 too plainly, if your name be fly-god," destroyer, liar. 
 Now, in a word, who art thou then ? 
 
 MepMstopheles. 
 A part of that power, which is ever willing evil and 
 ever producing good. 
 
 Faust. 
 What is meant by this riddle ? 
 
 Mephistopheles. ^.^ "!'■ -^^'^f^ ^'^"^. 
 I am the spirit which constantly denies ! and rightly / 
 so ; for everything that has originated, deserves to be 
 annihilated. Therefore better were it nothing should 
 originate. Thus, all that you call sin, destruction, in 
 a word. Evil, is my proper element. 
 
 Faust. 
 
 You call yourself a part, and yet stand whole before 
 me? 
 
 Mephistopheles. 
 
 I tell you the modest truth. Although man, that 
 microcosm of folly, commonly esteems himself a whole : 
 I am a part of the part which in the beginning was 
 all ; a part of the darkness which brought forth light, — 
 the proud light, which now contests its ancient rank 
 and space with mother Mght." But it succeeds not ; 
 since, strive as it will, it cleaves, as if bound, to 
 bodies. It streams from bodies, it gives beauty to 
 bodies, a body stops it in its course, and so, I hope, 
 it will perish with bodies before long. 
 
96 STUDIEZIMMER. 
 
 FoMSt. 
 
 Nun kenn' ich deine wiird'gen Pflichten ! loo- 
 
 Du kannst im Groszen niohts vernichten 
 Und fangst es nun im Kleinen an. 
 
 Mephistopheles. 
 TJnd freilich isfc nicht viel damit gethan. 
 Was sich dem Nichts entgegenstellt, 
 Das Btwas, diese plumpe Welt, ioi< 
 
 So viel als ich schon unternommen, 
 Ich wuszte nicht ihr beizukommen, 
 Mit Wellen, StUrmen, Sohiitteln, Brand ; 
 Geruhig bleibt am Ende Meer und Land ! 
 Und dem verdammten Zeug, der Thier- und Mensohen. 
 bvut, _ loi, 
 
 Dem i8t nun gar nichta anzuhaben. 
 Wie Viele hab' ich schon begraben ! 
 Und immer circulirt ein neues, frisches Blut. 
 So geht es fort, man mochte rasend werden ! 
 Der Luft, dem Wasser wie der Erden lozi 
 
 Entwinden tausend Keime sich 
 Im Trocknen, Feuchten, Warmen, Kalten ! 
 Hatt' ich mir nicht die Plamme vorbehalten, 
 Ich hatte nichts Apart's fur mich. 
 
 Faust. 
 So setzest du der ewig regen, jq^ 
 
 Der heilsam sohaffenden Gewalt 
 Die kalte Teufelsfaust entgegen, 
 Die sich vergebens tUckisch ballt ! 
 Was Anders suche zu beginnen, 
 Des Chaos wunderlicher Sohn ! iq,, 
 
 MepMstopheles, 
 Wir wollen wirklich uns besinnen ; 
 Die nachsten Male mehr davon ! 
 Durft' ich wohl diesmal mich entfernen ? 
 
 Fa/usi, 
 Ich sehe nicht, warum du frags t. . 
 
 Ich habe jetzt dich kennen lernen ; u,. 
 
 Besuche nun mich, wie du magst. 
 
Faust's study. 97 
 
 Faust. 
 Now I know thy dignified calling. Thou art not 
 able to destroy on a large scale, and so thou dost it in 
 a small way. 
 
 Mephistopheles. 
 And, to say truth, little can be achieved by this process. 
 That which is opposed to nothing" — the something, 
 this clumsy world, much as I have tried already, I have 
 not yet been able to overcome it, — with waves, storms, 
 earthquakes, fire. Sea and land remain undisturbed 
 after all ! And the damned set, the brood of brutes 
 and men, there is no such thing as getting the better 
 of them neither. How many I have already buried ! 
 And new fresh blood is constantly circulating ! Things 
 go on so — it is enough to make one mad ! From air, 
 water, earth — ^in wet, dry, hot, cold — germs by thou- 
 sands evolve themselves." Had I not reserved fire, I 
 should have nothing apart for myself. 
 
 Faust. 
 So thou opposest thy cold devil's fist, clenched in 
 impotent mahce, to the ever stirring, the beneficent 
 creating power. Try thy hand at something else, strange 
 son of Chaos. 
 
 Mephistopheles. 
 We will think about it in good earnest — more of that 
 anon ! Might I be permitted this time to depart ? 
 
 Faust. 
 I see not why you ask. I have now made acquain- 
 tance with you ; call on me in future as you feel inclined. 
 
 K 
 
98 STUDIKZIMMEK, 
 
 Hier ist das Fenster, hier die ThUre, 
 Ein Eauohfang ist dir auoh gewisz. 
 
 Mephistopheles. 
 Gesteh' ich's nur ! Dasz ioh hinausapaziere, 
 Verbietet mir ein kleines Hindernisz, 1040 
 
 Der Drudenfusz auf eurer Schwelle — 
 
 FaVfSt. 
 Das Pentagramma macht dir Fein ? 
 Bi, sage mir, du Sohn der Holle, 
 Wenn das dich bannt, wie kamst du denn herein ? 
 Wie ward ein solclier Geist betrogen ? 1045 
 
 MepMstopheles. 
 Beschaat es recht ! Es ist nicht gut gezogen ; 
 Der eine Winkel, der nach auszen zu, 
 Ist, wie du siehst, ein wenig offen. 
 
 Faust. 
 Das hat der Zufall gut getrofFen ! 
 
 Und mein Gefangner warst denn du ? 1050 
 
 Das ist von ungefahr gelungen ! 
 
 MepTiisiopheles. 
 Der Pudel merkte nichts, als er hereingesprnngen, 
 Die Saohe sieht jetzt anders aus ; 
 Der Teufel kann nicht aus dem Haus. 
 
 Faust. 
 Doch warum gehst du nicht durchs Fenster ? 1055 
 
 MepMstopheles. 
 's ist ein Gesetz der Teufel und Gespenster : 
 Wo sie hereingeschliipft, da miissen sie hinaus. 
 Das Erste steht uns frei, beim Zweiten sind wir Knechte. 
 
 „ Faust. 
 
 Die Holle selbst hat ihre Kechte'? 
 
 Das find' ioh gut, da liesze sioh ein Pakt, 1060 
 
 Und sicher wohl, mit each, ihr Herren, schlieszen ? 
 
* faust's study. 99 
 
 !ere is the window, here the door; there is also a 
 limney for you. 
 
 MepMstopJieles. 
 
 To confess the truth, a small obstacle prevents me 
 ■om walking out — the wizard-foot upon your threshold. 
 
 Faust. 
 The Pentagram '* embarrasses you ? Tell me then, 
 lou child of hell, if that repels thee, how cam'st thou 
 1 ? How was such a spirit entrapped ? 
 
 Mephistopheles. 
 Mark it well ! It is not well drawn ; one angle, the 
 utward one, is, as thou seest, a little open. 
 
 Famt. 
 It is a lucky accident. So thou art my prisoner 
 ow ? This is a chance hit. 
 
 Mephistopheles. 
 
 The poodle observed nothing when he jumped in. 
 
 ]he case has a different aspect now ; the devil cannot 
 
 :et out. 
 
 Faust. 
 
 But why do you not go through the window ? 
 
 Mejihistopheles. 
 It is a law binding on devils and phantoms, that 
 hey must go out the same way they stole in. The 
 irst is free to us ; we are slaves as regards the second. 
 
 Faust. 
 Hell itself has its laws ? I am glad of.-it^ in that 
 ase a compact," a binding one, may be made with you 
 rentlemen ? 
 
100 STUDIKZIMMEK. 
 
 Mephisto'pheles. 
 Was man verspncht, das soUsfc du rein genieszen 
 Dir wird davon niohts abgezwaokt. 
 Dooh das ist nicht so kurz zu fassen, 
 
 Und wir bespreohen das zunachst ; 1065 
 
 Dooh jetzo bitt' ioh hooh und hochst, 
 Fiir dieses Mai mioh zu entlassen. 
 
 FoMst. 
 So bleibe dooh noch einen Augenbliok, 
 TJm mir erst gute Mar zu sagen. 
 
 Me'pTiisiopheles. 
 Jetzt lasz mich los ! Ioh komme bald zuriiek ; 1070 
 
 Dann magst du nach Belieben fragen. 
 
 Faust. 
 Ioh habe dir uioht nachgestellt, 
 Bist du dooh selbst ins Garn gegangen. 
 Den Teufel halte, wer ihn halt ! 
 Er wird ihn nioht so bald zum zweiten Male fangen. 1075 
 
 Me'phisio'plieles. 
 Wenn dir's beliebt, so bin ich auch bereit, 
 Dir zur Gesellschaft hier zu bleiben ; 
 Dooh mit Bedingnisz, dir die Zeit 
 Duroh meine Kiinste wiirdig zu vertreiben. 
 
 Faust. 
 Ich seh' es gem, das steht dir frei • 1080 
 
 Nur dasz die Kunst gefallig sei ! 
 
 MefMstopheles. 
 Du wirst, mein Freund, fiir deine Sinnen 
 In dieser Stunde mehr gewinnen 
 Als in des Jahres Einerlei. 
 
 Was dir die zarten Geister singen, 10S5 
 
 Die sohonen Bilder, die sie bringen, 
 
FAUST'S STUDY. 101 
 
 MepMgtopJieleg. 
 What is promised, ttat shalt thou enjoy to the 
 letter ; not the smallest deduction shall be made from 
 it. But this is not to be discussed so summarily, and 
 we wUl speak of it the next time. But now I most 
 earnestly beg of you to let me go for the present. 
 
 Faust. 
 Wait yet anojier moment, and tell me some pleasant 
 
 .tiding s.°° ,Szju?l^=^ 
 
 MepMstopheles. 
 Let me go now ! I will soon come back ; you may 
 then question me as you Uke. 
 
 Favst. 
 I have laid no snare for thee ; thou hast run into 
 the net of thy own free will. Let whoever has got 
 hold of the devil, keep hold of him. He will not catch 
 him a second time in a hurry. 
 
 Mephistopheles. 
 It you like, I am ready to stay and keep you com- 
 pany here, but upon condition that I may beguile the 
 time worthily for you by my arts. 
 
 Faust. , 
 
 I shall attend with pleasure; you may do so, pro- 
 vided only that the art be an agreeable one. 
 
 Mephistojiheles. 
 My friend, you will gain more for y our senses in this 
 one hour, than in the whole year's monotony. What 
 the delicate spirits sing to youj the lovely images which 
 
102 STTTDIEZIMMER. 
 
 Sind nicht ein leeres Zauberspiel. 
 
 Auch dein Geruch wird sioh ergetzen, 
 
 Dann wirst du deinen Gaumen letzen, 
 
 Und dann entzuckt sich dein Gefiihl. 1090 
 
 Bereitung braucht es nicht TOran, 
 
 Beisammen sind wir, fanget an ! 
 
 OEISTEB. 
 
 Scliwindet, ihr dunkeln 
 
 Wolbnngen drobon ! 
 
 Reizender schaue, 109s 
 
 Freundlich der bla^e 
 
 Aether herein ! 
 
 Waren die dunkein 
 
 Wolken zerronnen ! 
 
 Sternelein funkeln, nob 
 
 Mildere Sonnen 
 
 Scheinen darein. 
 
 Himmlischer Sohne 
 
 Geistige Sehone, 
 
 Sohwankende Bengnng 1105 
 
 Schwebet voriiber, 
 
 Sehnende Neigung 
 
 Folget hiniiber ; 
 
 Und der Gewander 
 
 Flatternde Bander mo 
 
 Decken die Lander, 
 
 Decken die Laube, 
 
 Wo sich fiirs Lebcn. 
 
 Tief in Gedanken, 
 
 Liebende geben. mj 
 
 Laube bei Laube ! 
 
 Sprossende Banken ! 
 
 Lastende Traube , 
 
 Stiirzt ins Behalter 
 
 Drangender Keller, 1120 
 
 StUrzen in Bachen 
 
 Schaumende Weine, 
 
 Rieseln durch reiije, 
 
 Edle Gesteine, 
 
 Lassen die Hohen 1125 
 
faust's study. 103 
 
 they call up, are not an unsubstantial play of encLant- 
 ment. Your smell will be charmed, you will then 
 delight your palate, and then your feelings will be 
 entranced. No preparation is necessary ; we are all 
 assembled — strike up ! 
 
 SPIKITS. 
 
 Vanish ye dark 
 Arched ceilings above ! 
 More charmingly look in 
 The friendly blue sky ! 
 Were the dark clouds 
 Melted away ! 
 Little stars sparkle,' 
 Softer suns shine in. 
 Etherial beauty 
 Of the children of heaven, 
 Tremulous bending 
 
 Hovers across ; 
 Longing desire 
 
 Follows after. 
 And the fluttering 
 Ribbons of drapery 
 Cover the plains, 
 Cover the bower, 
 Where lovers. 
 Deep in thought. 
 Give themselves for life. 
 Bower on bower ! 
 Sprouting tendrils ! 
 Down-weighing grapes 
 Gush into the vat 
 Of the hard-squeezing press. 
 The foaming wines 
 Gush in brooks. 
 Rustle through 
 Pure, precious stones, 
 Leave the heights 
 
104 STUDIRZIMMER. 
 
 Hinter sich liegen, 
 Breiten zu Seen 
 Sich urns GenOgen 
 Griinender Hiigel. 
 Und das Geflugel 
 Sohliirfet sich Wonne, 
 Flieget der Sonne, 
 Flieget den hellen 
 Inseln entgegen, 
 Die sich auf Wellen 
 Oauklend bewegen, 
 Wo wir in Choren 
 Jauchzende horen, 
 Ueber den Auen 
 Tanzende schauen, 
 Die sich im Freien 
 Alle zerstreuen. 
 Einige klimmen 
 Ueber die Hohen, 
 Andere schwimmen 
 Ueber die Seen, 
 Andere schweben ; 
 Alle zum Leben, 
 Alle zur Feme, 
 Liebender Sterne 
 Seliger Huld. 
 
 MephistopJieles. 
 Er Bohlaft ! So recht, ihr luffgen, zarten Jungen ! 
 Ihr habt ihn treulich eingeBungen ! 
 Fiir dies Konzert bin ich in eurer Schuld. 
 Du bist noch nicht der Mann, den Teufel fest zu halten ! 
 Umgaukelt ihn mit sUazen Traumgestalten, 1156 
 
 Versenkt ihn in ein Meer des Wahns ; 
 Doch dieser Schwelle Zauber zu zerspalten, 
 B^darf ich eines Rattenzahns. 
 
 Nioht lange branch' ich zu beschworen, 1 1 60 
 
 Schon raschelt eine hier und wird sogleich mich horen. 
 Der Herr der Ratten und der Mause, 
 Der Fliegen, Frosche, Wanzen, Lause, 
 
fattst's studt. 105 
 
 Behind them lying, 
 
 Broaden to lakes 
 
 Around the charm of 
 
 Green-growing hills. 
 
 And the winged throng 
 
 Sips happiness, 
 
 Flies to meet the sun, 
 
 Flies to meet the bright 
 
 Isles, which dancingly 
 
 Float on the waves ; 
 
 Where we hear 
 
 Shouting in choruses. 
 
 Where we see 
 
 Dancei's on meads ; 
 
 All in th' open air 
 
 Disporting alike. 
 
 Some are clambering 
 
 Over the heights, 
 
 Others are swimming 
 
 Over the lakes. 
 
 Others are hovering — 
 
 All towards the life, 
 
 All towards the distant regions 
 
 Of loving stars 
 
 Of blissful grace. 
 
 Mephistopheles. 
 
 He slumbers ! Well done, my airy, delicate yoimg- 
 sters ! Ye have fairly sung him to sleep. I am your 
 debtor for • this concert. Thou art not yet the man 
 to hold fast the devil ! Play round him with sweet 
 dreamy visions ; plunge him in a sea of illusion. But 
 to break the spell of this threshold I need a rat's tooth. 
 I have not to conjure long ; one is already rustling 
 hither, and will hear me in a moment. 
 
 The lord of rats and mice, of flies, frogs, tugs and 
 
106 STUDIKZIMMER, 
 
 Beflehlt dir, dich hervorzuwagen 
 
 Und diese Sohwelle zu benagen, ii6 
 
 So wie er sie mit Oel betupft — 
 
 Da kommst du schon hervorgehupffc ! 
 
 Nur frisch ans Werk ! Die Spitze, die mich bannte, 
 
 Sie sitzt ganz vornen an der Kante. 
 
 Noch einen Bisz, so ist's geschehn. — 117 
 
 Nun, Fauste, traume fort, bis wir uns wiedersehn ! 
 
 Fmist (^erwachend). 
 Bin ich denn abermals betrogen ? 
 Verschwindet so der geisterreiche Drang, 
 Dasz mir ein Traum den Teufel vorgelogen, 
 Und dasz ein Pudel mir entsprang ? 117 
 
Faust's study. 107 
 
 lice, commands thee to venture forth and gnaw this 
 threshold so soon as he has touched it with oil. Thou 
 com'st hopping forth already ! Instantly to the work ! 
 The point which repelled me, is towards the front on the 
 ledge. One bite more, and it is done. — Now, Faust, 
 dream on, till we meet again. 
 
 Faust (waKng). 
 Am I then once again deceived? Does the throng 
 of spirits vanish thus, and has the Devil deceptively 
 appeared to me in a dream, and has (only) a poodle 
 escaped ? 
 
STUDIRZIMMER. 
 Faust. Mephistopheles. 
 
 Fauat. 
 Tj* S klopft ? Herein ! Wer will mich wieder plagen ? 
 
 Mephistop'heles. 
 
 Ich bin's. 
 
 Herein ! 
 
 Faust. 
 
 Herein denn ! 
 
 Mephistoflieles. 
 
 Du muszt es dreimal sagen. 
 
 Fa/ast. 
 
 MepJiiitopheles. 
 So gefallst du mir. 
 Wir werden, hofif ich, uns vertragen ; 
 Denn dir die Grillen zu verjagen, 
 Bin ioh als edler Junker hier 
 In rothem, goldverbramten Kleide, 
 Das Mantelchen von starrer Seide, 
 Die Hahnenfeder auf dem Hut, 
 Mit einem langen, spitzen Degen, 
 TJnd rathe nun dir kurz und gut, 
 Dergleichen gleichfalls anzulegen, 
 Da;mit du losgebunden, frei 
 Erfahrest, was das Leben sei. 
 
D 
 
 FArst'S STUDY. 
 Faust — Mephistopheles. 
 
 Faust. 
 OES amy one knock ? Come in ! WTio wants to 
 disturb me again ? 
 
 Mephistopheles. 
 It is I. 
 
 Faust. 
 Com^ in. 
 
 Mephistopheles. 
 You must say so three times. 
 
 Faud. 
 Come in, tlien ! 
 
 Mephistopheles. 
 Thus thou pleasest me. We shall agree very well 
 together, I hope ; for, to chase away your fancies, I am 
 here, like a youth of condition, in a coat of scarlet laced 
 with gold, a mantle of stifE silk, a cock's feather in my 
 hat, and a long pointed sword at my side. And to 
 make no more words about it, my advice to you is to 
 array yourself in the same manner immediately, that 
 unrestrained, emancipated, you may try what life is. 
 
110 STUDIRZIMMER. 
 
 FauBt. 
 In jedem Kleide werd' ich wohl die Peiu 
 Des engen Erdelebens fuhlen. 
 Ich bin zu alt, um nur zu spielen, 
 Zu jung, um ohne Wunsch zu sein. 
 Was kann die Welti mir wohl gewahren ? 
 Entbehren soUst du ! Sollst entbehren ! 
 Das ist der ewige Gesang, 
 Der Jedem an die Ohren klingt, 
 Den unser ganzes Leben lang 
 Uns heiser jede Stunde singt. 
 Nur mit Bntsetzen waoh' ich Morgens auf, 
 Ich mochte bittre Thranen weinen, 
 Den Tag zu sehn, der mir in seinem Lauf 
 Mcht einen Wunsch erfullen wird, nicht einen, 
 Der selbst die Ahnung jeder Lust 
 Mit eigensinn'gem Krittel mindert, 
 Die Schopfung meiner regen Bi-ust 
 Mit tausend Lebensfratzen hindert. 
 Auch musz ich, wenn die Naoht sich niedersenkt, 
 Mich angstlich auf daS^Lpger strecken ; ; 
 Auch da wird keine East geschenkt, 
 Mich werden wilde Traume sohrecken. 
 J)er Gott, der mir im Busen wohnt, 
 Kann tief meiu Innerstes erregen, 
 Der iiber alien meinen Kraften thront, 
 Er kann nach auszen nichts bewegen ; 
 Und so ist mir das Dasein eine Last, 
 Der Tod erwunscht, das Leben mir verhaszt. 
 
 Mephisiopheles. 
 Und doch ist nie der Tod ein ganz willkommner Gast. 
 
 \Jf- Fcmst. 
 
 selig der, dem er im Siegesglanze 
 Die blut'gen Lorbeern um die Schlafe windet, 
 Den er naoh rasch durohras'tem Tanze . ,v Ji 
 
 In eines Madchens Armen findet ! , __<<,* ^ 
 
 0, war' ich vor des hohen Geistes'^Kraft 
 EutzUokt, entseelt dahiugesunken ! 
 
fatjst's study. Ill 
 
 Faust. 
 In every dress, I dare say, I shall feel the torture 
 of the contracted life of this earth. I am too old 
 to do nothing but play, too young to be without 
 a desire. What can the world afford me ! — Thou 
 shalt renounce ! Thou shalt renounce ! " That is the 
 eternal song which rings in every one's ears ; which, 
 our whole life long, every hour is hoarsely singing to 
 us. ' In the morning I wake only to horror. I would 
 fain weep bitter tears to see the day, which, in its 
 course, will not accomplish a wish for me, no, not one ; 
 which, with wayward oaptiousness, weakens even the 
 presentiment of every joy, and disturbs the creation of 
 my busy breast by a thousand ugly realities. Then 
 again, when night comes round, I must stretch myself 
 in anguish on my bed ; here, too, no rest is vouchsafed 
 to me ; wild dreams are sure to harrow me up. The 
 God, that dwells in my bosom, that can stir my inmost 
 soul, that sways all my energies — he is powerless as 
 regards things without ; andth us existence is a, load to 
 me, death is desired, and life hateful. 
 
 MepMstopheles. 
 And yet death is never an entirely welcome guest. 
 
 Faust. 
 Oh ! happy the man around whose brows he wreathes 
 the bloody laurel in the glitter of victory — whom, after 
 the maddening dance, he finds in a maiden's arms. Oh 
 that I had sunk away, enrapt, exanimate, before the 
 great spirit's power ! 
 
112 STUDIRZEMMER. 
 
 Mepkistopheles. 
 Und dooh hat Jemand etnen braunen Saft 1225 
 
 In jener Nacht nicht ausgetrunken. 
 
 Faust. 
 Das Spioniren, soheint's, ist 'deine Lust. 
 
 Mephistoplieles. 
 AUwissend bin ich nicht, doch viel ist mir bewuszt. 
 
 Faust. 
 Wenn aus dem schrecklichen GewUhle 
 Ein sUsz bekannter Ton mioh zog, 1230 
 
 Den Rest von kindlichem Gefuhle 
 Mit Anklang froher Zeit betrog : 
 So flach' ioh AUem, was die Seele 
 Mit Lock- und Gaukelwerk umspannt 
 Und sie in diese Trauerhbhle 1235 
 
 Mit Blend- und Schmeichelkraften bannt ! 
 Verflucht voraus die hohe Meinung, 
 Womit der Geist sich selbst umfangt ! 
 Verflucht das Blenden der Brscheinung, •' ^, t?fc»*"'' 
 
 Die sich an unsre Sinne drangtj„- ^iJ^"*) 1240 
 
 Verflucht, was uns in Traume^Tieuchelt, 
 
 Des Buhms, der Namensdauer Trug ! 
 
 Verflucht, was als Besitz uns schmeichelt, 
 
 Als Weib und Kind, als Knecht und Pflug ! 
 
 Verflucht seiTVKminon, wenn mit Schatzen 1245 
 
 Er uns zu kiihnen Thaten regt, 
 
 Wenn er zu miiszigem Ergetzen 
 
 Die Bolster uns zureohte legt ! 
 
 Fluch sei dem Balsamsaft der Trauben ! 
 
 Fluch jener hochsten Liebeshuld ! 1250 
 
 Fluch pei der Hofinung ! Fluch dem Glauben ! 
 
 Und Fluch vor alien der Geduld ! 
 
 OEiSTEKOHOE {tmsichtbo/r). 
 
 Weh! Weh! 
 
 Du hast sie zerstort. 
 
fatjst's study. 113 
 
 M&phistopheles. 
 And yet a certain person did not drint a certain 
 trown juice on a certain night. 
 
 Faust. 
 Playing tlie spy, it seems, is thy amusement. 
 
 MephistopTieles. 
 I am not omniscient ; but much is known to me. 
 
 Faust. 
 If a sweet familiar tone drew me from that terrible 
 tumult,"" and beguiled the relics of my childlike feel- 
 ings with the echo of a happier time, I now curse [ 
 everything that entwines the soul with false alluring I 
 jugglery, and spell-binds it in this den of wretched- 
 ness with dazzling and flattering influences. Accursed, 
 first, be the lofty opinion in which the mind wraps 
 itself ! Accursed, the dazzUng of appearances, by 
 which our senses are subdued! Accursed, the hypo- 
 crite dreams — the delusion of glory and of an ever- 
 lasting name ! Accursed, what flatters us as property, 
 as wife and child, as slave and plough ! Accursed 
 be Mammoffi when he stirs us to bold deeds with 
 treasures, when he smooths our couch for indolent 
 delight ! My curse on the balsam-juice of the grape ! 
 My curse on 'that highest favour of love ! My curse 
 on Hope, my curse on Faith, and my curse, above all, 
 on Patience ! 
 
 CHORUS OF SPIRITS {invisible). 
 
 Woe, woe, 
 
 Thou hast destroyed it,' 
 
 I 
 
1 14 STUDIRZIMMER. 
 
 Die schone Welt, izss 
 
 Mit machtiger Faust ; 
 Sie stiirzt, sie zerf allt ! 
 £in Halbgott hat sie zerschlagen ! q 
 Wir tragen 
 
 Die Triimmern ins Nichts hiniiber 1260 
 
 Und klagen 
 
 Ueber die verlorne Schone. 
 Machtiger 
 Der Erdensohne, 
 
 Praohtiger 1265 
 
 Baue sie wieder, 
 In deinem Bnsen baue sie auf ! 
 J!. Neuen Lebenslauf 
 Beginne 
 
 Mit hellem Sinne, 1270 
 
 Und neue Lieder 
 Tonen darauf ! 
 
 0^^ 
 
 4^ 
 
 MepMstopheles. 
 Dies sind die Kleinen 
 Von den. Meinen. 
 
 Hore, wie zu Lust und Thaten 1275 
 
 Altklug sie rathen ! - 
 In die Welt weit 
 Aas der Eiusamkeit, 
 Wo Sinnen und Safte stocken, 
 Wollen sie dioh looken. 12 So 
 
 Hor auf mit deinem Gram zu spielen, 
 
 Der wie ein Geier dir am Leben friszt ; 
 
 Die schlechteste Gesellschaft laszt dich fiihlen, 
 
 Dasz du ein Mensch mit Menschen bist. 
 
 Dooh so ist's nicht gemeint, 1285 
 
 Dich unter das Pack zu stoszen. 
 
 Ich bin Keiner von den Groszen ; 
 
 Doch willst du mit mir vereint 
 
 Deine Schritte durohs Leben nehmen, 
 
 So will ich mich gern bequemen, 1290 
 
 Dein zu sein auf der Stelle. 
 
 Ich bin dein Geselle, 
 
 Und maoh' ich dir's reobt, 
 
 Sin ieh dein Dienei', bin dein Koeclit I 
 
FAUST'S STUDY. 115 
 
 The beautiful world, 
 
 With violent hand ; 
 
 It falls, it is broken ! 
 
 A demigod has shattered it to pieces ! 
 
 We bear away 
 
 The wrecks into nothingness, 
 
 And wail over 
 
 The beauty that is lost. 
 
 Mighty 
 
 Among the sons of earth, 
 
 Proudlier 
 
 Build it again, 
 
 Build it up in thy bosom ! 
 
 A new career of life, 
 
 With unclouded sense 
 
 Begin, 
 
 And new lays 
 
 Shall peal out thereupon. 
 
 MepMstopheles. 
 
 These are the little ones of my train. Listen, how, 
 with wisdom beyond their years, they counsel you to 
 pleasure and action. Out into the world, away from 
 solitariness, where senses and the sap of life stagnate — 
 would they fain lure you. 
 
 Cease to trifle with your grief — which, like a vulture, 
 feeds upon your vitals. The worst company will make 
 you feel that you are a man among men. Yet I do not 
 mean to thrust you amongst the common throng. I am 
 not one of the great ones ; but if, united with me, you 
 will wend your way through life, I will readily accom- 
 modate myself to be yours upon the spot. I am your 
 companion ; and, if you are satisfied, I am your ser- 
 vant, your slave ! 
 
116 STUDIRZIJIMER. 
 
 Faust. 
 Und was soil ich dagegen dir erfiillen? 1^95 
 
 MepMstopheles. 
 Dazu hast du noch eine lange Frist. 
 
 Fmist 
 Nein, nein ! Der Teufel ist ein Egoist 
 TJnd thut nioht leicht um Gottes willen, 
 Was einem Andern niitzlioh ist. 
 
 Sprich die Bedingung deutlioh aus , 1300 
 
 Ein Boloher Diener bringt Gefahr ins Haus. 
 
 MephisiopTielei. 
 Ich will mich hier zu deinem Dienst verbinden, 
 Auf deinen Wink nicht rasten und nioht ruhn ; 
 Wenn wir uns driihen wiederfinden, 
 So sollst du mir das Gleiohe than. 1305 
 
 Faust. 
 Das Driiben kann mich wenig kUmmern ; 
 Schlagst du erst diese Welt zu Triimmem, 
 Die andre mag darnach entstehn. 
 Aus dieser Erde quillen meine Preuden, 
 Und diese Sonne scheinet meinen Leiden ; 1310 
 
 Kann ich mich erst von ihnen scheiden, 
 Dann mag, was will und kann, geschehn. 
 Davon will ich nichts weiter horen, 
 Ob man auch kUnftig haszt und liebt 
 Und ob es auch in jenen Spharen 1315 
 
 Ein Oben oder Unten giebt. 
 
 MepJiistopheles. 
 In diesem Sinne kannst du's wagen. 
 Verbinde dich ; du sollst in diesen Tagen 
 Mit Freuden meine Kunste sehn. 
 Ich gebe dir, was noch kein Mensoh gesehn, 1 32a 
 
 Faust. 
 Was willst du arm^r Teufel geben ? 
 
FAUST'S STUDY, 117 
 
 Faust. 
 And what am I to do for you in return ? 
 
 Mephiatopheles. 
 For that you have still a long day of grace. 
 
 Faust. 
 No, no; the devil is an egoist, and is not likely 
 to do for nothing what is useful to another. Speak 
 the condition plainly out; such a servant is a dan- 
 gerous inmate. 
 
 Mephistopheles. 
 I will bind myself to your service here, and never 
 rest nor repose at your call. When we meet on the 
 other side, you shall do as much for me 
 
 Faust. 
 I care little about the other side : if you first knock 
 this world to pieces, the other may arise afterwards if 
 it will. My joys flow frotn this earth, and this sun 
 shines upon my sufferings : if I can only separate 
 myself from them, what will and can, may then come to 
 pass. I will hear no more about it — whether ■ there be 
 hating and loving in the world to come, and whether 
 .there be an Above or Below in those spheres too. 
 
 V 
 
 Mephistopheles. 
 In this mood, you may venture. Bind yourself ; and 
 during these days, you shall be delighted by my arts ; 
 I will give thee what no human being ever saw yet. 
 
 Faust. 
 What, poor devil, wilt thou give? Was a man's 
 
118 STT7DIBZIMMEB. 
 
 Ward eines Menschen Geist in seinem hohen Streben 
 
 Von deines Gleichen je gefaszt ? 
 
 Doch hast du Speise, die nicht sattigt ? Hast 
 
 Du rothes Gold, das ohne Rast, 1325 
 
 Quecksilber gleich, dir in der Hand zerrinnt ? 
 
 Ein Spiel, bei dem man nie gewinnt ? 
 
 Bin Madchen, das an meiner Brust 
 
 Mit Aiugeln schon dem. Naohbar sich verbindet ? 
 
 Der Ehre schone Gotterlust, 1330 
 
 Die wie ein Meteor verschwindet ? 
 
 Zeig mir die Eruoht, die fault, eh man sie bricht, 
 
 Und Baume, die sich taglich neu bcgriinen ! 
 
 MepMstoplieles. 
 Ein solcher Auftrag schreckt mich nicht, 
 Mit solchen Schatzen kann ich dienen. 1335 
 
 Doch, guter Freuud, die Zeit kommt auch herau, 
 Wo wir was Gut's in Euhe sohmausen mogen. 
 
 ^^/■"\*»''1'''«Y'^' Faust. 
 
 ( ' ( Werd' ich beruhigt je mich anf ein Faulbett legen, 
 / So sei es gleich um mich gethan ! 
 
 1 Kannst du mich schmeiohelnd je belugen, 1340 
 
 Dasz ich mir selbst gefallen mag, 
 Kannst du mich mit Genusz betriigen : 
 Das sei fiir mich der letzte Tag ! 
 Die Wette biet' ich ! 
 
 Mephiatopheles. 
 Top! 
 
 /y^^" Famt. 
 
 ^ -f^ Und Schlag auf Schlag ! 
 
 Werd' ich zum Augenblicke sagen : 1 345 
 
 Verweile doch ! Du bist so schon ! 
 
 Dann m^gat dn miph jn FeRseln schlagen, ■ 
 
 Dann wiJHch ^er n zu Grun^e^gehn ! , 
 "Dann mag die Todtenglocke schallen, " ' 
 
 DannbisTdii deines Dienstes frei, 1350 
 
 Die Uhr mag stehn, der Zeiger fallen, 
 
 Es sei die Zeit fiir mich vorbei 1 
 
FAUST'S STUDY. 119 
 
 mind, in its high aspiring, ever comprehended by the 
 like of thee ? But hast thou food which satisfies not ? 
 Euddy gold which, volatile, like quicksilver, melts 
 away in the hand ? A game, at which one never wins ? 
 A maiden, who, on my breast, is already ogling my 
 neighbour ? The bright godlike joy of honour, which 
 vanishes like a meteor ? — Show me the fruit which rots 
 before it is plucked, and trees which every day grow 
 green anew." 
 
 Mephistopheles. 
 
 Such a task affrights me not. I have such treasures 
 at my disposal. But, my good friend, the time will 
 come round when we would like to feast on what is 
 really good in peace. 
 
 Faust. 
 
 If ever I stretch myself composed -upon a bed of 
 indolence, be there at once an end of me. If thou 
 canst ever flatteringly delude me. into being pleased with 
 myself — if thou canst cheat me with enjoyment, be that 
 day my last. I offer the wager. . / / / 
 
 
 MepMstopheles. 
 Done ! 
 
 ^ Faust. 
 And my hand upon it ! If I ever say to the passing ^1, 
 moment — Stay, thou art so fair ! then mayst thou , 
 cast me into chains ; then will I readily perish ! Then 
 may the death-bell toll ; then art thou free from thy 
 service, the clock may stand, the index-hand may fall 
 and time be never more for me ! 
 
120 STUDIEZIMMER. 
 
 Mephisfophelee. 
 Bedenk es wohl ! Wir w^den's nicht vergessen. 
 
 • Faust. 
 
 Dazu hast du ein voiles Eecht ; 
 
 loh habe mich nicht freventlich vermessen. ' 1355 
 
 Wie ich beharre, bin ioh Kneoht, 
 
 Ob dein, was frag' ioh, oder wessen. 
 
 MepJmtopheles. 
 Ich werde heute gleioh beim DoktorschtnaUs 
 Als Diener meine Pflicht erfiillen. 
 
 Nur Eins ! — Um Lebens oder Sterbens willen 1360 
 
 Bitt' ich mir ein paar Zeilen aus. 
 
 Faiist. 
 Auch was Geschriebnes forderst du, Pedant ? 
 Hast du noch- keinen Mann, nicht Mannesworfc gekannt ? 
 Ist's nicht genug, dasz main gesprochnes Wort 
 Auf ewig soil mit meinen Tagen schalten ? 1365 
 
 Eas't nicht die Welt in alien Strdmen fort, 
 Und mich soil ein Versprechen halten ? 
 Doch dieser Wahn ist uns ins Herz gelegt, 
 Wer mag sich gern davon befreien ? 
 
 BeglUokt, wer Treue rein im liusen tragt, 1 370 
 
 Kein Opfer wird ihn je gereuen ! 
 tAUein ein Pergament, beschrieben und bepragt, 
 Ist ein Gespenst, yor cfem sich Alle scheuen. 
 Das Wort erstirbtf sohon in der Feder, 
 Die Herrschaft -fUhren Wachs und Leder, 1375 
 
 Was willst du, boser Geist, von mir ? 
 Brz, Marmor, Pergament, Papier ? 
 Soil ioh mit Griffel, Meiszel, Feder schreiben ? 
 Ich gebe jede Wahl dir frei. 
 
 • MepMsioplieles. 
 Wie magst du deine Eednerei 1380 
 
 Nur gleioh so hitzig ubertreiben ? 
 Ist doch ein jedes Blattohen gut. 
 Du unterzeichnest dich rnit einem Tropfohen Blut. 
 
faust's study. 121 
 
 Mejiliistopheles. 
 Consider it well ! We shall bear it in mind. 
 
 Faust. 
 You have a perfect right so to do. I have formed 
 no rash estimate of myself. As I drag on, I am a 
 slave ; what care I, whether thine or anpther's. 
 
 MepJiistopTieles. 
 This very day, at the doctor's feast,''' I shall enter 
 upon my duty as servant. Only one thing — to guard 
 against accidents, I must trouble you for a line or two. 
 
 Faust. 
 Pedant, dost thou, too, require writing ? Hast 
 thou never tnown man nor man's word ? Is it not 
 enough that my word of mouth disposes of my days for 
 all eternity ? Does not the world rave on in all its 
 currents, and am I to be bound by a promise ? Yet 
 this prejudice is implanted in our hearts : who would 
 wilUngly free himself from it ? Happy the man who 
 bears truth pure in his breast ; he will never have cause 
 to repent any sacrifice ! But a parchment, written and 
 stamped, is a spectre which all shrink from. The word 
 dies away in the very pen ; in wax and leather is the 
 mastery. What, evil spirit, wouldst thou of me? 
 Brass, marble, parchment, paper ? Shall I write with 
 style, graver, pen ? I leave the choice to thee. 
 
 , Mephistopheles. 
 
 How can you so passionately declaim and exaggerate ? 
 Any scrap will do. You will subscribe your name with 
 a drop of blood. 
 
/ 
 
 122 STUDIRZIMMER. 
 
 Faust 
 Wenn dies dir vollig G'niige thut, 
 So mag es bei der Fratze bleiben. i|l5 
 
 Mephistopheles. 
 Blut ist ein ganz besondrer Saft. 
 
 Fav,st. 
 Nur keine Furcbtnlasz ioh dies Biiudiiisz breohe ! 
 Das Streben meiner ganzen Kraft 
 
 Ist grade das, was ich verspreohe. l-^vtv^ 
 
 [i,\^ Ich habe mich zu hooh geblaht, i|$o. 
 
 In deinen Bang gehor' tch. nur. -j if^ 
 
 Der grosze Geist hat mioh verschmaht, 
 Vor mir verschlieszt sioh die Natur. 
 Des Denkens Faden ist zerrissen, 
 
 Mir ekelt lange vor allem Wis sen. if55 
 
 Lasz in den Tiefen der Sinnliohkeit 
 Dns gliihende Leidenschaften stillen ! 
 In undurohdrungnen ZauberhUllen 
 Sei jedes Wunder gleioh bereit ! 
 
 Sturzen wir uns in das Bauschen der Zeit, i4«« 
 
 Ins Eollen der Begebenheit ! 
 Da mag denn Schmerz und Geuusz, 
 Gelingen und Verdrusz 
 Mit einander wechseln, wie es kann ; 
 Nur rastlos bethatigt sich der Mann. i4»5 
 
 Mephistopheles. 
 Euch ist kein Masz und Ziel gesetzt. 
 Beliebt's euch, uberall zu nasohen, 
 Im Fliehen etwas zu erhaschen, 
 Bekomm' euch wohl, was euch ergetzt. 
 Nur greift mir zu und seid nicht blode ! i4i» 
 
 / 
 
 i Faust. 
 
 i \Du horest ja, von Freud' ist nicht die Eede. 
 ^"Dem Taumel weih' ich mich, dem schmerzlichsten Genusz, 
 
 Verliebtem Hasz, er^uickendem Verdrusz. 
 
Faust's study. 123 
 
 Faust. 
 If this will fully satisfy you, the wMm shall be com- 
 plied with. 
 
 Me^histo^heles. 
 Blood is quite a peculiar sort of juice. 
 
 Faust. 
 Only no fear that I shall hreak this compact. What 
 I promise, is precisely what all my energies are 
 striving for. I have aspired too high : I belong only to 
 thy class. The Great Spirit has spurned me ; Nature 
 shuts herself against me. The thread of thought is 
 snapped ; I have long loathed every sort of knowledge. 
 Let us quench our glowing passions in the depths of 
 sensuality ! Let every wonder be forthwith prepared be- 
 neath the hitherto impervious veil of sorcery. Let us 
 cast ourselves into the rushing of time, into the rolling 
 of events. There pain and pleasure, success and dis- 
 appointment, may succeed each other as they will — 
 In restless activity alone man is proved. 
 
 MepMstopheles. 
 Nor end nor limit is prescribed to you. If it is your 
 pleasure to sip the sweets of everything, to snatch at 
 all as you fly by, much good may it do you — only fall 
 to and don't be coy. 
 
 Faust. 
 I tell thee again, pleasure is not the question: I 
 devote myself to the intoxicating whirl ; — to the most 
 agonizing enjoyment — to enamoured hate — to cheering ) 
 
124 STUDIRZIMMER. 
 
 Mein Busen, der vom "Wissensdrang geheilt ist, 
 
 Soil keinen Schmerzen kiinftig sich versohlieszen, 141 5 
 
 Und was der ganzen Menschheit zugetheilt ist, 
 
 Will ich in meinem innern Selbst genieszen, 
 
 Mit meinem Geist das Hoohst- und Tiefste greifen, 
 
 Ihr Wohl und Weh auf meinen Busen haufen 
 
 Und so mein eigen Selbst zu ihrem Selbst erweitern 1420 
 
 Und, wie sie selbst, am End' auch. ioh zerscheitern. 
 
 Mephistopheles. 
 glaube mir, der manche tausend Jahre 
 An dieser harten Speise kaut, 
 Dasz von der Wiege bis zur Bahre 
 
 Kein Mensch den alten Sauerteig verdaut ! 1425 
 
 Grlaub unser Binem, dieses Ganze 
 Ist nur fur einen Gott gemacht ; 
 Er findet sich in einem ew'gen Glanze, 
 Uns hat er in die Finsternisz gebraoht, 
 Und euch taugt einzig Tag und Nacht. 1430 
 
 Faust. 
 Allein ich will ! 
 
 Meplbistophelei. 
 Das laszt sich horen ! 
 Dooh nur vor Einem ist mir bang : 
 Die Zeit ist kurz, die Kunst ist lang. 
 Ich dacht', ihr lieszet euch belehren. 
 Associirt euch mit einem Poeten, 14 3 5 
 
 Laszt den Herrn in Gedankeu schweifen 
 Und alle edlen Qualitaten 
 Auf euren Bhrenscheitel haufen, 
 Des Lbwen Muth, 
 
 Des Hirsches Schnelligkeit, 1440 
 
 Des Italianers feurig Blut, 
 Des Nordens Dau'rbarkeit ! 
 Laszt ihn euch das Geheimnisz finden, 
 Groszmuth und Arglist zu verbinden 
 Und euch mit warmen Jugendtrieben 1445 
 
 - Nach einem Plane zu verlieb*i ! 
 
faust's study. 125 
 
 vexation. My breast, cured of the thirst of know-\ 
 ledge, shall henceforth bare itself to every pang. I will 
 enjoy in my own heart's core all that is parcelled out 
 among mankind; grasp in spirit the highest and deepest; 
 heap the weal and woe of the whole race upon my breast, 
 and thus dilate my o\m individuality to theirs, and perish 
 also, in the end, like them. 
 
 M&pMstojpheles. 
 Oh, believe me, who many thousand years have 
 chewed the cud on this hard food, that, from the cradle 
 to the bier, no human being digests the old leaven. 
 Believe a being like me, this Whole is only made for 
 a god. He exists in an eternal halo ; «« he has 
 brought forth into darkness, and only day and night 
 are proper for you. 
 
 Faust. 
 But I will. 
 
 Mephistopheles. 
 There is some sense in that ! But I am only troubled 
 about one thing; time is short, art is long. I think 
 you should suffer yourself to be advised. Take a 
 poet to counsel ; "' make the gentleman set his- imagina- 
 tion at work, and heap all noble qualities on your 
 honoured head, — the lion's courage, the stag's swift- 
 ness, the fiery blood of the Italian, the durability of 
 the North, Make him find out the secret of com- 
 bining magnanimity with cunning, and of being in 
 love, after a set plan, with the burning desires of 
 
126 STUDIRZIMMER. 
 
 Moohte selbst solch einen Herren kennen, 
 Wiird' ihn Herrn Mikrokosmus nennen. 
 
 Faust. 
 Was bin ich denn, 'wenn es nicht mHglioh ist, 
 Der Menschheit BIrone zu erringen, 1450 
 
 Nach der sioh alle Sinne dringen ? 
 
 Mephisiopheles. 
 Du bist am Ende — was du bist. 
 Setz dir Periioken auf von Millionen Locken, 
 Setz deinen Fnsz auf ellenhohe Sooken, 
 Du bleibst doch immer, was du bist. , .„ 
 
 Fausf. 
 loh fiihl's, vergebens hab' ich alle Schatze 
 Des Mensohengeists auf mich herbeigerafft, 
 Und wenn ich mich am Ende niedersetze, 
 Quillt innerlich doch keine neue Kraft ; 
 Ich bin nicht nm ein Haar breit hoher, 1460 
 
 Bin dem Unendlichen nicht naher. 
 
 Mephisiopheles. 
 Mein guter Herr, ihr seht die Sachen, 
 Wie man die Sachen eben sieht ; 
 Wir miissen das gescheiter maohen, 
 
 Eh uns des Lebens Preude flieht. 1465 
 
 Was Henker ! Ereilich Hand' und Fiisze 
 
 Und Kopf und H , die sind dein ; 
 
 Doch AUes, was ich frisoh geniesze, 
 
 Ist das drum weniger mein ? 
 
 Wenn ich sechs Hengste zahlen kann, 147^ 
 
 Sind ihre Krafte nicht die meine ? 
 
 Ich renne zu und bin ein rechter Mann, 
 
 Als hatt' ich vierundzwanzig Seine, 
 
 Drum frisch ! Lasz alles Sinnen sein. , 
 
 Und grad' mit in die Welt hiuein ! 1475 
 
 Ich sag' es dir : ein Kerl, der spekulirt, 
 
 Ist wie ein Thier, auf diirrer Heide 
 
 Von einem bosen Geist im Kreis herumgefuhrt, V 
 
 Und rings umher liegt sdhone gvUue Weide. 2a^ 
 
FAUST'S STUDY. 127 
 
 youth. I myself should like to know such a gentle- 
 man — I would call him Mr. Microcosm. 
 
 Fattst. 
 What, then, am I, if it be not possible to attain the 
 crown of hiimanity, which every sense is striving for ? 
 
 Me^histopheles. 
 Thou art in the end — what thou art. Put on wigs 
 with a million of curls — set thy foot upon ell-high 
 socks, — thou abidest ever what thou art. 
 
 Faust. 
 I feel it ; in vain have I scraped together and accu- 
 mulated all the treasures of the human mind upon 
 myself ; and when I sit down at the end, still no new 
 power wells up within : I am not a hair's breadth higher,"^ 
 nor a whit nearer the Infinite. 
 
 Mephistopheles. 
 My good Sir, you see things precisely as they are 
 ordinarily seen; we must manage matters better, be- 
 fore the joys of life pass away from us. What the 
 deuce ! you have surely hands and feet, and head 
 
 and v^S^nd what I enjoy with spirit, is that then 
 
 the less my own ? If I can pay for six horses, are not 
 their powers mine ? I dash along and am a proper 
 man,^' as if I had four-and-twenty legs. Quick, then, 
 have done with poring, and straight away into the 
 world with me. I tell you, a fellow that speculates is 
 like a brute driven in a circle on a barren heath by an 
 evil spirit, whilst fair green meadow lies everywhere 
 firound. 
 
 jlxW 
 
128 STUDIRZIMMER. 
 
 Faust. 
 Wie fangen wir das an ? 
 
 MepMstopJieles. 
 
 Wir gehea eben fort. 
 Was ist das fur ein Marterort ? 
 Was heiszt das fiir ein Leben fuhren, 
 Sioh Tind die Jungens ennuyiren? 
 Lasz du das dem Herrn Nachbar Wanst ! 
 Was willst du dich das Stroh zu dreschen plagen ? 1485 
 Das Beste, was du wissen kannst, 
 Darfst du den Buben dooh nicht sagen. 
 Gleioh hor' ich einen^auf dem Gauge ! 
 
 FoMst. 
 Mir ist's nicht moglioh, ihn zu sehn. 
 
 Mephistopheles. 
 Der arme Knabe wartet lange, 1490 
 
 Der darf nicht ungetrostet gehn. 
 Komm, gieb mir deinen Bock and Miitze ; 
 Die Maske musz mir kostlich stehn. 
 
 [Er Meidet sieh vm.'\ 
 Nun iiberlasz as meinem Witze ! 
 
 Ich brauohe nur ein Viertelstiindohen Zeit ; 1495 
 
 Indessen mache dich zur schonen Fahrt bereit ! 
 
 [Faust a6.] 
 
 Mepfiistopheles (in Faust's langem Kleide). 
 Verachte nur Vernunft und Wissenschaft, 
 Des Mensohen allerhochste Kraft, 
 Lasz nur in Blend- und Zauberwerken 
 Dich von dem Lugengeist bestarken, 1500 
 
 So hab' ich dich schon unbedingt — 
 Ihm hat das Sohicksal einen Geist gegeben, 
 Der ungebandigt immer vorwarts dringt, 
 Und dessen iibereiltes Streben 
 
 Der Erde Freuden Uberspringt. 1505 
 
 Den schlepp' ich durch das wilde Leben, 
 
FAUST'S STUDY. 129 
 
 Faust. 
 How shall we set about it ? 
 
 Mej^histopJieles, 
 We will just start and take our chance. What a place 
 of martyrdom is this ? What a precious life to lead — 
 wearying one's self and a set of youngsters to death? 
 Leave that to your neighbour, Mr. Paunch ! Why will 
 you plague yourself to thrash straw? The best that 
 you can know, you dare not tell the lads. Even now 
 I hear one in the passage. 
 
 Faust. 
 I cannot possibly see him. 
 
 The poor boy has waited long ; he must not be sent 
 away disconsolate. Come, give me your cap and gown ; 
 the mask will become me to admiration. 
 
 [He changes his dress.] 
 
 Now trust to my wit. I require but a quarter of an 
 
 hour. In the mean time prepare for our pleasant trip. 
 
 [Endt Patjst.J 
 
 Mephistopheles (m Faust's goivn). 
 Only despise reason and knowledge, the highest 
 strength of humanity ■ only permit thyself to be con- 
 firmed in delusion and sorcery- work by the spirit of lies, 
 — and I have thee unconditionally. Pate has given him 
 a spirit which is ever pressing onwards uncurbed, and 
 whose overstrained striving o'erleaps the joys of earth."* 
 Him will I drag through the wild passages of life, 
 
 / 
 
130 STUDIRZIMMEB. 
 
 Durch flaohe Unbedeutenheit, 
 
 Br BoU mir zappeln, starren, kleben, 
 
 Und seiner Unersattliohkeit 
 
 Soil Speis' und Trank vor. gier'gen Lippen schweben ; 1510 
 
 Er wird Brquiokung sioh umsonst erflehn, 
 
 Und hatt' er sioh auoh nioht dem Teufel ubergeben, 
 
 Er mlisate dock zu Grande gehn ! [Ein ScHiJLEE tritt aufj] 
 
 Schiller. 
 Ich bin allhier erst kurze Zeit 
 
 Und komme voll Ergebenheit, 1515 
 
 Einen Mann zu sprechen und zu kennen, 
 Den AUe mir mit Ehrfuroht nennen. 
 
 Mephisiopheles. 
 Eure Hoflichkeit erfreut mich sehr! 
 Ihr seht einen Mann wie andre mehr. 
 Habt ihr euch sonst Bchon umgethan ? 1520 
 
 Sehiiler. 
 Iph bitt' euch, nehmt euch meiner an ! 
 oh komme mit allem guten Muth, 
 Leidlichem Geld und frischem Blut ; 
 Meine Mutter wollte mich kaum entfernen ; 
 Mochte gem was Eechts hierauszen lernen. 1525 
 
 Mephistopheles. 
 Da seid ihr eben recht am Ort. 
 
 Sehiiler. 
 AiTfrichtig, mochte schon wieder fort : 
 In diesen, Mauern, diesen Hallen 
 Will es mir keineswegs gefallen. 
 
 Es ist ein gar beschrankter Baum, 1530 
 
 Man sieht niohts Griines, keinen Baum, 
 Und in den Salen, auf den Banken 
 Vergeht mir Horen, Sehn und Denken.- 
 
FAUST'S STUDY. 131 
 
 through vapid insignificance. He shall sprawl, stand 
 amazed, stick fast — and meat and drink shall hang, for 
 his insatiableness, before his craving lips ; he shall pray 
 for refreshment in vain, and had he not already given 
 himself up to the devil, he would, notwithstanding, in- 
 evitably be lost. [A Student enters."] 
 Student, 
 I am but just arrived, and come, full of devotion, to 
 pay my respects to, and make acquaintance with, a 
 man whom all name to me with reverence. 
 
 Me'phistapheles. 
 
 I am flattered by your politeness. You see a man, 
 like many others. Have you yet made any inquiry 
 elsewhere ? 
 
 Student. 
 
 Interest yourself for me, I pray you. I come with 
 every good disposition, a little money, and youthful 
 spirits; my mother could hardly be brought to part 
 with me, but I would fain learn something worth 
 learning in the world. 
 
 MepMstopheles. 
 You are here at the very place for it. 
 
 Honestly speaking, I already wish myself away : 
 these walls, these halls, are by no means to my taste. 
 The space is exceedingly confined ; there is not a tree, 
 nothing green, to be seen; and in the lecture-rooms, 
 on the benches, — ^hearing, sight, and thinking fail me. 
 
132 STUDIEZIMMER. 
 
 MepMsiojpheles. 
 Das kommt nur auf Gewohnheit an. 
 
 So nimmt ein Kind der Mutter Brust 1535 
 
 Nicht gleioh im Anfang willig an, 
 Doch bald ernahrt es sioh mit Lust. 
 So wird's euch an der Weisheit Briisten 
 Mit jedem Tage mehr gelusten. 
 
 Schuler. 
 An ihrem Hals will ioh mit Freuden hangen ; 1540 
 
 Doch sagt mir nur, wie kann ich hingelangen ? 
 
 MepMstopheles. 
 Erklart euch, eh ihr weiter geht, 
 Was wahlt ihr fiir eine Fakultat ? 
 
 Schuler. 
 Ich wiinschte recht gelehrt zu werden 
 Und mochte gem, was auf der Erden 1545 
 
 Und in dem Himmel ist, erfassen, 
 Die Wissenschaft und die Natur. 
 
 MepMstopheles. 
 Da seid ihr auf der rechten Spur ; 
 Doch miiszt ihr euch nioht zerstreuen lassen. 
 
 Schuler. 
 Ich bin dabei mit Seel' und Leib ; 1550 
 
 Doch freilich wurde mir behagen 
 Ein wenig Ereiheit und Zeitvertreib 
 An Bohbnen Sommerfeiertagen, 
 
 Meph,istopheles. 
 Gebrauoht der Zeit, sie geht so sehnell von hinnen ; 
 Doch Ordnung lehrt euch Zeit gewinnen. 1555 
 
 Mein theurer Freund, ich rath' euch drum 
 Zuerst Collegium logicum. 
 Da wird der Geist euch wohl dressirb, 
 In spanische Stiefeln eingeschniirt, 
 
FAUST'S STUDY. 133 
 
 MepMstopheles. 
 It all depends on habit. Thus, at first, the child 
 does no't take kindly to the mother's breast, but soon 
 finds a pleasure in nourishing itself. Just so will you 
 daily experience a greater pleasure at the breasts of 
 wisdom. 
 
 Student. 
 I shall hang delightedly upon her neck ; do but tell 
 me how I am to attain it. 
 
 Mephistopheles. 
 
 Tell me before you go further, what faculty you fix 
 
 upon ? 
 
 Student. 
 
 I should wish to be profoundly learned, and should 
 
 like to comprehend what is .upon earth or in heaven, 
 
 all science and nature. 
 
 MepMstojiheles. 
 You are here upon the right scent ; but you must 
 not suffer your attention to be distracted. 
 
 Student. 
 
 I am heart and soul in the cause ; but a little relaxation 
 and pastime, to be sure, would not come amiss on bright 
 summer holidays. 
 
 Mephistopheles. 
 
 Make the most of time, it glides away so fast; still 
 method will teach you to gain time. For this reason, 
 my good friend, I advise you to begin with a course 
 of logic. In this study, the mind is well broken in, — 
 laced up in Spanish boots,'' so that it may creep circum- 
 
134 STUDIRZIMMER. 
 
 Dasz er bedachtiger so fortan 1560 
 
 Hinsohleiche die Sedankenbahn 
 
 TTnd nioht etwa die Kreuz und Quer 
 
 Irrlichtelire bin und her. 
 
 Dann lehret man euoh manohen Tag, 
 
 Dasz, was ihr sonst auf einen Schlag 1565 
 
 Getrieben, wie Essen und Trinken frei, 
 
 Eins ! ZweiJ Drei ! dazu nothig sei. 
 
 Zwar ist's mit der Gedankenfabrik 
 
 "Wie mit einem Webermeisterstiick, 
 
 Wo ein Tritt tausend Faden r6gt, 137° 
 
 Die Sohifflein heruber, hiniiber echieszen, 
 
 Die Faden nngesehen flieszen, 
 
 Ein Schlag tausend Verbindungen sohlagt : 
 
 Der Philosoph, der tritt herein 
 
 tJnd beweist euoh, es miiszt' so sein : 1575 
 
 Das Erst' war' so, das Zweite so, 
 
 Und drum das Dritt' und Vierte so ; 
 
 TJnd wenn das Erst' und Zweit' nioht war', 
 
 Das Dritt' und Viert' war' nimmermehr. 
 
 Das preisen die Sohiiler aller Orten, 1580 
 
 Sind aber keine Weber geworden. 
 
 Wer will was Lebendig's erkennen und beschreiben, 
 
 Sucht erst den Geist herausautreiben, 
 
 Dann hat er die Theile in seiner Hand, 
 
 Fehlt leider nur das geistige Band. 1585 
 
 Encheireem natwae nennt's die Ghemie, 
 
 Spottet ihrer selbst und weisz nicht wie. 
 
 Schuler. ■ 
 Kanu euoh nicht eben ganz verstehen. 
 
 Mephistopheles. 
 Das wird nachstens schon besser gehen, 
 Wenn ihr lernt AUes reduciren 1 590 
 
 Und gehorig klassificiren. 
 
 Schuler. 
 Mir wird von alledem so dumm, 
 Als ging' mir ein MUhlrad in Kopf herum. 
 
FAUST'S STUDY. 135 
 
 spectly along the path of thought, and runs no risk of 
 flickering, ignis-fatuus-like, in all directions. Then 
 many a day will be spent in teaching you that one, two, 
 three °' — is necessary for that which formerly you hit off 
 at'a blow, as easily as eating and drinking. It is true, it 
 is with the factory of thought as with a weaver's master- 
 piece, where one treadle moves a thousand threads ; the 
 shuttles shoot backwards and forwards, the threads 
 flow unseen ; ties, by thousands, are struck ofE at a 
 blow : ^ your philosopher, — he steps in and proves to 
 you thlat this must needs be so : the first is so, the 
 second ^so, and therefore the third and fourth are so ; 
 and if the first and second were not, the third and fourth ^v -^ 
 would never be. The students of all countries put a, Vr , (i 
 high value on this, but none have become weavers, ^ae \j^''^ 
 who wishes to know and describe anything living, seeks 
 first to drive |he spirit out of it ; ™ he has then the parts 
 in his hand ; ^yfraluckily, the spiritual bond is want- 
 ing. Chemiapry -terms it encheiresis naturw, and mocks 
 herself witho^knowing 'jt." 
 
 Student. 
 I cannot qjuite comp™|end you. 
 
 Mephistopheles. 
 You will soon improve in that respect, if you learn 
 to reduce and classify all things properly. 
 
 Student. 
 I am so confounded by all this, 1 feel as if a mill- 
 wheel was turning round in my head. 
 
136 
 
 STUDIRZIMMER. 
 
 Mephhtophelee. 
 Nacliher vor alien andern Saohen 
 Muszt ihr euch an die Metaphysik machen ! 
 Da Beht, dasz ihr tiefsinnig faszt, 
 Was in des Menschen Hirn nioht paszt ; 
 Fur was drein geht und nicht drein geht, 
 Jlin prachtig Wort zu Biensten steht. 
 Dooh vorerst dieses halbe Jahr 
 Nehmt ja der besten Ordnung wahr. 
 FUnf Stnnden habt ihr jeden Tag ; 
 Said drinnen mit dem Glockenschlag ; 
 Habt euch vorher wohl praparirt, 
 Paragraphos wohl einstudirt, 
 Damit ihr nachher besser seht, 
 Dasz er nichts sagt, als was im Buche steht ; 
 Doch euch des Schreibens ja befleiszt, 
 Als diktirt' euch der Heilig' Geist ! 
 
 ScMler. 
 Das sollt ihr mir nicht zweimal sagen ! 
 Ich denke mir, wie viel es nii 
 Denn was man Schwarz auf 
 Kann man getrost nach Haus' 
 
 MepMsto} 
 Doch wahlt mir eine Fakultat 
 
 Zur Reohtsgelehrsamkeit kannj 
 
 1605 
 
 1610 
 
 It bequemen. 
 
 Mephistopheles. 
 Ich kann es euch so sehr nicht iibel nehmen^ 
 Ich weisz, wie es um diese Lehre steht. 
 Es erben sich Gcsetz' und Eechte 
 Wie eine ew'ge Krankheit fert ; v, 
 
 Sie Bchleppen von Geschtecht sich zum Gesohlechtc 
 Und riicken saeht von Ort zu Ort. ,' 
 
 Vernunft wird Unsinn, Wohlthat Plage; ' 
 
 Weh dir, dasz du ein Enkel bist ! 
 
 1616 
 
 t6jo 
 
FAUST'S STUDY. 137 
 
 MepMstopheles. 
 In the riext place, before everything else, you must 
 set to at metaphysics. There see that you conceive 
 profoundly what is not made for human brains. A 
 fine word will stand you in stead for what enters and 
 what does not enter there. And be sure, for this haK- 
 year, to adopt the strictest regularity. You will have 
 five lectures every day." Be in as the clock strikes. Be 
 well prepared beforehand with the paragraphs care- 
 fully conned, that you may see the better that he says 
 nothing but what is in the book; and write away as 
 zealously as if the Holy G-host were dictating to you." 
 
 Student. 
 You need not tell me that a second time. I can 
 imagine how useful it is. For what one has in black 
 and white, one can carry home in comfort. 
 
 MephUtopheles. 
 But choose a faculty. 
 
 Student. 
 I cannot reconcile myself to jurisprudence." 
 
 MepMstopheles. 
 I cannot much blame you. I know the nature of 
 this science. Laws descend, like an inveterate heredi- 
 tary disease ; they trail from generation to generation, 
 and glide imperceptibly from place to place. Eeason 
 becomes nonsense ; beneficence, calamity. Woe to thee 
 that thou art a grandson ! Of the law that is bom 
 
138 STUDIRZIMMER. 
 
 Vom Eeohte, das mit una geboren ist. 
 
 Von dem ist leider nie die Frage. 1625 
 
 Schiller. 
 Mein Abscheu wird durch euch vermehrt. 
 gliioklioh der, den ihr belehrt ! 
 Fast mocht' ich nun Theologie studiren. 
 
 Mephistopheles. 
 loh wiinsohte nicht,' euch irre zu fuhren. 
 Was diese Wissenschaft betrifft, 1630 
 
 Es ist so schwer, den falschen Weg zu meiden, 
 Es liegt in ihr so viel verborgnes Gift 
 TJnd von der Arzenei isfc's kaum zu unterscheiden. 
 Am Besten ist's auch hier, wenn ihr nur Biaen hiirt 
 Und auf des Meisters Worte sohwort. 1635 
 
 Im Ganzen — haltet euch an Worte ! 
 Dann geht ihr durch die sichre Pforte 
 Zum Tempel der Gewiszheit ein. 
 
 Scliiiler. 
 Doch cin Begriff musz bei dem Worte sein. 
 
 Mephisfopheles. 
 Schon gut! Nur musz man sioh nicht allzu aagstlieh 
 qualen; 1640 
 
 Denn eben wo Begriffe fehlen, 
 Da stellt ein Wort zur rechten Zeit sioh ein. 
 Mit Worten laszt sioh treflBich streiten, 
 Mit Worten ein System bereiten, 
 
 An Worte laszt sioh trefflich glauben, 1645 
 
 Von einem Wort laszt sich kein Iota rauben. 
 
 Schiiler. 
 Verzeiht, ioh halt' euch auf mit vielen Fragen, 
 Allein ioh musz euch noch bemiihn. 
 Wollt ihr mir von der Medizin 
 
 Nicht auoh ein kraftig Wortchen sagen ? 1650 
 
 Drei Jahr' ist eine kurze Zeit, 
 Und, Gott, das Feld ist gar zu weit. 
 
FAUST'S 6TUDT. 139 
 
 with us — of that, unfortunately, there is never a ques- 
 tion. 
 
 Student, 
 You increase my repugnance. Oh, happy he, ■whom 
 you instruct. I should almost like to study theology. 
 
 I do not wish to mislead you. As for this science, it 
 is so dif&cult to avoid the wrong way ; there is so much 
 hidden poison in it, which is hardly to be distinguished 
 from the medicine. Here, again, it is best to attend 
 but one master, and swear by his words. On the 
 whole, stick to words ; you wiU then pass through the 
 safe gate into the temple of certainty. 
 
 But there must be some meaning connected with the 
 word. 
 
 MepMstopheles. 
 
 Eight ! Only we must not be too anxious about that ; 
 for it is precisely where ideas fail that a word comes in 
 most opportunely. With words one can admirably 
 argue ; with words one can form a system ; it is easy 
 to believe in words ; from a word not an iota can be 
 taken. 
 
 Student. ^ 
 
 Tour pardon, I detain you by my many questions, 
 but I must still trouble you. Would you be so kind as 
 to add a pregnant word or two on medicine? Three 
 years is a short time, and the field, G-od knows, is far 
 
140 STUDIliZIMMER. 
 
 Wenn man einen Fingerzeig nur hat, 
 Laszt sioh's schon eher welter fiihlen. 
 
 MepJiistopheles (fur sicTi). 
 Ich bin des trocknen Tons nun satt, 1655 
 
 Musz wieder recht den Teufel spielen. 
 {Laut.') Der Geist der Medizin ist leicht zu fassen ; 
 Ihr durohstudirfc die grosz- und kleine Welt, 
 Um es am Bnde gehn zu lassen, 
 
 Wie's Gott gefallt. 1660 
 
 Vergehens, dasz ihr ringsum wissenschaftlich schweift, 
 Ein Jeder lernt nur, was er lernen kann ; 
 Dooh der den Augenblick ergreift, 
 Das ist der reohte Mann. 
 
 Ihr seid noch ziemlioh wohlgebaut, 1665 
 
 An Kuhnheit wird's euch auch nicht fehlen, 
 Und wenn ihr euoh nur selbst vertraut, 
 Vertrauen euoh die andern Seelen. 
 Besonders lernt die Weiber fiihren ; 
 
 Es ist ihr ewig Weh und Aoh 1670 
 
 So tausendfach 
 
 Aus einem Punkte zu knriren, 
 Und wenn ihr halbweg ehrbar thut, 
 Dann habt ihr sie all' unterm Hut. 
 
 Ein Titel musz. sie erst vertraulich machen, 1675 
 
 Dasz eure Kunsfc viel Kiinste Ubersteigt 
 Zum Willkomm tappt ihr dann nach alien Siebensaohen, 
 Um die ein Andrer viele Jahre streioht, 
 Versteht das Pulslein wohl zu driioken 
 Und fasset sie mit feurig schlauen Blicken i63o 
 
 Wohl um die schlanke Hiifte frei, 
 Zu sehn, wie fest geschniirt sie sei. 
 
 Schiller. 
 Das sieht schon besser aus ! Man sieht dooh, wo und wie. 
 
 MephistoTiilieles. 
 Grau, theurer Freund, ist alle Theorie 
 Und griin des Lebens goldner Baum. 1685 
 
FAUST'S STUDY. 141 
 
 too wide. If one has but a hint, one can feel one's 
 ■vray along further. 
 
 MepMstopheles (aside), 
 
 I begin to be tired of the prosing style. I must play 
 the genuine devil again. lAloud.J 
 
 The spirit of medicine " is easy to be caught ; you 
 
 study through the great and little world, and let things 
 
 go on in the end — as it pleases God. It is vain that 
 
 you wander scientifically about; no man will learn 
 
 more than he can ; he who avails himself of the passing 
 
 moment — that is the proper man. Tou are tolerably 
 
 well built, nor will you be wanting in boldness, and if 
 
 you do but confide in yourself, other souls will confide 
 
 in you. In particular, learn how to treat the women : 
 
 their eternal ohs ! and ahs ! so thousandfold, are to be 
 
 cured from a single point, and if you only assume a !•>//' 
 
 moderately demure air, you will have them all under 
 
 your thumb. Tou must have a title, to convince them 
 
 that your art is superior to most others, and then you 
 
 are admitted from the first to all those little privileges 
 
 for which another cozens many a year. Learn hoW to 
 
 press the pulse adroitly, and boldly clasp them, with 
 
 sly fiery glances, around the tapering hip, to see how 
 
 tightly it is laced. 
 
 Student. 
 
 There is some sense in that ; one sees at any rate the 
 
 where and the how. 
 
 Mephistopkeles. 
 Grey, my dear friend, is all theory, and green the 
 golden tree of life. 
 
 / cue - 
 
142 STUDIRZIMMER. 
 
 ScMler. 
 loh sohwor' euoh zu, mir ist's als wie ein Traum. 
 Diirft' ioh euch. wohl ein andermal beschweren, 
 Von eurer Weisheit auf den Grand zu horen ? 
 
 Mephistophelea. 
 Was ich vermag, soil gem geschehn. 
 
 ScMler. 
 Ioh kann unmoglioh wieder gchn, 1690 
 
 Ich musz each noch mein Stammbach iiberreicheu. 
 Gonn' eare Ganst mir dieses Zeichen ! 
 
 Mephistopheles. 
 Sehr wohl. lEr schreibt und gielfs.'] 
 
 ScMler (Uest). 
 Eritis sicat Deas, scientes bonam et malam. 
 
 [Machfs ehrerhietig zu und empfiehlt aich.'] 
 
 MepJiistopJielet. 
 Folg' nar dem alien Spruch and meiner Mahme, der 
 
 Schlange, 1695 
 Dir wird gewisz einmal bei deiaer Gottahnlichkeit bange ! 
 
 [Fattst tritt om/.] 
 
 Fami. 
 Wohin soil es nun gehn ? 
 
 MephuiopJielet. 
 
 Wohin es dir gef allt. 
 Wir sehn die kleine, dann die grosze Welt. 
 Mit welcher Freade, welchem Natzen 
 Wirst du den Carsam darohschmarutzen ! 1700 
 
 Faust. 
 Allein bei meinem langen Bart 
 
faust's study. 143 
 
 Student. 
 I vo-w to you, it seems like a dream to me. Might I 
 trouble you another time to hear your wisdom tho- 
 roughly expounded. 
 
 Mephistopheles. 
 
 I am at your service, to the extent of my poor 
 
 abilities. 
 
 Student. 
 
 I cannot possibly go away without placing my album 
 
 in your hands. Do not grudge me this token of your 
 
 favour. 
 
 Me^hist&pheles. 
 
 With all my heart. [He writes and gives it bach.'] 
 
 Student {reads). 
 Ebitis sicut Detts, scientes bonttm et malum.™ 
 [He closes the hook reverentially, and 
 takes his leave.] 
 
 Mephistopheles. 
 Only follow the old saying and my cousin the snake, 
 and your resemblance to God will surely cause you 
 anxiety one day. 
 
 Faust {enters). 
 Whither now ? 
 
 Mephistopheles. 
 
 Where you please ; to see the little, then the great 
 
 world. With what joy, what profit, will you revel 
 
 through the course ! 
 
 Faust. 
 
 But with my long beard, I want the easy manners 
 
144 STUDIRZIMMER. 
 
 Fehlt mir die leiohte Lebensart. 
 
 Es wird mir der Yersuoh nioht glUcken ; 
 
 Ich wuszte nie mich in die Welt zu sohicken, 
 
 Vor Andern fiihl' ich mich bo klein ; 1705 
 
 Ich werde stets verlegen sein. 
 
 MepMstopJieles. 
 Mein guter Freund, das wird sich AUes geben ; 
 Sobald du dir vertraust, sobald weiszt du zu leben. 
 
 Fmist. 
 Wie kommeu wir denn aus dem Haus ? 
 Wo hast du Pferde, Knecht und Wagen ? 1710 
 
 Wir breiten nur den Mantel aus, 
 
 Der soil uns durch die Liifte tragen. 
 
 Du nimmst bei diesem kuhnen Schritt 
 
 Nur keinen groszen BUndel mit. 
 
 Ein biszchen Peuerluffc, die ich bereiten werde, 1715 
 
 Hebt uns behend von dieser Erde. 
 
 Und sind wir leicht, so geht es Bohnell liinauf ; 
 
 Ich gratulire dir zum neuen Lebenslauf. 
 
FAUST'S STUDY. 145 
 
 of society. I shall fail in the attempt. I never knew 
 how to present myself in the world, I feel so little in 
 the presence of others ; I shall be in a constant state 
 of embarrassment. 
 
 M&phistopheles. 
 
 My dear friend, all that will come of its own accord ; 
 
 so soon as you feel confidence in yourself, you know 
 
 the art of life. 
 
 Faust. 
 
 How, then, are we to start? Where are your car- 
 riages, horses, and servants ? 
 
 Mephistoj)heles. 
 We have but to spread out this mantle ; " that shall 
 bear us through the air. Only you will take no heavy 
 baggage on this bold trip. A little inflammable air, 
 which I will get ready, will lift us quickly from this 
 earth ; and if we are light, we shall mount rapidly. I 
 wish you joy of your new course of life. 
 
AUEEBitiH'S KELLER IN LEIPZIG. 
 Zeche VusUger Gesellen. 
 
 Frosch. 
 
 WILL Keiner trinken ? Keiner lachen ? 
 loh will euch lehren Gesiohter macheu ! 1720 
 
 ihr seid ja heut wie nasses Stroh 
 Und brennt BOnst immer liohterloh. 
 
 Brander. 
 Das liegt an dir ; du bringst ja nichts herbei, 
 Nicht eine Dummheit, keine Sauerei. 
 
 Frosch (gieszt ihm ein Glae Wein iiler den Eopf). 
 Da hast du Beides ! 
 
 Srander. 
 Doppelt Sohwein ! 1725 
 
 Frosch. 
 Ihr wollt es ja, man soil es sein ! 
 
 Sieliel. 
 Zur Thiir hinauB, wer sich entzweit ! 
 Mit offner Brust singt Runda, sauft und schreit ! 
 Auf! Holla! Ho! 
 
 AUmayer. 
 Weh mir, ioh bin verloren ! 
 Baumwolle her I Der Kerl sprengt mir die Ohsen. 1730 
 
AtTEEBACH'S CELLAE™ IN LEIPZIG. 
 
 (Drinking bout of merry Fellows.) 
 
 Frosch. 
 \ T T'ILL no one drink? No one laugh? None of 
 V V yoTir gloomy faces ! Why, you are like wet 
 straw to-day, yet at other times you hlaze brightly 
 enough. 
 
 Brander. 
 
 That is your fault ; you contribute nothing towards 
 it : no nonsense, no beastliness. 
 
 Frosch (throws a glass of wine over Bbandee's head). 
 There are both for you ! 
 
 Brander. 
 You double swine ! 
 
 Frosch. 
 
 Why, you wanted me to be so. 
 
 Siebel. 
 Out with him who quarrels ! With open throat strike 
 up a chorus ! swill and shout ! holla, holla, ho ! 
 
 Altmayer. 
 Woe is me, I am a lost man ! Cotton, here ! the 
 knave splits my ears. 
 
148 KELLER IN LEIPZIG. 
 
 Wenn das Gewolbe wiedersohallt, 
 
 FhhH man erat rechL des Basses Grandgewalt 
 
 Frosch. 
 So reeht, hinaus mit dein, der etwas iibel nimmfc ! 
 A ! Tara lara da ! 
 
 AUmayer. 
 A ! Tara lara da ! 
 
 FroscJi. 
 
 Die Kehlen sind gestinjmt. 
 
 (Singt.) 
 
 Das liebe Heil'ge Eom'sohe Eeich, 1735 
 
 Wie halt's nur noch zusammen ? 
 
 Brander. 
 Ein garstig Lied ! Pfui ! Bin politisch Lied ! 
 Ein leidig Lied ! Dankt Gott mit jedem Morgen, 
 Dasz ihr nioht brauoht fiirs Rbm'sohe Eeich zu sorgen ! 
 Ichhalt' es wenigstens fiir reichlichen Gewinn, 1740 
 
 Dasa ich nicht Kaiser oder Kauzler bin. 
 Doch musz auch uns ein Oberhaupt nicht fehlen j 
 Wir woUen einen Papst erwahlen. 
 Ihr wiszt, welch eine Qualitat 
 Den Ausschlag giebt, den Mann erhoht. 1745 
 
 Frosch (smgt). 
 
 Schwing dich auf, Prau Naehtigall, 
 Griisz mir mein Liebchen zehntausendmal ! 
 
 Siebet 
 Bern Liebchen keinen Grusz ! Ich will davon nichts horen I 
 
 Frosch, 
 Dem Liebchen Grusz und Kusz ! Du wirst mir's nicht 
 verwehren I 
 
CELLAR IN LEIPZIG. 149 
 
 Siebel. 
 is only ■when the vault echoes again, that one feels 
 (Tie power of the bass. 
 
 Frosch. 
 
 jht, out with him who takes anything amiss. Ah ! 
 
 lara da ! 
 
 Altmayer. 
 . ! Tara lara da ! 
 
 Frosch. 
 
 r throats are tuned. [He dngs.] 
 
 e dear, holy Eoman empire, how holds it still 
 
 her? 
 
 Brander. 
 
 Qasty song ! Psha ! A political song ! An offensive 
 
 ! Thank God every morning of your life, that you 
 
 not the Roman empire to care for! I, at least, 
 
 m it no slight gain that I am not emperor nor 
 
 ;eUor. But we cannot do without a head. We 
 
 ihoose a pope. You know what sort of qualification 
 
 I the scale, and elevates the man. 
 
 Frosch, (sings). 
 ir up, Dame Nightingale,™ give my sweetheart 
 housand greetings for me. 
 
 greeting to the sweetheart ! I will not hear of it ! 
 
 Frosch. 
 eeting to the sweetheart, and a kiss too ! Thou 
 not hinder me. [Be sings.] 
 
160 KELLER IN LEIPZIG. 
 
 (Singt), 
 
 Eiegel auf ! In stiller Naoht. 1750 
 
 Riegel auf! Der Liebste wacht. 
 Riegel zu ! Des Morgens friih. 
 
 Siehel. 
 Ja, singe, singe nur und lob und riihme sie ; 
 loh will zu meiner Zeit schon laohen. 
 Sie hat mich angefuhrt, dir wird sie's auch so maolien. 1755 
 Zum Liebsten sei ein Kobold ihr beschert ! 
 Der mag mit ihr auf einem Kreuzweg sohakern ; 
 Bin alter Bock, wenn er vom Blooksberg kehrt, 
 Mag im Galopp nooh gute Naoht ihr meokera ! 
 Ein braver Kerl von echtem Fleisoh und Blut 1760 
 
 1st fiir die Dirne viel zu gut. 
 Ich will von keinem Grusze wissen, 
 Als ihr die Fenster eingeschmissen ! 
 
 Erander (auf den Ttseh seMagenc£). 
 Paszt auf! Paszt auf! Gehorchet mir ! 
 Ihr Herrn gesteht, ich weisz zu leben ; 1765 
 
 Verliebte Leute sitzen hier, 
 Und diesen musz naoh Standsgebiihr 
 Zur guten Nacht ich was zum Besten geben. 
 Gebt Acht ! Ein Lied vom neusten Schnitt ! 
 Und singt den Kundreim kraftig mit ! 1770 
 
 (Er singt.) 
 Es war eine Eatt' im Kellernest, 
 Lebte nnr von Fett und Butter, 
 Hatte sich ein Ranzlein angemast't 
 Als wie der Doktor Luther. 
 
 Die Kochin hatt' ihr Gift gesfellt ; 1775, 
 
 Da ward's so eng ihr in der Welt, 
 Als hatte sie Lieb' im Leibe. 
 
 CHOEns (-iauchzend). 
 Als hatte sie Lieb' im Leibe. 
 
 Brander. 
 Sie fuhr herum, sie fuhr heraus 
 Und sofF aus alien Pfutzen, 1780 
 
CELLAR IN LEIPZIG. 151 
 
 Open boks ! In stilly night. 
 Open bolts ! The lover wakes. 
 Shut bolts ! At morning's dawn. 
 
 Siebel. 
 J, sing, sing on, and praise and celebrate her ; my 
 for laughing will come. She has taten me in ; 
 will do the same for you. May she have a hob- 
 in for a lover ! He may toy with her on a cross- 
 An old he-goat, on his return from the Blocks- 
 , may bleat good night to her on the gallop. A 
 fcy fellow of genuine flesh and blood is far too good 
 he wench. I will hear of no greeting, unless it be 
 Hash her windows. 
 
 Brander (striking on the table), 
 ttend, attend ! Listen to me ! You gentlemen must 
 V me to know something of life. Lovesick folks 
 lere, and I must give them something suitable to 
 ' condition by way of good night. Attend ! A song 
 le newest cut ! and strike boldly in with the chorus. 
 
 [He dngs^ 
 lere was a rat in the cellar, who lived on nothing 
 Eat and butter, and had raised himself up a paunch 
 that of Doctor Luther. The cook had laid poison 
 lim ; then the world became too hot for him, as if 
 id love in his body. 
 
 Chorus. 
 3 if he had love in his body. 
 
 'i 
 
 Brander. 
 e ran round, he ran out, he drank of every 
 
152 KELLER IN LEIPZIG. 
 
 Zernagt', zerkratzt' das ganze Haus, 
 
 WoUte nichta ihr Wuthen niitzen ; 
 
 Sie that gar manchen Aengstesprung, 
 
 Bald batte das arme Thier genung, 
 
 Als hatt' es Lieb' im Leibe. 1785 
 
 CHOBUS. 
 
 Als hatt' es Lieb' im Leibe. 
 
 Brander. 
 
 Sie kam vor Angst am hellen Tag 
 
 Der Kucha zugelaufen, 
 
 Fiel an den Herd und zuckt' und lag 
 
 Und that erbarmlich schnaufen. 1790 
 
 Da lachte die Vergifterin noch : 
 
 Ha ! Sie pfeift auf dem letzten Loch, 
 
 Als hatte sie Lieb' im Leibe. 
 
 CHORUS. 
 
 Als hatte sie Lieb' im Leibe, 
 
 Siebel. 
 Wie sioh die platten Bursche freuen ! 1795 
 
 Es ist mir eine reohte Kunst, 
 Den armen Batten Gift zu streuen ! 
 
 Bramder. 
 Sie stehn wohl sehr in deiner Gunst ? 
 
 AUma/yer. 
 Der Schmerbauch mit der kahlen Platte ! 
 Das Ungliick macht ihn zahm und mild; 1800 
 
 Er sieht in der geschwollnen Batte 
 Sein ganz natiirlich Ebenbild. 
 
 Faust wnd Mephistophelbs. 
 
 . MepMstopheles. 
 
 loh nmsz dich nun vor alien Dingen 
 In lustige Gesellschaft bringen, 
 Damit du siehst, wie leicht sich's leben laszt. 1805 
 
CELLAR IN LEIPZIG. 153 
 
 puddle ; he gnawed and scratched the whole house, but 
 his fury availed nothing ; he gave many a bound of 
 agony ; the poor beast was soon done for, as if he had 
 love in his body. 
 
 Glwrus. 
 As if he had love in his body. 
 
 Brander. 
 He came running into the kitchen, for sheer pain, 
 in open daylight, fell on the hearth and lay convulsed, 
 and panted pitiably. Then the poisoner exclaimed, with 
 a laugh — Ha ! he is at his last gasp, as if he had love 
 in his body. 
 
 Chorus. 
 As if he had love in his body. 
 
 Siebel. 
 How the flats chuckle ! It is a fine thing, to be sure, 
 to lay poison for the poor rats. 
 
 Brander. 
 Perchance they stand high in your favour ? 
 
 Altmayer. 
 The bald-pated paunch! misfortune makes him 
 humble and mild. He sees in the swollen rat his own 
 age drawn to the life. 
 
 Fattst and Mephistopheles, 
 
 M&phistopheles. 
 Before all things else, I must bring you into merry 
 compaDy, ■ that you may see how lightly life may be 
 
154 KELLER IN LEIPZIG. 
 
 Dem Volke hier wird jeder Tag ein Fest. 
 
 Mit wenig Witz und viel Behagen 
 
 Dreht Jeder sich im eugen Zirkeltanz, 
 
 Wie junge Katzen mit dem Schwanz. 
 
 Wenn sie nichfc iiber Kopfweh klagen, igio 
 
 So lang' der Wirth nur weiter borgt, 
 
 Sind sie vergnligt und unbesorgt. 
 
 Brander. 
 Die kommen eben von der Keise, 
 Man sieht's an ihrer wunderlichen Weise ; 
 Sie sind nioht eine Stunde hier. igij 
 
 Frosch. 
 Wahrhaftig, du hast Eecht ! Mein Leipzig lob' ioh mir ! 
 Es ist ein klein Paris und bildet seine Leute. 
 
 Siehel. 
 Fur was siehst du die Fremden an ? 
 
 Froseh, 
 Lasz mioh nur gehn ! Bei einem voUen Glase 
 Zieh' ich, wie einen Kinderzahn, rSzo 
 
 Den Bursohen leioht die Wiirmer aus der Nase. 
 Sie seheinen mir aus einem edlen Haus, 
 Sie sehen stolz und unzufrieden aus. 
 
 Brander. 
 Marktsohreier sind's gewisz, ioh wette ! 
 
 AUmayer. 
 Vielleicht. 
 
 Ih'osch. 
 Gieb Acht, ioh schranbe sie ! 1825 
 
 MepMstopheles (zu Faust). 
 Den Teufel spiirt das Volkchen uie, 
 TJnd wenn er sie beim Kragen hatte. 
 
CELLAR IN LKIPZIG. 155 
 
 passed. These people make every day a feast. With'\ 
 little wit and mucli self-complacency, each turns round 
 in the narrow circle-dance, like kittens playing with 
 their tails. So long as they have no headache to com- 
 plain of, and so long as they can get credit from their 
 host, they are merry and free from care. 
 
 Brand&r. 
 
 They are just off a journey ; one may see as much 
 
 from their strange manner. They have not been here 
 
 an hour. 
 
 Frosch. 
 
 Indeed thou art right ! Leipzig is the place for me ! ^^ 
 
 It is a little Paris, and gives its folks a finish. 
 
 Siebel. 
 What do you take the strangers to be ? 
 
 Frosch. 
 Let me alone! In the drinking of a bumper I will 
 worm it out of them as easily as draw a child's tooth. 
 They appear to me to be noble ; they have a proud 
 and discontented look. 
 
 Brander. 
 Mountebanks to a certainty, I wager. 
 
 Altmayer. 
 
 Perhaps. 
 
 Frosch. 
 
 Now mark ; I will smoke them. 
 
 Mephistopheles {to Fatjst). 
 These folk would never scent the devil, if he had them 
 by the throat. 
 
156 KELLER IN LEIPZIG. 
 
 Fault. 
 Seid uns gegriiszt, ihr Herrn ! 
 
 Viel Dank zum Gegeugrusz ! 
 ILeise, Mephistopheles von der Seite ansehend.'] 
 Was ? Hinkt der Kerl auf einem Fusz ? 
 
 MepMetopheles. 
 1st es erlaubt, uns auch zu euch zd setzen P 1830 
 
 Statt eines guten Trunks, den man nicht haben kann, 
 Soil die Gesellschaft uns ergetzen. 
 
 Altmayer. 
 Ihr scheint ein sehr verwohnter Mann. 
 
 Froseh. 
 Ihr seid wohl spat von Eippach aufgebroohen ? 
 Habt ihr mit Herren Hans noch erst zu iN'acht gespeist ? 
 
 Meiphistoipheles. 
 Heut sind wir ihn vorbeigereist ; 1S36 
 
 Wir haben ihn das letzte Mai gesprochen. 
 Von seinen Vettern wuszt' er viel zu sagen, 
 Viel Griisze hat er uns an Jeden aufgetragen. 
 
 [Er neigt aich gegen Feosch.J 
 
 Altmayer (leise). 
 Da hast du's ! Der versteht's ! 
 
 Ein pfiflSger Patron ! 1840 
 
 Froseh. 
 Nun, warte nur, ich krieg' ihn schon ! 
 
 MepMstophelea, 
 Wenn ich nioht irrte, horten wir 
 Geiibte Stimmen Chorus singen ? 
 
CELLAR IN LEIPZIG. 157 
 
 Faust. 
 Dur greetings, gentlemen. 
 
 Siebel. 
 Many thanks to you in return. 
 
 [Aside, looking at Mephistopheles ashxnce.] 
 What ? Does the fellow halt on one foot ? 
 
 Mephistopheles. 
 
 Will you permit us to sit down with you ? We shall 
 
 ve company to cheer us instead of good liquor, which 
 
 not to be had, 
 
 AltmoA/er. 
 
 You seem a very dainty gentleman. 
 
 Frosch. 
 You probably started at a late hour from Rippach ? " 
 :d_you sup with Mr. Hans before you left? 
 
 Mephistopheles. 
 We passed him without stopping to-day. Last time 
 3 spoke with him. He had much to say of his 
 usins ; he charged us with many greetings to each. 
 [With an inclination towards Fbosch.J 
 
 Altmayer (aside). 
 Thou hast it there ! He knows a thing or two ! 
 
 A knowing fellow ! 
 
 Frosch. 
 Only wait, I shall have him presently. 
 
 Mephistoph eles. 
 If I am not mistaken, we heard some practised voices 
 
158 KELLER IN LEIPZIG. 
 
 Gewisz, Gesang musz trefflich hier 
 
 Von dieser Wolbung wiederklingen ! 1 8 ; 5 
 
 Frosch. 
 Seid ihr wohl gar ein Viftuos ? 
 
 Mephistopheles. 
 nein ! Die Kraft ist schwach, allein die Lust ist grosz. 
 
 Altmayer. 
 Gebt uns ein Lied ! 
 
 MepMstopheles. 
 
 Wenn ihr begehrt, die Menge. 
 
 Siebel. 
 Nur auch ein nagelneues Stiick ! 
 
 Me'phistofheles. 
 AVir kommen erst aus Spanien zuriiok, 1850 
 
 Dem sohbnen Land des. Weins und der Gesange. 
 
 (Swigt") 
 Es war einmal ein Konig, 
 Der liatt' einen groszon Floh— 
 
 Wrosch. 
 Horcht ! Einen Floh ! Habt ihr das wohl gefaszt ? 
 Ein Floh ist mir ein saubrer Gast. 1855 
 
 MepMstopJieles (singi). 
 Es war einmal ein Konig, 
 Der hatt' einen groszen Floh ; 
 Den liebt' er gar nicht wenig, 
 AIs wie seinen eignen Sohn. 
 Da rief er seinen Schneider, 18 ;o 
 
 Der Schneider Icam heran : 
 " Da, miaz dem Junker Kleider 
 Und misz ihm Hosen an ! " 
 
 Brdnder. 
 Vergeszf^ur nicht, dem Schneider einzuscharfen. 
 
CELLAR IX LEIPZIG. 169 
 
 singing in chorus ? No doubt singing must echo ad- 
 mirably from this vaulted roof. 
 
 Frosch. 
 Are you perhaps a virtuoso ? 
 
 Mephistopheles. 
 Oh, no ! The power is weat, but the desire is strong. 
 
 AUmayer. 
 Give us a song. 
 
 MepMstopheles, 
 As many as you like. 
 
 Siebel. 
 Only let it be brand-new. 
 
 Mephistopheles. 
 We are just returned from Spain, the fair land of 
 wine and song. [He sings.] 
 
 There was once upon a time a king who had a great 
 
 FroseJi. 
 Hark ! A flea ! Did you catch that ? A flea is a fine 
 sort of chap. 
 
 Mephistopheles (sings')!''' 
 There was once upon a time a king ; he had a great 
 flea, and was as fond of it as if it had been his own 
 son. Then he called his tailor; the tailor came: "There, 
 measure the youngster for clothes, and measure him for 
 breeches." 
 
 Brandef. 
 
 Only don't forget to impress it on the tailor to mea- 
 
160 KELLER IN LEIPZIG. 
 
 Dasz er mir anfs Genauste miszt, 1865 
 
 Und dasz, so lieb sein Kopf ihm ist, 
 Die Hosen keine Falten werfen ! 
 
 MepMstopheles. 
 In Sammet und in Seide 
 War er nun angethan, 
 
 Hatte Bander auf dem Kleide, 1870 
 
 Hatt' auch ein Kreuz daran 
 Und war sogleich Minister 
 Pnd hatt' einen groszen Stern. 
 Da wurden seine Gesohwister 
 Bei Hof auch grosze Herrn. 1875 
 
 Und Herrn und IVau'n am Hofe 
 
 Die waren sehr geplagt, 
 
 Die Konigin und die Zofe 
 
 Gestochen und genagt, 
 
 Und durften sie nicht kuicken i88o 
 
 Und weg sie jucken nicht. 
 
 Wir knicken und ersticken 
 
 Doch gleich, wenn einer sticht. 
 
 CHORns (Javchemcl). 
 Wir knicken und ersticken 
 Doch gleich, wenn eIner stioht, 1883 
 
 TProsch. 
 Bravo ! Bravo ! Das war sohon ! 
 
 So sou es jedem Floh ergehn ! 
 
 Brander. 
 Spitzt die Finger und paokt sie fein 
 
 Altmayer. 
 Es lebe die Freiheit ! Es lebe der Wein ! 
 
 Mephisiopheles. 
 loh tranke gem ein Glas, die Freiheit hooh za ehren, 1850 
 Wenn eure Weine nur ein biszchen besser -wiiren. 
 
CELLAR IN LEIPZIG. 161 
 
 sure willi the greatest nicety, and, as he loves his head, 
 to make the breeches sit smoothly. 
 
 MephistopJieles . 
 
 He was now attired in velvet and silk, had ribbons 
 on his coat, had a cross besides, and was forthwith 
 made minister, and had a great star. Then his brothers 
 also became great lords at court. 
 
 And the ladies and gentlemen at court were dreadfully 
 tormented ; from the queen to the waiting- woman they 
 were pricked and bitten, yet dared not crack nor scratch 
 them away. But we crack and stifle fast enough when 
 one pricks. 
 
 Chorus. 
 But we crack and stifle fast enough when one pricks. 
 
 Frosch. 
 Bravo ! bravo ! That was capital ! 
 
 Siebel. 
 So perish every flea. 
 
 Brander. 
 Point your fingers, and nick them cleverly. 
 
 Altmayer. 
 Liberty for ever ! Wine for ever ! 
 
 MepMstopheles. 
 I would willingly drink a glass in honour cf liberty, 
 were your wine a thought better. 
 
 M 
 
162 KELLER IN LEIPZIG. 
 
 Siehel. 
 Wir mogen das niclit wieder horen ! 
 
 Mephisiopheles. 
 Ich furchte nur, der Wirth beschweret sich ; 
 Sonst gab' ich diesen werthen Gasten 
 Aus imserm Keller was zum Besten. 1895 
 
 Siehel. 
 Nur immer her ! Ich nehm's auf mich. 
 
 Frosch. 
 Schafft ihr ein gutes Glas, so woUen wir euoh loben. 
 Nur gebt nicht gar zu kleine Proben ; 
 Denn wenn ich judioiren soil, 
 Verlang' ich auch das Maul reoht voll. rgoo 
 
 AUmayer (leise). 
 Sie sind Tom Eheine, wie ich spUre. 
 
 Me'p'hisio;pheles. 
 Schafft einen Bohrer an ! 
 
 Brander. 
 
 Was soil mit dem geschehn ? 
 Ihr habt doch iiioht die Passer vor der Thiire ? 
 
 AUmayer. 
 Dahinten hat der Wirth ein Korbchen Werkzeug stehn. 
 
 MepMstopheles (nimmt den Bohrer. Zu Feosch). 
 Nun sagt, was wunschet ihr zu schmeckeu ? 1505 
 
 Frosch. 
 Wie meint ihr das ? Habt ihr so Mancherlei? 
 
 Me'phisto'p'heles. 
 Ich steir es einem Jcden frei. 
 
CELLAR IN LEIPZIG. 163 
 
 Siebel. 
 You had better not let us hear that again ! 
 
 Mej>hi8to;pheles. 
 I am afraid the landlord would feel hurt, or I would 
 3at these worthy gentlemen out of our cellar. 
 
 Siebel. 
 Do let us have it ! I take the blame upon myself. 
 
 Frosch. 
 
 If you give us a good glass, we shall not be sparing 
 
 our praise. Only don't let your samples be too small ; 
 
 r if I am to ^ve an opinion, I require a regular 
 
 outhful. 
 
 Altmayer (aside). 
 
 They are from the Ehine, I guess. 
 
 Mephistopheles. 
 Bring a gimlet. 
 
 Brander. 
 What for? You surely have not the casks at the 
 
 lor? 
 
 Altmayer. 
 
 Behind there, is a tool-chest of the landlord's. 
 
 Mephistopheles (tahirvg the gimlet. To Feosch). 
 Now say, what wine would you wish to taste ? 
 
 FroscJi. 
 What do you mean ? Have you so many sorts ? 
 
 Mepldstopheles. 
 I give every man his cheice. 
 
164 KELLER IN LEIPZIG. 
 
 AUftiayer (xu Fkosch). 
 Aha ! Du fangst schon an, die Lippen abzulecken. 
 
 Froseh. 
 Gut ! Wenn ich wahlen soil, so will ich Eheinwein habeu. 
 Das Vaterland yerleiht die allerbesten Gaben. 1910 
 
 Meph'siopheles (indem er an dem Platz, wo Fkosch sitzt, 
 
 ein Loch in den Tischrand hohrt). 
 
 VerscbafiFt ein wenig Waclis, die Pfropfen gleich zu 
 
 machen ! 
 
 Altmayer. 
 Ach, das sind Tasohenspielersaohen. 
 
 MepMstopheles (zu BEANDBEy. 
 Und ihr ? 
 
 Brander. 
 Ich will Ohampagnerwein, 
 Und reoht mussirend soil er sein ! 
 
 [Mephistopheies hohrt s Einer hat indessen die 
 Wachspfropfen gemaeht und verstopft.'] 
 Man kann nioht stets das Premde meiden, 191 5 
 
 Das Gute liegt uns oft so fern. 
 
 Eiu echter deutsober Mann mag keinen Franzen leiden, 
 Doch ihre Weine trinkt er gem. 
 
 Siehel (indem sich Mephistopheles seinem Platze nahert). 
 Ich musz gestehn, den Sanren mag ich nicht. 
 Gebt mir ein Glas vom eohten Siiszen ! 1 920 
 
 Mephistopheles (lohrt), 
 Euch soil sogleioh Tokaier flieszen. 
 
 Altmayer. 
 Nein, Herren, seht mir ims Gesicht ! 
 Ich seh' es ein, ihr habt uns nur zum Besten. 
 
CKLLAR IN LEIPZIG. 165 
 
 AUmayer (to Peosch). 
 Ah ! you begin to lict your lips already. 
 
 Frosch. 
 Well ! If I am to choose, I will take Rhine wine. Our 
 fatherland affords the very best of gifts. 
 
 MepJdstopheles (boring a hole in the edge of the table 
 
 where Feosch is sitting). 
 Get a little wax to make stoppers immediately. 
 
 AUmayer. 
 Ah ! these are jugglers' tricks. 
 
 Mephistopheles {to Beandee). 
 
 And you ? 
 
 Brander. 
 
 I choose champagne, and let it be right sparkling. 
 
 [Mephistopheles bores ; one of the others has in 
 
 the meantime jprepared the wax-stoppers and 
 
 stopped the holes.'\ 
 
 One cannot always avoid what is foreign ; what is good 
 
 often lies so far off. A true German cannot abide 
 
 Frenchmen, but willingly drinks their wines. 
 
 Siebel {as Mephistopheles approaches him). 
 I must own, I do not like acid wine ; give me a glass 
 of genuine sweet. 
 
 Mephistopheles (bores). 
 You shall have Tokay in a twinkling. 
 
 AUmayer. 
 No, gentlemen ; look me in the face. I see plainly you 
 are only making fun of us. 
 
168 KELLER IN LEIPZIG. 
 
 Mephistopheles. 
 Ei ! Ei ! Mit solchen edlen Gasten 
 
 War' es ein biszchen viel gewagt, 1925 
 
 Gesohwind ! Nnr grad heraus gesagt ! 
 Mit welchem Weine kann ich dienen ? 
 
 AUniayer. 
 Mit jedem ! Nur nioht lang' gefragt ! 
 
 l_NacMem die Looker alle gehohrt und verstopft sind.'] 
 
 Mephistopheles {mit seltsamen Gelerden). 
 Trauben tragt der Weinstock, 
 Horner der Ziegenbook ! 1930 
 
 Der Wein ist saftig, Holz die Reben ; 
 Der holzerne Tisch kann Wein auch geban. 
 Bin tiefer Blick in die Natur ! 
 Hier ist ein Wunder, glaubet nur ! 
 Nun zieht die Pfropfen und genieszt ! 1935 
 
 Alle (indem sie die Pfropfen ziehen und Jedem der 
 verlangte Wein ins Olas Iduft). 
 sohoner Brunnen, der uns flieszt ! 
 
 . Mephistopheles. 
 Nur hUtet ench, dasz ihr mir niohts vergieszt ! 
 
 [_8ie trinhcn wiederholt.'] 
 
 Alle (singen). 
 Uns ist ganz kannibalisch wohl 
 Als wie fiinfhuHdert Sauen ! 
 
 Mephistopheles. 
 Das Volk ist frei, seht an, wie wohl's ihm geht ! 1940 
 
CELLAR IN LEIPZIG. 167 
 
 MepMstopheles. 
 Ha ! ha ! that would be taking too great a liberty 
 with such distinguished guests. Quick ! Only speak out 
 at once. What wine can I have the pleasure of serving 
 you with ? 
 
 Altmayer. 
 With any ! Only don't lose time in asking. 
 
 [After all the holes are bored and stopped.'] 
 
 Mephistopheles (with strange gestures). 
 TluB vine bears grapes. 
 The he-goat bears horns. 
 Wine is juicy, vines are wood ; 
 The wooden table can also give wine. 
 A deep glance into nature ! 
 Here is a miracle, only have faith ! 
 Now draw the stoppers and drink. 
 
 All (as they draw the stoppers, and the wine chosen by 
 
 each runs into his glass). 
 Oh ! beautiful spring, that flows for us ! 
 
 Mephistopheles. 
 Only take care not to spill any of it. 
 
 [They drink repeatedly.] 
 
 All (sing). 
 We feel as awfully jolly" 
 As five hundred swine. 
 
 Mephistopheles. 
 These people are free ; behold how happy they are ! 
 
168 KELLER IN LEIPZIG. 
 
 Fauti. 
 Ich hiitte Lust, nun abzafahren. 
 
 MephUtopheles. 
 Gieb nnr ersb Acht, die Bestialitafc 
 Wird sich gar herrlioh ofifenbaren. 
 
 Siehel {trinht unvorsichtig ; der Wein JUeszt auf die Erde 
 und wird zur Flmnme). 
 Helft ! Feuer ! Helft ! Die Holle brennt ! 
 
 MepMstopieles (die Flamme hespreehend). 
 Sei rnhig, freuudlich Element ! 1945 
 
 \Zu dem Gesellen.^ 
 Fiir diesmal war es nuj ein Tropfen Fegefeuer. 
 
 Was soil das sein ? Wart ! Ihr bezahlt es theuer ! 
 Es scheinet, dasz ihr uns nicht keunt. 
 
 Froseh. 
 Lasz er uns das zum zweiten Male bleiben ! 
 
 AUmayer. 
 Ich dacht', wir hieszen ihn ganz sachte seitwarts gehn. 
 
 Was, Herr? Er will sich unterstehn 1951 
 
 XJnd hier sein Hokuspokus treiben P 
 
 MepJiistepheles. 
 Still, altes Weinfasz ! 
 
 Sielel. 
 Besenstiel ! 
 Du willst uns gar nooh grob begegnen P 
 
 Brander. 
 Wart nur ! Es sollen Schlage reguen. 1955 
 
CELLAR IN LEIPZIG. 169 
 
 Faust. 
 I should like to be off now. 
 
 Mejphiatophelee. 
 But first attend ; their brutishness will display itself 
 right gloriously. 
 
 Siehel (drinks carelessly ; the wine is spilt upon the 
 
 ground, and turns to flame). 
 Help ! fire ! help ! Hell is burning. 
 
 Mephistopheles (conjuring the flame). 
 Be quiet, friendly element. (To Siebel.) This time 
 it was only a drop of the fire of purgatory. 
 
 Siebel. 
 What does that mean ? Hold ! you shall pay dearly 
 for it. It, seems that you do not know us. 
 
 Frosch. 
 Tou had better not try that a second time. 
 
 Altmayer. 
 I think we had better send him packing quietly. 
 
 Siebel. 
 "What, Sir, dare you play off your hocus-pocus here ? 
 
 Mephistopheles. 
 Silence, old wine-butt ! 
 
 Siebel. 
 Broomstick ! will you even be rude to us ? 
 
 Brander. 
 Just wait ! It shall rain blows ! 
 
170 KELLER IN LEIPZIG. 
 
 Allmiayer (zieJit einen Pfropf aus dem Tiseh, es springt ihm . 
 
 Feuer entgegen). 
 Icli bronne ! Icli brenne ! 
 
 Siebel. 
 Zauberei ! 
 Stoszt zu ! Der Kerl ist vogelfrei ! 
 
 [Sie Ziehen die Messer wnd l/ehn auf Mephistopheles losj] 
 
 MepMsiopheles (mii ernstJiafter Oelerde). 
 Falsch Gebild und Wort 
 Verandern Sinn und Ort ! 
 Seid hier und dorb ! 1 960 
 
 [Sie stehn erstcmnt imd sehn einander an.'} 
 
 AUmayer. 
 Wo bin ich ? Welches schone Land ! 
 
 Frosch. 
 Weinberge ! Seh' ich recht ? 
 
 Siehel. 
 Und Trauben gleioh znr Hand ! 
 
 Brander. 
 Hier unter diesem griinen Laube, 
 Seht, welch ein Stock ! Seht, welche Traube ! 
 
 [^Erfasxt Siebeln lei der Nase s die Andern thim es 
 wechselseiiig wnd hehen die Messer.^ 
 
 MepMsiopheles (ivie olen). 
 Irrthuni, lasz los der Augea Band! 1965 
 
 Und merkt euch, wie der Tenfel spasze ! 
 
 [Er verschwindet mit Faust; die Gesellen fahren aus 
 
 Was giebt's ? 
 
CELLAR IN LEIPZIG. 171 
 
 Altmayer (draws a stopjper from the table; fireflies out 
 
 against him). 
 I burn ! I burn ! 
 
 Siebel. 
 
 S(wca-y ! thrust home ! The knave is outlawed. 
 
 \They draw their knives and fall wpon Mephis- 
 
 TOPHELES.] 
 
 Mephistopheles {with solemn gestures). 
 False form and word, 
 Change sense and place. 
 Be here, be there ! 
 [They stand amazed and gaze on each other.] 
 
 Altmayer. 
 Where am I ? What a beautiful country ! 
 
 Frosch. 
 Vineyards ! Can I believe my eyes ? 
 
 Siebel. 
 And grapes close at hand ! 
 
 Brander. 
 Here, under these green leaves, see, what a stem ! See 
 what a bunch ! 
 
 [Be seizes Siebel hy the nose. The others do the 
 same one with the other, and raise their hnives.] 
 
 Mephistopheles (as before). 
 Error, loose the bandage from their eyes ! And do 
 ye remember the devil's mode of jesting ! 
 
 l_He disappears with Taitst. The fellows start 
 back from one another.] 
 
 Siebel. 
 What's the matter ? 
 
172 KELLER m LEIPZIG 
 
 Altmayer. 
 Wie? 
 
 Frosch. 
 War das deine Nase ? 
 
 Brander («« Siebel), 
 TJnd deine hab' ich in der Hand I 
 
 Altmayer. 
 Es war ein Sohlag, der ging durch alle Glieder ! 
 Schafft einen Stuhl, ich. sinke nieder ! 1970 
 
 Frosch. 
 Nein, sagt mir nur, was ist gesohehn ? 
 
 Wo ist der Kerl ? Wenn ich ihn spiire, 
 Er Boll mir nicht lebendig gehn ! ■ 
 
 Altmayer. 
 Ich hab' ihn selbst hinaus zur Kellerthure — 
 
 Auf einem Paase reiten sehn 1975 
 
 Es liegt mir bleischwer in den Fuszen. 
 
 [Sich nach dem Tische wendend.'] 
 Main ! Sollte wohl der Wein noch flieszen ? 
 
 Siehel. 
 Betrug war Alles, Lng uud Schein. 
 
 Froscli. 
 Mir dauohte doch, als trank' ich Wein, 
 
 Brander. 
 Aber wie war es mit den Trauben ? 1980 
 
 Altmayer. 
 Nun sag' mir Eins, man soil kein Wunder glauben ! 
 
CKX.LAR IN I.KIPZIG. 173 
 
 Altmayer. 
 How? 
 
 Frosch. 
 Was that thy nose ? 
 
 Brander (to Sibbel). 
 And I have thine in my hand ! 
 
 Altmayer. 
 It was a shock which thrilled through every limb! 
 Give me a chair, I am sinking. 
 
 Frosch. 
 No, do but tell me ; what has happened ? 
 
 Siebel. 
 Where is the fellow ? If I meet with him, it shall 
 be as much as his life is worth. 
 
 Altmayer. 
 I myself saw him at the cellar door, riding out upon 
 a cask. My feet feel as heavy as lead. ^ 
 
 [Turning towards the table] 
 My ! I wonder whether the wine is running still ? 
 
 Siebel. 
 It was all a cheat, a lie, and a delusion. 
 
 Frosch. 
 Yet it seemed to me as if I was drinking wine. 
 
 Brander. 
 But how was it with the grapes ? 
 
 Altmayer. 
 Let anyone tell me after that, that one is not to 
 believe in miracles ! 
 
HEXBNKDCHB. 
 
 Auj einem niedriyen Herde steM ein groszer Kessel uber dem 
 Feuer. In dem Dampfe, der davon in die Hbhe eteigt, 
 zeigen sich verschiedne Gestalten. Einb Meeekatze $itzt 
 hei dem Kessel und schdumt ihn imd sorgt, dasz er mcht 
 uberlduft. Dee Meeekatee mit den Jungen sitzi darnelen 
 und wdrmt sich. Wdnde und Becke sind mit dem selU 
 samsten Hexenhausrath ausgeschmiickt. 
 
 Fadst. Mephistopheles. 
 
 Faust. 
 
 MIE widersteht das tolle Zauberwesen ! 
 Versprichst du mir, ich soil genesea 
 In diesem Wust von Raserei? 
 
 Verlang' ioh Eath voji einem alten Weibe ? 1985 
 
 Und sehafft die Sudelkooherei 
 Wohl dreiszig Jahre mir vom Leibe ? 
 Web mir, wenn du niohts Bessers weiszt ! 
 Schon ist die Hoffnung mir verschwundeu. 
 Hat die Natur und hat ein edler Geist 1990 
 
 Nicht irgend einen Balsam ausgefunden ? 
 
 Mephistopheles. 
 Mein Freand, nun sprichst du wieder klug! 
 Dioh zu Terjdngen, giebt's auoh ein naturlicb Mittel : 
 AUein es steht in einem andern Buch 
 Und ist ein wunderlich Kapitel. 1995 
 
 Faust. 
 Ich will es wissen. 
 
WITCH'S KITCHEN. 
 
 1 large cauldron is hanging over the fire on a low hearth. 
 Different figures are seen in the fumes which rise from 
 it. A Female Monket is sitting hy the cauldron and 
 shimming it, and talcing care that it does not run over. 
 The Male Monkey is seated near with the young ones, 
 and warming himself. The walls and ceiling are hung 
 with the strangest articles of Witch furniture.^'' 
 
 Faust. 
 
 I LOATHE this mad concern of witclicraft. Do you 
 promise me that I shall recover in this chaos of in- 1 
 sanity? Do I need an old hag's advice? And will this foul ' 
 mess perchance take " thirty years from my life ? Woe 
 Ls me, if you tnow of nothing better ! Hope is already 
 gone. Has nature and has a noble spirit discovered no 
 
 sort of balsam ? 
 
 Mephistopheles. 
 
 My friend, now again you speak wisely ! There is 
 
 also a natural mode of renewing youth. But it is in 
 
 another book, and forms a very strange chapter. 
 
 Faust. 
 Let me know it. 
 
176 HEXENKUCIIE. 
 
 ties. 
 Gutl^Ein Mittel, ohne Geld 
 Uud Arzt und Zauberei zu haben : 
 Begieb dieh gleich hinaus aufs Feld, 
 Fang au zu hacken und zu graben, 
 
 Erhalte dich und deinen Sinn zooo 
 
 In einem ganz besohrankten Kreise, 
 Ernahre dich mit ungemischter Speise, 
 Leb mit dem Vieh als Vieh und acht es nicht fiir Eaub, 
 Den Acker, den du erntest, selbst zu diingen ; 
 Das ist das beste Mittel, glaub, ^°°S 
 
 Auf achtzig Jahr' dich zu verjungen ! 
 
 Faust. 
 Das bin ich nicht gewohnt, ich kann mich nicht bequemen, 
 Den S paten in die Hand zu nehmen ; 
 Das enge Leben steht mir gar nicht an. 
 
 Mephistophelei. 
 So musz denn doch die Hexe dran. zoio 
 
 Fausi. 
 Warum denn just das alte Weib ? 
 Kannst du den Trank nicht selber braaen ? 
 
 Mephistopheles. 
 Das war' ein schbner Zeitvertreib ! 
 Ich wollt' indesz wohl tausend Briicken bauen. 
 Nicht Kunst und Wissenschaft allein, 2015 
 
 Geduld will bei dem Werke sepi'i , Ai 
 
 Ein stiller Geist ist Jahre lang geschaftig, ' ' ^ 
 
 Die Zeit nur macht die feine Gahrung kraftig. )a^- , ■'' 
 Und Alles, was dazu gehort, 
 
 Bs sind gar wunderbare Sachen! 2020 
 
 Der Teufel hat sie's zwar gelehrt, 
 Allein der Teufel kanni's nicht macheu. 
 
 [Bie Thieub erhUckend.'] 
 Sieh, welch ein zierliohes Geschleoht ! 
 Das ist die Magd ! Das ist der Knecht ! 
 
 [Xm den Thieben.] 
 B? soheint, die Frau ist nicht zu Hause ? 2025 
 
witch's kitchen. 177 
 
 Mephistopheles. 
 
 Well ! there is a remedy to be had without money, 
 physician, or sorcery : betake thyself straightway to the 
 field, begin to hoe and dig, confine thyself and thy sense 
 within- a thoroughly contracted circle ; support thyself 
 on simple food ; live with beasts as a beast, and think 
 it no robbery to manure yourself the field from which 
 you reap. That is the best way, believe me, to keep 
 you young t»-eighty. 
 
 *" Faust. 
 
 I am not used to it. I cannot bring myself to take 
 the spade in hand ; the confined life does not suit me 
 at all. 
 
 Mephistopheles. 
 
 Then you must have recourse to the witch after all. 
 
 Faust. 
 But why must it just be the hag ? Cannot you brew 
 the drink yourself ? 
 
 Mephistopheles. 
 That were a pretty pastime ! I would rather build a 
 thousand bridges in the time. Not art and science only, 
 but patience is required for the job. A quiet spirit is 
 active at it for years ; time only strengthens this fine fer- 
 mentation. And the ingredients are exceedingly curious. 
 The devil, it is true, has taught it her, but the devil can- 
 not make it. (Perceiving the Monkets.) See what a 
 pretty breed ! This is the maid — that is the rnan. (To 
 the Monkeys.) It seems your mistress is not at home ? 
 
 N 
 
178 HEXENKUCHE. 
 
 Die Thiere. 
 Beim Schmause ; 
 AuB dem Haus 
 Zum Schornstein hinaus ! 
 
 MepMsiopheles. 
 Wie lange pflegt sie wohl zu schwarmen ? 
 
 Die Thiere. 
 So laag' wir uns die Pfoten warmen. 2030 
 
 Mephisiopheles (zu Faust). 
 Wie findest du die zarten Thiere ? 
 
 Faust. 
 So abgeschmaokt, als ioh nur Jemand sah ! 
 
 MepMsiopheles. 
 Nein, ein Discurs wie dieser da 
 1st grade der, den ioh am Liebsten fuhre ! 
 
 \Zu den Thierbn.] 
 So sagfc mir doch, verfluohte Pappen, 2035 
 
 Was quirlt ihr in dem Brei herum ? 
 
 Thiere. 
 Wir kochen breite Bettelsuppen. 
 
 Mephistgpheles. 
 Da habt ihr ein grosz Publikum. 
 
 Ber Kater (macht sich herhei wnd schmeiehelt dem 
 Mephistopheles). 
 O, wurfle nur gleich 
 
 Und mache mioh reich 2040 
 
 Und lasz mioh gewinnen ! 
 Gar schleoht ist's bestellt, 
 Und war' ich bei Geld, 
 So wHr' ipjj bei Sinnen, 
 
witch's kitchen. 179 
 
 The Monkeys. 
 At the feast,'= 
 Out of the house, 
 By the chimney out. 
 
 ■ Mephistopheles. 
 How long does she usually roam about ? 
 
 TJie Monkeys. 
 As long as we warm our paws. 
 
 Mephistopheles (to Faust). 
 How do you find these tender creatures ? 
 
 Faust. 
 As disgusting as I ever saw anything. 
 
 Mephistopheles. 
 Nay, a discourse like the present, is precisely what I 
 am fondest of engaging in. (To the Monkeys.) Tell 
 me, ye accursed puppets, why do you stir so this mess ? 
 
 Monkeys. 
 We are cooking watery soups for beggars.'* 
 
 Mephistopheles. 
 You will have plenty of customers. 
 
 TAe Se Monkey {a/pproaches and fawns on 
 Mephistopheles). 
 
 quick throw the dice, 
 And make me rich — 
 And let me win ! 
 
 My fate is a sorry one, 
 And had I money 
 
 1 should also have reason. 
 
180 HEXENKUCHE. 
 
 Mephistophelea. 
 Wie gliicklich wurde sioh der Affe schafczen, 2045 
 
 Konut' er nur auch ins Lotto setzen ! 
 
 [Indessen haben cUejungen Meeekatzchen mii einer 
 groszen Kugel getpielt und rotten sie hervor.] 
 
 Der Eater. 
 Das ist die Welt ; 
 Sie steigt und fallt 
 Und roUt bestandig ; 
 . Sie klingt wie Glas ; 2050 
 
 Wie bald bricht das ? 
 Ist hohl inwendig ; 
 Hier glanzt sie sehr 
 TJnd hier nooh mehr. 
 Ich bin lebendig ! 2055 
 
 Mein lieber Sohn, 
 Halt dich davon ! 
 Du muszt sterben ! 
 Sie ist von Thon, 
 Es giebt Scherben. 2069 
 
 Me'phistojpheles. 
 Was soil das Sieb ? 
 
 Der Eater (holt es herunter). 
 Warst du ein Dieb, 
 Wollt' ieh dioh gleioh erkennen. 
 [Er lauft zur Edtzin und Idszt sie ditrchsehen.] 
 Sieh dui'ch das Sieb ! 
 Erkennst du den Dieb ? 2065 
 
 Und darfst ihn nioht nennen ? 
 
witch's kitchen. 181 
 
 Mej>histo;phele8. 
 How happy the monkey would think himself, if he 
 could only put into the lottery. 
 
 [The Young Monkeys have, in the meantime, 
 been playing with a large globe, and roll it 
 
 The He Monkey. 
 That is the world ; 
 It rises and falls. 
 And rolls unceasingly. 
 It rings like glass : 
 How soon breaks that ? 
 It is hollow within ; 
 It glitters much here. 
 And still more here — 
 I am alive ! 
 My dear son, 
 Keep thee aloof ; 
 Thou must die ! 
 It is of clay, 
 This makes potsherds. 
 
 Mephistopheles. 
 What is the sieve for ? 
 
 The He Monkey (takes it down). 
 Wert thou a thief, I should know thee at once. 
 
 [He^runs to the female and makeS^her look through.] 
 Look through the sieve ! 
 , Dost thou recognize the thief ? 
 
 And darest not name him ? 
 
182 HEXENKiJCHE. 
 
 Mephistopheles (sich dem Feuer ndhernd.) 
 Und dieser Topf ? 
 
 Kaier und Edtzin. 
 Der alberne Tropf ! 
 Er kennt nicht den Topf, 
 Er kennt nicht den Kessel ! 2070 
 
 Mephistopheles. 
 Unhofliches Thier ! 
 
 Der Kater. (Jr *" 
 
 Den Wedel nimm hier 
 Und Beta dich. in Sessel ! 
 [Er nothigt den Mephistophbles, zu sitzen.'] 
 
 Faust (welcher diese Zeit uher vor einem Spiegel gestanden, 
 
 •sich ihm lal^ genahert, laid sich von ihm entfernt hat.} 
 Was seh' ich ? Welch ein himmlisch Bild 
 Zeigt sich in diesem Zauberspiegel ! 2075 
 
 O Liebe, leihe mir den schnellsten deiner Fliigel 
 Und fuhre mich in ihr Gefild ! 
 Ach, wenn ich nicht auf dieser Stella, bleibe, 
 Wenn ich es wage, nah zu gehn, 
 
 Kann ich sie nur ak wie im Nebel sehn ! — 2080 
 
 Das schonste Bild von einem Weibe ! 
 Ist's moglich, ist das Weib so schou ? , ' 
 
 Musz ich an diesem hingestreckten Leibe ^"^"^ 
 Den Inbegriff von alien Himmeln sehn ? 
 So etwas fiudet sich auf Erden? 2085 
 
 Mephistopheles. 
 Natiirlich, wenn ein Gott sich erst sechs Tage plagt 
 Und selbst am Ende Bravo sagt, 
 Da musz es was Gescheites werden. 
 Eiir diesmal sieh dich immer satt ; , 
 
 Ich weisz dir so ein Schatzchen auszuspiiren, 2090 
 
witch's kitchen. 183 
 
 Mephistopheles (approaching the fire). 
 And this pot ? 
 
 The Morikeys. 
 The half-witted sot ! 
 He knows not the pot ! 
 He knows not the kettle ! 
 
 Mephistopheles. 
 Uncivil brute ! 
 
 The He Monkey. 
 Take the brush here," 
 And sit down on the settle. 
 
 [He makes Mephistopheles sit down."] 
 
 Faust (who all this time has heen standing before a look- 
 ing-glass, now approaching and now retiring from it) . 
 What do I see ? What a heavenly image shows itself 
 in this magic mirror ! O Love ! lend me the swiftest of 
 thy wings^ and bear me to her region ! Ah ! when I do 
 not remain upon this spot, when I venture to go near, 
 I can only see her as in a mist. The loveliest image of 
 a woman ! Is it possible, is woman so lovely ? Must I 
 see in these recumbent limbs the inneimost essence of 
 all Heavens ? Is such a thing to be found on earth ? 
 
 Mephistopheles. 
 When a God first works hard for six days, and him- 
 self says hravo at the end, it is but natural that some- 
 thing clever should come of it. Tor this time look your 
 fill. I know where to find out such a love for you, and 
 
184 KLXEyKVCKE. 
 
 Und selig, wer das gute Sohicksal hat, 
 Als Brautigam sie heimzufiihren ! 
 
 [Paust tieht immerfort in den Spiegel. Mephistopheles, 
 
 sich in dem Sessel dehnend und mit dem Wedel spie- 
 
 lend, fahrt fort zu sprechen.'] 
 Hier sitz' ich wie der Konig auf dem Throne, 
 Den Zepter halt' ich hier, es fehlt nur noch die Krone. 
 
 Die Thiere (welche higher allerlei wunderliche JBewegv/ngen 
 durch einander gemacht haben, hringen dem Mephisto- 
 pheles eine Krone mit groazem Geechrei.) 
 
 0, sei doch so gut, 2095 
 
 Mit Sohweisz und mit Blut 
 Die Krone zu leimen ! 
 \_Sie gehn ungeschicht rmt der Krone um und zerhrechen 
 sie in zwei Stucke, mit weldhen sie herumspringen.^ 
 Nun ist es gesohehn ! 
 Wir reden und sehn, 
 Wir horen und reimen. z'oo 
 
 FaviSt (gegen den Spiegel). 
 Weh mir ! Ich werde sohier verriickt. 
 
 Mephistopheles {auf die Thiere deutend^. 
 Nun fangt mir an fast selbst der Kopf zu schwaaken. 
 
 Die Thiere. 
 
 Und wenn es uns glUckt, 
 
 Und wenn es sich schickt, 
 
 So sind es Gedanken ! zio? 
 
 / -* 
 
 Faiist (wie ohen'). 
 Mein Busen fangt mir an zu brennen ! 
 Entfernen wir uns nur gesohwind ! 
 
witch's kitchen. 185 
 
 happy lie whose fortune it is to bear her home as a 
 bridegroom. 
 
 [Fattst continues looking into the mirror. 
 
 Mbphistopheles, stretching himself on the 
 
 settle and playing with the hrvsh, continues 
 
 speaking.'} 
 
 Here I sit, like the king upon his throne ; here is my 
 
 sceptre — I only want the crown. 
 
 The Monkeys (who have hitherto been playing all sorts of 
 strange antics, bring Mbphistopheles a crown, with 
 
 loud ciHes). 
 
 Oh, be so good 
 As to glue the crown'' 
 With sweat and blood. 
 [They handle the crown awkwardly, and break it 
 info two pieces, with which they jwmp about.'] 
 Now it is done. 
 We speak and see ; 
 We hear and rhyme — 
 Faust (before the mirror). 
 Woe is me ! I am becoming almost mad ! 
 
 Mephistopheles (pointing to the Monkeys). 
 Now my own head almost begins to reel. 
 The Monkeys. 
 And i£ we are lucky, 
 And if things fit. 
 Then they are thoughts ! 
 Faust (as before). 
 My breast is beginning to bum ! Do let us begone 
 immediately ! 
 
186 HEXENKUCHE. 
 
 MepMstopheles (in obiger Siellwng). 
 Nun, wenigstens mnsz man bekennen, 
 Dasz es anfriohtige Poeten sind. 
 
 [Per Eessel, welchen die Katzin Usher cmszer Acht ge- 
 lassen, fixngt an, uherzulaufen ; es entsteht eine grosze 
 Flamme, welohe zv/m Schornstein hinoMSschldgt. Die 
 Hbxe Jconmit dv/rch die Flamme mii entsetzUchem 
 Oesehrei herutitergefahren.'] 
 
 Die Hexe. 
 An! An! Au ! Au! 21 lo 
 
 Verdammtes Thier ! Verfluchte Sau ! 
 Versaumst den Eessel, versengst die Fran ! 
 Verfluohtes Thier ! 
 
 [Faust und Mbphistopheles erhliclcend.'} 
 
 Was ist das bier P 
 
 Wer seid ihr hier ? 2 1 1 5 
 
 Was woUt ihr da ? 
 
 Wer schlich sich ein ? 
 
 Die Feuerpein 
 
 Euch ins Gebein ! 
 l_8ie fahrt mit dem Schaumloffel in den.Kessel und S'pntzt 
 Flarmnen nach Faust, Mbphistopheles und den 
 Thieben. Die Thierb winseln.'] 
 
 Mephietopheles (welcJier den Wedel, den erin der Hand halt, 
 umhelirt und unter die Gldser und Tbpfe schldgt). 
 
 Bntzwei ! Entzwei ! 2120 
 
 Da liegt der Brei, 
 Da liegt das Glas ! 
 
witch's kitchen. 187 
 
 Mephistopheles (in the same position). 
 Well, no one can deny, at any rate, that they are 
 sincere poets. 
 
 \_The cauldron, which the She Monket has neglected, 
 begins to hoil over ; a great flame arises, which 
 streams uja the chimney. The Witch comes shoot- 
 ing down through the flame with horrible cries.} ^ 
 
 The Witch. 
 Ough, ough, ough, ough ! 
 Damned beast ! Accursed sow ! 
 Neglecting the cauldron, scorching your dame — 
 Cursed beast ! 
 
 [Espying Faust and Mephistopheles.J 
 What now ? 
 Who are ye ? 
 What would ye here ? 
 Who hath come slinking in ? 
 The plague of fire 
 Into your bones ! 
 [^8he dips the skimming ladle into the cauldron, and 
 sprinkles flames at Faust, Mephistopheles, and 
 the Monkeys. The Monkeys whimper.] 
 
 Mephistopheles (who inverts the brush which he holds in his 
 hand, and strikes amongst the glasses and pots). 
 To pieces ! To pieces ! ,i ii 
 
 There lies the porridge ! 
 There lies the glass ! 
 
188 HEXENKUCHE. 
 
 Es ist nur Spasz, 
 
 Der Takt, du Aas, 
 
 Zu deiner Melodei ! zi^S 
 
 [^Indem die Hbxe voU Qrvmm v,nd Enitetzen zwucktrittj] 
 Erkennst du mioh, Gerippe ! Scheusal du ! 
 Erkennst du deiueu Herrn und Meister ? 
 Was halt mioh ab, so schlag' ich zu, 
 Zerschmettre dich und deine Katzengeister ! 
 Hast du vorm rothen Wamms nicht mehr Eespekt ? zijo 
 Kannst du die Hahnenfeder nioht erkennen ? 
 HaV ich dies Angesioht versteokt ? ■ :'^ 
 
 Soil ich mich etwa selber uennen ? 
 
 Die Hexe. 
 O Herr, verzeiht den rohen Grusz ! 
 
 Seh' ich dooh keinen Pferdefusz. 2135 
 
 Wo Bind denn sure beiden Baben P 
 
 Mephistopheles, 
 FUr diesmal kommst du so davon ; 
 Denn freilich ist es eine Weile schon, 
 Dasz wir uns nicht gesehen haben.^ 
 
 Auch die Kultur, die alle Welt beleokt, 2140 
 
 Hat auf den Teufel sich erstreckt ; 
 Das nordische Phantom ist nun nicht mehr zu schauen ; 
 Wo siehst du Horner, Schweif und Klauen ? 
 Und was den Fusz betrifft, den ich nicht missen kann, 
 Der wiirde mir bei Leu ten schaden ; 214.5 
 
 Darum bedien' ich mich, wie maucher junge Mann, 
 Seit vieleu Jahren falscher Waden. 
 
 Die Hexe (icmzend). 
 Sinn und Verstand verlier' ich schier, 
 Seh' ich den Junker Satan wieder hier ! 
 
 MepMstophelee. 
 Den Namen, Weib, verbitt' ich mir ! 2150 
 
 Die Hexe. 
 Warum ? Was hat er euch gethan ? 
 
witch's kitx;iien, ( 18^ 
 
 It is only a jest. 
 
 The measure, thou carrion. 
 
 To thy melody. 
 [As the Witch steps hack in rage and horror.] 
 Dost thou know me, thou skeleton, thou abomination ? 
 Dost thou know thy lord and master ? What is there to 
 hinder me from striking in good earnest, from dashing 
 thee and thy monkey-spirits to pieces ? Hast thou no 
 more any respect for the red doublet ? Canst thou not 
 recognize the cock's feather? Have I concealed this 
 face ? Must I then name myself ? 
 
 The Witch. 
 
 master, pardon this rough reception ! But I see no 
 cloven foot. Where then are your two ravens ? 
 
 Mephisiopheles. 
 This once, you will come off unhurt ; for, to be sure, 
 it is some while since we saw each other. The march of 
 intellect too, which Hcks aU the world into shape, has 
 even reached the devil. The northern phantom is now 
 no more to be seen." Where do you see horns, tail, and 
 claws ? And as for the foot, which I cannot do without, 
 it would prejudice me in society ; therefore, like many 
 a youngster, I have worn false calves these many years. 
 The Witch (dancing). 
 
 1 am almost beside myself, to see Squire Satan here 
 
 again. 
 
 M&phistopheles. 
 
 Woman, I deprecate that name. 
 
 The Witch. 
 
 Wherefore ? What has it done to you ? 
 
190 HEXENKUCHE. 
 
 MepMstopheles. 
 Er ist Bchon lang' ins Fabelbuch geschrieben ; 
 Allein die Menschen sind nichts besser dran, 
 Den Bosen sind sie los, die Bosen sind geblieben. 
 Du nennst mioh Herr Baron, so ist die Sache gut; 2155 
 Ich bin ein Kavalier wie andre Kavaliere. 
 Du zweifelst nioht an meinem edlen Blut ; 
 Sieh her, das ist das Wappen, daa ich fiihre ! 
 
 [Er macM eine unanstandAge Gclerde.'J 
 
 Die Hexe (lacht unmiiszig). 
 Ha ! Ha ! Das ist in eurer Art ! 
 Ihr Beid ein Sohelm, wie ihr nur immer wart ! z'^o 
 
 MepUstopheles (zu Faust). 
 Mein Freund, das lerne wohl verstehn ! 
 Dies ist die Art, mit Hexen umzugehn. 
 
 Bie Hexe. 
 Nun sagt, ihr Herren, was ihr schafft ! 
 
 Mephistopheles. 
 Ein gutes Glas von dem bekannten Saft ! 
 Dooh mnsz ich euch nms altste bitten ; 2165 
 
 Die Jahre doppeln seine Kraft. 
 
 Die Hexe. 
 Gar gern ! Hier hab' ich eine Plasohe, 
 Aus der ich selbst zuweilen nasche, 
 Die auch nicht mehr im Mindsten stinkt ; 
 Ich will euch gern ein Glaschen geben. 2170 
 
 (Leise.) Doch wenn es dieser Mann unvorbereitet trinkt, 
 So kann er, wiszt ihr wohl, nicht eine Stunde leben. 
 
 MepMstopheles. 
 Es ist ein guter Freund, dem es gedeihen soil ; 
 Ich gonn' ihm gern das Beste deiner Kiiche. 
 Zieh deinen Kreis, sprich deine Spriiche 2175 
 
 Und gieb ihm eine Tasse voll ! 
 
 [Die Hexe, mit seltsatnen Geberden, xieht einen Kreis 
 
witch's kitchen. 191 
 
 Mephistopheles. 
 It has long been relegated to the book of fables ; but 
 men are not the better off for that ; they are rid of the 
 evil one, but the evil ones have remained. You may 
 call me Lord Baron, that will do very well. I am a 
 cavalier, like other cavaHers. Tou doubt not of my 
 gentle blood ; see here, this is the coat of arms I bear ! 
 [fle makes an unseerrdy^ gesture.'] 
 
 The Witch (laughs immoderately). 
 
 Ha, ha ! That is in your way. You are the same mad 
 
 wag as ever. 
 
 Mephistopheles (to Faust). 
 
 My friend, attend to this. This is the way to deal 
 
 with witches. 
 
 The Witch. 
 
 Now, sirs, say what is your pleasure ? 
 Mephistopheles. 
 
 A good glass of the well-known juice ! I must beg you 
 to let it be of the oldest. Years double its strength. 
 The Witch. 
 
 Most willingly ! Here is a bottle out of which I some- 
 times sip a little myself; which, besides, no longer 
 stinks the least. I will give you a glass with pleasure. 
 (Whispering^ But if this man drinks it unprepared, 
 you well know he cannot live an hour. 
 
 Mephistopheles. 
 
 He is a dear friend of mine, on whom it will have 
 
 a good effect. I grudge him not the best of thy kitchen. 
 
 Draw thy circle, speak your spells, and give him a cup 
 
 full. 
 
 [The Witch, with strange gestures, draws a circle 
 
192 HEXENKUCHE. 
 
 und sielli wunderlare Sachen hineins indessen fa/)igen 
 die (xlaser an zu Mingen, die Kessel zu toners und 
 machen MusiJc. Zuletzi Iringt sie ein groszes Buck, 
 stelU die Meekkatzen in den Kreis, die ikr zum Fult 
 dienen und die Fackel halten miissen. Sie ivinht 
 Fausten, z« ihr zu treten.'} 
 
 Faust (zu Mephistopheles). 
 Nein, sage mir, was soil das werden ? 
 Das toUe Zeug, die rasenden Geberden, 
 Der abgeschmaokteste Betrag 
 Sind mir bekannt, verhaszt genug. 2180 
 
 Mephistopheles. 
 Ei Fosseu ! Das ist cur zum Lacheu ; 
 Sei nur nioht ein so strenger Mann ! 
 Sie musz als Arzt ein Hokuspokus machen, 
 Damit der Saffc dir wohl gedeihen kaun. 
 
 [Er nothigt Patjsten, in den Kreis zu treten."] 
 
 Die Seme (mit groszer Emphase, fdngt an, cms dem 
 Buche zu deklanmen). 
 Du muszt verstehn ! 2185 
 
 Aus Eins mach Zehn 
 Und Zwei lasz gehn 
 Und Drei mach gleich, 
 So bist Du reich. 
 
 Verlier die Vier ! 2190 
 
 Aus Piinf und Sechs, 
 So sagt die Hex', 
 Mach Sieben und Acht, 
 So ist's vollbracht ; 
 Und Neun ist Eins, 2195 
 
witch's kitchen. 193 
 
 and places strange things in it ; in the meantime, 
 the glasses begin to ring, and the cauldron to sound, 
 and mioke music. Lastly, she brings a great book, 
 and places the Monkeys in the circle, who are 
 made to serve her for a reading-desk and hold the 
 torch. She signs to Taust to approach.} 
 
 Faust (to Mephistopheles). 
 
 But tell me what is to come of all this ? This absurd 
 
 apparatus, these frantic gestures, this most disgusting 
 
 jugglery — I know them of old and thoroughly ahominate 
 
 them. 
 
 Mephistopheles. 
 
 Pooh ! that is only mere foolery. Don't be so 
 
 fastidious. As mediciner she is obliged to play ofE some 
 
 hocus-pocus, that the dose may operate well on you. 
 
 \_He makes Fattst enter the circle.] 
 
 The Witch (with a strong emphasis, begins to declaim 
 from the book). 
 You must understand. 
 Of one make ten. 
 And let two go. 
 And three make even ; 
 Then art thou rich. 
 Lose the four ! 
 Out of five and six. 
 So says the Witch, 
 Make seven and eight, 
 Then it is done ; 
 And nine is one, 
 
 
 
194 HEXENKUCHE. 
 
 Und Zehn iet Keins : 
 
 Pas ist das Hexen-Emmaleins ! 
 
 Faust. 
 Mich diiukt, die Alte sprioht im Fieber, 
 
 ' MepMstopheles. 
 
 Das ist noch lange nicht voriiber, 
 
 Ich kfenn' es wohl, so klingt das ganze Buch ; 2200 
 
 Ich habe manche Zeit damit verloren, 
 Denn ein vollkommner Widerspruch 
 Bleibt gleich gebeimniszvoll fur Kluge wie fiir Thoren. 
 Mein Freund, die Kunst ist alt und neu. 
 Es war die Art zu alien Zeiten, 2205 
 
 _ Durch Drei und Eins und Eins und Drei 
 Irrthum statt Wahrheit zu verbreiten. 
 So sohwatzt und lehrt man ungestort, 
 Wer will sich mit den Warr'n befassen ? 
 Gewohnlich glaubt der Mensoh, wenn er nur Worte hort, 
 Es miisse sich dabei doch auch was denken lassen. 2211 
 
 Der Hexe (fdhrt fort). 
 Die hobe Kraft 
 Der Wissenschaft, 
 Der ganzen Welt verborgen !, 
 Und wer nicht denkt, 2215 
 
 Dem wird sie geschenkt, 
 Er hat sie ohne Sorgen. 
 
 Faust. 
 Was sagt sie uns fur TJnsinn vor ? 
 Es wird mir gleich der Kopf zerbrechen. 
 Micl* diinkt, ich hor' ein gauzes Chor 2220 
 
 Von hunderttausend Narren spreohen. 
 
 Mephisiopheleg. ,\- 
 Genng, genug, o treffliche Sibylle I-'' 
 Gieb deinen Trank herbei und fiille 
 Die Schale rasch bis an den Eand hinan ; 
 
witch's kitchen. 196 
 
 And ten is none. 
 
 That is the witch's one-times-one."" 
 
 Faust, 
 It seems to me that the hag raves in fever. 
 
 Mephistopheles. J 
 
 It is far from over yet, I know it well ; the whole 
 book is to the same tune. I have wasted many an hour 
 upon it, for a downright contradiction" remains equally 
 mysterious to wise folks and fools. My friend, the 
 art is old and new. It has ever been the fashion to 
 spread error instead of truth by three and one, and 
 one and three. Thus they prattle and teach unin- 
 terruptedly; who will concern themselves about these 
 dolts ? Men are wont to believe, when they hear only 
 words, that there must be something in it. 
 
 The Witch (continues). 
 The high power 
 Of knowledge. 
 
 Hidden from the whole world ! 
 And he who thinks not, 
 On him is it bestowed ; 
 He has it without trouble. 
 
 Faust. 
 What nonsense is she reciting to us? My head is 
 splitting ! I seem to hear a hundred thousand idiots 
 declaiming in full chorus. 
 
 Mejihistopheles. 
 Enough, enough, excellent Sibyl ! Hand us thy drink, 
 and fill the cup to the brim without more ado ; for this 
 
196 HEXENKUCHE. 
 
 Denn meinem Freund wird dieser Trunk nicht schad»n : 
 Er ist ein Mann von vielen Graden, A, ^^ ' ^z^S 
 
 Der manohen guten Schluck gethan. i\ - '' 
 
 [Die Hexe, mii vielen Zeremoiiien, schenht den Trank m 
 eine Schale ; wie sie Faust an den Mund hringt, enU 
 stiht eine leichte Flamme.'\ 
 Nur frisch hinunter ! Immer zu ! 
 Bs wird dir gleich das Herz erfreuen. 
 
 Bist mifc dem Teufel du und du, 2230 
 
 Und willst dich vor der Flamme scheuen ? 
 
 [Die Hexe lost den Kreis. Faust tritt heraits.'] 
 Nun frisch hinaus ! Du darfst nicht ruhn. 
 
 Die Hexe. 
 Mog' euch das Schliiokchen wohl behagen ! 
 
 MepJiistopheles {zur Hexe). , '^>ff' 
 
 Und kann ich dir was zu Gefallen thun, -^ 
 
 So darfst du mir's nur auf Walpurgis sagen. ' 2235 
 
 Die Hexe. 
 Hier ist ein Lied ! Wenn ihr's zuweilen singt, 
 So werdet ihr besondre Wirkung spiiren. 
 
 Mephistopheles (zu Faust). 
 Komm nur geschwind und lasz dich fUhren ! 
 Du muszt nothwendig transpiriren, 
 
 Damit die Kraft durch Inn- und Aeuszres dringt. 2240 
 Den edlen Musziggang lehr' ich hernach dich sohatzen, 
 Und bald empfindest du mit innigem Ergetzen, 
 Wie sich Kupido regt und hin und wieder springt. 
 
 Faust. 
 Lasz mich nur schnell noch in den Spiegel schauen ! 
 Das Fraueubild war gar zu schon ! 2245 
 
witch's kitchen. 197 
 
 draught will do my friend no harm. He is a man of 
 
 many grades, who has talcen many a good gulp already. 
 
 [The Witch with many ceremonies pours the 
 
 liquor into a cup ; as Fatjst lifts it to his 
 
 mouth a light flame arises.] 
 Down with it at once! Do not stand hesitating. It 
 will soon warm your heart. Are you hail-fellow well- 
 met with the devil, and afraid of fire ? 
 
 [The Witch dissolves the circle — Faust steps out.] 
 Now forth at once ! Tou must not rest. 
 
 The Witch. 
 Much good may the draught do you. 
 
 Mephistopheles (to the Witch). 
 And if I can do anything to pleasure you, you need 
 only mention it to me on Walpurgis' night. 
 
 The Witch. 
 Here is a song ! If you sing it occasionally, it will 
 have a particular effect on you. 
 
 Mephistopheles (to Fatjst). 
 Come quick, and be guided ; it is absolutely necessary 
 for you to perspire, that the potent juice may penetrate 
 your whole frame. I will afterwards teach you how to 
 appreciate noble idleness, and you will feel ere long, 
 with heartfelt delight, how Cupid bestirs himself and 
 bounds hither and thither. 
 
 Faust. 
 Let me only look another moment in the glass. That 
 female form was too, too lovely. 
 
198 HEXENKUCHE. 
 
 Mephistopheles. 
 Nein, nein ! Du sollst das Muster aller Frauen 
 Nun bald leibhaftig vor dir sehn. 
 (Leke.) Du siehst mit ^iesem Trank im Leibe 
 Bald Helenen in jedem Weibe. 
 
witch's kitchen. 199 
 
 Mephisto^Jieles. 
 Nay, nay ; you shall soon see the model of all woman- 
 tind in flesh and blood. {Aside.) With this draught 
 in your body, you will soon see a Helen in every 
 woman. P^-^h.,i\ 
 
M 
 
 STEASZB. 
 
 Fattst. Maegakete voriibergehend. 
 
 Faust. 
 EIN Bohones Fraulein, darf ich wagen, 2250 
 Meinen Arm und Geleit ihr anzutragen ? 
 
 Margarete. , '■ 
 
 Bin weder Fraulein weder schon, ,, 
 Kanu ungeleitet nach Hause gehn. 
 
 [Sie maeJit sieh los und a6.] 
 
 Faust. 
 Beim Himmel, dieses Kind ist schon ! 
 So etwas hab' ich nie gesehn ! 2255 
 
 Sie ist so sitt- und tugendreich 
 TJnd etwas schnippisch doch zugleich. 
 Der Lippe Roth, der Wange Licht, 
 Die Tage der Welt vergess' ich's nicht ! 
 Wie sie die Augen niederschlagt, 2260 
 
 Hat tief sich in mein Herz gepragt ; 
 Wie sie kurz angebunden war, 
 Das ist nun zum Bntziicken gar ! 
 
 [Mephistopheles tritt aw/.] 
 
 Faiist. 
 Hiir, du muszt mir die Dime schafTen ! 
 
 MepJiistopheles 
 Nun, welche ? 
 
 Faust. 
 Sie ging just vorbei. 2265 
 
M 
 
 THE STEEET. 
 
 Eatjst. Maegaeet ^'' {passing hy). 
 
 Faust. 
 T pretty lady, may I tate the liberty of offering 
 you my arm and escort ? 
 
 Margaret. 
 I am neither lady, nor pretty, and can go home by 
 myself. [She disengages herself, and exit.'] 
 
 Faust. 
 By heaven, this girl is lovely ! I have never seen the 
 like of her. She is so modest and virtuous, and a little 
 pert withal. The redness of her lip, the light of her 
 cheek — I shall never forget them all the days of my 
 life. The manner in which she cast down her eyes is 
 deeply stamped upon my heart ; and how sharp her 
 speech was — it was absolutely ravishing ! 
 
 [Mephistopheles enters.] 
 
 Faust. 
 Hark, you must get me the girl. 
 
 MejiMstQjpheles. 
 Which? 
 
 Faust. 
 She passed but now. 
 
202 STEASZE. 
 
 Me^phistoipTieles. 
 Da die ? Sie kam von ihrem Pfaffen, 
 Der spracli sie aller Sunden frei ; 
 Ich sohlich mich hart am Stuhl vorbei ; 
 Es isfc ein gar unschuldig Ding, 
 
 Das eben fiir niohts zur Beichte ging ; 2270 
 
 Ueber die hab' ich keine Gewalt ! 
 
 Faust. 
 1st Uber vierzehn Jahr' doch alt. 
 
 MeTpMstoTpheles. 
 Du sprichst ja wie Hans Liederlicb, 
 Der begehrfc jede liebe Blum' fiir sioh, 
 Und diinkelt ihm, es war' kein' Ehr' 2275 
 
 Und Grunst, die nicht zu pfliicken war' ; 
 Geht aber doch nicht immer an. 
 
 Fanst. 
 Mein Herr Magister Lobesan, 
 Lasz er mich mit dem Gesetz in Frieden ! 
 Und das sag' ich ihm kurz und gut : 2280 
 
 Wenn nicht das sUsze junge Blut 
 Heut Nacht in meinen Armen ruht, 
 So sind wir um Mitternacht geschieden, 
 
 Me'phisto'p'heles. 
 Bedenkt, was gehn und stehen mag ! 
 Ich brauche wenigstens vierzehn Tag', 2285 
 
 Nur die Gelegenheit auszuspuren. 
 
 Faust. 
 Hatt' ich nur sieben Stunden Euh, 
 Brauchte den Teufel nicht dazu, 
 So ein Geschopfchen zu verfiihren. 
 
 Me'p'hAsto'pJieles. 
 Ihr sprecht schon fast wie ein Franzos ; 2290 
 
 Doch bitt' ich, laszt's euch nicht verdrieszen: 
 Was hilft's, nur grade zu genieszen ? 
 
THE STREET. 203 
 
 M&phisto^heles. 
 
 What, slie ? She came from her confessor, who ah- 
 
 solved her from all her sius. I stole up close to the 
 
 chair. It is an innocent little thing, that went for next 
 
 to nothing to the confessional. Over her I have no 
 
 power. 
 
 Faust. 
 
 Yet she is past fourteen ! 
 
 MepMstopheles. 
 Tou positively speak like Jack Eake, who covets 
 every sweet flower for himself, and fancies that there is 
 neither honour nor favour which is not to be had for 
 the plucking. But this will not always do. 
 
 Favst. 
 
 -i. My honourable pedagogue, don't plague me with 
 
 your morality. And, in a word, I tell you this : if the 
 
 sweet young creature does not lie this very night in my 
 
 arms, at midnight our compact is at an end. 
 
 Mephistopheles. 
 Consider what is possible. I need a fortnight, at 
 least, only to find an opportunity. 
 
 Faust. 
 Had I but seven hours clear, I should not want the 
 devil's assistance to seduce such a child. 
 
 MepMstophelee. 
 Tou talk now almost Uke a Frenchman ; but don't 
 fret about it, I beg. "What hoots it to go straight to 
 
204 STKASZE. 
 
 Die Freud' ist lange nioht so grosz, 
 
 Als wenn ihr'erst herauf, heram, 
 
 Durch allerlei Brimborium 2295 
 
 Das Puppohen geknetet und zugerloht't, 
 
 Wie's lehret manohe walsche Geschicht'. 
 
 Faust. 
 Hab' Appetit auch ohne das. 
 
 Mephistopheles. 
 Jetzt ohne Sohimpf und ohne Spasz. 
 Ich sag' euch, mit dem sohonen Kind 2300 
 
 Geht's ein- f iir allemal nioht geschwind. 
 Mit Sturm ist da nichts einzunehmen ; 
 Wir miissen uns zur List bequemen. 
 
 Faust. 
 SoEaff mir etwas vom Engelpschatz ! 
 ruhr mioh an ihren Euheplatz ! 2305 
 
 Schaff mir ein Halstuch von ihrer Brust, 
 Ein Strumpfband meiner Liebeslust ! 
 
 MepMstopheles. 
 Damit ihr seht, dasz ich eurer Pein 
 Will forderlich und dienstlich sein, 
 Wollen wir keinen Augenblick verlieren, 2310 
 
 "Will ench noch heut in ihr Zimmer fuhren. 
 
 Faust. 
 Und soil sie sehn ? Sie haben ? 
 
 Mepliistopheles. 
 
 Nein ! 
 Sie wird bei einer Nachbarin sein. 
 Indessen konnt ihr ganz allein 
 An aller Hoffnung kiinft'ger Preuden 2315 
 
 In ihrem Dunstkreis satt euch weiden. 
 
 Faust. 
 Konnen wir hiu ? 
 
THE STREET. 205 
 
 enjoyment ? The delight is not so great by far, as when 
 you have kneaded and moulded the doll on all sides with 
 all sorts of nonsense," as many an Italian story 
 shows us. 
 
 Faust. 
 But I have appetite without all that. 
 
 Mephist(ypheles. 
 Now, seriously and without offence, I tell you once for 
 all, that the lovely girl is not to be had in such a hurry. 
 Nothing here is to be taken by storm ; we must have re- 
 course to stratagem. 
 
 Faust. 
 Get me something belonging to the angel. Carry me 
 to her place of repose; get me a kerchief from her bosom, 
 a garter of my love. 
 
 Mephistojpheles. 
 That you may see my anxiety to minister to your pas- 
 sion, — we will not lose a moment ; this very day I will 
 conduct you to her chamber. 
 
 Faust. 
 And shall I see her ? have her ? — 
 
 Mephistopheles. 
 No. She will be at a neighbour's. In the meantime, 
 you, all alone, and in her atmosphere, may feast to 
 satiety on future joys. 
 
 Faust. 
 Can we go now ? 
 
206 STKASZE. 
 
 Mephistopheles. 
 Es ist noch zu friih. 
 
 Faust. 
 Sorg du mir fur ein Geschenk fiir sie ! [-^^O 
 
 Mephistopheles. 
 Gleioh schenken ? Das ist brav ! Da wird er reussiren : 
 Ich kenne manchen sohonen Platz 2320 
 
 Und manchen altvergrabnen Schatz ; 
 Ich musz ein biszchen revidiren. L^^-] 
 
THE STEEKT. 207 
 
 Mephistopheles, 
 It is too early. 
 
 Faust. 
 Get me a present for her. \_Exit.'] 
 
 Mephistopheles. 
 Making presents directly ! That's capital ! That's 
 the way to succeed ! I know many a fine place and many 
 a long-buried treasure. I must look them over a hit. 
 
 [Exif] 
 
ABEND. 
 
 Ein Ideines remliches Zimmer. 
 
 Margarets (Hire Zopfe flecMend und aufbmdend). 
 
 I OH gab' was drum, wenn ich nur wiiszt', 
 Wer heut der Herr gewesen ist ! 
 Er sah gewisz recht wacker aus 2325 
 
 Und ist aus einem edlen Haus ; 
 Das konnt' ioh ihm an der Stirne lesen — 
 Er wiir' auch sonst nicht so keck gewesen. [A^-l 
 
 Mephistophelbs. Fatjst. 
 
 Mejphistopheles. 
 Herein, ganz leise, nur herein ! 
 
 Fomst (nobch einigem Stillschweigen). 
 Ioh bitte dich, lasz mich alleiu ! 2330 
 
 MephisiopJieles (herumspurend). 
 Nicht jedos Madchen halt so rein. [-46. j 
 
 FaVfSi (rings aufschcmend). 
 Willkommen, suszer Dammerschein, 
 Der du dies Heiligthum durchwebst ! 
 Ergreif mein Herz, du s'dsze Liebespein, 
 Die du vom Thau der Hoffnung schmachtend lebst ! 2335 
 Wie athmet rings Gefiihl der Stille, 
 Der Ordnung, der Zufriedenheit ! 
 In dieser Armuth welche Piille ! 
 In diesem Kerker 'welohe Seligkeit ! 
 
 [Br wirft sich auf den ledemen Sessel am Betie.] 
 
EVENING. 
 A neat little Boom. 
 
 Margaret {braiding and binding up her hair). 
 
 I WOULD give something to kno-w who that gentle- 
 man was to-day ! He had a gallant bearing, and is 
 of a noble family I am sure. I could read that on his 
 brow; besides, he would not else have been so impudent.''' 
 
 \_Exit.'] 
 Mephistopheles — Pattst. 
 
 Mephistopheles. 
 Come in — as softly as possible. Only come in ! 
 
 Faust {after a pause). 
 Leave me alone, I beg of you. 
 
 Mephistopheles {prying about). 
 It is not every maiden that is so neat. , [Exit.'] 
 
 Faust {looJcing round). 
 Welcome, sweet twilight, that pervades this sanctuary! 
 Possess my heart, delicious pangs of love, ye who live 
 languishing on the dew of hope! What a feeling of 
 peace, order, and contentment breathes round ! What 
 abundance in this poverty ! What bliss in this cell ! 
 [He throws himself upon the leathern easy chair by 
 the side of the bed.] 
 
210 ABEXB. 
 
 0, nimm mich auf, der du die Vorwelt Bohon 2340 
 
 Bei Freud' und Sohmerz in offnen Arm empfangen ! 
 Wis oft, ach, hat an diesem Vaterthron 
 Sehon eine Schaar von Kindern rings gehangen ! 
 Vielleicht hat, dankbar fiir den Heil'gen Christ, 
 Mein Liebchen hier mit voUen Kinderwangen 2345 
 
 Dem Ahnherrn fromm die welke Hand gekiiszt. 
 Ich fiihr, o Madchen, deinen Geist 
 'Der Full' und Ordnung um mich sauseln, 
 Der miitterlich dich taglich unterweist, 
 Den Teppich auf den Tisch dich reinlich breiten heiszt, 
 Sogar den Sand zu deinen Fuszen krauseln. 2351 
 
 liebe Hand ! So gottergleich ! 
 Die Hiitte wird durch dich ein Himmelreich. 
 Und hier ! , [JE?r helt emen Bettvorhang auf. J 
 
 Was faszt mich fur ein Wonnegraus ! 
 Hier mocht' ich ToUe Stunden saumen. 2355 
 
 Natur ! Hier bildetest in leichten Traumen 
 Den eingebornen Engel aus. 
 Hier lag das Kind, mit warmem Leben 
 Den zarten Busen angefuUt, 
 
 Und hier mit heilig reinem Weben 2360 
 
 Bntwirkte sich das Gotterbild ! 
 
 Und du ! Was hat dich hergef iihrt ? 
 Wie innig fiihl' ich mich geriihrt ! 
 Was willst du hier? Was wird das Herz dir schwer ? 
 Armsel'ger Faust ! Ich kenne dich nicht mehr. 2365 
 
 Umgiebt mich hier ein Zauberduft ? 
 Mich drang's, so grade zu genieszen, 
 Und fiihle mich in Liebestraum zerflieszen ! 
 Sind wir ein Spiel von jedem Druck der Luft ? 
 
 Und trato sie den Augenbliok herein, 2370 
 
 Wie wiirdest du fiir deinen Frevel biiszen I 
 Der grosze Hans, ach wie bo klein, 
 Lag' hingescbmolzen ihr zu Fiiszeu, 
 
EVENING. 211 
 
 Oh ! receive me, thou, who hast welcomed, with open 
 arms, in joy and sorrow, the generations that are past. 
 Ah, how often has a swarm of children clustered about 
 this patriarchal throne! Here, perhaps, in gratitude 
 for her Christmas-gift, with the warm round cheek of 
 childhood — has my beloved piously kissed the withered ^ 
 hand of her grandsire; Maiden, I feel thy spirit of 
 abundance and order breathe round me — that spirit 
 which daily instructs thee like a mother — which bids 
 thee spread the cloth neatly upon the table and curl the 
 sand at thy feet. Dear hand ! so godlike ! you make f 
 the hut a heaven ; and here — [.He lifts up a bed-curtain] 
 . — what blissful tremor seizes me ! Here could I linger 
 for whole hours ! Nature ! This angel from birth you 
 shaped, here, in airy dreams. HereJay the child ! its gentle 
 bosom filled with warm life ; and here, with weavings of 
 hallowed purity, the divine image developed itself. 
 
 And thou, what has brought thee hither ? How 
 deeply moved I feel ! What wouldst thou here ? Why 
 grows thy heart so heavy ? Miserable Faust, I no l onge r 
 kno w the e. 
 
 Am I in an enchanted atmosphere ? °' I panted so for 
 instant enjoyment, and feel myself dissolving into a 
 dream of love. Are we the sport of every pressure of 
 the air ? 
 
 And if she entered this very moment, how wouldst 
 thou atone for thy guilt ! The big boaster ! alas, how 
 small ! would lie, dissolved away, at her feet. 
 
212 ABEND. 
 
 Me;phisto'pheles. 
 Geschwind ! Ich seh' sie unten kommen. 
 
 Fallot. 
 Port ! Port ! Ich. kehre nimmermehr ! 2375 
 
 Mefhisto'pheles. 
 Hier ist ein Kastcben, leidlich schwer, 
 Ich hab's wo andera hergenommen. 
 Stent's bier nur immer in den Sohrein, 
 Icb scbwiir' euch, ibr vergebn die Sinnen ; 
 Icb tbat eucb .Saobelcben binein, 2380 
 
 Um sine Andre zu gewinneu. 
 Zwar Kind ist Kind, und Spiel ist Spiel. 
 
 Favat. 
 Icb weisz uicbt, soil icb ? 
 
 Mejphisto'pheles. 
 
 Fragt ihr viel ? 
 Meint ibr vielleicbt den Schatz zu wahren ? 
 Dann rath' icb eurer Lusternbeit, 2385 
 
 Die liebe schone Tageszeit 
 Und mir die weitre Miib zu aparen. 
 Icb bofiT' nicbt, dasz ihr geizig seid ! 
 Icb kratz' den Kopf, reib' an den Han den — 
 
 \Fr stelU das Kastchen in den Schrein und druckt 
 das Schlosz wieder zis.] 
 Nur fort ! Geschwind ! — 239c- 
 
 Um euch das susze junge Kind 
 Nacb Herzeas Wunsch und Will' zu wenden ; 
 Und ibr sebt drein, 
 Als solltet ihr in den Horsaal hinein, 
 Als stunden grau leibhaftig vor euob da 2395 
 
 Pbysik und Metaphysika ! 
 Nur fort!— [^^6.] 
 
 Marga/rete (mdi einer Ldmpe). 
 Es ist so scbwiil, so dumpflg bie, 
 
 \_8ie macht das Fenster auf.l 
 Und ist doch eben so warm nicbt drausz. 
 Es wird mir so, icb wei^z nicht wie — 
 
mepnisToptieiet 
 Quiet ! I see her. coming below. 
 
 EVENING. 213 
 
 MepMstoj/hsles. 
 
 Faust. 
 Away, away ! I return no more. 
 
 Mephistopheles. 
 Here is a casket tolerably heavy; I took it from 
 somewhere else. Only place it instantly in the press 
 here. I swear to you, she will be fairly beside herself. 
 I put baubles in it to win by it another ; but child i? 
 child, and play is play. 
 
 Faust. 
 I know not — shall I ? 
 
 Mephistopheles. 
 
 Is that a thing to ask about ? Perchance you mean 
 to keep the treasure for yourself ? In that case I advise 
 your covetousness to spare yourself the precious hours, 
 and further trouble to me. I hope you are not avaricious. 
 I scratch my head, rub my hands- 
 
 [Ile places the casket in the press and closes the lock.] 
 
 But away, quick ! — to bend the sweet young creature 
 to your heart's desire ; and now you look as if you were 
 going to the lecture-room — as if Physic and Metaphysic 
 were standing grey and bodily before you there. But , 
 away ! [Exeunt] 
 
 Margaret (with a lamp). 
 
 It feels so close, so sultry here.'" \_8he opens the 
 window.] And yet it is not so very warm without. I 
 begin to feel I know not how. I wish my mother would 
 
211i ABEND. 
 
 Ich woUt', die Mutter kam' naoh Haus. 2400 
 
 Mir lauft ein Schauer iibern ganzen Leib — 
 Bin dooh ein thSricht furchtsam Weib ! 
 
 [Siefdngt an zu singen, indem sie sich auszieht.^ 
 
 Es war ein Konig in Thule 
 
 Gar treu bis an das Grab, 
 
 Dem sterbend seine Buhle 2405 
 
 Einen goldnen Becher gab. 
 
 Es ging ihm nichts dariiber, 
 
 Er leert' ihn jeden Schmaus ; 
 
 Die Augen gingen ihm iiber. 
 
 So oft er trank daraus. 24,0 
 
 Und als er kam zu sterben, 
 Zahlt' er seine Stadt' im Reich, 
 Gonnt' AJles seinem Erben, 
 Den Becher nicht zugleich. 
 
 Er sasz beim Konigsmahle, 24,5 
 
 Die Eitter um ihn her, 
 
 Auf hohem Vatersaale, 
 
 Dort auf dem Schlosz am Meer. 
 
 Dort stand der alte Zecher, 
 
 Trank letzte lebensgluth 2420 
 
 Und warf den heiligen Becher 
 
 Hinunter in die Eluth. 
 
 Er sah ihn stiirzen, trinken 
 
 Und sinken tief ins Meer. 
 
 Die Augen thaten ihm sinken, 2425 
 
 Trank nie einen Tropfen mehr. 
 
 [ffie eroffnet den Schrein, ihre Kleider einzuraumen, 
 und erbUckf das SchmucJcMstchenJ 
 Wie kommt das schone Kastchen bier herein ? 
 Ich schlosz doch ganz gewisz den Schrein. 
 Es ist doch wunderbar! Was mag wohl drinne sein ? 
 Vielleicht braoht's Jemand als ein Pfand, 24,0 
 
 Und meine Mutter lieh darauf. ' 
 
 Da hangt ein Schlusselchen am Band, 
 
EVEMXG. 215 
 
 come home. I tremble all over ; but I am a silly, timid 
 woman. [She begins to sing as she undresses herself.'] 
 
 SONG. 
 
 There was a king in Thule," 
 Faithful even to the grave, 
 To whom his dying mistress 
 Gave a golden goblet. 
 
 He prized nothing above it ; 
 He emptied it at every feast ; 
 His eyes overflowed as often 
 As he drank out of it. 
 
 And when he came to die, 
 He reckoned up the cities in his kingdom ; 
 He grudged none of them to his heir. 
 But not so with the goblet. 
 
 He sat at the royal banquet, 
 With his knights around him, 
 In his proud ancestral hall, there 
 In his castle on the sea. 
 
 There stood the old carouser, 
 Took a parting draught of life's glow, 
 And threw the hallowed goblet 
 Down into the waves. 
 
 He saw it splash, fill, and sink 
 Deep into the sea ; 
 His eyes sank, he never 
 Drank a drop more. 
 
 [SAe opens the press to put away her clothes, and 
 
 perceives the casTcet.'] 
 
 How came this beautiful casket bere? I am sure 
 
 I locked the press. It is very strange ! What is in it, 
 
 i wonder? Perhaps someone brought it as a pledge, 
 
 and my mother lent upon it. A little key hangs by the 
 
216 ABEx\D. 
 
 Ich denke wohl, ich mach' es auf ! 
 
 Was ist daa ? Grott im Himmel ! Sohau, 
 
 So was hab' ich mein' Tage nicht gesehn ! 243 ; 
 
 Bin Sohmuck ! Mit dem konnt eine Edelfrau 
 
 Am hochsten Feierfcage gehn. 
 
 Wie sollte mir die Kette stehn ? 
 
 Wem mag die Hei'rlichkeit gehoren ? 
 
 [/Sie putzi sioh damit auf und tritt vor den Spiegel.^ 
 Wenn nur die Ohrring' meine waren ! 2440 
 
 Man sieht doch gleich ganz andcrs drein. 
 Was hilft euoh Schonheit, junges Blut ? 
 Das ist wohl AUes Bchon und gut, 
 Allein man laszt's auch A.lles sein ; 
 Man lobt euch halb mit Erbarmen. 24,5 
 
 Nach Golde drangt, 
 Am Golde hangt 
 Doch AUes. Aoh, wir Armen ! 
 
EVENING. 217 
 
 ribbon ; I hare a good mind to open it. What is this? 
 Good heavens ! Look ! I have never seen anything like 
 it in my life. A set of trinkets ! a noble dame might 
 wear such on the highest festival. How would the chain 
 become me ? To whom may this splendour belong ? 
 \_8he adorns herself with them, and steps lefore the 
 looJdng-glass.] 
 If the earrings were but mine ! One cuts quite a dif- 
 ferent figure in them. What avails your beauty and 
 your youth? That may be all pretty and good, but 
 one leaves it alone. Tou are praised, half in pity. 
 After gold all press, all are attached to gold. Alas, 
 we poor ones ! 
 
SPAZIERGANG. 
 
 Faust in Qedanken auf und ah gehend. Zu ihm 
 Mephisiopheles. 
 
 M&pJmtofheles. 
 
 BEI aller verschmakten Liebe ! Beim hoUischen Ele- 
 mente ! 
 loh wollt', ioh -wiiszte was Aergers, dasz ich's fluohen 
 konnte ! 2450 
 
 FoAJiSt. 
 
 Was hast ? Was kneipt dich denn so sehr ? 
 So kein Gesioht sah ioh in meinem Leben ! 
 
 Mephistojpheles. 
 Ich mbcht' mich gleich dem Teufel iibergeben, 
 Wenu ich nur selbst kein Tenfel war' ! 
 
 Faust. 
 Hat sich dir was im Eopf verschoben ? 2455 
 
 Dich kleidet's, wie ein Rasender zu toben ! 
 
 Me'pMsioTp'heles, 
 Denkt nur, den Schmuok, fiir Gretchen angeschafTt, 
 Den hat ein Pfaff hinweggerafft ! — 
 Die Mutter kriegt das Ding zu schauen, 
 Gleich fangt's ihr heimlioh an zu grauen : 2460 
 
 Die Frau hat gar einen feinen Geruoh, 
 Schnuffelt immer im Gebetbuoh 
 Und riecht's einem jeden Mobel an, 
 Ob das Ding heilig ist oder profan ; 
 Und an dem Schmuok da spurt sie's klar, 2465 
 
A PEOMENADE. 
 
 Faust walking wp and down thoughtfully. To him 
 Mephistophelbs. 
 
 B 
 
 Mephistopheles. 
 T all despised love ! By the flames of hell ! Would 
 that I knew something worse to curse by ! 
 
 Faust. 
 What is the matter ? What is it that pinches you so 
 sharply ? I never saw such a face in my life ! 
 
 Mephidopheles. 
 I could give myself to the devil directly, were I no 
 devil myself. 
 
 Faust. 
 Is your brain disordered? It becomes you truly, 
 to rave Hke a madman. 
 
 Mephistopheles. 
 Only think ! A priest has carried off the jewels pro- 
 vided for Margaret. The mother gets sight of the 
 thing, and be^ns at once to have a secret horror of it. 
 Truly the woman hath a fine nose, is ever snuffling 
 in her prayer-book, and smells in every piece of furni- 
 ture whether the thing be holy or profane ; and she 
 plainly smells out in the jewels, that there was not 
 
220 SPAZIERGANG. 
 
 Dasz dabei nioht viel Segen war. 
 
 Mein Eind, rief sie, ungerechtes Gut 
 
 Befangt die Seele, zehrt auf das Blut. 
 
 WoUen's der Mutter Gottes weihen, 
 
 Wird uns mit Himmelsmanna erfreuen ! 2470 
 
 Margretlein zog ein schiefes Maul ; 
 
 1st halt, dacht' sie, ein geschenkter Gaul, 
 
 Und wahrlioh, gottlos ist nicht der, 
 
 Der ihn so fain gebracht hierher. 
 
 Die Mutter liesz einen Pfaffen kommeu ; 24.75 
 
 Der hatte kaum den Spasz vernommen, 
 
 Liesz sieh den Anbliok wohl behagen. 
 
 Er spraoh : So ist man recht gesinnt ! 
 
 Wer uberwindet, der gewinnt. 
 
 Die Kirche hat einen guten Magen, 2480 
 
 Hat ganze Lander aufgefressen 
 
 Und doch noch nie sich ubergessen ; 
 
 Die Kirch' allein, meine lieben Frauen, 
 
 Kann ungerechtes Gut verdauen. 
 
 Faust. 
 Das ist ein allgemeiner Brauch, 2485 
 
 Ein Jud' und Konig kann es auoh. 
 
 Mephistopheles. 
 Strich drauf ein Spange, Kett' und Ring', 
 Als waren's eben Pfiflferling', 
 Dankt' nicht weniger und nioht mehr, 
 Als ob's ein Korb voll Niisse war', 2490 
 
 Versprach ihnen alien/ himmlischen Lohn — 
 Und sie waren sehr erbaut davon. 
 
 Faust. 
 Und Gretchen ? 
 
 Mephistopheles . 
 
 Sitzt nun unruhvoll, 
 Weisz weder, was sie will nooh soil, 
 Denkt ans Geschmeide Tag und Nacht, 2495 
 
 Noch mehr an den, der's ihr gebracht. 
 
A PROMENADE. 221 
 
 mucli blessing in them. " My child," said she, " un- 
 righteous wealth ensnares the soid, consumes the blood. 
 We will consecrate it to the Mother of Grod ; she will 
 gladden us with heavenly manna ! " Margaret made a wry 
 face ; it is after all, thought she, a gift horse ; and truly, 
 he cannot be godless, who brought it here so handsomely. 
 The mother sent for a priest. Scarcely had he heard 
 the curious story, when the look of it greatly pleased him. 
 He spoke : " This shows a good disposition ; who over- 
 comes himself, — he is the victor. The church has a 
 good stomach ; she has eaten up whole countries, and 
 has never yet over-eaten herseH ; the church alone, my 
 good women, can digest unrighteous wealth." 
 
 Favst. 
 That is a general custom ; a Jew and a King can do 
 it too. 
 
 MepMstopheles. 
 So saying he swept off clasp, chain, and ring, as if 
 they were mere trifles °'; thanked them neither more 
 nor less than if it had been a basket of nuts ; pro- 
 mised them all heavenly reward— and very much edified 
 they were. 
 
 Faust. 
 And Margaret ? 
 
 Mephistopheles. 
 Is now sitting full of restlessness ; not knowing what 
 she wants, or what she should do with herself ; thinks 
 day and night on the trinkets, and still more on him 
 who brought them to her. 
 
222 SPAZIERGANG. 
 
 Des Liebohens Kummer thut mir leid. 
 Schaff du ihr gleioh ein neu Geschmeid ! 
 Am ersten war ja so nioht viel. 
 
 MifhisiopTieles. 
 ja, dem Herrn ist Alles Kinderspiel ! 2500 
 
 Faust. 
 Und mach und richt's nach meinem Sinn ! 
 Hang dich an ihre Nachbarin. 
 Sei, Teufel, doch nur nicht wie Brei 
 Und schaff einen neuen Schmuck herbei ! 
 
 Mephisto^hehi. 
 Ja, gnad'ger Herr, von Herzen gerne. 2505 
 
 [Faust ah.'] 
 
 MepM'Siepheles. 
 So ein verliebter Thor verpufft 
 Euch Sonne, Mond und alle Sterne 
 Zum Zeitvertreib dem Liebchen in die Luft. [Ah.] 
 
A PROMENADE. 223 
 
 Favst, 
 My love's grief distresses me. Get her another set 
 immediately. The first was of no great value after all. 
 
 M&phisto^h eles. 
 Oh ! to be sure, all is child's play to the gentleman ! 
 
 Faust. 
 Do it, and order it as I wish. Stick close to her 
 neighhoTir. Don't he a milk-and-water devil ; and fetch 
 a fresh set of jewels. 
 
 With all my heart, honoured Sir. [Patjst exit.'] 
 
 Mephistopheles. 
 A love-sick fool like this puffs away into the air, 
 sun, moon and stars, by way of pastime for his mis- 
 tress. [Exit.'] 
 
DIB, NACHBAEIlSr HAUS. 
 
 Martlie (allein). 
 
 GOTT verzeih's memem lieben Mann, 
 Er hat an mir nioht wohl gethan ! 2510 
 
 Geht da stracks in die Welt hinein 
 Und laszt mich auf dem Stroh allein. 
 That ihn dooh wahrlich nicht betriiben, 
 That ihn, weisz Gott, recht herzlich lieben. 
 
 \_Sie wemi-l 
 
 Vielleioht ist er gar todt ! — Pein ! ■ 2515 
 
 Hatt' ich nur einen Todtenschein ! 
 
 [Mabgaebte leommtl 
 
 Margarete, 
 
 Frau Marthe ! 
 
 Marthe. 
 Gretelchen, was soil's ? 
 
 Margarete. 
 Fast sinken mir die Kniee nieder ! 
 Da find' ich so ein Kastchen wieder 
 In meinem Schrein, von Ebenholz, 2520 
 
 Und Saohen, herrlich ganz und gar, 
 Weit reicher, als das erste war. 
 
 Marihe. 
 Das musz sie nioht der Mutter sagen; 
 That's wieder gleich zur Beichta±ragen. 
 
 Marga/reie. 
 Aoh, set sie nur ! Aoh» sohau sie nur ! 2525 
 
THE NEiaHBOUE'S HOUSE. 
 
 Martha (alone). 
 
 GOD forgive my dear husband ; lie lias not acted well 
 towards me. He goes straight away into the world, 
 and leaves me quite alone on the straw. Yet truly I never 
 did anything to vex him ; God knows I loved him with 
 all my heart. (She weeps.) Perhaps he is actually 
 dead ! Oh, torture ! — Had I but a certificate of his 
 death ! 
 
 Maegaeet enters. 
 
 Ma/rgwret. 
 Dame Martha ! 
 
 Martha. 
 What is the matter, Margaret ? 
 
 Margaret. 
 My knees almost sink under me ! I have found just 
 such another casket of ebony in my press, and things 
 quite grand, far costlier than the first. 
 
 Martha. 
 You must say nothing about it to your mother ; she 
 would cany it at once to the confessional again. 
 
 Margaret. 
 Now, only see ! do but look at them ! 
 <4 
 
226 DER NACHBARIN HAUS. 
 
 Marthe (putat sie auf). 
 du glucksel'ge Kreatur ! 
 
 Margarete. 
 Darf mich l eider nicht auf der Gassen 
 Noch in der Kii-che mit sehen lassen. 
 
 Martlie. 
 Komm du nur oft zu mir heriiber 
 
 Und Jeg den Schmuck hier heimlioli an ; 2530 
 
 Spazier ein Stundchen lang dem Spiegelglas voriiber, 
 Wir haben unsre Freude dran; 
 
 Und dann giebt's einen Anlasz^^giebt's ein Fest, '^ '-■".t- ■-f^\i 
 Wo man's so nach und nach den Leuten sehen laszt, 
 Ein Kettchen erst, die Perle dann ins Ohr; 2535 
 
 Die Mutter sielit's wohl nicht, man maoht ihr auch was 
 vor. 
 
 Mwrgareie. 
 Wer konnte nur die beiden Kastohen bringen ? 
 Es geht nicht zu mit rechten Dingen ! [J5s hlopfl^ 
 
 Ach Gott, mag das meine Mutter sein ? 
 
 Ma/rthe (^durcJis VorJiangel guchend). 
 Es ist ein fremder Herr — Herein ! 2540 
 
 [MEPniSTOPHELBS tritt auf.'] 
 
 Mephistoplieles. 
 Bin so frei, grad herein zu treten, ■ 
 
 Musz b'ei den Prauen Verzeihn erbeteu. 
 
 [rW/f ehrerhietig vor Makgaheten zuriick.'j 
 WoUte nach Frau Marthe Schwerdtlein fragen ! 
 
 Marihe. 
 Ich bin's. Was hat der Herr zu sagen ? 
 
THE neighbour's HOUSE. 227 
 
 Martha (dresses her up in them). 
 Oh ! you happy creature. 
 
 Margaret. 
 Unfortunately, I must not be seen in them in the 
 street, nor in the church. 
 
 Martha. 
 
 Do but come over frequently to me, and pat on the 
 trinkets here in private ; walk a little hour up and 
 down before the looking-glass ; we shall have our enjoy- 
 ment in that. And then an occasion offers, a holiday 
 happens, when, Uttle by little, one lets folks see them ; 
 — first a chain, then the pearl in the ear. Tour mother 
 will probably not observe it, or one may make some pre- 
 tence to her. 
 
 Margaret. 
 
 But who could have brought the two caskets ? There 
 is something uncanny about it. [^Someone knocks.] 
 
 Good God ! can that be my mother ? 
 
 Martha (looking through the little curtain). 
 It is a stranger. Come in ! 
 
 Mephistopheles enters. 
 Mephistopheles. 
 I have made free to come in at once ; I have to beg 
 pardon of the ladies. 
 
 [He steps back respectfully on seeing Margaret.] 
 I came to inquire after Mrs. Martha Schwerdtlein. 
 
 Martha. 
 I am she. What is your pleasure, Sir ? 
 
228 DER NACHBARIN IIAUS. 
 
 Mephistopheles (leiee zu ihr). 
 Ich kenne sie jetzt, mir ist das genug ; 2545 
 
 Sie hat da gar vornehmen Besuch. 
 Verzeiht die Freiheit, die ich genommen, 
 Will nach Mittage wiederkommen. 
 
 Marthe (laut). 
 Denk, Kind, um Alias in der Welt ! 
 Der Herr dich fUr ein Fraulein halt. 2550 
 
 Margareie. 
 Ich bin ein armes junges Blut ; 
 Aoh Gott ! Der Herr ist gar zu gut : 
 Sohmuck und Gesohmeide sind nicht mein. 
 
 Mephistopheles. 
 Ach, es ist nioht der Schmuck allein ; 
 Sie hat ein Wesen, einen Blick, so soharf ! 2555 
 
 Wie freut mioh's. dasz ich bleiben darf. 
 
 Marthe. 
 Was bringt er denn ? Verlange sehr — 
 
 Mephistopheles, ri 
 
 Ich woUt', ich hatt' eine frohere Mar' ! """^''^ 
 Ich hoffe, sie laszt mioh's drum nicht biiszen : 
 Ihr Mann ist todt und laszt sie griiszeu. 2560 
 
 Mmrthe. 
 Ist todt ? Das treue Herz ! weh ! 
 Mein Mann ist todt ! Ach, ich vergeh' ! 
 
 Mwrga/rete. 
 Ach, liebe Frau, verzweifelt nicht ! 
 
 Mephistopheles. 
 So hort die traurige Geschioht' ! 
 
THE neighbour's hoc!5e. 229 
 
 MepMstopheles (aside to her). 
 I know you now — that is enough. You have a visitor 
 of distinction there. Excuse the liberty I have taken. 
 I will call again in the afternoon. 
 
 Martha (aloud). 
 Only think, child — of all things in the world ! This 
 gentleman takes you for a lady. 
 
 Margaret. 
 I am a poor young creature. Oh! Heavens, the 
 gentleman is too obliging. The jewels and ornaments 
 are none of mine. 
 
 Mephistopheles. 
 Ah ! it is not the jewels alone. Tou have a mien, 
 a look, so striking. H'ow glad I am that I may stay. 
 
 Martha. 
 What do you bring then ? I am very curious — 
 
 Mephistopheles. 
 
 I wish I had better news ! I hope you will not make 
 
 me suffer for it. Your husband is dead, and sends you 
 
 his greeting. 
 
 Martha. 
 
 Is dead ? The good soul ! Oh, woe is me ! My husband 
 
 is dead ! Ah, I shall die ! 
 
 Margaret. 
 Ah, dearest dame, don't despair. 
 
 Mej)histo]c>heles, 
 Listen to the melancholy tale. 
 
230 Tjer nachbarin haus. 
 
 Margarete. 
 Ich mcichte drum meiu' Tag' nicht lieben,. >«,' 2565 
 
 Wurde mioh Verlust zu Tode betruben. j^^' 
 
 MepMstophelee. 
 Freud' musz Leid, Leid musz Freude haben. 
 
 Marthe. 
 Brzahlt mir seines Lebens Scblnsz ! 
 
 Mephistopheles. 
 -Er liegt in Padua begraben 
 
 Beim heiligen Antonius, 2570 
 
 An einer wohlgeweihten Statte 
 Zum ewig kiihlen Kuhebette. 
 
 Ma/rilie. 
 Habt ihr sonat nicbts aa mioh zu bringen ? 
 
 Mephistopheles. 
 Ja, eine Bitte, grosz und sohwer> 
 
 Lasz sie dooh ja fur ihn dreihunderfc Messen singen ! 2575 
 Im TJebrigen sind meine TascLen leer. 
 
 Marihe. 
 Was ! Nicht ein Schaustiiok, kein Geschmeid, 
 Was jeder Handwerksbursch im Grand des Sackels spart. 
 Zum Angedenken aufbewahrt, 
 Tjnd lieber hungert, lieber bettelt ? 25S0 
 
 MepMstopheles. 
 Madam, es thut mir herzlioh leid ; 
 AUein er hat sein Geld wahrhaftig nicht veraettelt, 
 Auch er bereute seine Fehler sehr, 
 Ja, und bejammerte sein UnglUck nooh viel mehr. 
 
 Margarete. 
 Ach ! Dasz die Menschen so ungliioklich sind ! 2585 
 
 Gewisz, ich will fiir ihn mauch Bequiem nooh beten. 
 
THE neighbour's HOUSE. 231 
 
 Margaret. 
 
 For this reason I should wish never to he in love for 
 
 all the days of my life. The loss would grieve me 
 
 to death. 
 
 Mephistopheles. 
 
 Joy must have sorrow — sorrow, joy. 
 
 Martha. 
 Eelate to me the close of his life. 
 
 MepMstojpheles. 
 He lies huried in Padua at St. Antony's, in a well- 
 consecrated spot for an eternally cool bed of rest. 
 
 Martha. 
 Have yen nothing else for me? 
 
 /•-. MepMstopheles. 
 
 Tes, a request, big and heavy ; be sure to have three 
 
 hundred masses sung for him ! For the rest, my pockets 
 
 are empty. 
 
 Martha. 
 
 What ! Not a medal ? Not a trinket ? what every 
 
 journeyman spares at the bottom of his wallet, keeping 
 
 it as a token, and rather starves, rather begs — 
 
 Mephistojaheles. 
 Madam, I am very sorry. But he really has not 
 squandered away his money. He also bitterly re- 
 pented of his sins ; ay, and bewailed his ill-luck still 
 
 more. 
 
 Margaret. 
 
 Ah ! that mortals should be so unfortunate ! Assuredly 
 
 I will say many a prayer for his soul. 
 
232 DER NACHBARIN HAUS. 
 
 MepMstoTphelci. 
 Ihr waret werth, gleich in die Eh' zu treten : 
 Ihr seid ein liebenswurdig Kind. 
 
 Ma/rgaffete. 
 Ach nein, das geht jetzt noch nioht an. 
 
 Meplidsiophelei. , 
 Ist's nicht ein Mann, sei's derweil ein Galan, 2590 
 
 's' ist eine der groszten Himmelsgaben ! 
 So ein lieb Ding im Arm zu haben. 
 
 Marr/arete. i ^ 
 
 Das ist des Landes nicht der Branch. C/-^^ 
 
 Mephiitopheleg. 
 Branch oder nicht ! Es giebt sich auch. 
 
 Marthe. 
 Erzahlt mir doch ! 
 
 MepMstopheles, 
 Ich stand an seinem Sterbebette, 2595 
 Es war was besser als von Mist, 
 Von halbgefaultem Stroh ; allein er starb als Christ 
 TJnd fand, dasz er weit mehr noch auf der Zeche hatte. 
 Wie, rief er, musz ich mich von Grund aus hasseu, 
 So main Gewerb, mein Weib so zu verlassen ! 2600 
 
 Ach, die Erinn'rung todtet mich. 
 Vergab' sie mir nur noch in diesem Leben ! — 
 
 Marthe (weinend). 
 Der gute Mann ! Ich hab' ihm langst vergeben. 
 
 Mephittopheleg. 
 Allein, weisz Gott, sie war mehr Schuld als ich. 
 
THE neighbour's HOUSE. 233 
 
 MephistopJieles. 
 You deserve to be married directly. Tou are a love- 
 able child. 
 
 Margaret. 
 
 Oh, no I that would not do for the present. 
 
 Mephistopheles. 
 If not a husband, then a gallant in the meantime. It 
 is one of the best gifts of heaven to have so sweet a 
 thing in one's arms. 
 
 Margaret. 
 That is not the custom in this country. 
 
 Mephietopheles. 
 Custom or not ! Such things do come to pass though. 
 
 Martha. 
 But relate to me ! 
 
 Mejphistopheles. 
 I stood by his death-bed. It was somewhat better 
 than dung, — of halfrrotten straw; but he died like 
 a Christian, and found that he had still much more 
 upon his score. How thoroughly, he cried, must I 
 detest myself — to run away from my business and my 
 wife in such a manner. Oh ! the recollection is death 
 to me. If she would but forgive me in this life ! — ■ 
 
 Martha (weeping). 
 The good man ! I have long since forgiven him. 
 
 Mephistopheles. 
 But, Grod knows, she was more in fault than I. 
 
234 DEE NACHBARIN HATJS. 
 
 Marihe. 
 Das lugt er ! Was, am Band des Grabs zu liigen ! 2605 
 
 Mephistopheles. , - 't^j-y 
 Br fabelte gewisz in letzten Ziigen, A^ 
 Wena ich nur halb ein Kenner bin. 
 Icii hafcte, sprach er, nicht zum Zeitvertreib zu gaifen, 
 •Erst Kinder und dann Brod fiir sie zu schaffen, 
 Und Brod im allerweitsten Sinn, 2610 
 
 Und konnte nicht einmal mein Theil in Frieden essen. 
 
 Hat er so aller Treu', so aller Lieb' vergessen^-j >'| 
 Plackerei bei Tag und Naoht ! X?^' * 'i' 
 
 MeplvMopheles. 
 Nicht doch, er hat euch herzlioh dran gedaoht. 
 Er sprach : Als ich nun weg von Malta ging, ?,6i5 
 
 Da betet' ich fiir Frau und Kinder briinstig ; 
 Une war denn auch der Himmel giinstig, 
 Dasz nnser Schiff ein tiirkisch Fahrzeug fing, 
 Das einen Schatz des groszen Sultans fiihrfce. 
 Da ward der Tapferkeit ihr Lohn, ihvi 
 
 Und ich empflng denn auch, wie sich's gebiihrte, 
 Mein wohlgemessnes Theil davon. 
 
 Marihe. 
 Ei wie ? Bi wo ? Hat er's vielleicht vergraben ? 
 
 MeplJiitophelet. 
 Wer weisz, wo nun es die vier Winde haben ! 
 Ein schones Praulein nahm sich seiner an, Z625 
 
 Als er in Napel fremd umherspazierte ; 
 Sie hat an ihm viel Lieb's und Treu's gethan, 
 Dasz er's bis an sein selig Bnde spiirte. 
 
 Manilie. 
 Der Schelm ! Der Dieb an seinen Kindern \ 
 
THE NEIGHBOUK's HOUSE. 235 
 
 Martha,. 
 He lied then ! What, tell lies on the brink of the 
 grave ! 
 
 MephistopJieles. 
 He certainly fabled with his last breath, if I am but 
 half a judge. I, said he, had no occasion to gape for 
 pastime — first to get children, and then bread for them 
 — and bread in the widest sense, — and could not even 
 eat my share in peace. 
 
 Martha. 
 Did he thus forget all my fidelity, all my love — ^my 
 drudgery by day and night ? 
 
 • Mephistopheles. 
 Not so ; he affectionately reflected on it. He said : 
 Wlien I left Malta, I prayed fervently for my wife and 
 children ; and heaven was so far favourable, that our 
 ship took a Turkish vessel, which carried a treasure of 
 the great sultan. Bravery had its' reward, and, as was 
 no more than right, I got my fair share of it. 
 
 Martha. 
 How ! Where ! Can he have buried itf 
 
 Mephistopheles. 
 Who knows where it is now scattered to the four 
 winds of heaven ! A fair damsel took an interest in 
 him as he was strolling about, a stranger, in Naples. 
 She showed great fondness and fidelity towards him ; so 
 much so, that he felt it even unto his blessed end. 
 
 Martha. 
 The villain ! The robber of his children ! And all the 
 
23C DER NACHBARIN HAUS. 
 
 Auchalles Blend, alle Noth 2630 
 
 Konnf nicht sein schandlich Leben hindern I 
 
 MepMitophelet, 
 Ja seht ! Dafiir ist er nun todfc. 
 War' ioh nnn jetzt an eurem Platze, , ,j-\^^ 
 
 Betraurt' ich ihn ein zuchtig Jahr, 
 Visirte dann unterweil nach einera neuen Schatze. z6j 5 
 
 MiM-the. 
 Ach Gott, wie doch mein erster war, 
 Find' ich nicht leicht auf dieser Welt den andern ! 
 Bs konnte kaum ein herziger Narrohen sein. 
 Er liebte nur das- allzu viele Wandern 
 Und fremde Weiber nnd fremden "Wein 2640 
 
 Und das verfluchte Wurfelspiel. 
 
 MepMstopheles. 
 Nun, nun, so konnt' es gehn und stehen, 
 Wenn er euch ungefahr so viel 
 Von seiner Seite nachgesehen. 
 
 Ioh schwor' euch zu, mit dem Beding 2645 
 
 Wechselfc' ich selbst mit euch den Eing ! 
 
 Marthe. 
 0, es beliebt dem Herrn zu scherzen ! 
 
 Mephistopheles (Jur aicK). 
 Nun mach' ich mich bei Zeiten fort ! 
 
 Die hielte wohl den Teufel selbst beim Wort. 2649 
 
 {Zu Gketchen.) Wie steht es denn mit ihrem Herzen ? 
 
 Margarete. 
 Was meint der Herr damit ? 
 
 MepMsiopheles (ftir sich). 
 
 Du gut's, unschuldig's Kind ! 
 (Laut.) Lebt wohl, ihr Frau'n ! 
 
 Margarete. 
 
 Lebt wohl ! 
 
THE neighbour's HOUSE. 237 
 
 wretchedness, all the poverty, could not check his scan- 
 dalous life. 
 
 Mephistopheles. 
 
 But you see, he died in consequence of it. Now, were 
 
 I in your place, I would mourn him for one chaste year, 
 
 and have an eye towards a new sweetheart in the mean- - 
 
 time. 
 
 Martha. 
 
 Oh, God ! but I shall not easily in this world find 
 
 another like my first. There could hardly be a sweeter 
 
 little fool. He only loved too much roaming about, 
 
 and foreign women, and foreign wine, and the cursed 
 
 dicing. 
 
 Mejphistojpheles. 
 
 Well, weU, things might have gone on very well, if 
 
 he, on his part, only had the same indulgence for you. 
 
 I swear, upon this condition, I would change rings 
 
 with you myself ! °' 
 
 Martha. 
 
 Oh, the gentleman is pleased' to jest. 
 
 Mephistopheles (aside). 
 Now it is full time to be off. I dare say she would 
 take the devil himself at his word.— (To Maegaket.) 
 How goes it with your heart H 
 
 Margaret. 
 What do you mean. Sir ? 
 
 Mephistopheles (aside). 
 Good, innocent chili.— (Aloud.) Farewell, ladies ! 
 
 Margaret. 
 Farewell ! 
 
238 DER NACHBAEIN HAUS. 
 
 MartUe. 
 
 0, sagt mir doch gesohwiud ! 
 loh mochte gern em Zeugnisz habeu, 
 Wo, wie und wann meia Sohatz gestorben und begrabeu. 
 Ich bin von je der Ordnung Freund gewesen, 2655 
 
 Mooht' ihn auch todt im Woohenblattchen lesen. 
 
 Me^hidopheles. 
 Ja, gute Fran, durch zweier Zeugen Mund 
 Wird allerwegs die Wahrheit kund ; 
 Habe nooh gar einen feinen Gesellen, 
 
 Den will ich euch vor den Eichter stellen. 26&0 
 
 Icli bring' ihn her. 
 
 Ma/rtTie. 
 
 O, thut das ja ! 
 
 Meiphisto;p'keles. 
 Und hier die Jungfrau ist auch da ? — 
 Bin braver Knab' ! Ist viel gereist, 
 Frauleins alle Hdflichkeit erweist. 
 
 MwrgareU. 
 Miiszte vor dem Herren schamrofch warden. 2665 
 
 Me'phistofhelet. 
 Vor keinem Konige der Erden. 
 
 Marthe. 
 Da hinterm Haus in meinem Garten 
 WoUen wir der Herm heut Abend warten. 
 
THE neighbour's HOUSE. 239 
 
 Martha. 
 Oh, but tell me quickly ! I should like to have a 
 certificate where, how, and when my love died and was 
 buried. I was always a friend to regularity, and should 
 like to read his death in the weekly paper. 
 
 Me]pTiistopheles. 
 Ay, my good madam, the truth is manifested by the 
 testimony of two witnesses "'° all the world over ; and I 
 have a gallant companion, whom I will bring before 
 the judge for you. I will fetch him here. 
 
 Mariha. 
 Oh, pray do ! 
 
 Me^ hidopheles. 
 And the young lady will be here too ? — A fine lad ! 
 Has travelled much, and shows all possible politeness to 
 
 the ladies. 
 
 Margaret. 
 
 I should be covered with confusion in the presence of 
 
 the gentleman. 
 
 Mephistopheles. 
 
 In the presence of no king on earth. 
 
 Martha. 
 Behind the house there, in my garden, we shall expect 
 you both this evening. 
 
STRA.SZE. 
 
 Faust. Mephistopheles. 
 
 Faust. 
 ■\ 1 T'lE ist's ? Will's fdrdera ? WiU's bald gehn ? 
 
 Mephistopheles. 
 Ah bravo ! Find' ioh each in Feuer? 2670 
 
 In kurzer Zeit ist Gretohen euer. 
 Heut Abend soUt ihr sie bei Naohbars Marfchen sehn : 
 Das ist ein Weib wie auserlesen 
 Zum Kuppler- und Zigeunerwesen .' 
 
 Fault. 
 So recht ! 
 
 Mephistopheles. 
 Dooh wird auch was von uns begehrt, 2675 
 
 Faust, 
 Ein Dienst ist wohl des andern werth. 
 
 Mephistopheles. 
 Wir legen nur ein giiltig Zeugnisz nieder, 
 Dasz ihres Ehherrn ausgereckte Glieder 
 In Padua an heil'ger Statte ruhn. 
 
 Fwusi. 
 Sehr king ! Wir warden erst die Eeise machen miissen ! z68o 
 
THE STREET. 
 
 Faust — Mephistopheles. 
 
 FavM. 
 
 HOW goes it ? Is it in train ? Will it soon 
 do? 
 
 Mej)Mstop?iele8. 
 
 Bravo ! Do I find you all on fire ? Margaret -wiH 
 very shortly be your's. This evening you will see her at 
 neighbour Martha^s. This is a -woman especially chosen, 
 as it were, for the procuress and gipsy calliag. 
 
 Fauat. 
 So far so good. 
 
 Mephistopheles. 
 Something, however, is required of us. 
 
 Faust. 
 One good turn deserves another. 
 
 Mephistopheles. 
 We have only to make a formal deposition that her 
 husband's rigid limbs repose in holy ground in Padua. 
 
 Faust. 
 Wisely done '^ We shall first be obliged to take the 
 journey thither, I su^jpose. 
 
2 12 STRARZE. 
 
 Mephuto;pheles. 
 Sanda simpUcitns ! Darum ist's nicht zu thun ; 
 Bezeugt nur, ohne viel zu wissen ! 
 
 Fault. 
 Wenn er niohts Bessere hat, so ist der Plan zerrissen. 
 
 Mephistopheles. 
 heil'ger Mann ! Da wart ihr's nun ! 
 1st es das erste Mai in eurem Leben, 2685 
 
 Dasz ihr falsch Zeugnisz abgelegt ? 
 Habt ihr Ton Gott, der Welt und was sioh drin bewegt, 
 Vom Menschen, was sioh ihm in Kopf und Herzen regt, 
 Definitionen nicht mit groszer Kraft gegeben ? 
 Mit frecher Stime, kiihner Brust ? 2690 
 
 Und wollt ihr recht ins Innre gehen, 
 Habt ihr davon, ihr miiszt es grad gestehen, 
 So yiel als von Herrn Schwerdtlein's Tod gewuszt ! 
 
 Faust. 
 Du bist und bleibst ein Liigner, ein Sophiste. 
 
 MepMstopheles. 
 Ja, wenn man's nicht ein biszohen tiefer wiiszte ! 2*1 ;^ 
 
 Denn morgen wirst in alien Bhren 
 Das arme Gretchen nicht bethciren 
 Und alle Seelenlieb' ihr schwCren ? 
 
 Faust, 
 Und zwar von Herzen. 
 
 Mephisiopheles. 
 Gut und schftu ! 
 Dann wird von ewiger Treu' und Liebe, 2700 
 
 Von einzig iiberallmacht'gem Triebe — 
 Wird das auch so von Herzen gehn ? * 
 
THE STREET. 243 
 
 MepMstopheles. 
 Sancta sinvplicitas ! There is no necessity for that. 
 Only bear witness without knowing much about the 
 matter. 
 
 Faust. 
 If you have nothing better to propose, the scheme is 
 at an end. 
 
 MepMstopkeles. 
 
 Oh, holy man ! There you are ! Is it the first 
 time in your life that you have borne false testi- 
 mony ? Have you not confidently given definitions of 
 God, of the world, and of whatever moves in it — of man, 
 and of the workings of his head and heart — with un- 
 abashed front, dauntless breast? And, looking fairly 
 at the real nature of things, you knew — you must cer- 
 tainly confess — as much of these matters as of Mr. 
 Schwerdtlein's death ! 
 
 Faust. 
 Thou art and ever wilt be a liar, a sophist. 
 
 Mephistopheles. 
 Ay, if one did not look a little deeper. To-morrow, 
 too, will you not, in all honour, make a fool of poor 
 Margaret, and swear to love her with all your soul ? 
 
 Faust. 
 And truly from my heart. 
 
 Mephistopheles. 
 Fine talking ! Then will you speak of eternal faith 
 and love — of one exclusive, all- subduing passion ; — will 
 that also come from the heart ? 
 
244 STPASZE. 
 
 Faust. 
 Lasz das ! Bs wird ! — Wenn ioh empfinde, 
 Fur das Gefiihl, fijr das Gewuhl 
 
 Nach Namen suche, keinen finde, 2705 
 
 Dann duroh die Welt mit alien Sinnen schweife, 
 Nach alien hochsten Worten greife 
 Und diese Gluth, von der ioh brenne, 
 Unendlich, ewig, ewig nenne, 
 1st das eiu teuflisoh LUgenspiel ? 2710 
 
 Mephistopheles. 
 Ioh hab' doch Recht ! 
 
 FaiiiSt. 
 Hor ! Merk dir dies — 
 Ich bitte dich und schone meine Lunge — 
 Wer Recht behalten will und hat nur eine Zunge, 
 Behalt's gewisz. 
 
 Und komm, ich hab' des Schwatzens TJeberdrusz; 2715 
 Denn dn hast Eeoht, vorziiglioh weil ich musz. 
 
THE STREET. 245 
 
 Faust. 
 Peace ! It will ! — When I feel, and seek a name for the 
 passion, the frenzy, but find none ; then range with all 
 my senses through the world, grasp at all the most sub- 
 lime expressions, and call this flame, which is consum- 
 ing me, endless, eternal, eternal ! — is that a devilish play 
 of lies? 
 
 M&pMstcypheles. 
 
 I am right for all that. 
 
 < 
 
 Faust. 
 Hear ! mark this, I beg of you, and spare my lungs. 
 He who is determined to be right and has but a tongue, 
 will be right undoubtedly. But come, I am tired of 
 gossiping. For you are right, particularly because I 
 cannot help myself. 
 
GARTEN". 
 
 Maegabete an Faustens Arm, Maethe mii Mefhisiopheles 
 auf und ab spazierend, 
 
 Margarete. 
 
 ICH fiihr es wohl, dasz mich der Herr nur schont, 
 Herab sich laszt, mich zn besohamen. 
 Ein Eeisender ist so gewohnt, 
 
 AuB Giitigkeit fUrlieb zu nelimen ; 2720 
 
 Ich weisz zu gut, dasz sblch erfahrneu Mann 
 Mein arm Gesprach nicht unterhalten kann. 
 
 Faust. 
 Ein Blick von dir, ein Wort mehr unterhalt 
 Als alle Weisheit dieser Welt. \_Er Tmszt ihre Hand.'] 
 
 Margarete. 
 Inkommodirt ench nicht ! Wie konnt ihr sie nur kiissen ? 
 Sie ist so garstig, ist so rauh ! 2726 
 
 Was hab' ich nicht schon Alles schaffen miissen ! 
 Die Mutter ist gar zu genau. IGehn voriiber.] 
 
 Martlie. 
 Und ihr, mein Herr, ihr reist so immerfort ? 
 
 Me;phistopheleB. 
 Ach, dasz Gewerb und Pflicht nns dazu treiben ! 2730 
 
 Mit wie viel Schmerz verlaszt man manchen Ort 
 Und darf doch nun einmal nicht bleiben ! 
 
GAEDEN. 
 
 Maegaeet on Faust's arm, Maetha vnth Mephis- 
 TOPHELES, walking wp and down. 
 
 Margaret. 
 
 ITEEL it indeed — the gentleman is only indulgent 
 ■with, me — and is condescending, to make me blush. 
 Travellers are wont to put up with things out of good 
 nature. I know too well that my poor prattle cannot 
 entertain a man of ^ your experience. 
 
 Faust. 
 
 A glance, a word from thee, gives greater pleasure 
 
 than all the wisdom of this world. 
 
 \_He kisses her liand.^ 
 
 Margaret. 
 
 Don't inconvenience yourself ! How can you kiss it ? 
 
 It is so coarse, so hard. I have been obliged to do — 
 
 heaven knows what not ; my mother is indeed too close. 
 
 [They pass on."] 
 Martha. 
 
 And you, Sir, are always travelUng in this manner ? 
 
 Mej>histopheles. 
 Alas, that business and duty should force us to it ! 
 How many a place one quits with regret, and yet may 
 not tarry in it ! 
 
248 GARTEN. 
 
 Ma/rthe. 
 In rascheu Jahren geht's wohl au, 
 So um und um frei diirch die Welt zu streifen ; 
 Doch kommt die bose Zeit heran, 2735 
 
 Und sich als Hagestolz allein zum Grab zu schleifen, 
 Das hat nooh Keinem wohlgethan. 
 
 MepMstopheles. 
 Mit Grausen seh' ich das von weiten. 
 
 Mm-tTie. 
 Drum, werther Herr, berathet euoh in Zeiten ! 
 
 j^Ge^w voriiher^ 
 
 Margarete. 
 Ja, ans den Augen, aus dem Sinn ! 2740 
 
 Die Hcifliohkeit iat euoh gelaufig ; 
 Allein ihr habt der Freunde haufig, 
 Sie sind verstandiger, als ich bin. 
 
 Faust. 
 Beste, glanbe, was man so verstandig nennt, 
 1st oft mehr Eitelkeit und Kurzsinn. 
 
 Margarete. 
 
 Wio ? 274; 
 
 Faust. 
 Ach, dasz die Einfalt, dasz die TJnsohuld nie 
 Sich selbst und ihren heil'gen Werth erkennt ! 
 Dasz Demuth, Niedrigkeit, die hochsten Gaben 
 Der liebevoU austheilenden Natur — 
 
 Margarete. 
 Deukt ihr au mich ein Augenblickchen nur, 2750 
 
 Ich werde Zeit genug an euch zu denken haben. 
 
 Faust. 
 Ihr seid wohl viel allein ? 
 
GARDEN. 249 
 
 Martha, 
 It does very -well in the wild years of youth, to rove 
 about freely through the world. But the evil day comes 
 at last, and to sneak a solitary old bachelor to the grave 
 — that was never well for anyone yet. 
 
 Mephistopheles. 
 I shudder at the distant view of it. 
 
 Martha. 
 
 Then, -worthy Sir, think better of it in time. 
 
 [They pass on.] 
 Margaret. 
 
 Ay ! out of sight out of mind ! Paliteness sits easily 
 
 on you. But you have plenty of friends : they are more 
 
 sensible than I am. 
 
 Faust. 
 
 O dearest ! believe me, what is called sensible, often 
 better deserves the name of vanity and narrow-minded- 
 ness. 
 
 Margaret. 
 How? 
 
 Faust. 
 Alas, that simplicity, that innocence, never appre- 
 ciates itself and its own hallowed worth ! That humility, 
 lowliness — the highest gifts of love-fraught, bounteous 
 
 nature — 
 
 Margaret. 
 
 Only think of me one little minute ; I shall have 
 
 time enough to think of you. 
 
 Faust. 
 You are much alone, I dare say ? 
 
250 GARTEN. 
 
 Marga/feie. 
 Ja, unsre Wirthschaft ist nur klein, 
 Und doch will sie versehen sein. 
 
 Wir haben keine Magd ; musz kochen, fegen, stricken 2755 
 Und nahn und laufen friih und spat ; 
 Und meine Mutter ist in alien Stucken 
 So akkurat ! 
 
 Nioht dasz sie just so sehr sich einzusohranken hat ; 
 Wir konnten uns weit eh'r als Andre regen ; 2760 
 
 Mein Vater hinterliesz ein hiibsch Vermogen, 
 Ein Hauschen und ein Gartchen vor der Stadt. 
 Doch hab' ich jetzt so ziemlich. stille Tage ; 
 Mein Bruder ist Soldat, 
 
 Mein Schwesterchen ist todt. 2765 
 
 Ich hatte mit dem Kind wohl meine liebe Noth ; 
 Doch iibornahm' ich gern noch einmal alle Plage, 
 So lieb war mir das Kind. 
 
 Faust. 
 
 Ein Engel, wenn dir's glich ! 
 
 Margarete. 
 Ich zog es anf, und herzlich liebt' es mich. 
 Bs war nach meines Vaters Tod geboren ; 1770 
 
 Die Mutter gaben wir verloren, 
 So elend wie sie damals lag, 
 
 Und sie erholte sich sehr langsam, nach und nach. 
 Da konnte sie nun nicht dran denken, 
 Das arme Wurmchen selbst zu tranken, 2775 
 
 Und so erzog ich's ganz allein 
 Mit Milch und Wasser ; so ward's mein. 
 Auf meinem Arm, in meinem Schoosz 
 War's freundlich, zappelte, ward grosz. 
 
 Faiisi. 
 Du hast gewisz das reinste Gluck empfunden. 2780 
 
 Marga/rete. 
 Doch auch gewisz gar manche schwere Stunden. 
 Des Kleinen Wiege stand zu Naoht 
 
GARDEN. 251 
 
 Margaret. 
 
 Yes, our household is but small, and yet it must be 
 looked after. We keep no maid ; I am obliged to cook, 
 sweep, knit and sew, and run early and late. And my 
 inother is so precise in everything ! Not that she has 
 such pressing occasion to stint herself. We might do 
 more than many others. My father left a nice little 
 property — a small house and a garden outside the town. 
 However, my days at present are tolerably quiet. My 
 brother is a soldier ; my little sister is dead. I had my 
 full share of trouble with her, but I would gladly take 
 all the worry upon myself again, so dear was the child 
 to me. 
 
 Favst. 
 
 An angel, if it was like thee ! 
 
 Margaret. 
 
 I brought it up, and it loved me dearly. It was born 
 after my father's death. We gave up my mother for 
 lost, so sad was the condition she then lay in ; and she 
 recovered very slowly, by degrees. Thus she could not 
 think of suckling the poor little babe, and so I brought 
 it up, all by myself, with milk and water. It thus 
 became my own. On my arm, in my lap, it smiled, and 
 kicked, and grew. 
 
 Faust. 
 
 Tou felt, no doubt, the purest joy. 
 
 Margaret. 
 And many anxious hours, too. The little one's cradle 
 
252 GARTEN. 
 
 An meinem Bett ; es durfte kaum sich regen, 
 
 War ich erwaoht ; 
 
 Bald muszt' ich's tranken, bald es zu mir legen, 2785 
 
 Bald, wenn's nioht; sohwieg, vom Bett aufstehn 
 
 Und tanzelnd in der Kammer auf und nieder gehn 
 
 Und friih am Tage schon am Waschtrog stehn ; 
 
 Dann auf dem Markt und an dem Herde sorgen, 
 
 Und imnierfort wie heut so morgen. 2790 
 
 Da geht's, mein Herr, nicht immer muthig zu ; 
 
 Doch Bchmeckt dafiir das Essen, schmeckt die Euh. 
 
 lOehn voriiber.'] 
 
 Marthe. 
 •J Die armen Weiber sind doch iibel dran : 
 Ein Hagestolz ist schwerlich zu bekehren. 
 
 Es kame nur auf eures Gleiohen an, 2795 
 
 Mich eines Bessern zu belehren. 
 
 Marfhe. 
 Sagt grad, mein Herr, habt ihr noch nichts gefunden ? 
 Hat sioh das Herz nicht irgendwo gebunden ? 
 
 Das Sprichwort sagt : ein eigner Herd, 
 
 Bin braves Weib siud Gold und Perlen werth. 2800 
 
 Mwrthe. 
 loh meine, ob ihr niemals Lust bekommeu. 
 
 M.efhisto'^'heles. 
 Man hat mich iiberall recht hbflich aufgenommen. 
 
 Mmilie. 
 Ich wollte sagen : ward's nie Ernst in eurem Herzen ? 
 
GARDEN. 253 
 
 stood at night by my bed-side : it could scarcely move 
 but I was awake ; now obliged to give it drink ; now to 
 take it to bed to me ; now, when it would not be quiet, 
 to rise from bed, and walk up and down in the room 
 dandling it ; and early in the morning, stand already at 
 the wash-tub : then go to market and attend to the 
 cooking; and so on, day after day. Under such circum- 
 stances. Sir, one is not always in spirits ; but food and 
 rest relish the better for it. [They pass on.] 
 
 Martha. 
 The poor women have the worst of it. It is no easy 
 matter to convert an old bachelor. 
 
 Mephistopheles. 
 It only depends on one like you to teach me better. 
 
 Martha. 
 Tell me plainly, Sir, have you never met with any- 
 one f-~~jlas your heart never attached itself any- 
 where ? ~^ 
 
 Mephistopheles. 
 
 The proverb says — a hearth of one's own, a good wife,"^ 
 are worth pearls and gold. 
 
 Martha. 
 I mean, have you never had any inclination ? 
 
 Mephistopheles. 
 I have been in general very politely received. 
 
 Martha. 
 I wished to say — was your heart never serious 
 affected ? 
 
254 GARTEN. 
 
 Mit Frauen soil man sich nie unterstehn zu scherzen. 
 
 Marihe. 
 Ach, ihr versteht mich nioht ! 
 
 MejpMstojpheles. 
 
 Das thut mir herzHoh leid ! 
 Doch ich versteh' — dasz ihr sehr gutig seid. 2X06 
 
 [Gehn voriiber.'] 
 
 FoMsi. 
 Du kanntest mich, kleiner Bngel, wieder, 
 Gleich als ich in den Garten kam ? 
 
 Margarete. 
 Saht ihr es nicht ? Ich sohlng die Augen nieder. 
 
 Faust. 
 Und du verzeihst die Freiheit, die ich nahm ? 2810 
 
 Was sich die Frechheit unterfangen, -~ 
 
 Als du jiingst aus dem Dom gegangen ? 
 
 Ich war bestUrzt, mir war das nie geschehn ; 
 
 Es konnte Niemand von mir Uebels sageu. 
 
 Ach, dacht' ich, hat er in deinem Betragen 2815 
 
 Was Freches, TJnanstandiges gesehn ? 
 
 Es schien ihn gleich nur anzuwandeln, 
 
 Mit dieser Dime gradehin zu handeln. 
 
 Gesteh' ich's doch ! Ich wuszte nicht, was sich 
 
 Zu eurem Vortheil bier zu regen gleich begonnte ; 2820 
 
 AUein gewisz, ich war reoht bos auf mich, 
 
 Dasz ich auf euch nicht boser werden konnte, 
 
 Faust. 
 ^Usz Liebchen ! 
 
OARDEy. 256 
 
 Mephistopheles. 
 One should never venture to joke witli women. 
 
 Martha. 
 Ah, you do not understand me. 
 
 Mephistopheles. 
 I am heartily sorry for it. But I understand — that 
 you are very kind. [They pass 07i.] 
 
 Faust. 
 You knew me again, you little angel, the moment I 
 entered the garden ? 
 
 Margaret. 
 Did you not see it ? I cast down my eyes. 
 
 Faust. 
 And you forgive the liberty I took — my impudence 
 as you were lately leaving the cathedral ? 
 
 Marga/ret. 
 
 I was confused ; such a thing had never happened to 
 me before; no one could say anything bad of me. 
 Alas, thought I, has he seen anything bold, unmaidenly, 
 in thy behaviour ? It seemed as if the thought sud- 
 denly struck him, " I need stand on no ceremony with 
 this girl." I must own, I knew not what began to stir 
 in your favour here ; but certainly I was right angry 
 with myself for not being able to be more angry with 
 you. 
 
 Faust. 
 
 Sweet love ! 
 
256 GARTEN-. 
 
 Laszt einmal ! 
 iSie p-flucM eine Stemllume und zupft die Blatter ab, 
 eins nobch dem andern.'] 
 
 Faust. Lo'-t-JkA'-' 
 
 Was soil das? Einen Stransz? 
 
 Margarete. 
 Nein, es soil nur ein Spiel. 
 
 Faust. 
 Wie? 
 
 Margarete. 
 
 Geht ! Ihr laoht mich aus. 
 [Sie rwpft und murmelt.'] 
 
 Faust. 
 Was murmelst du ? 
 
 Margarete (halblaui). 
 
 Er liebt mich — Liebt mich uicht. 
 
 Fauist. 
 Du holdea Himmelsangesicht ! 2826 
 
 Margarete (^fcihrtfort). 
 Liebt mich — Nioht — Liebt mich — Nicht — 
 
 l^Das letzte Blatt ausrupfend, mit holder Freude.] 
 Er liebt mich ! 
 
 Faust. 
 Ja, mein Kind ! Lasz dieses Blumenworb 
 Dir Grotterausspruch sein ! Er liebt dich ! 
 Verstehst du, was daa heiszt? Er liebt dich ! 2830 
 
 [Frfaszt ihre heiden Hiinde.'] 
 
 Margarete. 
 Mich uberliiuft's. 
 
GARDEN. 257 
 
 Margwret. , 
 
 Wait a moment ! 
 
 \_8he plucks a star-flower, and picks off the lea/oea 
 
 one after the other."] 
 
 Faust. 
 What is that for ? A nosegay ? 
 
 Ma/rgaret. 
 No, only a game. 
 
 Faust. 
 What? 
 
 Marga/ret. 
 Go ! You will laugh at me. 
 
 [She plucks off the leaves and mu/rmvrs to herself.'] 
 
 Faust. 
 What are you murmuring ? 
 
 Margaret (half aloud). 
 He loves me — he loves me not ! 
 
 Faust. 
 Thou angelic being ! 
 
 Margaret (continues). 
 Loves me — not — loves me — not — (Plucking off the 
 last leaf with fond delight.) — He loves me ! -— 
 
 Faust. 
 Yes, my child. Let this flower-prophecy be to thee 
 an oracle divine. He loves thee ! Dost thou understand 
 what that means ? He loves thee ! 
 
 [He takes loth her hands.] 
 
 Margaret. 
 I tremble all over. 
 
258 GARTEN. 
 
 Faust, 
 Bohaudre nioht ! Lasz diesen Bliok, 
 Lasz diesen Handedruck dir sagen, 
 Was unausspreohlidh ist : 
 
 Sich hinzugeben ganz und eine Wonne 2835 
 
 Zu fiihlen, die ewig sein musz ! 
 Bwig !— Ihr Bade wiirde Verzweiflung sein. 
 Nein, kein'Ende ! Kein Bnde ! 
 
 [Mabgaeete drilcM ihm die Sande, machi sich los 
 wnd liiufi weg. Er stehi emen AugenbUck in 
 Gedomken, dannfolgt er ihr. 2 
 
 Marthe (hommend). 
 Die Nacht bricht an. 
 
 Mephieiopheles. 
 Ja, und wir wolleu fort. 
 
 Marthe. 
 loh bat' euch, langer hier zu bleiben, 2840 
 
 Allein es ist ein gar zu boaer Ort. 
 Es ist, als hatte Niemand niohts zu treiben 
 Und niohts zu sohaflfen, 
 
 Ala auf des Naohbarn Sohritt und Tritt zu gaffen, 2844 
 Und man kommt ins Gered', wie man sich immer stellt. 
 Und unser Parohen ? 
 
 Mephistopheles, 
 
 Ist den Gang dort aufgeflogen. 
 Mattwill'ge Sommervogel ! 
 
 Marthe. 
 
 Er scheint ihr gewogen. " 
 
 Mephistopheles. 
 Und sie ihm auoh. Das ist der Lauf der Welt. 
 
GARDEN. 259 
 
 Favst. /"J. /? ^iMJ^j^ 
 
 Oh, tremble not. Let this look, let this pressure of 
 the hand, say to thee what is unutterable : — To give 
 ourselves up wholly, and feel a bliss which must be 
 eternal ! Eternal ! — its end would be despair ! No, no 
 end ! no end ! 
 
 [Makgaeet jyresses his hands, breaks from him, and 
 runs away. He stands a moment in thought, and 
 then follows her.] 
 
 Martha (approaching). 
 The night is coming on. 
 
 Mephistopheles, 
 Ay, and we wUl away. 
 
 Martha. 
 I would ask you to stay here longer, but it is much 
 too wicked a place. One would suppose no one had any 
 other object or occupation than to gape after his neigh- 
 bour's incomings and outgoings. And one comes to be 
 talked about, behave as one will. And our pair of 
 
 lovers ? 
 
 Mephistopheles. 
 
 Have flown up the walk yonder. Wanton butter- 
 flies ! 
 
 Martha. 
 
 He seems fond of her. 
 
 Mephistopheles. 
 And she of him. Such is the way of the world. 
 
Em GAETBNHAUSOHBN. 
 
 Margaeete springt herein, steckt sich hdnter die Thilr, halt 
 die Ftngerspitxe an die Lippen v/nd guckt dureh die Bitze. 
 
 Ma/rgarefe.- 
 "C E kommt ! 
 
 JFcmst (hommi). 
 Ach Schelm, bo necksti da mich ! ZS49 
 Trefif ioh dich ! [Br Mszt sie.] 
 
 Margca'ete (ihnfassend und den Kusz zwiickgehend). 
 
 Bester Mann ! Von Herzen lieb' ioh dich ! 
 [Mephistopheles Uopft an.'] 
 
 Famt {gtampfend'). 
 Werda? 
 
 Mephistopheles. 
 GutFreund! 
 
 Faust. 
 Ein Thier! 
 
 MephMopheles. 
 
 Eb ist wohl Zeit zu scheiden. 
 
 Marthe {kimvmt'), 
 Ja, es ist spat, mein Herr. 
 
 Faust. 
 Darf ioh euoh nioht geleiten ? 
 
A STTMMEE HOUSE. 
 
 Maboabet runs in, gets behind the door, holds the tip of 
 her finger to her lips, and peeps through the crevice. 
 
 Margaret. 
 
 HE comes ! 
 Faust (enters). 
 Ah, rogue, is it thus you tease me ? I hare caught 
 you at last. \_He hisses her.] 
 
 Ma/rgaret {ernbracing him and retwrning the kiss). 
 Dearest ! from my heart I love thee ! 
 
 [Mephistophelbs hnocks.J 
 
 Faust (stamping). 
 Who is there ? 
 
 Mephistopheles. 
 A friend. 
 
 Faust. 
 A brute. 
 
 Mephistopheles. 
 It is time to part, I believe. 
 
 Martha (comes up). 
 Yes, it is late, Sir. 
 
 Faust. 
 May I not accompany you ? 
 
262 EIN GARTENHAUSCHEN. 
 
 Margarete. 
 Die Mutter wiirde mich — Lebt wohl ! 
 
 Lebt wohl ! 
 
 Ade! 
 
 Fcmst. 
 
 Musz ich deun gehn ? 
 
 Mai'the. 
 
 Margwfete. 
 Auf baldig Wiedersehn. 
 
 [Faust wnd MEPHisToniEi es o?;.] 
 
 Mwrgarete. 
 Da lieber Gott! Was so ein Mann 2855 
 
 Kicht AUes, Alles denken kann ! 
 Seschamt nnr steh' ioh vor ihm da 
 Und sag' zu alien Sachen ja. 
 
 Bin dooh ein arm, unwissend Kind, 4859 
 
 Begreife nicht, was er an mir find'fc. [^6.] 
 
A SUMMER HOUSE. 263 
 
 Marga/ret, 
 My motlier would— farewell ! 
 
 Famst. 
 Must I then go ? Tarewell ! 
 
 Martha. 
 Adieu! 
 
 Margaret. 
 
 TiU our next speedy meeting ! 
 
 [Faust and Mephistophelbs exeunt."] 
 
 Margaret. 
 
 Gracious God ! How many things such a man can 
 
 think about ! I only stand abashed in his presence, 
 
 and say yea to everything ! I am but a poor silly girl ; 
 
 I cannot understand what he finds in me. lExit.'] 
 
' t7ALD tnSTD HpHLB, 
 
 H' -■ 
 
 Faust allei/b. 
 
 . Faust. ^ ~. 
 
 EEHABNBE Geist, du gabst mir, gabst mir AUes, 
 ■Wamm ioh bat. Du hast mir nioht umsonst 
 Dein Angesicht im Feuer zugewendet, 
 Gabst mir die herrliche Natur zum Konigreioh, 
 Kraft, siezu fiihlen, zu' genieszen.-- Nicht 2865 
 
 Kalt st^nendeu Besuch erlanbst du nur, 
 Vergonnest mir, in ihre tiefe Brust 
 Wie in den Bnsen eines Freunds zu schauen. 
 iDu f iihrst die Eeihe der Lebendigen 
 
 Vor mir vorbei und lehrst mich meine Briider 3870 
 
 Im stillen Bnsoh, in Luft und Wasser kennen. 
 Und wenn der Sturm im Walde braust und knarrt. 
 Die Eiesenfichte stiirzend Nachbaraste 
 Und Nacbbarstamme, quetschend, niederstreift, 
 Und ihrem Fall dumpfi hohl der Hiigel donnert : 2875 
 
 Dann fuhrst du mich zur sichern Hohle, zeigst 
 Mich dann mir selbst, und meiner eignen Brust 
 Geheime tiefe Wunder offnen sich. 
 Und steigt vor meinem Bliok der reine Mond 
 Besanftigend heriiber, schweben mir 2880 
 
 Von Felsenwanden, aus dj^ feuchten Buseh 
 Der Yorwelt silbeme Gestalten auf 
 Und lindern der Betrachtung strenge Lust. 
 
 0, dasz dem Menschen nichts Vollkommnes wird, 
 Empfind' ich nun. Du gabst zu dieser Wonne, 2885 
 
 Die mich den Gottern nah und naher bringt, 
 Mir den Gefahrten, den ich sohon nicht mehr 
 
FOEEST AJSTD CATEEN. 
 
 Faust (alone). 
 
 SUBLIME spirit ! thou gavest me, gavest me every- 
 thing I prayed for. Not in vain didst thou turn 
 thy face in fire to me ; thou gavest me glorious nature 
 for a kingdom, with power to feel, to enjoy her. It is not 
 merely a cold wondering visit that thou permittest me ; 
 thou grantest me to look into her profound depth, 
 as into the bosom of a friend. Thou passest in review 
 before me the whole series of animated thiags, and 
 teachest me to know my brothers in the still wood, in 
 the air, and in the water. And when the storm roars 
 and groans in the forest, and the giant-pine, precipi- 
 tating its neighbour - boughs and neighbour - trunks, 
 sweeps, crushing, down, — and the mountain thunders 
 with a dead hollow muttering to the fall, — then thou 
 bearest me ofE to the sheltered cave; then thou showest 
 me to myself, and deep mysterious wonders of my own 
 breast reveal themselves. And when the clear moon, 
 with its soothing influences, rises full in my view, — 
 from the rocky walls, out of the damp underwood, the 
 silvery forms of past ages hover up to me, and soften 
 the austere pleasure of contemplation. 
 
 Oh, now I feel that nothing perfect falls to the lot of 
 man ! With this beatitude, which brings me nearer 
 and nearer to the gods, thou gavest me the companion, 
 
266 WAtD UND HOHtE. 
 
 Entbehren kann, wenn er gleich kalt nnd freoh 
 Mich vor mir selbst erniedrigt und zu Nichts 
 Mit einem Worthauch deine Gaben wandelt. 2890 
 
 Br facht in meiner Brust ein wildes Feuer , 
 Nach jenem schonen Bild gesohaftig an. 
 //So tauml' ich von Begierde zu Genusz, 
 'iTJnd im Genusz versohmacht' ich nach Begierde. 
 
 [Mephistopheles iritt auf.'\ 
 
 Mephistopheles. 
 Habt ihr nun bald das Leben g'nug gefuhrt ? 2895 
 Wie kann's euoh in die Lange freuen ? 
 Es ist wohl gut, dasz man's einmal probirt; 
 Dann aber wieder zu was Neuen ! 
 
 Fcmst. 
 Ich woUt', du hattest mehr zu thun, 
 Als mich am guten Tag zu plagen. 2900 
 
 MephistopJieles. 
 Nun, nun ! Ich lass' dich geme ruhn, 
 Du darfst mir's nicht im.Ernste sagen. 
 ;An dir Gesellen, unhold, barsch und toll, 
 lillat wahrlioh wenig zu verlieren. 
 Den ganzen Tag hat man die Hande veil ! 2905 
 
 Was ihm gefallt und was man lassen soil, 
 Kann man dem Herrn nie an der Nase spiiren. 
 
 Faust. 
 Das ist so just der rechte Ton ! 
 Er will noch Dank, dasz er mich ennuy.irt, 
 
 Mephistophelee. 
 Wie hatt'st du, armer Erdensohn, 2910 
 
 Dein Leben ohne mich gefuhrt ? 
 Vom Kribskrabs der Imagination 
 Hab' ich dich doch auf Zeiten lang kurirt ; 
 Und war' ich nicht, so warst du schon 
 Von diesem Erdball abspaziert. 2915 
 
FOREST AND CAVEEN. 26? 
 
 wliom already I cannot do without ; although, cold and 
 insolent, he degrades nae in my own eyes, and turns 
 thy gifts to nothing with a breath. He is ever kind- 
 ling a wildfire in my heart for that lovely image. Thus t 
 do I reel from desire to enjoyment, and in enjoyment 
 languish for desire. 
 
 Mbphistopheles enters. 
 Mephistopheles. 
 
 ci: 
 
 / 
 
 Have you not had enough of this kind of life ? How 
 can you delight in it for any length of time ? It is all 
 well enough to try it once, but then on again to some- 
 thing new. 
 
 Faiist. 
 
 I would you had something else to do than to plague 
 me in. my happier hour. 
 
 Mephistopheles, 
 
 Well, well ! I will let you alone if you wish. Tou 
 
 need not say so in earnest. Truly, it is little to lose an 
 
 ungracious, peevish and crazy companion Hke you. The 
 
 livelong day one has one's hands full. One cannot read 
 
 in your worship's face what pleases you, and what to 
 
 let alone. 
 
 Faust. 
 
 That is just the right tone! He would fain be 
 
 thanked for wearying me to death. 
 
 Mephistopheles. 
 
 Poor son of earth ! what sort of life would you have 
 
 led without me ? I have cured you, for some time to 
 
 come, of the crotchets of imagination, and, but for me, 
 
 you would already have taken your departure from this 
 
268 WALD UND HOIILE. 
 
 Was hast du da in Hohlen, Felsenritzen 
 
 Dich wie ein Schuhu zu versitzen ? 
 
 Was sohlurfst aus dumpfem Moos und triefeadem Gefltein 
 
 Wie eine Krote Nahrung ein ? 
 
 Ein sohoner, suszer Zeitvertreib 2920 
 
 Dir steckt der Doktor nooh im Leib. 
 
 Fcmst. 
 Verstehst du, was fiir neue Lebenskraffc * 
 
 Mir dieser Wandel in der Oede schafft ? 
 Ja, wurdest du es ahnen konnen, 
 Du warest Teufel g'nug, mein Gliiok mir nioht za gonnen, 
 
 MephistopTieles. 
 Ein iiberirdisches Vergniigen ! 2926 
 
 In Nacht und Thau auf den Gtebirgen liegen 
 Und Erd' und Himmel wonniglich umfassen, 
 Zu einer Gottheit sioh anfschwellen lassen, 
 Der Erde Mark mit Ahnungsdrang durchwuhlen, 29J0 
 AUe sechs Tagewerk' im Busen fiihlen, 
 In stolzer Kraft, ioh weisz nioht was, genieszen, 
 Bald liebewonniglioh in Alles uberflieszen, 
 Verschwunden ganz der Erdensohn, 
 Und dann die hohe Intuition — (mit einer Gelerde) 2935 
 Ioh darf nioht sagen wie — zu sohlieszen. 
 
 Fomst. 
 Pfui iiber dioh ! 
 
 MephistopTieles. 
 Das will euch nioht behagen ; 
 Ihr habt das Eeoht, gesittet Pfui zu sagen. 
 Man darf das nicht vor keusohen Ohren nennen, 
 Was keusohe Herzen nioht entbehren konnen. 2940 
 
 Und kurz und gut, ioh gonn' ihm das Vergniigen, 
 Gelegentlioh sidi^^was vorzuliigen ; 
 Dooh lange halt er das nioht aus. 
 Du bist schon wieder abgetrieben 
 
 Und, wahrt es langer, aufgerieben 2945 
 
 In ToUheit oder Angst und Graus. 
 G«nug damit ! Dein Liebohen sitzt dadrinne, 
 
FOREST AND CAVERN. 269 
 
 globe. Why mope in caverns and fissures of rocts, like 
 an owl ? Why sip in nourishment froia sodden moss 
 and dripping stone, like a toad ? A fair, sweet pastime ! 
 The doctor still sticks to you. 
 
 ;l 
 
 Faust. 
 Dost thou understand what new life-power this 
 wandering in the desert gives me ? Ay, couldst thou 
 have but a dim notion of it, thou wouldst be devil ' 
 enough to grudge me my enjoyment. 
 
 Mephistopheles, 
 
 A super-earthly pleasure ! To lie on the mountains 
 in darkness and dew — clasp earth and heaven ecstati- 
 cally — swell yourself up to a godhead — rake through 
 the egJth/ s ma rrow with your prescient yearnings — feel 
 the whole six days' work in yotir bosom — in haughty 
 might enjoy I know not what — now overflow, in love's 
 raptures, into all, with your earthly nature cast aside 
 — and then to end the lofty intuition (with a gestv/re) — 
 I must not say how. 
 
 Faust. 
 
 Fie upon you. 
 
 Mephistopheles. 
 
 That is not to your mind ; you are entitled to cry 
 fie ! so morally ! We must not name to chaste ears 
 what chaste hearts cannot renounce. And, in a word, 
 I do not grudge you the pleasure of lying to yourself 
 occasionally. But you will not keep it up long. Tou 
 are already worn out again, and, if this holds much 
 longer, will be fretted into madness or torture and 
 horror. Enough of this ! your little love sits yonder at 
 
270 WALD UND HOHLE. 
 
 Und Alles wird ihr eng und triib. 
 
 Du kommst ihr gar nicht aus dem Sinne, 
 
 Sie hat dioh Ubermachtig lieb. 2950 
 
 Erst kam deine Liebeswuth iibergeflossen, 
 
 Wie vom geschmolznen Sohnee ein Bachlein iibersteigt ; 
 
 Du hast sie ihr ins Herz gegossen, 
 
 Nun ist dein BSchlein wieder seicht. 
 
 Mich diinkt, anstatt in Waldern zu thronen, 2955 
 
 Liesz' es dem groszen Herren gut, 
 
 Das arme, affenjunge Blut 
 
 Piir seine Liebe zu belohnen. 
 
 Die Zeit wird ihr erbarmlioh lang ; 
 
 Sie steht am Fenster, sieht die Wolken ziehn 2960 
 
 Ueber die alte Stadtmauer hin. 
 
 Wenn ich ein Voglein war', so geht ihr G'esang 
 
 Tage lang, halbe Nachte lang. 
 
 Einmal ist sie munter, meist betriibt, 
 
 Einmal recht ausgeweint, 2965 
 
 Dann wieder rnhig, wie's soheint, 
 
 Und immer verliebt, 
 
 Faust. 
 Sohlange ! Sohlange ! 
 
 Mephisiopheleg (Jur sicK). 
 Gelt, dasz ich dich fange ! 
 
 Faust. 
 Verruchter ! Hebe dich von hinnen 2970 
 
 Und nenne nicht das schbne Weib ! 
 Bring die Begier zu ihrem siiszen Leib 
 Nicht wieder vor die halb verrlickten Sinnen ! 
 
 MepMstophelet. 
 Was soil es denn ? Sie meint, du seist entflohn, 
 Und halb und halb bist du es schou. 2975 
 
 FoMst. 
 loh bin ihr n'ah, und war' ich noch so fern, 
 Ich kann sie nie vergessen, nie verlieren ; 
 Ja, ich beneide schon deu Leib des Herrn, 
 Wenn ihre Lippen ihu indesz beriihren. 
 
FOREST AND CAVERN. 271 
 
 home, and all to lier is confined and melancholy. Tou 
 are never absent from her thoughts. She loves you all 
 subduingly. At first, your passion came overflowing, 
 like a snow-flushed rivulet; you have poured it into 
 her heart, and lo ! your rivulet "' is dry again. Methinks, 
 instead of reigning in the woods, your lordship would 
 do well to reward the poor young creature for her love. 
 The time seems lamentably long to her ; she stands at 
 the window and watches the clouds roU away over the 
 old town- walls. " Were I a bird ! " "" so runs her song, 
 during all the day and half the night. Now she is 
 cheerfid, mostly cast down, — now she has cried her fill 
 — ^then, as it seems, calm again, and ever in love ! 
 
 FavM. 
 Serpent ! serpent ! 
 
 Mephistopheles (aside). 
 Now I have trapped you ! 
 
 Faust. 
 Eeprobate ! take thyself away, and name not the 
 lovely woman. Bring not the desire for her sweet body 
 before my half -distracted senses again ! 
 
 Mephistopheles. 
 What is to become of this ? She thinks that you are 
 off, and in some manner you are. 
 
 Faust. 
 I am near her, and were I ever so far off, I can never 
 forget, never lose her. Nay, I already envy the body 
 of the Lord when her lips are touching it. 
 
272 WALD UND HOHLE. 
 
 MephiatopTieleg. 
 Gar wohl, mein Frennd! loh hab' ench oft beneidet zgSo 
 Urns Zwillingspaar, das unter Koseu weidet. 
 
 Fawi. 
 Entfliehe, Knppler ! 
 
 MepMstopheles. 
 Sohon ! Ihr schimpft, und ich musz lacben. 
 Der Gott, der Bub nnd Madcheii schuf, 
 Erkannte gleicb den edelsten Bemf, 
 
 Auch selbst Gelegenheit zu macheii. 2985 
 
 Nur fort ! - Es ist ein groHzer Jammer ! 
 Ihr soUt in cures Liebehens Kammer, 
 "Nicbt etwa in den Tod. 
 
 Fcmst. 
 \\ Was ist die Himmelsfreud' in ihren Armen ? 
 Lasz mich an. ihrer Brust erwarmen, aqgo 
 
 Eiihr iob nioht immer ibre Notb ? 
 Bin ich der Pluohtling nicbt, der UnbehauBte, 
 Der Unmenscb ohne Zweck und Eub, 
 Der wie ein Wasserstura von Eels zu Felsen biiauste, 
 Begierig wutbend, nach dem Abgrund zu ? 2995 
 
 Und seitwarts sie, mit kindlicb dumpfen Sinnen, 
 Im Huttchen auf dem kleinen Alpenfeld, 
 Und all ibr bausliobes Beginnen 
 TJmfangen in der kleinen Welt. 
 
 Und ich, der Gottverbaszte, 3000- 
 
 Hatte nicbt genug, 
 Dasz ich die Pelsen faszte 
 Und sie zu Triimmern schlug ! 
 Sie, ihren Frieden muszt' ich untergraben ! 
 Du, Holle, musztest dieses Opfer Jiaben ! 3005 
 
 Hilf, Teufel, mir die Zeit der Angst verkiirzen ! 
 Was musz gescbebn, mag's gleicb gesobebn ! 
 Mag ibr Geschick auf mioh zusammenstiirzen 
 Und sie mit mir zu Grunde gebn I 
 
FOREST AND CAVERN. 273 
 
 Mej>histopheles. 
 Very well, my friend ! I have often envied you the 
 twin-pair,"' which feed among roses. 
 
 Faust. 
 Pander, begone ! 
 
 Mephistopheles. 
 Good again ! Tou rail, and I cannot help laughing. 
 The God, who made lad and lass, well understood the 
 noble calling of making opportunity too. But away, it 
 is a mighty matter to be sad about ! You should be- 
 take yourself to your mistress's chamber — not, I think, 
 to death. 
 
 Fattst. 
 What are the joys of heaven in her arms V Even 
 when I kindle on her breast, do I not feel her 
 wretchedness unceasingly ? Am I not the outcast — the 
 houseless one ? — the monster without aim or rest — who, 
 like a cataract, dashed from rock to rock, in devouring 
 fury towards the precipice ? And she, upon the side, 
 with childlike simplicity, in her little cot upon the little 
 mountain field, and all her homely cares embraced 
 within that little world ! And I, the hated of God — ^it 
 was not enough for me to grasp the rocks and smite 
 them to shatters ! Her, her peace, must I undermine ! 
 — Hell, thou couldst not rest without this sacrifice! 
 Devil, help me to shorten the pang ! Let what must 
 be, be quickly ! Let her fate fall crushing upon me, 
 and both of us perish together ! 
 
2<'4 WALD TJND HOHLE. 
 
 MepTiistejpheles. 
 Wie's wieder siedet, wieder gluht ! 3010 
 
 Geh ein und trbste sie, du Thor ! 
 Wo so ein Kopfchen keinen Ausgang sieht, 
 ^tellt er sich gleioh das Ende vor. 
 Es lebe, wer sich tapfer halt ! 
 
 Du bist doch sonst so ziemlioh eingeteufelt. 3015 
 
 Nichts Abgeschtnaokters find' ioh auf der Welt 
 Als eineu Teufel, der verzweifelt. 
 
FOREST AND CAVERN. 275 
 
 MepMstoplieles. 
 How it seethes and glows again ! Get in, and com- 
 fort her, you fool! — When such a dull head sees no 
 outlet, it imagines at once that all is at an end. He 
 who bears himself bravely, for ever! Well, on the 
 whole, you have a fair spice of the devil in you. I 
 know nothing in the world more insipid than a devil 
 that despairs. 
 
GEETCHENS STUBS. 
 
 Gretclien (am Spinnrade allem), 
 
 MEINB Euh ist hin, 
 Mein Herz ist sohwer ; 
 loh finde sie nimmer 3020 
 
 Und nimmennehr. 
 
 Wo ich ihn nioht hab', 
 
 Ist mir das Grab, 
 
 Die ganze Welt 
 
 Ist mir vergallt. 3025 
 
 Mein armer Kopf 
 Ist mir verriiokt, 
 Mein armer Sinn 
 Ist mir zerstiiokt. 
 
 Meine Ruh ist hin, 3030 
 
 Mein Herz ist schwer; 
 loh finde sie nimmer 
 TJnd nimmermehr 
 
 Naoh ihm nur schau' ich 
 
 Znm Penster hinaus, 3035 
 
 Kach ihm nur geh' ioh 
 
 AuB dem Haas, 
 
MARGARET'S ROOM. 
 
 Margaret (alone, at the spinning-wheeT), 
 ' Y peace is gone ; 
 My heart is heavy ; 
 I shall find it never. 
 And never more. 
 
 M 
 
 Where I have him not 
 Is the grave to me. 
 The whole world 
 Is embittered to me. 
 
 My poor head 
 Is wandering. 
 My poor sense 
 Distracted. 
 
 My peace is gone ; 
 My heart is heavy ; 
 I shall find it never. 
 And never more. 
 
 For him alone look I 
 Out at the window ! 
 For him alone go I 
 Out of the house ! 
 
278 GEETCHENS STUBE. 
 
 Sein hoher Gang, 
 
 Sein' edle Gestalt, 
 
 Seines Mundes Lacheln, 3040 
 
 Seiner Augen Gewalt 
 
 (Jnd seiner Bede 
 
 Zauberflusz, 
 
 Sein Biindedruok 
 
 Und, aoh, sein Kusz ! 3045 
 
 Meine Euh ist bin, 
 Mein Herz ist sohwer ; 
 leh flnde sie nimmer 
 Und nimmermehr. 
 
 Mein Buseu drangt 3050 
 
 Sich nach ihm bin. 
 Aoh, diirft' ich fassen 
 Und halten ihn ! 
 
 Und kiissen ihu, 
 
 So wie ich wollt', 3055 
 
 An seinen Kiissen 
 
 Vergehen sollt' ! 
 
MARGARET'S ROOM. 279 
 
 His stately step. 
 His noble form; 
 The smile of Ws mouth, 
 The power of his eyes. 
 
 And of his speech 
 The witching flow ; 
 The pressure of his hand. 
 And, ah ! his kiss ! 
 
 My peace is gone ; 
 My heart is heavy ; 
 I shall find it never. 
 And never more. 
 
 My bosom yearns 
 Towards him. 
 Ah ! could I enfold him 
 And hold him ! 
 
 And kiss him 
 As I would ! 
 On his kisses 
 I should die away ! 
 
MAETHEN« GAETBN. 
 
 Mahgaeete. Fatjst. 
 
 Ma/rgarete. 
 ^ 7-EESPElCH mir, Heinrioh ! 
 
 Faust. 
 
 Was ich kann ! 
 
 Ma/rgarete, 
 Nun sag, wie hast du's mit der Eeligion ? 
 Du bist ein herzlich guter Mann, 3060 
 
 AUein ich glaub', du haltst nicht viel davon. 
 
 Fatist 
 Lasz das, mein Kind ! Du fUhlst, ich bin dir gut ; 
 Fur meine Lieben liesz' ich Leib und Blut, 
 Will Niemand sein Gefiihl und seine Kirche rauben. 
 
 Margarete. 
 Das ist nicht recht, man musz dran glauben ! 3065 
 
 Fcmst. 
 Musz man ? 
 
 Margarete. 
 Ach, wenn ich etwas auf dich konnte ! 
 Du ehrst auch nicht die heil'gen Sakramente. 
 
 Faust. 
 Ich ehre sie. 
 
MARTHA'S GAEDEN. 
 
 Maegaeet — Faust. 
 
 Margaret. 
 "PROMISE me, Henry ! 
 
 Faust. 
 What I can ! 
 
 Margaret. 
 
 Now, tell me, how is it with your religion? Tou 
 
 are a dear, good man, but I believe you don't think 
 
 much of it. 
 
 Faust. 
 
 Leave that, my child ! you feel I love you : I would 
 
 lay down my life for those I love, nor would I deprive 
 
 any of their feeling and their church. 
 
 Margaret. 
 That is not right ; we must believe in it. 
 
 Faust. 
 Must we ? 
 
 Margaret. 
 Ah ! if I had any influence over you ! Tou do not 
 honour the holy sacraments, either. 
 
 Faust. 
 I honour them. 
 
282 MARTHENS GARTEN. 
 
 Doch ohne Verlangen. 
 Zur Messe, zur Beichte bist du lange nicht gegangen. 
 Grlaubst da an Gott ? 
 
 FoMSt. 
 
 Mein Liebohen, wer darf sagen : 
 Ich glaub' an Gott ? 3071 
 
 Magst Priester oder Weise fragen, 
 Und ihre Antwort scbeint nur Spott 
 XJeber den Frager zu sein. 
 
 Margarete. 
 
 So glaabat du nicht ? 
 
 Faust. 
 Miszhor mich nicht, du holdes Angesioht ! 3075 
 
 Wer darf ihn nennen, 
 Und wer bekennen : 
 Ich glaub' ihu ? 
 Wer empfinden 
 
 Und sich unterwinden, 3080 
 
 Zu sagen : ich glaub' ihn nicht P 
 Der AUumfasser, 
 Der AUerhalter, 
 Faszt und erhalt er nicht 
 
 Dioh, mich, sich selbst ? 3085 
 
 Wolbt sich der Himmel nicht da droben ? 
 
 Liegt die Brde nicht hier unten feet ? 
 
 Und steigen, freundlich blickend, 
 
 Ewige Sterne nicht herauf ? 
 
 Schau' ich nicht Aug' in Auge dir, 3090 
 
 Und drangt nicht Alles 
 
 Naoh Haupt und Herzen dir 
 
 Und webt in ewigem Geheimuisz, 
 
 Unsichtbar, sichtbar, neben dir P 
 
 Erfiill davon dein Herz, so grosz es ist, 3095 
 
 Und wenn du ganz in dena Gefiihle aelig bist, 
 
 Nenn es dann, wie du willst, 
 
 Nenn's.GlUok ! Herz ! Liebe ! Gott ! 
 
 Ich habe keinen Namen 
 
MARTHA'S GARDEN. 283 
 
 Margaret. 
 But without desiring them. It is long since you 
 went to mass or confession. Do you believe in G-od ? 
 
 Faust. 
 My love, who dares say, I believe in God ? Tou may 
 ask priests and philosophers, and their answer will 
 appear but a mockery of the questioner. 
 
 Margaret. 
 Tou don't beHeve, then ? 
 
 Faust. 
 Mistake me not, sweet darling! Who dare name 
 him ? and who avow : " I beUeve in him ? " Who feel 
 — and dare to say : " I believe not in him ?" The AU- 
 embracer, the AU-sustainer, does he not embrace and 
 sustain thee, me, himself ? Does not the heaven arch 
 itself there above ? — Lies not the earth firm here below ? 
 — And do not eternal stars rise, kindly twinkling, on 
 high ? — Are we not looking into each other's eyes, and 
 is not all thronging to thy head and heart, and weaving 
 in eternal mystery, invisibly — visibly, about thee? 
 With it fill thy heart, big as it is, and when thou art 
 wholly blest in the feeling, then call it what thou wilt ! 
 CaU it Bliss ! — Heart ! — Love ! — God ! I have no name 
 
284i MARTHENS GAETEN. 
 
 Dafiir ! Gefuhl ist Alles ; 3'oo 
 
 Name ist Schall und Rauoh, 
 Umnebelnd Himmelsgluth. 
 
 Ma/rga/rete. 
 Das ist Alles recht schon und gut ; 
 Ungefahr sagt das der Pfarrer auch, 
 Nur mit ein biszoLen andern Worten, 3105 
 
 ¥a/mt. 
 Es sagen's aller Orten 
 AUe Herzen unter dem himmlischen Tage, 
 Jedes in seiner Spraohe ; 
 Warum nicht ioh in der meinen ? 
 
 Wenn man's so hort, mocht's leidlich scheinen, 3 no 
 Steht aber doch immer schief darum ; 
 Denn du hast kein Christenthum. 
 
 Fa/mi. 
 Lieb's Kind ! 
 
 MargoA'ete. 
 Es thut mir lang' schon weh, 
 Dasz ich dich in der Gesellschaft seh'. 
 
 Favjst 
 Wie so? 
 
 Margarete. 
 Der Mensch, den du da bei dir hast, 3 115 
 Ist mir in tiefer innrer Seele verhaszt ; 
 Es hat mir in meinem Leben 
 So niohts einen Stich ins Herz gegeben 
 Als des Mensohen widrig Gesicht. 
 
 Faust. -^ -jV'"" 
 
 Liebe Puppe, furcht ihn nicht ! 3120 
 
 Ma/rgarete. 
 Seine Gegenwart bewegt mir das Blut. 
 Ich bin sonst alien Mensohen gut ; 
 
Martha's garden. 285 
 
 for it ! "* Feeling is all in all. Name is sound and 
 smoke,"' clouding heaven's glow. 
 
 Ma/rgaret. 
 That is all very fine and good. The priest says nearly 
 the same, only with somewhat different words. 
 
 Faust. 
 All hearts in all places under the blessed light of day 
 say it, each in its own language — why not I in mine ? 
 
 Mourgaret. 
 
 When one hears this it seems passable ; but, for all 
 
 that, there is something wrong about it, for thou hast 
 
 no Christianity. 
 
 Faust. 
 Dear child ! 
 
 Ma/rgaret. 
 
 I have long been grieved at the company I see 
 
 you in. 
 
 Faust. 
 How so ? 
 
 Margaret. 
 The man you have with you is hateful to me in my 
 inmost soul."° Nothing in the whole course of my life 
 has given my heart such a pang, as the repulsive visage 
 
 of that man. 
 
 Faust. 
 
 Fear him not, sweet love ! 
 
 Margaret. 
 His presence mates my blood creep. I have kind 
 feehngs tov/ards everybody else ; but, much as I long 
 
286 MARTHENS GARTEN. 
 
 Aber, wie ioh mioh sehne, dich zu schanen, 
 Hab' ioh vor dem Menschen ein heimlioh Grauen 
 Und halt' ihu fur einen Schelm dazu ! 3125 
 
 Gott verzeih' mir's, -wenn ich ihm Unreoht thu' ! 
 
 Faust 
 Es musz auch solche Kauze geben. 
 
 Ma/rgcvreie. 
 Wollte nicht mit seines Gleichen leben ! 
 Kommt er einmal zur Thiir herein, 
 Sieht er immer so spottisch drein 3130 
 
 Und halb ergriramt ; 
 
 Man sieht, dasz er an nichts keinen Antheil nimmt, 
 Es steht ihm an der Stirn geschrieben, 
 Dasz er nicht mag cine Seele lieben. 
 Mir wird's so wohl in deinem Arm, 3135 
 
 So frei, so hingegeben warm, 
 Und seine Gegenwarfc sohniirt mir das Innre zu. 
 
 ' Du ahnungsvoller Engel da ! 
 
 Marga/rete. 
 Das iibermannt mioh so sehr, 
 
 Dasz, wo er nur mag zu uns treten, 3140 
 
 Mein' ich sogar, ich liebte dich nicht mehr. 
 Auch wenn er da ist, konnt' ioh nimmer beten. 
 Und das friszt mir ins Herz hinein ; 
 Dir, Heinrioh, musz es auch so sein. 
 
 Faust. 
 Du hast nun die Antipathic ! 3145 
 
 Margarete. 
 Ich musz nun fort. 
 
 Faust. 
 
 Aoh, kann ioh nie 
 Ein Stundohen ruhig dir am Busen hangeu 
 Und Brnst an Brust und Seel' in Seele dran"en P 
 
'Martha's garden. 287 
 
 to see you, I have an unaccountable horror of that man, 
 and hold him for a rogue besides. God forgive me, if I 
 do him wrong. 
 
 Faust. 
 
 There must be such queer fellows, too. 
 
 Margaret. 
 I would not live with the lite of him. Whenever he 
 comes to the door, he looks in so mockingly, and with 
 fury but half-suppressed ; one sees that he sympathizes 
 with nothing. It is written on his forehead, that he can 
 love no living soul. I feel so happy in thy arms — so 
 unrestrained — in such glowing abandonment; and his 
 presence closes up my heart's core. 
 
 Faust. 
 Tou foreboding angel, you ! 
 
 Margaret. 
 
 It overcomes me to such a degree, that when he but 
 
 chances to join us, I even think I do not love you any 
 
 longer. Nor could I ever pray, when he is present ; 
 
 and this eats into my heart. Tou, too, Henry, must 
 
 feel the same. 
 
 Faust. 
 Well, you have an antipathy against him. 
 
 Margaret. 
 I must go now. 
 
 Faust. 
 Ah, can I never recline one httle hour undisturbed 
 upon thy bosom, and press heart to heart and soul to 
 soul ? 
 
288 MARTHENS GARTEN. 
 
 Margarefe. 
 Ach, wenn ich nur alleine schlief ! 
 
 Ich liesz' dir gern heut Nacht den Eiegel offen ; 3150 
 
 Doch meine Mutter schlaft nicht tief, 
 TJnd wiirden wir von ihr betroffen, 
 Ich war' gleich auf der Stelle todt ! 
 
 Faust. 
 Da Engel, das hat keine Noth. 
 
 Hier ist ein Fliisohchen, drei Tropfen nur 3155 
 
 In ihren Trank umhiillen 
 Mit tiefem Schlaf gef allig die Natur. 
 
 Was thu' ich nicht um deinetwillen ! 
 Es wird ihr hoffentlich nicht schaden ! 
 
 Faust. 
 Wiird' ich sonst, Liebchen, dir es rathen ? 3160 
 
 Margarets. 
 Seh' ich dich, besfcer Mann, nur an, 
 Weisz nicht, was mich naoh deinem Willen treibt ; 
 Ich habe schon so viel fur dich gethan, 
 Dasz mir zu thun fast nichts mehr iibrig bleibt. [-46.] 
 
 [Mephistopheles tritt cmf.'] 
 
 MepMstoplieles. 
 Der Grasaff ! Ist er weg ? 
 
 FoAiSt. 
 
 Hast wieder spionirt"^ 3165 
 
 Mephistopheles. 
 Ich hab's ausfiihrlich wohl vernommen, 
 Herr Doktor wurden da kateohisirt ; 
 Hoff', es soil Ihnen wohl bekommen. 
 Die Madels sind doch sehr interessirt, 
 Ob Einer fromm und sohlicht nach altem Branch. 3170 
 
 Sie denken, duckt er da, folgt er uns eben auch. 
 
MARTHA'S GARDEN. 289 
 
 Margaret. 
 Ah, did I but sleep alone ! I would gladly leave the 
 ddor unbolted for you this very night. But my mother 
 does not sleep sound, and were we discovered by her, I 
 should die upon the spot. 
 
 Faust. 
 Thou angel, there is no feai- of that. You see this 
 phial! Only three drops in her drink will gently 
 envelop nature in deep sleep. 
 
 MoA-garet. 
 What would I not do for thy sake ? It will do her 
 no harm, I hope. 
 
 Faust. 
 Should I else advise it to you, my love ? 
 
 Ma/rgaret. 
 
 If, best of men, I do but look on you, I know not 
 
 what drives me to comply with your will. I have already 
 
 done so much for you, that scarcely anything more 
 
 remains for me to do. [Exit.'] 
 
 Mephistopheles enters. 
 
 Mephistopheles. 
 The little monkey ! is she gone ? 
 
 Faust. 
 Hast thou been playing the spy again ? 
 
 MejphistopJieles. 
 I heard what passed plainly enough. Tou were cate- 
 chized, Doctor. Much good may it do you. The girls 
 are certainly deeply interested in knowing whether a 
 man be pious and simple-minded after the old fashion. 
 They think :" If he is pliable in that matter, he will also 
 obey us." 
 
290 MARTHENS GARTEN. 
 
 Fa/usi. 
 Du Ungeheuer siehst nioht ein, 
 Wie diese treue, liebe Seele, 
 Von ihrem Glauben voll, 
 
 Der ganz allein 3175 
 
 Ihr seligmachend ist, sich heilig quale, 
 Dasz sie den liebsten Mann verloren halten soil 
 
 MepMstopkeles. 
 Du iibersinnlicher, sinnlicher Freier, 
 Ein Magdelein nasf iihret dioh. 
 
 Faust. 
 Du Spottgeburt von Dreok und Feuer ! 3180 
 
 Mephistopheles. 
 Und die Physiognomie versteht sie meisterlioh. 
 In meiner Gegenwart wird's ihr, sie weisz nioht wie ; 
 Mein Maskohen da weissagt verborgnen Sinn ; 
 Sie f Uhlt, dasz ioh ganz sicher ein Genie, 
 Vielleicht wohl gar der Teufel bin. 3185 
 
 Nun heute Nacht — ? 
 
 Faust. 
 Was geht dich's an ? 
 
 MepMstopkeles. 
 Hab' ioh doch meine Freude dran ! 
 
MARTHA'S GARDEN. 291 
 
 Faust. 
 Thou, monster as thou art, canst not conceive hoTJ 
 this loving, faithful soul, full of her faith, which, ac- 
 cording to her notions, is alone capahle of conferring 
 eternal happiness, feels a holy horror to think that she 
 must hold her best-beloved for lost. 
 
 Mephistopheles. 
 Thou super-sensual, sensual lover, a chit of a girl 
 leads thee by the nose. 
 
 Faust. 
 Thou abortion of dirt and fire ! 
 
 Mephistopheles. 
 And she is knowing in physiognomy too. In my pre- 
 sence she feels she knows not how. My little mask 
 betokens some hidden sense. She feels that I am most 
 assuredly a genius — ^perhaps the devil himself. To-night, 
 
 then— ? 
 
 Faust. 
 
 What is that to you ? 
 
 MepMstopheles. 
 I have my pleasure in it, though. 
 
AM BEUimEIT. 
 Gketchen ^md Lieschen mit Krilgen. 
 
 H 
 
 AST nlchts von Barbelchen gehort ? 
 
 Gretchen. 
 Kein Wort. loh komm' gar wenig unter Leute. 
 
 Lieschen. 
 Gewisz, Sibylle sagt' mir's heute, 3190 
 
 Die hat sioh endlioh. auch bethbrt. 
 Das ist das Yornebmthuu ! 
 
 Gretchen. 
 
 Wie so ? 
 
 Lieschen. 
 
 Es Btinkt! 
 Sie futtert Zwei, wenn sie nun iszt und trinkt. 
 
 Gretchen. 
 Ach! 
 
 Lieschen. 
 So ist's ihr endlioh reoht ergangen. 
 Wie lange hat sie an dem Kerl gehangen ! 3195 
 
 Das war ein Spazieren, 
 Auf Dorf und Tanzplatz FUhren, 
 Muszt' uberall die Brste sein, 
 Kurtesirt' ihr immer mit Pastetchen und Wein ; 
 Bildt' sich was auf ihre Schonheit ein, 3200 
 
 War dooh so ehrlos, sich nioht zu sohamen, 
 Geschenke von ihm anzunehmen. 
 
H 
 
 AT THE WELL. 
 
 Maegaeet and Bessy ivith jpitchers. 
 
 Bessy. 
 AVE you heard nothing of Barbara ? 
 
 Margaret. 
 Not a word. I go very little abroad. 
 
 Bessy. 
 Certainly, Sybella told it me to-day. She has even 
 made a fool of herself at last. That comes of playing 
 the fine lady. 
 
 Margaret. 
 How so ? 
 
 Bessy. 
 It is a bad business. She feeds two when she eats and 
 drinks now. 
 
 Ah! 
 
 Margaret. 
 
 Bessy. 
 She is rightly served at last. What a time she has 
 hung upon the fellow ! There was a promenading and 
 a leading to village resorts and dancing places — she for- 
 sooth must be the first everywhere — he was ever treat- 
 ing her to tarts and wine. She thought great things of 
 her beauty, and was so lost to honour as not to be ashamed 
 
294 AM BRUNNEN. 
 
 War ein Grekos' und ein Gesohleck' ; 
 Da ist denn auoh das Blumohen weg ! 
 
 Greichen. 
 Das arme Ding ! 
 
 lAeschen. 
 Bedauerst sie noch gar ! 3205 
 
 Wenn Unsereins am Spinnen war, 
 Una Nachts die Mutter nicht hinunterliesz, 
 Stajid sie bei ihrem Bahlea bUsz, 
 Auf der Thiirbank und im dunkeln Gang 
 Ward ihnen keine Stunde zu lang. 3210 
 
 Da mag sie denn sich ducken nun, 
 Im Slinderhemdchen Kirchbusz' thun ! 
 
 Gretchen. 
 Er nimmt sie gewisz zu seiner Frau. 
 
 Lieschen. 
 Er war' ein Narr ! Ein flinker Jung' 
 Hat anderwarts noch Luft genung. 3215 
 
 Er ist auch fort. 
 
 Gretchen, 
 Das ist nicht schou ! 
 
 Lieschen. 
 Kriegt sie ihn, soil's ihr Ubel gebn. 
 Das Kranzel reiszen die Buben ihr, 
 Und Hackerling streuen wir vor die Thiir ! [-46.] 
 
 Gretchen (fiach Hcmse gehend). 
 Wie konnt' ich sonst so tapfer schmahlen, 3220 
 
 Wenn that ein armes Magdlein fehlen ! 
 Wie konot' ich iiber Andrer Siinden 
 Nicht Worte g'nug der Zunge finden ! 
 Wie schien mir's schwarz, amd schwarzt's noch gar, 
 Mir's immer doch nicht schwarz g'nug war, 3225 
 
 Und segnet' mich und that so grosz, 
 Und bin nun selbst der Siinde blosz ! 
 Doch — Alles, was dazu mich trieb, 
 Gott, war so gut, ach, war so Keb ! 
 
AT THE WELL. 295 
 
 to receiye presents from bim. There was a hugging and 
 kissing — and lo, the flower is gone ! 
 
 Margaret. 
 Poor thing ! 
 
 Bessy. 
 Tou even pity her ! When the like of us were at the 
 spinning, our mothers never let us go down at night. 
 She was with her sweet lover ; on the bench before the 
 door, and in the dark passage, the time was never too 
 long for them. But now she may humble herself, and 
 do church-penance, in a sinner's shift, in the church. 
 
 Margaret. 
 He will surely make her his wife. 
 
 Bessy. 
 He would be a fool if he did. A brisk young fellow 
 has the world before him. Besides, he's ofE. 
 
 Margaret. 
 That's not fair ! 
 
 Bessy. 
 
 If she gets him, it will go ill with her. The boys 
 
 will tear her wreath for her, and we will strew chafE 
 
 before her door.'" [Exit.'] 
 
 Margaret {going home). 
 How stoutly I could formerly revile, if I saw a poor 
 maiden make a slip ! how I could never find words 
 enough to speak of another's shame ! How black it 
 seemed to me ! and I blackened it still more, it was 
 never black enough for me — and blessed myself and felt 
 so grand, and am now myself a prey to sin ! Yet — all 
 that drove me to it, was, God knows, so sweet, so dear ! 
 
ZWmGER. 
 
 In der Mauerhohle em Andaehtshild der Mater dolorosa, 
 Blumenhruge davor. 
 
 Geetchen (stecM friiche Blumen in die Eruge). 
 
 A OH, neige, 3230 
 
 Du Schmerzenreiche, 
 Dein Antlitz gnadig meiner Noth ! 
 
 Das Schwert im Herzen, 
 Mit tausend Schmerzen 
 Blicksfc auf zu deines Sohnes Tod. 3235 
 
 Zum Vater bliokst du 
 TJnd Seufzer schickst du 
 Hinauf um sein' und deine Noth. 
 
 Wer fiihlet, 
 
 Wie wUhlet 3240 
 
 Der Schmerz mir im Gebein ? 
 
 Was mein armes Herz hiei' bauget, 
 
 Was es zittert, was verlanget, 
 
 Weiszt nur du, nur du allein ! 
 
 Wohin ioh immer gehe, 3245 
 
 Wie weh, wie weh, wie wehe 
 Wird mir im Busen hier ! 
 Ich bin, aoli, kaum alleine, 
 
ZWINGEE."' 
 
 In the niche of the wall a devotional image of the Mater 
 Dolorosa, with pots of flowers before it. 
 
 Maesaeet {places fresh flowers in the pots). 
 
 AH, incline, 
 Thou full of pain, 
 Thy countenance graciously to my distress. 
 
 The sword in thy heart,"' 
 
 With thousand pangs 
 
 TJp'lookest thou to thy Son's death. 
 
 To the Father look'st thou. 
 
 And sendest sighs 
 
 Aloft for his and thy distress. 
 
 Who feels 
 
 How rages 
 
 My torment to the quick ? 
 
 How the poor heart in me throbbeth. 
 
 How it trembleth, how it yearneth, 
 
 Knowest thou, and thou alone ! 
 
 Whithersoe'er I go, 
 What woe, what woe, what woe. 
 Grows within my bosom here ! 
 Hardly, alas, am I alone. 
 
298 ZWINGER. 
 
 Ich wein', ioh wein', ich weine, 
 
 Das Herz zerbricht in mir. 3250 
 
 Die Soherben vor meinem Tenster 
 Bethaut' ioh mit Thranen, ach, 
 Als ich am friihen Morgen 
 Dir diese Blumen brach. 
 
 Schien hell in meine Earnmer 3255 
 
 Die Sonne friih herauf, 
 Sasz ioh in allem Jammer 
 In meinem Bett schon auf. 
 
 Hilf ! Eette mioh von Schmach und Tod ! 
 
 Ach, neige, 3260 
 
 Du Schmerzenreiohe, 
 
 Dein Antlitz gnadig meiner Noth ! 
 
ZWINGER. 299 
 
 I weep, I weep, I weep. 
 
 My heart is bursting within me ! 
 
 The flower-pots on my window-sill 
 Bedewed I with tears, alas ! 
 When I at morning's dawn 
 Plucked these flowers for thee. 
 
 "When brightly in my chamber 
 The rising sun's rays shone. 
 Already, in all wretchedness. 
 Was I sitting up in my bed, 
 
 Help ! rescue me from shame and death ! 
 
 Ah, incline. 
 
 Thou full of pain. 
 
 Thy countenance graciously to my distress ! 
 
NAOHT STEASZB VOE GEBTOaBNS THUEE. 
 
 Valentin, Soldat, Geetchens Bruder. 
 
 Valentin. 
 
 WENN" ich so sasz bei einem Gelag, 
 Wo Mancher sioh beruhmen mag, 
 TJnd die Gesellen mir den Flor 3265 
 
 Der MSgdlein laut gepriesen vor, 
 Mit vollem Glaa das Lob versohwemmt : 
 Den Ellenbogen aufgestemmt, 
 Sasz ich in meiner sichern Ruh, 
 
 Hort' all dem Schwadroniren zii, 3270 
 
 Und streiohe laohelnd meinen Bart 
 TJnd kriege das voile Glas zur Hand 
 Und sage : AUes naoh seiner Art ! 
 Aber ist Eine im ganzen Land, 
 
 Piemeiner trauten Gretel gleicht, 3^75 
 
 Die meiner Sohwester das Wasser reicht ? 
 Top ! Top ! Kling ! Klang ! Das ging herum ! 
 Die Einen sohrieen : er hat Eecht, 
 Sie ist die Zier vom ganzen Geschleoht ! 
 Da saszen alle die Lober stumm. 3280 
 
 TJnd nun ! — Urn's Haar sich auszuraufen 
 Und an den Wanden hinanf zu laufen J — 
 Mit Stichelreden, Naseriimpfen 
 Soil jeder Schurke mich beschimpfeu ! 
 Soil wie ein boser Schuldner sitzen, 3285 
 
 Bei jedem Zufallswortchen scbwitzen ! 
 Und mocht' ich sie zusammenschmeiszen, 
 Konnt' ich sie doch nicht Liigner heiszen. 
 
 Was kommt heran ? Was schleicht herbei ? 
 Irr' ich nicht, es sind ihrer Zwei. Sajci 
 
 Ist er's, gleich pack' ich ihn beim Felle, 
 Soil nicht lebendig von der Stelle ! 
 
NIGHT.— STREET BEFORE MARGARET'S 
 DOOR. 
 
 Valentine (a Soldier, Maegaeet's brother). 
 
 WHEN I was seated at some carouse, where people 
 are fain to boast, and my companions were loud in 
 their praises of blooming girls, and drowned their com- 
 mendation in bumpers, — ^with my elbows leaning on the 
 board, I sat in quiet confidence, and listened to all 
 their swaggering ; then I stroke my beard with a smile, 
 and take the bumper in my hand, and say : " All very 
 well in its way ! but is there one in the whole country 
 to compare with my dear Margaret, — who is fit to hold 
 a candle to my sister ? " Hob and nob, cling! clang! 
 so it went round ! Some shouted, " He is right ; she is 
 the pearl of the whole sex ; " and all those swaggerers 
 were dumb. And now — it is enough to make one tear 
 out one's hair by the roots, and run up the walls — I 
 am to be twitted by the sneers and taunts of every knave, 
 am to sit like a bankrupt debtor, and sweat at every 
 chance word. And though I might crush them at a 
 blow, yet I could not call them liars. 
 
 Who comes there ? Who is slinking this way ? If 
 I mistake not, there are two of them. If it is he, I 
 will attack him at once ; he shall not leave this spot 
 alive. 
 
302 STRASZE. 
 
 Faust. Mephistopheles. 
 
 Faust. 
 Wie von dem Fenster dort der Sakrietei 
 Aufwarts der Schein des ew'gen Lampchens flammert 
 TTnd Bohwaoh und sohwaoher seitwarts dammert, 3*9S 
 
 TJnd Finsteriiisz drangt ringBum bei : 
 So sieht's in meinem Basen nachtig. 
 
 MepMttophelei. 
 Und mirist's wie dem Katzlein sohmaohtig, 
 Das an den Feuerleitern sohleioht, 
 
 Sioh leis dann um die Mauern streioht 3300 
 
 Mir ist's ganz tugendlioh dabei, 
 Ein biszchen Diebsgelust, ein biszohen Eammelei. 
 So spukt mir sohon durph alle Glieder 
 Die herrliohe Walpurgisnacht. 
 
 Die kommt uns iibermorgen wieder, 3305 
 
 Da weisz man doch, warum man wacht. 
 
 FoMsl. 
 BUckt wohl der Sohatz indessen in die Hoh', 
 Den ich dort hinteu flimmern seh' p 
 
 MepMstophehs. 
 Da kannst die Freude bald erleben, 
 
 Das Kesselchen herauszaheben. 3310 
 
 Ich Bchielte neulioh so hinein, 
 Sind herrliohe Lowenthaler dreiu. 
 
 Faust. 
 Nicht ein Gesohmeide, nicht ein Hing, 
 Meine Hebe Buhle damit zu zieren ? 
 
 Mephistopheles. 
 Ich sah dabei wohl so ein Ding 3315 
 
 Als wie eine Art von Perlenschniiren. 
 
STREET. 803 
 
 Fattst — Mephistopheles. 
 
 Faust. 
 How from the window of the Sacristy there, the light of 
 the eternal lamp flickers upwards, and glimmers weaker 
 and weaker at the sides, and darkness thickens round ! 
 Just so is all night-like in my breast 
 
 Mephistopheles. 
 
 And I feel languishing like the tom-cat, that 
 sneaks along the fire-ladders and then creeps stealthily 
 round the walls. I feel quite virtuously, — with a 
 spice of thievish pleasure, a spice of wantonness. 
 In such a manner does the glorious Walpurgis night 
 already thrill me through every limb. The day after 
 to-morrow it comes round to us again ; there one knows 
 what one wakes for. 
 
 Faust. 
 
 WiU in the meantime the treasure rise, which I 
 see glimmering yonder ? "° 
 
 Mephistopheles. 
 Tou will soon enjoy the lifting up of the kettle. I 
 lately took a squint at it. There are capital lion-dollars 
 within." 
 
 Faust. 
 Not a trinket — not a ring— to adorn my lovely mistress 
 
 with ? 
 
 Mephistopheles. 
 I think I saw some such thing there, a sort of pearl 
 necklace. 
 
304 STRASZE. 
 
 FoAHt. 
 
 So iat es recht ! Mir thut es weh, 
 Wenn ioh ohne Geschenke zu ihr geh'. 
 
 Me^phisto'pheles. 
 Es sollt' euch eben nioht verdrieszen, 
 Umsonst auoh etwas zu genieszen. 3320 
 
 Jetzt, da der Himmel voUer Sterne gliiht, 
 Sollt ihr sin wahres Kunststuok horen : 
 Ich sing' ihr ein moralisoh Lied, 
 Um sie gewisser zu bethoren. [Svngt xwr Zither.'] 
 
 Was machst du mir 3325 
 
 Vor Liebehens Thiir, 
 
 Kathrinchen, bier 
 
 Bei friibem Tagesblicke ? 
 
 Lasz, lasz es sein ! 
 
 £r laszt dich ein, 3330 
 
 Als Madcben ein, 
 
 Als Madcben nicht zuriicke, 
 
 Nebmt euch in Aebt ! 
 
 1st es vollbracht, 
 
 Dann gute Nacht, 3335 
 
 Ihr armen, armen Dinger ! 
 
 Habtr ihr euch lieb, 
 
 Thut keinem Dieb 
 
 Nur nichts zu Lieb' 
 
 Als mit dem Ring am Finger. 3340 
 
 Valentin (iritt vor). 
 Wen lockst du hier P Beim Element ! 
 Vermaledeiter Rattenf anger ! 
 Zum Teufel erst das Instrument ! 
 Zum Teufel hinterdrein den Sanger ! 
 
 MepMstopJieles. 
 Die Zither ist entzwei ! An der ist nichts zu halten. 3345 
 
 Valentin. 
 Nun soil es an ein Schadelspalten ! 
 
STKEET. 305 
 
 Faust. 
 
 That is well.- I feel sorry when I go to her without a 
 present. 
 
 MejiJkistopJieles. 
 
 Ton . ought not to regret having some enjoyment 
 gratis. Now that the heavens are studded thick with 
 stars, you shall hear a true masterpiece. I will sing her 
 a moral song, to beguile her the more certainly. 
 
 [Se sings to the guitar.'] 
 
 "What are you doing here, Catherine, before your 
 loveris door at morning dawn ? "" Stay, and beware ! 
 he lets thee in a maid, not to come out a maid. 
 
 " Beware ! If it be done, then good night to you, you 
 poor, poor things. If you love yourselves, do nothing 
 to pleasure any spoiler, except with the ring on the 
 finger." 
 
 Valentine {comes forward). 
 
 Whom art thou luring here ? A plague on you ! thou 
 cursed ratcatcher ! *" First, to the devil with the instru- 
 ment, then to the devil with the singer. 
 
 Mefhistopheles. 
 The guitar, is broken to pieces ! It is all up with it. 
 
 Valentine. 
 Now then for a skull-cracking. 
 
306 STRASZE.'. 
 
 Mephistopheles (jsu FAtrsi). 
 Herr Doktor, nicht gewichen ! Frisch ! 
 Hart ah mich an, wie ich euoh fiihre ! 
 Herans mit eurem Mederwisch ! 
 Nur zugestoszen ! loh parire. 3350 
 
 Valentin. 
 Parire den ! 
 
 MeipTmto'p'heles, 
 Waram denn nicht ? 
 
 ■ Yalentim. 
 Auch den ! 
 
 Mej^histoiplieles. 
 Gewisz ! 
 
 Valentin. * 
 
 Ich glaub', der Teufel ficht ! 
 Was ist denn das ? Schon wird die Hand mir lahm, 
 
 Mephdstopheles (zu Faust). 
 Stosz zu ! 
 
 Valentin (fdiuy. 
 weh! 
 
 MepMstopheles. 
 
 Nun ist der Lfimmel zahm ! 
 Nun aber fort ! Wir mtissen gleich versohwinden ; 3355 
 Denn schon entsteht ein morderlich Geschrei, 
 Ich weisz mich trefflich mit der Polizei, 
 Doch mit dem Blutbann schlecht mich abzufluden. 
 
 Marthe {am Fenster'). 
 Heraus ! Heraus ! 
 
 Greichen (am Femter). 
 Herbei ein Lioht ! 
 
 Ma/rthe (wie olen). 
 Man schilt und rauft, man schreit und flcht. 3360 
 
STREET. 307 
 
 Mephistopheles (to Faust). 
 Don't give way, Doctor ! Courage ! Stick close, and 
 do as I tell you. Out witli your toasting-iron ! '" 
 Thrust away, and I will parry. 
 
 Valentine. 
 
 MepMstopheles. 
 
 Valentine. 
 
 Parry that ! 
 
 Why not? 
 
 And that ! 
 
 To be sure. 
 
 , Valentine. 
 
 I helieve the devil is fighting. What is that ? My 
 hand is already lamed. 
 
 Mephistopheles (to Faitst). 
 
 Thrust home ! 
 
 Valentine (falls). 
 Oh, torture ! 
 
 Mephistopheles. 
 
 The clod is tamed now. But away ! We must 
 
 vanish in a twinkling, for a horrible outcry is already 
 
 raised. I can manage very well the police, but very 
 
 badly the blood-ban."' 
 
 Martha (at the window). 
 Out! out! 
 
 Margaret {at the window).' 
 
 Bring a light ! 
 
 Martha (as before). 
 They are railing and scuffling, screaming and fighting. 
 
308 STRASZE. 
 
 Vom. 
 
 Da liegt Bchon Einer todt ! 
 
 Marthe (heraustretend}. 
 Die Morder, sind sie denn entflohn ? 
 
 Gretchen (heratistretend). 
 Wer liegt hier ? 
 
 Volk 
 Deiner Mutter Sohn. 
 
 Gretchen. 
 Allmacht'ger ! Welche Noth ! 
 
 Valentin. 
 Ich sterbe ! Das ist bald gesagt 3365 
 
 TJud balder uoch gethan. 
 Was steht ihr Weiber, heult and klagt ? 
 Kommt her und hort mich an ! \_Alle treten vm ihn.'\ 
 Mein Gretchen, sieh, du bist noch jung, 
 Bist gar noch nioht gesoheit genuug, 3370 
 
 Machst deine Sachen scLlecht. 
 Ich sag' dir's im Vertrauen nur : 
 Du bist doch nun einmal eine — ; 
 So sei's auch eben rocht ! 
 
 Gretchen. 
 MeinBruder! Gott! Was soil mir das ? 3375 
 
 Valeniin. 
 Lasz unsern Herr Gott aus dem Spasz ! 
 Geschehn ist leider nun geschehn, 
 Und wie es gehn kann, so wird's gehn. 
 Du flngst mit Einem heimlich an, 
 Bald kommen ihrer mehre dran, 3380 
 
 Und wenn dich erst ein Dutzend hat, 
 So hat dioh auoh die ganze Stadt. 
 
 Wenn erst die Schande wird geboren, 
 Wird sie heimlich zur Welt gebraoht, 
 Und man zieht den Schleier der 'Naoht 3385 
 
STREET. 309 
 
 People. 
 Here lies one dead already. 
 
 Martha {coming old). 
 Have the murderers escaped ? 
 
 Margaret {coming out). 
 
 Who lies here ? 
 
 People. 
 Thy mother's son. 
 
 Margaret 
 
 Almighty God ! what misery ! 
 
 Valentine. 
 
 I am dying ! that is soon said, and sooner still done. 
 Why do you women stand howling and wailing ? Come 
 here and listen to me. [All come round him.] 
 
 Look ye, my little Margaret! you are still young! 
 you are not yet adroit enough, and manage your matters 
 ill. I tell it you in confidence ; since you are, once for 
 all, a , be one in good earnest. 
 
 Margaret. 
 Brother ! G-od ! What do you mean ? 
 
 Valentine. 
 
 Leave our Lord God out of the game. What is done, 
 alas ! cannot- be undone, and things will take their 
 course. Tou began privately with one ; more of them 
 will soon follow ; and when a dozen have had you, the 
 whole town will have you too. 
 
 When first Shame is born, she is brought into the 
 world clandestinely, and the veil of night is drawn over 
 
310 STltASZE. 
 
 Ihr uber Kopf und Ohren ; 
 
 Ja, man mbchte sie gem ermorden. 
 
 Wachst sie aber und macht sich grosz, 
 
 Dann geht sie auch bei Tage blosz 
 
 Und ist doch nicht schoner geworden, 3390 
 
 Je haszlicher wird ihr Gesioht, 
 
 Je mehr sucht sie des Tages Licht. 
 
 Ich. seh' wahrhaftig schon die Zeit, 
 Dasz alle brave Biirgersleut', 
 Wie von einer angesteokten Leichen, 33V5 
 
 Von dir, du Metze, Beitab weiohen. 
 Dir soil das Herz im Leib verzagen, 
 Wenn sie dir in die Augen sehn ! 
 SoUst keine goldne Kette mehr tragen, 
 In der Kirche nioht mehr am Altar stehn, 3400 
 In einem schonen Spitzenkragen 
 Dioh nioht beim Tanze wohl behagen, 
 In eine finstre Jammerecken 
 Unter Bettler und Kriippel dich verstecken 
 * Und, wenn dir dann auch Gott verzeiht, 3405 
 
 Auf Erden sein vermaledeit ! 
 
 Mwfihe. 
 Befehlt eure Seele Gott zu Gnaden ! 
 Wollt ihr nooh Lastrung auf euoh laden ? 
 
 Valentin. 
 Konnt' ich dir nur an den diirren Leib, 
 Du schandlich kupplerisches Weib, 3410 
 
 Da hofift' ich aller meiner Siinden 
 Veygebung reiche Masz zu finden. 
 
 Gretchen. 
 Mein Bruder ! "Welche HoUenpein ! 
 
 Valentm. 
 Ich sage, lasz die Thraneu sein ! 
 Da du dich sprachst der Ehre los, 341 5 
 
 Gabst mir den schwersten Herzensstosz. 
 Ich gehe durch den Todesschlaf 
 Zu Gott ein als Soldat und brav. [8tvrht.'\ 
 
STREET. 311 
 
 her bead aud ears. Ay, people would fain stifle her. 
 But when she grows and waxes big, she walks flaunt- 
 ingly in open day, and yet is not a whit the fairer. The 
 uglier her face becomes, the more she courts the light 
 of day. 
 
 Forsooth, I already see the time when all honest 
 townspeople will turn aside from you, you harlot, as 
 from an infected corpse. Tour heart will sink within 
 you when they look you in the face. Tou will wear no 
 golden chain again ! No more will you stand at the 
 altar in the church, or take pride in a fair lace collar at 
 the dance. Tou will hide yourself in some dark miser- 
 able comer, amongst beggars and cripples, and, even 
 should God forgive you, be cursed upon earth ! 
 
 Ma/rtha. 
 Commend your soul to God's mercy. Will you yet 
 heap the sin of slander upon your soul. 
 
 Valentine. 
 Could I but get at thy withered body, thou shameless 
 bawd, I should hope to find a full measure of pardon 
 for all my sins ! 
 
 Margaret. 
 My brother ! Oh, this agonizing pang ! 
 
 Valentine. 
 Have dorfe with tears, I tell you. When you re- 
 nounced honour, you gave me the deepest heart-stab of 
 all. I go through death's sleep unto God, a soldier and 
 a brave one. L-"^ a%es.\ 
 
DOM. 
 AMT, ORGEL UND GESANG. 
 
 Gbetchen imter vielem Votke. Bosee Geist hinter 
 Greichen. 
 
 Soser Geiat. 
 
 WIS andera, Gretchen, war dir's, 
 Als du noch vol! Unschuld 34^ 
 
 Hier zum Altar tratst, 
 Aus dem vergriffnen Biichelchen 
 GeBefeTalltest, 
 Halb Kinderspiele, 
 
 Halb Gott im Herzen ! 3415 
 
 Gretchen ! 
 
 Wo steht dein Kopf ? 
 In deinem Herzen 
 Welche Missethat? 
 
 Betst du fiir deiner Mutter Seele, die 34.30 
 
 Durch dioh zur langen, langen Pein hiniibersohlief ? 
 Auf deiner Sohwelle wessen Blut? 
 — Und unter deinem Herzen 
 Kegt sich's nioht quillend sohon 
 Und angstet dioh und sioh 3435 
 
 Mit ahnungsvoUer Gegenwart? 
 ^ /■ -■ 
 
 Gretchen 
 Weh! Weh! 
 
 War' ioh der Gedanken los, 
 Die mir heriiber und hiniiber gehen 
 Wider mich ! 3440 
 
CATHEDEAL. 
 SERVICE, ORGAN, AND ANTHEM. 
 
 Maegaeet amongst a number of People, Evil Spieit 
 behind Maegaeet. 
 
 Evil Spirit. 
 
 HOW different was it -with thee, Margaret, 
 When still full of innocence 
 Thou earnest to the altar there — 
 Out of the -well-worn little book 
 Lispedst prayers. 
 Half child- sport, 
 Half God in the heart ! 
 Margaret ! 
 Where is thy head ? 
 In thy heart 
 What crime ? 
 
 Prayest thou for thy mother's soul — who 
 Slept over into long, long pain through thee ? 
 Whose blood on thy threshold ? 
 
 And under thy heart 
 
 Stirs it not quickening even now,"' 
 Torturing itself and thee 
 With its foreboding presence ? 
 
 Margaret. 
 Woe! woe! 
 
 Would that I were free from the thoughts, 
 That come over ms and across me 
 Against myself ! 
 
314 DOM. 
 
 Ghor. 
 Dies ircB, dies ilia 
 Solvet sosclum infavilla. [^Orgelton.'] 
 
 Boser Qeist. 
 Grimm faszt dich ! 
 Die Fosaone tont ! 
 
 Die Graber beben ! 3445 
 
 Und dein Herz, 
 Ans Asohenruh 
 Zu Flammenqualen 
 Wieder aufgeschaffen, 
 Bebt auf ! 3450 
 
 Gretchen. 
 War' ioh hier weg ! 
 Mir ist, als ob die Orgel mir 
 Deu Athem versetzte, 
 Gesang mein Herz 
 Im Tiefsten IBste. 3455 
 
 Ghor. 
 Judex ergo owm sedebii, 
 QmdqvM latet, adparehit, 
 Nil iwultwm remanehit. 
 
 Gretchen. 
 Mir wird so eng ! 
 
 Die Mauernpfeiler 3460 
 
 Befangen mioh ! 
 Das Gewolbe 
 Drangt mich ! — Luft ! 
 
CATHEDRAL. 315 
 
 Chorus. 
 Dies irce, dies ilia 
 Solvet sceclwm infavilla}" [^Organ plays.] 
 
 Evil Spirit. 
 Horror seizes thee ! 
 The Truxap sounds ! 
 The graves tremble ! 
 And thy heart 
 From the repose of its ashes 
 For fiery torment 
 Brought to life again. 
 Trembles up ! 
 
 Margaret. 
 Would that I were hence ! 
 I feel as if the organ "' 
 Stifled my breath, 
 As if the anthem 
 Dissolved my heart's core ! 
 
 Chorus. 
 Judex ergo cum sedebit, 
 Quidguid latet, adparebit. 
 Nil inultum remanebit. 
 
 Margaret. 
 I feel so oppressed ! 
 The wall-pillars 
 Close on me ! 
 The vaulted roof 
 Presses on me ! — Air ! 
 
816 DOM. 
 
 BUser Qeist. 
 Verbirg dioh ! SUnd' und Schande 
 Bleibt nioht verborgen, 3465 
 
 Luft? Lioht? 
 Weh dir ! 
 
 Chor. 
 Quid sum rmser tvmc dichtrtM ? 
 Quern patrormm rogatv^tis. 
 Cum vits Justus sit secwus ? 3470 
 
 Bosef Geist. 
 Ihr Antlitz wenden 
 Verklarte von dir ab. 
 Die Haude dir zu reiohen, 
 Schauert's den Beinen. 
 TVeh ! 347S 
 
 Ghor. 
 Quid sum miser tune dAdwrm ? 
 
 Oretchen, 
 Nachbarin ! Euer Flaschohen ! — 
 
 [_8ie fallt in Ohnmacht.'] 
 
CATHEDRAL. Sill' 
 
 Evil Spirit. 
 Hide thyself ! Sin and shame 
 Remain, unhidden. 
 Air? Light? 
 Woe to thee ! 
 
 Chorus. 
 Quid sum miser tunc dicturus ? 
 Quern patrormm rogaturus, 
 Cum vix Justus sit securus ? 
 
 Evil Spirit. 
 
 The glorified from thee 
 
 Avert their faces. 
 
 The pure shudder 
 
 To reach thee their hands. 
 
 Woe! 
 
 Chorus. 
 
 Quid sum miser tunc dicturus ? 
 
 Margaret. 
 Neighbour ! your smelling bottle ! 
 
 \_She swoons away.] 
 
WALPUEGISNAOHT. 
 HARZGEBIEG. 
 
 Gegend von SchierJce und Blend. 
 
 Fatjst. Mephistopheles. 
 
 Mephistopheles. 
 
 VEELANGST du nicht nach einem Besenstiele ? 
 Ich wiinschte mir den allerderbsten Book. 
 Auf diesem Weg sind wir noch weit vom Ziele. 3480 
 
 FoMSt 
 
 So lang' ich mich noch frisch auf meinen Beinen fiihle, 
 
 Geniigt mir dieser Knotenstock. 
 
 Was hilft's, dasz man den Weg verkUrzt ! 
 
 Im Labyrinth der Thaler hinzusohleichen, 
 
 Dann diesen Pelsen zu ersteigen, 3485 
 
 Von dem der Quell sioh ewig sprudelnd sturzt, 
 
 Das ist die Lust, die seiche Pfade wUrzt ! 
 
 Der Friihling webt schon in den Birken, 
 
 Und selbst die Fichte fuhlt ihn schon ; 
 
 Sollt' er nicht auch auf unsre Glieder wirken ? 3490 
 
 Mejghistojpheles. 
 Fiirwahr, ich spUre nichts davon ! 
 Mir ist es winterlich im Leibe ; 
 Ich wiinschte Schnee und Frost auf meiner Bahn. 
 Wie traurig steigt die nnvollkommne Soheibe 
 Des rothen Monds mit spater Gluth heran 3495 
 
 Und leuchtet sohlecht, dasz man bei jedem Schritte 
 Vor einen Baum, vor einen Felsen reiint ! 
 Erlaub, dasz ich ein Irrlicht bitte ! ^ 
 
WALPTJRGIS-NIGHT."' 
 
 THE HARTZ MOUNTAINS. 
 
 District of Schirke and Elend. 
 
 rATJST. MePHISTOPHELES. 
 
 Mephidopheles. 
 
 DO you not long for a broomstick ? Tor my part, 
 I should be glad of the sturdiest he-goat. By 
 this road we are still far from our destination. 
 
 Faust. 
 So long as I feel fresh upon my legs, this knotted 
 stick suffices me. What is the use of shortening the 
 way ? To creep along the labyrinth of the vales, and 
 then ascend these rocks, from which the ever-bubbling 
 spring dashes — this is the pleasure which gives zest to 
 such a path. - The spring is already stirring in the birch 
 trees, and even the pine is beginning to feel it, — ought 
 it not to have some effect upon our limbs ? 
 
 Mephistopheles. 
 Verily, I feel nothing of it. All is wintry in my 
 body, and I should prefer frost and snow upon my 
 path. How mournfully the imperfect disc of the red 
 moon rises with belated glare ! and gives so bad a light, 
 that, at every Step, one runs against a tree or a rock. 
 With your leave, I will call a will-o'-the-wisp. I see 
 
820 WALPTJRGISNACHT. 
 
 Dort seh* ioh eins, das eben lustig brennt. 
 
 He da ! Mein Freund ! Darf ioh dich zu uns fodem ? 3500 
 
 Was willst du so vergebens lodern ? 
 
 Sei doch so gut und leuoht uns da hinauf ! 
 
 IrrUchi. 
 Aus Bhrfuroht, hoff' ioh, soil es mir gelingen, 
 Mein leiohtes Naturell zu zwingen ; 
 Nur zickzack geht gewohnlioh unser Lauf. 3505 
 
 MepMstopheles. 
 Ei, ei ! Er dehkt's den Mensohen nachzuahmen. 
 Geh er nur grad, ins Teufels Namen ! 
 Sonst bias' ioh ihm sein Flackerleben aus. 
 
 IrrlicM. 
 Ioh merke wohl, ihr seid der Herr vom Haus, 
 Und will mioh gern naoh euch bequemen. 3510 
 
 AUein bedenkt ! Der Berg ist heute zaubertoU, . 
 Und wenn ein Irrlioht euch die Wege weisen soil, 
 So mUszt ihr's so genau nioht nehmen. 
 
 Fatjst, Mephistopheles, Irelicht (im Wechselgesang). 
 In die Traum- und Zaubersphare 
 i/i . Sind wir, soheint es, eingegangen. 35iS- 
 
 Fiihr uns gut und maoh dir Ehre, 
 Dasz wir vorwarts bald gelangen 
 In den weiten, ouca Eaumen ! 
 
 Seh' die Baume hinter Baumen, 
 i/Vie sie schnell voruberriioken, 3520 
 
 Und die Klippen, die sioh biioken, 
 Und die langen Felsennason, 
 Wie sie schnarchen, wie sie blasen ! 
 
 Duroh die Steine, duroh den Basen 
 Eilet Baoh und Bachlein nieder. 3525 
 
 Hor' ioh Rausohen ? Hor' ioh Lieder ? 
 Hor' ioh holde LiebesklB,ge,1 
 Stimmen jener Himmelstage ? 
 
WALPURGIS-NIGHT. 321 
 
 one yonder, burning right merrily. Holloa, there, my 
 friend ! May I entreat your company ? Why wilt thou 
 blaze away so uselessly ? Be so good as to light us up 
 along here. 
 
 Will-o'-the-Wisp. 
 . Out of reverence, I hope, I shall succeed in subduing 
 my unsteady nature ; our course is ordinarily but a 
 zigzag one. 
 
 M&pMstopheles. 
 
 Ha ! ha ! you think to imitate men. But go straight, 
 in the devil's name, or I will blow your flickering life 
 out. 
 
 Will-o' -the- Wisp. 
 
 I see well that you are the master of the house, and 
 will willingly accommodate myself to you. But consider ! 
 The mountain is magic-mad to-night, and if a will-o'- 
 the-wisp is to show you the way, you must not be too 
 particular. 
 
 Fattst, Mephistopheles, WiLr--o'-THE-Wisp (in 
 alternating song). 
 
 Into the sphere of dreai^Qand enchantments, it 
 seems, have we entered, Lead us right, and do yourself 
 credit ! — ^that we may advance betimes in the wide, deso- 
 late regions. 
 
 See trees after trees, how rapidly they move by ; and 
 the cliffs, that bow, and the long-snouted rocks, how 
 they snort, how they blow ! 
 
 Through the stones, through the turf, brook and 
 brooklet hurry down.'"" Do I hear rustling ? do I hear 
 songs? do I hear the sweet plaint of love — voices of 
 J 
 
^, 
 
 322 WALPURGISNACHT. 
 
 Was wir hoffen, was wir lieben ! 
 
 Und das Echo, wie die Sage 3530 
 
 Alter Zeiten, hallet wieder. 
 
 Uhu ! Schuhu ! Tout es naher ; 
 Kauz und Kibitz und der Haher, 
 Bind sie alle waoh geblieben ? 
 Sind das Molche durohs Gestrauche, 3535 
 
 ' Lange Beine, dicke Bauche ? 
 Und die Wurzeln, wie die Schlangen, 
 Winden sich aus Fels und Sande, 
 Strecken wanderliche Bande, 
 Uns zu schrecken, uns zu farigen ; 3540 
 
 Aus belebten, derben Maseru 
 Strecken sie Polypenfasern 
 Nach dem Wandrer. Und die Mause, 
 Tausendfarbig, schaarenweise, 
 Durch. da.s Moos und durch die Heide ! 3545 
 
 Und die Funkeuwurmer fliegen 
 Mit gedrangteu Schwarmezugen 
 Zum verwirrenden Geleite. 
 
 Aber sag mir, ob wir stehen 
 Oder ob wir weiter gehen ? 3550 
 
 Alles, Alles scheint zu dreben : 
 Fels und Baume, die Gesiohter 
 Schneiden, und die irren Lichter, 
 Die sich mehren, die sich blahen. 
 
 Mejphistopheles. 
 Fasse wacker meinen Zipfel ! 3555 
 
 Hier ist so ein Mittelgipfel, 
 Wo man mit Erstaunen sieht, 
 Wie im Berg der Mammon gluht. 
 
 FcMst. 
 Wie seltsam glimmert durch die Griinde 
 Ein morgenr othlich triiber S chein ! 3560 
 
 Und selbst bis in die tiefen Schliinde 
 Des Abgrunds wittert er hinein. 
 Da steigt ein Dampf, dort Ziehen Schwaden, 
 
WALPURGIS-NIGHT. 323 
 
 those blest days ? — What we hope, what we love ! And 
 Echo, like the tale of old times, sends back the sound. 
 
 Tu-whit! Tu-whoo!^" — it sounds nearer; the screech- 
 owl, the plover, and the jay, — have they all remained 
 awake ? Are those salamanders through the bushes, with 
 their long legs, thick paunches ? And the roots, like 
 snakes,"'' wind from out of rock and sand, and stretch 
 forth strange filaments to terrify, to ^eize usj from living 
 sturdy gnarls they stretch polypus-fibres towards the 
 wanderer. And the mice, thousand-coloured, in whole 
 tribes, through the moss and through the heath ! And 
 the glowworms fly, in crowded swarms, a bewildering 
 escort. 
 
 But tell me whether we stand still, or whether we are 
 moving on ? Everything seems to turn round, — rocks 
 and trees, which make grimaces, and the will-o'-the- 
 wisps, which multiply, which swell themselves out. 
 
 MephistopJieles, 
 Keep a stout hold of my skirt ! Here is a central 
 peak, from which one sees with wonder how Mammon i' ' 
 is glowing in the mountain. « 
 
 Faust. 
 
 How strangely a melancholy light, of morning-recI, 
 
 glimmers through the mountain gorges, and quivers 
 
 even to the deepest recesses of the precipice ! Here 
 
 vapours rise, ' there float exhalations ; here glow 
 
324 WALPURGISNACHT. 
 
 Hier leuohtet Gluth aus Dunst und Flor, 
 
 Dann schleioht sie wie ein zarter Fades, 3565 
 
 Dann bricht sie wie ein Quell hervor. 
 
 Hier sohlingt sie eine ganze Streoke 
 
 Mit hundert Adern sich durchs Thai, 
 
 Und hier in der gedrangten Ecke 
 
 Vereinzelt sie sich auf einmal. 3570 
 
 Da spruhen Funken in der Nahe 
 
 Wie ausgestreuter goldner Sand. 
 
 Doch sohau ! In ihrer ganzen Hohe 
 
 Entzundet sich die Felsenwand. 
 
 MepTiisto'gTieles. 
 Brleuchtet nioht zu diesem Feste 3575 
 
 Herr Mammon prachtig den Palast ? 
 Ein Gluck, dasz du's gesehen hast ; 
 Ich spure schon die ungestiimen Gaste. 
 
 FaViSt. 
 Wie ras't die Windsbraut duroh die Luft ! 
 Mit welchen Schlagen trifft sie meinen Nacken ! 3580 
 
 MepTiisiopheles. 
 Da muszt des Felsens alte EiJSpen packen ; 
 Sonst sturzt sie dich hinab in dieser Schlunde Graft. 
 Ein Nebel verdichtet die Nacht. 
 Hore, wie's durch die Walder kracht ! 
 Aufgescheucht fliegen die Eulen. 3585 
 
 Hor, es splittern die Saulen 
 Ewig griiner Palaste. 
 Girren und Breohen der Aeste ! 
 Der Stamme maohtiges Drohnen ! 
 
 Der Wurzeln Knarren und Gahnen ! 3590 
 
 Im fiirchterlich verworrenen Falle 
 Ueber einander krachen sie alle, 
 Und duroh die iibertriimmerten Kliifte 
 Zisohen und heulen die Liifte. 
 
 Horst du Stimmen in der Hohe? 3595 
 
 In der Feme, ia der Nahe ? 
 Ja, den ganzen Berg entlang 
 Stromt ein wiithender Zaubergesang ! 
 
"WALPURGIS-NIGHT. S25 
 
 sparkles out of vapour and haze, then steals along like 
 a fine thread, and then again bursts forth like a foun- 
 tain. Here it winds, a whole track, with a hundred 
 veins, through the valley ; and here, in the compressed 
 corner, it scatters itself suddenly."' There sparks are 
 sputtering near, like scattered golden sand. But, see ! 
 The wall of rocks is on fire in all its height. 
 
 MepMstopheles. 
 Does not Sir Mammon illuminate his palace magni- 
 ficently for this festival ? It is lucky that you have seen 
 it ; I feel already the approach of the boisterous guests. 
 
 Faust. 
 How the storm-blast "* is raging through the air ! 
 With what thumps it strikes against my neck ! 
 
 M&phidopheles. 
 Tou must lay hold of the old ribs of the rock, or it 
 will hurl you down into the depth of this abyss. A mist 
 thickens the night. Hark ! what a crashing through the 
 forest ! TM owls fly scared away. Hark, to the splin- 
 tering of the pillars of the ever-green palaces ! the crack- 
 ling and snapping of the boughs, the mighty groaning of 
 the trunks, the creaking and yawning of the roots ! — All 
 come crashing down, one over the other, in fearfully- 
 confused fall ; and the winds hiss and howl through 
 the wreck-covered cliffs ! Dost thou hear voices aloft ? 
 — in the distance ?— close at hand ? — Ay, a raving 
 witch-song streams along the whole mountain. 
 
326 WAXPUKGISNACHT. 
 
 Semen {vm Ohor). 
 Die Hexen zu dem Brooken ziehn ; 
 Die Stoppel ist gelb, die Saat ist griin. 3600 
 
 Dort sammelt sich. der grosze Hauf, 
 Herr Urian sitzt oben auf. 
 So geht ea uber Stein und Stock ; 
 Bs — die Hexe, es stinkt der Bock. 
 
 Stimme, 
 Die alte Baubo kommt allein ; 3605 
 
 Sie reitet auf einem Muttersohwein. 
 
 Chor. 
 So Ehre denn, wem Ehr' gebUhrt ! 
 Frau Baubo vor ! Und angefUhrt ! 
 Ein tiichtig Schwein und Mutter drauf, 
 Da folgt der ganze Hexenhauf. 3610 
 
 Stvnvme. 
 Welohen Weg kommst du her ? 
 
 Stimme. 
 
 Uebem Ilsenstein !' 
 Da guokt' ich der Eule ins Nest hinein. 
 Die macht' ein Paar Augen ! 
 
 Stimme. 
 Was reit'st du so schnelle ! 
 
 0, fahre zur Holle ! 
 
 Stimme. 
 Mich hat sie geschunden, 3615 
 
 Da sieh nur die Wunden ! 
 
 Hexen. (Ohor.) 
 Der Weg ist breit, der Weg ist lang ; 
 Was ist das fiir ein toller Drang ? 
 Die Gabel stioht, der Besen kratzt, 
 Das Kind erstickt, die Mutter platzt. 3620 
 
WALPUKGIS-NIGIIT. 327 
 
 The Witches (in chorus). 
 To tte Brocken the witches repair ! The stuhble is 
 yellow, the corn is green. There the huge imiltitude 
 assembles. Sir TJrian ^" sits at the top. On they go, 
 
 over stone and stock ; the witch s, the he-goat 
 
 stinks."' 
 
 Voices. 
 Old Baubo '" comes alone ; she rides upon a farrow- 
 sow. 
 
 Chorus, 
 Then honour to whom honour is due ! Mother Baubo 
 to the front, and lead the way! A goodly sow and 
 mother upon her, — then follows the whole swarm of 
 witches. 
 
 Voice. 
 Which way did you come ? 
 
 Voice. 
 By Ilsenstein."* I there peeped into the owl's nest. 
 She made such eyes at me ! 
 
 Voice. 
 Oh ! Betake thee to hell ! What a rate you are 
 riding at ! 
 
 Voice. 
 She has grazed me in passing; only look at the 
 wound ! 
 
 Chorus of Witches. 
 The way is broad — the way is long ; what mad 
 throng is this? The pitchfork pricks — the besom 
 scratches : the child is suffocated— the mother bursts. 
 
328 WALPURGISNACHT. 
 
 Hexenmeister. (ilaVbes OKor.') 
 Wir schleichen wie die Sohneck' im Haus, 
 Die Weiber alle sind voraus. 
 Denn geht es zu des Bosen Haus, 
 Das Weib hat tausend Schrifcfc voraus. 
 
 {Andre EUlfte.) 
 Wir nehmen das nicht so genau. 3625 
 
 Mit tausend Schritten macht's die Fran ; 
 Doch wie sie auch sich eilen kann, 
 Mit einem Sprunge macht's der Mann. 
 
 Siimme (oben). 
 Kommt mit, kommt mit, vom Pelsengee ! 
 
 Stimmen (von unteri). 
 Wir moohten gerne mit in die Hoh'. 3630 
 
 Wir waschen, und blank sind wir ganz und gar, 
 Aber auch ewig unfruchtbar. 
 
 Beide Chore. 
 Es schweigt der Wind, es flieht der Stern, 
 Der triibe Mond verbirgt sich gem ; 
 •Im Sausen spriiht das Zauberchov 3635 
 
 Viel tausend Feuerfunken hervor. 
 
 Btimme (von unten). 
 Halte ! Halte ! 
 
 Stimnie (von oben). , 
 Wer ruft da aus der Felsenspalte ? 
 
 8tim/me (unten). 
 Nehmt mioh mit ! Nehmt mich mit ! 
 Ich Bteige schon dreihundert Jahr' 3640 
 
 Und kann den Gipfel nicht erreiohen. 
 Ich ware gem bei meines Gleiehen. 
 
 Beide OJidre. 
 Es tragt der Besen, tragt der Stock, 
 Die Gabel tragt, es tragt der Bock. 
 
WALPURGIS-NIGHT. 329 
 
 Wiaoirds (half -chorus). 
 We steal along like snails ra their house ; the women 
 are all before ; for, in going to the house of the evil 
 one, "woman is a thousand steps in advance. 
 
 The other Half. 
 We do not take that so precisely. The woman doea 
 it with a thousand steps ; but, let her make as much 
 haste as she can, the man does it at a single bound. 
 
 Yoices (above'). 
 Come with us, come with us, from Pelsensee ! 
 
 Voices (from helow). 
 We should like to mount with you. We wash, and 
 are thoroughly clean, but we are ever barren. 
 
 Both Choruses. 
 The wiad is still, the star flies, the melancholy moon 
 is glad to hide herself ; the magic- choir sputters forth 
 sparks of fire by thousands in its whizzing. 
 
 Voice (from, helow). 
 Hold! hold! 
 
 Voice (from above). 
 Who calls there, from the cleft in the rock ? 
 
 Voice (from, helow). 
 Take me with you ! take me with you ! I have been 
 mounting for three hundred years already, and cannot 
 reach the top. I would fain be with my fellows. 
 
 / , Both Choruses. 
 
 The besom carries, the stick carries, the fork carries, 
 
330 WALPUKGISNACHT. 
 
 Wer heute sioh nioht heben kann, J645 
 
 1st ewig ein Terlorner Mann. 
 
 Halbhexe (unten). 
 loh tripple nach, so lange Zeit ; 
 Wie sind die Andern sohon so weit ! 
 loh hab' zu Hause keine Euh 
 Und komme hier doch nioht daza. 3650 
 
 Ghor der Sexer. 
 Die Salbe giebt den Hexen Muth, 
 Bin Lumpen ist zum Segal gut, 
 Bin gutes Schiff ist jeder Trog ; 
 Der fiieget nie, der heut nioht flog. 
 
 Beide Ohore. 
 Und wenn wir um den Gipfel ziehn, 3655 
 
 So streichet an dem Boden bin 
 TJnd deckt die Heide weit und breit 
 Mit eurem Schwarm der Hexenheit. 
 
 l_Sie lassen sich nieder.'] 
 
 MepJiistopheles. 
 Das drangt und stoazt, das ruscht und klappert, 
 Das zisoht und quirlt, das zieht und plappert, 3660 
 
 Das leuchtet, spriiht und stinkt und brennt, 
 Ein wahres Hexenelement ! 
 
 Nur fest an mir ! Sonst sind wir gleich getrennt. 
 Wo bist Du ? 
 
 Faust (in der Feme). 
 Hier! 
 
 MepMstopheles. 
 
 Was ! Dort sohon hingerissen ? 
 Da werd' ich Hausrecht brauchen miissen. 3665 
 
 Platz ! Junker Voland kommt. Platz ! Siiszer Pobel, Platz ! 
 Hier, Doktor, fasse mich ! Und nun in einem Satz 
 Lasz uns aus dem Gedrang' entweichen ; 
 Es ist zu toll, sogar fiir meines Gleichen. 
 
WALPURGIS-NIGHT. 331 
 
 the he-goat carries. Who cannot raise himself to-night, 
 is lost for ever. 
 
 Demi-Witch (below). 
 I have been tripping along such a length of time ; — 
 how far the others are ahead already ! I have no rest 
 at home, — and don't get it here either. 
 
 Chorus of Witches. 
 The salve gives courage to the witches ; a rag is good 
 for a sail; every trough makes a good ship; he will 
 never fly, who flew not to-night. 
 
 Both Choruses. 
 And when we round the peak, sweep along the ground, 
 and cover the heath far and wide with your swarm of 
 witch-hood. [They let themselves down.'] 
 
 Mephistopheles. 
 There's crowding and pushing, rustling and clatter- 
 ing ! There's whizzing and twirling, bustling and bab- 
 bling ! There's glittering, sparkling, stinking, burning ! 
 A true witch-element ! But stick close to me, or we shall 
 be separated in a moment. Where art thou ? 
 
 Faust (in the distance). 
 Here! 
 
 Mephistopheles. 
 What ! carried away already so far ? I must exert my 
 authority as master. Eoom ! Squire Voland "' comes ! 
 Make room, sweet rabble, make room ! Here, Doctor, 
 take hold of me ! and now, at one bound, let us get 
 clear of the crowd. It is too mad^ even for the like of 
 
332 WALPURGISNACHT. 
 
 Dort neben leuohtet was mit ganz besondrem Schein ; 3670 
 Es zieht mich was nach jenen Strauchen. 
 Komm, komm ! Wir sohlapfen da hinein. 
 
 Faust. 
 Du Geist des Widerspruchs ! Nur zu ! Da magst mich 
 
 fuhren. 
 Ich denke doch, das war recht klug gemaoht ; 
 Zum Brocken wandeln wir in der Walpurgisnacht, 3675 
 Um una beliebig nun hieselbst zu isoliren. 
 
 Mephisto'p'heles. 
 Da sieh nur, welclie bunte Flammen ! 
 Es ist ein muntrer Klub beisammen. 
 Im Kleinen ist man nioht allein. 
 
 Faust. 
 Dooh droben mocht' ich lieber sein ! 3680 
 
 Schon seh' ich Gluth und Wirbelrauoh. 
 Dort stromt die Menge zu dem Bosen ; 
 Da musz sich manches Bathsel losen. 
 
 Mephisio]pheles. 
 Dooh manches Eathsel kniipft sich auch. 
 Lasz du die grosze Welt nur sausen ! 3685 
 
 Wir wollen hier im Stillen hausen. 
 Es ist doch lange hergebracht, 
 
 Dasz in der groszen Welt man kleine Welten macbt. 
 Da seh' ich junge Hexohen, nackt und blosz, 
 Und alte, die sich klug verhiillen. 3690 
 
 Seid freundlioh, nur um meinetwillen ! 
 Die MUh ist klein, der Spasz ist grosz. 
 Ich hore was von Instrumenten tonen ; 
 Verflucht Geschnarr ! Man musz sich dran gewohnen. 
 Komm mit! Komm mit! Es kann nicht anders sein, 3695 
 Ich tret' heran und fiihre dich herein, 
 Und ich verbinde dioh aufs Neue. 
 Was sagst Du, Freund ? Das ist kein kleiner Raum. 
 
WALPURGIS-NIGHT. 333 
 
 me. Hard by there, shines something with a peculiar 
 light. Something attracts me towards those bushes. 
 Come along ! we will slip in there. 
 
 Faust. 
 Thou spirit of contradiction ! But go on ! thou may'st 
 lead me. But it was wisely done, to be sure ! We re- 
 pair to the Brocken on Walpurgis' night — in order to 
 isolate ourselves here voluntarily. 
 
 Mephisto^lieles. 
 Only see what variegated flames ! A merry club is 
 met together. One is not alone in a small company. 
 
 Faust. 
 
 I should prefer being above, though ! I already see 
 flame and eddying smoke. Tonder the multitude is 
 streaming to the Evil One. Many a riddle must there 
 be untied. 
 
 MepMstopheles. 
 
 And many a riddle is also knotted here. Let the 
 great world bluster as it may ! We wiU here settle our- 
 selves in peace. It is an old custom, that in the great 
 world one makes little worlds. Tonder I see young 
 witches, naked and bare, and old ones, who prudently 
 cover themselves. Be amiable, if only for my sake! 
 The trouble is small, the sport is great. I hear instru- 
 ments resounding. Confounded jangle! One must 
 accustom oneself to it. Come along, come along 1 It 
 cannot be otherwise ; I will go forward and introduce 
 you, and I shall lay you under a fresh obligation. What 
 sayest thou, friend? This is no little space. Only 
 
334 WALPUBGISNACHT. 
 
 Da sieh nur bin ! Du siehst das Ende kaum. 
 
 Ein Hundert Feuer brennen in der Eeihe; 3700 
 
 Man tanzt, man schwatzt, man kocht, man trinkt, man 
 
 liebt, 
 Nun sage mir, wo es was Bessers giebt ? 
 
 Faust. 
 Willst du diob nun, um uns bier einzufiihren, 
 Als Zaubrer oder Teufel produciren ? 
 
 Mephistofhelei. 
 Zwar bin ioh sebr gewobnt, inkoghito zu gebn ; 3705 
 
 Doob laszt am Galatag man seinen Orden sebn. 
 Bin Knieband zeichnet miob niobt aus, 
 Doch ist der Pferdefusz bier ebrenvoll zu Haus. 
 Siebst du die Scbnecke da ? Sie kommt berangekrooben ; 
 Mit ibrem tastenden Gesicbt 3710 
 
 Hat sie mir sobon was abgerocben. 
 Wenn iob aucb will, verleugn' iob bier micb nicbt. 
 Komm nur ! Von Eeuer geben wir zu Feuer, 
 Iob bin der Werber, und du bist der Preier. 
 
 [Zu Einigen, die um verglimmende KoWen siixen.] 
 Ibr alten Herrn, was maobt ibr bier am Ende ? 3715 
 
 Ich lobt' euoh, wenn iob eucb biibscb in der Mitte fande, 
 Von Saus umzirkt und Jugendbraus ; 
 Genug allein ist Jeder ja zu Haus. 
 
 General. 
 Wer mag auf Nationen trauen, 
 Man babe noob so -viel fur sie getban ! 3720 
 
 Denn bei dem Volk wie bei den Frauen 
 Stebt immerfort die Jugend obenan. 
 
 Ministeir. 
 Jetzt ist man von dem Recbten allzu weit, 
 Iob lobe mir die guten Alten ; 
 Denn freilicb, da wir AUes galten, 3725 
 
 Da war die reobte goldne Zeit. 
 
■WALPCJRGIS-NIGHT. S35 
 
 look ! you can hardly see the end ! A hundred fires are 
 burning in a row. People are dancing, talking, cooking, 
 drinking, love-making! Now tell me where could be 
 found anything better ? 
 
 Faust. 
 To introduce us here, do you intend to present your- 
 self as wizards or devils ? 
 
 Mephistopheles. 
 It is true, I am much used to go incognito ; but one 
 shows one's orders on gala-days. I have no garter to 
 distinguish me, but the cloven foot is held in high 
 honour here. Do you see the snail there ? she comes 
 creeping up, and with her feelers has already scented out 
 something in me. Even if I would, I could not deny 
 myself here. But come ! We will go from fire to fire ; I 
 am the go-between, and you shall be the wooer. 
 
 [To some who are sitting round expiring emhers.'] 
 Old gentlemen, what are you doing here at the ex- 
 tremity ? I should commend you, did I find you nicely 
 in the middle, ia the thick of the riot and youthful 
 revelry ; everyone is surely enough alone at home. 
 
 General. 
 Who can put his trust in nations, though he has done 
 ever so much for them ? For with the people, as with / 
 the women, youth has always the upper hand. 
 
 Minister. 
 At present people are wide astray from the right path 
 — the good old ones for me ! For, verily, when we were 
 all in all, that was the true golden age. 
 
336 WALPUHGISNACHT. 
 
 'Pa/rvenv,, 
 Wir waren wahrlioh auoh nicht dumm 
 ' TJnd thaten oft, was wir nicht soUten ; 
 Dooh jetzo kehrt sioh AUes um und um, 
 Und eben da wir's fest erhalten wollten. 3730 
 
 Avior. 
 Wer mag wohl iiberhaupt jetzt eine Schrift 
 Von maszig klugem Inhalt leseu ! 
 TJnd was das liebe junge Volk betrifift, 
 Das ist nooh nie so naseweis gewesen. 
 
 MepMstojiheles (der a/uf einmal sehr alt erscheinf). 
 Zum jiingsten Tag fiihl' ich das Yolk gereift, 3735 
 
 Da ich zum letzten Mai den Hexenberg ersteige, 
 Und well mein Faszohen triibe lauft, 
 So ist die Welt auoh auf der Neige. 
 
 TrddelJieaie, 
 Ihr Herren, geht nicht so vorbei ! 
 
 Laszt die Gelegenheit nicht fahren ! 3740 
 
 Aufmerksam bliokt nach meinen Waaren ! 
 Es steht dahier gar mauoherlei. 
 Und doch ist nichts in meinem Laden, 
 Dem keiner auf der Erde gleicht, 
 
 Das nicht einmal zum tiicht'gen Schaden 3745 
 
 Der Menschen und der Welt gereioht. 
 Kein Dolch ist hier, von dem nicht Blut geflossen, 
 ICein Kelch, aus dem sich nicht in ganz gesunden Leib 
 Verzehrend heiszes Gift ergossen, 
 
 Kein Schmuck, der uicht ein liebenswiirdig Weib 3750 
 
 Yerfiihrt, kein Schwert, das nicht den Bund gebrochen, 
 Nicht etwa hinterriicks den Gegenmann durchstoohen. 
 
 Mephistopheles. 
 Prau Muhme, sie versteht mir schlecht die Zeiten. 
 Gethan, geschehn ! Geschehn, gethan ! 
 Verleg sie sich auf Neuigkeiten ! 3755 
 
 Nur Neuigkeiten ziehn uns an. 
 
WALPURGIS-NIGHT.. 33? 
 
 fwrvenu. 
 We, too, were certainly no fools, and often did what 
 we ought not; but now everything is turned topsy- 
 turvy, and just when we wished to keep it firm. 
 
 Aufhor. 
 Who now-a-days, speaking generally, likes to read a 
 work of even moderate sense? And as for the dear 
 young folk, they were never so pert as now. 
 
 Me^Mstopheles {who all at once appears very old). 
 I feel the people ripe for doomsday, now that I ascend 
 the witch-moulitain for the last time ; i2£,and because my 
 own cask runs thick, the world also is come to the dregs. 
 
 Huckster- Witch. 
 Do not pass by in this manner, gentlemen ! Do not 
 let the opportunity escape ! Look at my wares atten- 
 tively ; I have them of all sorts. And yet there is nothing 
 in my shop — ^which has not its fellow upon earth — that 
 has not, some time or other, wrought great mischief to 
 mankind and to the world. There is no dagger here, 
 from which blood has not fl.owed ; no chalice, from which 
 hot consuming poison has not been poured into a healthy 
 body ; no trinket, which has not seduced some amiable 
 woman ; no sword, which has not cut some tie asunder, 
 which has not perchance stabbed an adversary from 
 
 behind. 
 
 Mephistopheles. 
 
 Cousin ! you understand but ill the temper of the 
 
 times. Done, happened ! Happened, done ! Take to 
 
 dealing in novelties ; novelties only have any attraction 
 
 for us. 
 
338 WALPURGISNACHT. 
 
 Faust. 
 Dasz ich mioh nur nicht selbst vergeBse ! 
 Heisz' ich mir das dooh eine Messe ! 
 
 MepMstopheles. 
 Der ganze Strudel strebt nach oben ; 
 Du glaubst zu schieben, und du wirst geschoben. 3760 
 
 Favst. 
 Wer ist denn das ? 
 
 Mephistopheles. 
 Betrachte sie genau ! 
 Lilith ist das. 
 
 Faiut. 
 Wer? 
 
 MepJiistopheles. 
 
 Adam's erste Frau. 
 Nimm dich in Acht vor ihren schonen Haaren, 
 Vor diesem Schmuck, mit dem sie einzig prangt ! 
 Wenn sie damit den jungen Mann evlangt, 3765 
 
 So laszt sie ihn sobald nicht wieder fahren. 
 
 Faust 
 Da sitzen Zwei, die Alte mit der Jungen ; 
 Die haben schon was Kecht's gesprungen ! 
 
 Mephistopheles. 
 Das hat nun heute keine Ruh. 
 Es geht zum neuen Tanz ; nun komm, wir greifen zu. 3770 
 
 Faust (mit der Jungen tcmxend). 
 Ernst hatt' ich einen schonen Traum ; 
 Da sah ich einen Apfelbaum, 
 Zwei schoniO Aepfel glanzten dran, 
 Sie reizten mich, ich stieg hinan. 
 
■WALPURGIS-NIGHT. 339 
 
 Faust. 
 I must endeavour to keep my senses ! This is a fair 
 witli a vengeance ! 
 
 Mephistopheles. 
 The whole throng struggles upwards. You think to 
 shove, and you yourself are shoved. 
 
 Faust. 
 Who, then, is that ? 
 
 MephistopJieles. 
 Mark her well ! That is Lilith."' 
 
 Faust. 
 Who? 
 
 Me^histojiheles. 
 Adam's first wife. Beware of her fair hair, of that 
 ornament in which she shines pre-eminent. When she 
 ensnares a young man with it, she does not let him off 
 again so easily. 
 
 Faust. 
 There sit two, the old one with the young one. They 
 have already capered a good bit ! 
 
 Mephistopheles . 
 There is no rest to-night for these folk. A new dance 
 is beginning ; come, we will set to. 
 
 Faust {dancing with, the young one). 
 I had once upon a time a fair dream ; therein I saw an 
 apple-tree ; two lovely apples glittered on it ; they en- 
 ticed me, I climbed up. 
 
340 WALPURGISNACHT. 
 
 Die Schone. 
 Der Aepf jlchen begehrt ihr sehr, 3775 
 
 Und schon vom Paradiese her. 
 Von Preuden fiihl' ich mich bewegt, 
 Dasz auoh mein Garten solche tragt. 
 
 Me^phistopheles (mit der Alien). 
 Einst hatt' ich einen wiisten Traum ; 
 3780 
 
 Bie Alte. 
 Ich biete meinen besten Grusz 
 Dem Bitter mit dem Pferdefusz ! 
 3785 
 
 ProhiopJianiasmist. 
 Verfluchtes Volk ! Was untersteht ihr euch ? 
 Hat man euoh lange nioht bewiesen, 
 Ein Geist steht nie auf ordentlichen Piiszen ? 
 Nun tanzt ihr gar, uns andern Mensohen gleich ! 3790 
 
 Die Schone (tanzend). 
 Was will denn der auf unserm Ball ? 
 
 Faust (tanzend). 
 Ei ! Der ist eben Uberall. 
 Was Andre tanzen, musz er schatzen, 
 Kann er nioht jeden Schritt beschwatzen, 
 So ist der Schritt so gut als nicht gesohehn, 3795 
 
 Am Meisteu argert ihn, sobald wir vorwarts gehn. 
 Wenn ihr euoh so im Kreise drehen wolltet, 
 Wie er's in seiner alten Muhle thut, 
 Das hiesz' er allenfalls noch gut, 
 Besonders weuu ihr ihn darum begriiszen soUtet. 3800 
 
■WALPURGIS-NIGHT. 341 
 
 The Fair One. 
 Little apples you covet mucli, and you have done so 
 already in paradise. I feel moved witli joy, that my 
 garden also bears such. 
 
 Mephistopheles (with the Old One). 
 I had once upon a time a wild dream. 
 
 The Old One. 
 I present my best respects 
 To the knight of the cloven foot. 
 
 ProcMophantasmist."' 
 Confounded mob ! How dare you ? Was it not long 
 since demonstrated to you that a spirit never stands upon 
 ordinary feet ? And now you are actually dancing away, 
 like us mortals ! 
 
 The Fair One. 
 Why then does he come to our ball ? 
 
 Faust (dancing). 
 Ha ! He is absolutely everywhere. He must appraise 
 what others dance ! If he cannot talk about every 
 step, the step is as good as never made at all. He is 
 most vexed, when we go forwards. If you would but 
 turn round in a circle, as he does in his old mill, he 
 would term that good, I dare say ; particularly were 
 you to consult him about it. 
 
342 WALPTTRGISNACHT. 
 
 ProMophantasinist. 
 Ihr seid noch immer da ! Nein, das ist unerhort. 
 Verschwindet doch ! Wir haben ja aufgekliirt ! 
 Das Teufelspack, es fragt naoh. keiner Eegel ! 
 Wir sind so klug, und dennoch spukt's in Tegel. 
 Wie lange hab' ich nicht am "Wahn hinausgekehrt, 3805 
 Und nie wird's rein, das ist doch unerhort ! 
 
 Die Schone. 
 So horfc doch auf, uns hier zu ennuyiren ! 
 
 Prohtophcmtasmist. 
 Ich sag's euch Geistem ins Gesicht : 
 Den Geistesdespotismus leid' ich nicht ; 
 Main Geist kann ihn nicht exeroiren. 3810 
 
 [^Es wM fortgetanzt.'} 
 Heut, seh' ich, will mir niohts gelingen ; 
 Doch eine Eeise nehm' ich immer mit 
 Und hofle, noch vor meinem letzten Sohritt 
 Die Teufol und die Dichter zu bezwiugen. 
 
 Er wird sich gleich in eine Pfiitze setzen, 3815 
 
 Das ist die Art, wie er sich soulagirt, 
 
 Und wenn Blutegel sich an seinem Steisz ergetzen, 
 
 Ist er von Geistem und von Geist kurirt. 
 
 \_Zu Faust, der aus dem Tana getreten ist.'] 
 Was lassest du das schone Madchen fahren. 
 Das dir zum Tanz so lieblioh sang ? 3820 
 
 Fcmst. 
 Ach ! Mitten im Gesange sprang 
 Ein rothes Mauschen ihr aus dem Munde. 
 
 MepMsiopheles. 
 Das ist was Kecht's ! Das nimmt man nicht genau ; 
 Genug, die Maus war doch nicht grau. 
 Wer fragt darnaoh in einer Schaferstunde ? 3825 
 
WALPURGIS-mGIIT. 343 
 
 ProcMophantasmist. 
 Tou are still there, then ! No, tliat is unheard of ! 
 But vanish ! We have enlightened the world, you know ! 
 This devil's brood pays no attention to rules. We are 
 so wise, — and Tegel is haunted,"^ notwithstanding! 
 How long have I not been sweeping away at the de- 
 lusion ; and it never becomes clean ! It is unheard of ! 
 
 The Fair One. 
 Have done boring us here, at any rate, then ! 
 
 Procldophantasmist. 
 
 I tell you, Spirits, to your faces, I endure not the 
 
 despotism of the spirit; my spirit cannot exercise it. 
 
 {The dancing goes on.) To-night, I see, I shall succeed 
 
 in nothing ; but I am always ready for a journey ; and 
 
 still hope, before my last step, to get the better of devils 
 
 and poets. 
 
 Mephistopheles. 
 
 He will, forthwith, seat himself in a puddle ; that is 
 
 his mode of soothing himself ; and when leeches have 
 
 feasted on his rump, he is cured of spirits and 
 
 spirit. (To FirsT, to^o has left the dance.) Why 
 
 do you leave the fair maid, who sung so sweetly to you 
 
 in the dance ? 
 
 Faust. 
 
 Ah ! in the middle of the song, a little red mouse 
 jumped out of her mouth."* 
 
 Mephistopheles. 
 
 There is nothing out of the way in that. One must 
 not be too Jiice about such matters. Enough that the 
 mouse was not grey. Who cares for such things in a 
 lovers' hour? 
 
344 -WALPUROISNACHT. 
 
 Faust. 
 Dann sah ioh — 
 
 MepMsiophelet. 
 Was? 
 
 Faiist. 
 Mephisto, siehst du dort 
 Ein blasses sohones Kind allein und feme stehen ? 
 Sie sohiebt sioh langsam nur vom Ort, 
 Sie scheint mit gesohlossiiien FUszen zu gehen. 
 Ich musz bekenneu, dasz mir daacht, 3830 
 
 Dasz sie dem guten Gretchen gleioht. 
 
 Mephistopheles. 
 Lasz das nur stehn ! Dabei wird's Niemand wohl. 
 Es ist ein Zauberbild, ist leblos, ein Idol. 
 Ihm zu begegnen ist nioht gut ; 
 
 Vom starren Bliok erstarrt des Menschen Blut, 3835 
 
 Und er wird fast in Stein verkehrt : 
 Von der Meduse hast du ja gehort. 
 
 Faust. 
 Fiirwahr, es sind die Augen einer Todten, 
 Die eine liebende Hand nicht sohlosz, 
 Das ist die Brust, die Gretchen mir geboten, 3840 
 
 Das ist der siisze Leib, den ich genosz. 
 
 MepMstoyheles. 
 Das ist die Zauberei, du leicht verfuhrter Thor ! 
 Denn Jedem kommt sie wie sein Liebchen vor. 
 
 Faust. 
 Welch eine Wonne ! Welch ein Leiden ! 
 Ich kann von diesem Blick nicht scheiden. 3845 
 
 Wie sonderbar musz diesen schonen Hals 
 Ein einzig rothes Schniirchen schmiicken, 
 Nicht breiter als ein Messerriicken ! 
 
WALPURGIS-NIGHT. 345 
 
 Faiist. 
 Then I saw — 
 
 Mephistopheles, 
 What? 
 
 Faust. 
 
 Mephisto, do you see yonder a pale, fair girl, stand- 
 ing alone and afar oft? She OTags herself but slowly 
 from the place ; she seems to move with fettered feet. 
 I must own, she seems to me to resemble poor 
 Margaret. 
 
 Mephistopheles. 
 
 Have nothing to do with that ! No good can come of 
 it to anyone. It is a magic shape, is lifeless, — an 
 idol."' It is not well to meet it; the blood of man 
 is benumbed at its chill loot, and he is weUnigh turned 
 to stone : surely you have heard of Medusa. 
 
 Faust. 
 In truth, they are the eyes of one dead, which there 
 was no fond hand to close. That is the bosom, which 
 Margaret yielded to me ; that is the sweet body, which 
 I enjoyed. 
 
 Mephistopheles. 
 That is sorcery, thou easily deluded fool; for she 
 wears to everyone the semblance of his beloved. 
 
 Faust. 
 What bliss ! What suffering! I cannot tear myself 
 from that look. How strange it is that a single red line, 
 no thicker than the back of a knife, should adom that 
 lovely neck. 
 
346 WALPUROISNACHT. 
 
 Me'phiato'p'heles. 
 Ganz recht, ich seh' es ebenfalls. 
 
 Sie kann das Haupt auch unterm Arme tragcn, 3850 
 Denn Perseus hat's ihr abgesohlagen. — 
 Nur immer diese Lust zum Wahn ! 
 Komm doch das Hiigelohen heran ! 
 Hier ist's so lustig wie im Prater ; 
 Und hat man mir'Mwcht angethan, 3855 
 
 So seh' ich wahrlic^^in Theater. 
 Was giebt's denn da ? 
 
 Gleich fangt man wieder an. 
 Ein neues Stuck,- das letzte Stuck von sieben; 
 So viel zu geben, ist allhier der Brauch. 
 Bin Dilettant hat es geschrieben, jge© 
 
 Und Dilettanten spielen's auch. 
 Verzeiht, ihr Herrn, wenn ich verschwinde ; 
 Mich dilettirt's, den Vorhang aufzuziehn. 
 
 MepMsiopheles. 
 Wenn ich euch auf dem Blocksberg iinde, 
 Das find' ich gut ; denn da gehort ihr hin. 3865 
 
WALPURGIS-NIGHT. 347 
 
 MepMstopheles. 
 Eight! I see it too. She can also carry her head 
 under her arm, for Perseus has cut it ofE for her. But 
 ever this fondness for delusio n ! Come up the hill, 
 however ; here all is as merry as in the Prater ; "" and 
 if I am not bewitched, I actually see a theatre. What 
 is going on here, then ? 
 
 Servihilis. 
 They vrill recommence immediately. A new piece, 
 the last of seven ; — ^it is the custom here to give so 
 many. A dilettante has written it, and dilettanti play 
 it. Excuse me, gentlemen, but I must be off. It is 
 my dilettante office to draw up the curtain. 
 
 MepMstopheles. 
 When I find you upon the Blocksberg, — that is just 
 what I approve ; for this is the proper place for you. 
 
WALPUEGISNACHTSTEAUM 
 
 ODEK 
 
 OBERON'S IIND TITANU'S GOLDNE HOCHZEITi 
 
 INTERMEZZO. 
 
 HEUTE ruhen wir einmal, 
 Mieding'B wackre Sohne. 
 Alter Berg und feuohtes Thai, 
 Das ist die ganze Scene ! 
 
 B.erold. 
 Dasz die Hochzeit golden sei, 3870 
 
 SoU'n funfzig Jalir' sein voruber ; 
 Aber ist der Streit vorbei, 
 Das golden ist mir lieber. 
 
 Oleron. 
 Seid ihr Geister, wo ich bin, 
 So zeigt's in diesen Stunden ! 3875 
 
 Koriig und die Konigin, 
 Sie sind aufs Neu' verbunden. 
 
 Fuck. 
 Kommt der Puck und dreht sich quer 
 Und Bchleift den Fusz im Eeihen, 
 Hundert kommen hinterher, 3880 
 
 Sich auch mit ihm zu freaen. 
 
 Ariel. 
 Ariel bewegt den Sang 
 In himmlisch reinen Tonen ; 
 Viele Pratzen lockt sein Elang, 
 Doch lookt er auoh die Schijnen. *■ 3885 
 
WALPUEGTS-NIGHT'S DEEAM; 
 
 OR, 
 
 OBERON AND TITANIA'S GOLDEN WEDDING. 
 
 INTERMEZZO."' 
 
 Stage-Manager. 
 
 TO-DAT we rest for once ; we, the brave sons of 
 Mieding."' Old mountain and damp dale, — that 
 is the whole scenery ! 
 
 Herald. 
 That the wedding-feast may he golden, fifty years are 
 to be past ; hnt if the quarrel is over, I shall like the 
 Golden Wedding the better."" 
 
 Oberon. 
 If ye spirits are with me, this is the time to show it ! 
 The king and the queen, they are united anew. 
 
 Puck. 
 "When Puck comes and whirls himself about, and his 
 foot goes whisking in the dance, — hundreds come after 
 to rejoice along with him. 
 
 ArieV" 
 Ariel awakes the song, in tones of heavenly purity ; 
 his music lures many ugly faces, but it also lures the 
 fair ones. 
 
350 WALPURGISNACI-ITSTRAUM. 
 
 Oheron. 
 Gatten, die sich vertragen wollen, 
 Lernen's von uns Beiden ! 
 ^Wenn sich Zweie lieben sollen, 
 ^sBrauoht man sie nur zu scheiden. 
 
 SchmoUt der Mann, und grillt die Frau, 3890 
 So faszt sie nur behende, 
 Fiihrt mir nach dem Mittag sie, 
 Und ihn an Nordens Ende. 
 
 Orchesier. Tutti (Fortissimo). 
 Fliegenschnauz' und Miiokennas' 
 Mit ihren Anverwandten, 3895 
 
 IVoBch im Laub und Grill' im Gras, 
 Das sind die Musikanten 1 
 
 Solo. 
 Seht, da kommt der Dudelsaok ! 
 Es ist die Seifenblase. 
 
 Hort den Schneckeschniokeschnaok 3900 
 
 Duroh seine stumpfe Nase, 
 
 Oeist, der sich erst Mldet. 
 Spinnenfusz und Krotenbauch 
 TJnd Flugelolien dem Wichtchen ! 
 Zwar ein Thierchen giebt es nicht, 
 Doch giebt es ein Gedichtchen. 3905 
 
 Ein Fdrchen. 
 Kleiner Schritt und hoher Sprung 
 Durch Honigthau und DUfte ; 
 Zwar du trippelst mir genung, 
 Doch geht's nicht in die Lufte. 
 
 Neugieriger Beisender. 
 1st das nioht Maskeradenspott ? 3910 
 
 Soil ich den Augen trauen, 
 Oberon, den schonen Gott, 
 Auch heute hier zu schauen ? 
 
Walpurgis-night's dream. 351 
 
 Oheron, 
 Wedded ones, who would agree, — ^let them take a 
 lesson from us two. To make a cou ple love each other, (3 
 JHs^nly necessary to separate them. 
 
 Titania. 
 If the husband is sulky, and the wife is fretting, take 
 hold of both of them immediately. Conduct me her to 
 the South, and him to the extremity of the North. 
 
 Orchestra-Tidti {Fortissimo). 
 nies' snouts, and gnats' noses, with their kindred, 
 frog in the leaves, and cricket in the grass— they are 
 the musicians. 
 
 Solo. 
 See, here comes the bagpipe ! It is the soap-bubble. 
 Hark to the Schnecke-schnicke-schnack through its 
 snub-nose. 
 
 Spirit that is fashioning itself. 
 Spider's foot and toad's belly, and little wings for the 
 little wight ! It does not make an animalcule, it is true, 
 but it makes a little poem. 
 
 A Pair of Lovers. 
 Little step and high bound, through honey-dew and 
 exhalations. Truly, you trip it me enough, but you do 
 not mount into the air. 
 
 Inquisitive Traveller. '^"^ 
 Is not this masquerading-mockery ? Can I believe 
 my eyes ? To see the beauteous god, Oberon, here to- 
 night, too ! 
 
352 WAI.PUKGISNACHTSTRAUM. 
 
 Orthodox. 
 Keine Klauen, keinen Schwanz ! 
 Dooh bleibt es auszer Zweifel, 3915 
 
 So wie die Gotter Grieohenlands, 
 So ist auch er ein Teufel. 
 
 Nordisdher Kunstler. 
 Was ich ergreife, das ist heut 
 Furwahr nur skizzenweise ; 
 Dooh ioh bereite mich bei Zeit 3920 
 
 Zur italian'schen Eeise. 
 
 Twist. 
 Ach, mein IJnglUok fiihrt mich her : 
 Wie wird nioht hier geludert ! 
 TJnd von dem ganzen Hexenheer 
 Sind Zweie nur gepudert. 3925 
 
 Jwnge Hexe. 
 Der Puder ist, so wie der Book, 
 Piir alt- und graiie Weibohen ; 
 Drum sitz' ioh nackt auf meinem Bock 
 Und zeig' ein derbes Leibohen. 
 
 Matrone. 
 Wir haben zu viel Lebensart, 3930 
 
 Um hier mit euch zu maulen ; 
 Doch, hoflf' ioh, soUt ihr jung und zart, 
 So wie ihr seid, verfaulen. 
 
 Kapellmeister. 
 Pliegenschnauz' und Miickennas', 
 Umsohwarmt mir nioht die Nackte ! 3935 
 
 Frosch im Laub ucd Gtill' im Gras, 
 So bleibt dooh auoh im Takte ! 
 
 WindfaJme (nacJi der einen Seite), 
 Gesellsohaft, wie man wunsohen kann. 
 Wahrhaftig, lauter Braute ! 
 
 Uud Junggesellen, Mann fur Mann, 3940 
 
 Die hoffnungsvollsten Leute 1 
 
"WALPURGIS-NIGHT'S DREAM. 353 
 
 Orthodox, 
 No claws, no tail! Yet it stands beyond a doubt 
 that, even as the Gods of Greece, so is he too a devil. 
 
 Northern Artist. ' 
 
 What I catch, is at present only sketch-ways as it 
 were ; but I prepare myself betimes for the Italian 
 journey. 
 
 Turist}"^ 
 Ah ! my ill-fortune brings me hither ; what a con- 
 stant scene of rioting ! And of the whole host of witches, 
 only two are powdered. 
 
 Young Witch. 
 Powder as well as petticoats are for old and grey 
 little women. Therefore I sit naked upon my he-goat, 
 and show a strapping body. 
 
 Matron. 
 We have too much good-breeding to squabble with 
 you here ; but I hope you will rot, young and delicate 
 as you are. 
 
 Leader of the Band. 
 Flies' snouts and gnats' noses, don't swarm so about 
 the naked one. Prog in leaves, and cricket in the grass, 
 I beg of you, do keep time. 
 
 Weathercock (towards one side). 
 Company to one's heart's content ! Truly, nothing 
 but brides ! And bachelors, man for man ! the hope- 
 fullest people ! 
 
 A 4 
 
S54 WALPURGISNACHTSTRA.irM. 
 
 Windfahne (nach der andern Seiie). 
 Und thut sich nioht der Bodeu auf, 
 Sie Alle zu verschlingen, 
 So will ioh mit behendem Lauf 
 Grleich in die HoUe springen. 3945 
 
 Als Insekten siud wir da 
 Mit kleinen scharfeu Scheren, 
 Satan, unsern Herrn Papa, 
 Nach Wiirden zu verehren. 
 
 Henmngs. 
 Seht, wie sie in gedrangter Sohaar 3950 
 
 Naiv zusammen scherzen ! 
 Am Ends sageii sie nooh gar, 
 Sie hatten gute Herzen. 
 
 Musaget. 
 Ich mag in diesem Hexenheer 
 Mich gar zu gem verlieren ; 3955 
 
 Denn freilich, diese wUszt' ich eh'r 
 Als Musen anzufuhren. 
 
 Oi-devani Genius der Zeit. 
 Mit rechten Leuten wird man was. 
 Komm.fasse meinen Zipfel ! 
 Der Blooksberg, wie der dentsche Parnasz, 3960 
 Hat gar einen breiten Gipfel. 
 
 Neugieriger Beisender. 
 Sagt, wie heiszt der steife Mann ? 
 Er geht mit stolzen Sohritten, 
 Er schnopert, was er schnopern kann. 
 " Er spiirt nach Jesuiten." 3965 
 
 Kranich. 
 In dem Klaren mag ich gem 
 TJnd auch im Triiben fisohen ; 
 Darum seht ihr den frommen Herrn 
 Sich auoh mit Teufeln mischen. 
 
■WALPURGIS-NIGHT'S DREAM. 356 
 
 Weathercoclc (towards the other side). 
 And if the ground does not open, to swallow up all of 
 them — with a quick course, I will immediately jump 
 into hell. 
 
 We are here as insects, with little sharp nippers, to 
 honour Satan, our worshipful papa, according to his 
 dignity. 
 
 Hennings. 
 See ! how naively they joke together in a crowded 
 troop. They will e'en say in the end, that they have 
 good hearts. 
 
 Musaget. 
 I like full well to lose myself in this host of witches ; 
 for, truly, I could easier lead them than the Muses. 
 
 Ci-devant Genius of the Age. 
 With proper people, one becomes somebody. Come, 
 take hold of my skirt ! The Blocksberg, like the 
 German Parnassus, has a very broad top. 
 
 Inquisitive Traveller. 
 Tell me, what is the name of that stifE man ? '** He 
 stalks along with proud steps ^ he snuffles everything 
 he can snuffle. " He is scenting out Jesuits." 
 
 The Crane."' 
 I like to fish in clear and even in troubled waters. 
 Therefore you also see the pious gentleman associate 
 even with devils. 
 
356 WALPURGISNACHTSTRAUM. 
 
 WeltMnd. 
 Ja, fiir die Frommen, glaubet mir, 3970 
 
 1st AUea ein Vehikel ; 
 Sie bilden auf dem Blocksberg hier 
 Gar manches Konventikel. 
 
 Tdnzer. 
 Da kommt ja wohl ein neues Chor ? 
 loh hore feme Trotnmeln. 3975 
 
 " Nur ungestbrt ! Es sind im Eohr 
 Die unisonen Dommeln." 
 
 Tcmzmmster. 
 Wie Jeder dooh die Beine lupft, 
 Sioh, wis er kann, herauszieht ! 
 Der Kramme springt, der Plumpe hupft 3980 
 Und fragt nioht, wie es aussieht. 
 
 Das haszt sich schwer, das Lumpenpaok, 
 
 Und gab' sioh gem das Bestchen ; 
 
 Es eint sie hier der Dudelsack, 
 
 Wie Orpheus' Leier die Bestjen. 3985 
 
 Dogmatilcer. 
 Ich lasse mich nioht irre schreiu, 
 Nicht durch Kritik noch Zweifel. 
 Der Teufel musz doch etwas sein ; 
 Wie gab's denn sonst auch Teufel? 
 
 Idealist. 
 Die Phantasie in meinem Sinn 3990 
 
 1st diesmal gar zu herrisch : 
 FUrwahr, wenn ich das AUes bin, 
 So bin ich heute narrisoh. 
 
 Bealist. 
 Das Wesen ist mir recht zur Qual 
 Und musz mich basz verdrieszen ; 3995 
 
WALPURGIS-NIGHT'S DKEAM. 357 
 
 Worldling. 
 Ay, for the pious, believe me, everything becomes a 
 vehicle. They actually form many a conventicle, here 
 upon the Blocksberg. 
 
 Dancer. 
 Is there not a new choir coming ? I hear distant 
 drums. " But don't disturb yourselves ! They are the 
 unisonous bitterns among the reeds." 
 
 Dancing Master. 
 How each throws up his legs, gets on as best he may ! 
 The crooked jumps, the clumsy hops, and asks not how 
 it looks. 
 
 Fiddler.'*' 
 How deeply this pack of ragamuffins hate each other, 
 and how gladly they would give each other the finishing 
 blow ! The bagpipe unites them here, as Orpheus' lyre 
 the beasts. 
 
 Dogmatist.'-" 
 I shall not allow myself to be misled either by the 
 cries of criticism or doubts. The devil, though, must 
 be something ; for how else could there be devils ? 
 
 Idealist. 
 Phantasy, this once, is really too masterful in my 
 mind : truly, if I be all that, I must be beside myself 
 to-day. 
 
 Realist. 
 Entity is a regular plague to me, and cannot but vex 
 
358 WALPURGISNACHTSTRAUM. 
 
 loh stehe hier zum ersten Mai 
 Nioht fest auf meinen Fiiszen. 
 
 SupernatttraKst. 
 Mit viel Vergnugen bin ich da 
 Und freue mioh mit diesen ; 
 
 Denn von den Teufeln kann ich ja 4000 
 
 Auf gute Geister schlieszen. 
 
 STceptiker. 
 Sie gehn den Flammchen auf der Spur 
 Und glauben sioh nah dom Schatze. 
 Auf Teufel reimt der Zweifel nur ; 
 Da bin ioh recht am Platze. 40° 5 
 
 Erosch im Laub und Grrill' im Gras, 
 Verfluchte Dilettanten ! 
 riiegensohnauz' und Miickennas' 
 Ihr seid dooh Musikanten ! 
 
 Bie Oewandten. 
 Sanssouci, so heiszt das Heer 4010 
 
 Von lustigen Geschbpfen ; 
 Auf den Piiszen geht's nicht mehr, 
 Drum gehn wir auf den Kopfen. 
 
 Die UnlehulJUchen. 
 Sonst haben wir manchen Bissen erschtanzt ; 
 Nun aber Gott befohlen ! 4015 
 
 TJnsere Sohuhe Bind durohgetanzt, 
 Wir laufen auf naokten Sohlen. 
 
 Irrlichter. 
 Von dam Sumpfe kommen wir, 
 Woraus wir erst entstanden ; 
 Dooh sind wir gleich im Beihen hier 4020 
 
 Die glanzenden Galanten. 
 
Walpurgis-night's dream. 359 
 
 me much. I stand here, for the first time, not firm 
 upon my feet. 
 
 Swpernaturalist. 
 I am greatly pleased at being here, and am delighted 
 with these ; for, from devils, I can certainly draw con- 
 clusions as to good spirits. 
 
 Scejptie. 
 They follow the track of the flame, and believe them- 
 selves near the treasure. Only doubt (ZweifeT) rhymes 
 to devil (TeufeT). Here I am quite at home. 
 
 Leader of the Band. 
 Frog in the leaves, and cricket in the grass, con- 
 founded dilettanti! Kies' snouts and gnats' noses, 
 you are real idusicians ! 
 
 The Adroit. 
 Sansouci, that is the name of the host of merry crea- 
 tures ; there is no longer any walking upon feet, where- 
 fore we walk upon our heads. 
 
 The Awkward. 
 In times past we have sponged many a tit-bit ; but 
 now, good-bye to all that ! Our shoes are danced 
 through ; we run on bare soles. 
 
 Will-o'-the-Wisps.'''^ 
 We come from the bog, from which we are just 
 sprung ; but we are the glittering gallants here in the 
 dance directly. 
 
360 WALPURGISNACHTSTRATJM. 
 
 Siernschnuppe. 
 Aus der Hbhe schosz ich her 
 Im Stern- und Feuerscheine, 
 Liege nun im Grase quer ; 
 Wer hilft mir auf die Beine ? 4025 
 
 Die Massiven. 
 Plalz und Platz ! Und ringsherum ! 
 So gehn die Grriischen nieder. 
 Geister kommen, Geister auch, 
 Sie haben plumpe Glieder. 
 
 Puck. 
 Tretet uicht so mastig auf 403a 
 
 Wie Elephantenkalber ! 
 Und der Plumpst' an diesem Tag 
 Sei Puck, der Derbe, selber ! 
 
 Ariel. 
 Gab die liebende Natur, 
 
 Gab der Geist euoh Fliigel, 4035 
 
 Folget meiner leiohten Spur, 
 Auf zum Eosenhiigel I 
 
 Orchesier (Pianissimo). 
 Wolkenzng und Nebelflor 
 Erhellen sioh von oben. 
 
 Luffc im Laub und Wind im Eohr, 4040 
 
 Und Alias ist zerstoben. 
 
Walpurgis-night's dream. 36] 
 
 Shooting Star. 
 From on high, in star-and-fire-light, I shot hither, I 
 am now lying crooked-ways in the grass ; who will help 
 me upon my legs ? 
 
 The Massive Ones. 
 Eoom ! room ! And round ahout ! So down go the 
 grass-stalks. Spirits are coming, but spirits as they 
 are, they have clumsy limbs. 
 
 PucJe. 
 Don't tread so heavily, like elephant-calves ! And 
 the clumsiest on this day be the sturdy Puck himself. 
 
 Ariel. 
 If kind nature gave — if the spirit gave you wings, 
 follow my light track up to the hiU of roses ! 
 
 Orchestra (pianissimo). 
 Drifting clouds, and wreathed mists, brighten from 
 on high ! Breeze in the leaves, and wind in the rushes, 
 and all is dissipated ! 
 
m 
 
 FaXTST. l^EPHISTOPHELES. 
 
 Faiist. 
 
 IM Elend ! Verzweifelud ! Erbarmlioh auf der Erde 1 
 Lange verirrt und nun gefangen ! Als Missethaterin im 
 Kerker zu entsetzliohen JQualen eingesperrt, das holde, 
 unselige Gesohijpf ! Bis dahin ! Dahin ! — Verratherisoher, 
 niohtswurdiger Geist, und das hast du mir verheimlioht ! 5 
 — Steh.nur, steh ! Walze die teuflischen Augen ingrim- 
 mend im Kopf herum ! Steh und trutze mir duroh. deine 
 unertragliche Gegenwart ! Gefangen ! Im unwiederbring- 
 lichen Blend ! Bbsen Geistern ubergeben und der richten- 
 den gefiihllosen Menschheit ! Und mich wiegst du indesz 10 
 in abgeschmaokten Zerstreuungen, verbirgst mir ihren 
 waohsenden Jammer und lassest sie hiilflos verderben ! 
 
 MepMsiopheles. 
 Sie ist die Erste nicht. 
 
 Faust. 
 . Hund ! Absoheuliches Unthier ! — Wandle ihn, du un- 
 endlicher Geist, wandle den Wurm wieder in seine Hunds- 15 
 gestalt, wie er sich oft nachtlicher Weise gefiel, vor mir 
 herzutrotten, dem harmlosen Wandrer vor die Fiisze zu 
 kollern und sich dem niederstiirzenden auf die Schultern 
 zu hangen ! Wandl ihn wieder in seine Lieblingsbildung, 
 dasz er vor mir im Sand auf dem Bauch krieohe, ich ihn 20 
 
A GLOOMY DAY.— OPEN COTJNTEY. 
 
 « 
 
 Taust — Mephistopheles. 
 
 Favst. 
 
 IN misery! Despairing! Miserably lying on the 
 ground ! "° A long time wandering about, and 
 now a prisoner ! The dear, imhappy being, cooped up 
 in the dungeon, as a malefactor, for horrid tortures ! 
 Even to that ! To that ! Treacherous, worthless spirit, 
 and this hast thou concealed from me ! Stand, only 
 stand EoU thy devilish eyes infuriated in thy head ! 
 Stand and brave me with thy imbearable presence ! A 
 prisoner ! In irremediable misery ! Given over to evil 
 spirits, and to condemning, unfeeling man ! And me, 
 in the mean time, hast thou been lulling with tasteless 
 dissipations, concealing her growing wretchedness from 
 me, and leaving her to perish without help. 
 
 Mephistopheles. 
 
 She is not the first. 
 
 Famt. / 
 
 Dog! Horrible monster! — Turn him, thou Infinite 
 Spirit ! turn the reptile back again into his dog's shape, 
 in which he was often pleased to trot before me by 
 night, to roll before the feet of the harmless wanderer,"" 
 and fasten on his shoulders when he fell. Turn him 
 again into his favourite shape, that he may crouch on 
 his beUy before me in the sand, whilst I spurn him with 
 
364 TRUBEB TAG. FELD. 
 
 mit Fiiszen trete, den Verworfnen ! — Die Erste nioht ! 
 — Jammer ! Jammer, Ton keiner Menschenseele zu fiassen, 
 dasz mehr als em Gesohopf in die Tiefe dieses Elendes 
 versank, dasz nioht das erste genugthat fiir die Sohuld 
 aller ubrigen in seiner windenden Todesnoth vor den 25 
 Angen des ewig Verzeiheiyien I Mir wiihlt es Mark und 
 Leben durch, das Elend dieser Einzigen ; da grinsest 
 gelassen iiber das Schicksal von Tansenden bin ! 
 
 Mephistopheles. 
 Nun Bind wir schon wieder an der Grenze unsers Witzes, 
 da, wo euoh Menschen der Sinn iiberschnappt. Warum 30 
 machst du Gemeinschaft mit uns, wenn da sie nioht durch- 
 fiihren kannst ? Willst fliegen und bist vorm Sohwindel 
 nioht sioher ? Drangen wir uns dir auf, oder du dich uns? 
 
 Fatist. 
 Fletsohe deine gefraszigen Zahne mir nioht so ent- 
 gegen ! Mir ekelt's ! — Groszer, herrlicher Geist, der du 35 
 mir zu ersoheinen wilrdigtest, der du mein Herz kennest 
 und meine Seele, warum an den Sohandgesellen mich 
 Bohmieden, der sioh am Schaden weidet und am Verderben 
 sich letzt P 
 
 Mephistopheles. 
 Iledigst du ? 40 
 
 Faust. 
 Kette sie, oder weh dir ! Den graszlichsten Much iiber 
 dioh auf Jahrtausende ! 
 
 Mephistopheles. 
 Ich kann die Bande des Kaohers nioht losen, seine 
 
A GLOOMY DAT — OPEN COUNTRY. 365 
 
 my foot, the reprobate ! Not the first ! Woe ! woe ! It 
 is inconceivable by any human soul, that more than 
 one creature should have sunk into such a depth of 
 misery, — that the first, in its writhing death-agony, was 
 not sufficient to atone for the guilt of all the rest in the 
 sight of the Ever-pardoning. The misery of this one 
 harrows up my marrow and my very life; thou art 
 grinning away calmly at the fate of thousands. 
 
 Now are we already at our wits' end again! just 
 where the sense of your mortals snaps with overstrain- 
 ing. Why dost thou enter into fellowship with us, if 
 thou canst not go through with it ? Will'st fly, and 
 art not safe from dizzuiess ? Did we force ourselves on 
 thee, or thou thyself on us ? 
 
 Faust. 
 Grnash not thy greedy teeth thus defyingly at me ! 
 I loathe thee! Great, glorious Spirit, thou who didst 
 deign to appear to me, thou who knowest my heart 
 and my soul, why yoke me to this shame-fellow, who 
 feeds on mischief, and battens on destruction ! 
 
 Mephistopheles. 
 Hast done ? 
 
 Faust. 
 Save her, or woe to thee ! The most horrible curse 
 on thee for thousands of years ! 
 
 Mephistopheles. 
 I cannot loosen the shackles of the avenger, nor undo 
 5 
 
366 TRUBER TAG. FEI^D. 
 
 Eiegel nioht oflTnen. — Eette sie ! — "Wer war's, der sie ins 
 Verderben stUrzte ! loh oder du ? 
 
 [Faust hlicJct wild vmher.J 
 
 Greifst du nach dem Donner ? Wohl, dasz er euoh 
 
 elenden Sterbliohen nioht gegeben ward ! Den unsohuldig 
 
 Entgegnendeu zu zerschmetteru, das ist so Tyrannenart, 
 
 sioh in Verlegenheiten Luffc zu machen. 
 
 Ftmist. 
 Bringe mich bin ! Sie soil frei sein ! 
 
 Me;phistophelet. 
 Und die Gefahr, der du dich aussetzest ? Wisse, noch 
 liegt auf der Stadt Blutsohuld von deiner Hand. Ueber 
 des BrBohlagenen Statte schweben rachende Geister und 
 lauern auf den wiederkehrenden Morder. 
 
 Fami 
 Noch das von dir ? Mord und Tod einer Welt iiber dich 
 TJngeheuer ! Fuhre mioh bin, sag' ich, und befrei sie ! 
 
 45 
 
 so 
 
 5S 
 
 MepMstopheles. 
 Ich fuhre dich, und was ich thun kann, bore ! Habe ich 
 alle Macht im Himmel und auf Erden ? Des Thiirners 
 Sinne will ich umnebeln ; bemachtige dich der Schlussel 
 und fuhre sie heraus mit Menschenhand ! Ich wache ; die g„ 
 Zauberpferde sind bereit, ich entfuhre each. Das vermao' 
 ich! 
 
 • Fa^lst. 
 Auf und davon ! 
 
A GLOOMY DAY — OPEN COUNTRY. 367 
 
 Hs bolts. — Save her ! — Who was it that plunged her 
 into ruin? I or thou? {Fatjst: loohs wildly around.'] 
 Art thou grasping after the thunder ? Well, that it is 
 not given to you, wretched mortals ! To dash to pieces 
 one who replies to you in all innocence — that is just the 
 tyrant's way of venting himself in perplexities. 
 
 Faust. 
 Bring me thither ! She shall be free ! 
 
 MepMstopheles. 
 And the danger to which you expose yourself ? E!now, 
 the guilt of blood, from your hand, stiU lies upon the 
 town. Avenging spirits hover over the place of the 
 slain, and lie in wait for the returning murderer. 
 
 Faust. 
 
 That, too, from thee ? Murder and death of a world 
 upon thee, monster ! Conduct me thither, I say, and 
 free her ! 
 
 Me^Jiistofheles. 
 
 I will conduct thee, and what I can do, hear ! Have I 
 all power iu heaven and upon earth ? I will cloud the 
 gaoler's senses ; do you possess yourself of the keys, and 
 bear her off with human hand. I will watch ! The 
 magic horses wUl be ready, I will bear you off. This 
 
 much I can do. 
 
 Faust. 
 
 Tip and away ! 
 
NAOHT, OFFBISr FELD. 
 
 Faust,' Mephistopheles, auf sehwarzen Pferden daher- 
 bi'cmsend. 
 
 W 
 
 Faust. 
 AS weben die dort um den Eabenstein ? 
 
 Mephistopheles. 
 Weisz nicht, was sie kochen und schaffen. 
 
 FoMst. 
 Sohweben auf, schweben ab, neigen sioh, beugen sioh, 
 
 Mephistopheles, 
 Eine Hexenzunft, 40^5 
 
 Faust. 
 Sie streuen und weiheu. 
 
 Mephistopheles 
 Vorbei ! Vorbei I 
 
NIGHT.— A COMMON. 
 
 Faust and Mephistopheles rushing along upon 
 black horses. 
 
 Faust. 
 
 WHAT are they weaving — those about the Eaven- 
 stone''' yonder F 
 
 Mephistopheles. 
 Can't tell what they're cooking and making. 
 
 Faust. 
 Are waving upwards — ^waving downwards — bending 
 — stooping. 
 
 Mephistopheles. 
 A witches' company. 
 
 Fav^st. 
 They are sprinkling and charming. 
 
 Mephistopheles. 
 On ! on ! 
 
 B B 
 
Fa0st (mit einem Bund ScMussel und einer Lampe vor 
 einem eisernen Thurchen). 
 
 MICH faszt ein langst entwohnter Sohauer, 
 Der Menschheit ganzer Jammer faszt mioh an. 
 Hier wohnt sie, hinter dieser feuchten Mauer, 4050 
 
 Und ihr Verbrechen war ein guter Wahn ! 
 Du zauderst, zu ihr zu gehen ! 
 Du furchtest, sie wiederzusehen ! 
 Fort ! Dein Zagen zogert den Tod heran. 
 
 \Ilr ergreift das ScMosz. Es singt inwendig.'] 
 
 Meine Mutter, die — , 4055 
 
 Die mich umgebracht hat ! 
 
 Mein Vater, der Schelm, 
 
 Der mich gessen hat ! 
 
 Mein Schwesferlein klein 
 
 Hub auf die Bein' 4060 
 
 An einem kiihlen Ort ; 
 
 Da ward ich ein sohones Waldvogelein ; 
 
 Fliege fort, fliege fort ! 
 
 Faust (^aufscMieszend) . 
 Sie ahnet nicht, dasz der Geliebte lauscht, 
 Die Ketten klirren horfc, das Stroh, das rauscht. 406; 
 
 [Er tritt ein.'] 
 
 Margarets {sich a/uf dem Lager verhergendi). 
 Weh ! Weh ! Sie kommen. Bittrer Tod ! 
 
 Faust (leise). 
 Still ! Still ! Ich komme, dich zu befreien. 
 
DimaEON. 
 
 Fattst (with a bunch of Jceys and a lamp, before an iron 
 wicket'). 
 
 ATEEMOE, long unfelt, seizes me; the concen- 
 trated misery of mankind seizes on me. Here, 
 behind these damp walls, is her dwelling-place, and her 
 crime was a dear delusion ! Thon dost hesitate to go to 
 her ! Thou fearest to see her again ! On ! Thy delay 
 will cause her death. 
 
 [He takes hold of the lock. — Singing within.} 
 
 My mother, the , 
 
 That killed me ! 
 
 My father, the rogue, 
 
 That ate me up ! 
 
 My little sister 
 
 Laid my bones 
 
 In a cool place ! 
 
 There I became a beautiful little wood-bird. 
 
 Flyaway! flyaway!'" 
 
 Faust (opening the loch). 
 She does not suspect that her lover is listening, hears 
 the chains clank, the straw rustle. [_He eiders.] 
 
 Margaret (hiding her face in the bed of straw). 
 Woe ! woe ! They come. Bitter death ! 
 
 Faust (softly). 
 Hush ! hush ! I come to free thee. 
 
3?2 Kerker. 
 
 Margarete (sich vor ihn Mnwalzend), 
 Bist du ein Mensoh, so fiihle meine Noth I 
 
 Fausl 
 Du wirst die Waohter aus dem Schlafe schreien ! 
 
 [Erfasnt Me Ketten, sie aufzuechlieszen.] 
 
 Margarets (auf den Krdeen). 
 Wer hat dir Henker diese Macht 4070 
 
 Ueber mich gegeben ! 
 Du hoist mich scbon um Mitternaoht. 
 Erbarme dioh und lasz mich leben ! 
 
 let's morgen friih nicht zeitig genung ? [^8ie steht auf.'] 
 Bin ich doch noch so Jung, so jung ! 4075 
 
 Und soil sohon sterben ! 
 
 Schon -war ich anch, und das war mein Verderben, 
 Nah war der Freund, nun ist er weit ; 
 Zerrissen liegt der Kranz, die Blumen zerstreut. 
 Passe mich nicht so gewaltsam an ! 4080 
 
 Schone mich ! Was hab' ich dir gethan ? 
 Lasz mich nicht vergebens flehen, 
 Hab' ich dich doch mein' Tage nicht gesehen ! 
 
 Faust. 
 Werd' ich den Jammer uberstehen I 
 
 MavgoA'ete. 
 Ich bin nun ganz in deiner Macht. 4085 
 
 Lasz mich nur erst das Kind noch tranken. 
 Ich herzt' es diese ganze Nacht ; 
 Sie nahmen mir's, um mich zu kranken, 
 Und sagen. nun, ich hatt' es umgebracht. 
 Und niemals werd' ich wieder froh. 4090 
 
 Sie singen Lieder auf mich ! Es ist bos von den Leuten ! - 
 Ein altes Marchen endigt so, 
 Wer heiszt sie's deuten ? 
 
DUNGEON. 373 
 
 Margaret {throwing herself before him). 
 If thou art human, feel for my wretchedness. 
 
 Faust. 
 You will wake the guard by your cries ! 
 
 [JSie takes hold of the chains to unlocJc them.] 
 
 Margaret (on her hnees). 
 
 Who has given you, headsman, this power over me ? 
 You come for me whilst it is yet midnight. Be merciful 
 and let me live. Is not to-morrow morning soon 
 enough? [She rises.] 
 
 I am yet so young, so young ! and am to die already ! 
 I was fair, too, and that was my undoing ! My true-love 
 was near — he is now far away. Tom lies my wreath, 
 scattered the flowers. Don't take hold of me so roughly! 
 Spare me ! What have I done to you ? Let me, not 
 implore in vain ! I never saw you before in all my Ufe, 
 you know ! 
 
 Faust. 
 Can I endure this misery ! 
 
 Margaret. 
 I am now entirely in thy power, Only let me first 
 suckle my child. I pressed it this whole night to my 
 heart. They took it away to vex me, and now say I 
 kUled it. And I shall never be happy again. They sing 
 songs upon me ! It is wicked of the people. An old 
 tale ends so, — who bids them apply it ? 
 
374 KERKER. 
 
 Faust (wirft sich mieder). 
 Ein Liebeuder liegt dir zu FUszeu, 
 Die JammerknechtBchaft aufeuschlieszen. 4095 
 
 Marga/rete (wvrft sich zu ihm), 
 O lasz un9 knien, die Heil'gen auzornfen J 
 Sieh ! Unter diesen Stufen, 
 Unter der Schwelle 
 Siedet die HoUe ! 
 
 Der Bose, 4100 
 
 Mit furohtbarem Grimme, 
 Maeht ein Getbse ! 
 
 Faust (lout). 
 Gretchen ! Gretclien ! 
 
 Margarete (cmfmerTcsam). 
 Das war des Freundes Stimme ! 
 
 ISiespringt auf; die Ketten fallen a&.] 
 Wo ist er ? Ich hab' ihn rufen horen. 4105 
 
 Ich bin frei ! Mir soil Niemand wehren. 
 An seinen Hals will ich fliegen, 
 An seinem Busen liegen ! 
 Er rief Gretchen ! Er stand auf der Schwelle, 
 Mitten durchs Heulen und Klappen der HoUe, 41 10 
 
 Durcb den grimmigen, teuflischen Hohii 
 Erkannt' ich den siiszen, den liebenden Ton. 
 
 Faust. 
 Ich bin's ! 
 
 Margarete. 
 * Du bist's ! sag es noch einmal ! 
 
 [Ihn fassend.J 
 Er ist's ! Er ist's ! Wohin ist alle Qual ? 
 Wohin die Angst des Kerkers? Der Ketten ? 41 15 
 
 Du bist's ! Kommst, mioh zu retten ! 
 Ich bin gerettet ! — Schon ist die Strasze wieder da, 
 Auf der ich dioh zum ersten Male sah, 
 Und der heitere Garten, 
 ^o ich und Marthe deiner warten. 4,20 
 
DUNGEON. 375 
 
 Faust {throws himself on the ground). 
 A lover lies at thy feet, to unloose the bonds of. 
 wretchedness. 
 
 Margaret (throws herselj by his side). 
 Ay, let us kneel to invoke the saints. See, under 
 these steps, under the threshold, hell is seething ! The 
 Evil One, with fearful fury, is making a din. 
 
 Faust {passionately). 
 Margaret ! Margaret ! 
 
 Margaret {aloud). 
 That was my true-love's voice. {She springs wp ; the 
 chains fall off .) Where is he? I heard him call. lam 
 free ! Nohody shall hinder me. I will fly to his neck, 
 lie on his bosom ! He called Margaret ! He stood 
 upon the threshold. Amidst the howling and clattering 
 of hell, amidst the grim, devihsh scoffing, I knew the 
 sweet, the loving tone again. 
 
 Faust. 
 
 'Tis I. 
 
 Margaret. 
 
 'Tis thou! Ah, say so once again! (Clasping him.) 
 'Tis he ! 'Tis he ! Whither is all my wretchedness ? 
 Whither the agony of the dungeon ?— Of the chains ? 
 'Tis thou ! Thou com'st to save me. I am saved ! — ^There 
 again already is the street, where I saw thee for the first 
 time; and the cheerful garden, where I and Martha 
 waited for thee. 
 
376 KERKEK. 
 
 Faitsi (fortetrehend). 
 Komm mit ! Komm mit ! 
 
 Margartle. 
 O weile ! 
 Weil' ich dooh so gem, wo du weilest. [LiebJeosend."] 
 
 Faust. 
 Eile! 
 
 Wenn du nicht eilest, 
 "Werden wir's theuer biiszen miissen, 4125 
 
 Wie ? Du kannst nicht mehr kiissen ? 
 
 Mein Freund, so kurz von mir entfernt, 
 
 Und Last's Kiissen verlernt ? 
 
 "Warum wird mir an deinem Halse so bang, 
 
 Wenn sonst von deinen Worten, deinen Blicken 4130 
 
 Bin ganzer Himmel mich iiberdrang 
 
 Und du mich kiisztest, als woUtest du mich erstioken ? 
 
 Kiisse mich ! 
 
 Sonst kiiss' ich dich ! [Sie trnifasxt ihn.'\ 
 
 O weh ! Deine Lippen sindkalt, 4135 
 
 Siad stumm. 
 
 Wo ist dein Lieben 
 
 Geblieben ? 
 
 Wer brachte mich drum ? [Sie wendst sieh von ihm.'} 
 
 Fmist. 
 Komm ! Folge mir ! Liebchen, fasse Muth ! 4140 
 
 Ich herze dich mit tausendfacher Gluth ; 
 Nur folge mir ! Ich bitte dich nur dies ! 
 
 Margarete (zw ihm gewendet). 
 Und bist du's denn ? Und bist du's auch gewisz ? 
 
 Fauet, 
 Ich bin's ! Komm mit ! 
 
DUNGEON. 877 
 
 Faust (striving to take her away). 
 Come \ Come with me ! 
 
 Oh stay ! I like to stay where thou stayest. 
 
 [Garessing him.l 
 
 Faust. 
 Haste ! If you do not make haste, we shall pay dearly 
 for it. 
 
 Margaret. 
 n/ What ? Tou can no longer kiss ? So short a time away 
 from me, my love, and already forgotten how to kiss ! 
 Why do I feel so anxious on your neck — when, in other 
 times, a whole heaven came over me from your words, 
 your looks, and you kissed me as if you were going to 
 smother me ? Eiss me ! or I will kiss you ! [She em- 
 braces him.) woe ! your lips are cold, — are dumb. 
 Where have you left your love? Who has robbed me of 
 it? \^ IShe tit/rns froni him.] 
 
 Faust. 
 Come ! follow me ! Take courage, my love ! I will 
 press thee to my heart with thousandfold warmth — only 
 follow me ! I ask thee but this. 
 
 Margaret (turning to him). 
 And is it thou, then ? And is it thou, indeed? 
 
 Faust. 
 "lis I. Come along ! 
 
378 KERKEB. 
 
 Margarete. 
 Du machst die Fesseln los, 
 Nimmst wieder mich in deinen Schoosz. 4145 
 
 Wie kommt es, dasz du dich vor inir nicht soheust ? — 
 Und weiszt du denn, mein Freund, wen du befreisfc? 
 
 Fomst, 
 Komm ! Komm ! Schon weicht die tiefe Naohfc. 
 
 Ma/rgarete. 
 Meine Mutter hab' ich umgebraoht, 
 
 Mein Kind hab' ioh ertrankt. 4150 
 
 War es nicht dir und mir geschenkt ? 
 Dir auch — du bist's ! Ich glaub' es kaum. 
 Gieb deine Hand ! Es ist kein Traum ! 
 Deiue liebe Hand ! — Aeh, aber sie ist feucht ! 
 Wische sie ab ! Wie mich diiucht, 4155 
 
 Ist Blut dran. 
 
 Ach Gott ! Was hast du gethan ! 
 Stecke den Degen ein ; 
 Ich bitte dich drum ! 
 
 Favist. 
 Lasz das Vergangne vergangen sein, 4160 
 
 Du bringst mich um. 
 
 Mwrgarete. 
 Nein, du muszt Ubrig bleiben ! 
 Ich will dir die Graber beschreiben, 
 Fiir die muszt du sorgen, 
 
 Gleich morgen ; 4165 
 
 Der Mutter den besten Platz geben, 
 Meinen Bruder sogleich darneben, 
 Mich ein wenig bei Seit', 
 Nur nicht gar zu weit ! 
 
 Und das Kleine mir an die rechte Brust. 4170 
 
 Niemand wird sonst bei mir liegen ! — 
 Mich an deine Seite zu schmiegen, 
 Das war ein siiszes, ein holdes Gluck ! 
 Aber es will mir nicht mehr gelingen ; 
 Mir ist's, als miiszt' ich mich zu dir zwingen, 4175 
 
DUNGEON. 379 
 
 Margaret. 
 Tou undo my fetters, you take me to your arms 
 again ! How comes it that you are not afraid of me ? 
 And do you then know, my love, whom you are 
 freeing ? 
 
 Faust. 
 Come, come ! The depth of night is already passing 
 away. 
 
 Margaret. 
 I have killed my mother, I have drowned my child. 
 Was it not given to thee and me — to thee, too? 
 'Tis thou ! I scarcely believe it. Give me thy hand. It 
 is no dream — thy dear hand ! — but oh, 'tis damp ! 
 Wipe it ofE. It seems to me as if there was blood on 
 it. Oh, God! what hast thou done? Put up thy 
 sword ! I pray thee, do ! 
 
 Faust. 
 Let what is past, be past. Thou wilt kiU me. 
 
 Margaret. 
 No, you must survive ! I will describe the graves to 
 you ; you must see to them the first thing to-morrow. 
 Give my mother the best place ; — my brother close by ; 
 — me, a little on one side, only not too far off ! And 
 the little one on my right breast ; no one else will lie by 
 me. To nestle to thy side, — that was a sweet, a dear 
 delight ! But I can no more attain it ; I feel as if I 
 
380 KERKER. 
 
 Als stieezest du mich von dir zuriick. 
 
 Und doch bist du's und bliokst so gut, bo fromm. 
 
 Fuhlst du, dasz ich es 
 
 Fomst. 
 bin, so komm 
 
 Da binaus ? 
 
 Marga/rete. 
 
 Ins I"reie. 
 
 Faust. 
 
 Ma/rga/rete. 
 Ist das Grab drausz, 4180 
 
 Lauert der Tod, so komm ! 
 Von bier ins ewige Rubebett, 
 Und weiter keinen Schritt — 
 Du gebst nun fort ? Heinrioh, kiinnt' ich mit ! 
 
 Faust. 
 Du kannst ! So woUe nur ! Die Thur stebt ofifen. 4185 
 
 Ma/rga/rete. 
 loh darf nicht fort ; fiir micb ist niohts zu hoffen. 
 Was bilft es fliehn ? Sie lauern dooh mir auf. 
 Es ist BO elend, betteln zu miissen, 
 Und noch dazu mit bbsem Gewissen ! 
 Es ist so elend, in der Premde sobweifen, 4190 
 
 Und sie warden micb doob ergreifen ! 
 
 FoAJiSt. 
 
 Icb bleibe bei dir. 
 
 Mwrga/eete. 
 Gescbwind ! Gescbwind ! 
 Eette dein armes Kind ! 
 Port ! Immer den Weg 
 
 Am Baob binauf, 4195 
 
 Ueber den Stag, 
 In den Wald hinein, 
 Links, wo die Planke stebt 
 Im Teicb. 
 
DUNGEON. 381 
 
 must force myself upon you, as if you did repel me. 
 And yet, 'tis you ; and you look so kind, so good. 
 
 Famt. 
 If you feel that 'tis I, come along. 
 
 Margaret. 
 Out there? 
 
 Faust. 
 Into the free air ! 
 
 Margaret. 
 If the grave is without, if death lies in wait, — ^then 
 come ! Hence into the eternal resting-place, and not a 
 step further. — Thou art now going away ? Henry, 
 could 1 but go too ! 
 
 Faust. 
 Thou canst ! Thou need'st only will it ! The door 
 stands open. 
 
 Marga/ret.*f- 
 1 dare not go out ; there is no hope for me ! What 
 avails it flying ? They are lying in wait for me. It is 
 so miserable to be obliged to beg, — and with an evil 
 conscience, too. It is so miserable to wander in a 
 strange land, — and they will catch me, do as I will. 
 
 Faust. 
 I shall be with thee. 
 
 Margaret. 
 Quick, quick ! Save thy poor child. Away ! Keep 
 the path up by the brook — over the bridge — into the 
 wood — to the left where the plank is — in the pond. 
 
882 KERKER. 
 
 Fasz es nur gleioh ! 4^0° 
 
 Es will sich heben, 
 Es zappelt noch. 
 Eette! Bette ! 
 
 Fa/ust. 
 Besinne dioh doch ! 
 Nur mien Schritt, so bist du frei ! 
 
 Mcurgcureie. 
 Waren wir nur den Berg vorbei ! 4205 
 
 Da sitzt meine Mutter auf einem Stein, 
 Es faszt mioh kalt beim Schopfe ! 
 Da sitzt meine Mutter auf einem Stein 
 Und waokelt mit dem Kopfe ; 
 
 Sie winkt nicht, sie niokt nicht, der Kopf ist ihr schwer, 
 Sie schlief so lange, sie wacht nicht mehr. 421 1 
 
 Sie schlief, damit wir uns freuten. 
 Es waren gliickliche Zeiten ! 
 
 FoMit. 
 Hilft hier kein Flehen, hilft kein Sagen, 
 So wag' ich's, dioh hinwegzutragen. 4215 
 
 Mwrga/rete. 
 Lasz mich ! Nein, ioh leide keine Gewalt ! 
 Easse mich nicht so morderisch an ! 
 Sonst hab' ich dir ja AUes zu Lieb' gethan. 
 
 FoMiSi. 
 Der Tag grant ! Liebchen ! Liebohen ! 
 
 Margwrete. 
 Tag ! Ja, es wird Tag ! Der letzte Tag dringt herein ; 
 Mein Hochzeittag soUt' es sein ! 4221 
 
 Sag Niemand, dasz du schon bei Gretohen warst. 
 Weh meinem Kranze ! 
 Es ist eben gesohehn ! 
 
 Wir werden uns wiedersehn ; 4225 
 
 Aber nicht beim Tanze. 
 Die Menge driingt sich, man hbrt sie nicht. 
 
DUNGEON. 383 
 
 Only quick and catch hold of it ! It tries to rise ! it is 
 still struggling ! Save it ! Save ! 
 
 Faust. 
 Be calm, I pray ! Only one step, and thou art free. 
 
 Margaret. 
 Were we but past the hill ! There sits my mother on 
 a stone — my brain grows chill ! — there sits my mother 
 on a stone, and wags her head. She .beckons not, 
 she nods not, her head is heavy ; she slept so long, / 
 she'll wake no more. She slept that we might enjoy ■■ 
 ourselves. Those were happy times ! 
 
 Faust. 
 As no prayer, no persuasion, is here of any avail, I 
 will risk the bearing thee away. 
 
 Margaret 
 Let me go ! No, I endure no violence ! Lay not 
 hold of me so murderously ! You know I have else 4 
 done everything to please you, 
 
 Faust. 
 The day is dawning ! My love ! My love ! 
 
 Margaret. 
 Day ! Tes, it is growing day ! The last day is break- 
 ing in ! My wedding-day it was to be ! Tell no one 
 that thou hadst been with Margaret already. Woe to 
 my wreath ! It is all over now ! We shall meet again, 
 but not at the dance. The crowd thickens ; it is not 
 
384 KERKEK. 
 
 Der Platz, die Gas sen 
 
 Konnen sie nicht fassen. 
 
 Die Glocke rnft, das Stiibchen bricht. 4230 
 
 Wie sie mich binden und packen ! 
 
 Zum Blutstuhl bin ich schon entriickt. ' 
 
 Schon zuokt nach jedem Nacken 
 
 Die Scharfe, die nach meinem ziickt. 
 
 Stumm liegt die Welt wie das Grab ! 4235 
 
 Fami. 
 0, war' ich nie geboren ! 
 
 Mephistopheles erscJieint hrauszen. 
 
 MepMstopheles. 
 Auf ! Oder ihr seid verloren. 
 Unniitzes Zagen, Zaudern und Plaudern ! 
 Meine Pferde schaudern, 
 Der Morgen dammert auf. 4240 
 
 Ma/rgwfete, 
 Was steigt aus dem Boden herauf ? 
 Der! Der! Schick ihn fort ! 
 Was will der an dem heiligen Ort ? 
 Er will mich ! 
 
 FauSv. 
 Du soUst leben ! 
 
 Margarete. 
 Gericht Gottes ! Dir hab' ich mich iibergeben ! 4245 
 
 MepMstopheles Qiu Faust). 
 Komm ! Komm ! Ich lasse dioh mit ihr im Stich. 
 
 Ma/rga/rete. 
 Dein bin ich, Vater I Kette mich ! 
 Ihr Engel ! Ihr heiligen Schaaren, 
 Lagert euoh umher, mich zu bewahren ! 
 Heinrich 1 Mir grant's vor dir. 42J0 
 
DUNGEON. 886 
 
 heard. The square, the streets, cannot hold them. The 
 bell tolls !— the wand is broken ! "' How they bind and 
 seize me ! Already am I dragged off to the blood-seat ! '" 
 Already quivering for every neck is the sharp steel 
 which quivers for mine. Dumb lies the world as the 
 grave! 
 
 Faust. 
 Oh that I had never been bom ! 
 
 Mejphistopheles {appears without). 
 Up ! or you are lost. Vain hesitation ! Lingering 
 and prattling! My horses shiver; the morning is 
 gloaming up. 
 
 Margaret. 
 What rises up from the floor? He! He! Send 
 him away ! What would he at the holy place ? He 
 comes for me ! 
 
 Faust. 
 Thou shalt live ! 
 
 Margaret. 
 Judgment of God ! I have given myself up to thee. >/ A 
 
 MepMstopheles {to Faust). 
 Come ! come ! I will leave you in the lurch with 
 her. 
 
 Margaret. 
 Thine am I, Father! Save me! Ye Angels! Te I 
 Holy Hosts,"' range yourselves round about, to guard / 
 me ! Henry ! I shudder to look upon thee, 
 c c 
 
386 KEKBER. 
 
 Mephistopheles. 
 
 Sie ist gerichtet ! 
 
 Stinvme (yon'olen) . 
 Ist gerettet ! 
 
 — Meplmto^heles {zu Faust). * 
 Her zu mir ! 
 [Verschwindet mit FAtrsT.J 
 
 Stimme (von innen verJiallend). 
 Eeinrich ! Heinrich ! 
 
DUNGEON. 387 
 
 Mephistopheles. 
 She is judged ! "' 
 
 Voice from above. 
 Is saved. 
 
 MepJiistopheles (to Pattst). 
 Hither to me ! 
 
 ^Disappears with Faust."] 
 
 Voice {from within, dying away), 
 Henry ! Henry ! 
 
NOTES. 
 
 Page 3, n. 1. Goethe began the composition of " Faust" fn 
 early youth, somewhere between the years 1769 and 1773 ; but 
 the exact date cannot be confidently stated. Having worked 
 at it oif and on, he laid it aside, but, to judge from a com- 
 munication of his to Schiller, he took it up again, 1797. In 
 the latter year it was that he wrote the Zueignung, which forms a 
 kind of poetical retrospect. The Dedication, or rather Invoca- 
 tion, written in ottave rime, is considered one of the finest of 
 Goethe's poems. — Ed. 
 
 Page 5, n. 2. Prelude on the Stage. — It must be borne in 
 mind that the theatre is one of those temporary theatres or 
 booths which are common at fairs, and that the company is 
 supposed to be an itinerant one. 
 
 Page 5, n. 3. By the Lustige Person, " Merryman," an actor 
 is here meant who used to represent the "Merry Andrew" or 
 " Clown " — the Schalksnarr or Hanswurst of the German plays 
 — ^in the Director's troop. — Ed. 
 
 Page 5, n. 4. Pleasing and instructive. Cp. 
 
 " Omne tulit punctum qui miscnit utile dulci." 
 
 Horace. 
 Page 9, n. 5. People come to look. Cp. 
 
 " Segnius irritant animos deraissa per aures, 
 Quam quae sunt oculis subjecta fidelibus, et quse 
 Ipse sibi tradit spectator." — HOEACE. 
 
 Page 9, n. 6. " La Com^die des Visionnaires nous r^jouit 
 beaucoup : nous trouvames que c'est la representation de tout 
 le monde ; chacun a ses visions plus ou moins marquees."— 
 Madame de Sevign£. 
 
 \ 
 
390 FAUST. 
 
 Page 11, re. 7. Compare " Wilhelm Meister " (Book ii. ch. 
 ii.), in which somewhat similar notions of the poet's vocation 
 are put into the mouth of the hero. 
 
 Page 13, n. S. "I cannot tell why, this same truth is a naked 
 and open daylight, that doth not show the masques, and mum- 
 meries, and triumphs of the present world, half so stately and 
 daintily as candle-lights. Truth may perhaps come to the price 
 of a pearl, that showeth best by day ; but it will not rise to the 
 price of a diamond or carbuncle, which showeth best in varied 
 lights. A mixture of lies doth ever add pleasure. Doth any 
 man doubt, that, if there were taken from men's minds vain 
 opinions, flattering hopes, false valuations, imaginations, as 
 one would, and the like vinum Dsemonum (as a Father called 
 poetry), but it would leave the minds of a number of men poor 
 shrunken things, full of melancholy and indisposition, and 
 unpleasing to themselves ? " — Loed Bacon, quoted in The 
 Friend, vol. i. p. 9. 
 
 Page 15, n. 9. It was a favourite theory of Goethe, that the 
 power of calling up the most vivid emotions was in no respect 
 impaired by age, whilst the power of pourtraying them was 
 greatly improved by experience. 
 
 "To carry on the feelings of childhood into the powers of 
 manhood ; to combine the child's sense of wonder and novelty 
 with the appearances which every day for perhaps forty years 
 had rendered familiar : 
 
 Both sun and moon, and stars, throughout the year. 
 And man and woman, — 
 
 this is the character and privilege of genius, and one of the 
 marks which distinguish genius from talent." — Coleeidge's 
 Biog. Lit. 
 
 Page 16, re. 10. "And God made two great lights; the 
 greater light to rule the day, and the lesser light to rule the 
 night ; he made the stars also." — Gen. i. 17. 
 
 Page 19, re. 11. Prologue in Heaven. — The idea of this pro- 
 logue is taken from the Book of Job, chapters 1st and 2nd. 
 "It is worthy of remark," says Dr. Schubart, "that in the 
 guise in which the poet introduces his Mephistopheles, a great 
 difference is to be seen between his mode of treating the prin- 
 
NOTBS. 391 
 
 ciple of evil, and that followed by Klopstock, MUton, and Lord 
 Syron in ' Cain.' It has also been a matter of course, to hold 
 to one side only of the biblical tradition, which represents Satan 
 as an angel of light fallen through pride and haughtiness, 
 endeavouring to disturb the glorious creation of the Supreme 
 Being. Goethe, on the contrary, has adhered rather to the other 
 side of the tradition, of which the Book of Job is the ground- 
 work, according to which Satan or the Devil forms one of the 
 Lord's Host, not as a rebel against his will, but as a powerful 
 tempter, authorized and appointed as such," &c. — Vorlesungen. 
 We are also called upon to admire the propriety of the parts 
 assigned to the Archangels in the introductory song. Dr. Hin- 
 richs shows some anxiety to establish that The Lord depicted by 
 Goethe, is the Lord of Christianity. On this subject he has 
 the following note: "That The Lord iU this poem is the 
 Christian God, and therefore the Divine Spirit, Cornelius also 
 signifies in the title-page of his ' Illustrations of Faust,' where 
 the Lord, in the middle of an unequal square, begirt by a half- 
 circle of angels, bears the triple crown upon his head, and the 
 terrestrial globe in his left hand ; whilst in Retzsch's ' Illus- 
 trations of Faust,' the Lord without the triple crown and the 
 cross, does not express the Christian God, and for that reason 
 the conception is not embraced by it.' — Vorlesungen, p. 36. 
 
 Page 21, n. 12. But thy messengers. Lord, revere the gentle 
 movement of thy day.—" Canst thou send lightnings, that they 
 may go, and say unto them. Here we are ? " — Job xxxviii. 35. 
 " And of the angels he saith. Who maketh his angels spirits, 
 and his ministers a flame of fire." — St. Paul, Heb. i. 7. 
 
 Page 25, n. 13. A good man in his indistinct strivings, &c. — 
 Drang in this passage is untranslatable, though the meaning is 
 clear. In rendering it as above, I had the striving of jarring 
 impulses (Coleridge's " Aids ") in my mind. 
 
 Page 25, n. 14. The waggish scoffer is the least offensive to 
 we.— This does not convey the character of Mephistopheles, 
 nor is there any English word that would. The meaning must 
 be : I prefer a malicious, roguish devil who laughs or scofis at 
 my works, to one who openly defies. 
 
 Page 25, n. 15. The creative essence, &c.— It is quite im- 
 possible to translate this passage, and I have never seen a satis- 
 
392 fAtysr. 
 
 factory explanation of it. Das Werdende is literally The Be- 
 coming, but werden is rather the Greek yivo/iai than the 
 English to become. The Greek word eyevero (says Mr. Cole- 
 ridge) unites in itself the two senses of began to exist and was 
 made to exist : it exemplifies the force of the middle voice, in 
 distinction from the verb reflex. — Aids to Reflection, 2nd edit, 
 p. 18. 
 
 One friend, whom I consulted about this passage, sent me 
 the following version: "Creation's energy — ever active and 
 alive — encircle you with the joyous bounds of love — and that 
 which flits before you, a fluent and changeful phantom, do ye 
 fix by the power of enduring thought ! " 
 
 Mr. Carlyle interpreted it thus: "There is clearly no trans- 
 lating of these lines, especially on the spur of the moment ; yet, 
 it seems to me the meaning of them is pretty distinct. The 
 Lord has just remarked, that man (poor fellow) needs a devil, 
 as. travelling companion, to spur him on by means of Denial; 
 whereupon, turning round (to the angels and other perfect 
 characters) he adds, ' But ye, the genuine sons of Heaven, joy 
 ye in the living fulness of the beautiful ' (not of the logical, 
 practical, contradictory, wherein man toils imprisoned) ; ' let 
 Being (or Existence) which is everywhere a glorious birth into 
 higher Being, as it for ever works and lives, encircle you with 
 the soft ties of Love ; and whatsoever wavers in the doubtful 
 empire of appearance ' (as all earthly things do), ' that do ye by 
 enduring thought make firm.' Thus would Das Werdende, the 
 thing that is a being (is o-being), mean no less than the uni- 
 verse (the visible universe) itself ; and I paraphrase it by ' Ex- 
 istence which is everywhere a birth into higher Existence ' (or 
 in some such way), and make a comfortable enough kind of 
 sense out of that quatrain." See also Mr. Heraud's remarks in 
 " Eraser's Magazine " for May, 1832. [Cp. 11. 436, 437.— Ed.] 
 
 Page 26, n. 16. Hike to see the Ancient One occasionally. — 
 Shelley translates den Alien, the Old Fellow. But the term 
 may allude merely to " The Ancient of Da^s," and is not neoes- 
 sarily a disrespectful one. A correspondent proposes "The Old 
 Gentleman." I am also told that der Alte is a slang expression 
 for the father. 
 
 In allusion to Mephistopheles' liking to see The Lord occa- 
 sionally. Dr. Hinrichs observes : " A fallen angel, as Shake- 
 speare himself says, is still an angel, who likes to see the Lord. 
 
, NOTES. 893 
 
 occasionally, and avoids breaking with him, wherefore we find 
 Mephistophelea in heaven amongst the host,"— p. 37. 
 
 Page 29, n. 17. Night— Hhe opening scene is the only part 
 in which the "Faustus" of Marlow bears any similarity to 
 
 the " Faust " of Goethe The commencement of Lord Byron's 
 
 " Manfred" is clearly traceable to "Faust," either Marlow's or 
 Goethe's. Cf. Choru^iand Act 1, scene 1. 
 
 Pack 29, n. 18. For this very reason is all Joy torn from me. — 
 " I communed with my own heart, saying, Lo, I am come to 
 great estate, and have gotten more wisdom than all they that 
 have been before me in Jerusalem, yea, my heart hath great 
 experience of wisdom and knowledge. 
 
 "And I gave my heart to know wisdom, and to know mad- 
 ness and folly : I perceive that this also is vexation of spirit. 
 For in much wisdom is much grief: and he that increaeeth 
 knowledge, increaseth sorrow."— ^ccZ. c. i. 
 
 Page 29, n. 19. / have therefore devoted myself to magic. — 
 Goethe tells us, in his Memoirs, that whilst he was confined 
 by ill-health, he and Fraulein von Klettenberg read through 
 several books on alchemy; e.g., Welling's " Opus Mago-Cabal- 
 listicum," Theophrastus Paracelsus, Basilius Valentinus, Hel- 
 mont, Starkey, and the " Aurea Catena Homeri." ' The study 
 of these writers subsequently induced Goethe to put up a small 
 chemical apparatus, of which he says: "Now were certain 
 ingredients of the Maorocosmus and Microcosmus dealt with 
 after a strange fashion." In his " Farbenlehre," also, he enters 
 upon an animated defence of natural magic. It is clear from 
 many passages in his Memoirs, that the reflections on the in- 
 sufficiency of knowledge which he has here put into the mouth 
 of Faust, were his own at one period. For instance: "The 
 remarkable puppet-show fable of Faust found many an answer- 
 ing echo in my breast. I too had ranged through the whole 
 round of knowledge, and was early enough led to see its vanity. " 
 
 Page 33, n. 20. -Nostradamus. — "Nostradamus, properly 
 Michel Notre Dame, bom in 1503, at St. Eemy in Provence, 
 of a family of Jewish origin, studied medicine, applied himself 
 somewhat to quackery, and fell at last into the favourite 
 malady of his age, astrology. The prophecies which, from his 
 
 1 Ddring (" Life of Goetbe," page 7^) mentions the ctrcnmstance and connects 
 it with "Faust." 
 
394 FAUST. 
 
 seclusion at Salon, he made known in rhymed quatrains under 
 the title of ' Centuries of the World,' excited great notice by 
 their styje and their ohaourity. Henry II., King of France, 
 sent for the author and rewarded him royally." — Convers. 
 Lexikon. 
 
 Page 33, n. 21. Macrocosm, and Spirit of the Earth or Micro- 
 cosm. — Dr. Hinrichs says : " The Macrocosm signifies Nature, 
 as such, and is opposed to Microcosm, as man." — p. 59. But 
 I incline to think Macrocosm means the Universe, and the 
 Spirit of Earth, the Earth generally. Thus Falk, in accounting 
 for Faust's weakness in the presence of the latter, says, " The 
 mighty and multiform universality of the earth itself — that 
 focus of all phenomena, which at the same time contains within 
 itself sea, mountain, storm, earthquake, tiger, lion, lamb. 
 Homer, Phidias, Raphael, Newton, Mozart, and Apelles — 
 whom, appear when and where it might, would it not strike 
 with trembling, fear, and awe ? " — p. 247. The Ganzen (I am 
 here adopting the gloss of a friend) is the Omneity of the meta- 
 physicians, and Eins in dem Andern wirkt und lebt, is The 
 Immanence of All in each of Plato. 
 
 "According to Paracelsus," says Mr. Heraud, "the macro- 
 cosm is the great world, and man is the microcosm-, or a little 
 world — a kind of epitome of the great." 
 
 Page 33, n. 22. Up, acolyte !—l have been called on for an 
 authority for using this word in the above sense : — 
 
 "You are doubtless an acolyte in the noble and joyous 
 science of minstrelsy and music. " — Anne of Geierstein, vol. ii. 
 p. 238.' 
 
 Page 33, n. 23. How heavenly powers, &c. — "And he 
 dreamed, and behold, a ladder set up on the earth and the top 
 of it reached the heaven ; and behold the angels of God ascend- 
 ing and descending on it. " — Genesis xxviii. 12. 
 
 Page 35, w. 24. " Fear came upon me, and trembling, which 
 made all my bones to shake. 
 
 " Then a spirit passed before my face : the hair of my flesh 
 stood ujf."— The Book of Job, ch. iv. 
 
 1 That the word " acolyte " may be used in the sense of " novice " will be 
 found confirmed by further quotations in Dr. Murray's "New English Dic- 
 tionary/' p. 82,— Ed. 
 
NOTES. 395 
 
 Page 39, n. 25. The traditional Faust had a disciple or pupil 
 named Wagner or Wagenar, who figures in all the dramas or 
 histories founded on the fable. A book entitled "Christoph. 
 Wagner's Magic Arts and Life of Dr. Faust," was published 
 at Berlin, in 1714, assumed to be by the veritable attendant of 
 the philosopher.' 
 
 It is also worthy of remark that one of Goethe's early friends 
 was called Wagner. He signalized himself by stealing from 
 "Faust" (which was communicated to him in confidence pre- 
 viously to publication) the tragic portion relating to Margaret, 
 and making it the subject of a tragedy, called " The Infan- 
 ticide." Goethe expresses great indignation at the treachery. — 
 Memoirs, B, 14. 
 
 Page 41, n. 26. Wagner, a man of learning, was probably 
 alluding to the well-known aphorism of Demosthenes. Vortrag 
 comes near the Greek YiroKpwce, which includes not action merely, 
 ■but all that relates to the delivery of a speech. 
 
 Page41,tc. 27. In which ye crisp the shreds of, &c. — The phrase 
 Schnitzel krauseln is one about which great variety of opinion 
 exists, but the two highest authorities substantially agree :— 
 
 "Vos discours qui brillent d'un si faux ^clat, dans lequel 
 vous ^talez les ornemens les plus factices de I'esprithumain, &c. 
 Krauseln, r&ndre ciripu,friser. Schnitzel, ce sont des decoupures 
 de papier. * En les tordant en differens sens on peat en faire 
 des ornemens, mgme des fleurs, mais ces fleurs n'ont aucune 
 fraicheur. Le poete les compare done avec les ornemens d'une 
 rh^thorique affectde. Une des beaut^s de ce passage c'est la 
 singularity de la rime krauseln et sauseln, laquelle k son tour 
 aura amen^ les expressions un peu bizarres du second vers."— 
 M. DE ^(mij&G^lj— private letter. 
 
 "Your fine speeches, in which you ruffle up man's poorest 
 shreds (in which you repeat the most miserable trifles in can- 
 died language), are comfortless," &c.— De. Jacob Grimm— 
 private letter. The analogy between this passage and the si 
 vis meflere, &c., of Horace, will readily suggest itself. [Some 
 consider der Menschheit to be in the dat. case.— Ed.] 
 
 1 A professor's "assistant" is called at German universities /anra?BS (Lat.), 
 " servant." — Ed. 
 
 2 The word Pafier-Schnitxel is nsed in this sense in " Wilhelm Meister. ' See 
 " Goethe's Works," Stuttgart and Tubingen edition, vol. xviii. p. 86. 
 
396 FAUST. 
 
 Page 43, n. 28. Cp. Eevel. St. John v. 1.— Ed. 
 
 Page 43, n. 29. Haupt- und Stcuits- Action was the name 
 given to a description of drama formerly well known in Ger- 
 many. Dr. Grimm's note upon this passage is : " Em Kehricht- 
 Fass," Sec, a dust-vat (dirt-basket) and a lumber-room, and at 
 best a historico-pragmatical play, with excellent moral maxims, 
 as they are. fit for a puppet-show." M. de Schlegel says : 
 "Haupt- und Stoats- Action : C'est le titre qu'on affichait pour 
 les drames destinfe aux marionnettes, lorsq.u'ils traitaient des 
 sujets h^roiques et historiques." 
 
 Page 43, n. 30. " II faut avoir une pens^e de derrifere et 
 jnger de tout par Ik, en parlant cependant comme le peuple." — 
 Pascal. 
 
 Page 47, n. 31. The same sentiment, very beautifully ex- 
 pressed, wiU be found in Schiller's poem, "Die Ideale," ele- 
 gantly translated by Lord F. Egerton (now Earl of Ellesmere). 
 Goethe also observes in his Memoirs : " Ordinarily, when our 
 soul-concert is more spiritually attuned, the harsh grating tones 
 of the world strike in, in the most overpowering and boisterous 
 manner, and the contrast which is ever secretly going on, 
 suddenly coming forth, only influences the more sensibly on 
 that account." He highly commends Wieland for his skill in 
 representing this contrast. 
 
 Page 49, n. 32. The inscription on an old tombstone may 
 serve to illustrate the meaning of this passage : — 
 ' ' "What I gave, I have ; what I spent, I had ; what I left, I lost. " ' 
 
 Page 51, n. 33. An allusion to an old German custom. — Ed. 
 
 Page 55, n. 34. " There is one exquisite passage in ancient 
 poetry which presents us with a similar touch of nature. If 
 Goethe had read it, he has rather produced an admirable 
 counterpart than an imitation of it. It is in ApoUonius Rhodius, 
 whose Medea, being in like manner bent on self-destruction, is 
 overpowered and recalled from her purpose by a sudden rush 
 of kindly remembrances, even while the chest of magic drugs 
 is resting on her knees." — Edinburgh Review, No. 125, p. 41. 
 
 Page 55, n. 35. Whilst he is in reviving hliss. — It is impossible 
 to translate Werdelust. The meaning probably is, that our 
 . 1 Taylor readers 1. 330, " Earn it anew, to really possess it." — £i>. 
 
NOTES. 397 
 
 Saviour enjoys, in coming to life again, a happiness nearly 
 equal to that of the Creator in creating. 
 
 Page 65, n. 36. According to a popular superstition formerly 
 current in gome parts of Germany, St. Andrew's-night (Nov. 29) 
 was specially favourable for maidens to discover their future 
 sweethearts by means of various charms. — Ed. 
 
 Page 67, n. 37. To understand Faust's position in this speech, 
 the reader must fancy a town on a river, like most of those 
 upon the Rhine, with a suburban village on the opposite bank. 
 
 Page 75, n. 38. Mr. T. Griffiths, of Kensington, who delivered 
 an extremely interesting lecture on Alchymical Signs at the 
 Koyal Institution, enables me to furnish an explanation of this 
 passage, which has generally been passed over as (what M. 
 Saint- Anlaire is pleased to term it) galimatias. 
 
 There was a red lion. — This expression implies the red stone, 
 red mercury, or cinnabar. 
 
 A bold lover. — This expression alludes to the property the 
 above compound possessed (according to the adepts) of devour- 
 ing, swallowing, or ravishing every pure metalUo nature or 
 body. 
 
 — married. — This simply implies the conjoining or union of 
 two bodies of opposite natures ; red and white were supposed 
 to be male and female. 
 
 —fa the Wy.— This term denotes a preparation of antimony, 
 called Ulium minerale, or lilium Paracelsi ; the white stone, or 
 perhaps albified mercury, sometimes called the "white fume," 
 or the " most milk-white swanne." 
 
 —4n the tepid bath. — This denotes a vessel filled with heated 
 water, or a "balneum Mariae," used as a very convenient 
 means of elevating the body of an aludel or alembic slowly to 
 a gentle heat. 
 
 — and then with open flame. —This means the direct and fierce 
 application of fire to the aludel upon its removal from the 
 water-bath, after the marriage had taken place betwixt the 
 "red and the white. " 
 
 tortured. — The adepts deemed their compounds sensible of 
 
 pleasure and pain ; the heat of the open fire tortured the newly 
 imit«d bodies ; these therefore endeavoured to escape, or 
 sublime, which is the sense in which the word tortured is to be 
 taken. 
 
398 FAUST. 
 
 —from one, bridal cfiamber.— This means the body of the 
 aludel, in which they were first placed, and which had been 
 heated to such a degree as to cause their sublimation. 
 
 —to another.— This signifies the glass head or capital placed 
 on the body of the aludel, which received the sublimed vapours. 
 Many heads were put on in succession, into which the vapours 
 successively passed. 
 
 If the young queen. — This implies the supposed royal of&pring 
 of the red lion and the lily, or its alliance to the noble metals 
 — the sublimer products. 
 
 — with varied hues then appea/red. — During the process, 
 various hues appeared on the sublimed compound ; according 
 to the order of their appearance, the perfection or completion 
 of the great work was judged of. Purple and ruby were most 
 esteemed, for being royal colours they were good omens. 
 
 — in the glass. — This means the glass head or capital of the 
 aludel, as before noticed. 
 
 The passage divested of alchymical obscurity would read 
 thus: — 
 
 " There was red mercury, a powerfully acting body, united 
 with the tincture of antimony, at a gentle heat of the water- 
 bath. Then being exposed to the heat of the open fire in an 
 aludel, a sublimate filled its heads in succession, which, if it 
 appeared with various hues, was the desired medicine." 
 
 In his note to me, Mr. Griffiths adds: "All the terms it 
 contains may be found in alchymical works it is a very good 
 specimen of mystical writing.'" 
 
 Page 75, n. 39. No one, &c. — i.e. people did not make any 
 inquiries about the beneficial influence of the medicines. — Ed. 
 
 Page 77, n. 40. The silver brook flowing into golden streams. 
 — This may allude to the gradual gliding of the waters, as the 
 sunbeams come to play upon them, or to another natural phe- 
 nomenon, which I wUl explain by an anecdote. In the summer 
 of 1831, it was my good fortune to pass through the beautiful 
 
 1 Some consider das Widrige (1. 688) to denote "the repulsive medicine." 
 Goethe's acquaintance with alchymistic terminology dates from the time 
 when he returned, in 1768, &om Leipzig to Frankfurt in an ailing condition. 
 At his mother's solicitation he had recourse to the "panacea" of a mystio 
 physician, and having been cured, he applied himself to the study of alchymy 
 — Ep. 
 
NOTES. 399 
 
 valley of Ahrenberg, a valley •which, wants but a Moore to 
 make an Ovoca of it. Whilst we were changing horses, I 
 walked with a German student to a rising ground to get a 
 better view of the scenery. The setting sun was shining in 
 such a manner, that the beams massed themselves on a broad 
 part of the stream, and fell transversely over a tributary brook, 
 thus giving a rich golden glow to the river and the appearance 
 of a white silvery line to the rivulet. We had hardly gained 
 the height, when my fellow-traveller exclaimed : — 
 
 "Den Silberbach in goldne Strome flieszen." 
 
 Page 77, n. 41. The day before me mid the night behind. — This 
 fine expression occurs in a very old and popular tale of witch- 
 craft mentioned at some length by Voss. Mr. Coleridge has 
 something like it in " The Homeric Hexameter described and 
 exemplified" : — 
 " Strangely it bears us along in swelling and limitless billows. 
 
 Nothing before and nothing behind but the sky and the 
 ocean." 
 
 " The Ovidian Elegiac Metre described and exemplified " is a 
 literal translation from Schiller. 
 
 Page 77, n. 42. No bodily wing, &c.— 
 
 " Oft when my spirit doth spread her bolder wings, 
 In mind to mount up to the purer sky. 
 It down is weighed with thought of earthly things, 
 And clogged with burden of mortality." 
 
 Spenser's Sonnets. 
 
 Page 77, n. 43. " Wie oft habe ich mit Fittigen eines Kra- 
 niohs, der iiber mich hinflog, zu dem Ufer des ungemessenen 
 Meeres gSisehnV—Werther's Leiden— Le^itec dated Aug. 18. 
 —Ed. 
 
 Page 79, n. 44. The notion that man is endowed with two 
 souls is of ancient origin, and may be traced to the Christfan 
 dogma of the divine and human elements in Christ.— Ed. 
 
 Page 79, •«• 45- The realms of an exalted ancestry.— Tias 
 alludes to a supposed divine origin of the soul or spirit of man, 
 or to—" For I am in a strait betwixt two, having a desire to 
 depart and to be with Christ, which is better."— PM. i. An 
 
400 FAUST. 
 
 anonymous commentator quotes the following lines Apropos of 
 the main sentiment in this speech : — 
 
 " Und was die Menschen meinen, 
 
 Das ist mir einerlei, 
 
 Mochte mioh mir selbst vereinen 
 
 Allein wir sind zu zwei ; 
 
 " Und im lebend'gen Treiben 
 Sind wir ein Hier und Dort, 
 Das eine liebt zu bleiben 
 Das andre mochte fort." 
 
 Page 79, n. 46. " The spuits of the aire will mix themselves 
 with thunder and lightning, and so infest the clyme where they 
 raise any tempest, that soudainely great mortality shall ensue 
 to the inhabitants." — Pierce PennUesse his Supplication, 1592, 
 cited in Steeven's Shakespeare. " The air is not so fuU of flies 
 in summer, as it is at aU times of invisible devils ; this Para- 
 celsus stifily maintains."— BuETON, Anat., part i. 
 
 Page 81, n. 47. In his work on Colours, Goethe gives the 
 following explanation of this phenomenon : "A dark object, 
 the moment it withdraws itself, imposes on the eye the necessity 
 of seeing the same form bright. Between jest and earnest, I 
 shall quote a passage from ' Faust ' which is applicable here. 
 (Then follows the passage. ) This had been written some time, — 
 from poetical intuition and in half consciousness, — when, as it 
 was growing twilight, a black poodle ran by my window in the 
 street, and drew a clear, shining appearance after him, — the 
 undefined image of his passing form remaining in the eye. 
 Such phenomena occasion the more pleasing surprise, as they 
 present themselves most vividly and beautifully, precisely when 
 we suffer our eyes to wander unconsciously. There is no one 
 to whom such counterfeit images have not often appeared, but 
 they are allowed to pass unnoticed ; yet I have known persons 
 who teased themselves on this account, and believed it to be 
 a symptom of the diseased state of their eyes, whereupon the 
 explanation which I had it in my power to give inspired them 
 with the highest satisfaction. He who is instructed as to the 
 real nature of it, remarks the phesomenon more frequently, be- 
 cause the reflection immediately suggests itself . Schiller wished 
 many a tune that this theory had never been communicated f? 
 
NOTES. 401 
 
 him, because he was everywhere catching glimpses of that the 
 necessity for which was known to him." The phenomenon is 
 now a recognized and familiar one. See Sir David Brewster's 
 "Letters on Natural Magic," p. 20. 
 
 In a note to the following lines in the " Lay of the Last 
 Minstrel," there is a strange story of a fiend appearing in the 
 shape of a black dog : — 
 
 " For he was speechless, ghastly, wan. 
 Like him of whom the story ran, 
 He spoke the spectre-hound in Man." — Canto 6. 
 According to the tradition, Faust was constantly attended 
 by an evil spirit in the shape of a black dog. This four-footed 
 'follower has a place in most of the old pictures, those in Auer- 
 bach's cellar not excepted. 
 
 Page 87, re. 48. "It has often and with truth been said, that 
 unbelief is an inverted superstition, and our age suffers greatly 
 by it. A noble deed is attributed to selfishness, an heroic 
 action to vanity, an undeniable poetic production to a state of 
 delirium ; nay, what is still stranger, everything of the highest 
 excellence that comes forth, everything most worthy of remark 
 that occurs, is, so long as it is barely possible, denied." — 
 Goethe, FarhenUhre. 
 
 Page 87, n. 49. It is clear from Goethe's Memoirs, and many 
 other parts of his works, that he is here describing the workings 
 of his own mind in youth ; that, when his spirit was tormented 
 by doubts, he constantly referred to the Bible for consolation, 
 and found it there. It also appears that he occasionally 
 struggled to penetrate below the surface in somewhat the same 
 manner as Faust. "So far as the main sense was concerned, 
 I held by Luther's edition ; in particulars, I referred occasion- 
 ally to Schmidt's verbal translations, and sought to make my 
 little Hebrew as useful as I could." 
 
 In one of Lessing's plans for a drama to be founded on 
 " Faust," Faust was to be studying Aristotle (" UeberGoethe's 
 Faust," &c., 82). In Calderon's "El Magico Prodigioso," 
 Cyprian is studying Pliny. 
 
 Page 89, n. 50. These are the elementary spirits in which 
 the belief was very general in the Middle Ages. The Sala- 
 manders were supposed to live in the fire, the Undines in the 
 
 D D 
 
402 FAUST. 
 
 water, the Sylphs in the air, and the Koholds or Gnomes re- 
 presented the spirits of the earth. — Ed. 
 
 Page 93, n. 51. Fahrende SchiUer, " roving " or " travel- 
 ling scholars "—scholastici vagantes—usei to be called in the 
 fourteenth, fifteenth, and sixteenth centuries, those students 
 who wandered from university to university, living on the 
 bounty or credality of charitable people.— Ed. 
 
 Page 95, n. 52. Fly-god, i.e. Beelzebub, whose name is 
 partly compounded of a Hebrew word signifying /y.' 
 
 Page 95, n. 53. / am, &o.— " And the earth was without 
 form and void ; and darkness was upon the face of the deep. 
 And the Spirit of God moved upon the face of the waters. 
 " And God said, Let there be light : and there was light. 
 " And God saw the light, that it was good : and God divided 
 the light from the darkness." — Gen. c. i. 
 
 " Granted, that day, proceeding from the original source of 
 light, deserves all honour, because it invigorates, quickens, 
 gladdens— still it does not follow that darkness must be 
 addressed and shunned as the evil principle, because it makes 
 us uneasy, and lulls us to sleep ; we rather see in such an effect 
 the characteristics of sensuous beings controlled by phe- 
 nomena. "—Goethe. 
 
 Page 97, n. 54. That which is (apposed to nothing. — Dr. 
 Schubart cautions us against supposing that under the term 
 nichts a complete void is intended, as it means merely the 
 original state of things under the reign of Chaos. 
 
 Page 97, n. 55. From air, vMter, earth, &c. — " In the air, in 
 the water, in the marshes, in the sand, — genera and species 
 multiplied, and I believe that they will continue to multiply in 
 the same proportion with the course of discovery." — Heedee, 
 Ideen zur Philosophie, &c., b. ii. c. 4. 
 
 Page 99, n. 56. The Pentagram, Pentalpha, or Drudenfusz, 
 was a pentagonal figure like the following ; — 
 
 A 
 
 — supposed to possess the same sort; of power which used popu- 
 larly to be attributed to the horseshoe amongst us. 
 
 1 Faust asserts that the characters of the devils may generally he inferred 
 from their names. — Ed. 
 
NOTES. 403 
 
 Those who wish for more information on this subject may 
 refer to " Schol. in Aristoph. Nub." 599, and Lucian's Bialogne— 
 " De lapsu inter salutandura" — in the Amsterdam quarto edition 
 of 1743, vol. i. pp. 729, 730, in notis. The Pentalpha is also 
 mentioned in Hobhouse's ' ' Historical Illustrations of the Fourth 
 Canto of Childe Harold," p. 334. 
 
 In one of a series of engravings by a Dutch artist of the be- 
 ginning of the seventeenth century (Van Sichem by name), 
 Faust is represented standing within two intersecting circles, 
 upon two intersecting squares, conjoiing Mephistopheles, who 
 is just appearing in his true shape. 
 
 Page 99, n. 57. A compact, &c. — " ' These are fine promises,' 
 replied the student ; ' but you gentlemen devils are accused of 
 not being religious observers of what you promise to men.' ' It 
 is a groundless charge,' replied Asmodeus ; 'some of my 
 brethren indeed make no scruple of breaking their word, but I 
 am a slave to mine.' " — The Devil upon Two Sticks, chap. i. 
 
 Pagk 101, n. 58. It would seem that Faust's sensuous longing 
 has been awakened, and he therefore asks for some "pleasant 
 tidings."— Ed. 
 
 Page llt,n. 59. "Our physical as well as sociallife, manners, 
 customs, worldly wisdom, phUosophy, religion, all exclaim to 
 to us, 'That we shall renounce.'" — Dicktung vnd Wahrheit, 
 part ii. book 17. 
 
 Page 113, n. 60. Faust alludes by the "sweet familiar 
 tone " to the chiming of the Easter bells which had recalled 
 him to life.— Ed. 
 
 Page 119, n. 61. But hast thou food, &c.— " This passage has 
 caused a good deal of puzzling," says Hayward, in a very long 
 note in which he quotes several extracts from the older German 
 commentaries ; but it seems that neither he nor most other 
 translators saw the drift of the speech, which is, with the 
 exception of the last two lines, throughout interrogatory. It 
 must simply be assumed that Faust really wishes for volatile 
 and changeable pleasures. Cp. Loeper on the passage in 
 question. — Ed. 
 
 Page 121, n. 62. At the doctor's feast.— A\\\iiing to the inau- 
 guration feast given on the taking of a degree. 
 
404 FATTST. 
 
 Page 125, n. 63. Take a poet to counsel, &c.— See, for example, 
 the wishes put into the mouth of Sir Epicure Mammon in " The 
 Alchymist. " 
 
 Page 127, n. 64. / am not a hair's breadth higher, &o. — 
 " Which of you by taking thought can add one cubit to his 
 stature ? "—Matt. vi. 27. 
 
 Page 127, n. 65. And am a proper man. — 
 
 " As proper a man as any in Venice." — Shakespeare. 
 
 Page 129, n. 66. Whose overstrained striving overleaps, &c. — 
 " I have no spur 
 To prick the sides of my intent, but only 
 Vaulting Ambition, which o'erleaps itself 
 And falls on the other." — Macbeth. 
 
 Page 131, n. 67. A Student enters. — This scene is a satire on 
 the modes of instruction pursued in German universities, and has 
 been much admired. But the effect is in a great measure pro- 
 duced by the happy applicatibn of pedantic phrases and college 
 slang, which are no more capable of being relished in England 
 than such terms as viooden-spoon, little-go, dramming, plucking, 
 in Germany. A distinguished scholar thus mentions this scene 
 and the three other scenes which have been thought to resemble 
 it in tone : "To the great and overwhelming tragic powers of 
 Goethe, Aristophanes, of course, can make no pretension ; but 
 in their preference of the arbitrary comic to the comic of 
 manners, the two writers come very close together ; and both 
 writers should have lived, as Madame de Stael expresses it, 
 when there was an intellectual chaos, similar to the material 
 chaos. Had Aristophanes written in modern times, it is, per- 
 haps, not impertinent to suggest, that the Auerbach's Keller in 
 Leipzig, the Hexenkiiche, the Walpurgisnacht, and perhaps the 
 quizzing scene with the young student just fresh from his uni- 
 versity, are precisely the sort of scenes which would have fallen 
 from his ^en."—M.lTCSELl,'s Translation of Aristophanes, Pre- 
 face, p. xxvii. 
 
 It is evident from many passages in his Memoirs, that 
 Goethe's early impressions of university pursuits were pretty 
 nearly what he has put into the mouth of Mephistopheles ; nor, 
 if we are to believe Falk, did his opinions change materially in 
 after-life : — 
 
NOTES. 405 
 
 " Our scientific men are rather too fond of details. Tliey 
 count out to us the whole consistency of the earth in separate 
 lots, and are so happy as to have a different name for every 
 lot. ^ That is argil {Thonerde.) j that is quai>tz (Keiselerde) ; that 
 is this, and this is that. But what am I the better if I am ever 
 so perfect in all these names ? When I hear them I always 
 think of the old lines in ' Faust ' — 
 
 ' Encheiresin naturx nennt's die Chemie 
 Bohrt sich selher Esel und weiss nicht wie I ' 
 
 ' ' What am I the better for these lots ? what for their names ? 
 I want to know what it is that impels every several portion of 
 the universe to seek out some other portion, — either to rule or 
 to obey it, — and qualifies some for the one part and some for 
 the other, according to a law innate in them all, and operating 
 like a voluntary choice. But this is precisely the point upon 
 which the most perfect and universal silence prevails." 
 
 " Everything in science," said he at another time, with the 
 same turn of thought, " is become too much divided into com- 
 partments. In our professors' chairs the several provinces 
 {Facher) are violently and arbitrarily severed, and allotted into 
 half-yearly courses of lectures, according to fixed plans. The 
 number of real discoveries is small, especially when one views 
 them consecutively through a few centuries. Most of what 
 these people are so busy about, is mere repetition of what has 
 been said by this or that celebrated predecessor. Such a thing 
 as independent original knowledge is hardly thought of. Young 
 men are driven in iiocks into lecture-rooms, and are crammed, 
 for want of any real nutriment, with quotations and words. 
 The insight which is wanting to the teacher, the learner is to 
 get for himself as he may. No great wisdom or aouteness is 
 necessary to perceive that this is an entirely mistaken path." — 
 Mes. Austin's Characteristics of Goethe. 
 
 It is worthy of note that Burton (Anat., part i. sect. 2, sub- 
 sec. 7), remarks on the several sciences in somewhat the same 
 spirit as Goethe. 
 
 Page 133, n. 68. The Spanish boot was an instrument of tor- 
 ture, like the Scottish boot mentioned in "Old Mortality" 
 {vol.'ii. p. 406). 
 
 Page 135, n. 69. Then many a day wUl be spent in teaching 
 t/ou, &c.— " In logic it struck me as strange that I was so to 
 
40C FAUST. 
 
 pull to pieces, dismember, and, as it were, destroy those very 
 operations of the mind which I had gone through with the 
 greatest ease from my youth, in order to perceive the proper 
 use of them."— Goethe's Memoirs. 
 
 "And all ^rhetorician's rules, 
 
 Teach nothing but to name his ioo\s."—Hvdibras. 
 
 See also "Le Bourgeois Gentilhomme," act ii. scene 6, where 
 the Master of Philosophy explains the object of logic. 
 
 Page 135, n. 70. He who lioishes, &c. — 
 
 "Like following life in creatures we dissect. 
 We lose it in the moment we detect." — Pope. 
 
 " It was, generally speaking, the prevailing tendency of the 
 time which preceded our own, — a tendency displayed also in 
 physical science, — ^to consider what is possessed of life as a mere 
 accumulation of dead parts, to separate what exists only in 
 connection and cannot be otherwise conceived, instead of pene- 
 trating to the central point and viewing all the parts as so 
 many irradiations from it." — Schlegel's Lectures on Dramatk 
 Art and Literature, vol. ii. p. 127. 
 
 Page 135, n. 71. Eneheiresin natures denotes " handling '' 
 or " treatment of nature," and is here used in order to ridicule 
 the analytical process by means of which we are unable to dis- 
 cover " final causes." 
 
 Page 137, n. 72. Five lectures, &c. — Five is the number of 
 courses of lectures a young and eager student ordinarily attends.' 
 
 Page 137, n. 73. As if the, &c. — It is or was the custom in 
 Germany for the professors to read slowly enough for their 
 pupils to follow them with the pen. This was called dictating. 
 
 Page 137, n. 74. / cannot reconcile mysdf to jurisprudence. 
 — Here again Goethe is repeating his own sentiments. He was 
 originally destined by his father for the law, but it was only 
 with the greatest reluctance that he could be brought to 
 qualify himself for the necessary examination at Strasburg, 
 where such examinations were comparatively light. He says 
 that he had no turn for anything positive. — Memoirs book ix. 
 
 1 Bayard Taylor translates II. 1698-99 : — 
 
 "a splendid word to serve* yoa'll find. 
 For what goes in — or won't go in — tile human mind." — El>. 
 
NOTES. 407 
 
 The exclamation, "Woe to thee that thou art a grandson," 
 alludes to the artificial and complicated systems which people 
 coming late into the world are pretty sure to find entailed upon 
 them. The law that is born' with us means, I suppose, what 
 in common parlance is called the law of mture. It may assist 
 future translators, not versed in German jurispi'udence, to be 
 told that Gesetz, in strictness, means "enactment," and Recht, 
 " law," or a rule of law, generally. Gesetz und Rechte [1. 1618], 
 therefore, are both included under the term laws.^ 
 
 Page 141, n. 75. The spirit of medicine. — Goethe associated 
 a good deal with medical students at Strasburg, and took con- 
 siderable interest in the studies usually followed in connection 
 with medicine. 
 
 Page 143, n. 76. Eritis, &c. — This verse isfromtheVulgata, 
 where, however, the word dii occurs instead of devs. — Ed. 
 
 Page 145, n. Tl. We have hut to spread out this mantle. — 
 This was the mode of travelling afforded by Asmodeus to Don 
 Cleofas. 
 
 Page 147, n. 78. Auerhach's Cellar in Leipzig.— AaexhajiVs 
 Cellar is a place of public entertainment of the same class and 
 character as the Cider Cellar in Maiden Lane, Covent Garden.* 
 I supped there during my last visit to Germany, and took some 
 pains to ascertain the traditions connected with it, which the 
 waiter seemed to have a particular pleasure in communicating. 
 He assured me that there was not the shadow of a doubt as to 
 my being seated in the very vault in which both Faust and 
 Goethe had caroused ; and producing an old copy of Widman, 
 he avowed himself ready to make oath that it had been in the 
 cellar, as a sort of heirloom, for 300 years at the least. It was 
 really a very curious copy, but bore the date of MDCXCV. 
 The principal curiosities of the vault are two very old paintings, 
 shaped Uke the segment of a circle, painted, it is supposed, to 
 commemorate Faust's presence and achievements there. The 
 one represents him at the table drinking to the sound of music, 
 with a party of students ; the other represents him in the act 
 of passing out of the door upon a cask, whilst the spectators 
 are holding up their hands in astonishment. The first-men- 
 
 1 Birds renders WohUhat, Pfaye, "benefits torn into plagues."— Ed. 
 
 2 AuerbacVs Keller, which exists to this very day, is in No. 1 of the Glim- 
 maische Strasze. — Ed. 
 
408 FAtrsT. 
 
 tioned bears a Latin inscription, which has proved a puzzler to 
 the philologists ' : — 
 
 ""VIVE. BIBB. OBGRiEGAEE. MEMOE FAVSTI HVIVS ET HVIVS 
 P(EN^ : ADEEAT CLAVDO HiEC ASTEEAT AMPLA GEADV.— 
 1525." % 
 
 A distinguished scholar, Dr. Maginn, proposes to read it 
 thus : — 
 
 " VIVE, BIBB, OBGE^CARE, MEMOE FAUSTI HUJUS ET HUJUS 
 PCENiB ! ADEEAT OLAUDO HiEC, AST BEAT AMPLA GEADU."'— 
 
 Over the other are inscribed the lines following : — 
 
 " Doctor Faust zn dieser Frist 
 
 Aus Auerbach's Keller geritten ist, 
 
 Auf einem Fass mit Wein geschwind, 
 
 Welches gesehen viel Mutterkind. 
 
 Solches durch seine subtile Kraft hat gethan, 
 
 Und des Teufel's Lohn empfangen davon. — 1525." 
 It has been made a doubt whether this date (1525) refers to 
 the time at which the pictures were painted, or to that at which 
 the adventures took place. 
 
 Page 149, n. 79. Lines 1746-47 form respectively the begin- 
 ning and end of two popular songs. The former runs — 
 
 Schwing' dich auf, Frau Nachtigall, 
 and the latter — 
 
 Griisz' mein Schdtzchen taitsendmal. 
 
 Hayward quotes in full the second song, beginning, Nachti- 
 gall, ich hor' dich singen, and occurring in "Des Knaben 
 Wunderhorn," of Arnim and Brentano, but he does not seem 
 to have known the former song. — Ed. 
 
 Page 155, n. 80. Leipzig is the place, &c. — It appears from 
 his Memoirs, that when Goethe commenced his college studies 
 at Leipzig, a great affectation of politeness prevailed amongst 
 the students.' 
 
 1 See the " Leipzigei Tageblatt " for 1833, Nos. 22, 23, 25 ; and Stieglitz's 
 '* Sage ■vom Doctor Faust." 
 
 2 Messrs. Turner and Morshead, in a longer and very interesting note, in 
 their edition of " Auerbach's Cellar," render the above : — 
 
 *' Live, drink, revel, but think upon Faustus, and how a requital, 
 Tho' with a lingering step, did on his sorcery fall." — El>. 
 
 3 Leipzig was called a kluin Paris in a book published in 1768. — Ep, 
 
NOTES. 409 
 
 Page 157, n. 81. You prohably started, &c. — Rippach is a vil- 
 lage near Leipzig,^ and to ask for Hans von Rippach, a fictitious 
 personage, was an old joke amongst the students. The ready 
 reply of Mephistopheles indicating no surprise, shows Siebel and 
 Altmayer that he is up to it. Hans is the German Jack, as 
 Hans der Eiesentodter, Jack the Giant-Killer. 
 
 Page 159, n. 82. Mephistopheles sings, — A favourite at the 
 court of Weimar is said to he alluded to. "Bertuch, the 
 father," says Falk, "who was treasurer to the Duke, used in 
 after times to speak with great glee of a singular head in the 
 accounts which he had to suhmit in those days. It consisted 
 almost entirely of breeches, waistcoats, shoes and stockings for 
 German literati, who were wandering within the gates of 
 Weimar, slenderly provided with those articles." This song 
 was set to music by Beethoven. 
 
 Page 167, n. 83. — Hay ward and other translators, following 
 some commentators, render the line — 
 
 ifns ist ganz kannihalisch wohl — 
 
 rather literally, " We are happy as cannibals," which does not 
 seem to convey the right notion. The word kannihalisch is 
 used in common language, figuratively, for "awfully," "in a 
 high degree," &c. Cp. Sanders' " Worterbuch," suh voce 
 "kannihalisch." 
 
 Page 175, n. 84— The best commentary on this scene is to 
 be found in Ketzsch's "Outlines." The monkeys are there 
 represented as something between the monkey and the ba- 
 boon; but he himself told me that Meerkatze is the common 
 little long-tailed monkey. ^ The term is thus used in a German 
 translation of " Lear "— " Eine unvergleichliche Ausflucht fiir 
 einen Hurenjager, seinen Meerkatzen-Trieb den Sternen zur 
 Last zu legen "—act i. sc. 2, in Edmund's speech on planetary 
 influences. Madame de Stael considers it to mean something 
 between a monkey and a cat. 
 
 The following passage (in which Goethe is the speaker) may 
 
 1 The village of Rippach used to serve as a bntt for ridicule to the people of 
 Leipzig in particular j jnst as is the case with Schilda, Krah-winkel, &c., 
 throughout Germany.— Ed. 
 
 2 Apes were originally imported into Germany from Africa, and coming thus 
 across the sea they were called, a male ape meerkater, and a female ape meer- 
 katie.—Es. 
 
410 FAUST. 
 
 save the reader a good deal of profitless puzzling : " Foi 
 thirty years they (the Germans) have been sorely vexed and 
 tormented in spirit by the broomstick on the Blocksberg and 
 the cats' dialogue in the Witches' kitchen, which occur in 
 'Faust,' and aU the interpreting and allegorizing of this dramar 
 tie hum eristic extravaganza have never thoroughly prospered. 
 Really people should learn when they are young to make and 
 take a joke, and to throw away scraps as scraps." — Falk. 
 
 Page 179, n. 85. At the feast, &c. — Falk observes, in allusion 
 to the text of these three lines, that Faust and Mephistopheles 
 are greeted in a tone which, through the diphthong au, bears a 
 strong affinity to the language of monkeys. 
 
 Page 179, n. 86. The poet applies here the term Bettel- 
 suppen to the insipid and watery literaiy productions of his 
 time. That this explanation is the correct one may be seen 
 from a passage in a letter of Goethe's, written July, 1777. 
 Falk's interpretation, quoted by Hayward, was written, as has 
 been pointed out by Bayard Taylor, before the Goethe-Schiller 
 correspondence had been published. — Ed. 
 
 Page 183, n. 87. Take the brush here, &c. — Eetzsch repre- 
 sents Mephistopheles as holding a light screen or fan in his 
 hand. 
 
 Page 185, n. 88. Oh! he so good as to glue the crown, &c. — 
 "A wish which, profoundly considered, sounds so politically, 
 that one would swear the monkey-spirits had read the history 
 of both the old Romish and the new empire, chai^ter by chapter, 
 with all its dethronings and assassinations, from the beginning 
 of the first to the end of the last war." — Falk. 
 
 Page 189, n. 89. The northern phantom is now no more to be 
 seen. Where do you see horns, tails, and claws? — The old 
 German catechisms, from Luther's time downwards, were gene- 
 rally adorned with a frontispiece, representing the devil with 
 all the above-mentioned appendages. 
 
 Page 195, n. 90. That is the witch's (or witches') one-times-one, 
 i.e. multiplication table. 
 
 Page 195, n. 91. For a downright contradiction, &c. — Dr. 
 Hinrich's note on this passage is: "A system of philosophy 
 which, like that of Hegel, begins with such a contradiction, — 
 for instance. Das Seyn ist iVicte,— has the advantage that it 
 
NOTES. 411 
 
 frightens away those who have no call for it, both wise men 
 and fools." 
 
 Page 201, n. 92. Goethe's first love was called Margaret. 
 She was a girl of inferior rank in life, apprenticed, during the 
 love-affair, to a mUliner. He was about fifteen at the com- 
 mencement of the acquaintance, and she two or three years 
 older. Previously to the introduction he was in the habit of 
 following her to church, but never ventured on accosting her.' 
 —See the " Dichtung nnd Wahrheit," b. 5. 
 
 Page 205, ra. 93. ^Z^iorfe, &c.— "Cespendardes-Ui, avecleur 
 pommade, ont, je pense, envie de me miner. Je ne vols partout 
 que blancs d'oeufs, lait virginal, et mille autres briviborions' 
 que je ne connois point." — Les Precieuses Bidioules, act i. sc. 4. 
 
 Page 209, ». 94. Besides, he would not, &c. — This is simply 
 a hit against the assuming and overbearing conduct of aristo- 
 cratic people towards people of inferior rank. — Ed. 
 
 Page 211, n. 95. Am I in an enchanted atmosphere ? — 
 
 " 'Tis her breathing that 
 Perfumes the chamber thus." 
 
 Cymbeline, act ii. sc. 2. 
 
 There is some analogy between this scene and " La NouveUe 
 Heloise," vol. i., lettre 54, though Faust's feelings in his mis- 
 tress's chamber are very different from St. Preux's. 
 
 Page 213, n. 96. It feels so dose, so sidtry here. — 
 
 " Now, by my life, this day grows wondrous hot ; 
 Some airy devil hovers in the sky. 
 And pours down mischief." 
 
 King John, act iii. sc. 2. 
 
 Page 215, n. 97. There was a king in Thule.— Many of the 
 songs in "Faust," this among others, were not originally 
 written for it. Goethe mentions in his Memoirs that he sung 
 
 1 Another remiaiscence from the poet's life occurs farther on (1. 2306, Ac), 
 where Faust Bska for a token from his beloved— or rather **/or hia love's 
 delight." Cp. Goethe's poem, " Lebendiges Angedenken." — Ed. 
 
 2 •• Brimbormm," says SchrSer ("Faust," i. 1S9), "franzosisoh bnmhorwn. 
 Goethe gebraucht es aber mcht im Sinne des franzfisischen Wortes (Bettel, 
 tumperei), sondern fur leere Umschweife, wobei er vielleicht an ' praeambnlum ' 
 Oder Ahnliebes denkt," Cp. also Diintzer's Commentary, p. 289, on the 
 etymology of Brtmbonm, of which Brachet declares " origine inconnne." — Ed. 
 
412 FAUST. 
 
 this song with considerable applause in a social meeting. [Cp. 
 on this ballad my collection of Balladen und Bomanzen in the 
 "Golden Treasury Series," p. 36 ra.— Ed.] 
 
 Page 221, n. 98. Hay ward, and I believe most, if not all other 
 translators, render Pfifferling wrongly "mushrooms," "toad- 
 stools," &o. This is the primary meaning of the word, but its 
 figurative meaning is " trifles," "worthless things," and in this 
 signification it is here employed. — Ed. 
 
 Page 237, n. 99. I wovld change rings mth you mysdf. — In 
 some countries of Germany the bridegroom, instead of placing 
 the ring on the finger of the bride, gives one to her and receives 
 one in return. 
 
 Page 239, w. 100. Two witnesses. — Alluding to the rule of the 
 civil law, which forms the basis of all the German systems — 
 Unius responsio testis omnino non audiatvr. — Cod. 4, 20, 9. 
 
 Page 271, n. 101. Like a snow-flushed rivulet, &c. — " Like a 
 rock in the mid-channel of a river swoln by a sudden rain-flush 
 from the mountains," &c.— Colebidge's Aids to Reflection, p. 
 79. 
 
 Page 271, n. 102. Were I a hird, &c.— 
 
 " Wenn ich ein Voglein war 
 Und auch zwei Fluglein hatt', 
 Flog' ich zu dir ; 
 Weils aber nioht kann seyn, 
 Bleib ich allhier. 
 
 " Bin ich gleich weit von dir, 
 Bin ich doch im Schlaf bei dir, 
 Und red mit dir ; 
 Wenn ich erwachen thu. 
 Bin ich allein. 
 
 " Es vergeht keine Stund in der Nacht, 
 Da mein Herze nicht erwacht, 
 Und an dich gedenkt 
 Dasz du mir viel tausendmai 
 Dein Herze geschenkt." 
 
 Herdee's Volkslieder, i. p. 67. 
 Wunderhom, part i. p. 259 [Hempel's edition]. 
 
 Page 273, n. 103. I have often envied you, &c "Thy two 
 
NOTES. 413 
 
 breasts are like two young ro3s that are twins, which feed 
 among the lilies."— /Songr of Solomon, ch. iv., v. 5. " Je ne vous 
 conseille pas de traduire cela littdralement. On jeterait les 
 hauts cris. C'est k la responsibility du poete. L'esprit malin 
 semble vouloir insinuer que les saints mdme, et les sages, tels 
 que Solomon, n'^taient pas inseiisiWes aux attraits de la 
 
 V0lupt6."— M. DE SCHLEGEL. 
 
 Page 285, n 104. / have no name for it.—" The Persian p03t 
 Saadi of Schiraz says, according to Herder : ' Who knows 
 God, is silent.'" 
 
 Page 285, n. 105. Name is sound and smoke. — In most of 
 the editions preceding the collected edition of Goethe's Works 
 commenced in 1828, it stands : Nature is sound and sm^ke. 
 
 Page 285, n. 106. The man you have with you is hateful to 
 me, &c. — Margaret's intuitive apprehension of Mephistopheles 
 is copied from an incident mentioned in Goethe's Memoirs : 
 " I could scarcely rest till I had introduced my friend Merck at 
 Lotta's (the original of Werther's Charlotte), but his presence 
 in this circle did me no good ; for, like Mephistopheles, go 
 where he will, he will hardly bring a blesRing with him." 
 Goethe always called this friend " Mephistopheles Merck," and 
 gives a strange account of the mingled goodness and devilish- 
 ness of his disposition. 
 
 Sir Walter Scott had probably this passage in his mind when 
 he wrote the following: "The innocent Alice, without being 
 able to discover what was wrong either in the scenes of unusual 
 luxury with which she was surrounded, or in the manners of 
 her hostess, which, both from nature and policy, were kind 
 and caressing, felt nevertheless an instinctive apprehension 
 that all was not right, a feeling in the human mind allied, 
 perhaps, to that sense of danger which animals exhibit when 
 placed in the vicinity of the natural enemies of their race, and 
 which makes birds cower when the hawk is in the air, and beasts 
 tremble when the tiger is abroad in the desert. There was a 
 heaviness at her heart which she could not dispel, and the few 
 hours which she had already spent at Chiffinch's were like 
 those passed in a prison by one unconscious of the cause or 
 event of his captivity." — Peveril of the Peak. 
 
 Page 295^ n. 107. We will strew chaff before her door. — 
 
414 FATJST. 
 
 This alludes to a German custom something analogous to 
 Skimmerton-riding in this country. It consists in strewing cut 
 or chopped straw before the door of a bride whose virtue is sus- 
 pected, the day before the wedding. The garland (Uke the 
 snood) is a token of virginity, and a ruined maiden is said to 
 have lost her garland. 
 
 Page 297, n. 108. Zvdnger. — ZwingerTS untranslatable, and 
 a good deal of doubt exists as to the meaning of the term. 
 "Zwinger (says a learned correspondent) from Zwingen, to 
 subdue, is a name given to castles found in some of the free 
 towns, and formerly held by an imperial governor. They are 
 often in the middle of the town, and have a passage wherein a 
 devotional image with a lamp has occasionally been placed, not 
 expressly for the sake of devotion, but to lighten up a dark 
 passage ; Margaret wishes to be imobserved, and prefers this 
 lonely spot to the chapel." This account was confirmed to me 
 in conversation by Retzsch. In his Outline of the scene, Mar- 
 garet is represented kneeling before an image of the Virgin 
 placed in a niche close to a church.^ 
 
 Page 297, n. 109. The second stanza of Gretchen's prayer is 
 based on the first stanza of the hymn, " Stabat Mater Dolo- 
 rosa," &c.— Ed. 
 
 Page 303, n. 110. WUl in the meantime, &e. — This alludes 
 to a superstitious belief that the presence of a treasure is 
 indicated by a blue light or flame to the initiated. The 
 same allusion occurs in the Intermezzo, and also in a little 
 poem by Goethe, called " Der Schatzgraber " : — 
 
 " Und ich sah ein Licht von weitem, 
 Und es kam gleich einem Sterne." 
 
 In the ' Antiquary," too, in the scene between Sir Arthur 
 Wardour and Dousterswivel in the ruins of St. Ruth, it is said, 
 " No supernatural light burst forth from below to indicate the 
 subterranean treasury." [What Hay ward calls a "little 
 
 I have left the above explanation of the word Zwinger — althongh it is wrong — 
 jn account of the mention of Retzsch in it. Zviinger has several significations ; 
 here it denotes the place between the town-wall and the moat, such as Goethe 
 described in his " Dichtnng und Wahrheit " in speaking of Frankfurt when it 
 still was a fortified town. In such town-walls there used to be niches with 
 saints' images. That Oretchen lived near the town-wall will be seen from 
 t 2964. Cp. Sanders, svit voce " Zwinger."— Ed. 
 
NOTES. 415 
 
 poem," is in fa,ct one of the finest ballads of Goethe. Cp. my 
 above-mentioned " Romanzen und Balladen " (Golden Treasury 
 Series), p. 33 and Notes.— Ed.] 
 
 Page 303, n. HI. There are, &c. — The Lowenthaler is a coin 
 first struck by the Bohemian Count Schlick, from the mines of 
 Joachims-Thai in Bohemia ; the finest in Hie years 1518-1529, 
 under Ludovic, the first king of Hungary and Bohemia. The 
 one side represents the fork-tailed lion, with the inscription — 
 "Ludwig I. D. G. Rex Bohm." The reverse, the full-length 
 image of St. John, with the arms of Schlick. — KOhlee's Miinz- 
 
 Page 305, n. 112. What are you doing here, Catherine ? &c. 
 — This song is obviously imitated from Ophelia's. — Hamlet, 
 act iv. scene 5. 
 
 Page 305, n. 113. Batcatcher. — 
 
 "Tybalt, you ratcatcher, will you walk? " 
 
 Romeo and Juliet, act iii. scene 1. 
 
 The common people in Germany believe (or believed) that 
 ratcatchers, by whistling or piping a peculiar note, could 
 compel the rats to follow them wherever they chose. — Deutsche 
 Sagen, No. 245. This accounts for the application of the term 
 to a serenading seducer. [Goethe evidently alludes to the tra- 
 ditional "Ratcatcher of Hameln," who allured by his play 
 the children of that town into a mountain cavern. — Ed.] 
 
 Page 307, n. 114. Out with your toasting-iron. — 
 "Put up thy sword betime, 
 Or I'U BO maul you and your toasting-iron. 
 That you shall think the devil is come from hell." 
 
 Kinff John, act iv. scene 3. 
 
 Flederwisch, literally goosemng, is a cant term for a sword. 
 
 Page 307, n. 115. lean manage very well the police, but very 
 hadly the blood-ban.— Slutbann is an old name for criminal 
 jurisdiction in the general sense. The distinction between 
 PoKzei-Uebertretungen and Verbrechen, to which the above 
 passage might otherwise be supposed to refer, was introduced 
 into the German systems in imitation of the French code ; con- 
 sequently not till long after the period at which this scene was 
 written.— See Mitteemaiee's " Strafverfahren," pp. 10 and 
 
410 PAUST. 
 
 16. To make matters sure, I referred both Bluthann and 
 JBlutschuld to M. Mittermaier himself. 
 
 Page 313, n: 116. And under thy heart, &c. — It is common 
 in Germany to say, Sie tragt das Pfand der Liebe unter ihrem 
 Herzen — "She bears the pledge of love under her heart." Thus 
 Schiller in "Die Kindesmbrderin," — "Nicht das Knablein 
 unter meinem Herzen ? " 
 
 Page 315, n. 117. Dies irce, &c. — Goethe has here made use 
 of the harrowing " Sequence " by Thomas of Celano, who lived 
 in the thirteenth century; introducing the first, sixth, and 
 seventh stanzas only, which wotdd in English run thus : — 
 
 1. The day of wrath, that day. 
 Shall dissolve the world in ashes, 
 
 2. When the Judge shall be seated 
 Everything hidden shall be brought to light, 
 Clothing shall remain unpunished. 
 
 3. What shall I, wretched one, then say ? 
 What protector shall I supplicate 
 When the just will scarcely be safe ?— Ed. 
 
 Page 315, n. 118. I feel as if the organ, &c.— Mr. W. Taylor 
 says that Sir Walter Scott borrowed a hint or two from this , 
 scene for the " Lay of the Last MinstreL" I suppose he alludes 
 to the thirtieth stanza of the last canto : — 
 
 " And ever in the office close 
 The hymn of intercession rose : 
 And far the echoing aisles prolong 
 The awful burthen of the song — 
 Dies irse. Dies ilia, 
 Solvet sseclum in favill4 — 
 While the pealing organ rung." 
 
 Page 319, n. 119. Walpurgis-Night— The, Walpurgis-Night 
 is in German folk-lore the eve of the 1st of May, which day was 
 dedicated to St. Walpwrga (a niece of St. Boniface, who went 
 in the first half of the eighth century with her brothers to Ger- 
 many in order to convert the Saxon heathens), probably in 
 order to substitute a Christian holiday for the heathenish one 
 which used to be celebrated on May 1st. The mite of St. 
 Walpurga became very popular in the ninth century, and when 
 the heathenish gorls were represented as devils, they were 
 
NOTES. 417 
 
 described as celebrating. their "fantastic revels,"— as Heine 
 expresses it in his "Harzreise,"— during the night from April 
 30th to May 1st, on several mountains in Germany. The most 
 notorious of these was, since the fifteenth century, the Brocken. 
 This mountain, called in popular language Blocksherg, forms 
 the highest point of the Harzgehirge, at the foot of which the 
 small places Schierlce and Elend are situated. The Harz dis- 
 trict itself is a broad range of mountains extending between 
 the rivers Leine and Saale, on the boundary line between 
 Upper and Lower Saxony, in Central Germany. 
 
 The Faust-legend does not stand in any connection whatever 
 with the Brocken, but it is probably owing to the present 
 intermezzo and to Goethe's cantata, "Die erste Walpurgis- 
 nacht" ("spiritedly translated," as Hayward remarks, "by 
 Dr. Anster"), set to music by Mendelssohn, that that moun- 
 tain was connected with it in folk-lore, and became so famous. 
 Goethe's magnificent poem, "Harzreise im Winter," was written 
 in 1777, after having visited the Harz district. He knew, there- 
 fore, the locality well, when he wrote, twenty-three years later, 
 the present intermezzo, which, by the bye, seems to have been 
 uppermost in the mind of Heine when he visited the Brocken, 
 and he too calls attention to Retzsch's exquisite illustrations 
 of the "fantastic revels." Cp. my edition of his " Harzreise" 
 (Clarendon Press Series), p. 46, 1. 19, &c., and Notes.' — Ed. 
 
 Page 321, n. 120. Through the stones, through the turf, brook 
 and brooklet hurry down. — " Here and there on rushes the 
 water, silver-clear, trickles among the stones, and bathes the 
 naked roots and fibres. . . . Again, in many places, the water 
 spouts more freely from out of rocks and roots, and forms little 
 cascades. . . . There is such a strange murmuring and rust- 
 ling—the birds sing broken snatches of languishing songs — the 
 trees whisper as with thousands of maidens' tongues ; as with 
 thousands of maidens' eyes the rare mountain flowers gaze 
 upon us, and stretch out towards us their singularly broad, 
 
 1 Hayward, who translates the heading Walpwrgunacht " May.Day Night," 
 quotes in a longer note, containing mneh irrelevant matter, a passage from 
 Sir W. Scott's " Antiquary " (vol. i. p. 249), in which the well-known pheno- 
 menon of the Brocken' Spectre, is described, and he adds a scientific explanation 
 of it from Hibbert's ** On Apparitions " (p. 440, note), and from Brewster's 
 " Natural Magic " (Letter 6). He also calls attention to the ** very interesting 
 story," called "The First of May ; or, Walpurga's Night," contained in Mr. 
 Gillies's collection of German stories. ~Ed. 
 
 E C 
 
418 FAUST. 
 
 oonically forked leaves," &c., &o. — Heine, Beisebilder, vol. L 
 p. 173. See also his account of the rise of the Ilse, p. 223. 
 [The passages here translated by Hayward, and likewise 
 Heine's account of the rise of the Ilse, will bs found in the 
 Grote'sohe " Kritische Gesammtausgabe von Heine's Werken," 
 vol. iii. p. 44, &c., and in my own, above-mentioned edition of 
 the "Harzreise," pp. 44, 45, &c. — Ed.] 
 
 Page 323, w. 121. Tu-whit! Tu-whoo.— 
 
 " 'Tis the middle of night by the castle clock. 
 And the owls have awakened the crowing cock. 
 
 Tu-whit ! — ^tu-whoo ! " Chnstahd. 
 
 Page 323, n. 122. And the roots, like snakes, &c. — "In con- 
 sequence of the rocky nature of the ground, the roots are in 
 many places unable to penetrate it, and wind, snake-Uke, over 
 the huge blocks of granite, which lie scattered everywhere 
 about, like huge play -balls, for the unearthly revellers to throw 
 at each other on May-day night." — BeisehUder. 
 
 Page 325, n. 123. Shelley has translated vereinzelt sich — 
 masses itself— prohahlj under the notion of making the con- 
 trast more complete. But the next line— There sparks are 
 sputt&ing near, &c.— shows clearly that the literal version is 
 the proper one. [Some render vereinzelt sich, "isolates," or 
 " detaches itself."— Ed.] 
 
 Page 325, n. 124. The expression Windshraut for rasender 
 vnnd, "raging," or "tempestuous wind," has a mythological 
 basis. Hayward quotes Luther's version : " Nicht lang aber 
 darnach erhob sich wider ihr Vomehmen eine Windshraut, die 
 man nennete Nordost," which runs in the revised version of the 
 Bible : " But after no long time there beat down from it a 
 tempestuous wind which is called Euraquilo. ' (The old version, 
 also quoted by Hayward, has " Euroclydon.")— Ed. 
 
 Page 327, n. 125. Urian is one of the sicknames of the 
 Devil.— Ed. 
 
 Page 327, n. 126. The witch s, the he-goat stinks.— In 
 
 Aristophanic language- the witch irepdErai, the he-goat Kiva^pa. 
 
 Page 327, n. 127. Bauho is in Greek mythology the indeco- 
 rous nurse of Demeter or Ceres. Here she is introduced as the 
 symbol of shamelessness. — Bd. 
 
NOTES. 4ig 
 
 Page 327, n. 128. The Ilsenstem is a colossal granite rock, 
 and the most considerable among the Brockengebirge. Tra- 
 dition relates that an enchanted princess of the name of Use 
 guards there hidden treasures. The Felsensee mentioned (1. 3629) 
 is also situated in that district. — Ed. 
 
 Page 331, n. 129. Squire Voland. — The name of Voland or 
 Volant was applied to Satan. Cp. Grimm's "Mythology," 
 p. 943, &c.— Ed. 
 
 Page 337, n. 130. Now that I ascend the witch-mountain for 
 the last time. — "And because the contradictions of life and 
 thought have reached their highest pitch, but at the same time 
 have found their end and solution, does Mephistopheles con- 
 vince himself that he has ascended the Blocksberg for the last 
 time ?" — Ueber Goethe's Faust, Leipzig^ 
 
 Page 339, n. 131. In accordance with a rabbinical tradition, 
 the " female" created simultaneously with the " male" (Gen. i. 
 27), was called LUith; but proving refractory. Eve was created 
 from the rib of Adam (Gen. ii. 1-25) as his helpmate. Lilith, 
 however, continued to exist as a spectral being, seducing men 
 and injuring children. The name of LUith occurring in Isaiah 
 (xxxiv. 14), is rendered in the Vulgata iamia, in Luther's Bible 
 Kobold, in the old English version screech-owl, and in the re- 
 vised one satyr, or he-goat. Later on, she was brought into 
 connection with German sorceresses, and for this reason Goethe 
 introduced her into the Walpurgis-Night.^— Ed. 
 
 Page 341, n. 132. The word Proktophantasmist has been 
 freely coined by Goethe in order to ridicule the once famous 
 bookseller and publisher, Chr. Fr. Nicolai, a pedantical adver- 
 sary of the poet. Though a pronounced champion of rationalism, 
 he was occasionally subjected to visions, from which he got 
 himself cured by applying leeches to that part of the body 
 called in German " Steisz," and in Greek vprnicTde, which forms 
 the first term of the above compound. Nicolai was imprudent 
 
 1 I have left the above note as it stands ; but it seems to me that Mephis- 
 topheles "who at once appears very old," simply adapts his speech to his 
 assnmed'character, and mocks at the same time the tone of the four preceding 
 sneakers. Cp. Bayard Taylor's note on this passage.-ED. 
 
 2 Hayward seems to have taken considerable trouble to furnish a correct 
 MDlanation of LUith, but his longer note does not convey a distinct notion of the 
 subject The above explanation is based on the standard German commentaries. 
 
420 FAUST. 
 
 enough to make his malady and cure the suhjeet of a disserta- 
 tion, which he read before the Academy of Sciences at Berlin 
 in 1799.'— Ed. 
 
 Page 343, n. 133. The phrase, e,s spukt in Tegel, has sadly 
 puzzled both translators and commentators. Tegel is a small 
 place about eight or ten miles from Berlin. In the year 1797, 
 the inhabitants of Berlin, who pride themselves very highly on 
 their enlightenment, were fairly taken in by the story of a 
 ghost, said to haunt the dwelling of a Mr. Schulz at Tegel. 
 No less than two commissions of distinguished persons set 
 forth to investigate the character of the apparition. The first 
 betook themselves to the house on the 13th of September, 
 1797, waited from eleven at night till one in the morning, heard 
 a noise, and saw nothing. The second party were more for- 
 tunate, for one of them rushed with such precipitation towards 
 the place from whence the noise proceeded, that the ghost was 
 under the necessity of decamping in a hurry, leaving the in- 
 struments with which he made the noise (very clumsy con- 
 trivances) as spolia opima to the conquerors. Thus began and 
 ended the Tegel ghost's career, who however fully rivalled our 
 Cock Lane ghost in celebrity, and gave rise to a good deal of 
 controversy. This statement is taken from an account published 
 in 1798, in 8vo, with the motto : " Parburiunt montes, nascetur 
 ridioulus mus." Dr. Hitzig (to whom I am indebted for it) 
 proposes the following interpretation : — 
 
 " We Berlin folks (enlightened by me Nicolai) are so wise 
 (so free from prejudice) and Tegel is haunted notwithstanding 
 (we notwithstanding suffer our heads to be turned by a ghost 
 story, so stupid as this of Tegel)." 
 
 Shelley and M. Stapfer say Brocktophantasmist. This 
 alteration destroys the etymology, which the allusion to the 
 leeches shows to be TlpiiisToe.^ 
 
 1 Hayward quotes in a very long note, chiefly relating to Nieolai's literary 
 activity, a passage on the latter from Carlyle's " German Romance " (vol. iv. 
 p. 15), and concludes with the following references : " An account of his malady, 
 drawn up by the snflerer himself, is quoted by Dr. Hibbert (' Theory of Appa- 
 ritions '), and may be seen in Nicholson's 'Philosophical Journal,' vol. vi. 
 p. 161."— Ed. 
 
 2 The real gist of the allusion to the fact that " Tegel was haunted " lies in 
 the circumstance that Nicolai had alluded to it in the above-mentioned dis- 
 sertation. The reproach to Shelley and M. Stapfer is unfounded. Goethe had 
 attually first written "Brocktophantasmist," and subsequently altered it into 
 '• Procktophaatasmist," — Ed. 
 
NOTES. 421 
 
 Page 343, n. 134. A little red movse jumped out, &o. — In 
 dterman folk-lore it is recorded that red mice escape from the 
 mouths of sorceresses whilst they are asleep. Cp. Grimm's 
 "Deutsche Mythologie," p. 1036.— Ed. 
 
 Page 345, n. 135. The term Idol must be understood in the 
 'sense of Eidolon. 
 
 Page 347, n. 136. As merry as in the Prater.— T\As is an 
 allusion to the famous public place of resort — consisting of a 
 park — near Vienna, and called the Prater. 
 
 Page 349, n. 137. The Intermezzo is a continuation of 
 the preceding satirical interlude. The reminiscences from 
 Shakespeare's "Midsummer Night's Dream" and Wieland's 
 " Oberon " ■will be obvious to the readers of this volume. Both 
 Oberon and Titania are represented as demoniac powers, and 
 have therefore been suitably introduced into the Walpurgis 
 Night's Dream. The Golden Wedding is celebrated, according 
 to an ancient German custom, after fifty years of married 
 life.— Ed. 
 
 Page 349, n. 138. Mieding was a stage-decorator at Weimar, 
 whom Goethe immortalized in a poem headed ' ' Mieding's Tod, " 
 and the name " Mieding's sons " is here applied to the theatre- 
 decorators. — Ed. 
 
 Page 349, n. 139. The quarrel between Oberon and Titania 
 arose about an "Indian boy," whom the latter had brought 
 up. Cp. Shakespeare's "Midsummer Night's Dream," ii. 1. 
 On the occasion of the Golden Wedding they got reconciled. 
 —Ed. 
 
 Page 349, n. 140. Ariel is a spirit of the air. Cp. Shake- 
 speare's "Tempest." — Ed. 
 
 Page 351, n. 141. The Inquisitive Traveller is Nicolai ; and 
 the allusion to " the stiff man smelling after Jesuits " is to him. 
 Cp. further on, p. 355, n. 144. Nicolai had written Travels 
 fvdl of denunciations of popery. 
 
 I have been told that the words put into the mouth of the 
 northern artist are intended as a quiz on the style of expres- 
 sion affected by the German artists of the day, but I rather 
 think they allude to Goethe's own Italian Journey, which 
 might be almost said to have revolutionized his mind. A 
 
422 FAUST. 
 
 distinguished German critic thinks that Fernow is the person 
 alluded to. 
 
 Page 353, n. 142. The Purist is said to typify a school of 
 critics who affected great zeal for purity of expression, and 
 strict attention to costume, upon the stage. 
 
 Page 355, n. 143. The "Xenien," as is well known, is the 
 name given by Goethe and Schiller to verses, mostly satirical 
 or epigrammatioal, which they published from time to time in 
 co-partnership. These formed an important era in German 
 literature. "A war of all the few good heads in the nation, 
 with all the many bad ones (says Mr. Carlyle), began in 
 Schiller's ' Musenalmanach ' for 1793. The ' Xenien ' (in another 
 place he names the ' Horen ' along with them), a series of 
 philosophic epigrams, jointly by Schiller and Goethe, de- 
 scended there unexpectedly, like a -flood of ethereal fire, on the 
 German literary world ; quickening all that was noble into 
 new life, but visiting the ancient empire of dulness with 
 astonishment and unknown pangs." The war might have been 
 commenced in this manner, but the burden of maintaining it 
 (as Mr. Carlyle himself half admits in another place ') certainly 
 fell upon the Schlegels and Tieck, to whose admirable critical 
 productions the " Xenien" bears about the same relation that 
 the sharpshooters bear to the regular army. 
 
 The " Genius of the Age " and " The Musaget " « were the 
 names of literary journals edited by Hennings, who was at 
 different times in controversy with the Schlegels, Schiller, and 
 Goethe. Hennings is also attacked in the "Xenien." One of 
 Goethe's minor poems is entitled "Die Musageten." 
 
 Page 355, n. 144. The stiff man applies again, as has been 
 pointed out above, to Nioolai. — Ed. 
 
 Page 355, n. 145. The nickname Crane has been applied by 
 Goethe to Lavater, on account of his curious walk.""— Ed. 
 
 Page 357, w, 146. DUntzer interprets the word Fideler to 
 denote a "joUy" or "good fellow," reading it Fideler, and 
 Bayard Taylor follows him in his translation. Loeper takes 
 
 1 "German Romance," Tol. ii. p. 8. 
 
 3 "Musaget/' i.e., "leader of the muses;" "friend," or "patron of the 
 mnses," was the title of a supplement, in the shape of a " Musenalmanach," to 
 the "Genius der Zeit." — Ed. 
 
NOTES. 42S 
 
 the word Fideler to mean "a fiddler;" Sohroer adopts the 
 same meaning, but has the reading Fiedler.— 'SJi. 
 
 Page 357, n. 147. The five philosophers here mentioned refer 
 respectively to Wolf (Dogmatist), Fichte (Idealist), to Garye 
 and others (Realist), to Jaoobi (Supematuralist), and to the di» 
 ciples of Hume (Sceptic). — Ed. 
 
 Page 359, n. 148. To the best of my information, Irrlichter 
 raea,us parvemi,s : and Sternschnvppe a sort of poetical Icarus, 
 ■who mounts like a rocket, and comes down like the stick. 
 Most of the other allusions refer to well-known classes in 
 society, or to sects or schools in metaphysical philosophy. 
 
 M. de Schlegel told me that the allusions in the Intermezzo 
 were not present to his memory, and finding that it would cost 
 him some trouble to recover the train, I did not press my 
 request for an explanation of them, though his very interesting 
 letter on Goethe's " Triumph der Empfindsamkeit, " addressed 
 to M. de R^musat and published in the third volume of the 
 " Theatre Allemand," was a powerful temptation. The first 
 paragraph of this letter may help to explain why it is so diffi- 
 cult to write notes upon Goethe : " J'ai vdcu quelques ann^es 
 prfes de Goethe (says M. de Schlegel) lorsqu'il 6tait dans la force 
 de rage et dans la maturity de son gdnie ; j'ai souvent passd 
 des journ^es entiferes avec lui, et nous avons beauooup caus6 
 sur ses ouvrages ; mais il n'aimait gufere k donner des explica- 
 tions, comme aussi il n'a jamais voulu faii'e des prefaces." 
 
 M. Vamhagen von Ense teUs me that many more verses 
 were originally composed for the Intermezzo. 
 
 Page 363, n. 149. I have altered Hayward's translation in 
 accordance with the reading adopted by Loeper. The text 
 which Hayward had before him, and which has also been 
 adopted by Schroer, runs thus: "Erbarmlich auf der Erde 
 lange verirrt und nun gefangen," and accordingly his transla- 
 tion ran : " Long a wretched wanderer upon the earth, and 
 now a prisoner." — Ed. 
 
 Page 363, n. 150. To roll before the feet, &e.— This alludes 
 to a prevalent superstition, that evil spirits will sometimes 
 place themselves in the path of a foot passenger, in the shape 
 of a dog or other animal, with the view of tripping him up and 
 springing upon him when down. Thus Caliban, in allusion to 
 the spirits set upon him by Prospero :— 
 
424 fAUST. 
 
 " Some time like apes, that moe and chatter at me, 
 And after, bite me ; then like hedgehogs, which 
 Lie tumbling in my barefoot way." 
 
 Tempest, act ii. isc. 2. 
 Pagk 369, n. 151. The Rabenstein, "raven stone," was a 
 raised sc[uare block on which the gallows used to be erected. 
 That the ravens flocked to such a place is a matter of course. 
 
 Page 371, re. \52.' Fly away ! fly away! &c. — The song is. 
 founded on a popular German story, to be found in the 
 " Kinder- und Haus-Marchen " of the diatinguished brothers 
 Grimm, under the title of " Von dem Machandelboom " 
 [Baum], and in the English selection from that work (entitled 
 "German Popular Stories") under the title of "The Juniper 
 Tree." — The wife of a rich man, whilst standing under a 
 juniper tree, wishes for a little child as white as snow and as 
 red as blood ; and on another occasion expresses a wish to be 
 buried under the juniper when dead. Soon after, a little boy 
 as white as snow and as red as blood is born : the mother dies 
 of joy at beholding it, and is buried according to her wish. 
 The husband marries again, and has a daughter. The second 
 wife, becoming jealous of the boy, murders him and serves him 
 up at - table for the unconscious father to eat. The father 
 finishes the whole dish, and throws the bones under the table. 
 The little /girl, who is made the innocent assistant in her 
 ihother's villainy, picks them up, ties them in a silk handker- 
 chief, and buries them under the juniper tree. The tree begins 
 to move its branches mysteriously, and then a kind of cloud 
 rises from it, a fire appears in the cloud, and out of the fire 
 comes a beautiful bird, which flies about singing the following 
 song : — 
 
 " Mein' Mutter, die mich schlacht, 
 Mein Vater, der mich asz, 
 Mein' Schwester de Marlenichen 
 Suoht alle meine Benichen, 
 Bindt sie in ein seiden Tuch, 
 Legt's unter den Machandelboom; 
 Kywitt ! Kywitt ! 
 Wat vor'n schon Vogel bin ich ! " 
 The literal translation would be— 
 
 " My mother who slew me, 
 My father who ate me. 
 
NOTES. 425 
 
 My sister Mary Anne 
 
 Gathers all my bones 
 
 And binds them up in a silk handkerchief, 
 
 Lays them under the juniper tree. 
 
 Kywitt ! Kywitt ! ah, what a beautiful bird am I !" 
 It will be doing an acceptable service to those who love to 
 trace poetical analogies, to remind thein of Wordsworth's 
 exquisite little poem of " Ruth " :— 
 
 " God help thee, Ruth ! Such pains she had 
 That she in half a year was mad, 
 
 And in a prison housed ; 
 And there she sang tumultuous songs, 
 By recollection of her wrongs 
 
 Tp fearful passion roused." 
 
 Page 385, n. 153. The wand is brohen.—The signal for the 
 executioner to do his duty is given by the breaking of a wand 
 or staff.' 
 
 Page 385, n. 154. The blood-seat— "This alludes to the 
 German custom of tying the unfortunate female that is to be 
 beheaded on a wooden chair. Males on such melancholy occa- 
 sions are kneeling on a little heap of sand. "— Boileau's Be- 
 WMrlcs, p. 19. 
 
 Page 385, n. 155. Ye Holy Hosts, range yourselves round 
 about, to guard me. — 
 
 " Save me, and hover o'er me with your wings, 
 Ye heavenly guards ! "^Hamlet, act iii. sc. 4. 
 
 Page 387, n. 156. She is judged. — Some difference of opinion 
 prevails as to the concluding sentences of this scene. The 
 more poetical interpretation is, that Margaret dies after pro- 
 nouncing the last words assigned to her ; that the judgment of 
 Heaven is pronounced upon her as her spirit parts; that 
 Mephistopheles announces it in his usual sardonic and deceitful 
 style ; that the voice from, above makes known its real purport ; 
 and that the voice from within, dying away, is Margaret's spirit 
 
 1 The staff is usnally broken when the sentence of death is prononnced ; bnt, 
 according to an old German custom, a white staff was broken by the jndge before 
 the ezecntion, after having read the sentence of death. He then threw the 
 pieces at the feet of the exeontioner.— Ed. 
 
i26 FAUST. 
 
 oallmg to her lover on its way to heaven, whilst her body lies 
 dead upon the stage. This is the only mode in which the 
 voice from within, dying away, can be accounted for. M. de 
 Sohlegel, however, certainly the highest living authority on 
 such matters, says : " Sie ist gerichtet, se rapporte h. la sentence 
 de mort prononc6e par le juge ; les mots suivants, Sie ist 
 gerettet, au salut de son ^me." It has been contended that 
 Sie ist gerichtet refers both to the judgment in heaven and to 
 the judgment upon earth. As to the translation of the pas- 
 sage, no doubt can well exist, for richten is literally to judge, 
 and is constantly used in the precise sense the above interpreta- 
 tion attributes to it ; for instance, Die Lebendigen und die 
 Todtenzu richten, to Judge the quick and the dead. 
 
APPENDIX. 
 I. 
 
 Abstract of the Second Paet of " Fatjst," and some 
 Account of the Ciectjmstances under 
 
 WHICH IT WAS composed. 
 
 THE headiBg, or stage direction, of the first scene is — "A 
 pleasant country — Faust bedded upon flowery turf, tired, 
 restless, endeavouring to sleep — Twilight — a circle of spirits hover- 
 ing round, graceful little forms." Ariel opens it with a song, 
 accompanied by .ffiolian harps ; the other spirits form a chorus, and 
 Faust gives voice to the emotions which the rising sun (very beauti- 
 fully described) awakens in him. 
 
 The next scene is laid in the emperor's court — what emperor, does 
 not appear. He is seated in full pomp upon his throne, surrounded 
 by all his officers of state, to whom he condescendingly addresses 
 himself : " I greet my true, my loving subjects, congregated from 
 far and near ; I see the sage Cmeaning the astrologer) at my side, 
 but where tarries the fool ? " The fool, it seenw, has just been 
 carried out drunk or in a, fit, most probably by the contrivance of 
 Mephistopheles, who instantly steps forward in his place and pro- 
 poses a riddle to his majesty. He puts it aside with the remark, 
 that riddles are for his council, and only (it is to be inferred) 
 simple, unadulterated folly for himself. The new fool, however, is 
 regularly installed ; the emperor opens the conference, and all the 
 high officers give their opinions upon the existing state of the realm, 
 than which nothing can well be worse. The chancellor complains 
 of the neglect of the laws, the commander-in-chief of the insubordi- 
 nation of the army, the marshal of the household of the waste in the 
 kitchen, and the first lord of the treasury expatiates on the empty 
 state of his coffers, the grand source of all the other evils. The 
 emperor, sorely puzzled, reflects a moment, and then turns to the 
 
428 FAtrsT. 
 
 fool, or rather to Mephistopheles disguised as such : " Speak, fool, 
 dost thou too know of no matter of complaint ? " Mephistopheles 
 replies in the negative, and expresses his astonishment that any- 
 thing should be wanting where so much glittering splendour was to 
 be seen. This calls forth a murmur from the courtiers, and Mephis- 
 topheles is made the subject of a fair share of insinuation and abuse ; 
 but he proceeds notwithstanding and develops his plan, which is, " to 
 begin digging for subterraneous treasures immediately"; as all such, 
 he observes, belong of right to the emperor. This plan is generally 
 approved by all but the chancellor, who does not think it in exact 
 accordance with religion ; and the emperor himself declares his in- 
 tention of laying aside bis sword and sceptre, and setting to work in 
 his own proper person immediately. The astrologer, however, calls 
 on them to mitigate their zeal, and first finish the celebration of the 
 approaching carnival. The emperor assents, and gives the word for 
 a general rejoicing accordingly ; the trumpets sound, and exeunt 
 omnes but Mephistopheles, who concludes the scene with a sneer : 
 " How desert and good fortune are linked together, this never occurs 
 to fools J if they had the stone of the philosopher, they would want 
 the philosopher for the stone." 
 
 The subject of the next scene is a Mash [or " Carnival Masque- 
 rade"] got up by Faust for the amusement of the emperor, 
 irregular and extravagant in the extreme. Gardeners, flower-girls, 
 olive-branches, rosebuds, fishermen, bird-catchers, wood-hewers, 
 parasites, satirists, the Graces, the Parcse, the Furies, Fear, Hope, 
 Prudence, Zoilo-Thersites, Pan, Plutus, Fauns, Gnomes, Satyrs, 
 Nymphs, are amongst the things and persons which come forward 
 in the course of the entertainment. The verses placed in their 
 mouths are often very beautiful, but appear to have no reference fo 
 a plot. There is also some clever general satire. The scene closes, 
 like most of our melodrames, with a general blaze, which is also 
 described with great spirit by the herald. 
 
 The next scene is in one of the palace pleasure-gardens, where the 
 court is found assembled as before, and the emperor is represented 
 thanking Faust for the Mask and congratulating himself on having 
 discovered such a treasure of a man. Their converse is suddenly 
 interrupted by the entrance of the marshal of the household, the 
 commander-in-chief and the lord treasurer, to announce that all 
 theb distresses have been suddenly removed by the creation of an 
 odd sort of paper-money, bills promising payment in the emperoi-'s 
 name when the subterranean treasure before mentioned shall be dug 
 
APPENDIX. I. 429 
 
 up. The circulation of this paper appears to have produced nearly 
 the same eSfect in the emperor's dominions as the South Sea scheme 
 in England or Law's project in France, which, we presume, it must 
 be intended to ridicule. The people are represented as running 
 absolutely wild at their fancied accession of wealth, and the 
 emperor amuses himself by bestowing portions of it on the followers 
 of his court, on condition of their declaring what use they intend to 
 make of what they receive. The humour thus elicited does not rise 
 beyond commonplace. One says that he will lead a merry life 
 upon it, a second that he will buy chains and rings for his sweet- 
 heart, a third has a fancy for good wine, and a fourth for sausages ; 
 a fifth proposes to redeem his mortgages, and a sixth to add it to 
 his hoard. The fool comes last, and might well have been expected 
 to say something sharp, but he simply avows a wish to become a 
 landholder, and yet is complimented by MepMstopheles on his wit. 
 Faust and Mephistopheles are then represented walking in a dark 
 gallery, whither Faust has withdrawn Mephistopheles to procure 
 the means of exhibiting Helen and Paris before the emperor, to 
 whom he has pledged -his word to that effect. Mephistopheles 
 answers at first evasively : he has nothing (he says) to do with the 
 heathen world, they live in a hell of their own ; there is one mode, 
 however ; — Faust must repair to certain goddesses called, par emi- 
 nence. The Mother!!,' dwelling in the deepest recesses of unearthly 
 solitudes, through which he is to be guided by a key bestowed for 
 that purpose by Mephistopheles. Faust shudders at the name, but 
 undertakes the adventure and sets out. 
 
 The following scene represents the assembling of the court ; Me- 
 phistopheles cures a blonde beauty of freckles, and a brunette of 
 lameness, and bestows a love-potion on a third ; after which exploits, 
 we proceed to the grand hall, where the emperor and his suite are 
 awaiting the arrival of Faust for the promised spectacle to begin. 
 He appears at last, emerging as it were from the stage; he is 
 
 1 1 have never yet met with anyone who conld tell me what Die Mutter 
 means. [Since Hayward made this disconraging declaration, a good deal has 
 been written on the mysterions mention of "The Mothers," which Bayard 
 Taylor, in an interesting note, characterizes as "an enigma, a complete and 
 satisfactory solution of which is not to be expected." All attempts at an 
 acceptable explanation mnst, of conrse, be fonaded on mere conjectures, but the 
 reader will find some very valuable information on the subject in Dtiatzer's 
 great commentary on " Faust." In Appendix B to his excellent work, " The Spirit 
 of Goethe's Faust," Dr. Coupland has a highly suggestive note, referring the 
 reader to the results of recent research.— Ed.3 
 
430 FAUST. 
 
 dressed in sacrificial robes, and a tripod accompanies him. By the 
 aid of the Mothers, and the application of a charmed key which h^ 
 has with him, he brings first Paris and then Helen upon the stage. 
 For a time, all goes on well, and we are amused by the remarks of 
 the courtiers, male and female, on the beauty and her lover, when 
 on Paris behaving with something like rudeness to Helen, Faust 
 gets jealous and interferes. An explosion is heard, the spirits 
 ascend in vapour, and Faust, prostrated by the shock, is borne off 
 senseless by Mephistopheles. 
 
 So ends the first act. At the commencement of the second, we 
 find Faust laid on an old-fashioned bed in his old study, with 
 Mephistopheles attending him. " He whom Helen paralyzes (says 
 the latter) comes not easily to his senses again." From a conversa- 
 tion between Mephistopheles and an attendant, it appears that, ever 
 since Faust's disappearance, Wagner has lived on in his house, and 
 has now attained to almost as great a reputation as his master. At 
 the opening of the scene, he has been long busied in his laboratory, 
 endeavouring, like another Frankenstein, to discover the principle of 
 life. To make the train of old associations complete, the Student, 
 now a Bachelor, enters, and thus affords us an opportunity of seeing 
 how far he has profited by Mephistopheles' advice. It seems that he 
 is become a convert to Idealism, and he makes a speech in which 
 Fichte's system is quizzed. 
 
 After this dialogue we are conducted into Wagner's laboratory, 
 who has just succeeded in manufacturing an Homunculus, a clever 
 little imp, incarcerated in a bottle, bearing a strong resemblance to 
 the Devil upon Two Sticks. He is introduced apparently to act 
 as a guide to the Classical Walpurgis Night ; Mephistopheles, as has 
 been already intimated, having no jurisdiction over the heathen 
 world. Of this Classical Walpurgis Night itself, which occupies the 
 next sixty or seventy pages, it is quite impossible to give anything 
 like a regular description or analysis ; though the readers of the 
 First Part of " Faust " may form some notion of it on being told, that 
 it is formed upon pretty nearly the same plan as the wilder part of 
 the scenes upon the Blocksberg, with the difference, that all the 
 characters are classical. The number of these is prodigious. Be- 
 sides monsters of various sorts, we find Erichtho, the Sphynx, the 
 Sirens, the Pigmies, the Nymphs, Chiron, talking Dactyls, Lamise, 
 Anaxagoras, Thales, Dryas, Phorkyas, Nereids, Tritons, Nereus, 
 Proteus, and many other less familiar names which it would be 
 wearisome to recapitulate, all scattering apophthegins or allusions at 
 
APPENDIX. I. 431 
 
 random, with (we say it with all due humility) very little immediate 
 fitness or point.' 
 
 The Helena, which in some sense may be considered a part of the 
 Classical Walpurgis Night, follows, and forms the third act of the 
 continuation.' 
 
 Helen enters upon the stage (before the palace of Menelaus at 
 Sparta) accompanied by a chorus of captive Ti'ojau women. From 
 her opening speech, it appears that she has just landed with her lord, 
 who has sent her on before, and is expected to follow immediately. 
 She has been directed to prepare all things for a sacrifice, but on 
 entering the palace for this pm-pose, she encounters an apparition in 
 the shape of a gigantic old woman, who, before Helen has well done 
 relating what she had seen to the chorus, comes forth in proprid 
 persond. This is Phorkyas, who begins by upbraiding Helen, and 
 gets into a not very edifying squabble with her maids. But the 
 main object is to frighten them away ; with this view Phorkyas 
 plays on Helen's fears by suggesting that, amidst all the required 
 preparations for the sacrifice, nothing had yet transpired as to the 
 intended victim, and that the victim was most probably herself. It 
 is further intunated that the chorus had nothing very pleasing to look 
 forward to, and Menelaus' treatment of Deiphobus, whose nose and 
 ears he cropped, is considerately alluded to in illustration of the 
 Spartan chief's mode of dealing with his enemies. The plan suc- 
 ceeds, and the Queen consents to fiy to a neighbouring country of 
 barbarians, described in glowing colours by Phorkyas. Instantly 
 clouds veil the scene, which shifts to the inner court of a town, sur- 
 rounded by rich fantastic buildings of the middle ages. She is here 
 received by Faust, the lord of the place, who appears dragging 
 along one Lynceus, his watchman, in chains, for not giving due 
 notice of the beauty's approach. Lynceus excuses himself in fine 
 flowing verse, and receives his pardon as a matter of course. Faust 
 makes good use of his time, and is rapidly growing into high favour 
 with Helen, when Phorkyas rushes in with the tidings that Mene- 
 laus, with all his army, is at hand. Faust starts up to encounter 
 the enemy, but, instead of being turned into a battlefield, the scene 
 changes into a beautiful Arcadian landscape, set round with leafy 
 bowers, amongst which Faust and Helen contrive to lose themselves 
 for a time. Whilst they are out of sight, Phorkyas converses with 
 
 1 This remark is quite in harmony with the former Faust-eritieism.— Ed. 
 
 2 See an article in the " Foreign Be\iew," vol. i. p. 429, by Mr. Carlyle, for 
 a fnll account of the Helena. ['■ Miscellanies," vol. i.] 
 
432 FAUST. 
 
 the chorus, and amongst other topics describes to them a beautiful 
 cupid-like sort of boy, called Euphorion, who directly afterwards 
 comes forward with Helen and Faust. This youngster, after ex- 
 horting by turns all the party to merriment, and behsfving with 
 some rudeness to one of the young ladies of the chorus, who out of 
 sheer modesty vanishes into air, springs upon a high rock, talks 
 wildly about battles and warlike fame, and finishes by bounding up 
 into the air, through which he darts like a rocket, with a stream of 
 brightness in his train, leaving his clothes and lyre upon the ground. 
 The act now hurries to a conclusion ; Helen bids Faust farewell, and 
 throws herself into his arms to give him a farewell kiss, but the 
 corporeal part of her vanishes, and only her veil and vest remain in 
 his embrace. These, however, also dissolve into clouds, which en- 
 circle Faust, lift him up on high, and finally fly away with him. 
 Phorkyas picks up Euphorion's clothes and lyre, and seats herself 
 by a pillar in the front of the stage. The leader of the chorus, sup- 
 posing her to be gone for good and all, exhorts the cltprus to avail 
 themselves of the opportunity of returning to Hades, which they 
 decline, saying, that as they have been given ba«k to the light of the 
 day, they prefer remaining there, though at the same time well 
 aware that they are no longer to be considered as persons. One part 
 professes an intention of remaining as Hamadryads, living among 
 ' and having their being in trees ; a second proposes to exist as echoes j 
 a third, to be the animating spirits of brooks ; and a fourth, to take 
 up their abode in vineyards. After this declaration of their re- 
 spective intentions, the curtain falls, and Phorkyas, laying aside the 
 mask and veil, comes forward in his or her real character of Mephis- 
 topheles, " to comment (this is the stage dbection) so far as might 
 be necessary, in the way of epilogue, on the piece." 
 
 The fourth act is conversant with more familiar matters, but its 
 bearing on the main action is equally remote. The scene is a high 
 mountain. A cloud cumes down and breaks apart : Faust steps 
 forth and soliloquizes : a seven-mile boot walks up ; then another : 
 then Mephistopheles, upon whose appearance the boots hurry off, 
 and we see and hear no more of them. A dialogue takes place 
 between Faust and Mephistopheles, in the course of which it appears 
 that Faust has formed some new desire, which he tells Mephistopheles 
 to guess. He guesses empire, pleasure, glory, but it is none of 
 them ; Faust has grown jealous of the daily encroachments of the 
 sea, and his wish is step by step to shut it out. Just as this wish is 
 uttered, the sound of trumpets is heard ; the cause is explained by 
 
APPENDIX. I. 433 
 
 Mephistoplieles. Our old friend, the emperor, is advancing to en- 
 counter a rival, ■whom his ungrateful subjects have set up. Mephis- 
 topheles proposes to Faust to aid him and gain from his gratitude 
 the grant of a boundless extent of strand for their experiment, to 
 which Faust appai'ently consents. Three spirits are called up by 
 Mephistopheles, in the guise of armed men,' to assist. Faust joins 
 the emperor's army and proffers him the aid of his men. The fight 
 commences, and is won by the magical assistance of Faust. Some 
 of the changes of the battle are sketched with great force and spirit, 
 as seen from the rising ground, where the emperor, Faust, and 
 Mephistopheles are witnessing it." The last scene of the act is laid 
 in the rebel emperor's tent, where several plunderers are busily 
 engaged until disturbed by the entrance of the victorious emperor 
 with four of his chiefs, each of whom he rewards with some post of 
 honour. Then enters an archbishop, who reproaches the emperor 
 for leaguing himself with sorcerers, and succeeds in extorting a 
 handsome endowment for the church. 
 
 The first scene of the fifth and last act represents an aged couple 
 (Baucis and Philemon by name) extending their hospitality to a 
 stranger. From a few words which drop from them, it appears that 
 their cottage stands in the way of Faust's improvements, and tlaat, 
 Ahab-like, he has already manifested an undue eagerness to possess 
 himself of it. The next scene represents a palace, with an extensive 
 pleasure garden and a large canal. Faust appears in extreme old 
 age, and plunged in thought. The subject of his meditations is the 
 cottage of the old couple, which " comes him cramping in," and spoils 
 the symmetry of his estate. A richly-laden vessel arrives, but the 
 cargo fails to soothe him; the little property which he does not pos- 
 sess would embitter, he says, the possession of a world. All is now 
 deep night, and Lynceus the watchman is on his tower, when a fire 
 breaks out in the cottage oftlie old couple. Mephistopheles, with 
 three sailoiB belonging to the vessel, has set fire to the cottage, and 
 the old couple perish in the conflagration. Without any immediate 
 connection with the foregoing incidents, four grey old women are 
 brought upon the stage— Guilt, Want, Care, and Misery-and hold 
 an uninteresting (!) conversation with Faust. We have then Mephis- 
 
 1 See Samnel, b. ii. oh. xxiii. v. 8-13. 
 
 2 There is hardly a description of any sort in the poem which is not placed m 
 the month of someone looking down from a commanding point of view npon the 
 scene This was Sir Walter Scott's favourite mode of describing. Several 
 instances are enumerated in Mr. L. Adolphns' "Letters on the Author of 
 Waverley," p. 242. 
 
434 PAUST. 
 
 topheles acting as overseer to a set of workmen (eartlily as well as 
 unearthly, it would seem) employed in consummating Faust's wish 
 of limiting the dominion of the waves. I shall give Faust's dying 
 words literally :^- 
 
 " Faust. A marsh extends along the mountain's foot, infecting all 
 that is already won : to draw off the noisome pool — the last would 
 be the crowning success ; I lay open a space for many millions to 
 dwell upon, not safely it is true, but in free activity ; the plain, 
 green, and fruitful ; men and flocks forthwith made happy on the 
 newest soil, forthwith settled On the mound's firm base, which the 
 eager industry of the people has thrown up. Here within, a land 
 like Paradise; there without, the flood may rage up to the brim, 
 and as it nibbles powerfully to shoot in, the community throngs to 
 close up the openings. Yes, heart and soul am I devoted to this 
 wish ; this is the last resolve of wisdoin. He only deserves freedom 
 and life, who is daily compelled to conquer them for himself. And 
 thus here, hemmed round by danger, childhood, manhood, and 
 old age, vigorously pass their, years. I would fain see such a 
 busy multitude, — stand upon free soil with free people. I might 
 thgn say to the moment — ' Stay, thou art so fair ! ' The trace of my 
 earthly days cannot perish in centuries. In the presentiment of 
 such exalted bliss, I now enjoy the most exalted moment. 
 
 [Faust sinis book; the Lbmuees take him up and place 
 him upon the ground. 
 
 Mephistopheles. No pleasure satisfies him, no happiness contents 
 him; so is he ever in pursuit of changing forms: the last, the 
 worst, the empty moment, the poor one wishes to hold it fast. He 
 who withstood me so vigorously — Time has obtained the mastery ; 
 here lies the old man in the dust! The clock stands still! 
 
 Chorus. Stands still! It is as silent as midnight. The index 
 hand falls. 
 
 The angels descend, and a contest ensues between them and 
 Mephistopheles, backed by his devils, for the soul of Faust. It is 
 eventually won by the angels, who succeed by exciting the passions 
 and so distracting the attention of Mephistopheles. They fly off, 
 and he is left soliloquizing thus : — 
 
 Mephistopheles (looking round). But how? whither are they 
 gone ? Young as you are, you have over-reached me. They have 
 flown heavenwards with the booty ; for^^his they have been nibbling 
 at this grave <,4.greatjsingularly precious treasure has been wrested 
 from me ; the exalted soul whi th Irad pledged i[t,elf to me, this have 
 
APPENDIX. I. 435 
 
 they cunningly smuggled away from me. To whom must I now 
 complain. Who will regain my fairly -won right for me ? Thou 
 art cheated in thy old days ; thou hast deserved it ; matters turn 
 out fearfully ill for thee. I have scandalously mismanaged matters ; 
 a great outlay, to my shame, is thrown away ; common desire, ab- 
 surd amorousness, take possession of the out-pitched devil. And if 
 the old one, with all the wisdom of experience, has meddled in this 
 childish, silly business, in truth, it is no small folly which possesses 
 him at the close." 
 
 The last scene is headed — "Mountain defiles — Forest— Rock- 
 Desert." The characters introduced are Anchorites. Fathers, 
 Angels, and a band of female Penitents, amongst whom we recog ■ 
 nize Margaret rejoicing over the salvation of Faust. The verses 
 placed in their mouths are often very beautiful, but have little con 
 nection with each other and no reference to a plot. 
 
 I will now add what has transpired as to the circumstances under 
 which the continuation was composed. The first scene (down to 
 p. 63 of the original) and the whole of the third act (the Helena) 
 were published during Goethe's lifetime, in the last complete edition 
 of his works. His views in publishing the H^ena were explained 
 in the " Kunst und Alterthxim " by himself. The following extract 
 applies to the general plan of the continuation : " I could not but 
 wonder that none of those who undertook a continuation and com- 
 pletion of my 'Fragments' (the First Part) had lighted upon the 
 thought seemingly so obvious, that the composition of a Second Part 
 must necessarily elevate itself altogether away from the hampered 
 sphere of the First, and conduct a man of such a nature into higher 
 regions, under worthier circumstances. How I, for my part, had 
 determined to essay this, lay silently before my own mind from 
 time to time, exciting me to some progress ; while from all and each 
 I carefully guarded my secret, still in hope of bringing the work to 
 the wished-for issue." 
 
 I am also enabled to state in his own words the manner in which 
 this wished-for issue was brought about : — 
 
 " I have now arranged the Second Part of ' Faust,' which, during 
 the last four years, I have taken up again in earnest, filled up chasms 
 and connected toCfthPr th° ""■»>"■• T had ready by me , from be- 
 ginning to end. 
 
 " I hope I have succeeded in obliterating all difference between 
 Earlier and Later. 
 
 " I have known for a long time what I wanted, and even how I 
 
436 fA.vs>f. 
 
 wanted it, and have borne it about within me for so many years as 
 an inward tale of wonder — but 1 only executed portions which from 
 time to time peculiarly attracted me. The Second Part, then, must 
 not and could not be so fragmentary as the First. The reason has 
 more claim upon it, as has been seen in the part already printed. 
 It has indeed at last required a most vigorous determination to work 
 up the whole together in such a manner that it could stand before a 
 cultivated mind. I, therefore, made a firm resolution that it should 
 be finished before my birthday. And so it was; the whole lies 
 before me, and I have only trifles to alter. And thus I seal it up ; 
 and then it may increase the specific gravity of my succeeding 
 volumes, be they what they may. 
 
 " If it contains problems enough (inasmuch as, like the history of 
 man, the last-solved problem ever produces a new one to solve), it 
 will nevertheless please those who understand by a gesture, a wink, 
 a slight indication. They will find in it more than I could gire. 
 
 " And thus is a heavy stone now rolled over the summit of the 
 mountain, and down on the other side. Others, however, still lie 
 behind me, which must be pushed onwards, that it may be fulfilled 
 which was written, ' Such labour hath God appointed to man,' " — 
 Letter to Meyer, dated Weimar, July 20th, 1831. 
 
 I copy this from Mrs, Austin's " Characteristics," in which two 
 other interesting passages relating to the same subject occur. The fol- 
 lowingis translated from the "BibliothequeXJuiverselle" of Geneva: — 
 
 "Having once secured complete tranquillity on this head (his 
 will), Goethe resumed his usual habits, and hastened to put the last 
 hand to his unpublished works ; either to pubhsh them hiifaself, if 
 Heaven should grant him two or three years more of life, or to put 
 them in a condition to be intrusted to an editor without burdening 
 him with the responsibility of the corrections. He began with the 
 most pressing. The Second Part of 'Faust' was not finished; 
 Helena, which forms the third act, had been composed more than 
 thirty years before, with the exception of the end, which is much 
 more recent, and which certainly does not go back further than 
 1825. The two preceding acts had just been finished^there re- 
 mained the two last. Goethe composed the fifth act first: then, 
 but a few weeks before his death, he crowned his w(irk by the 
 fourth. This broken manner of working was, perhaps, not always 
 his ; but it is explamed in this case by the care he took to conceive 
 his plan entn-e before he began to execute it; to reflect upon it, 
 sometimes for a long series of years, and to work out sometimes one 
 
APPENDIX. I. 437 
 
 part, sometimes another, according to the inspiration of the moment. ) 
 He reserved to himself the power of binding together these separate ' 
 members in a final redaction — of bringing them together by the 
 necessary transitions, and of throwing ont all th»,t might injure the 
 integrity of the poem. Thus it happens that iii the manuscripts 
 relating to 'Faust,' there are found a great number of poems written 
 at different periods, which could not find place in the drama, but 
 which we hope may be published in the miscellaneous works."— 
 Characteristics of Goethe, vol. iii. pp. 87, 88.' 
 
 The ChanceUor von Miiller, in his excellent little work entitled 
 " Goethe in seiner Praktischen Wirksamkeit," thus describes the con- 
 clusion of" Faust," and (what is not less interesting) the events im- 
 mediately preceding it : — 
 
 " When Goethe had to bear the death of his only son, he wrote to 
 Zelter thus : 'Here, then, can the mighty conception of duty alone 
 hold us erect. I have no other care than to keep myself in equi- 
 poise. The body must, the spirit will;— and he who sees a neces- 
 sary path prescribed to his will, has no need to ponder much.' 
 
 " Thus did he shut up the deepest grief within his breast, and 
 hastily seized upon a long-postponed labour, ' in order entu-ely to 
 lose himself in it.' In a fortnight he had nearly completed the 
 fourth volume of his life, when nature avenged herself for the 
 violence he had done her ; the bm-sting of a blood-vessel brought 
 him to the brink of the grave. 
 
 "He recovered surprisingly, and immediately made use of his 
 restored health to put his house most carefully in order ; made all 
 his testamentary dispositions as to his works and manuscripts with 
 perfect cheerfulness, and earnestly employed himself in fully making 
 up his account with the world. 
 
 " But in looking over his manuscripts it vexed him to leave his 
 ' Faust ' unfinished ; the greater part of the fourth act of the Second 
 Part was wanting 5 he laid it down as a law to himself to complete 
 
 1 This acconut is confirmed by Falk's story of the " Walpurgissaek ; " and 
 also by the following anecdote (.■ommnnicated to me in a private letter by M. de 
 Schlegel : " Ce pdemej dds son orxgine, £tait condamne a ne Tester qn'nn frag- 
 ment. Mais qnoiqa'on juge de 1 'ensemble, les details sont admirables, Ceci me 
 rappelle nne anecdote qne je tiecs du c^lebre medecin Zimmermann, fort 116 avec 
 Goethe dans sa jennesse : Faust avait 6te annonce de bonne heare, et Ton 
 s'attendait alors A. le voir paraitre prochainement. Zimmermann, se tronvant a 
 Weimar, demanda d son ami des nonTelles de cette composition. Goethe apporta 
 nn sac rempli de petits chiffons de papier. II le vidia sur la table et dit : ' Yoil^ 
 mon Fauste '." 
 
438 TAVsr. 
 
 it worthily, and, on the day before his last birthday, he was enabled 
 to announce that the highest task of his life was completed. He 
 sealed it under a tenfold seal, escaped from the congratulations of 
 friends, and hastened to revisit, after many many years, the scene 
 of his earliest cares and endeavours, as well as of the happiest and 
 richest hours of his life." 
 
 Referring to my article on the Second Part of " Faust " in the 
 "Foreign Quarterly Eeview" (in which most of the foregoing abstract, 
 interspersed with translated specimens, appeared), some of my 
 German friends blamed me for not putting in the plea of age for the 
 author. I have done this most effectually now ; and the pleas of 
 sickness and sorrow might also be supported if necessary. Indeed, 
 after reading the above extracts, the wonder is, not that symptoms 
 of decaying power are here and there discernible, but that the 
 poem, under such circumstances, should have been completed at all ; 
 and we may well say of " Faust " and its author (as Longinus said of 
 Homer and the " Odyssey "), though the work of an old man, it is 
 yet the work of an old Goethe.'- 
 
 Another set have censured me for my sceptical and superficial 
 notions of the plot, which is said to hide a host of meanings. My only 
 answer is that I cannot see them and have never yet met with anyone 
 who could, though I studied the poem under circumstances peculiarly 
 favourable to the discovery. None of the German critics, to the 
 .best of my information, have yet dived deeper than myself; the 
 boldest merely venture to suggest that Faust's salvation or justifica- 
 tion, without any apparent merit of his own, is in strict accordance 
 with the purest doctrines of our faith ; and that, though he suffered 
 liimself to be seduced into wickedness, his mind and heart remained 
 untainted by the Mephistophelian philosophy to the last. This 
 view of the poetical justice of the catastrophe was eloquently ex- 
 pounded by Dr. Franz Horn in a long conversation which I had 
 with him on this subject in August last (1833). 
 
 1 The above verdict on Part 11. is one of the instances -which confirm Professor 
 J, M. Hart's dietnm — in the thonghtfnl introduction to his edition of Qoethe's 
 " Fanst" — to the effect that one of the principal merits of Hayward's notes con- 
 sists in the fact that they aiiord an mteresting glimpse at the then state of Goethe 
 criticism in England. Since the above was written much new light has been 
 thrown on the Second Part, and if Hayward had only made later on the acquain- 
 tance of, say, Diintzer's " Erlauterungen," he would certainly have reversed his 
 judgment, both as regards the poem and its commentators. Even Mr. G. H. Lewes's 
 estimate of Fart II. may now be considered antiquated. Cp. Bayard Taylor's 
 excellent preface and notes to the latter.— Ep. 
 
APPENDIX. I. 439 
 
 Tasso tells us in a letter to a friend on the " Jerusalem Delivered," 
 that when he was beyond the middle of the poem and began to con- 
 sider the strictness of the times, he began also to think of an 
 allegory as a thing which ought to smooth every difficulty. The 
 allegory which he thought of, and subsequently gave out as the key 
 to the more recondite beauties of the poem, was this : " The Chris- 
 tian army, composed of various princes and soldiers, signified the 
 natural man, consisting of soul and body, and of a soul not simple, 
 but divided into many and various faculties, Jerusalem, a strong 
 city, placed on a rough and mountainous tract, and to which the 
 chief aim of the army is directed, figures civil or public felicity, 
 while Godfrey himself represents the ruling intellect; Binaldo, 
 Tancred, and others being the inferior powers of the mind, and the 
 soldiers, or bulk of the army, the body. The conquest, again, with 
 which the poem concludes, is an emblem of political felicity; but as 
 this ought not to be the final object of a Christian man, the poem 
 ends with the adoration of Godfrey, it being thereby signified that 
 the intellect, fatigued in public exertions, should finally seek repose 
 in prayer, and in contemplating the blessings of a happy and eternal 
 Ufe." 
 
 What Tasso did for the " Jerusalem Delivered " in this matter, I 
 can conceive it quite possible the commentators may do for the Second 
 Part of'Faust;" but that they will thereby greatly elevate its poetical 
 character, connect it with the First Part, or prove it an apt solution 
 of the problem, I doubt. As the Prologue in Heaven was not added 
 until 1807 or 1808, my own opinion is that Goethe's plot had no 
 more original existence than Tasso's allegory. 
 Mr. Coleridge is reported to have expressed himself as follows !— 
 " The intended theme of the ' Faust ' is the consequences of a 
 misology, or hatred and depreciation of knowledge, caused by an 
 originally intense thirst for knowledge baffled. But a love of know- 
 ledge for itself, and for pure ends, would never produce such a 
 misology, but only a love of it for base and unworthy purposes. 
 There is neither causation nor progression in the ' Faust ; ' he is a 
 ready-made conjuror from the very beginning ; the increduliis odi is 
 felt from the first line. The sensuality and the thirst after know- 
 ledge are unconnected with each other. Mephistopheles and Margaret 
 are excellent ; but Faust himself is dull and meaningless. The scene 
 in Auerbach's cellar is one of the best, perhaps the very best; that 
 on the Brocken is also fine ; and all the songs are beautiful. But 
 there is no whole in the poem; the scenes are mere magic-lantern 
 
440 FAUST. 
 
 pictures, and a large part of the work is to me very flat. The 
 German is very pure and fine."' — Table Talk, vol. ii. p. 114. 
 
 1 The Bmteoableness, not to say unfairness, of the above " subjective " criti- 
 cism of *' Faust,'* as a whole, has been fnlly proved by Mr. G, H, Lewes in his 
 " Life and Works of Goethe," p. 483, etc.— Ed. 
 
APPENDIX. 
 II. 
 
 Being an Histoeical Notice of the Stoet of "Faust," 
 
 AND THE VAEIOUS PeODUCTIONS IN AeT AND 
 
 liteeatueb that hate geown 
 odt of it.' 
 
 DUEING a late visit to Germany (1833), it was one of my 
 amusements to inquire at aU the libraries to which I could 
 procure access, for books relating to Faust or Faustus ; and though 
 the number was far from trifling, it cost me no great labour to acquire 
 a general notion of the contents of most of them, and write down what 
 bore upon my own peculiar study or seemed any way striking or new. 
 I had made considerable progress in the arrangement of the materials 
 thus collected, when Brockhaus' " Historisches Taschenbuch " (His- 
 torical Pocket-book) ^ for 1834 arrived, containing an article entitled 
 " Die Sage vom Doctor Faust," by Dr. Stieglitz (already known for 
 an instructive article on the same subject '), in which, after a brief his- 
 
 1 I considered it right to reprint the present Appendix, ike the preceding one, 
 sneh as Hayward wrote it ; more especially because his views and those of the 
 authorities qaoted by him, furnish an excellent view of the state of criticism of 
 the drama in general and of the Faust-legend in particular, as it was current 
 sixty years ago. It has, as I said in the Preface to the present volume, a 
 litterar-historisches Jnteresse. A corrective of the most glaring antiquated 
 views will be found in my introduction on the Faust-legend, in the principal 
 writings on Goethe's poem, of which I give a special list, and, finally, in some 
 of the notes I append to the present sketch Ed. 
 
 3 The above is the exact hteral rendering of " Taschenbuch," which in a lite- 
 rary sense was applied to annuals, somewhat corresponding to the *' Musenal- 
 manache,'* containing articles written in popular style. The then editor of the 
 " Historisches Taschenbuch " was the distinguished historian, Friedrich von 
 Raumer.— Ed. 
 
 3 The article in F. Schlegel's " Deutsches Museum ' referred to in my first 
 edition. 
 
442 FAUST. 
 
 tory of the hero himself, all the compositions of every sort, that (to the 
 writer's knowledge) have grown out of the fable, are enumerated. The 
 narrow limits of a Taschenbuoh restricted Dr. Stieglitz to giving liitle 
 more than a bare list of title-pages ; but this list has proved so ex- 
 tremely useful in indicating where almost every sort of information 
 was to be had, that I think it right to avow beforehand the extent of 
 obligation he has laid mo under. 
 
 Before beginning the life of Faust, some of his biographers have 
 thought it necessary to determine whether he ever lived at all ; and, 
 were we to adopt the mode of reasoning so admirably illustrated in 
 Dr. Whately's " Historic Doubts concerning the existence of 
 Napoleon," we must unavoidably believe that there never was such a 
 person, but that the fable was invented by the monks to revenge 
 themselves on the memory of Faust the printer, who had destroyed 
 their trade in manuscripts,^ But if we are content with that sort of 
 evidence by which the vast majority of historical incidents are estab- 
 lished, we shall arrive at a much more satisfactory conclusion con- 
 cerning him. Melancthon knew him personally ; ' and he is spoken 
 of by other immediate cotemporaries. 
 
 Johann (or John) Faust (or Fahstus), then, according to the better 
 opinion, was born at Kundlingen,' within the territory of Wurttem- 
 berg,* of parents low of stock (as Marlowe expresses it), some time 
 towards the end of the fifteenth century. He must not be confounded 
 with Faust (or Fust) the printer, who flourished more than half a 
 century before." He waa bred a physician, and graduated in medi- 
 cine, but soon betook himself to magic. In this pursuit he is said to 
 have spent a rich inheritance left him by an uncle. The study of 
 magic naturally led to an acquaintance with the devil, with whom he 
 entered into a compact substantially the same as that cited by Wid- 
 mann {ante, p. 182) in a note." In company with an imp or spirit, given 
 him by his friend Satan and attending on him in the guise of a black 
 dog, he ranged freely through the world, playing off many singular 
 
 1 It has been contended that the very name ia an invented one ; the notion 
 being that it was given to a mpgician — ob faustum in rebus peractu difficiUimis 
 successum, 
 
 2 So says the " Gonyersations-Lexicon ; " but Dr. Stieglitz is silent on the point. 
 8 The correct name is Enittllngen. — En. 
 
 4 Anhalt and Brandenbnrg also claim the honour of his birth. 
 
 5 A distinct title is assigned to each in the "Conversations- Lexicon." The 
 printer is supposed to have died of the plague in 1466. 
 
 6 Id order not to swell unnecessarily the bulk of the notes, it has been con- 
 sidered advisable to transfer the note in question (referring to the toj line of p. 
 
APPENDIX. II. 443 
 
 pranks upon the way. No doubt, however, he enjoys the credit of a 
 great deal of mischief he had no hand in, just as wits like Jekyl 
 or Sheridan have all the puns of their contemporaries to answer for. 
 " Shortly (says Gorres) Faustus appeared conspicuous in history as 
 the common representative of mischievous magicians, guilty of all 
 kind of diablerie. Their sins, throughout centuries, were all laid at 
 his door ; and when the general faith, falling as it were to pieces, 
 divided into ferocious schisms, it found a common point of approach 
 in a man who, during his frequent tours, and his intercourse with all 
 ranks of people, had boasted of his infernal connections and influence 
 in the nether lands." ' 
 
 Faust appears to have travelled mostly in a magic mantle, present- 
 ing himself in the cities he lighted on as a travelling scholar (Fahrm- 
 der Scholast), a very common sort of vagabond in the middle ages. 
 We trace him through Ingolstadt (where he is said to have studied), 
 Prague, Erfurt, Leipsic, and Wittenberg, but cannot say with cer- 
 tainty what other places he visited in his tours. " About 1560 (says 
 Mi\ Carlyle in a short note about him in the ' Foreign Quarterly 
 Review,' No. XVI.) his term of thaumaturgy being over, he disap- 
 117 in this edition } to this place, where it seems, besides, to come in more appro- 
 priately. — Ed. 
 
 "And what am I to do for you in return? — The actual or traditional compact 
 was to the following e£fect : — 
 
 ' Puis le B. Fauste revolt son sang sur nne tuile. et y met des charbons tout 
 chauds, et 6crit comme s'ensuit ci aprfis : 
 
 ' '* Jean Fauste, Docteur, reconnois de ma propre main maniiestement pour 
 une chose ratiiifie, et ce en vertu de cet 6crit : qu'aprSs que ]"e me suis mis a 
 sp^culer les 616mens, et apr&s les dons qui m'ont 6t6 distribuez et d^partis deU- 
 haut : lesquels n'ont point trouv6 d'habitude dans mon entendement. Et de ce 
 que je n'ai peu Stre enseignfi autrement des hommes, lors je me suis pr^sente- 
 ment adonni & un Esprit, qui s'appelle M6phistophil6s, qui est valet du prince 
 infernal en Orient, par paction entre lui et moi, qu'il m'adresseroit et m'appren- 
 droit. comme 11 m'6toit pr^destin^, qui aussi r^ciproquement m'a promis de 
 m'6tre sujet en toutes choses. Partant et a I'opposite, je lui ai promis et lui cer- 
 tifie, que d'ici a vingt-quatre ans de la date de ces pr^sentea, vivant jusques-ia 
 completement, comme il m'enseignera en son art et science, et en ses inventions 
 me maintiendra, gouvernera, conduira, et me fera tout bien, avee toutes chosts 
 n^cessaires a mon corps, i, mon ame, a ma chair, h mon sang, et a ma sant6 : 
 que je suis et serai sien a jamais. Partant, je renonce a tout ce qui est pour la 
 vie du maltre cfleste et de tons les hommes, et que je sois en tout sien. Pour 
 plus grande certitude, et plus grande confirmation, j'ai &rit lapr&ente promesse 
 de ma propre main, et I'ai sons-^crit de mon propre sang que je me suistir^ ex- 
 press^ment pour ce f aire, de mon sens et de mon jugement, de ma pens^e et 
 volout^, et I'ai arrSt^, scell« et testifl^, &c." '— Cayet's ' Widmann,' Part I. 
 
 " In karlowe's ' Faustus ' the instrument is formally set out." 
 
 1 " Volksbiicher," as translated by Mr. Eoscoe. 
 
4i4 FAUST. 
 
 peared ; whether under a feigned name, by the rope of some hangman, 
 or frightfully torn in pieces by the devil near the village of Eimlioh, 
 between twelve and one in the morning, let every reader judge for 
 himself." There is no authority for the above very injurious insinua- 
 tion, nor has Mr. Carlyle followed the best a» to the date of Faust's 
 disappearance. Nothing authentic was beard of him for nearly 
 thirty years before. One anecdote, corroborative of the commonly 
 received notion of his death, is worth recording. Neumann * relates, 
 that when, during the Thirty Years' "War, the enemy broke into 
 Saxony, a detachment was quartered at a village called Breda, on the 
 Elbe. The magistrate of the village sought out the commander, and 
 informed him that his house had obtained a high celebrity through 
 Faust's horrible death in it, as the blood-besprinkled walls still testi- 
 fied. At this information the conquerors stood astounded, and soon 
 taking the alarm, endeavoured to save themselves by flight. 
 
 Faust had a disciple named Wagner, the son of a clergyman 
 at Wasserburg. The name of Wagner also figures, as editor, on the 
 title-pages of some works on magic attributed to Faust. 
 
 The most remarkable thing about this fable is its almost universal 
 diCfusion. It spread rapidly through France, Italy, Spain, England, 
 Holland, and Poland, giving, burth to numerous fictions, some of 
 a high order of poetical merit. Amongst others, Calderon's "El 
 Magico Frodigioso" has been attributed to it. St. Cyprian of 
 Antioch was the model which Calderon really worked lipon, but 
 Goethe has been so unequivocally accused of plagiarism from this 
 play, that I shall make a short digression for the purpose of convey- 
 ing a general notion of the plot. Three scenes have been translated 
 by Shelley. 
 
 The first scene is the neighbourhood of Antioch, where a solemnity 
 in honour of Jupiter is in the act of celebration. Cyprian, who has 
 begun to see the errors of polytheism, appears attended by two of his 
 disciples carrying books. As he is meditating over a passage in Fliny 
 relating to the nature and existence of God, the Evil, One presents 
 himself in the guise of a travelling gentleman who has lost his way. 
 They have a dispute of some length, the devil defending the old 
 superstition, and Cyprian attacking it. The devil has the worst of 
 the argument, and makes a pretence for withdrawing himself, resolv- 
 ing to seduce Cyprian by means of a woman. For this purpose he 
 
 1 "Disqnisitio de FauBto," Sc. [The full title of the cnrions work in qnes- 
 tion is, Neumann, .T. G., et C. Chr. Kirchner, " Disquisitio historica de Fauato 
 pr»stigitttore, vnlgo voa Doctor Faust," Wittabergse, 1693,— En.] 
 
APPENBlX. II. 445 
 
 selects Justine, one of the new conyerts to Christianity, who is living 
 in Antioch under the care of her adopted father, Lysando^ She is 
 beloved by Floro and Lselio, who are about to fight a duel, when they 
 are interrupted by the accidental presence of Cyprian, who under- 
 takes to see the lady, and ascertain which of them is favoured by her 
 preference. He visits and falls in love with her himself, but is not 
 more successful than the two young rivals have been ; and his desires 
 are at length worked up to such a pitch, that he resolves on making 
 every sacrifice to attain the object of them. Whilst in this mood he 
 witnesses a shipwreck, and offers the solitary survivor an asylum in 
 his house. It is the demon, who professes himself able to procure 
 Cyprian the possession of Justine, and, in testimony of his power, 
 splits a rook {paiasco) asunder, and discovers her asleep in the centre 
 of it. Cyprian is thereby induced to sign with his blood a contract 
 for the eventual surrender of his soul, upon condition that Justine be 
 secured to him ; which the devil contracts for in his turn. For the 
 furtherance of his views, he studies magic, under the devil's instruc- 
 tion, until he has made himself a master of the art. Whilst Cyprian 
 is thus accomplishing himself, Justine is beginning to relent, and, 
 tempted by the devil, suffers amatory emotions to influence her 
 to such a degree, that she is on the point of falhng, but resists, and 
 saves herself by faith. I am tempted to give an extract from Shelley's 
 beautiful version of this scene, where the evil spirit is tempting the 
 heroine : — 
 
 Justine. 'Tis that enamoured nightingale 
 
 Who gives me the reply ; 
 
 Who ever tells the same soft tale 
 
 Of passion and of constancy 
 
 To his mate, who rapt and fond, 
 
 Listeumg sits, a bough beyond. 
 
 Be silent. Nightingale I— no more 
 
 Make me think, in hearing thee 
 
 Thus tenderly thy love deplore, 
 
 If a bird can feel his so. 
 
 What a man would feel for me. 
 
 And, voluptuous vine, O thou 
 
 Who seekest most when least pursuing,— 
 
 To the trunk thou interlacest, 
 
 Art the verdure which embracest. 
 
 And the weight which is its ruin,— 
 
 No more, with green embraces, vine. 
 
 Make me think on what thou lovest,- 
 
 1 This may rmind the reader of Kecha in •• Nathan the Wise." 
 
446 FAUsf. 
 
 For whilst thou thns thy boughs entwine, 
 1 fear lest thou shouldst teach me, sophist, 
 How arms might be entangled too. 
 
 Light-enchanted sunflower, thou 
 Who gazest ever true and tender. 
 On the sun's revolving splendour 1 
 Follow not his faithless glance 
 With thy faded countenance. 
 Nor touch my beating heart to fear. 
 If leaves can mourn without a tear. 
 How eyes must weep I O, nightingale. 
 Cease from thy enamoured tale. 
 Leafy vine, unwreathe thy bower. 
 Restless sunflower, cease to move. 
 Or tell me all, what poisonous power 
 Ye use against me — 
 All. Love ! love 1 love ! 
 
 The devil, thus foiled in his expectations, can only bring Cyprian 
 a phantom resembling her, and maintains that he has thereby 
 fulfilled his contract, but in the end is obliged to own that he has 
 not; that God — one God — the God of Christianity, prevents him 
 from harming the maiden, herself a Christian. Cyprian draws his 
 sword upon the devil, who is compelled to depart, leaving his intended 
 victim to make his peace with God. This he does by becoming on the 
 instant a complete convert to Christianity, the immediate result of 
 which is that he is apprehended and condemned to die as a heretic in 
 Antioch. Justine, in the mean time, has been exposed to a series of 
 trials through the rivalry of Floro and Lselio, whose jealousy has been 
 exasperated by various deceits put upon them by the devil ; and at the 
 period of Cyprian's condemnation she also is condemned as a heretic. 
 They suffer together after an affecting interview, in which their con- 
 stancy is put to a severe trial, and the piece closes (if we except a few 
 expressions of astonishment by the bystanders) with the appearance 
 of the demon, mounted on a serpent, on high, who declares himself 
 commanded by God to declare Justine's entire innocence. 
 
 There is a comic by-plot between the inferior characters of 
 the piece, with several bustling scenes between Floro, Lselio, 
 Lysando, and Justine. The grand aim of the piece is obviously to 
 exalt Christianity. 
 
 We may also refer t9 the histories of Virgilius, a magiciaii who 
 long preceded Faust,' in proof that we are not loosely to attribute all 
 
 1 See Eosooe'8 " German Novelists," vol. i. p. 357. Paracelsus, Cornelius 
 Agrippa, Cardanus, Thomas Oampanella, Albertus Magnus, are enumerated by 
 
APPENDIX. II. 447 
 
 traditions and fictions which have a necromantic doctor for their hero, 
 to the latter. The works directly founded on or relating to Faust's 
 history are numerous enough to satisfy the most ardent supporter of 
 his dignity. Dr. Stieglitz makes the books alone amount to 106, and 
 his catalogue is incomplete. For instance, he does not mention 
 a modern French prose epopee of some note (I forget the precise 
 title) in three volumes, published within the last six years ; nor the 
 old English work of 1 594 mentioned by Mr. Roscoe ' as lent to him 
 by Mr. Douce ; nor Mr. Roscoe "s own volume ; nor four out of six of 
 the English dramatic adaptations. The Second Part of " Faust" had 
 not appeared when Dr. Stieglitz wrote, nor could my own book have 
 reached Germany early enough to be counted in his list. I also miss 
 Dr. Franz Horn, who has given a detailed and very interesting 
 account of the old puppet-show play." 
 
 I proceed to mention the most remarkable of these productions. 
 
 First amongst those of the dramatic order stand the old puppet- 
 plays. Dr. Stieglitz mentions several of these as popular in the last 
 century, but gives only a general account of them. I therefore 
 follow Dr. Franz Horn, who is speaking of a representation which he 
 witnessed himself about the year 1807, 
 
 The first scene represents Faust sitting in his study, with a large 
 book before him, in much the same attitude in which he is represented 
 by Marlowe and Goethe. After some reflections on the vanity of 
 knowledge, he steps into the magic circle and conjures up the devils, 
 for the purpose, it would seem, of selecting one of them for his slave. 
 He questions each in turn as to his comparative swiftness, and after 
 rejecting one by one those who merely profess to be as swift as air, 
 arrows, plagues, &c., he chooses the one who says he is as swift as the 
 thoughts of men. " In later versions," says Dr. Horn, « Faust is 
 made to choose the devil who is as swift as the transition from good to 
 
 Dr. Stieglitz as early renowned for mysterions pursaite which went by the name 
 of magical ; and we might match onr own Eoger Bacon against any of them. 
 Bee "The Famona Historie of Fryer Bacon, with the Lives and Deaths of the 
 Two Conjnrors Bnngye and Vandermast," reprinted in 1816. 
 
 1 " The Second Report of Doctor John Faustns, containing his Appearances, 
 and the Deedes of Wagner, written by an English Gentleman Stndent m 
 Wittenberg, an University of Germany, in Saxony. Pnblished for the delight of 
 all those which desire Novelties, by a Friend of the same Gentleman London 
 printed by Abell Jeffes, for Cuthbert Burby, and are to be sold at the middle 
 shop, at Saint MilfredChnrch by the Stockes, 1594." 
 
 2 In his " Frenndliche Schriften" (Th. 3), and also in his "Poesie nnd Bered- 
 samkeit &c ," vol. ii. p. 263. At p. 268, he gives a short acconnt of the old 
 pnppet-play of Don Juan, whom he calls, in another work, the antithesis of Fanst, 
 
448 FA-ffsT. 
 
 evil." Faust is interrupted by the entrance of Wagner, who is repre- 
 sented as a lively sort of person apeing his master. Then enters 
 Kasperl, the Mr. Merryman of the piece, who soon throws Wagner 
 into the shade. Indeed, on the hiring of Kasperl as Faust's servant 
 by Wagner, which takes place after a humorous dialogue between the 
 two, Wagner drops out of view and Kasperl figures as the only atten- 
 dant upon Faust. So soon as Kasperl is left alone, he is driven by 
 curiosity to peep into Faust's book of magic, and succeeds with much 
 difficulty in spelling out two words : Berlik, a spell to call up devils, 
 and BerloJe, spell to send them away. He forthwith puts his new 
 knowledge to the test, and amuses himself by repeating the words so 
 rapidly one after the other, that it is only by the utmost exertion of 
 their activity that the devils can keep pace with him and obey 
 the word of command. In the end, however, he gets a knockdown 
 blow or rebuff which closes the scene. 
 
 Faust is next represented as anxious to enter into a compact with 
 the devil, with the view of adding to his own influence upon earth. 
 The compact is ready, and Faust is bringing ink to subscribe it, when 
 the devil with a laugh explains to him that his own blood will be re- 
 quired. He complies, and opens a vein in his hand ; the blood 
 forms itself into the letters H. F. {Homo, fuge), and the warning 
 is followed up by the appearance of a guardian-angel, but in vain. 
 Mephistopheles, who had retreated before the angel, reappears ; and 
 a raven flies off with the paper, now subscribed by Faust, in its beak. 
 The only use Faust makes of his newly-acquired power is to 
 wander from place to place playing tricks. The palace of an 
 Itahan duke is the scene of all those which are represented in this 
 show ; where he calls up Samson, Goliah, Solomon, Judith, &c., &c., 
 for the amusement of the duchess. He is thus growing into high 
 favour with her, when the duke, whether from jealousy or from 
 some other cause which does not appear, makes an attempt to poison 
 him, and Faust prudently moves off. I must not forget to mention 
 that Kasperl is as facetious as usual during their sojourn in Italy, 
 but on his master's sudden flight he appears reduced to the most 
 melancholy condition by solitude. For company's sake, he invokes 
 a devil, and embraces it with the utmost warmth of affection when it 
 appears. This devil is touched by his situation, promises to convey 
 him back to Germany, and advises him to apply for the place of 
 watchman when there. Kaspar ^ thanks him heartily for his flatter- 
 
 1 Dr. Horn spells the name sometimes Kasperl, and sometimes Kaspar, 
 [Rhsperl is the Austrian popular diminutive form for Kaspar. — En.] 
 
APPENDIX, ir. 449 
 
 ing advice, but modestly declares that he cannot sing; to which the 
 devil replies that the watchmen in Germany are not required to sing 
 better than they can. 
 
 Faust is now again in his Fatherland, but his term is nearly ex- 
 pired, and he whiningly asks the devil, who by the conti-aot is always 
 to speak the truth, whether it be yet possible for him to come to 
 God. The devil stammers out a soft " I know not," and flies trem- 
 bling away. Faust kneels down to pray, but his devotions are in- 
 terrupted by the vision of Helen, sent by the Evil One to prevent 
 him from relapsing into faith. He yields to the temptation, and all 
 hope is at an end. 
 
 It is now the night of the catastrophe. As the clock strikes nine, 
 a voice from above calls to Faust : Sereiie dich,— Prepare thyidf ; 
 and shortly afterwards the same voice exclaims : Du bist angeklagt, 
 —Thm art arraigned. It strikes ten, and as Kasperl (in his capa- 
 city of watchman) calls the hour, the voice exclaims : Du bist 
 gerichtet,—Thm art judged. " Thus then," says Franz Horn, " no 
 retreat is any longer possible, for the judgment ( Vrtheil not Ferur' 
 theUung) is passed, and though not yet pronounced, still quite clear to 
 the foreboding spirit." On the stroke of midnight, the voice calls 
 for the last time : Du bist aufewig verdammt, — Tkim art damned to 
 all eternity ; and after a short monologue, Faust falls into the power 
 of the Evil One. The piece concludes with another exhibition of 
 buffoonery by Kaspar, who comes upon the stage just as his master 
 is borne off. 
 
 None of the other puppet-show plays of which we have any accu- 
 rate account, differ materially from the above. 
 
 The pantomimes founded on Faust are numerous, but I have found 
 it impossible to acquire more than a vague and hearsay knowledge 
 of them, nor perhaps is a more particular knowledge desirable. 
 Only two produced at Leipzig in 1770 and 1809, and one produced 
 at Vienna in 1779, are recorded by Dr. Btieglitz ; but Mr. Winston, 
 the secretary to the Garrick Club, a gentleman remarkably well 
 versed in dramatic history, has obligingly supplied me with a copy 
 of the following three entries in his own private catalogue of per- 
 formances : — 
 
 " Harlequin Dr. Faustus, with the Masques of the Deities, pro- 
 duced at Drury Lane in 1724. Published in Oct., 1724. By Thur- 
 mond, a dancing-master. Pantomime. 
 
 " Harlequin Dr. Faustus, 1766 ; a revival of the last, with altera- 
 tions by Woodward. 
 
450 FAUST. 
 
 " Harlequin Dr. Faustus, or the Deyil will have his Own. Panto- 
 mime. 1793." 
 
 Marlowe's play- seems to be the earliest regular drama founded on 
 the fable ; one by Mountfort, also an Englishman, the next.' A 
 play extemponized by a company of actors at Mainz in 1746, is the 
 first of which anything certain is recorded in Germany.' Since 
 Marlowe's time, between thirty and forty dramatic fictions have been 
 founded on it. The great majority of these have been elicited by 
 Goethe's. Maler Miiller, and two or three others, undoubtedly pre- 
 ceded him, so far at least as publication is concerned ; * but the de- 
 signs differ widely, and no one, after reading Miiller 's, will suspect 
 Goethe of borrowing much from it. There is considerable power 
 in the soliloquies, and the scene in which the emblems of 
 Wealth, Power, Pleasure, and Glory, are in turns exhibited to 
 Faust, is very finely conceived ; but the greater part is occupied 
 by tedious colloquies between subordinate characters, and the 
 plot has not time to develop itself before the Fragment con- 
 cludes. There are two or three points of imperfect analogy, which 
 I will name, 
 
 The first scene, instead of representing the Lord wagering with 
 Mephistopheles that he cannot seduce Faust, represents Lucifer 
 wagering with Mephistopheles that no truly great (that is, firm and 
 steadfast) man is to be found upon earth. Mephistopheles undertakes 
 to prove that Faust is such a man ; so that in Goethe's drama we 
 have Mephistopheles depreciating, and in Mailer's exalting, the 
 character of Faust. Again— Wagner makes his first entrance 
 during one of Faust's soliloquies, which he breaks off; and Margaret 
 
 1 It was acted in 1594 by the Lord Admiral's servants. From Mr. Collier's 
 " Annals of the Stage " (vol. iii. p. 126), it appears that a considerable portion 
 of Marlowe's play, as it has come down to ns, is the work of other hands. The 
 earliest known edition is that of 1604 ; bnt it mnst have been written.some time 
 before, as it is supposed to have suggested '• The Hononrable History of Friar 
 Bacon and Friar Bungay," published in 1594, by Greene. See Collier, vol. iii. 
 p. 159, and Uyce's edition of Greene's Works. Marlowe's " Fanstns" has been 
 translated into German by Wilhelm Miiller, with a Preface by Von Arnim, one 
 of the editors of the " Wnnderhorn." [Professor Selss has two interesting notes 
 on Marlowe's " Fanstns " in his edition of Goethe's " Faust." En.] 
 
 2 " Life and Death of Dr. Fanstns," byW. Mountfort, brought out at Queen's 
 Theatre, Dorset Gardens ; published in 4to. 1697. 
 
 3 Neumann, " Disquis. de Fausto," says generally that it was dramatized in the 
 seventeenth century. 
 
 4 " Johann Faust, an allegorical Drama in five Acts," was published at Mnnich 
 in 1775. " Faust. Ein Fragment," by Goethe, was published in 1790, 
 
APPJJKDIX. II. iol 
 
 is represented as conversing with her lover from her window in this 
 manner : — 
 
 "Kolbel. Margaret, my charmer, my angel! Oh, that I were 
 above there, in thy arms ! 
 
 " Margaret. Hush 1 I hear my sister ; my uncle coughs. Come 
 round to the other window, and I have something more to say to you. 
 " K'olbel. With all my heart, love." 
 
 There is no want of charity in supposing that this love-adventure 
 ended much in the same manner as that recorded by Goethe- 
 and the expressions strongly resemble those.^ Some similarity 
 in the soliloquies was to be anticipated, as they necessarily tm-n 
 upon the same topics of discontent, but there is one reply made 
 by Miiller's Faust to the devil, which bears so close a lilceness to 
 one placed by Goethe in his mouth,' that I shall quote it also as it 
 stands : — 
 " Faiisi. Know'st thou then all my wishes ? 
 " Sixth Devil, — And will leave them in the consummation far 
 behind. 
 
 " Fatist. How ! if I required it, and thou wert to bear me to the 
 uppermost stars, — to the uppermost part of the uppermost, shall I 
 not bring a human heart along with me, which in its wanton wishes 
 will nine times surpass thy flight ? Learn from me that man requires 
 more than God and Devil can give." 
 
 Previously to the publication of " Faust's Leben dramatisirt " (the 
 piece I quote from), Miiller had published (in 1776) a fragment 
 entitled, "A Situation out of Faust's Life." It presents nothing 
 remai'kable. 
 
 Among the writers who have followed Goethe in writing poems, 
 dramas, or dramatic scenes about Faust, are Lenz, Schreiber, 
 Klinger, Von Soden, Schick, Von Chamisso, Voigt, Schone, Ber- 
 kowitz, Klingemann, Grabbe, Holtei, Harro Barring, Rosenkranz, 
 Hofmann, Bechstein, and Pfizer; besides those who have published 
 anonymously.^ 
 
 Lessing, it is well known, had drawn up two plans for a drama 
 upon Faust ; he has only left us one fragment of a scene. This has 
 been translated by Lord F. L. Egerton (now Lord EUesmere), and 
 appended to his translation of Goethe's " Faust." Madame de Stael 
 suggests that Goethe's plan was borrowed from it, and she is pro- 
 
 1 In the present edition, pp. 287 and 117 respectively.— En. 
 
 2 Besides the above authors should be mentioned Lenau, Braun von 
 Braunthal, Heine, Stolte, &c.— En. 
 
452 FAUST, 
 
 bably right as regards the Prologue in Heaven. The only difference 
 is that Lessing's is a Prologue in Hell, where one of the attendant 
 spirits proposes to Satan the seduction of Faust, who assents and de- 
 clares the plan a feasible one, on being informed that Faust has an 
 overweening desire of knowledge. The whole of this fragment would 
 not more than fill two of my pages. See, as to Lessing's plans, his 
 " Briefe die neueste Literatur betreffend," Part i., p. 103 ; the " Ana- 
 lecten fiir die Literatur," Part i., p. 110; and the Second Part of 
 his Theatrical Legacy (" Nachlass ")} 
 
 Dr. Stieglitz has no less than four Operas upon his list. Of those 
 by Bauerle and Von Voss, I know nothing. That by Bernard and 
 Spohr has been received with considerable applause in Germany, but 
 the plot 1b mostly made up out of the old traditionary stories, and 
 the composer seems very rarely to have had Goethe's drama in his 
 mind. An Opera Sena, entitled " Fausto," was also produced at 
 Paris in March, 1831, the music by Mademoiselle Louise Berlin ; 
 this I never saw, nor do I know whether it succeeded or not. The 
 Ballet of " Faust," imported last year (1832), must be fresh in every- 
 body's recollection ; the descent scene had a fine effect in Paris, but 
 it was completely spoiled at our Italian Opera House by the shallow- 
 ness of the stage. The devils were brought so near to the spectators, 
 that the very materials of their infernal panoply were clearly dis- 
 tinguishable. 
 
 A " Bomantic Musical Drama," called first " Faustus," and after- 
 wards " The Devil and Dr. Faustus," the joint production of Messrs. 
 Soane and Terry, was brought out at Drury Lane in May, 1825 ; 
 and by the aid of Stansfield's scenery and Terry's excellent acting in 
 Mephistopheles, it had a considerable run. It was afterwards pub- 
 lished by Simpkin and Marshall. 
 
 The most successful attempt to set " Faust " to music is that of the 
 late Prince Radzivil. His composition is spoken of in the highest 
 terms of approbation, and I understand that the Princess (his widow) 
 
 ^ A great deal has been -written on the relation of Goethe's " Faust " to the 
 two extant diminutive Faust-fragments of Leasing, of -which one only is qnite 
 authentic ; but anything like a learned discussion on the subject, in order to 
 Bho-w that both Madame de Stael and Mr. Hayward -were -wrong in their judg- 
 ment, -would be out of place in a volume lilce the present, I cannot help pointing 
 out, ho-wever, that Hay-ward seems to have mixed up the t-wo short fragments, 
 and that he has -wrongly described the one communicated by J. J. Engel to the 
 editor of Lessing's " Theatralischer Nachlass," -which, by the bye, -we should 
 no-w call in English " Dramatic " or " Theatrical Eemains," I believe, and not 
 " Theatrical Le0ai^,"—ED, 
 
APPENDIX. II. 453 
 
 has printed, or is about to print, the whole for cu'culation among her 
 friends. Goethe's approval of the attempt has been unequivocally 
 expressed (" Works," vol. xxx. p. 89).^ 
 
 It appears from the correspondence between Goethe and Zelter 
 (vol. ii. pp. 424, 429), that Zelter^ once undertook to write music for 
 " Faust " by the desire of the author ; nor mast I forget to mention 
 that Goethe's " Faust " has been adapted to the stage by Tieck. It was 
 first acted in its altered state at Leipzig and Dresden on the 28th of 
 August, 1829, the anniversary of Goethe's eightieth birthday, and is 
 how a stock-piece at the principal theatres. A good deal of discus- 
 sion took place at the time as to the fitness of the poem for theatrical 
 representation at all ; ' though Schlegel, who considers the question 
 in his "Lectures on the Drama" (Leot. 15) and decides in the negative, 
 appears to have set the question at rest.* 
 
 To make this appendix complete, I shall here recapitulate the 
 whole of the commentaries with which I am acquainted. 
 
 " Ueber Goethe's Faust : Vorlesungen von Dr. Schubarth," Berlin, 
 1830. 
 
 " Ueber Goethe's Faust und dessen Fortsetzung, nebst einem An- 
 hange von dem ewigen Juden," Leipzig, 1824. 
 
 " Aesthetische Vorlesungen iiber Goethe's Faust, &c., von Dr. 
 Hinrichs," Halle, 1825. 
 
 " Ueber Calderon's Tragoedie vom Wunderthatigen Magus ; Ein 
 Beitrag zum Verstandniss der Faustischen Fabel, von Karl Eosen- 
 kranz," Halle und Leipzig, 1829. 
 
 "Ueber Erklarung undFortsetzung desFaust im Al]gemeinen,&c,, 
 von K. Rosenkranz," Leipzig, 1831. 
 
 "Doctor Faustus, Tragodie von Marlowe, &c.; aus dem Englischen 
 iibersetzt von "W. Miiller. Mit einer Vorrede von Ludwig von 
 Arnim," Berlin, 1808. [The translation is by the poet Wilhelm 
 Miiller, father of Professor Max Miiller. The preface was written 
 by Achim, and not by Ludwig von Arnim.— Ed.] 
 
 1 Musical compositions in connection with "Faust " have been written, besides, 
 by Schumann, Beriioz, Liszt, Wagner, Gounod, 4c.— Ed. 
 
 2 Cp. "Goethe's Letters to Zelter," translated by Mr. A. D. Coleridge 
 (Bell's), p. 74.— Ed. 
 
 3 See Beohstein's pamphlet, published at Stnttgardt, 1831. 
 
 4 The above remark is sure to raise a smile in the reader, there being few 
 pieces more effective on the stage than Part I. o£ "Taust "— ol course, if properly 
 represented— and even Part II. has been successfully performed. Some highly 
 interesting remarks on ranst-performanoes will be found in Mr. H. Schiitz 
 Wilson's " Tacts and Tancies about Tauat," in his volume of essays entitled 
 ■■ Studies in History, Legend, and Literature."— Ed. 
 
464 FAUST. 
 
 "Herold's Stimme zu Goethe's Faust, von C. F. G 1," Leipzig," 
 
 ' 1831. 
 
 " Zur BeurtheilungGoethe's, mitBeziehungauf verwandte Literatur 
 und Kunst, vou Dr. Soliubarth," 1820 ; a work in two volumes, of 
 which a large part is occupied with " Faust." 
 
 " Goethe aus personlichem Umgange dargestellt, von Falk ; " the 
 last 110 pages of which consist of a Commentary on "Faust." 
 
 " Vorlesnngen iiber Goethe's Faust, von Dr. Ranch," 1830. 
 
 M. von Arnim's Preface to the German translation of Marlowe's 
 " Faust." 
 
 In Schlegel's "Lectures on Dramatic Literature," Lect. 15, there 
 are a few remarks. " Faust " also forms the subject of some letters in 
 the "Briefwechsel" between Schiller and Goethe, vol. iii. pp. 129- 
 186." 
 
 It only remains to mention the artists who have taken the old 
 tradition or the modern drama of "Faust" for their subject-matter. Of 
 the former class, I know but two worth mentioning : one is Rem- 
 brandt, who has left a head of Faust, and a sketch of him in his study, 
 sitting just as Goethe has described him, in the midst of boolcs and 
 instruments, with a magic circle ready drawn and a skeleton half- 
 hidden by a curtain in the room. The other is Van Sichem, a Dutch 
 artist, born about 1580. He has left two sketches : a scene between 
 Faust and Mephistopheles, and a scene between Wagner and an 
 attendant spirit, Auerhain by name. These are minutely described 
 by Dr. Stieglitz, and I have seen a copy of the sketch by Rembrandt. 
 The pictures in Auerbach's cellar are described, ante, p. 186.' 
 
 The illustrators of " Faust" mentioned by Dr. Stieglitz (and I know 
 of no others) are : Retzsch, with his English imitator Moses, and a 
 French imitator who modestly conceals liis name ; Nauwerk, Nehr- 
 lich,' Kake, Ramberg, Lacroix (for Stapfer's translation),* and Cor- 
 nelius, whose designs were engraved by Ruschweyh in Rome. Of 
 these, the most celebrated are Retzsch and Cornelius. It is quite 
 unnecessary to speak of Retzsch, whose fame is now unlversaljy 
 diffused. Cornelius was formerly at the head of the school of paint- 
 
 1 A list of more recent commentators, &c., will be found at the beginning of 
 this volume. — En. 
 
 2 In the present edition, p. 147, n. 78.— En. 
 
 3 Cp. G. Nehrlich's " Zeichnungen nach Goethe's Faust, mit erlautemden 
 Worten von H. Duntzer." Stapfer's translation of " Faust " has been illustrated 
 by F. V. E. Delacroix.— Ed. 
 
 i See Goethe's " Post. Works," vol. vi. p. 169. 
 
APPENDIX. II. 455 
 
 ing at DUsseldorf, and is now (1834) President of tlie Academy of 
 Design at Munich. He enjoys the reputation of being the first 
 historical painter in Germany, and his illustrations of " Faust " have 
 great merit ; but being in the largest folio, and three or four pounds 
 in price, they are comparatively little known."^ 
 
 1 Besides the above-stated illnstrations of ** Fonst." there shonld be mentioned 
 those by Kaalbach, Kreling. Liezen-Mayer, Seibertz, etc. The " Faust " illusi 
 trations of Cornelius are now issued in smaller size at a moderate price, and have 
 in recent years been rendered more popular by photography,— Ed. 
 
TRANSLATOR'S PREFACES. 
 I. 
 
 TO THE EDITION FEINTED FOE PEIVATE 
 CIECIJLATION. 
 
 THE outline of Faust's story is already familiar 
 enough, and I have given all that I think neces- 
 sary in the way of illustration or commentary in the 
 notes. In this place, therefore, I have principally 
 to explain the motives -which led to the following 
 hazardous and, some may think, presumptuous under- 
 taking. 
 
 It was first suggested to me by a remark made by 
 Mr. Charles Lamb to an honoured friend of mine : ' 
 that he had derived more pleasure from the meagre 
 Latin versions of the G-reek tragedians, than from any 
 other versions of them he was acquaiuted with. The 
 following remarks by Goethe himself confirmed me in 
 it:— 
 
 " We G-ermans had the advantage that several signi- 
 ficant works of foreign nations were first translated in 
 an easy and clear manner. Shakespeare translated into 
 prose, first by Wieland, then by Eschenburg, being a 
 reading generally intelligible and adapted to every 
 
 ' [The Kev. H. F. Gary, translator of Dante and Pindar.]— 
 " I have read of a man who being, by his ignorance of Greek, 
 compelled to gratify his curiosity with the Latin printed on the 
 o_pposite page, declared that, from the rude simplicity of the 
 lines, literally rendered, he formed nobler ideas of the Homeric 
 majesty than from the laboured elegance of polished versions " 
 — JOHKSON's Life of Pope. 
 
translator's prefaces. 457 
 
 reader, was enabled to spread rapidly, and produce a 
 great effect. I honour botli rhythm and rhyme, hy 
 Which poetry first becomes poetry; but the properly 
 deep and radically operative, — the truly developing and 
 quickening, is that which remains of the poet, when he 
 is translated into prose. The inward substance then 
 remains in its purity and fulness: which, when it is 
 absent, a dazzling exterior often deludes us with the 
 semblance of, and, when it is present, conceals." ' 
 
 This will be admitted to be very high authority in 
 favour of prose translations of poetry ; and no one who 
 knows " Faust " will deny, that it is the poem of all 
 others of which a prose translation is most impera- 
 tively required, — for the simple reason, that it teems 
 with thought, and has long exercised a widely-spread 
 influence by qualities independent of metre and rhyme. 
 I am not aware that I can illustrate my meaning better 
 than by the following extract from a G-erman Eeview.* 
 It forms part of a critical notice of a work by M. 
 Eosenkranz, and (with aU its exaggeration and enthu- 
 siasm) may be taken as a fair sample of the light in 
 which " Faust " is considered in Germany : — 
 
 " The various attempts to continue the infinite matter 
 of ' Faust ' where G-oethe drops it, although in them- 
 selves fruitless and unsuccessful, at least show in what 
 manifold ways this great poem may be conceived, and 
 how it presents a different side to every individuality. 
 As the sunbeam breaks itself differently in every eye, 
 and the starred heaven and nature are different for 
 every soul-mirror, so it is with this immeasurable and 
 exhaustless poem. We have illustrators and continuers 
 
 ' "Aus meinem Leben: Dichtnng und Wahrheit," Th. iii. 
 b. 11. Hardly a single sentence of the English version, pub- 
 lished under the title of " Memoirs of Goethe, is to be depended 
 upon. The translation of Shakespeare mentioned by Goethe 
 was originally undertaken by Wieland, who, according to 
 Griiber, was paid at the rate of two Thalers (six shillings) per 
 sheet. He completed twenty -two of the plays; which were 
 afterwards republished by Eschenburg with the rest translated 
 by himself. 
 
 * "Blatter fiir Literarische Unterhaltung," Leipzig. 
 
458 translator's prefaces. 
 
 of 'Faust,' who, captivated by the practical -wisdom 
 which pervades it, considered the whole poem as one 
 great collection of maxims of life ; we have met with 
 others who saw nothing else in it but a pantheistical 
 solution of the enigma of existence ; others again, more 
 alive to the genius of poetry, admired only the poetical 
 clothing of the ideas, which otherwise seemed to them 
 to have little significance; and others again saw no- 
 thing peculiar but the felicitous exposition of a philo- 
 sopMcal theory, and the specification of certain errors 
 of practical life. All these are right ; for from all 
 these points of view ' Faust ' is great and significant ; 
 but whilst it appears to follow these several directions 
 as radiations from a focus, at the same time it contains 
 (but for the most part concealed) its peculiar, truly 
 great, and principal direction; and this is the reconf 
 cilement of the great contradiction of the world, the 
 establishment of peace between the Eeal and the Ideal. 
 No one who loses sight of this, the great foundation of 
 'Faust,' will find himself in a condition — we do not 
 say to explain or continue, but even to read and com- 
 prehend the poem. This principal basis underlies all 
 its particular tendencies — the religious, the philo- 
 sophical, the scientific, the practical ; and for this very 
 reason is it, that the theologian, the scholar, the soldier, 
 the man of the world, and the student of philosophy, 
 to whatever school he may belong, are all sure of 
 finding something to interest them in this all-embracing 
 production." 
 
 Surely a work of which this, or anything like it, can 
 be said, deserves to be translated as literally as the 
 genius of our language will admit ; with an almost 
 exclusive reference to the strict meaning of the words, 
 and a comparative disregard of the beauties which are 
 commonly thought peculiar to poetry, should they 
 prove irreconcilable with the sense. I am not saying 
 that they will prove so, for the noblest conceptions and 
 most beautiful descriptions in " Faust " would be noble 
 and beautiful in any language capable of containing 
 them, be it as unmusical and harsh as it would, — 
 
translator's prefaces. 459 
 
 "As sunshine broken on a rill, 
 
 Though turned astray, is sunshine still." 
 
 Still less am I saying that such a translation would be 
 the best, or should be the only one. But I venture to 
 think that it may possess some interest and utility 
 now ; when, at the distance of nearly half a century 
 from the first appearance of the work, nothing at all 
 approximating to an accurate version of it exists. With 
 one or two exceptions, all attempts by foreigners 
 (foreigners as regards Germany, I mean), to translate 
 even solitary scenes.or detached passages from " Faust," 
 are crowded with the most extraordinary mistakes, not 
 of words merely, but of spirit and tone ; and the 
 author's fame has suffered accordingly. Tor no warn- 
 ings on the part of those who know and would fain 
 manifest the truth, can entirely obviate the deterio- 
 rating influence of such versions on the mind. "I 
 dare say," the reader replies, " that what you tell me 
 about this translation may be right, but the author's 
 meaning can hardly be so obscured or perverted as to 
 prevent my forming some notion of his powers." 
 
 Now I print this translation with the view of proving 
 to a certain number of my literary friends, and through 
 them perhaps to the public at large, that they have 
 hitherto had nothing from which they can form a just 
 estimate of " Faust ; " and with this view, and this 
 view only, I shall prefix a few remarks on the English 
 and French translators who have preceded me. 
 
 [Here followed remarks on Lord Francis Egerton 
 (now Lord Ellesmere), Shelley, the author of the 
 translation published with the English edition of 
 Eetzsch's " Outlines," the author of the translated pas- 
 sages in "Blackwood's Magazine," No. 39 (Dr. Anster), 
 Madame de Stael, and MM. de Sainte-Aulaire, Stapfer, 
 and Gerard. These remarks are omitted because their 
 original purpose has been fulfilled. — ^Haywaed.] 
 
 My main object in these criticisms is to shake, if 
 not remove, the very disadvantageous impressions that 
 have hitherto been prevalent of " Faust," and keep 
 
460 translator's prefaces. 
 
 public opinion suspended concerning Goethe till some 
 poet of congenial spirit shall arise, capable of doing 
 justice to this, the most splendid and interesting of his 
 works. By my translation, also, I shall be able to 
 show what he is not, though it will be quite impossible 
 for me to show what he is. "II me reste (says M. 
 Stapfer), a protester contre ceux qui, apres la lecture 
 de cette traduction, s'imagineraient avoir acquis une 
 id^e complete de I'original. Port^ sur tel ouvrage 
 traduit que ce soit, le jugement serait errone ; il le 
 serait surtout a IMgard de celui-ci, a cause de la per- 
 fection continue du style. Qu'on se figure tout le 
 charme de 1' Amphitryon de Moliere joint a ce que les 
 poesies de Pamy ofErent -de plus gracieux, alors seule- 
 ment on pourra se croire dispense de le lire." 
 
 If I do not say something of the sort, it is only be- 
 cause I cannot decide with what English na,mes Moliere 
 and Pamy would be most aptly replaced. The merely 
 English reader, however, will perhaps take my simple 
 assurance, that, from the admitted beauty of Goethe's 
 versification, no writer loses more by being submitted 
 to the crucible of prose; though, at the same time, 
 very few writers can afford to lose so much ; as Dryden 
 said of Shakespeare, if his embroideries were burnt 
 down, there would still be silver at the bottom of the 
 
 . melting-pot. The bloom-like beauty of the songs, in 
 particular, vanishes at the bare touch of a translator ; 
 as regards these, therefore, I may as well own at once 
 that I am inviting my friends to a sort of Barmecide 
 entertainment, where fancy must supply all the mate- 
 rials for banqueting. I have one comfort, however : 
 the poets have hitherto tried their hands at them in 
 vain ; and I am backed by very high authority in de- 
 claring the most beautiful — Meine Buh' ist hin — to be 
 utterly untranslatable. Indeed, it is only by a lucky 
 chance that a succession of simple heartfelt expressions 
 or idiomatic felicities in one language, are ever capable 
 of exact representation in another. Two passages 
 already quoted • appear well adapted to exemplify what 
 
 I mean. When Margaret exclaims : — 
 
translator's prefaces. 4C1 
 
 " Sag Niemand dass du schon bei Gretohen warst," 
 
 it is quite impossible to render in English the finely 
 shaded meaning of hei. Here, therefore, Germany has 
 the test of it, but when we translate — 
 
 "Schon War ich auch, und das war mein Verderien," 
 
 " I was fair too, and that was my undoing " — ^we greatly 
 improve upon the original, and add a delicacy which I 
 defy any German to imitate.^ 
 
 My only object in giving a sort of rhythmical ar- 
 rangement to the lyrical parts, was to convey some 
 notion of the variety of versification which forms one 
 great charm of the poem. The idea was first suggested 
 to me by Milton's translation of the " Ode to i^rrha," 
 entitled : " Quis multa gracihs te puer in rosa. Eendered 
 almost word for word without rime, according to the 
 Latin measure, as near as the language will admit.'" 
 But I have seldom, if ever, made any sacrifice of sense 
 for the purpose of rounding a line in the lyrics or a 
 period ia the regular prose ; proceeding throughout on 
 the rooted conviction, that, if a translation such as 
 mine be not literal, it is valueless. By literal, how- 
 ever, must be understood merely that I have endea- 
 voured to convey the precise meaning of Goethe: an 
 object often best attainable by preserving the exact 
 form of expression employed by him, unless, indeed, 
 it be an exclusively national one. Even then I have 
 not always rejected it : for one great advantage to be 
 anticipated from such translations is the naturalization 
 of some of those pregnant modes of expression in which 
 the German language is so remarkably rich. Idioms, 
 
 1 No doubt the word "undoing" conveyed to the translator's 
 ears a delicacy not to be found in the German original, but 
 here it was above all requisite' to use an expressive term, and for 
 this purpose no more pathetic expression could be chosen than 
 the word Verderbem^-El). 
 
 ^ The above is the well-known 5th Ode of Book I., super- 
 scribed "Ad Pyrrham." Milton wrote "permit," and not 
 "admit."— Ed. 
 
462 translator's prefaces. 
 
 of course, belong to a wholly different category. My 
 remarks apply only to those phrases and compounds 
 where nothing is wanting to mate an Englishman per- 
 fectly aufait of them, but to think out the full meaning 
 of the words. In all such cases I translate literally, in 
 direct defiance to those sagacious critics.'who expect to 
 catch the spirit of a work of genius as dogs lap water 
 from the Nile, and vote a German author unreadable 
 unless all his own and his country's peculiarities are 
 planed away. In short, my theory is, that if the 
 English reader, not knowing German, be made to stand 
 in the same relation to " Faust" as the English reader, 
 thoroughly acquainted with German, stands in towards 
 it — i.e., if the same impressions be conveyed through 
 the same sort of medium, whether bright or dusky, 
 coarse or fine — the very extreme poiat of a translator's 
 duty has been attained. 
 
 But though pretty confident of the correctness of this 
 theory, I am far from certain that my practice uni- 
 formly accords with it. As the translation, however, 
 has been executed at leisure moments, was finished 
 many months ago, and has undergone the careful re- 
 yisal of friends, I think I can answer for its general 
 accuracy ; but in a work so crowded with elliptical and 
 idiomatic, nay even provincial, modes of expression, 
 and containing so many doubtful allusions, as " Faust," 
 it is morally impossible to guard against individual 
 errors, or what, at any rate, may be represented as 
 such by those who will not give the translator credit 
 for having weighed and rejected the constructions they 
 may chance to prefer. In the course of my inquiries, 
 I have not unfrequently had three or four different 
 interpretations suggested to me by as many accom- 
 plished German scholars, each ready to do battle for 
 his own against the world. There are also some few 
 meanings which all reasonable people confess them- 
 selves unable to unearth, — or rather, unheaven ; for it 
 is by rising, not sinking, that Goethe leaves his readers 
 behind, and in nearly all such instances, we respect, 
 despite of our embarrassment, the aspirations of a 
 
translator's rREFACE?. 4G3 
 
 master-mind, soaring proudly up into the infinite un- 
 known, and though failing possibly in the full extent 
 of its aim, yet bringing back rich tokens of its flight. 
 
 " Faust " has never yet been published with notes, 
 with the exception of a very few added to the French 
 translations, in which none of the real difficulties are 
 removed. I have endeavoured to supply this deficiency 
 by bringing together all the information I could collect 
 among an extensive circle of German acquaintance. I 
 have also ransacked all the commentaries I could get, 
 though nothing can be more unsatisfactory than the 
 result. They are almost exclusively fiUed with trashy 
 ampUfications of the text, not unfrequently dilating 
 into chapters what Goethe had condensed in a line. I 
 have named the whole of them in an Appendix. That 
 of Dr Schubart is said to be the only one which ever 
 received any token of approbation from Goethe. A few 
 parallel passages from English poets will also be found 
 in the notes. They are merely such as incidentally 
 suggested themselves ; except, indeed, that I re-read 
 the greater part of Wordsworth, Coleridge, and Shelley, 
 during the progress of the undertaking. 
 
 I fear it will be quite impossible for me to acknow- 
 ledge all the assistance I have received, but there are a 
 few kind co-operators whom I think it a duty to name, 
 though without their knowledge and perhaps contrary 
 to their wish. 
 
 I certainly owe most to my old master and friend 
 Mr. Heilner, whose consummate critical knowledge of 
 both languages enabled him to afford the most effective 
 aid in disentangling the perplexities of the work ; and 
 to my friend Mr. ifiUs, one of the best German scholars 
 I know, in whose richly-stored mind and fine taste I 
 found a perfect treasure-house of all that is most beau- 
 tiful in the most beautiful creations of genius, and an 
 almost infallible criterion of propriety. But it is also 
 with pride and pleasure that I offer my best acknow- 
 ledgments for very valuable aid to — Mrs. John Austin, 
 the elegant translator of " The German Prince's Tour :" 
 Pr, Bernays, Professor of the German Language and 
 
4G4 TnANSLATOn'S PREFACES. 
 
 Literature at King's College, and one of those who have 
 reflected most honour on that Institution by their 
 works : my clever and warm-hearted friend, Mr. Heller, 
 Attache to the Prussian Embassy : Mr. A. Troppaneger, 
 a German gentleman of learning and taste now residing 
 in London : Dr. Jacob Grimm, the first philologist of 
 this or perhaps of any age, and an eminently successful 
 cultivator of the most interesting department of German 
 literature besides : and last not least, A. W. von Schlegel, 
 whose enduring claims to general admiration are at 
 once too various to be easily enumerated and too well 
 known to need enumerating. There is yet another 
 highly distinguished friend, whose name I should have 
 been enabled to add, had not his regretted absence in a 
 foreign country deprived me of it. When I reflect how 
 much I owed to him on a former occasion of the kind, 
 I cannot contemplate the omission without a pang.' 
 
 Li conclusion I have only to say, that, as I followed 
 no one implicitly, my friends are not answerable for my 
 mistakes ; and that I shall be much obliged to anyone 
 who will suggest any amendment in the translation or 
 any addition to the notes, as at some future time I may 
 reprint or publish the work. 
 
 ' I alluded to "Mr. G. C. Lewis, translator of Boekh's 
 "Domestic Policy of the Athenians" and (with Mr. H. Tuflhell) 
 Muller's ' ' History of the Dorians. " He looked over my trans- 
 lation from Savigny for me.* 
 
 Temple, January 5th, 1833. 
 
 * The correct titles of the above works are : (1) Boeckh's 
 " Public Economy of Athens," translated by Q. C. Lewis (sub- 
 sequently " Sir George Comewall Lewis"), 1830 ; (2) K. O. Mul- 
 ler s " History and Antiquities of the Doric Race," translated 
 by H. Tufnell and G. C. Lewis, 1830.— Ed. 
 
ADVERTISEMENT 
 
 PEEFIXED TO 
 
 THE FIRST PUBLISHED EDITION. 
 
 T COMMENCED this translatiop without the slightest 
 ■A- idea of publishing it, and even when, by aid of pre- 
 face and notes, I thought I had produced a book which 
 might contribute something towards the promotion of 
 German literature in this country, I still felt unwilling 
 to cast it from me beyond the power of alteration or 
 recall. I therefore circulated the whole of the first 
 impression amongst my acquaintance, and made up my 
 mind to be guided by the general tenor of the opinions 
 I might receive from them. I also wished the accuracy 
 of my version to be verified by as many examinations as 
 possible, and I hoped to get some additional matter for 
 the notes. " The complete explanation of an author 
 (says Dr. Johnson) not systematic and consequential, 
 but desultory and vagrant, abounding in casual allu- 
 sions and light hints, is not to be expected from any 
 single scholiast. What can be known wiU be collected 
 by chance from the recesses of obscure and obsolete 
 papers (or from rare and curious books), perused 
 commonly with some other view. Of this knowledge 
 every man has some, and none has much ; but when an 
 author has engaged the public attention, those who can 
 add anything to his illustration, communicate their dis- 
 coveries, and time produces what had eluded diligence." 
 The result of the experiment has been so far satis- 
 
 H H 
 
■4C6 tra.ns1a.tor's i»repaces. 
 
 factory, that I am now emboldened to lay the work 
 before the public, with some not unimportant altera- 
 tions and additions suggested by subsequent inquiry or 
 by friends. 
 
 Temple, Fibruary ^&th, 1833 
 
III. 
 PREFACE 
 
 TO THE 
 
 SECOND EDITION OF THE TEANSLATION. 
 
 IN this Edition much of the matter has been re- 
 arranged, the Notes are augmented hy about a 
 tliird, and an Appendix of some length has been 
 annexed. The translation itself was found to require 
 only a few verbal corrections ; yet even as regards the 
 translation, I lay the work before the public with much 
 more confidence than formerly, both on account of the 
 trying ordeal it has passed through, and the many 
 advantages I have enjoyed in revising it. 
 
 "It is singular (and to the student of Grerman litera- 
 ture at once cheering and delightful) to see the interest 
 which Germane of the cultivated class take in the fame 
 of their great authors, and most particularly of Goethe. 
 They seem willing to undergo every sort of labour to 
 convey to foreigners a just impression of his excellence ; 
 and many German gentlemen have voluntarily under- 
 taken the irksome task of verifying my translation 
 word for word by the original. The amateurs of 
 German literature in this country, also, partake of the 
 same spirit of enthusiasm, and I have received many 
 valuable suggestions in consequence. My German 
 friends will find that I have retained a few expressions 
 objected to by them, but they must do me the justice 
 to remember that they are as likely to err from not 
 knowing the full force of an English idiom, as I am 
 
468 translator's prefaces. 
 
 from not knowing the full force of a G-erman one. 
 Another fertile source of improvement has been afforded 
 me by the numerous critical notices of my work. 
 
 Besides these advantages, I have recently (1833) paid 
 another visit to Germany, during which I had the 
 pleasure of talking, over the puzzling parts of the poem 
 with many of the most eminent living writers and 
 artists, and some of Goethe's intimate friends and con- 
 nections. Among those, for instance, whom I have to 
 thank for the kindest and most flattering reception, are 
 Tieck, Von Chamisso,^ Franz Horn, the Baron de la 
 Motte Fouque, Dr. Hitzig," Eetzsch, and Madame de 
 Goethe. M. Vamhagen von Ense, and Dr. Eckermann 
 of Weimar (names associated by more than one rela- 
 tion with Goethe's), whom I unfortunately missed 
 seeing, have each favoured me with suggestions or 
 notes. I think, therefore, I may now venture to say, 
 that the notes to this edition contain the sum of all 
 that can be asserted with confidence as to the allusions 
 and passages which have been made the subject of 
 controversy. 
 
 I have no desire to prolong the discussion as to the 
 comparative merit of prose and metrical translations ; 
 but, to prevent renewed misconstruction, I take this 
 opportunity of briefly restating my views. 
 
 Here (it may be said) is a poem, which, in addition 
 to the exquisite charm of its versification, is supposed 
 to abound in philosophical notions and practical maxims 
 of life, and to have a great moral object in view. It 
 is written in a language comparatively unfettered by 
 rule, presenting great facilities for the composition of 
 words, and, by reason of its ductile qualities, naturally, 
 as it were, and idiomatically adapting itself to every 
 variety of versification. The author is a man whose 
 genius inclined (as his proud position authorized) him 
 t/O employ the licence thus enjoyed by the writers of 
 his country to the full, and in the compass of this 
 
 ' The real author of " Peter Schlemihl," most unaccountably 
 attributed by the English translator to De la Motte Fouqu& 
 - President of the Literary Society of Berlin, 
 
translator's prefaces. 469 
 
 single production lie tas managed to introduce almost 
 every conceivable description of metre and rhythm. 
 The translator of such a work into English, a language 
 strictly subjected to that " literary legislation," ^ from 
 which it is the present (perhaps idle) boast of Germany 
 to be free, is obviously in this dilemma : he must sacri- 
 fice either metre or meaning ; and in a poem which it 
 is not uncommon to hear referred to in evidence of the 
 moral, metaphysical, or theological views of the author, 
 — which, as already intimated, has exercised a great 
 part of its widely-spread influence by qualities that 
 have no more necessary connection with verse than 
 prose, it is surely best to sacrifice metre. 
 
 The dilemma was fairly stated in the "Edinburgh 
 Eeview " : — " When people are once aware how very 
 rare a thing a successful translation must ever be, from 
 the nature of the case, they will be more disposed to 
 admit the prudence of lessening the obstacles as much 
 as possible. There will be no lack of difSculties to 
 surmount (of that the French school may rest assured), 
 after removing out of the way every restraint that can 
 be spared. If the very measure of the original can 
 be preserved, the delight with which our ear and ima- 
 gination recognize its return, add incomparably to the 
 triumph and the effect. Many persons, however, are 
 prepared to dispense with this condition, who, never- 
 theless, shrink from extending their indulgence to a 
 dispensation from metre altogether. But it is really 
 the same question which a writer and his critics have 
 to determine in both cases. If the difficulty of the par- 
 ticular metre, or of metre generally, can be mastered 
 without sacrificing more on their account than they 
 are worth, they ought undoubtedly to be preserved. 
 What, however, in any given case, is a nation to do, 
 until a genius shall arise who can reconcile contra- 
 dictions which are too strong for ordinary hands ? In 
 
 1 Miihlenfel's " Lecture." [Hay ward alludes here to the 
 "Introductory Lecture" on "German Literature," delivered 
 by Prof. L. von MiiWenfels (not " Muhlenfel") in 1828, at the 
 then University of London.— Ed.] 
 
470 translator's fkefaces. 
 
 the meanwhile, is it not the wisest course to mate the 
 most favourable bargain that the nature of the dilemma 
 offers ? Unless the public is absurd enough to abjure 
 the Literature of aU languages which are not universally 
 understood, there can be no member of the public who 
 is not dependent, in one case or another, upon transla- 
 tions. The necessity of this refuge for the destitute 
 being once admitted, it follows that they are entitled 
 to the best that can be got. What is the best? 
 Surely that in which the least of the original is lost — 
 least lost in those qualities which are the most impor- 
 tant. The native air and real meaning of a work are 
 more essential qualities than the charm of its numbers, 
 or the embelhshments and the passion of its poetic 
 style. The first is the metal and the weight; the 
 second is the plating and the fashion." — No. 115, 
 pp. 112, 113.' 
 
 A writer in the " Examiner " speaks still more de- 
 cidedly, and claims for prose translators a distinction 
 which we should hardly have ventured to claim for 
 ourselves : — 
 
 "Everyone knows the magnificent translation left 
 by Shelley of the 'Prologue in Heaven' and the 
 'May-Day Night- Scene ; ' fragments which, of them- 
 selves, have won many a young mind to the arduous 
 study of the Grerman language. By the industry ef 
 the present translator we learn, that many passages we 
 have been in the habit of admiring in those transla- 
 tions are not only perversions but direct contradictions 
 of the corresponding passages in Goethe, and that 
 Shelley wanted a few months' study of German to make 
 him equal to a translation of 'Faust.' We do not 
 think the translator need have troubled himself with 
 any dissertation of this sort, in order to justify the 
 design of a prose translation of ' Faust.' ' My main 
 object,' he says, ' in these criticisms is to shake, if not 
 remove, the very disadvantageous impressions that have 
 hitherto been prevalent of "Faust," and keep public 
 
 ^ This article has been translated into French and republished 
 in the " K^vue Britannique." 
 
translator's prefaces. 471 
 
 opinion suspended concerning Goethe, till some poet of 
 congenial spirit shall arise capable of doing justice to 
 this the most splendid and interesting of his works.' 
 Why not go further than this, and contend that a mind 
 strongly imbued -with poetical feeling, and rightly 
 covetous of an acquaintance with the poet, will not rest 
 satisfied with anything short of as exact a rendering 
 of his words as the different phraseology of the two 
 languages will admit? In such a translation, be it 
 never so well executed, we know that much is lost ; but 
 nothing that is lost can be enjoyed without studying 
 the language. No poetical translation can give the 
 rhythm and rhyme of the original ; it can only sub- 
 stitute the rhythm and rhyme of the translator ; and 
 Jor the sake of this substitute we must renounce some por- 
 tion of the original sense, and nearly all the expressions ; 
 whereas, hy a prose translation, we can arrive perfectly at 
 the thoughts, and very nearly at the words of the anginal. 
 When these (as in 'Faust') have sprung from the 
 brain of an inspired master, have been brooded over, 
 matured, and elaborated during a great portion of a 
 life, and finally issue forth, bearing upon them the 
 stamp of a creative authority, to what are we to sacri- 
 fice any part or particle which can be made to survive 
 in a literal transcript or paraphrase of prose ? To the 
 pleasure of being simultaneously tickled by the metres 
 of a native poetaster, which, if capable of giving any 
 enjoyment at all, will find themselves better wedded to 
 his own original thoughts, and which, were they the 
 happiest and most musical in the world, can never ring 
 out natural and concording music to aspirations bom 
 in another time, clime, and place, nor harmonize, like 
 the original metres, with that tone of mind to which 
 they should form a kind of orchestral accompaniment 
 in its creative mood. The sacred and mysterious union of 
 thought with verse, twin born and immortally wedded from 
 the moment of their common birth, can never he understood 
 hv those who desire verse translations of good poetry. 
 
 "Nevertheless, the translator of poetry must be a 
 poet although he translates in prose. Such only can 
 
472 translator's prefaces. 
 
 have sufficient feeling to taste the original to the core, 
 coinbined with a sufficient mastery of language to give 
 burning word for burning word, idiom for idiom, and 
 the form of expression which comes most home in 
 English for that which comes most home in German. 
 Such a task, in fact, is one requiring a great proportion 
 of fire, as well as delicacy and judgment, and by no 
 means what Dr. Johnson thought it — a task to be exe- 
 cuted by anyone who can read and understand the 
 original"— March 24, 1833. 
 
 Another influential journal followed nearly the same 
 line of argument : — 
 
 " To the combination — unhappily too rare — of genius 
 and energy, few things are impossible ; and we further 
 venture to assert that, of the two undertakings, such a 
 prose translation as the present is far more difficult 
 than a metrical version could be, always supposing the 
 possession of an eminent power of language, and a pure' 
 poetical taste, to be equal in the one attempt and the 
 other."— r^e Athencemn for April 27th, 1833. 
 
 Some critics have compared a prose translation to a 
 skeleton. The fairer comparison would be to an en- 
 graving from a picture; where we lose, indeed, the 
 charm of colouring, but the design, invention, composi- 
 tion, expression, nay the very light and shade of the 
 original, may be preserved. 
 
 It may not be deemed wholly inapplicable to remark, 
 that unrhymed verse had to encounter, on its introduc- 
 tion in most countries, a much larger share of preju- 
 diced opposition than prose translations of poetry seem 
 destined to encounter among us. Milton found it neces- 
 sary to enter on an elaborate and, it must be owned, 
 rather dogmatical defence ; and so strong was the feel- 
 ing against Elopstock, that Goethe's father refused to 
 admit the " Messiah " into his house on account of its 
 not being in rhyme, and it was read by his wife an^ 
 children by stealth.' 
 
 1 "Dichtung und Wahrheit," b. 3. The "Messiah" is in 
 hexameter verse, distinguished from the Greek and Latin hexai 
 meters by the frequent substitution of trochees for spondees. 
 
translator's prefaces. 473 
 
 Two weighty authorities bearing on the subject have 
 appeared very recently : — 
 
 " Verse (says the student in Mr. Bulwer's ' Pilgrims 
 of the Ehine ') cannot contain the refining subtle 
 thoughts which a great prose writer embodies ; the 
 rhyme eternally cripples it ; it properly deals with the 
 common problems of human nature which are now 
 hackneyed, and not with the nice and philosophizing 
 corollaries which may be drawn from them. Thus, 
 though it would seem at first a paradox, commonplace 
 is more the element of poetry than of prose. And, 
 sensible of this, even Schiller wrote the deepest of 
 modem tragedies, his ' Piesco,' in prose." — p. 317. 
 
 This is not quoted as precisely in point, and it is 
 only fair to add that Mr. Coleridge (indeed what else 
 could be expected from the translator of " Wallen- 
 stein"':') was for verse: — 
 
 " I have read a good deal of Mr. Hayward's version, 
 and I think it done in a very manly style ; but I do not 
 admit the argument for prose translations. I would in 
 general rather see verse attempted in so capable a 
 language as ours. The French cannot help themselves, 
 of course, with such a language as theirs." — TMe Talk, 
 vol. ii., p. 118. 
 
 Mr. Coleridge is here confounding general capability ' 
 with capability for the purposes of translation, in which 
 the English language is confessedly far inferior to the 
 German, though, considering the causes of this in- 
 feriority, many may be induced to regard it more as a 
 merit than a defect. Still the fact is undoubted, that 
 the pliancy and elasticity of the instrument with which 
 they work, enable the Germans to transfer the best 
 works of other nations almost verbatim to their litera- 
 ture, — ^witness their translations of Shakespeare, in 
 which the very puns are inimitably hit off ; whilst our 
 best translations are good only on a principle of com- 
 pensation: the authors omit a great many of the 
 beauties of their original, and, by way of set-off, insert 
 a great many of their own. In Mr. Coleridge's " Wal- 
 lenstein " for exaniple : — 
 
4.74 translator's prefaces. 
 
 "The intelligible forms of ancient poets, 
 
 The fair humanities of old religion, 
 
 The Power, the Beauty, and the Majesty ; 
 
 That had their haunts in dale, or piny mountain, 
 
 Or forest hy slow stream, or pebbly spring, _ 
 
 Or chasms and wat'ry depths ; all these have vanished, 
 
 They live no longer in the faith of reason." 
 
 These seven lines are a beautiful amplification of 
 two: — 
 
 " Die alten Fabelwesen sind nicht mehr. 
 Das reizende Geschlecht ist ausgewandert." 
 
 Literally : — 
 
 " The old fable-existences are no more. 
 The fascinating race has emigrated." 
 
 With regard to the dispute about free and literal 
 translation, however, Mrs. Austin, by one happy refe- 
 rence, has satisfactorily determined the principle, and 
 left nothing but the application in each individual case 
 to dispute about : — 
 
 " It appears to me that Goethe alone (so far as I 
 have seen) has solved the problem. In his usual manner 
 he turned the subject on all sides, and saw that there 
 are two aims of translation, perfectly distinct, nay, 
 opposed ; and that the merit of a work of this kind is 
 to be judged of entirely with reference to its aim. 
 
 " ' There are two maxims of translation,' says he ; ' the 
 one requires that the author of a foreign nation be 
 brought to us in such a manner that we may regard 
 him as our own ; the other, on the contrary, demands 
 of us that we transport ourselves over to him, and adopt 
 his situation, his mode of speaking, his peculiarities. 
 The advantages of both are sufSciently known to all in- 
 structed persons from masterly examples.' 
 
 "Here, then, 'the battle between free and literal 
 translation,' as the accomplished writer of an article ir) 
 the last ' Edinburgh Eeview ' calls it, is set at rest for 
 ever, by simply showing that there is nothing to fight. 
 
TRANSLATOfi's PREFACES. 475 
 
 about ; that each is good with relation to its end — the 
 one when matter alone is to be transferred, the other 
 when matter and iorm."— Characteristics of Goethe, &c., 
 vol. i., pp. 32 to 34. 
 
 Few will deny that both matter and form are impor- 
 tant in Goethe's " Faust ; " in such a case we want to 
 tnow, not what may be said for the author, or how his 
 thoughts and style may be improved upon, but what he 
 himself has said, and how he has said it. This brings 
 me to another notion of mine, which has been rather 
 hastily condemned. At page Ixxxix of my original 
 Preface I had said: "Acting on his theory, he 
 (M. Sainte-Aulaire) has given a clear and spirited, but 
 vague and loose, paraphrase of the poem, instead of 
 a translation of it ; invariably shunning the difficulties 
 which various meanings present, by boldly deciding 
 upon one, instead of trying to shadow out all of them 
 — which I regard as one of the highest triumphs a 
 translator can achieve — and avoiding the charge of in- 
 correctness by making it almost impossible to say 
 whether the best construction has suggested itself or 
 not." On this the able critic in the "Edinburgh 
 Review " remarks : " Mr. Hay ward says, that one of 
 the highest triumphs of a translator, in a passage capable 
 of various meanings, is to shadow out them all. In 
 reply to this, our first remark is, that his own practice, 
 according to his own account of it, is inconsistent with 
 his rule. In the course of his inquiries he says, that 
 ' he has not unfrequently had three or four different 
 interpretations suggested to him by as many accom- 
 plished German scholars, each ready to do battle for 
 his own against the world.' What then? Does he 
 say that he has attempted to shadow out them all ? 
 So far from it, he insists— we dare say with justice— 
 that readers who may miss their favourite interpreta- 
 tion in his version of any passage, are bound to give 
 him the credit of having wilfully' rejected it.' "—No. 
 
 115. P- 133. ■ • . . , 
 
 The writer contrasts, as mconsistent, passages refer- 
 ring to different descriptions of difficulties. The follow- 
 
476 translator's prefaces. 
 
 ing is an example of my theory. At the beginning of 
 the prison scene (1. 4064) occurs this puzzling line : 
 
 " Fort ! dein Zagen zBgert den Tod heran.'' 
 
 Two interpretations, neither quite satisfactory, are 
 suggested to me: it may mean either that death is 
 advancing whilst Taust remains irresolute, or that 
 death is accelerated by his irresolution. Having, there- 
 fore, first ascertained that the G-erman word zogem cor- 
 responds with the English word linger, and that, in 
 strictness, neither could be used as an active verb, I 
 translated the passage literally : " On ! thy irresolution 
 lingers death hitherwards ; " and thus shadowed out 
 the same meanings, and gave the same scope to com- 
 mentary, as the original.^ Of course, this is only prac- 
 ticable where exactly corresponding expressions can be 
 had ; for instance, in the passage to which the note at 
 p. 391 relates, we have no corresponding expression for 
 Bas Werdende, and must therefore be content with a 
 paraphrase ; but, in the latter part of the same passage, 
 I see no reason for Shelley's changing enduring (the 
 plain translation of dauernden) into sweet and melan- 
 choly, nor for M. Sainte-Aulaire's rendering the two 
 last lines of the speech by — et soumettez a I'epreuve de 
 la sageese les fa/ntdmes que de vagues desirs vous pre- 
 sentent, thereby gaining nothing in point of perspicuity, 
 when he had corresponding French expressions at his 
 command. Not unfrequently the literal meaning of a 
 word (as in ein dunkler Bhrenman), or the grammatical 
 construction of a passage (as in Boch hast Bu Speise, 
 &c.), is disputed ; and as it is impossible to construe two 
 ways at once, in such instances rejection is unavoidable. 
 
 '■ The verb zogem may be used in poetry as an "active" or 
 transitive verb. The meaning of the above literally untrans- 
 latable line is therefore simply, " Thy delay will cause her 
 death ; " which translation has been adopted in the present 
 edition, more especially as it has been found that Hayward's 
 otherwise ingenious rendering, " lingers . . . hithenvards," by 
 which he intended to shadow out the meaning of zogert - . . 
 heran, was not generally understood. — Ed. 
 
translator's prefaces. 477 
 
 This may suffice to show the practicability of my 
 theory in the only cases I meant it to emhrace. It may 
 be useful to show by an instance how much mischief 
 may result from the neglect of it. The alchymical 
 description, as explained by Mr. Griffiths (p. 397, n. 38) 
 has been generally regarded as a valuable illustration of 
 the literary peculiarities of Goethe. Now all preceding 
 translators, considering it as rubbish, had skipped, or 
 paraphrased, or mistranslated it ; so that the French or 
 Enghsh reader, however well acquainted with alchy- 
 mical terms, could make nothing of it. I was as much 
 in the dark as my predecessors ; but I thought that 
 there might be something in it, though I could see 
 nothing ; I therefore translated the passage word for 
 word, and then sent it to Mr. Griffiths. His very in- 
 teresting explanation was the consequence. This may 
 be called an extreme case, but it shows the folly of ex- 
 cluding or altering plain words because we ourselves are 
 unable at the moment to interpret them ; and as a fact 
 within my own immediate experience, I may add, that 
 expressions seemingly indifferent in their proper places, 
 so frequently supply the key to subsequent allusions, 
 that a translator always incurs the risk of breaking 
 some link in the chain of association by a change. For 
 instance, in my first edition I followed Shelley in trans- 
 lating vereinzelt sich, — masses ifeeZ/, under an idle notion 
 that the context required it ; and everybody thought 
 me right, until Mr. Heraud (author of " The Descent 
 into Hell," &c., &c.) proved to me that the most obvious 
 signification {scatters itself) was the best, and that I 
 had disconnected the following line and marred the 
 continuity of the whole description by the change. 
 
 " I was wont boldly to affirm," says Mr. Coleridge, 
 " that it would be scarcely more difficult to push a stone 
 out from the pyramids with the bare hand, than to 
 alter a word, or the position of a word, in Shakespeare or 
 Milton (in their most important works at least), with- 
 out making the author say something else, or something 
 worse than he does say." This observation is strictly 
 applicable to the First Part of " Faust." 
 
478 translator's prefaces. 
 
 Again, the most beautiful expressions in poetry (sucli 
 expressions as Dante is celebrated for) are often in 
 direct defiance of rule and authority, and afford ample 
 scope for cavilling. Is the translator to dilute or filter 
 them, for fear of startling the reader by novelty or in- 
 volving him in momentary doubt ? I am sorry to say 
 that Mr. Coleridge has given some sanction to those 
 who might be inclined to answer this question affirma- 
 tively. After making Wallenstein exclaim : — 
 
 " This anguish will be wearied down, I know ; 
 What pang is permanent with man ? " 
 
 he adds in a note : "A very inadequate translation of 
 the original" : — 
 
 " Verschmerzen werd' ich diesen Sohlag, das weiss ich, 
 Denn was verschmerzte nicht der Mensoh ? " 
 
 Literally : — 
 
 " I shall grieve down this blow, of that I'm conscious ; 
 What does not man grieve down ? " 
 
 I trust my very high and constantly expressed admi- 
 ration of Mr. Coleridge will be held some apology for 
 the presumption of the remark^but I really see no 
 reason for excluding the literal translation from the 
 text.^ One of our most distinguished men of letters, 
 who knew the German poets only through translations, 
 once complained to me that he seldom found them 
 painting, or conveying a fine image, by a word ; as in 
 the line — 
 
 " How sweet the moonlight sleeps upon that bank." 
 
 How should he, unless that mode of translation which 
 I have thus ventured on vindicating, be pursued ? 
 
 In Appendix, No. 1, I have added an analysis of the 
 second and concluding part of " Faust," just full enough 
 to give a general notion of the plot, if plot it can be 
 called, where plot is none. I have been recommended 
 
 ' Since this wag wiitten, the literal translation has been 
 adopted. See the last edition of Coleridge's Works. 
 
translator's prefaces. 479 
 
 to translate the whole, but it struck me that the scenes 
 were too disconnected to excite much interest, and that 
 the poetry had not substance enough to support a ver- 
 sion into prose. As I have said already in another 
 place,' the Second Part presents few of those fine trains 
 of philosophic thinking, or those exquisite touches of 
 natural feeling, which form the great attraction of the 
 First. The principal charm will be found to consist in 
 the idiomatic ease of the language, the spirit with which 
 the lighter measures are struck off, and the unrivalled 
 beauty of the descriptive passages ; which last are to be 
 found in equal number in both parts, but are the only 
 passages of the continuation which would bear trans- 
 planting without a ruinous diminution of effect. Be- 
 sides, my own opinion is, that the First Part will hence- 
 forth be read, as formerly, by and for itself ; nor would 
 I advise those who wish to enjoy it thoroughly and 
 retain the most favourable impression of it, to look at the 
 Second Part at all. " Gro ethe's ' Faust ' should have re- 
 mained a fragment. The heart-thrilling last scene of the 
 First Part, Margaret's heavenly salvation, which works 
 so powerfully upon the mind, should have remained 
 the last ; as indeed, for subhmity and impressiveness, 
 it perhaps stands alone in the whole circle of literature. 
 It had a fine efEect,— how Faust, in the manner of 
 the spirits that fiitted round him, disappeared,— how 
 mists veiled him from our sight, given over to inexor- 
 able Destiny, on whom, hidden from us, the duty of 
 condemning or acquitting him devolved. The spell is 
 now broken." ' , 
 
 In Appendix, No. 2, will be found an account ot the 
 story of " Faust," and the various productions m art 
 and literature that have grown out of it. 
 
 1 " The Foreign Quarterly Review," No, 23, Art. 4. 
 ' Stieglitz, "Sage vom Doctor Faust.' 
 
 Temple, January, 1834 
 
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 Ellana. With Memoir. 
 
 "^f^^S?^"'' (Captain). Pirate and 
 
 the Three Cutters. With a Memoir of 
 the Author. 
 
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