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GOETHE’S FAUST 
PART L 


THE FIRST PART OF 


GOETHE’S FAUST 


TOGETHER WITH THE PROSE TRANSLATION, NOTES 


AND APPENDICES OF THE LATE 


ABRAHAM HAYWARD,, Q.C. 


EFULLY REVISED, WITH INTRODUCTION 


Ky 


BY 


. A. BUCHHEIM, Pı.D. 


. OF THE GERMAN LANGUAGE AND LITERATURE AT KING’S 
COLLEGE, LONDON 


LONDON 
GEORGE BELL & SONS, YORK ST., COVENT GARDEN 
AND NEW YORK 


1892 
A 


YR 
Dy 


A295324 


CHISWICK PRESS :—C. WHITTINGHAM AND co. TOOKS COURT, 
CHANCERY LANE, 


PREFACE. 


ARIOUS causes have combined to diminish in the 
course of time the popularity of Hayward’s trans- 
lation of Goethe’s “ Faust,” which attracted so much 
attention when it was first published. He adopted the 
first of the three methods of translating poetry enume- 
rated by Goethe, and produced a schlicht prosaische 
Uebersetzung. 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gradually superseded by several excellent translations 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 out 
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 all instances in correspondence with modern 
Faust criticism. These remarks are certainly not in- 
1 Ineed 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 Hayward’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 revision. This I have 
done to the best of my ability. Ihave 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 will 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, inthe “Atlantic Monthly of Dec., 1890, 


PREFACE. vil 


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, &c., 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 ina 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 


vill 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 G. 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. BucuHerm. 


Kına’s COLLEGE, LONDON, 
April, 1892. 


CONTENTS. 


PAGE 
Tue Faust LEGEND. A GENERAL SURVEY. By 


C. A. BUCHHEIM . x ‘ , ä . xi 
List oF Books FOR THE STUDY OF Gourmey: Ss “FAUST” xxv 
TEXT OF PART I. AND TRANSLATION . ‘a ‘ A 1 
NOTES 2 B : 5 5 5 B : . 389 


TRANSLATOR’S Keen _ 
I. ABSTRACT OF THE SECOND PART OF “ FAUST,” 
ETC. r ö 3 A n : 7% «= 427 
II. AN HisToRICAL NOTICE OF THE STORY, ETC. . 441 
TRANSLATOR’S PREFACES ‘ A 5 : F . 456 


THE FAUST LEGEND. 


I. 


THREEFOLD 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 Goethe’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 Faust—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 literary ınterest combined, that is to say, a litterar- 
historisches Interesse. 

The idea underlying 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. -I 
will pass over the incidents which might be cited from 
the Bible, where we could find the germ of the Faust 
Legend; else I should have to begin with Adam and 
leave off 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 Giants, 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. xili 


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 belief 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, 

‘whieh bordered on veneration, enjoyed by the well- 
known Pythagorean philosopher, Apollonius 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 


By 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 Greek word necromanteia, de- 
noting “divinatign through communion with the dead,” 
was transformed into the expression “ nigromantia,” 
and translated the “ Black Art,” which name contained 
in itself the condemnation 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 
Black 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. xXV 


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 life, ete. 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 IL, 
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 skill in mechanics. In the thirteenth century the 
same fate befell the famous Franciscan friar, Roger 
Bacon, who was honoured with the jgreat name of “the 
father of modern science.” The famous Dominican 
friar, Albert, Count of Bollstädt, commonly called 
“ Albertus Magnus,” was, on account of his familiarity 
with mechanics, but more especially in consequence of 
his “alehymistic” 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 FAUST 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 from 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 transmitted to it by Roman 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 those 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 Cilician 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, xvil 


ambition which prompted him to make 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” whilst 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 Theophilus, was subsequently made the 
subject of Latin, German, and French plays and poems. 
In this respect the traditional coadjutor may be con- 
sidered as the forerunner of Faust, and it is a remark- 
able coincidence that the tradition of the rescue of 
Theophilus 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 II. of Goethe’s “Faust,” Doctor Marianus 
addresses the following invocation to the Virgin Mary : 


Jungfrau, Mutter, Königin, 

Göttin, bleibe gnädig, 
and the Chorus Mysticus concludes the poem with the 
following celebrated words : 


Das Unbeschreibliche, 
Hier ist es gethan— 
Das ewig Weibliche 
Zieht uns hinan. 


xviii THE FAUST LEGEND, 


The intercession 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 Reformation, 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 effi- 
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 efforts—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. 


TIIE 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 Faust. The latter 
is not identical with the German equivalent of the 
English word “fist;” but is, according to Jakob 
Grimm, an abbreviation of the Latin term “ faustus,” 
i.e., propitious, felicitous. 


IT. 


We have, in fact, the authentic record of two persons 
bearing the name of Faust, and it has been conjectured 
that they were identical. The first authentic mention 
of an adventurer who has been identified with the hero 
of the legend, dates from the year 1507. His full name 
is given as “ Magister Georgius Sabellius 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 1513. He is there simply called 
Georgius Faustus, and described as a charlatan who 
lived on the credulity of his good-natured fellow- 
citizens. There also exists an account of Faust from 
the year 1539, which fully coincides with the former 


xXx THE FAUST LEGEND. 


descriptions. A contemporary of Faust relates, in a 
book published 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 Faust, 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 born at Knittlingen in Württemberg ; 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 preenomen 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 


1 Goethe applies to Faust the Christian 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 Georg or Johann would be. Inthe same way he assigned 
to Egmont the prenomen Heinrich instead of Lamoral. Cf. my 
edition of Goethe’s ‘‘Egmont’ (‘Clarendon Press Series”), 
p. 110, 1. 22, n. 


THE FAUST LEGEND. xxi 


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 Schiiler, “a roving 
scholar ” or “ student,” who came in contact with the 
leaders of the Reformation, 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 conneetion of 
the “ Faustsage” with antiquity is perhaps to be found 
in the introduction of the Greek “ Helena” into the 
Teutonic legend. The mention of Faust’s roaming 
through the air by means of a magic cloak would seem 
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 


1 Cf. p. 39 and x. 51, in this volume. 


xxil THE FAUST LEGEND, 


among the people that it only required some external 
impulse to be fully revived with all its fantastic 
details, This was done in 1587, when there appeared 
at Frankfort-on-the-Main the first original “ Faust- 
buch,” published anonymously by the printer Johann 
Spies. 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’sche,” or oldest 
-“ Faustbuch,” and it may suffice to mention that the im- 
port of that remarkable publication, which is assumed to 
have been written bya 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 Adlerflügel ; wollte 
alle Gründ im Himmel und auf Erden erforschen—* He 
took unto him eagle’s wings and wanted to find out the 
cause of all things in 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 beginning of 1588, and what 
is still more remarkable, is the fact that shortly 
after the “ Faustbuch” had appeared in Germany, there 
was published in 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 1591, and a reprint of the same in 


THE FAUST LEGEND. Xxiill 


the following year. It was also translated into Low 
German, Danish, English, and even into French; but 
what speaks more than all these data for the lively 
interest which the great Teutonic legend inspired in 
those days—as in our 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. Faustus,” 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. 

Faust’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 Rudolf 
Widman wrote a learned and pedantic account of the 
“ Life and Death of Faust,” in three parts. It is, how- 
ever, utterly devoid of the charming simplicity of the 
original “ Faustbuch.” 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 isa 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 
modern 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, Lessing’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, Ein 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. 


Cf. p. 147, n. 78, in this volume, 


A LIST 


OF SOME BOUKS FOR THE STUDY OF 
GOETHE’S “FAUST.”! 


German. 


1. Düntzer, H. Goethe’s “Faust.” Erster und Zweiter 
Theil. Zum erstenmal vollständig erläutert. [The most ex- 
haustive, and indispensable commentary on Goethe’s poem.] 

2. Düntzer, H. Zur Goetheforschung. [Contains an inte- 
resting article on the Göchenhausen manuscript of Goethe’s 
“ Faust,” and some valuable essays on Part II.] 

3. Schmidt, Erich. Goethe’s “ Faust” in ursprünglicher 
Gestalt. Also, Goethe’s ‘ Faust” in the Weimar Edition. 

4. Marbach, O. 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- 
würfe, Skizzen, Vorarbeiten und Fragmente. [Highly inte- 
resting for the thorough study of the history of the composition 
of Goethe’s drama.] 

7. Strehlke, Fr. Wörterbuch zu Goethe’s ‘‘ Faust.” [One 
of the most useful books in the vast Faust literature.] 

8. Haufe. Die Faustsage und der historische Faust. [A 
useful monograph on the Faust legend.] 

9. Creizenach, M. Die Bühnengeschichte des Goethe’schen 
“Faust.” Also, “Geschichte des Volksschauspiels von Dr. 
Faust.” 

10. Fischer, Kuno. Goethe’s ‘‘Faust.” Ueber die Entstehung 


1 Instead of giving a bewildering list of commentaries, treatises, &c., 16 
. has been considered advisable to limit the number to a few very useful 
publications. 


xXxvVI A LIST OF BOOKS. 


und Composition des Gedichtes. [A thoughtful and spirited 
monograph, which has proved very suggestive to the editor in 
his Faust-studies. ] \ 

11. Scherer, W. Vorträge über Goethe. ; 

12. Carriére, M. Goethe's “ Faust.” Mit Einleitungen 
und Erläuterungen. 2 Bde. [Text and commentary. ] 3 

13. Schroer, K. J. ‘“Faust” von Goethe. Mit Einleitung 
und fortlaufender Erklärung. 2 Bde. [Text and commen- 
tary. 

iy Loeper’s edition of “ Faust,” mentioned in the Preface. 

15. Engel, K. Das Volksschauspiel Dr. Johann Faust. 3 Mit 
einem Anhang, BIBLIOTHECA FAUSTIANA. [Very meritorious.] 

16. Heinemann, Wm. Goethe’s “Faust” in England und 
Amerika. [A very carefully executed and most useful biblio- 
graphy of English translations, &e.] 


English. 

1. Boyesen, H. 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. Ward, 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 mentioned:in my 
Notes at the end of the volume. 


FAUST. 


ZUEIGNUNG. 


HR naht euch wieder, schwankende Gestalten, 
Die früh sich einst dem trüben Blick gezeigt. 

Versuch’ ich wohl, euch diesmal fest zu halten ? 
Fühl’ ich mein Herz noch jenem Wahn geneigt ? 
Ihr drängt euch zu! Nun gut, so mögt ihr walten, 
Wie ihr aus Dunst und Nebel um mich*steigt ; 
Mein Busen fühlt sich jugendlich erschüttert 
Vom Zauberhauch, der euren Zug umwittert. 


Ihr bringt mit euch die Bilder froher Tage, 
Und manche liebe Schatten steigen auf; 
Gleich einer alten, halbverklungnen Sage, 
Kommt erste Lieb’ und Freundschaft mit herauf; 
Der Schmerz wird neu, es wiederholt die Klage 
Des Lebens labyrinthisch irren Lauf, 
Und nennt die Guten, die, um schöne Stunden 
Vom Glück getäuscht, vor mir hinweggeschwunden. 


Sie hören nicht die folgenden Gesänge, 
Die Seelen, denen ich die ersten sang ; 
Zerstoben ist das freundliche Gedränge, 
Verklungen, ach, der erste Wiederklang. 
Mein Leid ertönt 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 mich ergreift ein längst entwöhntes Sehnen 
Nach jenem stillen, ernsten Geisterreich ; 
Es schwebet nun in unbestimmten Tönen 
Mein lispelnd Lied, der Aeolsharfe gleich ; : 
Ein Schauer faszt mich, Thräne folgt den Thrénen, 
Das strenge Herz, es fühlt sich mild und weich; 
Was ich besitze, seh’ ich wie im Weiten, 
Und was verschwand, wird mir zu Wirklichkeiten, 

3 


5 


To 


15 


20 


25 


30 


DEDICATION." 


E approach again, ye wavering forms, which once, 

in the morning of life, presented yourselves to 

my troubled view! Shall I try, this time, to hold you 

fast? Do I feel my heart still inclined to that illusion ? 

Ye crowd upon me! well then, ye may hold dominion 

over me, as ye rise around out of vapour and mist. My 

bosom feels youthfully agitated by the magic breath 
which surrounds your train. 

Ye 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 Molian 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. 


DIREKTOR. THEATERDICHTER. LustIGE PERSON. 
Direktor. 


HR Beiden, die ihr mir so oft ay 


In Noth und Trübsal beigestanden, 
Sagt, was ihr wohl in deutschen Landen 
Von unsrer Unternehmung hofft ! 
Ich wünschte sehr, der Menge zu behagen, 
Besonders weil sie lebt und leben läszt. 
Die Pfosten sind, die Bretter aufgeschlagen, 
Und Jedermann erwartet sich ein Fest. 
Sie sitzen schon mit hohen Augenbraunen 
Gelassen da und möchten gern erstaunen. 
Ich weisz, wie man den Geist des Volks versöhnt, 
Doch so verlegen bin ich nie gewesen ; 
Zwar sind sie an das Beste nicht gewöhnt, 
Allein sie haben schrecklich viel gelesen. 
Wie machen wir’s, dasz Alles frisch und neu 
Und mit Bedeutung auch gefällig sei? 
Denn freilich mag ich gern die Menge sehen, 
Wenn sich der Strom nach unsrer Bude drängt, 
Und mit gewaltig wiederholten Wehen 
Sich durch die enge Gnadenpforte zwängt, 
Bei hellem Tage, schon vor Vieren, 
Mit Stöszen sich bis an die Kasse ficht 
Und, wie in Hungersnoth um Brod an Bäckerthüren, 
Um ein Billet sich fast die Hälse bricht, 
Dies Wunder wirkt auf so verschiedne Leute 
Der Dichter nur; mein Freund, o, thu es heute ! 


10 


15 


20 


25 


PRELUDE ON THE STAGE,’ 


MANAGER—THEATRE-POET— MERRYMAN. 


Manager. 


E 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° VORSPIEL AUF DEM THEATER. 


@ Dichter. 
O, sprich mir nicht von jener bunten Menge, 
Bei deren Anblick uns der Geist entflieht ! 
Verhülle mir das wogende Gedränge, 
Das wider Willen uns zum Strudel zieht. 
Nein, führe mich zur stillen Himmelsenge, 
Wo nur dem Dichter reine Freude blüht, 
Wo Lieb’ und Freundschaft unsers Herzens Segen 
Mit Götterhand erschaffen und erpflegen. 


IP = 


Ach, was in tiefer Brust uns da entsprungen, 

Was sich die Lippe schiichtern vorgelallt, 
Miszrathen jetzt und jetzt vielleicht gelungen, , 
Verschlingt des wilden Augenblicks Gewalt.!” > is 
Oft, wenn es erst durch Jahre durchgedrungen, 
Erscheint es in vollendeter Gestalt. 

Was glinzt, ist fir den Augenblick geboren, 

Das Echte bleibt der Nachwelt unverloren. 


Lustige Person. 
Wenn ich nur nichts von Nachwelt hören sollte ! 
Gesetzt, dasz ich von Nachwelt reden wollte, 
Wer machte denn der Mitwelt Spasz ? 
Den will sie doch und soll ihn haben. 

-Die Gegenwart von einem braven Knaben 

Ist, dächt’ ich, immer auch schon was. 
Wer sich behaglich mitzutheilen weisz, 
Den wird des Volkes Laune nicht erbittern ; 
Er wünscht sich einen groszen Kreis, 
Um ihn gewisser zu erschüttern. 
Drum seid nur brav und zeigt euch musterhaft, 
Laszt Phantasie mit allen ihren Chören, 
Vernunft, Verstand, Empfindung, Leidenschaft, 
Doch, merkt euch wohl, nicht ohne Narrheit hören ! 


Direktor. 
Besonders aber laszt genug geschehn ! 


30 


35 


40 


45 


52 


55 


PRELUDE ON TIE STAGE. 


Poet. 

Oh! speak not to me of that motley multitu« 
at whose very aspect one’s spirit takes flight. Vv 
from me that surging throng, which draws us, agair 
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 born for the moment; ti 
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 cotemporaries? That they will have—aı 
ought to have it. The presence of a good fellow, tc 
is also worth something, I should think. Who kno; 
how to impart himself agreeably—he will never | 
soured by popular caprice. He desires a large circle, 
agitate it the more certainly..-Then do but try yo 
best, and show yourself a model. Let fancy, with z 
her choruses,—reason, understanding, feeling, passic 
be heard, but—mark me well—not without folly. 


Manager. 
But, most particularly, let thete be incident enoug 


8 “ VORSPIEL AUF DEM THEATER. 


Man kommt, zu schau’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 gleich gewonnen, 

Ihr seid ein vielgeliebter Mann. Be: 

Die Masse könnt 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 Haus. 

Gebt ihr ein Stiick, so gebt es gleich in Stiicken ! 

Solch ein Ragout, es musz euch gliicken ; 

Leicht ist es vorgelegt, so leicht als ausgedacht. 

Was hilft’s, wenn ihr ein Ganzes dargebracht ? 70 
Das Publikum wird es euch doch zerpflücken. 


Dichter. 
Ihr fühlet nicht, wie schlecht ein solches Handwerk sei, 
Wie wenig das dem echten Künstler zieme. 
Der saubern Herren Pfuscherei 
Ist, merk’ ich, schon bei euch Maxime, 75 


Direktor. 
Ein solcher Vorwurf läszt mich ungekrankt ; 
Ein Mann, der recht zu wirken denkt, 
Musz auf das beste Werkzeug halten. _.; 5 : 
Bedenkt, ihr habet weiches Holz zu spalten; = en 
Und seht nur hin, für wen ihr schreibt ! =e 80 
Wenn Diesen Langeweile treibt, 
Kommt Jener satt vom übertischten Mahle, 
Und, was das Allerschlimmste bleibt, 
Gar Mancher kommt vom Lesen der Journale. 
Man eilt zerstreut zu uns wie zu den Maskenfesten, 85 
Und Neugier nur beflügelt jeden Schritt; 
Die Damen geben sich und ihren Putz zum Besten 
Und spielen ohne Gage mit. 
Was träumet ihr auf eurer Dichterhöhe ? 


Was macht ein volles Haus euch froh P 90 


PRELUDE ON THE STAGE. 9 


People come to look; their greatest pleasure is to see. 
If much is spun off before their eyes, so that the many 
can gape with astonishment, you have then gained 
immediately by diffuseness; you are a great favourite. 
You 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 
. avdils it to present a whole ?: the public will pull it to 
pieces for you notwithstanding. j 


Poet. 
You 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 all. 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 Gönner in der Nähe ! 
Halb sind sie kalt, halb sind sie roh ; 
Der, nach dem Schauspiel, hofft ein Kartenspiel, 
Der eine wilde Nacht an einer Dirne Busenk« 22” 
Was plagt ihr armen Thoren viel ?tueit 95 
Zu solchem Zweck die holden Musen ? 
Ich sag’ euch, gebt nur mehr und immer, immer mehr. 
- So könnt ihr euch vom Ziele nie verirren ; 
: Sucht nur die Menschen zu verwirren, 
Sie zu befriedigen, ist schwer —— 100 
Was fällt euch an? Entzückung oder Schmerzen ? 


2 Dichter. 
Geh hin und such dir einen andern Knecht ! 
Der Dichter sollte wohl das höchste Recht, 
Das Menschénrecht, das ihm Natur vergönnt, , say 
Um deinetwillen freventlich verscherzen ! »*": Ba 105 
Wodurch pamreah er alle Herzen ? 
Wodurch besiegt er jedes Element ? 
Ist es der Einklang nicht, der aus dem Busen dringt 
Und in sein Herz die Welt zurücke schlingt ? 
Wenn die Natur des Fadens ew’ge Länge, 116 
Gleichgiiltig drehend, auf die Spindel zwingt, 
Wenn aller Wesen unharmon’sche Menge ~ 
Verdrieszlich durch einander klingt, ; ‘ 
Wer theilt die flieszend immer gleiche Reihe | 
Belebend ab, dasz sie sich rhythmisch regt? 13 115 
Wer ruft das Einzelne zur allgemeinen Weihe, ’ 
Wo es in herrlichen Akkorden schlägt? q 
Wer läszt den Sturm zu Leidenschaften wiithen? ~~ 
Das Abendroth im ernsten Sinne glühn ? ? © 2. 
Wer schüttet alle schönen Frühlingsblüthen 120 
Auf der Geliebten Pfade hin? 
Wer flicht die unbedetitend grünen Blätter 
Zum Ehrenkranz Verdiensten jeder Art? 
Wer sichert den Olymp, vereinet Götter ?— 
Des Menschen Kraft, im Dichter offenbart ! 125 


PRELUDE ON THE STAGE. V1 


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 thyself 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’ ‘harm mony—which bursts from out his breast, and 
draws the world back again into his heart? When 
Nature, carelessly winding, forces the thread’s inter- 
minable length upon the spindle; when the confused 
multiinde of all beings jangles out of tune and harsh, 
who, life-infusing, so disposes the ever equably-flow- 
ing series, that it moves rhythmically ?>) Who calls the 
individual to the general consecration—where it strikes 
in glorious harmony ?4 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 
olossomings of spring? Who wreathes the unmeaning 
sreen leaves into a garland of honour for deserts of all 
zinds? Who ensures Olympus ?—unites the Gods ? 
Man’s power revealed in the Poet. 


12 VORSPIEL AUF DEM THEATER. 


Lustige Person. 
So braucht sig denn, die schönen Kräfte, 
Und treibt die dicht’rischen Geschäfte, 
Wie man ein Liebesabenteuer treibt ! 
Zufällig naht man sich, man fühlt, man bleibt 
Und nach und nach wird man verflochten ; 130 
Es wächst das Glück, dann wird es angefochten, 
Man ist entzückt, nun kommt der Schmerz heran 
Und, eh man sich’s versieht, ist’s eben ein Roman. 
Laszt uns auch so ein Schauspiel geben ! 
“Greift nur hinein ins volle Menschenleben ! 135 
Ein Jeder lebt’s, nicht Vielen ist's bekannt, 
Und wo ihr’s packt, da ist’s interessant. 
In bunten Bildern wenig Klarheit, 
Viel Irrthum und ein Fünkchen Wahrheit, 
So wird der beste, Trank gebraut, 2." 140 
Der alle Welt erquickt ‘und auferbaut. 
Dann sammelt sich. der Jugend schönste Blüthe 
Vor eurem. ‚Spiel und lauscht der Offenbarung, 
Dann’sauget jedes zärtliche Gemüthe }. nt 
Aus eurem Werk sich melanchol’sche Nahrung, ‘ 3 145 
Dann wird bald dies, bald jenes aufgeregt, <b?“ ¥ 
Ein Jeder sieht, was er im Herzen trägt. 
Noch sind sie gleich hereit, zu weinen und zu lachen, 

~ Sie ehren noch den Schwung, .erfreuen sich am Schein; 

Wer fertig ist, dem ist nichts Fecht zu machen, 150 
Ein Werdender wird immer dankbar sein, 


"md Dichter. 
So gieb mir auch die Zeiten wieder, 


Da ich noch s mee im Werden war, 
Da sich ein Qüg I gedriingter Lieder 


lee neu gebar, - 155 
Da Nebel ir die Welt verhüllten, 
DieK é’ Wunder noch versprach, 


Da ich die usend Blumen brach, 
Die alle Thäler reichlich füllten, 
Ich hatte nichts und doch genug: Fa 160 
Den Drang nach Wahrheit und die Lust am Trug. 


werten Z 


| 


F 


PRELUDE ON THE STAGE. 13 


Merryman. 

Employ these fine powers then, and carry on your 
‘poetical affairs as one carries on a love-adventure.— 
Accidentally one approaches, one feels, one stays, and 
little by little one gets entangled. The happiness in- 
creases,—then it is disturbed; one is delighted,—then 
comes 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 still forming; when a fountain of crowded 
lays sprang freshly and unbrokenly forth; when mists 
veiled the world before me,—the bud still promised 
marvels ; when 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 VORSPIEL AUF DEM THEATER. 


to 


Gieb ungebindigt jene Triebe, bei 
Das tiefe, schmerzenvolle Glück, * 
Des Hasses Kraft, die Macht der Liebe, 

Gieb meine Jugend mir zurück ! 165 


Lustige Person. Fi = a 
Der Jugend, guter, Fr d, bedarfst du allenfalls, i-/ ... 
Wenn dich in Seif en Feinde Aräugen, 
Wenn mit Gewalt ah deinen Hals +" - 7 
Sich allerliebste Mädchen hängen, af 
Wenn fern des schnellen Laufes Kranz‘, aa 





oe 170 
Vom schwer erreichten Zi ele winket, - nn 
Wenn nach dem heft’geni ""Wirbeltanz 
Die Nächte schmausend man vertrinket. 
Doch ins bekannte Saitenspiel «°° » |. _ 
Mit Muth und Anmuth einzugreifen, 175 


Nach einem selbstgesteckten Ziel 

Mit holdem Irren hinzuschweifen, 

Das, alte Herr’n, ist eure Pflicht, 

Und wir verehren euch darum nicht minder. 

Das Alter macht nicht kindisch, wie man spricht, 180 
Es findet uns nur noch als wahre Kinder, 


‚Direktor. 
Der Worte sind genug gewechselt, 
Laszt mich auch endlich Thaten sehn! 
Indesz ihr Komplimente drechselt, 
Kann etwas Nützliches geschehn. 185 
Was hilft es viel von Stimmung reden ? 
Dem Zaudernden erscheint sie nie, 
Gebt ihr euch einmal für Poeten, 
So kommandirt die Poesie ! 
Euch ist bekannt, was wir bedürfen, 190 
Wir wollen stark Getränke schlürfen ; 
Nun braut mir unverzüglich dran ! 
Was heute nicht geschieht, ist morgen nicht gethan, 
Und keinen Tag soll man verpassen ; 
Das Mögliche soll der Entschlusz 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 | 

wither, , Par ee, > : 

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 have been interchanged; let me now 
see deeds also. Whilst you are turning compliments, 
something useful 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. You 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. Resolution should boldly 
seize the possible by the forelock at once. She will then 


16 


and birds, 


VORSPIEL AUF DEM THEATER, 


Und wirket weiter, weil er musz. 

Ihr wiszt, auf unsern deutschen Bühnen 
Probirt ein Jeder, was er mag; 

Drum schonet mir. an diesem Tag 
Prospekte nicht und nicht Maschinen, 
Gebraucht das grosz- und kleine Himmelslicht, 
Die Sterne dürfet ihr verschwenden ; 
An Wasser, Feuer, Felsenwänden, 

An Thier- und Vögeln fehlt es nicht. 

So schreitet in dem engen Bretterhaus 
Den ganzen Kreis der Schöpfung aus, 
Und wandelt mit bedächt’ger Schnelle 
Vom Himmel durch die Welt zur Hille ! 


6 
a 


200 


205 


210 


not let it go, and works on, because she cannot help it. 
You know, upon our German stage, every one tries 
what he likes. Therefore spare me neither scenery nor 
machinery upon this day. Use the gréater and the 
lesser light of heaven ;" you are free to squander the 
stars; there is no want of water, fire, rocks, beasts, 
So traverse, in this narrow booth, the whole 
circle of creation; and travel, with considerate speed, 
from Heaven, through the World, to Hell. 


FAUST. 
EINE TRAGODIE. 


PROLOG IM HIMMEL. 


Der Herr. Die HIMMLIscHen HEERSCHAAREN. 


NacHhnER MEPHISTOPHELES. 
Die drei Erzengel treten vor. 


Raphael. 
IE Sonne tönt nach alter Weise 
In Brudersphären Wettgesang, al 

Und ihre vorgeschriebne Reise a, ca 

Vollendet sie mit Donnergang. 

Thr Anblick giebt den E rel Stück, 
-Wenn Keiner sie ergrfinden mag; 

Die unbegreiflich hohen Werke 

Sind herrlich wie am ersten Tag. 


Gabriel. 
ne schnell und unbegreiflich schnelle 
Dreh! piaich umher der Erde Pracht ; 
Es wechselt Paradieseshelle 
Mit tiefer schauervoller Nacht; 
Es schäumt das Meer in breiten. Flüssen 
Am tiefen Grund der Felsen auf, 
Und Fels und Meer wird fortgerissen ~’ 
In ewig schnellem Sphärenlauf. 


‘Michael. 
Und Stiirme brausen um die Wette 
Vom Meer aufs Land, vom Land aufs Meer 
Und bilden, wiithend, eine Kette 
Der tiefsten Wirkung rings umher; 
W 


Io 


15 


20 


] 


PROLOGUE IN HEAVEN.” 


Tue Lorp—rae Heaventy Hosts. Afterwards 
MEPHISTOPHELES. 


The Three Archangels come forward. 


Raphael. 
HE sun chimes in, as ever, with the emulous music 
of his. brother spheres, and performs his pre- 
Scribed journey with thundering march. His aspect 
gives strength to the angels, though none can fathom 
him, Thy inconceivably sublime works are glorious as 
on the first day. 
€ Gabriel. 

And rapid, inconceivably rapid, the splendour of the 
earth revolves; the brightness 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 effect in their rage. There, flashing 


20 PROLOG IM HIMMEL. 

I; + of a 
Da flammt ein blitzendes Verheeren 
Dem Pfade vor des Donnerschlags ; 
Doch deine Boten, Herr, verehren 
Das sanfte Wandeln deines Tags. 


Zu Drei. 
Der Anblick giebt den Engeln Stärke, 25 
Da Keiner dich ergründen mag, 
Und alle deine hohen Werke 
Sind herrlich wie am ersten Tag. 


Mephistopheles. 
Da du, o Herr, dich einmal wieder nahst 
Und fragst, wie Alles sich bei uns befinde, 30 
Und du mich sonst gewöhnlich gerne sahst,, 
So siehst du mich auch unter dem Gesinde..“ HL 
A ~Werzeih, ich kann nicht hohe Worte machen, gee" 
Und wenn mich auch der ganze Kreis verhöhnt; 
Mein Pathos brächte dich gewisz zum Lachen, 35 
Hättst du dir nicht das Lachen abgewöhnt. 
Von Sonn’ und Welten weisz ich nichts zu sagen, 
Ich sehe nur, wie sich die Menschen plagen. 
Der kleine Gott der Welt bleibt stets von gleichem Schlag 
Und ist so wunderlich als wie am ersten Tag. 40 
Ein wenig besser würd’ er le Ku 
Hättst du ihm nicht den Schon dos Himmelslichts gegeben; 
Er nennt’s, Vernunft und braticht’s allein, 
Nur thiefischer als jedes Thier zu sein. 
Er scheint mir, mit Verlaub von Euer Gnaden, 45 
Wie eine der langbeinigen Zikaden, 
Die immer fliegt und fliegend springt 
Und gleich im Gras ihr altes Liedchen singt, 
Und lig’ er nur noch immer in dem Grase! 
Ta jeden Quark ‚begräbt er seine Nase, 50 
Wr he 
Der Herr. 
Hast du mir weiter nichts zu sagen ? ‘ 
Kommst du nur immer anzuklagen ? : ~ 
Ist auf der Erde ewig dir nichts recht ? 


PROLOGUE IN HEAVEN, 21 


desolation flares before the path of the thunder-clap. 
But thy messengers,” Lord, revere the gentle movement 
of thy day 4” 
The Three. 
The aspect gives strength to the angels, though none 
can fathom thee, and all thy sublimé works are glorious 
as on the first day. 


Mephistopheles. 

Since, Lord, you approach once again, and inquire 
how things are going ou 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 me. 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 life, 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 lie always in the 
grass! He thrusts his nose into every puddle. 


The Lord. 
Have you nothing else to say tome? Are you always 
coming for no other purpose than to denounce? Is 
nothing ever to your liking upon earth? 


22 PROLOG IM HIMMEL. 


Mephistopheles. At 
Nein, Herr, ich find’ es dort, wie immer, herzlich schlecht. 
Die Menschen dauern mich in ihren Jammertagen ; 55 


Ich mag sogar die armen selbst nicht plagen. 


Der Herr. 
Kennst du den Faust ? 
Mephistopheles. 
Den Doktor ? 
Der Herr. 
Meinen Knecht ! 
wie Mephistopheles. 


’ Fürwahr, er dient euch auf besondre Weise, 
Nicht irdisch ist des 8 Thoren Trank noch Speise. 
Ihn treibt die Gährung in die Ferne, 60 
Er ist sich seiner Tollheit halb bewuazt : 
Vom Himmel fordert er die schénsten Sterne 
Und von der Erde jede höchste Lust, 
Und alle Nah’ und alle Ferne 
Befriedigt nicht die tiefbewegte Brust. et 65 
fa a" AMY. 
Der Herr... \ 
Wenn er mir jetzt auch nur verworren dient, 
So werd’ ich ihn bald in die Klarheit führen. bak * 
-Weisz doch der Gärtner, wenn das Bäumchen grünt, 
Dasz Blüth' und Frucht die künft’gen Jahre zieren. : ~~ 
r 
= Mephistopheles. 
Was wettet ihr? Den sollt ihr noch verlieren, 70 
Wenn ihr mir die Erlaubnisz gebt, 
Ihn meine Strasze sacht zu führen ! 


Der Herr. 
So lang’ er auf der Erde lebt, 
Wau lange sei dir’s nicht verboten. 
( Es irrt der Mensch, so lang’ er strebt, ) „5 


PROLOGUE IN HEAVEN. 23 


Mephistopheles. 

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? 
The Lord. 
My servant! 
j Mephistopheles. 


.7 Verily! he serves you in a strange fashion. The 
te 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. 

Mephistopheles. 

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. ig Man is liable to error, Ra he | 


is is striving. / 


| 


24 PROLOG IM HIMMEL. 


Mephistopheles. 
Da dank’ ich euch; denn mit den Todten ,..,.. 
Hab’ ich mich niemals gern befangen. ; pe ee 
Am Meisten lieb’ ich mir die vollen, frischen Wangen, 
Für einen Leichnam bin ich nicht zu Haus; 
Mir geht es wie der Katze mit der Maus. 80 


Der Herr. 
‚Nun gut, es sei dir überlassen ! 
Zieh diesen Geist von seinem Urquell ab 
Und führ ihn, kannst du ihn erfassen, 
Auf deinem Wege mit herab 
„Und steh beschämt, wenn du bekennen muszt: _ 85 
Ein guter Mensch in seinem dunkeln Drange : 
surich des rechten Weges wohl bewuszt. 


Mephistopheles. 
Schon gut, nur dauert,es nicht lange ! ger 
Mir ist für meine Wette,gar nicht bange.”. A 
Wenn ich zu meinem Zweck gelange, 90 
Erlaubt ihr mir Triumph aus voller Brust. 
Staub soll er fressen, und mit Lust, s 
Wie meine Muhme, die berühmte Schlange, 


Der Herr, 
Du darfst auch da nur frei erscheinen ;, 
Ich habe deines Gleichen nie gehaszt. anime 95 
Von allen Geistern, die verneinen, * 
Des Menschen Thitigkeit kann allzu leicht ‘erschlaffen, 
Er liebt sich bald die unbedingte” Ruh;; 
Drum geb’ ich gern ihm den Gesellen zu, a 100 
Der reizt und wirkt und musz als Teufel schaffen, 
‘ Doch ihr, die echten Göttersöhne, 
Erfreut euch der lebendig reichen Schöne ! 
Das Werdende, das ewig wirkt und lebt, \: 
Umfasz’ euch mit der Liebe holden Schranken, 105 
Und was in schwankender Erscheinung schwebt, 
Befestiget mit dauernden Gedanken ! 


[Der Himmel schlieszt, die Erzengel vertheilen sich.] 


PROLOGUE IN HEAVEN, 28 


Mephistopheles. 

Iam much obliged to you for that; 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. Iam 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 me." 
Man’s activity is all too prone to slumber: he soon 
gets 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 all 
time, embrace you within the happy bounds of love; 
and what hovers in changeful seeming, do ye fix firm 
with everlasting thoughts. 

[Heaven closes, the Archangels disperse. | 





26 PROLOG IM HIMMEL 
ef if We ban 
Mephistopheles (allein). 
Von Zeit zu Zeit seh’ ich den Alter’ gern 
Und hiite mich, mit ihm~zu brechen. 
Es ist gar hubsch von einem groszen Herrn, 110 
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 eivil in so 
great a Lord, to speak so kindly with the Devil himself. 


DER TRAGODIE 
ERSTER THEIL. 


NACHT. 


umuhig auf seinem Sessel am Pulte. 


Faust. 

HAs nun, ach, Pitiogs pits, 

Juristerei und Medizin 
Und leider auch Theologie _ 
Durchaus studiré, mit heiszem Bemiihn ! 
Da steh’ ich nun, ich armer Thor, 
Und bin so klug als wie zuvor; 
Heisze Magister, heisze Doktor gar 
Und ziehe’ schon an die zehen Jahr’, | *. 
Herauf, herab und quer und krumm 
Meine Schüler an der Nase herum — 


us 


Und sehe, dasz wir nichts wissen können ! 


Das will mir schier das Herz verbrennen. 
Zwar bin ich gescheiter als alle die Laffen, 
Doktoren, Magister, Schreiber und Pfaffen ; 
Mich plagen keine Skrupel noch Zweifel, 
Fürchte mich weder vor Hölle noch Teufel— 
Dafür ist mir auch alle Freud’ entrissen,-: ~ 
Bilde mir nicht ein, was Recht’s zu wissen, 
Bilde mir‘ nicht ein, ich könnte was lehren, 
Die Menschen zu bessern und zu bekehren. 
Auch hab’ ich weder Gut noch Geld, 

Noch Ehr’ und Herrlichkeit der Welt, 

Es möchte kein Hund so länger leben ! 


-##Drum hab’ ich mich der Magie ergeben, 


Ob mir durch Geistes Kraft: und Mund 
Nicht manch Geheimnisz würde kund, - 
Dasz ich nicht mehr mit saurem Schweisz 


In einem hochgewölbten, engen, gothischen Zimmer Faust 


10 


15 


20 


25 


FIRST PART OF THE TRAGEDY. 


NIGHT.” 


Faust in a high-vaulted narrow Gothic chamber, seated 
restlessly at his desk. 


Faust. ; 

HAVE now, alas, by zealous exertion, thoroughly 

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 itis that almost burns 
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.” For this very reason is all joy torn 
from me.” I no longer fancy I know anything worth- 
knowing ; 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 


Y 


NACHT. 


Zu sagen brauche, was ich nicht weisz, 
Dasz ich erkenne, was die Welt 

Im Innersten zusammenhält, 

Schau’ alle Wirkenskraft und Samen 
Und thu’ nicht mehr in Worten kramen. 


O, sähst du, voller Mondenschein, _ 
“Zum letzten Mal auf meine Pein, ~*~ 
Den ich so manche Mitternacht 
An diesem Pult herangewacht : 

Dann über Büchern und Papier, 
Trübsel’ger Freund, erschienst du mir! 
Ach, könnt’ ich doch auf Bergeshöhn 

In deinem lieben Lichte gehn, 

Um Bergeshöhle mit Geistern schweben, 
Auf-Wiesen in deinem Dämmer weben, 
Von allem Wissensqualm entladen 

In deinem Thau gesund mich baden ! 


4 Wek! Steck’ ich in dem Kolker bo hoch t ? 


Verfluchtes dumpfes Mauerloch, 
Wo selbst das liebe Himmelslicht 


‚Trüb durch gemalte Scheiben bricht ! 
* Beschränkt von diesem Bücherhauf, 


‘ 


Den Würme nagen, Staub bedeckt, 
Den bis ans hohe Gewölb’ hinauf 
Ein angeraucht Papier umsteckt; 

Mit Gläsern, Büchsen rings umstellt, 
Mit Instrumenten völlgepfropft, 
Urväter Hausrath drein gestopft— 
Das ist deine Welt! Das heiszt eine Welt! 


Und fragst du noch, warum dein Herz 
Sich bang in deinem Busen klemmt, 
Warum ein unerklärter Schmerz 
Dir alle Lebensregung hemmt ? 

Statt der lebendigen Natur, 

Da Gott die Menschen schuf „hinein, 
Umgiebtin Rauch und Moder nur 
Dich Thiergeripn und Todtenbein. 


un de 
or 


30 


35 


40 


45 


5° 


55 


60 


NIGHT-SCENE. 31 


bitter sweat, be obliged to speak of what I do no 
know; that I may learn what holds the world togethe 
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 my 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 tome! 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 sound in thy dew! 

Woe is me! am I still penned up in this dungeon ?— 
accursed, musty, walled hole!—where even the pre- 
cious light of heaven breaks mournfully through painted 
panes, stinted by this heap of books,—which worms 
eat—dust begimes—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 stuffed in with the rest. This 
is thy world, and. what a world! 

And dost thou still ask, why thy heart flutters con- 
finedly in thy bosom ?—Why a vague aching deadens 
within 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. 


32 NACHT. 


Flieh ! Auf! Hinaus ins weite Land! 65 
Und dies geheimniszvolle Buch 
Von Nostradamus’ eigner Hand, 
Ist dir es nicht Geleit genug? 
Erkennest dann der Sterne Lauf, 
Und wenn Natur dich unterweist, 70 
Dann geht die Seelenkraft dir auf, 

‘Wie @ spricht ein Geist zum andern Geist. 
Umsonst, dasz trocknes Sinnen hier 
Die heil’gen Zeichen dir erklärt: 
Ihr schwebt, ihr Geister, neben mir, 75 
Antwortet mir, wenn ihr mich hört! 


[Er schlägt das Buch auf und erblickt das Zeichen des 
Makrokosmus.] 
Ha! Welche Wonne flieszt in diesem Blick 
Auf einmal mir durch alle meine Sinnen ! 
Ich fühle junges, heil’ges Lebensglück 
Neuglühend mir durch Nerv’. ind Adern rinnen. 80 
War es ein Gott, der diese Zeichen schrieb, 
Die mir das innre Toben stillen, 
Das arme Herz mit Freude füllen 
Und mit geheimniszvollem Trieb ; 
Die Kräfte der Natur rings um mich her enthüllen 3 ? 85 
Bin ich ein Gott? Mir wird so licht | \ 
Ich schau’ in diesen reinen Zügen 
Die wirkende Natur vor meiner Seele liegen. 
Jetzt erst erkenn’ ich, was der Weise spricht: 
s: Die Geisterwelt ist nicht verschlossen ; . one? go 
Dein Sinn ist zu, dein Herz ist todt! u 
Auf, bade, Schüler, unverdrossen 
Die ird’sche Brust im Morgenroth!” 


[Er beschaut das Zeichen.] 
Wie Alles sich zum Ganzen webt ! 
Eins in dem Andern wirkt und lebt ! 95 
Wie Himmelskräfte auf und nieder steigen 
Und sich die goldnen Ei ler reichen ! 
Mit segenduftenden Schwingen ie 
Vom Himmel durch die Erde dringen, 
Harmonisch all’ das All durchklingen ! 100 


NIGHT-SCENE. 33 


Up! away! Out into the wide world! And this mys- 
terious book, from Nostradamus’ own hand,” is it not 
sufficient company for thee! Thou then knowest the 
course of the stars, and, when nature instructs thee, the 
soul’s essence then rises up to thee, as one spirit speaks 
toanother. It is in vain that dull poring here expounds 
the holy signs to thee! Ye are hovering, ye Spirits, 
near me; answer me if you hear me. 

[He opens the book and perceives the sign of the 
Macrocosm.”| 

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 ita 
god that traced these signs, which still the storm 
within me, fill my poor heart with gladness, and, by a 
mystical intuition, unveil the powers of nature all 
around me? Am Ia god? All grows so bright! 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! Up, 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 Schauspiel nur ! 
Wo fass’ ich dich, unendliche Natur, ? 
Euch, Brüste, wo? Ihr Quellen alles Lebens, 
An denen Himmel und Erde hängt, 
Dahin die welke Brust sich drängt— 105 
Ihr quellt, ihr tränkt, und schmacht’ ich so vergebens P 


[Er schlägt unwillig das Buch um und erblickt das 
Zeichen des Erdgeistes.] 

Wie anders wirkt dies Zeichen auf mich ein! 
Du, Geist der Erde, bist mir "näher ; 
Schon fühl’ ich meine Kräfte höher, 
Schon glüh’ ich wie von neuem Wein. _,.;, 
Ich fühle Muth, mich in die Welt zu wagen, 
Der Erde Weh, der Erde Glück zu tragen, .. 
Mit Stürmen mich herumzusghlagen “* - 
Und in des Schiffbruchs Knirschen nicht zu zagen. 
Es wölkt sich über mir— 115 
Der Mond verbirgt sein Licht— 


Se 110 


‚Die Lampe schwindet ! 


Es dampft !—Es zucken rothe Strahlen 

Mir um dag, Haupt—Hs weht 

Ein Schauer vom Gewölb’ herab 120 
Und faszt mich an! 


„Ich fühl’s, du schwebst um mich, erflehter Geist! 


Enthülle dich ! 

Ha, wie's in meinem Herzen veiszt Y 

Zu neuen Gefühlen 

All’ meine Sinnen sich erwühlen ! N 

Ich fühle ganz mein Herz dir hingegeben ! 

Du muszt, du muszt, und kostet’ es mein Leben ! 
[Er faszt das Buch und spricht das Zeichen des Geistes 


geheimniszvoll aus, Es zuckt eine röthliche Flanme, 
DER GEIST erscheint in der Flamme, | 


125 


; 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? Ye 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 ? 
[He 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 shuddering flickers down from the vaulted 
roof and seizes me!” I feel it—thou art hovering 
round me, invoked Spirit. Unveil thyself! ‘Ah! what 
a tearing in my heart—all 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 
life. 
[He seizes the book and pronounces mystically the 
sign of the Spirit. A red flame flashes up ; the 
SPIRIT appears in the flame.) 


Spirit. 
Who calls to nie ? 


Faust (averting his face). 
Horrible vision! 


36 NACHT. 


. Geist. 
Du hast mich mächtig angezogen, 
An meiner Sphäre lang’ gesogen, 
Und nun — 
Faust. 
Weh, ich ertrag’ dich nicht! 


Geist. 
Du flehst erathmend mich zu schauen, 
Meine Stimme zu hören, mein Antlitz zu sehn; 
Mich neigt dein mächtig Seelenflehn : 
Da bin ich !NWelch erbärmlich Grauen 
Faszt Uebermenschen dich !/ Wo ist der Seele Ruf? 
Wo ist die Brust, die eine Welt in sich erschuf 
Und trug und hegte? Die mit Freudebeben 
' Erschwoll, sich uns, den Geistern, gleich zu heben ? 
Wo bist du, Faust, des Stimme mir erklang, 
_Desssich an mich mit allen Kräften drang ? 
Bist du es, der, von meinem Hauch umwittert, © 
In allen Lebenstiefen zittert, 
Ein furchtsam weggekrümmter Wurm! 


Faust. : 
Soll ich dir, Flammenbildung, weichen ? 
Ich bin’s, bin Faust, bin deines Gleichen ! 


Geist. 

In Lebensfluthen, im Thatensturm 
“Wall’ ich auf und ab, 

Wehe hin und her! 

Geburt und Grab, 

Ein ewiges Meer, 

Ein wechselnd Weben, 

Ein glühend Leben, 


130 


135 


140 


150 


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 works 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?( Art 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? Iam he, am N 
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— 
a 


38 i NACHT. 

sts 
So schaff’ ich am sausenden Webstuhl der Zeit 2! 
. Und wirke der Gottheit lebendiges Kleid. 

pire 


Foust. | pie 
Der du die weite Welt umschweifst,” 
Geschäftiger Geist, wie nah fühl’ ich mich dir! 
Geist. eit 
Du gleichst dem Geist, den du begreifst,-" — 
Nicht mir! [Verschwindet.] 1¢ 


Faust (zusammenstürzend). 
Nicht dir? 
Wem denn? 
Ich, Ebenbild der Gottheit! 
Und nicht einmal dir ! 
ö [Es klopft. 
O Tod! Ich kenn’s—das ist mein Famulus— 1€ 
Es wird mein ‚schönstes Glück zu Bichien ! 
Dasz diese Fi) ler Gesichte,, ene 
Der trockne Schleicher stören musz ! 
.. [WAGNER, im Schlafrocke und der Nachtmiitze, eix 
Lampe in der Hand. Faust wendet sich unwillig. 
eee 
Wagner. F 
Verzeiht! Ich hér’ euch deklamiren ; 1% hos 
Thr las’t gewisz ein griechisch Trauerspiel ?*! 17 
In dieser Kunst möcht’ ich was profitiren ; 
Denn heut zu Tage wirkt das viel, 
Ich hab’ es ses rühmen hören, 
Ein Komödiant könnt’ einen Pfarrer lehren. 


Faust. 
Ja, wenn der Pfarrer ein Komödiant ist; 17 
Wie das denn wohl zu Zeiten kommen mag. 


Wagner. 
Ach, wenn man so in sein Museum gebannt ist 


NIGHT-SCENE. 39 


Thus I work at the whizzing loom of time, 
And weave the living clothing of the Deity. 


Faust. 
Busy spirit, thou who sweepest round the wide world, 
how near I feel to thee! 


Spirit. 
Thou art like the Spirit whom thou dost comprehend, 
not like me. [The Spirit vanishes. | 


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! 

(Waener enters in his dressing-gown and night-cap, 
with a lamp in his hand. Faust turns in dis- 
pleasure. | 


Wagner. 

Excuse me—I hear you declaiming ; you were surely 
reading a Greek tragedy? I should like to improve 
myself in this art, for now-a-days it influences a good 
deal. Ihave 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 


be 


40 NACHT. 


Und sieht die Welt kaum einen Feiertag, 
Kaum durch ein Fernglas, nur von weiten, 
Wie soll man ‘sie durch Ueherredung leiten ?-'* 


Faust. 
Wenn ihr’s nicht fühlt, ihr werdet’s nicht erjagen, 
Wenn es nicht aus der Seele dringt. 
Und mit urkräftigem Behagen %* 
Die Herzen aller Hörer zwingt,. ae 
Sitztihrnur immer! Leimt a 
Braut ein Ragout von Andrer Schmaus 
Und rer kümmerlichen Flammen 
Aus eurem Aschenhinfolat fans | ! 
Bewundrung von Kindern und Affen, 
Wenn euch-darnach der Gaumen steht ; 


tee 


+: 


Doch werdet ihr nie Herz zu Herzen schaffen... 


Wenn es euch nicht von Herzen geht. 


Wagner. gu’ es 
Allein der Vortrag macht des Redners Glück ; 
Ich fühl’ es wohl, noch bin ich weit zurück. 


Faust. 
Such’ er den redlichen Gewinn !&“ 
Sei er kein schellenlauter Thor! ' 
Es trägt Verstand und rechter Sinn 
Mit wenig Kunst sich se selber vor; 
Und wenn’s euch Ernst ist, was zu 8 sen, 
Ist’s nöthig, Worten nachzuj jagen dA" 


Ja, eure Reden, die so blinkéwd sind, ‚ie 


In denen ihr der Menschheit Schnitzel kränselk, 
Sind unerquicklich wie der Nebelwind, 
Der herbstlich durch die dürren Blätter säuselt. 


Wagner. 
Ach Gott! Die Kunst ist lang, 
Und kurz ist unser Leben. \ 
Mir wird bei meinem kritischen Bestreben - a 
Doch oft um Kopf und Busen bang. 2 


Wie schwer sind nicht die Mittel zu erwerben, per 


“Pw Yaw 


18 


19 


19 


2c 


NIGHT-SCENE. 41 


hardly sees the world of a holiday—hardly through 
a telescope, only from afar—how is he to lead it by 
persuasion ? 
Faust. | 

Tf 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! You 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 makes the orator’s success. 
I feel well that I am still far behind-hand. 


Faust. \V 
Seek honest gain only !—Be no fool with loud tinkling 
‘bells !—Reason 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 through the withered leaves 
in autumn. 
Wagner. 
Oh, God! 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 


42 NACHT. 


Durch die man zu den Quellen steigt ! 2 
Und eh man nur den halben Weg erreicht, 
Musz wohl ein armer Teufel sterben. 


’ 


poe Faust. air 
Das Pergament, ist das der heil’ge Bronnen, 
:. Woraus ein Trunk den Durst auf ewig stillt ? 
"\ Brquickung hast du nicht gewonnen, 2: 
‘Wenn sie dir nicht aus eigner Seele quillt. 1 - 


Wagner. 
Verzeiht! Es ist ein grosz Ergetzen, he 
Sich in den Geist der Zeiten zu versetzen, 
Zu schauen, wie vor uns ein weiser Mann gedacht, _ Pe 
Und wie wir's dann zuletzt so herrlich weit gebracht. ” 2: 


Faust. BE 
O ja, bis an die Sterne weit! aor 
Mein Freund, die Zeiten der Vergangenheit” A 
Sind uns ein "Buch mit sieben Siegeln. 
Was ihr den Geist der Zeiten heiszt, 
Das ist im Grund der Herren eigner Geist, 2: 
In dem die Zeiten sich bespiegeln.. whys 
Da ist’s denn wahrlich oft ein Jammer! |; 
Man 14 aft euc bei dem ersten ‚Blick davon... 
Ein Keh richtfäsz und eine Rumpelkammer — 
Und höchstens eine Haupt- und Staatsaktion 2: 
Mit trefflichen pragmatischen Maximen, a 
Wie sie den Puppen wohl im Munde ziemen Vv 


Wagner. 
Allein die Welt! Des Menschen Herz und Geist ! 
Möcht’ J eglicher doch was davon erkennen. 


Faust. 
Ja, was man so erkennen heiszt !' 2 
Wer darf das Kind beim rechten Namen nennen ? 
Die Wentten, die was davon erkannt, 
Die thöricht ‚gnug ihr volles Herz nicht wahrten, " 


NIGHT-SCENE. 43 


the means by which one mounts to the fountain-head ; 
and before he has got half way, a poor devil must 
probably die ! 
Faust. 
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! Itis 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. 


DR : 
Dem Pöbel ihr Gefühl ih Schauen offenbarten, 
Hat man von je gekrekizi t und verbrannt. 
Ich bitt’ euch, Freund, es ist tief in der Nacht ; 


Wir müssen’s diesmal unterbrechen. 1 ct! ed of 


Wagner. 
Ich hätte gern nur immer fortgewacht, 
Um so gelehrt mit euch mich zu besprechen. 


Doch morgen, als am ersten Ostertage, : 
t 


Erlaubt me ein- und andre Frage! te lg 


Mit Eifer ab’ ich mich der Studien beflissen ; ” : 
Zwar weisz ich viel, doch möcht’ ich Alles wissen. 


Faust (allein). PR 
Wie nur dem Kopf nicht alle Hoffnung schyrindet, 
Der immerfort an schalem Zeuge klebt, | ‘ 
Mit gier’ger Hand nach Schätzen gribt ' 
Und froh ist, wenn er Regenwürmer findet ! 
Sie 


Darf eine solche Menschenstimme hier, 
Wo Geisterfülle mich umgab, ertönen ?3°"" 
Doch ach, fiir diesmal dank’ ich dir, 
Dem, Bergligbeton von allen Erdengähnen. 

issest mich von der Verzweiflung los, ' 

Die mir die Sinne schon zerstören wollte. 
-Ach, die Erscheinung war so riesengrosz, 
Dasz ich mich recht als Zmerg empfinden sollte. 


Ich, Ebenbild der Gottheit, das sich schon 
Ganz nah gedünkt dem Spiegel ew’ger Wahrheit, 
Sein-selbst in Himmelsglanz und -Klarheit 
Und abgeitt Sn Erdensohn ; 
Ich, mehr als Cherub, dessen freie Kraft 
Schon durch die Adern der Natur zu flieszen 
Und, schaffend, Götterleben zu genieszen, 


[4 


Sich ahnungsvoll vermasz, wie musz ich’s büszen ! r hee 


Ein Donnerwort hat mich hinweggeraift, Qe 


«eget 


Nicht darf ich dir zu gleichen mich vermessen.” 


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 break off. 

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. [Beit.] 


Faust (alone). 

How strange that all 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? Yet 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 God’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 off; I, more than cherub, whose free 
spirit already, in its imaginative soarings, aspired to 
zlide through nature’s veins, and, in creating, enjoy the 
life of gods—how must I atone for it! A thunder-word 
1as swept me wide away. 

I dare not presume to compare myself with thee. If 


46 N ACHT. ; 


Hab’ ich die Kraft dich Fmnsiehe igen 

So hatt’ ich dich zu hattéii‘keine Kraft. 

In jenem sel’gen Augenblicke, 

Ich len h 80, klei 80 grOSZ ; 

Du stieszest grausam mich zurücke 2) 

Ins ungewisse Menschenloos. » RT 

Wer lehret mich? Was soll ich meiden? 

Soll ich gehorchen jenem Drang?“ |, “ 

Ach, unsre Thaten selbst, so gut als unsre Leiden, 

Sie hemmen unsers Lebens Gens} we 2 2 
% Feen 

Dem Herrlichsten, was auch‘ der Geist empfahgen, 

Drängt 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 Gefühle, 2 

‚„. Erstarren, in dem irdischen Gewühle. 
en 


Wenn Phantasie sich sonst mit kühnem Flug \ 
Und hoffnungsvoll zum Ewigen BEWEISEN, . 


So ist ein kleiner ati ihr nun enug, rer 
Wenn Glück auf Glück im Zeitenstrüdel ee 2 
Die Sor, nistef gleich im tiefen araaıı 

Dort Be A eheime Schmerzen, : 


Unruhi wWiegt, sie sich und störet, inst und Ruh; 

Sie deckt ‘sich stets mit neuen Masken zu, 

Sie mag als Haus und Hof, al als Weib und Kind erscheinen 
Als Feuer, Wasser, Dolch und Gift ; re 2 
Du bebst vor Allem, was nicht brifft, wi ur 
Und was du nie verlierst, das muszt du stébe beweinen. 


Den Göttern gleich’ ich nicht! Zu tief ist es gefühlt 
Dem Wurme gleich’ ich, der den Staub durchwühlt, 3 
Den, wie er sich im Staube nährend lebt, 

Des Wandrers Tritt vernichtet und begräbt, Ds 


Ist es nicht Staub, was diese hohe Wand 
Aus hundert on mir verenget,  "* 
Der Tröde , der mit tausendfachem Tand * 
In dieser Motrenwelt mich dringet ? 
Hier soll 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 Ito 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, dilated to infinity,—a little space is now enough 
for when venture after venture has been wrecked in 
the whirlpool of time. Care straightway nestles in the 
depths of the hearf, hatches vague tortures there, rocks 
herself restlessly, and frightens joy and peace away. 
She is ever putting on new masks; she may appear as 
house and land, as wife and child, as fire, water, dagger 
and poison. You tremble before all that does not befall 
you, and must be always wailing what you never lose. 

Iam 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 TI to go on reading in 





48 NACHT. 


Soll ich vielleicht in tausend Büchern lesen, 

Dasz überall die Menschen sich gequält, 

Dasz hie und da ein Glücklicher gewesen ?— 

Was grinsest du mir, hohler Schädel, her, 

Als dasz dein Hirn, wie meines; einst verwirret, 

Den leichten Tag gesucht und in der Dimmrung schw. 
Mit Lust nach Wahrheit, jämmerlich geirret P 

Ihr Instrumente freilich spottet mein 

Mit Rad und Kämmen, Walz’ und Bügel. - Irene 
Ich stand am Thor, ihr solltet Schlüssel sein ; 

Zwar euer Bart ist kraus, doch hebt ihr nicht die Riege 
Geheimniszvoll am lichten Tag, 

Läszt sich Natur des Schleiers nicht berauben, 

Und was sie deinem Geist nicht offenbaren mag, 

Das zwingst du ihr nicht ab mit Hebeln und mit Schraul 
Du alt Geräthe, das ich nicht gebraucht, 

Du stehst nur hier, weil dich mein Vater brauchte. 

Du alte Rolle, du wirst angeraucht, 

So lang’ an diesem Pult die trübe Lampe schmauchte. 
Weit besser hätt’ ich doch mein Weniges verpraszt, 
Als mit dem Wenigen belastet hier zu schwitzen ! 

Was du ererbt von deinen Vätern hast, 

Erwirb es, um es zu besitzen. 

Was man nicht nützt, ist eine schwere Last; 

Nur was der Augenblick erschafft, das kann er nützen. 


Doch warum heftet sich mein Blick auf jene Stelle? 
Ist jenes Fläschchen dort den Augen ein Magnet? 
Warum wird mir auf einmal lieblich helle, 

Als wenn im nicht’gen Wald uns Mondenglanz umwel 


Ich grüsze dich, du einzige Phiole ! 
Die ich mit Andacht nun herunterhole, 
In dir verehr’ ich Menschenwitz und -Kunst, 


NIGHT-SCENE. 49 


a thousand books, that men have toiled 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 ? 

Ye 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 veil; 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 oppr<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, thou precious phial, which I now take 
down with reverence; in thee I honour the wit and 

E 


50 ; ; NACHT. 


Du Inbegriff der holden Schlummersäfte, 

Du Auszug aller tödtlich feinen Kräfte, 
Erweise deinem Meister deine Gunst! 

Ich sehe dich, es wird der Schmerz gelindert, 
Ich fasse dich, das Streben wird gemindert, 
Des Geistes Fluthstrom ebbet nach und nach. 
Ins hohe Meer werd’ ich hinausgewiesen, 

Die Spiegelfluth erglänzt zu meinen Füszen, x 
Zu neuen Ufern lockt ein neuer Tag. all 


Ein Feuerwagen schwebt auf leichten Schwingen - 
An mich heran! Ich fühle mich bereit, 
Auf neuer Bahn den Aether zu durchdringen 
Zu neuen Sphären reiner Thätigkeit. 
Dies hohe Leben, diese Götterwonne, 
Du, erst noch Wurm, und die verdienest du P 
Ja, kehre nur der holden Erdensonne 
Entschlossen deinen Rücken zu ! 
Vermesse dich, die Pforten aufzureiszen, 
Vor denen Jeder gern vorüberschleicht! 
Hier ist es Zeit, durch Thaten zu beweisen, 
Dasz Manneswürde nicht der Götterhöhe weicht, 
Vor jener dunkeln Höhle nicht zu beben, . 
In der sich Phantasie zu eigner Qual verdammt, 
Nach jenem Durchgang hinzustreben, 
Um dessen engen Mund die ganze Hölle fammt, 
Zu diesem Schritt sich heiter zu entschlieszen, 
Und wär’ es mit Gefahr, ins Nichts dahinzuflieszen. 


Nun komm herab, krystallne reine Schale, 
Hervor aus deinem alten Futterale, » (0% 
An die ich viele Jahre nicht gedacht! 4 
Du glänztest bei der Vater Freudenfeste, ’ 
Erheitertest die ernsten Gäste, 

Wenn Einer dich dem Andern zugebracht. 

Der vielen Bilder künstlich reiche Pracht, 

Des Trinkers Pflicht, sie reimweis zu erklären, JA,« . 
Auf einen Zug die Höhlung auszuleeren, 5 
Erinnert mich an manche Jugendnacht. ? 
Ich werde jetzt dich keinem Nachbar reichen, 

Ich werde meinen Witz an deiner Kunst nicht zeiger 


ı 


NIGHT-SCENE. f1 


art of man. Thou essence of soothing soporific juices, 
thou concentratiédn 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 flood-tide ebbs by degrees. I am beckoned 
out into the wide sea; 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 existence, 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 case! You glittered at my ancestors’ festivities ; you 
gladdened the grave guests, as one passed you to,the 
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 macht. 

Mit brauner Fluth erfüllt er deine Höhle. 

Den ich bereitet, den ich wähle, 

Der letzte Trunk sei nun mit ganzer Seele 

Als festlich hoher Grusz dem Morgen zugebracht ! ! 
[Er setzt die Schale an den M 


Glockenklang und Chorgesang. 


CHOR DER ENGEL. 


Christ ist erstanden ! 
Freude dem Sterblichen, 
Den die verderblichen, 
Schleichenden, erblichen 
Mangel umwanden. 


Faust. 
Welch tiefes Summen, welch ein heller Ton 
Zieht mit Gewalt das Glas von meinem Munde ? 
Verkündiget ihr dumpfen Glocken schon 
Des Osterfestes erste Feierstunde ? 
Ihr Chöre, singt ihr schon den tröstlichen Gesang, 
Der einst um Grabesnacht von Engelslippen klang, 
Gewiszheit einem neuen Bunde ? 


CHOR DER WEIBER, 


Mit Spezereien 

Hatten wir ihn gepflegt, 
Wir, seine Treuen, 
Hatten ihn hingelegt ; 
Tücher und Binden 
Reinlich umwanden wir, 
Ach, und wir finden 
Christ nicht mehr hier, 


NIGIIT-SCENE. 53 


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. [He places the goblet to his mouth.) 


The ringing of bells and singing of choruses. 


CHORUS 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 hollow- 
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! 


CHORUS 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 ! 


54 NACHT. 


CHOR DER ENGEL. 


Christ ist erstanden ! 
Selig der Liebende, 
Der die betrübende, 
Heilsam und übende 
Prüfung bestanden. 


Faust. 
Was sucht ihr, mächtig und gelind, 
Ihr Himmelstöne, mich am Staube ? 
Klingt dort umher, wo weiche Menschen sind. 
Die Botschaft hör’ ich wohl, allein mir fehlt der Glaub 
Das Wunder ist des Glaubens liebstes Kind. 
Zu jenen Sphären wag’ ich nicht zu streben, 
Woher die holde Nachricht tönt, 
Und doch, an diesen Klang von Jugend auf gewöhnt, 
Ruft er auch jetzt zurück mich in das Leben. 
Sonst stürzte sich der Himmelsliebe Kusz 
Auf mich herab in ernster Sabbathstille ; 
Da klang so ahnungsvoll des Glockentones Fülle, 
Und ein Gebet war brünstiger Genusz; 
Ein unbegreiflich holdes Sehnen 
Trieb mich, durch Wald und Wiesen hinzugehn, 
Und unter tausend heiszen Thränen 
Fühlt' ich mir eine Welt entstehn. 
Dies Lied verkündete der Jugend muntre Spiele, 
Der Frühlingsfeier freies Glück ; 
Erinnrung hält mich nun mit kindlichem Gefühle 
Vom letzten, ernsten Schritt zurück. 
O tönet fort, ihr süszen Himmelslieder ! 
Die Thräne quillt, die Erde hat mich wieder! 


CHOR DER JÜNGER, 


Hat der Begrabene 
Schon sich nach oben, 
Lebend Erhabene, 
Herrlich erhoben ; 

Ist er in Werdelust 
Schaffender Freude nah 


NIGIT-SCENE, 55 


CHORUS OF ANGELS. 


Christ is arisen ! 7 
Happy the loving one, 

Who the afflicting, 

Wholesome and chastening 

Trial has stood ! 


Faust. y 

Why, ye heavenly tones, subduing and soft, du 
you 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,from the last 
decisive step. Oh! sound on, ye sweet heavenly strains! 
The tear is flowing, earth has me again. 


CHORUS 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,°5 
Near to creative joy. 


56 


NACHT. 


Ach, an der Erde Brust 

Sind wir zum Leide da. 

Liesz er die Seinen 
Schmachtend uns hier zurück ; 
Ach, wir beweinen, 

Meister, dein Glück ! 


CHOR DER ENGEL. 


Christ ist erstanden 

Aus der Verwesung Schoosz ! 
Reiszet von Banden 
Freudig euch los! 

Thätig ihn Preisenden, 
Liebe Beweisenden, 
Brüderlich Speisenden, 
Predigend Reisenden, 
Wonne Verheiszenden, 
Euch ist der Meister nah, 
Euch ist er da! 


NIGHT-SCENE, 


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 ! 


CHORUS 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! 


VOR DEM THOR. 


Spaziergänger aller Art ziehen hinaus. 


Einige Handwerksbursche. 
ye denn dort hinaus ? 455° 


Andre. 
Wir gehn hinaus aufs Jägerhaus. 


Die Ersten. 
Wir aber wollen nach der Mühle wandern. 


Ein Handwerksbursch. 
Ich rath’ euch, nach dem Wasserhof zu gehn. 


Zweiter, 
Der Weg dahin ist gar nicht schön. 


Die Zweiten. 
Was thust denn du? 


Ein Dritter, 
Ich gehe mit den Andern. 460 


Vierter. 
Nach Burgdorf kommt herauf! Gewisz, dort findet ihr 
Die schönsten Mädchen und das beste Bier 
Und Händel von der ersten Sorte. 


5 Fünfter. 

Du überlustiger Gesell, 

Juckt dich zum dritten Mal das Fell ? 465 
Ich mag nicht hin, mir graut es vor dem Orte, 


BEFORE THE GATE. 


Promenaders of all kinds pass out. 


Some Mechanics. 


\ N J HY that way? 
Others. 


We are going up to the Jägerhaus. 
The Former. 
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; vou are there sure of finding 
the prettiest girls and the best beer, and rows 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 THOR. 


Dienstmädchen. 
Nein, nein, ich gehe nach der Stadt zurück. 


Andre. 
Wir finden ihn gewisz bei jenen Pappeln stehen. 


. Erste. 

Das ist für mich kein groszes Glück; 

Er wird an deiner Seite gehen, 479 
Mit dir nur tanzt er auf dem Plan. 

Was gehn mich deine Freuden an! 


Andre. 
Heut ist er sicher nicht allein; 
Der Krauskopf, sagt er, würde bei ihm sein. 


Schüler. 
Blitz, wie die wackern Dirnen schreiten! 475 
Herr Bruder, komm, wir müssen sie begleiten. 
Ein starkes Bier, ein beizender Toback 
Und eine Magd im Putz, das ist nun mein Geschmack, 


Biirgermiidchen, 
Da sieh mir nur die schönen Knaben! 
Es ist wahrhaftig eine Schmach; 480 
Gesellschaft kénnten sie die allerbeste haben 
Und laufen diesen Miigden nach! 


Zweiter Schüler (zum ersten). 
Nicht so geschwind! Dort hinten kommen zwei, 
Sie sind gar niedlich angezogen, 
’s ist meine Nachbarin dabei ; 485 
Ich bin dem Mädchen sehr gewogen, 
Sie gehen ihren stillen Schritt 
Und nehmen uns doch auch am Ende mit. 


Erster. 
Herr Bruder, nein! Ich bin nicht gern genirt. 


BEFORE THE GATE. 61 


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 the 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. 


Student. 

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 trimly 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 THOR. 


Geschwind, dasz wir das Wildpret nicht verlieren ! 490 
Die Hand, die Samstags ihren Besen führt, 
Wird Sonntags dich am Besten karessiren. 


Bürger. 
Nein, er gefällt mir nicht, der neue Burgemeister ! 
Nun, da er’s ist, wird er nur täglich dreister. 
Und für die Stadt, was thut denn er? 4y5 
Wird es nicht alle Tage schlimmer ? 
Gehorchen soll man mehr als immer 
Und zahlen mehr als je vorher. 


Bettler (singt). 
Ihr guten Herr’n, ihr schönen Frauen, 
So wohlgeputzt und backenroth, 500 
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 für mich ein Erntetag. 


Andrer Bürger. 
Nichts Bessers weisz ich mir an Sonn- und Feiertagen 
Als ein Gespräch von Krieg und Kriegsgeschrei, 
Wenn hinten, weit, in der Türkei 
Die Völker auf einander schlagen. sIo 
Man steht am Fenster, trinkt sein Gläschen aus 
Und sieht den Flusz hinab die bunten Schiffe gleiten ; 
Dann kehrt man Abends froh nach Haus 
Und segnet Fried’ und Friedenszeiten. 


Dritter Bürger. 
Herr Nachbar, ja, so lass’ ich’s auch geschehn: 515 
Sie mögen sich die Köpfe spalten, 
Mag Alles durch einander gehn, 
Doch nur zu Hause bleib’s beim Alten. 


Alte (zu den Bürgermädchen). 
Ei! Wie geputzt! Das schöne junge 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). 

Ye 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 
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 DEM THOR. 


Wer soll sich nicht in euch vergaffen P— 
Nur nicht so stolz! Es ist schon gut! 
Und was ihr wünscht, das wiiszt’ ich wohl zu schaffen. 


Bürgermädchen. 
Agathe, fort! Ich nehme mich in Acht, 
Mit solchen Hexen öffentlich zu gehen ; 
Sie liesz mich zwar in Sankt Andreas’ Nacht 
Den künft’gen Liebsten leiblich sehen— 


Die Andre. 
Mir zeigte sie ihn im Krystall, 
Soldatenhaft mit mehreren Verwegnen ; 
Ich seh’ mich um, ich such’ ihn überall, 
Allein mir will er nicht begegnen. 


Soldaten. - 
Burgen mit hohen 
Mauern und Zinnen, 
Mädchen mit stolzen, 
Höhnenden Sinnen 
Möcht’ ich gewinnen ! 
Kühn ist das Mühen, 
Herrlich der Lohn ! 


Und die Trompete 
Lassen wir werben, 
Wie zu der Freude, 
So zum Verderben. 
Das ist ein Stürmen ! 
Das ist ein Leben ! 


Mädchen und Burgen 
Müssen sich geben. 
Kühn ist das Mühen, 


520 


525 


530 


535 


540 


545 


BEFORE THE GATE, 65 


Who would not be smitien with you? Only not so 
proud! it is all very well; and what you wish I could 
undertake to get you. 


Citizen'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 would 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, 
F 


66 


VOR DEM THOR. 


Herrlich der Lohn ! 
Und die Soldaten 
Ziehen davon. 


Faust und WAGNER. 


Faust. 
Vom Eise befreit sind Strom und Bäche 


Durch des Frühlings holden, belebenden Blick, 


Im Thale grünet Hoffnungsglück ; 
Der alte Winter in seiner Schwäche 


Zog sich in rauhe Berge zurück. 


Von dorther sendet er fliehend nur 
Ohnmächtige Schauer körnigen Eises 
In Streifen über die grünende Flur. 
Aber die Sonne duldet kein Weiszes, 
Ueberall regt sich Bildung und Streben, 
Alles will sie mit Farben beleben ; 
Doch an Blumen fehlt’s im Revier, 

Sie nimmt geputzte Menschen dafür. 
Kehre dich um, von diesen Höhen 
Nach der Stadt zurück zu sehen, 

Aus dem hohlen, finstern Thor 
Dringt ein buntes Gewimmel hervor, 
Jeder sonnt sich heute so gern, 

Sie feiern die Auferstehung des Herrn, 
Denn sie sind selber auferstanden ; 


‚Aus niedriger Häuser dumpfen Gemächern, 


Aus Handwerks- und Gewerbesbanden, 
Aus dem Druck von Giebeln und Dächern, 
Aus der Straszen quetschender Enge, 

Aus der Kirchen ehrwürdiger Nacht 

Sind sie Alle ans Licht gebracht. 

Sieh nur, sieh, wie behend sich die Menge 
Durch die Gärten und Felder zerschlägt, 
Wie der Flusz in Breit’ und Länge 

So manchen lustigen Nachen bewegt, 
Und, bis zum Sinken iüberladen, 

Entfernt sich dieser letzte Kahn. 

Selbst von des Berges fernen Pfaden 


550 


555 


565 


570 


575 


580 


BEFORE THE GATE. 67 


Noble the reward— 
And the soldiers 
Are off. 


Faust and WAGNER. 


Faust. 

River and rivulet are freed from ice” by the gay 
quiekening 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 confir 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 off. Even 
from the farthest paths of the mountain, gay-coloured 


68 


VOR DEM THOR. 


Blinken uns farbige Kleider an. 

Ich höre schon des Dorfs Getiimmel, 
Hier ist des Volkes wahrer Himmel, 
Zufrieden jauchzet Grosz und Klein : 
Hier bin ich Mensch, hier darf ich’s sein. 


Wagner. 
Mit euch, Herr Doktor, zu spazieren, 
Ist ehrenvoll und ist Gewinn; | 
Doch würd’ ich nicht allein mich her verlieren, 
Weil ich ein Feind von allem Rohen bin. 
Das Fiedeln, Schreien, Kegelschieben 
Ist mir ein gar verhaszter Klang ; 
Sie toben, wie vom bösen Geist getrieben, 
Und nennen’s Freude, nennen’s Gesang. 


BAUERN UNTER DER LINDE, 


TANZ UND GESANG. 


Der Schäfer putzte sich zum Tanz 
Mit bunter Jacke, Band und Kranz, 
Schmuck war er angezogen. 

Schon um die Linde war es voll, 
Und Alles tanzte schon wie toll. 
Juchhe! Juchhe! 

Juchheisa! Heisa! He! 

So ging der Fiedelbogen. 


Er drückte hastig sich heran ; 

Da stiesz er an ein Mädchen an 

Mit seinem Ellenbogen. 

Die frische Dirne kehrt sich um 

Und sagte: Nun, das find’ ich dumm, 
Juchhe! Juchhe! 

Juchheisa ! Heisa ! He! 

Seid nicht so ungezogen ! 


Doch hurtig in dem Kreise ging’s; 
Sie tanzten rechts, sie tanzten links, 
Und alle Röcke flogen, a 


585 


599 


595 


605 


610 


BEFORE THE GATE. 69 


dresses glance upon us. I hear already the bustle of 
the village; here is the true heaven of the multitude; 
big and little are huzzaing joyously. Here, Iam 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-TREE. 
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-la ! 
Merrily 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 


VOR DEM THOR. 


Sie wurden roth, sie wurden warm 61 
Und ruhten athmend Arm in Arm. 

Juchhe! Juchbe! 

Juchheisa! Heisa! He! 

Und Hüft’ an Ellenbogen. 


Und thu mir doch nicht so vertraut! 6: 
Wie Mancher hat nicht seine Braut 

Belogen und betrogen ! 

Er schmeichelte sie doch bei Seit’, 

Und von der Linde scholl es weit : 

Juchhe! Juchhe ! 6: 
Juchheisa! Heisa! He! 

Geschrei und Fiedelbogen. 


Alter Bauer. 
Herr Doktor, das ist schön von euch, 
Dasz ihr uns heute nicht verschmäht 
Und unter dieses Volksgedräng’ 64 
Als ein so hochgelahrter geht. 
So nehmet auch den schönsten Krug, 
Den wir mit frischem Trunk gefiillt. 
Ich bring’ ihn zu und wünsche laut, 
Dasz er nicht nur den Durst euch stillt : 6: 
Die Zahl der Tropfen, die er hegt, 
Sei euren Tagen zugelegt ! 


Faust. 
Ich nehme den Erquickungstrank, 
Erwidr’ euch Allen Heil und Dank. 
[Das Volk sammelt sich in Kreis umber. 


Alter Bauer. _ 
Fürwahr, es ist sehr wohl gethan, 6 
Dasz ihr am frohen Tag erscheint ; 
Habt ihr es vormals doch mit uns 
An bösen 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. 71 


They grew red, they grew 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, which we have filled 
with fresh liquor. I pledge you in it, and pray aloud 
that it may not only quench your thirst—may the 
number 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 been 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 THOR. 


Thr gingt in jedes Krankenhaus; 
Gar manche Leiche trug man fort, 
Ihr aber kamt gesund heraus, 


" Bestandet manche harte Proben ; 


Dem Helfer half der Helfer droben. 


Alle. 
Gesundheit dem bewährten Mann, 
Dasz er noch lange helfen kann ! 


Faust. 
Vor Jenem droben steht gebiickt, 
Der helfen lehrt und Hiilfe schickt ! 


650 


655 


[Er geht mit WacNERN weiter. ] 


Wagner. 
Welch ein Gefiihl muszt du, o groszer Mann, 
Bei der Verehrung dieser Menge haben ! 
O glücklich, wer von seinen Gaben 
Solch einen Vortheil ziehen kann ! 
Der Vater zeigt dich seinem Knaben, 
Ein Jeder fragt und drängt und eilt, 
Die Fiedel stockt, der Tänzer weilt. 
Du gehst, in Reihen stehen sie, 
Die Mützen fliegen in die Höh, 
Und wenig fehlt, so beugten sich die Knie, 
Als käm’ das Venerabile. 


Faust. 
Nur wenig Schritte noch hinauf zu jenem Stein! 
Hier wollen wir von unsrer Wandrung rasten, 
Hier sasz ich oft gedankenvoll allein 
Und quälte mich mit Beten und mit Fasten, 
An Hoffnung reich, im Glauben fest, 
Mit Thränen, Seufzen, Händeringen 
Dacht’ ich das Ende jener Pest 
Vom Herrn des Himmels zu erzwingen, 
Der Menge Beifall tönt mir nun wie Hohn. 
O, könntest du in meinem Innern lesen, 
Wie wenig Vater und Sohn 
Solch eines Ruhmes werth gewesen ! 


660 


665 


670 


675 


680 


BEFORE THE GATE. 73 


went into every sick 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! 


Faust. 
Bend before Him on high, who teaches how to help, 
and sends help. [He proceeds with WAGNER. ] 
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 solitary, 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 iiber die Natur und ihre heil’gen Kreise 
In Redlichkeit, jedoch auf seine Weise, 

Mit grillenhafter Mühe sann ; 

Der in Gesellschaft von Adepten 

Sich in die schwarze Kiiche schlosz 

Und nach unendlichen Rezepten 

Das Widrige zusammengosz. 

Da ward ein rother Leu, ein kiihner Freier, 
Im lauen Bad der Lilie vermählt, 

Und beide dann mit offnem Flammenfeuer 
Aus einem Brautgemach ins andere gequält. 
Erschien darauf mit bunten Farben 

Die junge Königin im Glas, 

Hier war die Arzenei, die Patienten starben, 
Und Niemand fragte,-wer genas. 

So haben wir mit höllischen Latwergen 

In diesen Thälern, diesen Bergen 

Weit schlimmer als die Pest getobt. 

Ich habe selbst den Gift an Tausende gegeben ; 
Sie welkten hin, ich musz erleben, 

Dasz man die frechen Mörder lobt. 


Wagner. 
Wie könnt ihr euch darum betrüben ! 
Thut nicht ein braver Mann genug, 
Die Kunst, die man ihm übertrug, 
Gewissenhaft und pünktlich auszuüben ? 
Wenn du als Jüngling deinen Vater ehrst, 
So wirst du gern von ihm empfangen ; 
Wenn du als Mann die Wissenschaft vermehrst, 
So kann dein Sohn zu höh’rem Ziel gelangen, 


Faust. 
O glücklich, wer noch hoffen kann, 
Aus diesem Meer des Irrthums aufzutauchen ! 


Was man nicht weisz, das eben brauchte N 


nd was man weisz, kann man nicht brauchen” 


“Doch lasz uns dieser Stunde schönes Gut ee 


Durch solchen Triibsinn nicht verkiimmern! . 


6: 


6 


7 


7° 


71 


71 


m. 


BEFORE THE GATE. [25) 


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 company 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 séa 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 VOR DEM THOR. 


Betrachte, wie in Abendsonnegluth 

Die grünumgebnen Hütten schimmern. 

Sie rückt und weicht, der Tag ist überlebt, 
Dort eilt sie hin und fördert neues Leben. 

O, dasz kein Flügel mich vom Boden hebt, 
Ihr nach und immer nach zu streben ! 

Ich säh’ im ewigen Abendstrahl 

Die stille Welt zu meinen Füszen, 
Entzündet alle Höhn, beruhigt jedes Thal, 
Den Silberbach in goldne Ströme flieszen. 
Nicht hemmte dann den göttergleichen Lauf 
Der wilde Berg mit allen seinen Schluchten ; 


Schon thut das Meer sich mit erwärmten Buchten 


Vor den erstaunten Augen auf. 

Doch scheint die Göttin endlich wegzusinken ; 
Allein der neue Trieb erwacht, 

Ich eile fort, ihr ew’ges Licht zu trinken, 

. Vor mir den Tag und hinter mir die Nacht, 


Den Himmel über mir und unter mir die Wellen.- 


Ein schöner Traum, indessen sie entweicht ! 
Ach, zu des Geistes Flügeln wird;so leicht 
Kein körperlicher Flügel sich gesellen. ~ 
Doch ist es Jedem eingeboren, — 

Dasz sein Gefühl hinauf und vorwärts dringt, 
Wenn über uns, im blauen Raum: verloren, 
Ihr schmetternd Lied die Lerche singt, 
Wenn über schroffen Fichtenhöhen 

Der Adler ausgebreitet schwebt, 

Und über Flächen, über Seen 

Der Kranich nach der Heimath strebt. 


Wanen, 


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 Winternächte hold und schön, 

Ein selig Leben wärmet alle Glieder, 


74 


71 


7! 


BEFORE THE GATE, 77 


imelancholy reflections. See, how the green-girt cottages 
shimmer in the setting Sun! He bends and sinks—the 
dayis 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.—A ready the sea, with its heated 
bays, opens on my enrapttired sight. Yet 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.” Yet 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.“ 


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 VOR DEM THOR. 


Und, ach, entrollst du gar ein wiirdig Pergamen, 
So steigt der ganze Himmel zu dir nieder. 


Faust. 
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 hält in derber Liebeslust 
Sich an die Welt mit klammérnden Organen ; 
Die andre hebt gewaltsam sich vom Dust 
Zu den Gefilden hoher Ahnen. 
O, giebt es Geister in der Luft, 
Die zwischen Erd’ und Himmel herrschend weben, 
So steiget nieder aus dem goldnen Duft 
Und führt mich weg zu neuem, buntem Leben! 
Ja, wäre nur ein Zaubermantel mein 
Und trüg’ er mich in fremde Länder, 
Mir sollt’ er um die köstlichsten Gewänder, 
Nicht feil um einen Königsmantel sein. 


Wagner. 
Berufe nicht die wohlbekannte Schaar, 
Die strömend sich im Dunstkreis überbreitet, 
Dem Menschen tausendfältige Gefahr 
Von allen Enden her bereitet. 
‘Von Norden dringt der scharfe Geisterzahn 
Auf dich herbei mit pfeilgespitzten Zungen ; 
Von Morgen ziehn vertrocknend sie heran 
Und nähren sich von deinen Lungen ; 
Wenn sie der Mittag aus der Wüste schickt, 
Die Gluth auf Gluth um deinen Scheitel häufen, 
So bringt der West den Schwarm, der erst erquickt, 
Um dich und Feld und Aue zu ersäufen. 
Sie hören gern, zum Schaden froh gewandt, 
Gehorchen gern, weil sie uns gern betrügen ; 
Sie stellen wie vom Himmel sich gesandt 
Und lispeln englisch, wenn sie lügen. 
Doch gehen wir! Ergraut ist schon die Welt, 


ZA 


7 


7 


BEFORE THE GATE, 79 


ah! when 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, 
toman. 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 only 
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 DEM THOR. 


Die Luft gekühlt, der Nebel fällt ! 7 
we¥CAm Abend schätzt man erst das Haus.— 

Was stehst du so und blickst erstaunt hinaus ? 

Was kann dich in der Dämmrung so ergreifen ? 


Faust. 
Siehst du den schwarzen Hund durch Saat und 
Stoppel streifen ? 


Wagner. 
Ich sah ihn lange schon ; nicht wichtig schien er mir. 7 


Faust. 
Betracht ihn recht! Für was hältst du das Thier? 


Wagner. 
Für einen Pudel, der auf seine Weise 
Sich auf der Spur des Herren plagt. 


Faust. 
Bemerkst du, wie in weitem Schneckenkreise 
Er um uns her und immer näher jagt ? g 
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 Augentäuschung sein, 


Faust. 
Mir scheint es, dasz er magisch leise Schlingen i 
Zu kiinft'gem Band um unsre Füsze zieht. 


Wagner. 
Ich seh’ ihn ungewisz und furchtsam uns umspringen, 
Weil er statt seines Herrn zwei Unbekannte 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 black dog ranging through the corn 
and stubble ? 
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 but 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 


VOR DEM THOR. 


Faust. 
Der Kreis wird eng; schon ist er nah! 


Wagner. 
Du siehst,. ein Hund, und kein Gespenst ist da. | 
Er knurrt und zweifelt, legt sich auf den Bauch, 
Er wedelt. Alles Hundebrauch. 


Faust. 
Geselle dich zu uns! Komm hier ! 


Wagner. 
Es ist ein pudelnärrisch Thier. 
Du stehest still, er wartet auf ; { 
Du sprichst ihn an, er strebt an dir hinauf; 
Verliere was, er wird es bringen, 
Nach deinem Stock ins Wasser springen. 


Faust, 
Du hast wohl Recht; ich finde nicht die Spur 
Von einem Geist, und Alles ist Dressur. € 


Wagner. 
“ Dem Hunde, wenn er gut gezogen, 
Wird selbst ein weiser Mann gewogen, 
Ja, deine Gunst verdient er ganz und gar, 
Er, der Studenten treflicher Scolar. 
: [Sie gehen in das Stadtthoi 


BEFORE THE GATE. 83 


Faust. 
The circle grows narrow; he is already close. 


Wagner. 
You see, it is a dog, and no phantom. He growls and 
hesitates, crouches on his belly and wags with his tail— 
all as dogs 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.] 


STUDIRZIMMER. 


Faust (mit dem Pudel hereimtretend). 


ERLASSEN hab’ ich Feld und Auen, 
Die eine tiefe Nacht bedeckt, 
Mit ahnungsvollem, heil’gem Grauen 
In uns die bessre Seele weckt. 
Entschlafen sind nun wilde Triebe 
Mit jedem ungestiimen Thun ; 
Hs reget sich die Menschenliebe, 
Die Liebe Gottes regt sich nun. 


Sei ruhig, Pudel! Renne nicht hin und wieder! 
An der Schwelle was schnoperst du hier ? 

Lege, dich hinter den Ofen nieder ! 

Mein bestes Kissen geb’ ich dir. 

Wie du drauszen auf dem bergigen Wege 
Durch Rennen und Springen ergötzt uns hast, 
So nimm nun auch von mir die Pflege 

Als ein willkommner stiller Gast. 


Ach, wenn in unsrer engen Zelle 

Die Lampe freundlich wieder brennt, 
Dann wird's in unserm Busen helle, 

Im Herzen, das sich selber kennt. 
Vernunft fängt wieder an zu sprechen 
Und Hoffnung wieder an zu blühn ; 

Man sehnt sich nach des Lebens Bächen, 
Ach, nach des Lebens Quelle hin. 


nurre nicht, Pudel! Zu den heiligen Tönen, 
Die jetzt meine ganze Seel’ umfassen, 
Will der thierische Laut nicht passen. 


825 


330 


835 


840 


845 


850 


FAUST’S STUDY. 


Faust entering with the Poodle. 


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! Run not hither 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 STUDIRZIMMER, 


Wir sind gewohnt, dasz die Menschen verhöhnen, 
Was sie nicht verstehn, dasz sie vor dem Guten 
und Schönen, 
Das ihnen oft beschwerlich ist, murren ; 
Will es der Hund wie sie beknurren ? 855 


Aber ach, schon fühl’ 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 läszt sich ersetzen, 

Wir lernen das Ueberirdische schätzen, 

Wir sehnen uns nach Offenbarung, 

Die nirgends würd’ger und schöner brennt 

Als in dem Neuen Testament. 865 
Mich drängt’s, den Grundtext aufzuschlagen, 

Mit redlichem Gefühl einmal 

Das heilige Original 

In mein geliebtes Deutsch zu übertragen. 

: [Er schlägt ein Volum auf und schickt sich an.] 
Geschrieben steht: Im Anfang war das Wort ! 870 
— Hier stock’ ich schon ! Wer hilft mir weiter fort ? 

Ich kann das Wort so hoch unmöglich schätzen ; 

Ich musz es anders übersetzen, 

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 übereile ! 

Ist es der Sinn, der Alles wirkt und schafft P 

Es sollte stehn : Im Anfang war die Kraft ! 

Doch, auch indem ich dieses niederschreibe, 88c 
Schon warnt mich was, dasz ich dabei nicht bleibe. 

Mir hilft der Geist! Auf einmal seh’ ich Rath 

Und schreibe getrost: Im Anfang war die That ! 


Soll ich mit dir das Zimmer theilen, 

Pudel, so lasz das Heulen, 885 
o lasz das Bellen ! 

Solch einen störenden Gesellen 


4 FAUST’S STUDY. 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 
he thirsting? I have had so much experience of that! 
This want, however, admits of being compensäted. We 
learn to prize the supernatural; we long for revela- 
tion,” which nowhere burns 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 it.] 

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 the 
beginning was the Power. Yet, even as I am. writing 


down this, something warns me not to keep to it. The, 
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, ceas 
your howling—cease your barking. I cannotendure so 


> ° 7a 


STUDIRZIMMER, 


Mag ich nicht in der Nähe leiden. 

Einer von uns Beiden 

Musz die Zelle meiden. 8y0 
Ungern heb’ ich das Gastrecht auf, 

Die Thür ist offen, hast freien Lauf. 

Aber was musz ich sehen ! 

Kann das natürlich geschehen ? 

Ist es Schatten ? 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 bracht’ ich ins Haus! 

Schon sieht er wie ein Nilpferd aus, 900 
Mit feurigen Augen, schrecklichem Gebisz. 

O, du bist mir gewisz ! 

Für solche halbe Höllenbrut 

Ist Salomonis Schlüssel gut. 


Geister (auf dem Gange). 
Drinnen gefangen ist Einer! 905 
Bleibet hauszen ! Folg’ ihm Keiner! 
Wie im Eisen der Fuchs, 
Zagt ein alter Höllenluchs. 
Aber gebt Acht! 
Schwebet hin, schwebet wieder, gto 
Auf und nieder, 
Und er hat sich losgemacht. 


Könnt ihr ihm nützen, % 
Laszt ihn nicht sitzen ! 5 
Denn er that uns Allen 95 


Schon viel zu Gefallen. 


Faust. 
Erst zu begegnen dem Thiere, 
Brauch’ ich den Spruch der Viere: 
Salamander soll glühen, 
Undene sich winden, 920 


FAUST’S STUDY. 89 


troublesome a companion near to me. One of us two 
must quit the cell. It is with 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? Isitshadow? 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! Iam 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 


STUDIRZIMMER. 


Sylphe verschwinden, 
Kobold sich miihen. 


Wer sie nicht kennte, 
Die Elemente, 

Thre Kraft 

Und Higenschaft, 
Wire kein Meister 
Ueber die Geister. 


Verschwind in Flammen, 
Salamander! 

Rauschend fliesze zusammen, 
Undene! 

Leucht in Meteorenschöne, 

Sylphe! 5 

Bring häusliche Hülfe, 

Incubus! Incubus ! 

Tritt hervor und mache den Schlusz ! 


Keines der Viere 

Steckt in dem Thiere. 

Es liegt ganz ruhig und grinst mich an ; 
Ich hab’ ihm noch nicht weh gethan. 

Du sollst mich hören 

Stärker beschwören. 


Bist du, Geselle, 

Ein Flüchtling der Hölle, 

So sieh dies Zeichen, C? , 

Dem sie sich beugen, ze 
Die schwarzen Schaaren ! 


Schon schwillt es auf mit borstigen Haaren. 


Verworfnes Wesen ! 
Kannst du ihn lesen ? 
Den Nieentsprossnen, 
Unausgesprochnen, 


925 


949 


945 


959 


.FAUST’S STUDY. 91 


Sylph vanish, 
Kobold shall toil. 


Who does not know 
The elements, 

Their power and properties, 
Were no master 
Over the spirits. 


Vanish in flame, 
Salamander ! 

Rushingly flow together, 
Undine! 

Shine in meteor beauty, 
Sylph! 

Bring homely help, 

Incubus! Incubus! 

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. 


Durch alle Himmel Gegossnen, 
Freventlich Durchstochnen ? 955 


Hinter den Ofen gebannt, 

Schwillt es wie ein Elephant, 

Den ganzen Raum füllt es an, 

Es will zum Nebel zerflieszen. 

Steige nicht zur Decke hinan ! 960 
Lege dich zu des Meisters Fiiszen ! 

Du siehst, dasz ich nicht vergebens drohe, 

Ich versenge dich mit heiliger Lohe ! 

Erwarte nicht 


Das dreimal gliihende Licht! 965 
Erwarte nicht 
Die stärkste von meinen Künsten ! e 


MEPHISTOPHELES tritt, indem der Nebel fällt, gekleidet wie 
ein fahrender Scholasticus, hinter dem Ofen hervor. 


Mephistopheles. 
Wozu der Lärm ? Was steht dem Herrn zu Diensten ? 


Faust. 
Das also war des Pudels Kern! 
Ein fahrender Scolast? Der Kasus macht mich lachen. 970 


Mephistopheles. 
Ich salutire den gelehrten Herrn ! 
Ihr habt mich weidlich schwitzen machen, 


Faust. 
Wie nennst du dich? 


Mephistopheles. 
Die Frage scheint mir klein 
Für Einen, der das Wort so sehr verachtet, 
Der, weit entfernt von allem Schein, 975 
Nur in der Wesen Tiefe trachtet, : 


Faust. 
Bei euch, ihr Herrn, kann man das Wesen 


FAUST’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. Rise 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 Travelling 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 learned worship. You 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 such gentlemen as you, one may generally 


94, STUDIRZIMMER. 


Gewöhnlich aus dem Namen lesen, 

Wo es sich allzu deutlich weist, 

Wenn man euch Fliegengott, Verderber, Lügner heiszt. 9% 
Nun gut, wer bist du denn ? 


Mephistopheles. . 
Ein Theil von jener Kraft, 
Die stets das Böse will und stets das Gute schaft. 


Faust. 
Was ist mit diesem Räthselwort gemeint ? 


Mephistopheles. 
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 wär's, dasz nichts entstünde. 
So ist denn Alles, was ihr Sünde, 
Zerstörung, kurz das Böse nennt, 
Mein eigentliches Element, 09€ 


Faust. 
Du nennst dich einen Theil und stehst doch ganz vor mir ? 


Mephistopheles. 
Bescheidne Wahrheit sprech’ ich dir. 
Wenn sich der Mensch, die kleine Narrenwelt, 
Gewöhnlich für ein Ganzes hält: 
Ich bin ein Theil des Theils, der Anfangs Alles war, 995 
Ein Theil der Finsternisz, die sich das. Licht gebar, 
Das stolze Licht, das nun der Mutter Nacht 
Den alten Rang, den Raum ihr streitig macht. 
Und doch gelingt’s ihm nicht, da es, so viel es strebt, 
Verhaftet an den Körpern klebt; 1000 
Von Körpern strömt’s, die Körper macht es schön, 
Ein Körper hemmt’s auf seinem Gange. 
So, hoff’ ich, dauert es nicht lange, 
Und mit den Körpern wird’s zu Grunde gehn, 


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 ? 


Mephistopheles. 
A part of that power, which is ever willing evil and 
ever producing good. 


Faust. 
What is meant by this riddle? 


Mephistopheles, —+<# Tt: aa aoe 


T 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 Night.” 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 STU DIRZIMMER. 


Faust. 
Nun kenn’ ich deine würd’gen Pflichten ! 
Du kannst im Groszen nichts vernichten 
Und fängst es nun im Kleinen an. 


Mephistopheles, 
Und freilich ist nicht viel damit gethan. 
Was sich dem Nichts entgegenstellt, 
Das Etwas, diese plumpe Welt, 
So viel als ich schon unternommen, 
Ich wuszte nicht ihr beizukommen, 
Mit Wellen, Stürmen, Schütteln, Brand; 
Geruhig bleibt am Ende Meer und Land! 


Too: 


10k 


Und dem verdammten Zeug, der Thier- und Menschen. 


brut, 
Dem ist nun gar nichts anzuhaben. 
Wie Viele hab’ ich schon begraben ! 
Und immer circulirt ein neues, frisches Blut, 
So geht es fort, man möchte rasend werden ! 
Der Luft, dem Wasser wie der Erden 
Entwinden tausend Keime sich 
Im Trocknen, Feuchten, Warmen, Kalten ! 
Hiatt’ ich mir nicht die Flamme vorbehalten, 
Ich hätte nichts Apart’s für mich, 


Faust. 
So setzest du der ewig regen, 
Der heilsam schaffenden Gewalt 
Die kalte Teufelsfaust entgegen, 
Die sich vergebens tückisch ballt ! 
Was Anders suche zu beginnen, 
Des Chaos wunderlicher Sohn ! 


Mephistopheles. 
Wir wollen wirklich uns besinnen; 
Die nächsten Male mehr davon ! 
Dürft’ ich wohl diesmal mich entfernen ? 


Faust. 
Ich sehe nicht, warum du fragst. . 
Ich habe jetzt dich kennen lernen ; 
Besuche nun mich, wie du magst, 


Tor! 


T02¢ 


102. 


103: 


103 


FAUST’S STUDY, 97 


j 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 malice, 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. 
H 


98 STUDIRZIMMER. 


Hier ist das Fenster, hier die Thüre, 
Ein Rauchfang ist dir auch gewisz. 


Mephistopheles. 
Gesteh’ ich’s nur! Dasz ich hinausspaziere, 
Verbietet mir ein kleines Hindernisz, 1040 


Der Drudenfusz auf eurer Schwelle— 


Faust. 
Das Pentagramma macht dir Pein ? 
Ei, sage mir, du Sohn der Hölle, 
Wenn das dich bannt, wie kamst du denn herein ? 
Wie ward ein solcher Geist betrogen ? 1045 


Mephistopheles. 
Beschaut 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 wärst denn du ? 1050 
Das ist von ungefähr gelungen ! 


Mephistopheles. 
Der Pudel merkte nichts, als er hereingesprungen, 
Die Sache sieht jetzt anders aus ; 
Der Teufel kann nicht aus dem Haus. 


Faust. 
Doch warum gehst du nicht durchs Fenster ? 1055 


Mephistopheles. 
’s ist ein Gesetz der Teufel und Gespenster: 
Wo sie hereingeschlüpft, da müssen sie hinaus. 
Das Erste steht uns frei, beim Zweiten sind wir Knechte. 
MN Faust. 
Die Hölle selbst hat ihre Rechtel? 
Das find’ ich gut, da liesze sich ein Pakt, 1060 
Und sicher wohl, mit euch, ihr Herren, schlieszen ? 


4 


FAUST’S STUDY. 99 


‘ere is the window, here the door; there is also a 


ıimney for you. 
Mephistopheles. 


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, 
aou 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. 


Faust. 
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 ? 


Mephistopheles. 

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? Iam glad of-it; in that 
ase a compact,” a binding one, may be made with you 
‘entlemen ? 


100 STUDIRZIMMER. 


Mephistopheles. 
Was man verspricht, das sollst du rein genieszen 
Dir wird davon nichts abgezwackt. 
Doch das ist nicht so kurz zu fassen, 
Und wir besprechen das zunächst; 
Doch jetzo bitt’ ich hoch und höchst, 
Für dieses Mal mich zu entlassen. 


Faust. 
So bleibe doch noch eiren Augenblick, 
Um mir erst gute Mär zu sagen. 


Mephistopheles. 
Jetzt lasz mich los! Ich komme bald zurück ; 
Dann magst du nach Belieben fragen. 


Faust. 
Ich habe dir nicht nachgestellt, 
Bist du doch selbst ins Garn gegangen. 
Den Teufel halte, wer ihn hält! 
Er wird ihn nicht so bald zum zweiten Male fangen, 


Mephistopheles. 
Wenn dir’s beliebt, so bin ich auch bereit, 
Dir zur Gesellschaft hier zu bleiben ; 
Doch mit Bedingnisz, dir die Zeit 
Durch meine Künste würdig zu vertreiben. 


“= Faust, 
Ich seh’ es gern, das steht dir frei - 
Nur dasz die Kunst gefällig sei! 


Mephistopheles, 
Du wirst, mein Freund, fiir deine Sinnen 
In dieser Stunde mehr gewinnen 
Als in des Jahres Hinerlei. 
Was dir die zarten Geister singen, 
Die schönen Bilder, die sie bringen, 


1065 


1070 


1075 


1080 


1085 


FAUST’S STUDY. 101 


Mephistopheles. 

What is promised, that 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 will speak of it the next time. But now I most 
earnestly beg of you to let me go for the present. 


Faust. 
Wait yet oo moment, and tell me some pleasant 


tidings.” = 





Mephistopheles. 
Let me go now! I will soon come back; you may 
then question me as you like. 


Faust. 

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 willnot catch 
him a second time in a hurry. 


Mephistopheles. 
Tf 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. 


Mephistopheles. 
My friend, you will gain more for your senses in this 
one hour, than in the whole year’s monotony. What 
the delicate spirits sing to you, the lovely images which 


102 


STUDIRZIMMER. 


Sind nicht ein leeres Zauberspiel. 

Auch dein Geruch wird sich ergetzen, 

Dann wirst du deinen Gaumen letzen, 

Und dann entzückt sich dein Gefühl. 1090 
Bereitung braucht es nicht voran, 

Beisammen sind wir, fanget an! 


GEISTER. 


Schwindet, ihr dunkeln 

Wölbungen droben ! 

Reizender schaue, 1095 
Freundlich der blaue 

Aether herein ! 

Wären die dunkeln 

Wolken zerronnen ! 

Sternelein funkeln, 1160 
Mildere Sonnen 

Scheinen darein. 

Himmlischer Söhne 

Geistige Schöne, 

Schwankende Beugung 2105 
Schwebet vorüber, 

Sehnende Neigung 

Folget hinüber ; 

Und der Gewänder 

Flatternde Bänder 1110 
Decken die Lander, 

Decken die Laube, 

Wo sich fürs Leben, 

Tief in Gedanken, 

Liebende geben. IIIS 
Laube bei Laube ! 

Sprossende Ranken ! 

Lastende Traube „ 

Stürzt ins Behälter 

Drängender Kelter, 1120 
Stürzen in Bächen 

Schäumende Weine, 

Rıeseln durch reine, 

Edle Gesteine, 

Lassen die Höhen 1125 


FAUST’S STUDY. 103 


they call up, are not an unsubstantial play of enchant- 
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! 


SPIRITS. 


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 ums Geniigen 

Grünender Hügel. 

Und das Geflügel 1130 
Schlürfet sich Wonne, 

Flieget der Sonne, 

Flieget den hellen 

Inseln entgegen, 

Die sich auf Wellen 1135 
Gauklend bewegen, 

Wo wir in Chören 

Jauchzende hören, 

Ueber den Auen 

Tanzende schauen, 1140 
Die sich im Freien 

Alle zerstreuen, 

Einige klimmen 

Ueber die Höhen, 

Andere schwimmen 1145 
Ueber die Seen, 

Andere schweben ; 2 

Alle zum Leben, 

Alle zur Ferne, 

Liebender Sterne 1150 
Seliger Huld. 


Mephistopheles. 
Er schläft! So-recht, ihr luft’gen, zarten Jungen ! 
Ihr habt ihn treulich eingesungen ! 
Für dies Konzert bin ich in eurer Schuld. 
Du bist noch nicht der Mann, den Teufel fest zu halten ! 
Umgaukelt ihn mit süszen Traumgestalten, 1156 
Versenkt ihn in ein Meer des Wahns ; 
Doch dieser Schwelle Zauber zu zerspalten, 
Bedarf ich eines Rattenzahns. 
Nicht lange brauch’ ich zu beschwören, 1160 
Schon raschelt eine hier und wird sogleich mich hören. 
Der Herr der Ratten und der Mäuse, 
Der Fliegen, Frösche, Wanzen, Läuse, 


FAUST’S STUDY. 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 

Dancers 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 young- 
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, bugs and 


106 STUDIRZIMMER, 


Befiehlt dir, dich hervorzuwagen 

Und diese Schwelle zu benagen, 

So wie er sie mit Oel betupft— 

Da kommst du schon hervorgehupft ! 

Nur frisch ans Werk! Die Spitze, die mich bannte, 
Sie sitzt ganz vornen an der Kante, 

Noch einen Bisz, so ist’s geschehn.— 

Nun, Fauste, träume fort, bis wir uns wiedersehn ! 


Faust (erwachend). 
Bin ich denn abermals betrogen ? 
Verschwindet so der geisterreiche Drang, 
Dasz mir ein Traum den Teufel vorgelogen, 
Und dasz ein Pudel mir entsprang ? 


116 


117 


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 (waking). 

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. 


Faust. 
E° klopft? Herein! Wer will mich wieder plagen ? 


Mephistopheles. 
Ich bin's. i 
Faust. 
Herein ! 


Mephistopheles. 
Du muszt es dreimal sagen, 


Faust. 
Herein denn ! 


Mephistopheles. 

So gefällst du mir. 
Wir werden, hoff’ ich, uns vertragen ; 
Denn dir die Grillen zu verjagen, 11 
Bin ich als edler Junker hier 
In rothem, goldverbrämten Kleide, 
Das Mäntelchen von starrer Seide, 
Die Hahnenfeder auf dem Hut, 
Mit einem langen, spitzen Degen, 21 
Und rathe nun dir kurz und gut, : 
Dergleichen gleichfalls anzulegen, 
Damit du losgebunden, frei 
Erfahrest, was das Leben sei. 


FAUSTS STUDY. 


Faust—MEPHISTOPHELES, 


Faust. 
Ds any one knock? Come in! Who wants to 
disturb me again ? 


Mephistopheles. 
It is I. 
Faust. 
Come in. 
Mephistopheles. 
You must say so three times. 
Faust, 
Come in, then! 
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 stiff 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. 


Faust. 
In jedem Kleide werd’ ich wohl die Pein 
Des engen Erdelebens fühlen. 
Ich bin zu alt, um nur zu spielen, 
Zu jung, um ohne Wunsch zu sein, 
Was kann die Welt mir wohl gewähren ? 
Entbehren sollst 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 Entsetzen wach’ ich Morgens auf, 
Ich möchte bittre Thränen weinen, 
Den Tag zu sehn, der mir in seinem Lauf 
Nicht einen Wunsch erfüllen wird, nicht einen, 
Der selbst die Ahnung jeder Lust 
Mit eigensinn’gem Krittel mindert, 
Die Schöpfung meiner regen Brust 
Mit tausend Lebensfratzen hindert. 
Auch musz ich, wenn die Nacht sich niedersenkt, 
Mich ängstlich auf das Lager strecken ; | 
Auch da wird keine Rast geschenkt, 
Mich werden wilde Träume schrecken. 
Der Gott, der mir im Busen wohnt, 
Kann tief mein Innerstes erregen, 
‘Der über allen meinen Kräften thront, 
Er kann nach auszen nichts bewegen ; 
Und so ist mir das Dasein eine Last, 
Der Tod erwünscht, das Leben mir verhaszt. 


Mephistopheles. 


Und doch ist nie der Tod ein ganz willkommner Gast. 


Faust. 
O selig der, dem er im Siegesglanze 
Die blut’gen Lorbeern um die Schläfe windet, 
Den er nach rasch durchras’tem Tanze 
In eines Mädchens Armen findet !__._ _<! 
O, wir’ ich vor des hohen Geistes Kraft 
Entzückt, entseelt dahingesunken ! 


zur 


11 


II 


12 


12 


12 


12 


12 


FAUST’S STUDY. 111 


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 captiousness, 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; and thus existence is a load to 
me, death is desired, and life hateful. 





Mephistopheles. 
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 STUDIRZIMMER. 
Mephistopheles. 

Und doch hat Jemand einen braunen Saft 

In jener Nacht nicht ausgetrunken. 


Faust. 
Das Spioniren, scheint’s, ist deine Lust. 


Mephistopheles. 


Allwissend bin ich nicht, doch viel ist mir bewuszt. 


Faust. 
Wenn aus dem schrecklichen Gewiihle 
Ein süsz bekannter Ton mich zog, 
Den Rest von kindlichem Gefühle 
Mit Anklang froher Zeit betrog: 
So fluch’ ich Allem, was die Seele 
Mit Lock- und Gaukelwerk umspannt 
Und sie in diese Trauerhöhle 
Mit Blend- und Schmeichelkräften bannt ! 
Verfiucht voraus die hohe Meinung, 
Womit der Geist sich selbst umfängt ! 
Verflucht das Blenden der Erscheinung, FR 
Die sich an unsre Sinne drängt ! any) 
Verflucht, was uns in Ca ee 
Des Ruhms, der Namensdauer Trug ! 
Verflucht, was als Besitz uns schmeichelt, 
Als Weib und ind als Knecht und Pflug! 
Verflucht sei mmbn, wenn mit Schätzen 
Er uns zu kühnen Thaten regt, 
Wenn er zu müszigem Ergetzen 
Die Polster uns zurechte legt! 
Fluch sei dem Balsamsaft der Trauben ! 
Fluch jener höchsten Liebeshuld ! 
Fluch sei der Hoffnung! Fluch dem Glauben ! 
Und Fluch vor allen der Geduld! 


GEISTERCHOR (unsichtbar). 


Weh! Weh! 
Du hast sie zerstört, 


1225 


1230 


1235 


1240 


1245 


FAUST’S STUDY. 113 


Mephistopheles. 
And yet a certain person did not drink a certain 
brown juice on a certain night. 


Faust. 
Playing the spy, it seems, is thy amusement. 


Mephistopheles. 
Iam 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 
jugglery, and spell-binds it in this den of wretched- 
ness with dazzling and flattering influences. Accursed,f 
first, be the lofty opinion in which the mind wraps 
itself! Accursed, the dazzling 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 Mammon 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 


114 


STUDIRZIMMER, 


Die schöre Welt, 
Mit mächtiger Faust ; 
Sie stürzt, sie zerfällt ! 
Ein Halbgott hat sie zerschlagen! g 
Wir tragen 
Die Trümmern ins Nichts hinüber 
Und klagen 
Ueber die verlorne Schöne. 
Mächtiger 
Der Erdensöhne, 
Prächtiger 
Baue sie wieder, 
In deinem Busen baue sie auf! 

- Neuen Lebenslauf 

a Beginne 

Mit hellem Sinne, 
Und neue Lieder 
Tönen darauf ! 


Mephistopheles. 
Dies sind die Kleinen 
Von den Meinen. 
Höre, wie zu Lust und Thaten 
Altklug sie rathen !- 
In die Welt weit 
Aus der Einsamkeit, 
Wo Sinnen und Säfte stocken, 
Wollen sie dich locken. 


Hör auf mit deinem Gram zu spielen, 
Der wie ein Geier dir am Leben friszt ; 
Die schlechteste Gesellschaft läszt dich fühlen, 
Dasz du ein Mensch mit Menschen bist. 
Doch so ist’s nicht gemeint, 

Dich unter das Pack zu stoszen. 

Ich bin Keiner von den Groszen ; 

Doch willst du mit mir vereint 

Deine Schritte durchs Leben nehmen, 
So will ich mich gern bequemen, 

Dein zu sein auf der Stelle. 

Ich bin dein Geselle, 

Und mach’ ich dir's recht, 

Bin igh dein Diener, bin dein Knecht | 


1255 


1260 


1265 


1270 


1275 


1280 


1290 


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. 


Mephistopheles. 

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 area man among men. Yet I do not 
mean to thrust you amongst the common throng. Tam 
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 STUDIRZIMMER. 


Faust. 
Und was soll ich dagegen dir erfiillen? 1295 


Mephistopheles. 
Dazu hast du noch eine lange Frist. 


Faust. 
Nein, nein! Der Teufel ist ein Egoist 
Und thut nicht leicht um Gottes willen, 
Was einem Andern niitzlich ist. 
Sprich die Bedingung deutlich aus , 1300 
Ein solcher Diener bringt Gefahr ins Haus. 


Mephistopheles. 
Ich will mich hier zu deinem Dienst verbinden, 
Auf deinen Wink nicht rasten und nicht ruhn; 
Wenn wir uns drüben wiederfinden, 
So sollst du mir das Gleiche thun. 1305 


Faust. 
Das Drüben kann mich wenig kümmern ; 
Schlägst du erst diese Welt zu Trümmern, 
Die andre mag darnach entstehn. 
Aus dieser Erde quillen meine Freuden, 
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 hören, 
Ob man auch künftig haszt und liebt 
Und ob es auch in jenen Sphären 1315 
Hin Oben oder Unten giebt. 


Mephistopheles. 
In diesem Sinne kannst du’s wagen, 
Verbinde dich ; du sollst in diesen Tagen 
Mit Freuden meine Künste sehn. 
Ich gebe dir, was noch kein Mensch gesehn. 1320 


Faust. 
Was willst du armer Teufel geben ? 


> 


FAUST’S STUDY, 117 


Faust. 
And what am I to do for you in return ? 


Mephistopheles. 
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 from 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. 


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 STUDIRZIMMER. 


Ward eines Menschen Geist in seinem hohen Streben 
Von deines Gleichen je gefaszt ? 

Doch hast du Speise, die nicht sittigt ? Hast 

Du rothes Gold, das ohne Rast, 

Quecksilber gleich, dir in der Hand zerrinnt ? 
Ein Spiel, bei dem man nie gewinnt ? 

Ein Mädchen, das an meiner Brust 

Mit Asugeln schon dem Nachbar sich verbindet ? 
Der Ehre schöne Götterlust, 

Die wie ein Meteor verschwindet ? 

Zeig mir die Frucht, die fault, eh man sie bricht, 
Und Bäume, die sich täglich neu begrünen ! 


Mephistopheles. 
Ein solcher Auftrag schreckt mich nicht, 
Mit solchen Schätzen kann ich dienen. 
Doch, guter Freund, die Zeit kommt auch heran, 
Wo wir was Gut’s in Ruhe schmausen mögen. 


Pi ae N Faust. 


Werd’ ich beruhigt je mich auf ein Faulbett legen, 
So sei es gleich um mich gethan! 


| Kannst du mich schmeichelnd je belügen, 
. Dasz ich mir selbst gefallen mag, 


: Kannst du mich mit Genusz betrügen : 


Das sei für mich der letzte Tag! 
Die Wette biet’ ich ! 


Mephistopheles. 
Top! 
sa oe Faust. 
” Und Schlag auf Schlag ! 


Werd’ ich zum Augenblicke sagen : 

Verweile doch! Du bist so schön ! 

Dann magst du mich in Fesseln schlagen, : 
ann will ich gern zu Grunde e gehn ! a 

"Dann mag die Todtenglocke schallen, © > 

Dann bist du deines Dienstes frei, 


Die Uhr mag stehn, der Zeiger fallen, 
Es sei die Zeit für mich vorbei! 


1325 


1330 


1335 


1340 


1345 


1350 


FAUSI’S STUDY. 119 


mind, in its high aspiring, ever comprehended by the 
like of thee? But hast thou food which satisfies not ? 
Ruddy 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 mygelf 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. 


er i 
51; 
Mephistopheles JE% p y A 


Faust. 


Done! 


= 


And my hand upon it! If I ever say to the passing ..| ,. 


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! 


r 


De 


120 STU DIRZIMMER, 


Mephistopheles. 
Bedenk es wohl! Wir werden’s nicht vergessen, 


” Fuust. 

Dazu hast du ein volles Recht; 

Ich habe mich nicht freventlich vermessen. 
Wie ich beharre, bin ich Knecht, 

Ob dein, was frag’ ich, oder wessen. 


Mephistopheles. _ 
Ich werde heute gleich beim Doktorschmaus 
Als Diener meine Pflicht erfüllen. 
Nur Eins !—Um Lebens oder Sterbens willen 
Bitt’ ich mir ein paar Zeilen aus, 


Faust. 
Auch was Geschriebnes forderst du, Pedant? 


1355 


1360 


Hast du noch. keinen Mann, nicht Manneswort gekannt ? 


Ist’s nicht genug, dasz mein gesprochnes Wort 
Auf ewig soll mit meinen Tagen schalten ? 
Ras’t nicht die Welt in allen Strömen fort, 
Und mich soll ein Versprechen halten ? 

Doch dieser Wahn ist uns ins Herz gelegt, 
Wer mag sich gern davon befreien ? 

Beglückt, wer Treue rein im Busen trägt, 

Kein Opfer wird ihn je gereuen ! 

‘Allein ein Pergament, beschrieben und beprägt, 
Ist ein Gespenst, yor dem sich Alle scheuen. 
Das Wort erstirbt schon in der Feder, 

Die Herrschaft führen Wachs und Leder, 

Was willst du, böser Geist, von mir? 

Erz, Marmor, Pergament, Papier ? 

Soll ich mit Griffel, Meiszel, Feder schreiben ? 
Ich gebe jede Wahl, dir frei. 


+ Mephistopheles. 
Wie magst du deine Rednerei 
Nur gleich so hitzig übertreiben ? 
Ist doch ein jedes Blättchen gut. 


Du unterzeichnest dich mit einem Tröpfchen Blut. 


1365 


1370 


1375 


1380 


FAUST’S STUDY, 121 


Mephistopheles. 
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 another's. 


Mephistopheles. 
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 known 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 
willingly 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. 


uy 


Faust. 
Du hörest ja, von Freud’ ist nicht die Rede. 


122 STUDIRZIMMER. 
Faust. 

Wenn dies dir völlig G’nüge thut, 

So mag es bei der Fratze bleiben. 


Mephistopheles. 
Blut ist ein ganz besondrer Saft. 


Faust. 


Nur keine Furclt;dasz ich dies Bünduisz breche ! 


Das Streben meiner ganzen Kraft 

Ist grade das, was ich verspreche. 

Ich habe mich zu hoch gebläht, 

In deinen Rang gehör’ ich nur. 

Der grosze Geist hat mich verschmäht, 
Vor mir verschlieszt sich die Natur. 
Des Denkens Faden ist zerrissen, 

Mir ekelt lange vor allem Wissen. 
Lasz in den Tiefen der Sinnlichkeit 
Uns glühende Leidenschaften stillen ! 
In undurchdrungnen Zauberhüllen 

Sei jedes Wunder gleich bereit ! 
Stürzen wir uns in das Rauschen der Zeit, 
Ins Rollen der Begebenheit ! 

Da mag denn Schmerz und Genusz, 
Gelingen und Verdrusz 

Mit einander wechseln, wie es kann; 
Nur rastlos bethätigt sich der Mann. 


Mephistopheles. 
Euch ist kein Masz und Ziel gesetzt. 
Beliebt’s euch, überall zu naschen, 
Im Fliehen etwas zu erhaschen, 
Bekomm’ euch wohl, was euch ergetzt. 
Nur greift mir zu und seid nicht blöde ! 


1835 


uy 
1390. 
a6 
1895 


1400 


1405 


1410 


em Taumel weih’ ich mich, dem schmerzlichsten Genusz, 


Verliebtem Hasz, eryuickendem Verdrusz. 


FAUST’S STUDY. 123 


Faust. 
If this will fully satisfy you, the whim shall be com- 
plied with. 
Mephistopheles. 
Blood is quite a peculiar sort of juice. 


Faust. 

Only no fear that I shall break 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. 


Mephistopheles. 

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 egamoured hate—to cheering 


124 STUDIRZIMMER. 


Mein Busen, der vom Wissensdrang geheilt ist, 
Soll keinen Schmerzen künftig sich verschlieszen, 
Und was der ganzen Menschheit zugetheilt ist, 
Will ich in meinem innern Selbst genieszen, 

Mit meinem Geist das Höchst- und Tiefste greifen, 
Ihr Wohl und Weh auf meinen Busen häufen 

Und so mein eigen Selbst zu ihrem Selbst erweitern 
Und, wie sie selbst, am End’ auch ich zerscheitern. 


Mephistopheles. 
O glaube mir, der manche tausend Jahre 
An dieser harten Speise kaut, 
Dasz von der Wiege bis zur Bahre 
Kein Mensch den alten Sauerteig verdaut! 
Glaub unser Einem, dieses Ganze 
Ist nur für einen Gott gemacht; 
Er findet sich in einem ew’gen Glanze, 
Uns hat er in die Finsternisz gebracht, 
Und euch taugt einzig Tag und Nacht. 


Faust, 
Allein ich will! 


Mephistopheles. 

Das läszt sich hören ! 
Doch nur vor Einem ist mir bang: 
Die Zeit ist kurz, die Kunst ist lang. 
Ich dicht’, ihr lieszet euch belehren. 
Associirt euch mit einem Poeten, 
Laszt den Herrn in Gedanken schweifen 
Und alle edlen Qualitäten 
Auf euren Ehrenscheitel häufen, 
Des Löwen Muth, 
Des Hirsches Schnelligkeit, 
Des Italiäners feurig Blut, 
Des Nordens Dau’rbarkeit ! 
Laszt ihn euch das Geheimnisz finden, 
Groszmuth und Arglist zu verbinden 
Und euch mit warmen Jugendtrieben 
- Nach einem Plane zu verliebén ! 


1415 


1420 


1425 


1430 


1435 


1440 


1445 


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 own individuality to theirs, and perish 
also, in the end, like them. 


Mephistopheles. 


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; us 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 Iam 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. 


Möchte selbst solch einen Herren kennen, 
Würd’ ihn Herrn Mikrokosmus nennen. 


Faust. 
‘Was bin ich denn, wenn es nicht möglich ist, 
Der Menschheit Krone zu erringen, 
Nach der sich alle Sinne dringen ? 


Mephistopheles. 
Du bist am Ende—was du bist. 
Setz dir Periicken auf von Millionen Locken, 
Setz deinen Fusz auf ellenhohe Socken, 
Du bleibst doch immer, was du bist. 


Faust. 
Ich fühl’s, vergebens hab’ ich alle Schätze 
Des Menschengeists auf mich herbeigerafft, 
Und wenn ich mich am Ende niedersetze, 
Quillt innerlich doch keine neue Kraft; 
Ich bin nicht um ein Haar breit höher, 
Bin dem Unendlichen nicht näher. 


Mephistopheles. 
Mein guter Herr, ihr seht; die Sachen, 
Wie man die Sachen eben sieht; 
Wir müssen das gescheiter machen, 
Eh uns des Lebens Freude flieht. 
Was Henker! Freilich Händ’ und Füsze 
Und Kopf und H , die sind dein ; 
Doch Alles, was ich frisch geniesze, 
Ist das drum weniger mein P 
Wenn ich sechs Hengste zahlen kann, 
Sind ihre Krifte nicht die meine ? 
Ich renne zu und bin ein rechter Mann, 
Als hätt’ ich vierundzwanzig Beine. 
Drum frisch! Lasz alles Sinnen sein. . 
Und grad’ mit in die Welt hinein ! 
Ich sag’ es dir: ein Kerl, der spekulirt, 
Ist wie ein Thier, auf dürrer Heide 





Von einem bösen Geist im Kreis herumgeführt, 


Und rings umher liegt schöne grüne Weide. 


1450 


1455 


1460 


1465 


1470 


1475 


FAUST’S STUDY. 127 


youth. I myself should like to know such a gentle- 
man—I would call him Mr. Microcosm. 


Faust. 
What, then, am I, if it be not possible to attain the 
crown of humanity, which every sense is striving for? 


Mephistopheles. 
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 : Iam nota 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 N\Mnd 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 
around, 


Jw 


128 STUDIRZIMMER. 


Faust. 
Wie fangen wir das an? 
Mephistopheles. 1394 
Wir gehen eben fort. 1480 
Was ist das fiir ein Marterort ? yb 


Was heiszt das für ein Leben führen, 

Sich und 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 doch nicht sagen. 
Gleich hör’ ich einen.auf dem Gange ! 


Faust. 
Mir ist’s nicht möglich, ihn zu sehn, 


Mephistopheles. 

Der arme Knabe wartet lange, 1490 
Der darf nicht ungetröstet gehn. 
Komm, gieb mir deinen Rock und Mütze ; 
Die Maske musz mir köstlich stehn. 

[Er kleidet sich wm.] 
Nun überlasz es meinem Witze ! ' 
Ich brauche nur ein Viertelstündchen Zeit; 1495 
Indessen mache dich zur schönen Fahrt bereit ! 

[Faust ab.] 


Mephistopheles (in Faust’s langem Kleide). 
Verachte nur Vernunft und Wissenschaft, 
Des Menschen allerhöchste Kraft, 
Lasz nur in Blend- und Zauberwerken 
Dich von dem Lügengeist bestärken, 1500 
So hab’ ich dich schon unbedingt — 
Ihm hat das Schicksal einen Geist gegeben, 
Der ungebändigt immer vorwärts dringt, 
Und dessen übereiltes Streben 
Der Erde Freuden überspringt.: 1505 
Den schlepp’ ich durch das wilde Leben, 


FAUST’S STUDY. 129 


Faust. 
How shall we set about it? 


Mephistopheles. 

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. 


Mephistopheles.’ 
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. 
[Exit Faust. | 


MEPHISTOPHELES (in Faust’s gown). 

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. Fate 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 abraten the wild passages of life, ) 


ply 


130 STUDIRZIMMER. 


Durch flache Unbedeutenheit, 
Er soll mir zappeln, starren, kleben, 
Und seiner Unersättlichkeit 


Soll Speis’ und Trank vor gier’gen Lippen schweben ; 1510 


Er wird Erquickung sich umsonst erflehn, 


Und hätt’ er sich auch nicht dem Teufel übergeben, 


Er müszte doch zu Grunde gehn ! [Hin ScHÜLek tritt auf.] 


Schüler. 
Ich bin allhier erst kurze Zeit 
Und komme voll Ergebenheit, 
Einen Mann zu sprechen und zu kennen, 
Den Alle mir mit Ehrfurcht nennen. 


Mephistopheles. 
Eure Höflichkeit erfreut mich sehr! 
Ihr seht einen Mann wie andre mehr. 
Habt ihr euch sonst schon umgethan ? 


Schüler. 
a bitt’ euch, nehmt euch meiner an! 
ch komme mit allem guten Muth, 
Leidlichem Geld und frischem Blut; 
Meine Mutter wollte mich kaum entfernen ; 


Möchte gern was Rechts hierauszen lernen. 


Mephistopheles. 
Da seid ıhr eben recht am Ort. 


Schüler, 
Aufrichtig, möchte schon wieder fort : 
In diesen Mauern, diesen Hallen 
Will es mir keineswegs gefallen, 
Es ist ein gar beschränkter Raum, 
Man sieht nichts Grünes, keinen Baum, 
Und in den Sälen, auf den Bänken 
Vergeht mir Hören, Sehn und Denken. 


1515 


1520 


1525 


1530 


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 Srupent enters." 
Student. 

Iam 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. 


Mephistopheles. 

Iam 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. 


Mephistopheles. 
You are here at the very place for it. 


Student, 

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 STUDIRZIMMER. 


Mephistopheles. 
Das kommt nur auf Gewohnheit an. 
So nimmt ein Kind der Mutter Brust 
Nicht gleich im Anfang willig an, 
Doch bald ernährt es sich mit Lust. 
So wird’s euch an der Weisheit Brüsten 
Mit jedem Tage mehr gelüsten. 


Schüler, 
An ihrem Hals will ich mit Freuden hangen ; 
Doch sagt mir nur, wie kann ich hingelangen ? 


Mephistopheles. 
Erklärt euch, eh ihr weiter geht, 
Was wählt ihr für eine Fakultät ? 


Schüler, 
Ich wünschte recht gelehrt zu werden 
Und möchte gern, was auf der Erden 
Und in dem Himmel ist, erfassen, 
Die Wissenschaft und die Natur. 


Mephistopheles. 
Da seid ihr auf der rechten Spur; 
Doch müszt ihr euch nicht zerstreuen lassen. 


Schüler. 
Ich bin dabei mit Seel’ und Leib; 
Doch freilich würde mir behagen 
Ein wenig Freiheit und Zeitvertreib 
An schönen Sommerfeiertagen, 


Mephistopheles. 


Gebraucht der Zeit, sie geht so schnell von hinnen ; 


Doch Ordnung lehrt euch Zeit gewinnen. 
Mein theurer Freund, ich rath’ euch drum 
Zuerst Collegium logicum, 

Da wird der Geist euch wohl dressirt, 

In spanische Stiefeln eingeschnürt, 


1535 


1540 


1545 


1550 


1555, 


FAUST’S STUDY. 133 


Mephistopheles. 

It all depends on habit. Thus, at first, the child 
does not 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. 


Mephistopheles. 
You are here upon the right scent;-but you must 
not suffer your attention to be distracted. 


Student. 

Tam 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 bedächtiger so fortan 

Hinschleiche die Gedankenbahn 

Und nicht etwa die Kreuz und Quer 
Irrlichtelire hin und her. 

Dann lehret man euch manchen Tag, 

Dasz, was ihr sonst auf einen Schlag 
Getrieben, wie Essen und Trinken frei, 
Eins! Zwei! Drei! dazu nöthig sei. 

Zwar ist’s mit der Gedankenfabrik 

Wie mit einem Webermeisterstück, 

Wo ein Tritt tausend Fäden rögt, 

Die Schifflein herüber, hinüber schieszen, 
Die Fäden ungesehen flieszen, 

Ein Schlag tausend Verbindungen schlägt: 
Der Philosoph, der tritt herein 

Und beweist euch, es miiszt’ so sein : 

Das Erst’ wir’ so, das Zweite so, 

Und drum das Dritt’ und Vierte so; 

Und wenn das Erst’ und Zweit’ nicht wir’, 
Das Dritt’ und Viert’ wir’ nimmermehr. 
Das preisen die Schüler aller Orten, 

Sind aber keine Weber geworden. 

Wer will was Lebendig’s erkennen und beschreiben, 
Sucht erst den Geist herauszutreiben, 
Dann hat er die Theile in seiner Hand, 
Fehlt leider nur das geistige Band, 
Encheiresin naturae nennt's die Chemie, 
Spottet ihrer selbst und weisz nicht wie. 


Schüler. 
Kann euch nicht eben ganz verstehen. 


Mephistopheles. 
Das wird nächstens schon besser gehen, 
Wenn ihr lernt Alles reduciren 
Und gehörig klassificiren. 


Schüler. 
Mir wird von alledem so dumm, 
Als ging’ mir ein Mühlrad in Kopf herum. 


1560 


1565 


1570 


1575 


1580 


1585 


1590 





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. Itistrue, 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 off at a 
blow: your philosopher,—he steps in and proves to 
you that 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 
would never be. The students of all countries put a, 
high value on this, but none have become weavers. Ae” 
who wishes to know and describe anything living, seeks 
first to drive the user out of it;” hehasthen the parts 
in his hand ; anly, ünluckily, the spiritual bond is want- 
ing. Chemistry terms it encheiresis nature, and mocks 
i knowing it.” 





Student. 
I cannot quite comprehend you. 


Mephistopheles. 


You will. soon improve in that respect, if you learn 
to reduce and classify all things properly. 
. 5 Student. 
“ Tam so confounded by all this, I feel as if a mill- 
wheel was turning round in my head. 


es 


ae 
worn 


| 





136 STUDIRZIMMER. 


Mephistopheles. 
Nachher vor allen andern Sachen 
Müszt ihr euch an die Metaphysik machen ! 
Da seht, dasz ihr tiefsinnig faszt, 
Was in des Menschen Hirn nicht paszt; 
Für was drein geht und nicht drein geht, 
Hin prächtig Wort zu Diensten steht. 
Doch vorerst dieses halbe Jahr 
Nehmt ja der besten Ordnung wahr, 
Fünf Stunden habt ihr jeden Tag; 
Seid drinnen mit dem Glockenschlag ; 
Habt euch vorher wohl präparirt, 
Paragraphos wohl einstudirt, 1605 
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 ! 













Schüler. 
Das sollt ihr mir nicht zweimal sagen ! 
Ich denke mir, wie viel es nützt; 
Denn was man Schwarz auf Wei 


1610 


Zur Rechtsgelehrsamkeit kann 


Mephistopheles. 
Ich kann es euch so sehr nicht übel nehmen } 
Ich weisz, wie es um diese Lehre steht. 
Es erben sich Gesetz’ und Rechte 
Wie eine ew’ge Krankheit fort ; 
Sie schleppen von Geschlecht sich zum Geschlechte ” #528 
Und rücken saeht von Ort zu Ort. Ry - 
Vernunft wird Unsinn, Wohlthat Plage; f 
Weh dir, dasz du ein Enkel bist! 


FAUST’S STUDY. 137 


Mephistopheles. 

In the next 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 half- 
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 Ghost 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. 


Mephistopheles. 
But choose a faculty. 


Student. 
I cannot reconcile myself to jurisprudence.” 


Mephistopheles. 

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. Reason 
becomes nonsense; beneficence, calamity. Woe to thee 
that thou art a grandson! Of the law that is born 

- > 
a F 


=f 


138 STUDIRZIMMER. 


Vom Rechte, das mit uns geboren ist, 
Von dem ist leider nie die Frage. 1625 


Schüler. 
Mein Abscheu wird durch euch vermehrt. 
O glücklich der, den ihr belehrt ! 
Fast möcht’ ich nun Theologie studiren. 


Mephistopheles. 
Ich wünschte nicht, euch irre zu führen. 7 
Was diese Wissenschaft betrifft, 1630 
Es ist so schwer, den falschen Weg zu meiden, 
Es liegt in ihr so viel verborgnes Gift 
Und von der Arzenei ist's kaum zu unterscheiden. 
Am Besten ist’s auch hier, wenn ihr nur Einen hört 
Und auf des Meisters Worte schwört. 1635 
Im Ganzen—haltet euch an Worte! 
Dann geht ihr durch die sichre Pforte 
Zum Tempel der Gewiszheit ein. 


Schüler. 
Doch ein Begriff musz bei dem Worte sein. 
Mephistopheles. 
Schon gut! Nur musz man sich nicht allzu ängstlich 
quälen ; 1640 


Denn eben wo Begriffe fehlen, 

Da stellt ein Wort zur rechten Zeit sich ein. 

Mit Worten läszt sich trefflich streiten, 

Mit Worten ein System bereiten, 

An Worte läszt sich trefflich glauben, 1645 
Von einem Wort läszt sich kein Iota rauben. 


Schüler. 
Verzeiht, ich halt’ euch auf mit vielen Fragen, 
Allein ich musz euch noch bemühn. 
Wollt ihr mir von der Medizin 
Nicht auch ein kräftig Wörtchen sagen ? 1650 
Drei Jahr’ ist eine kurze Zeit, 
Und, Gott, das Feld ist gar zu weit. 


FAUST’S STUDY. 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. 


Mephistopheles. 

I do not wish to mislead you. As for this science, it 
is so difficult 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 will then pass through the 
safe gate into the temple of certainty. 


Student. 

But there must be some meaning connected with the 
word. 

Mephistopheles. 

Right! 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. Y 

Your 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 medieine? Three 
years is a short time, and the field, God knows, is far 


140 STUDIRZIMMER, 


Wenn man einen Fingerzeig nur hat, 
Liszt sich’s schon eher weiter fühlen. 


Mephistopheles (für sich). 
Ich bin des trocknen Tons nun satt, 1655 
Musz wieder recht den Teufel spielen, 
(Laut.) Der Geist der Medizin ist leicht zu fassen ; 
Ihr durchstudirt die grosz- und kleine Welt, 
Um es am Ende gehn zu lassen, 
Wie's Gott gefällt. 1660 
Vergehens, dasz ihr ringsum wissenschaftlich schweift, 
Ein Jeder lernt nur, was erlernen kann ; 
Doch der den Augenblick ergreift, 
Das ist der rechte Mann. 
Ihr seid noch ziemlich wohlgebaut, 1665 
An Kühnheit wird’s euch auch nicht fehlen, 
Und wenn ihr euch nur selbst vertraut, 
Vertrauen euch die andern Seelen. 
Besonders lernt die Weiber führen ; 
Es ist ihr ewig Weh und Ach 1670 
So tausendfach 
Aus einem Punkte zu kuriren, 
Und wenn ihr halbweg ehrbar thut, 
Dann habt ihr sie all’ unterm Hut. 
Ein Titel musz sie erst vertraulich machen, . 1675 
Dasz eure Kunst viel Künste übersteigt 
Zum Willkomm tappt ihr dann nach allen Siebensachen, 
Um die ein Andrer viele Jahre streicht, 
Versteht das Pülslein wohl zu drücken 
Und fasset sie mit feurig schlauen Blicken 1680 
Wohl um die schlanke Hiifte frei, 
Zu sehn, wie fest geschnürt sie sei. 


Schüler. 
Das sieht schon besser aus! Man sieht doch, wo und wie. 


Mephistopheles. 
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 
way along further. 


Mephistopheles (aside). e 

I begin to be tired of the prosing style. I must play 
the genuine devil again. [Aloud.] 

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. You 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 os! and ahs! so thousandfold, are to be } „ue- 
cured from a single point, and if you only assume a situ!" 


moderately demure air, you will have them all under 
your thumb. You 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. 


Mephistopheles. 
Grey, my dear friend, is all theory, and green the 
golden tree of life. 


142 STUDIRZIMMER. 


Schiiler. 
Ich schwör’ euch zu, mir ist’s als wie ein Traum. 
Diirft’ ich euch wohl ein andermal beschweren, 
Von eurer Weisheit auf den Grund zu hören ? 


Mephistopheles. 
Was ich vermag, soll gern geschehn. 


Schüler. 
Ich kann unmöglich wieder gehn, 1690 
Ich musz euch noch mein Stammbuch überreichen, 
Gönn’ eure Gunst mir dieses Zeichen ! 


Mephistopheles. 
Sehr wohl. [Er schreibt und giebt's. | 


Schüler (liest). 
Eritis sicut Deus, scientes bonum et malum. 
[Macht’s ehrerbietig zu und empfiehlt sich.) 


Mephistopheles. 
Folg’ nur dem alten Spruch und meiner Muhme, der 
Schlange, 1695 
Dir wird gewisz einmal bei deiner Gottähnlichkeit bange ! 
[Faust tritt auf.] 


Faust. 
Wohin soll es nun gehn ? 


Mephistopheles. 
Wohin es dir gefällt. 
Wir sehn die kleine, dann die grosze Welt. 
Mit welcher Freude, welchem Nutzen 
Wirst du den Cursum durchschmarutzen ! 1700 


Faust. 
Allein bei meinem langen Bart 


FAUST’S STUDY. 143 


Student. 
I vow 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. 
Mephistopheles. 


With all my heart. [He writes and gives it back.] 


Student (reads). 
Erıtıs stcut DEUS, SCIENTES BONUM ET MALUM.” 
[He closes the book 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 leichte Lebensart. 

Es wird mir der Versuch nicht glücken ; 

Ich wuszte nie mich in die Welt zu schicken, 

Vor Andern fühl’ ich mich so klein ; 1705 
Ich werde stets verlegen sein. 


Mephistopheles. 
Mein guter Freund, das wird sich Alles geben; 
Sobald du dir vertraust, sobald weiszt du zu leben. 


Faust. 
Wie kommen wir denn aus dem Haus ? 
Wo hast du Pferde, Knecht und Wagen ? 1710 


Mephistopheles. 
Wir breiten nur den Mantel aus, 
Der soll uns durch die Lüfte tragen. 
Du nimmst bei diesem kühnen Schritt 
Nur keinen groszen Bündel mit, 
Ein biszchen Feuerluft, die ich bereiten werde, 1715 
Hebt uns behend von dieser Erde. 
Und sind wir leicht, so geht es schnell hinauf; 
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. 


Mephistopheles. 
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 ? 


Mephistopheles. 

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. 


AUERBÄCH'S KELLER IN LEIPZIG. 


Zeche lustiger Gesellen. 


Frosch. 
ILL Keiner trinken ? Keiner lachen ? 
Ich will euch lehren Gesichter machen ! 1720 
Ihr seid ja heut wie nasses Stroh 
Und brennt sonst immer lichterloh. 


Brander. 
Das liegt an dir; du bringst ja nichts herbei, 
Nicht eine Dummheit, keine Sauerei. 


Frosch (gieszt ihm ein Glas Wein über den Kopf‘). 
Da hast du Beides! 


Brander. 
Doppelt Schwein ! 1725 


Frosch. 
Ihr wollt es ja, man soll es sein ! 


Siebel. 
Zur Thür hinaug, wer sich entzweit! 
Mit offner Brust singt Runda, sauft und schreit ! 
Auf! Holla! Ho! 


Altmayer. 
Weh mir, ich bin verloren ! 
Baumwolle her! Der Kerl sprengt mir die Ohren. 1730 


AUERBACH’S CELLAR” IN LEIPZIG. 
(Drinking bout of merry Fellows.) 


Frosch. 
| TILL no one drink? No one laugh? None of 
your gloomy faces! Why, you are like wet 
straw to-day, yet at other times you blaze brightly 


enough. 
Brander. 


That is your fault; you contribute nothing towards 
it: no nonsense, no beastliness. 


Frosch (throws a glass of wine over BRANDER’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, Iam a lost man! Cotton, here! the 
knave splits my ears. 


148 KELLER IN LEIPZIG. 


Siebel, 
Wenn das Gewölbe wiederschallt, 
Fühlt man erst recht des Basses Grundgewalt 


Frosch. 
So recht, hinaus mit dem, der etwas übel nimmt! 
A! Tara lara da! 
Altmayer. 
A! Tara lara da! 


Frosch. 
Die Kehlen sind gestimmt. 


(Singt.) 
Das liebe Heil’ge Röm’sche Reich, 1735 
Wie hält’s nur noch zusammen ? 


Brander. 
Ein garstig Lied! Pfui! Hin politisch Lied! 
Ein leidig Lied! Dankt Gott mit jedem Morgen, 
Dasz ihr nicht braucht fürs Röm’sche Reich zu sorgen ! 
Ich halt’ es wenigstens für reichlichen Gewinn, 174° 
Dasz ich nicht Kaiser oder Kanzler bin. 
Doch musz auch uns ein Oberhaupt nicht fehlen ; 
Wir wollen einen Papst erwählen. 
Ihr wiszt, welch eine Qualität 
Den Ausschlag giebt, den Mann erhöht. 1745 


Frosch (singt). 
Schwing dich auf, Frau Nachtigall, 


Griisz mir mein Liebchen zehntausendmal ! 


Siebel. 
Dem Liebchen keinen Grusz ! Ich will davon nichts hören ! 


Frosch, 
Dem Liebchen Grusz und Kusz! Du wirst mir's nicht 
verwehren ! 


CELLAR IN LEIPZIG. 149 


Siebel. 
is only when the vault echoes again, that one feels 
rue power of the bass. 


Frosch. 
zht, out with him who takes anything amiss. Ah! 


lara da! 
Altmayer. 
.! Tara lara da! 


Frosch. 
r throats are tuned. [He sings.] 
e dear, holy Roman empire, how holds it still 


her? 
Brander. 


nasty 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 
:ellor. But we cannot do without a head. We 
thoose a pope. You know what sort of qualification 
: the scale, and elevates the man. 


Frosch (sings). 
ar up, Dame Nightingale,” give my sweetheart 
housand greetings for me. 


Siebel. 
greeting to the sweetheart! I will not hear of it! 


Frosch. 
eeting to the sweetheart, and a kiss too! Thou 
not hinder me. [He sings.] 


150 KELLER IN LEIPZIG. 


(Singt). 
Riegel auf! In stiller Nacht, 1750 
Riegel auf! Der Liebste wacht. 
Riegel zu! Des Morgens früh, 


Siebel. 
Ja, singe, singe nur und Job und rühme sie; 
Ich will zu meiner Zeit schon lachen. 
Sie hat mich angeführt, dir wird sie’s auch so machen. 1755 
Zum Liebsten sei ein Kobold ihr beschert ! 
Der mag mit ihr auf einem Kreuzweg schikern ; 
Ein alter Bock, wenn er vom Blocksberg kehrt, 
Mag im Galopp noch gute Nacht ihr meckern ! 
Ein braver Kerl von echtem Fleisch und Blut 1760 
Ist für die Dirne viel zu gut. 
Ich will von keinem Grusze wissen, 
Als ihr die Fenster eingeschmissen ! 


Brander (auf den Tisch schlagend). 
Paszt auf! Paszt auf! Gehorchet mir ! 
Ihr Herrn gesteht, ich weisz zu leben; 1765 
Verliebte Leute sitzen hier, 
Und diesen musz nach Standsgebühr 
Zur guten Nacht ich was zum Besten geben. 
Gebt Acht! Ein Lied vom neusten Schnitt ! 
Und singt den Rundreim kräftig mit ! 1770 


(Er singt.) 
Es war eine Ratt’ im Kellernest, 
Lebte nur von Fett und Butter, 
Hatte sich ein Ränzlein angemast’t 
Als wie der Doktor Luther. " 
Die Köchin hatt’ ihr Gift gestellt ; 1775, 
Da ward’s so eng ihr in der Welt, 
Als hätte sie Lieb’ im Leibe. 


CHORUS (‘auchzend). 
Als hätte sie Lieb’ im Leibe. 


Brander, 


Sie fuhr herum, sie fuhr heraus 
Und soff aus allen Pfützen, 1780 


CELLAR IN LEIPZIG. 151 


Open bos! In stilly night. 
Open bolts ! The lover wakes. 
Shut bolts ! At morning’s dawn. 


Siebel. 

y, sing, sing on, and praise and celebrate her; my 
for laughing will come. She has taken me in; 
will do the same for you. May she have a hob- 
in fora 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 
ty fellow of genuine flesh and blood is far too good 
he wench. I will hear of no greeting, unless it be 

nash her windows. 


Brander (striking on the table), 
ttend, attend! Listen to me! You gentlemen must 
r me to know something of life. Lovesick folks 
ıere, and I must give them something suitable to 
‘condition by way of good night. Attend! A song 
ie newest cut! and strike boldly in with the chorus. 
[He sings. ] 
ıere was a rat in the cellar, who lived on nothing 
fat and butter, and had raised himself up a paunch 
that of Doctor Luther. The cook had laid poison 
im; then the world became too hot for him, as if 
ad love in his body. 


: Chorus. 
3 if he had love in his body. 
* 


Brander. 
e ran round, he ran out, he drank of every 


152 KELLER IN LEIPZIG. 


Zernagt’, zerkratzt’ das ganze Haus, 

Wollte nichts ihr Wüthen nützen ; 

Sie thät gar manchen Aengstesprung, 

Bald hatte das arme Thier genung, 

Als hätt? es Lieb’ im Leibe, 1785 


CHORUS, 
Als hätt’ es Lieb’ im Leibe. 


Brander. 
Sie kam vor Angst am hellen Tag 
Der Küche zugelaufen, 
Fiel an den Herd und zuckt’ und lag 
Und thät erbärmlich schnaufen. 1790 
Da lachte die Vergifterin noch : 
Ha! Sie pfeift auf dem letzten Loch, 
Als hätte sie Lieb’ im Leibe, j 


CHORUS, 
‘Als hätte sie Lieb’ im Leibe, 


Siebel. 
Wie sich die platten Bursche freuen ! 1795 
Es ist mir eine rechte Kunst, 
Den armen Ratten Gift zu streuen ! 


Brander. 
Sie stehn wohl sehr in deiner Gunst? 


Altmayer. 
Der Schmerbauch mit der kahlen Platte ! 
Das Unglück macht ihn zahm und mild; 1800 
Er sieht in der geschwollnen Ratte 
Sein ganz natürlich Ebenbild. 


Faust und MEPHISTOPHELES, 


R Mephistopheles. 
Ich musz dich nun vor allen Dingen 
In lustige Gesellschaft bringen, 
Damit du siehst, wie leicht sich’s leben läszt. 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. 
Chorus. 
As if he had love in his body. 


Brander. 

He came ranning 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? 


Alimayer. 
The bald-pated paunch! misfortune makes him 
humble and mild. He sees in the swollen rat his own 
pre drawn to the life. 


Faust and MEPHISTOPHELES. 


Mephistopheles. 
Before all things else, I must bring you into merry 
company,-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 engen Zirkeltanz, 

Wie junge Katzen mit dem Schwanz. 

Wenn sie nicht über Kopfweh klagen, 1810 
So lang’ der Wirth nur weiter borgt, 

Sind sie vergnügt und unbesorgt. 


Brander. 
Die kommen eben von der Reise, 
Man sieht’s an ihrer wunderlichen Weise; 
Sie sind nicht eine Stunde hier. 1815 


Frosch. 
Wahrhaftig, du hast Recht! Mein Leipzig lob’ ich mir ! 
Es ist ein klein Paris und bildet seine Leute, 


Siebel. 

Für was siehst du die Fremden an ? 

S Frosch, 
Lasz mich nur gehn ! Bei einem vollen Glase 
Zieh’ ich, wie einen Kinderzahn, 1820 
Den Burschen leicht die Wiirmer aus der Nase. 
Sie scheinen mir aus einem edlen Haus, 
Sie sehen stolz und unzufrieden aus. 


Brander. 
Marktschreier sind’s gewisz, ich wette ! 


Altmayer. 
Vielleicht. 
Frosch. 
Gieb Acht, ich schraube sie ! 1825 


Mephistopheles (zu Faust). 
Den Teufel spürt das Völkchen nie, 
Und wenn er sie beim Kragen hätte, 


CELLAR IN LEIPZIG. 155 


passed. These people make every day a feast. With) 
little wit and much 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. 


Brander. 
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 Faust). 
These folk would never scent the devil, if hehadthem 
by the throat. 


156 KELLER IN LEIPZIG. 


Faust. 
Seid uns gegrüszt, ihr Herrn ! 


Siebel. 
Viel Dank zum Gegengrusz ! 
[Leise, MErHIstoPHELEs von der Seite ansehend.] 
Was? Hinkt der Kerl auf einem Fusz ? 


Mephistopheles. 
Ist es erlaubt, uns auch zu euch zu setzen P 1830 
Statt eines guten Trunks, den man nicht haben kann, 
Soll die Gesellschaft uns ergetzen. 


Altmayer. 
Ihr scheint ein sehr verwöhnter Mann, 


‚Frosch. 
Ihr seid wohl spät von Rippach aufgebrochen ? 
Habt ihr mit Herren Hans noch erst zu Nacht gespeist ? 


Mephistopheles. 
Heut sind wir ihn vorbeigereist ; 1836 
Wir haben ihn das letzte Mal gesprochen. 
Von seinen Vettern wuszt’ er viel zu sagen, 
Viel Grüsze hat er uns an Jeden aufgetragen. 
[Er neigt sich gegen FRoscu. ] 


Altmayer (leise). 
Da hast du’s! Der versteht’s ! 


Siebel. 
Ein pfifiger Patron! 1840 


Frosch. 
Nun, warte nur, ich krieg’ ihn schon ! 


Mephistopheles. 
Wenn ich nicht irrte, hörten wir 
Geübte Stimmen Chorus singen ? 


CELLAR IN LEIPZIG. 157 


Faust. — 
Our greetings, gentlemen. 


Siebel. 
Many thanks to you in return. 
[Aside, looking at MEPHISTOPHELES askance. | 
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. 
Altmayer. 


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 
> spoke with him. He had much to say of his 
usins ; he charged us with many greetings to each. 
[With an inclination towards Froscu. | 


Altmayer (aside). 

Thou hast it there! He knows a thing or two! 
: Siebel 

A knowing fellow ! 

Frosch. 

Only wait, I shall have him presently. 


Mephistopheles. 
If I am not mistaken, we heard some practised voices 


158 KELLER IN LEIPZIG. 


Gewisz, Gesang musz trefflich hier 


Von dieser Wölbung wiederklingen ! 1845 
Frosch. 
Seid ihr wohl gar ein Virtuos ? 
Mephistopheles. 
O nein! Die Kraft ist schwach, allein die Lust ist grosz. 
Altmayer. 
Gebt uns ein Lied ! 
Mephistopheles. 
Wenn ihr begehrt, die Menge. 
Siebel. 
Nur auch ein nagelneues Stück ! 
Mephistopheles. 
Wir kommen erst aus Spanien zurück, 1850 
Dem schönen Land des. Weins und der Gesänge, 
(Singt.) 


Es war einmal ein Kénig, 
Der hatt’ einen groszen Floh— 


Frosch. 
Horcht! Einen Floh! Habt ihr das wohl gefaszt ? 
Ein Floh ist mir ein saubrer Gast. 1855 


Mephistopheles (singt). 
Es war einmal ein König, 
Der hatt’ einen groszen Floh ; 
Den liebt’ er gar nicht wenig, 
Als wie seinen eignen Sohn, 
Da rief er seinen Schneider, 1850 
Der Schneider kam heran: 
“ Da, misz dem Junker Kleider 
Und misz ihm Hosen an!” 


Brander. 
Vergeszfnur nicht, dem Schneider einzuschirfen, 


CELLAR IN LEIPZIG. 159 


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 weak, but the desire is strong. 


Altmayer. 
Give us a song. 
Mephistopheles. 
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 


flea: 
Frosch. 


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.” 
Brander. 


Only don’t forget to impress it on the tailor to mea- 


160 KELLER IN LEIPZIG. 


Dasz er mir aufs Genauste miszt, 1865 
Und dasz, so lieb sein Kopf ihm ist, 
Die Hosen keine Falten werfen ! 


Mephistopheles. 


In Sammet und in Seide 

War er nun angethan, 

Hatte Bander auf dem Kleide, 1870 
Hatt’ auch ein Kreuz daran 

Und war sogleich Minister 

Und hatt’ einen groszen Stern. 

Da wurden seine Geschwister 

Bei Hof auch grosze Herrn. 1875 


Und Herrn und Frau’n am Hofe 

Die waren sehr geplagt, 

Die Königin und die Zofe 

Gestochen und genagt, 

Und durften sie nicht knicken 1880 
Und weg sie jucken nicht. 

Wir knicken und ersticken 

Doch gleich, wenn einer: sticht. 


CHORUS (jauchzend). 


Wir knicken und erstieken 
Doch gleich, wenn einer sticht. 1885 


Frosch. 
Bravo! Bravo! Das war schön! 


Siebel. 
So soil es jedem Floh ergehn ! 


Brander. 
Spitzt die Finger und packt sie fein 


Altmayer. 
Es lebe die Freiheit ! Es lebe der Wein! 


Mephistopheles. 
Ich tränke gern ein Glas, die Freiheit hoch zu ehren, 1898 
Wenn eure Weine nur ein biszchen besser wären, 


CELLAR IN LEIPZIG. 161 


sure with the greatest nicety, and, as he loves his head, 
to make the breeches sit smoothly. 


Mephistopheles. 

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! 


Mephistopheles. 
I would willingly drink a glass in honour cf liberty, 
were your wine a thought better. 


M 


162 KELLER IN LEIPZIG. 


Siebel. 
Wir mögen das nicht wieder hören ! 


Mephistopheles. 
Ich fürchte nur, der Wirth beschweret sich; 
Sonst gäb’ ich diesen werthen Gästen 
Aus unserm Keller was zum Besten. 1895 


Siebel. 
Nur immer her! Ich nehm’s auf mich. 


Frosch. 
Schafft ihr ein gutes Glas, so wollen wir euch loben, 
Nur gebt nicht gar zu kleine Proben ; 
Denn wenn ich judiciren soll, 
Verlang’ ich auch das Maul recht voll. 7900 


Altmayer (leise). 
Sie sind vom Rheine, wie ich spüre, 


Mephistopheles. 
Schafft einen Bohrer an! 


Brander. 
Was soll mit dem geschehn ? 
Ihr habt doch nicht die Fässer vor der Thüre ? 


Altmayer. 
Dahinten hat der Wirth ein Körbchen Werkzeug stehn. 


Mephistopheles (nimmt den Bohrer. Zu Frosch). 
Nun sagt, was wünschet ihr zu schmecken P 1905 


Frosch, 
Wie meint ihr das? Habt ihr so MancherleiP 


Mephistopheles, 
Ich stell’ es einem Jeden frei. 


CELLAR IN LEIPZIG. 163 


Siebel. 
You had better not let us hear that again ! 


Mephistopheles. 
I am afraid the landlord would feel hurt, or I would 
sat 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 give an opinion, I require a regular 


outhful. 
Alimayer (aside). 


They are from the Rhine, I guess. 


Mephistopheles. 
Bring a gimlet.. 
Brander. 
What for? You surely have not the casks at the 


‚or? 
Altmayer. 


Behind there, is a tool-chest of the landlord’s. 


Mephistopheles (taking the gimlet. To Frosch). 
Now say, what wine would you wish to taste ? 


Frosch. 
What do you mean? Have you so many sorts? 


Mephistopheles. 
I give every man his cheice. 


164 KELLER IN LEIPZIG. 


Altmayer (zu Frosci). 
Aha! Du fängst schon an, die Lippen abzulecken. 


Frosch. 
Gut! Wenn ich wählen soll, so will ich Rheinwein haben. 
Das Vaterland verleiht die allerbesten Gaben. 1910 


Mephistopheles (indem er an dem Platz, wo FRoscH sitzt, 
ein Loch im den Tischrand bohrt). 
Verschafft ein wenig Wachs, die Pfropfen gleich zu 
machen ! 


Altmayer. 
Ach, das sind Taschenspielersachen. 


Mephistopheles (zu BRANDER). 
Und ihr ? 


Brander. 

Ich will Champagnerwein, 
Und recht mussirend soll er sein! 

[MupuistorHetes bohrt; Eimer hat indessen die 

Wachspfropfen gemacht und verstopft.] 

Man kann nicht stets das Fremde meiden, 1915 
Das Gute liegt uns oft so fern. 
Ein echter deutscher Mann mag keinen Franzen leiden, 
Doch ihre Weine trinkt er gern. 


Siebel (indem sich MEruIstoPHELES seinem Platze nähert). 
Ich musz gestehn, den Sauren mag ich nicht, 
Gebt mir ein Glas vom echten Süszen ! 1920 


Mephistopheles (bohrt). 
Euch soll sogleich Tokaier flieszen. 


Altmayer. 
Nein, Herren, seht mir ins Gesicht ! 
Ich seh’ es ein, ihr habt uns nur zum Besten. 


CELLAR IN LEIPZIG. 165 


Altmayer (to Frosch). 
Ah! you begin to lick your lips already. 


Frosch. 
Well! If I am to choose, I willtake Rhine wine. Our 
fatherland affords the very best of gifts. 


Mephistopheles (boring a hole in the edge of the table 
where FROSCH is sitting). 
Get a little wax to make stoppers immediately. 


Altmayer. 
Ah! these are jugglers’ tricks. 


Mephistopheles (to BRANDER). 


And you? 
Brander. 


I choose champagne, and let it be right sparkling. 
[Mern1stoPrHELES bores ; one of the others has in 
the meantime prepared the wax-sioppers 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. 


Altmayer. 
No, gentlemen ; look me in the face. I see plainly you 
are only making fun of us. 


166 KELLER IN LEIPZIG. 


Mephistopheles. 
Ei! Ei! Mit solchen edlen Gästen 
Wir’ es ein biszchen viel gewagt, 1925 


Geschwind! Nur grad heraus gesagt ! 
Mit welchem Weine kann ich dienen ? 


Altmayer. 
Mit jedem ! Nur nicht lang’ gefragt ! 
[Nachdem die Löcher alle gebohrt und verstopft sind.) 


Mephistopheles (mit seltsamen Geberden). 
Trauben trägt der Weinstock, 
Hörner der Ziegenbock ! 1930 
Der Wein ist saftig, Holz die Reben ; 
Der hölzerne Tisch kann Wein auch geben. 
Ein 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 Glas läuft). 
O schöner Brunnen, der uns flieszt ! 


. Mephistopheles. 
Nur hütet euch, dasz ihr mir nichts vergieszt! 
[Sie trinken wiederholt.) 


Alle (singen). 
Uns ist ganz kannibalisch wohl 
Als wie fünfhundert Säuen ! 


Mephistopheles. 
Das Volk ist frei, seht an, wie wohl’s ihm geht ! 1940 


CELLAR IN LEIPZIG. 167 


Mephistopheles. 

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). 

The 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. 


Faust. 
Ich hitte Lust, nun abzufabren, 


Mephistopheles. 
Gieb nur erst Acht, die Bestialität 
Wird sich gar herrlich offenbaren. 


Siebel (trinkt unvorsichtig ; der Wein flesat auf die Erde 
und wird zur Flamme). 
Helft! Feuer! Helft! Die Hölle brennt! 


Mephistopheles (die Flamme besprechend). 
Sei ruhig, freundlich Element! 1945 
[Zu dem Gesellen. 
Für diesmal war es nur ein Tropfen Fegefeuer. 


Siebel. 
Was soll das sein? Wart! Ihr bezahlt es theuer ! 
Es scheinet, dasz ihr uns nicht kennt. 


Frosch. 

Lasz er uns das zum zweiten Male bleiben ! 
Altmayer. 

Ich dächt’, wir hieszen ihn ganz sachte seitwärts gehn, 

Siebel. 
Was, Herr? Er will sich unterstehn 1951 
Und hier sein Hokuspokus treiben P 

Mephistopheles. 

Still, altes Weinfasz ! j 

Siebel. 


Besenstiel ! 
Du willst uns gar noch grob begegnen P 


Brander, 
Wart nur! Es sollen Schläge regnen. 1955 


CELLAR IN LEIPZIG. 169 


Faust. 
I should like to be off now. 


Mephistopheles. 
But first attend; their brutishness will display itself 
right gloriously. 


Siebel (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 Sırser.) 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. 

You 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. 


Alimayer (zieht einen Pfropf aus dem Tisch, es springt ihm . 
Feuer entgegen). 
Ich brenne! Ich brenne! 


Siebel. 
Zauberei! 
Stoszt zu! Der Kerl ist vogelfrei! 
[Ste ziehen die Messer und yehn auf MEPHISTOPHELES los.] 


Mephistopheles (mit ernsthafter Geberde). 
Falsch Gebild und Wort 
Verändern Sinn und Ort! 
Seid hier und dort ! 1960 
[Sie stehn erstaunt und sehn einander an.] 


Altmayer. 
Wo bin ich? Welches schöne Land! 


Frosch. 
Weinberge ! Seh’ ich recht ? 


Siebel. 
Und Trauben gleich zur Hand! 


Brander, 
Hier unter diesem griinen Laube, 
Seht, welch ein Stock! Seht, welche Traube ! 
[Er faszt Sıeseın bei der Nase; die Andern thum es 
wechselseitig und heben die Messer. | 


Mephistopheles (wie oben). 
Irrthum, lasz los der Augen Band! 1965 
Und merkt euch, wie der Teufel spasze ! 
[Er cinsohotndet mit Faust; die Gesellen fahren aus 
einander. | 


Siebel. 
Was giebt’s P 


CELLAR IN LEIPZIG. 171 


Altmayer (draws a stopper from the table ; fire flies out 


against him). 
I burn! I burn! 
Siebel. 


Sorcery! thrust home! The knave is outlawed. 
[They draw their knives and full upon Mernıs- 
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 ! 
[He seizes SınsEL by the nose. The others do the 
same one with the other, and raise their knives. | 


Mephistopheles (as before). 
Error, loose the bandage from their eyes! And do 
ye remember the devil’s mode of jesting ! 
[He disappears with Faust. The fellows start 
back from one another.) 


Siebel. 
What’s the matter ? 


172 KELLER IN LEIPZIG 


Altmayer. 
Wie? 
‘Frosch. 
War das deine Nase ? 


Brander (zu SIEBEL). 
Und deine hab’ ich in der Hand! 


Altmayer. 
Es war ein Schlag, der ging durch alle Glieder ! 
Schafft einen Stuhl, ich sinke nieder ! 1970 


Frosch. 
Nein, sagt mir nur, was ist geschehn ? 


Siebel. 
Wo ist der Kerl? Wenn ich ihn spüre, 
Er soll mir nicht lebendig gehn! - 


Altmayer. 
Ich hab’ ihn selbst hinaus zur Kellerthiire— 
Auf einem Fasse reiten sehn 
Es liegt mir bleischwer in den Füszen. 
[Sich nach dem Tische wendend.] 
Mein! Sollte wohl der Wein noch flieszen ? 





1975 


Siebel. 
Betrug war Alles, Lug und Schein, 


Frosch. 
Mir däuchte doch, als tränk’ ich Wein, 


Brander. 
Aber wie war es mit den Trauben ? 1980 


Altmayer. 
Nun sag’ mir Eins, man soll kein Wunder glauben ! 


CELLAR IN LEIPZIG. 173 


Altmayer. 
How? 
Frosch. 
Was that thy nose ? 


Brander (to SIEBEL). 
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. 


Alimayer. 
I myself saw him at the cellar door, riding out upon 
acask. 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 ! 


HEXENKUCHE. 


Auf einem niedriyen Herde steht ein groszer Kessel über dem 
Feuer. In dem Dampfe, der davon in die Hohe steigt, 
zeigen sich verschiedne Gestalten. EINE MEERKATZE sitzt 
bei dem Kessel und schüumt ihn umd sorgt, dasz er nicht 
überläuft. DER MEERKATER mit den Jungen sitzt darneben 
und wärmt sich. Wünde und Decke sind mit dem selt- 


samsten Hexenhausrath ausgeschmückt. 


Faust. MEPHISTOPHELES, 


Faust. 
IR widersteht das tolle Zauberwesen ! 
Versprichst du mir, ich soll genesen 

In diesem Wust von Raserei ? j 
Verlang’ ich Rath von einem alten Weibe ? 
Und schafft die Sudelköcherei 
Wohl dreiszig Jahre mir vom Leibe ? 
Weh mir, wenn du nichts Bessers weiszt ! 
Schen ist die Hoffnung mir verschwunden. 
Hat die Natur und hat ein edler Geist 
Nicht irgend einen Balsam ausgefunden ? 


Mephistopheles. 
Mein Freund, nun sprichst du wieder klug! 


Dich zu verjüngen, giebt’s auch ein natürlich Mittel : 


Allein es steht in einem andern Buch 
Und ist ein wunderlich Kapitel. 


Faust. 
Ich will es wissen, 


1985 


1990 


1995 


WITCH’S KITCHEN. — 


4 large cauldron is hanging over the fire on a low hearth. 
Different figures are seen in the fumes which rise from 
it. A Fematz Monker is sitting by the cauldron and 
skimming it, and taking care that it does not run over. 
THe Mate Monker is seated near with the young ones, 
and warming himself. The walls and ceiling are hung 
with the strangest articles of Witch furniture.” 


Faust. 
LOATHE this mad concern of witchcraft. Do you 
promise me that I shall recover in this chaos of in- 
sanity? DoIneed an old hag’sadvice? And will this foul 
mess perchance take thirty years from my life? Woe 
is me, if you know 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 HEXENKUCHE. 


Mephistopheles. 
Gut! Hin Mittel, ohne Geld 

Und Arzt und Zauberei zu haben: 
Begieb dich gleich hinaus aufs Feld, 
Fang au zu hacken und zu graben, 
Erhalte dich und deinen Sinn 2000 
In einem ganz beschrankten Kreise, 
Ernähre dich mit ungemischter Speise, 
Leb mit dem Vieh als Vieh und acht es nicht für Raub, 
Den Acker, den du erntest, selbst zu düngen ; 
Das ist das beste Mittel, glaub, 2005 
Auf achtzig Jahr’ dich zu verjüngen ! 


Faust. 
Das bin ich nicht gewöhnt, ich kann mich nicht bequemen, 
Den Spaten in die Hand zu nehmen ; 
Das enge Leben steht mir gar nicht an. 


2 Mephistopheles. 
So musz denn doch die Hexe dran. 2010 


Faust. 
Warum denn just das alte Weib ? 
Kannst du den Trank nicht selber brauen ? 


Mephistopheles. 

Das wir’ ein schöner Zeitvertreib ! 
Ich wollt’ indesz wohl tausend Brücken bauen. 
Nicht Kunst und Wissenschaft allein, 2015 
Geduld will bei dem Werke seins _- Ay 
Ein stiller Geist ist Jahre lang geschiftig, ve 
Die Zeit nur macht die feine Gährung kräftig. >. 
Und Alles, was dazu gehört, 
Es sind gar wunderbare Sachen ! 2020 
Der Teufel hat sie’s zwar gelehrt, 
Allein der Teufel kann’s nicht machen. 

[Die THIERE erblickend.] 
Sieh, welch ein zierliches Geschlecht ! 
Das ist die Magd! Das ist der Knecht! 

(Zu den THIEREN. ] 

Es scheint, 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 tereighty. 
oe Faust. 

Tam 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. e 

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 Monxeys.) See what a 
pretty breed! This is the maid—that is the man. (To 
the Monkeys.) It seems your mistress is not at home ? 

N 


178 HEXENKUCHE. 


Die Thiere. 
Beim Schmause ; 
Aus dem Haus 
Zum Schornstein hinaus! 


Mephistopheles. 
Wie lange pflegt sie wohl zu schwärmen ? 


Die Thiere. 
So laag’ wir uns die Pfoten wirmen. 2030 


Mephistopheles (zu Faust). 
Wie findest du die zarten Thiere ? 


Faust. 
So abgeschmackt, als ich nur Jemand sah ! 


Mephistopheles. 
Nein, ein Discurs wie dieser da 
Ist grade der, den ich am Liebsten führe ! 
[Zu den THIEREN. ] 
So sagt mir doch, verfluchte Puppen, 2035 
Was quirlt ihr in dem Brei herum ? 


Thiere. 
Wir kochen breite Bettelsuppen. 


Mephistopheles. 
Da habt ihr ein grosz Publikum. 


Der Kater (macht sich herbei und schmeichelt dem 

MEPHISTOPHELES). 

O, wiirfle nur gleich 

Und mache mich reich 2040 

Und lasz mich gewinnen! 

Gar schlecht ist's bestellt, 

Und wär’ ich bei Geld, 

So wär’ ich 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 ? 


The 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. 


The He Monkey (approaches and fawns on 

MEPHISTOPHELES). 

O quick throw the dice, 

And make me rich— 

And let me win! 

My fate is a sorry one, 

And had I money 

T should also have reason, 


180 HEXENKÜCHE, 


Mephistopheles. 
Wie glücklich würde sich der Affe schätzen, 2045 
Könnt’ er nur auch ins Lotto setzen ! 
[Indessen haben die jungen MEERKÄTZCHEN mit einer 
groszen Kugel gespielt und rollen sie hervor. ] 


Der Kater. 
Das ist die Welt; 
Sie steigt und fällt 
Und rollt beständig ; 
Sie klingt wie Glas; 2050 
Wie bald bricht das ? 
Ist hohl inwendig ; 
Hier glinzt sie sehr 
Und hier noch mehr. 
Ich bin lebendig ! 2055 
Mein lieber Sohn, 
Halt dich davon ! 
Du muszt sterben ! 
Sie ist von Thon, - 
Es giebt Scherben. 2069 


Mephistopheles. 
Was soll das Sieb ? 


Der Kater (holt es herunter), 
Wärst du ein Dieb, 
Wollt’ ieh dich gleich erkennen. 
[Er läuft zur Kätzin und läszt sie durchsehen.] 
Sieh durch das Sieb ! 
Erkennst du den Dieb ? 2065 
Und darfst ihn nicht nennen ? 


WITCH’S KITCHEN. 181 


Mephistopheles. 
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 
Jorwards.] 


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— 
Iam 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 makesher look through. | 
Look through the sieve! 
Dost thou recognize the thief ? 
And darest not name him? 


182 HEXENKÜCHE. 


Mephistopheles (sich dem Feuer nähernd.) 
Und dieser Topf ? 


Kater und Kätzin. 
Der alberne Tropf! 
Er kennt nicht den Topf, 
Er kennt nicht den Kessel ! 


Mephistopheles. 
Unhéfliches Thier! 


Der Kater. hie =“ 
Den Wedel nimm hier 
Und setz dich in Sessel ! 


2070 


[Er nöthigt den MEPHIsTOPHELES, zu sitzen. ] 


Faust (welcher diese Zeit über vor einem Spiegel gestanden, 
‘sich ihm bald genähert, bald sich von ihm entfernt hat.) 


Was seh’ ich? Welch ein himmlisch Bild 
Zeigt sich in diesem Zauberspiegel ! 

O Liebe, leihe mir den schnellsten deiner Flügel 
Und führe mich in ihr Gefild! 

Ach, wenn ich nicht auf dieser Stelle.bleibe, 
Wenn ich es wage, nah zu gehn, 

Kann ich sie nur als wieim Nebel sehn !— 
Das schönste Bild von einem Weibe! 

Ist’s möglich, ist das Weib so schön P 

Musz ich an diesem hingestreckten Leibe “*" 
Den Inbegriff von allen Himmeln sehn ? 

So etwas findet sich auf Erden ? 


Mephistopheles. 
Natiirlich, wenn ein Gott sich erst sechs Tage plagt 
Und selbst am Ende Bravo sagt, 
Da musz es was Gescheites werden. 
Für diesmal sieh dich immer satt; 
Ich weisz dir so ein Schätzchen auszuspüren, 


2075 


2080 


2085 


2090 


WITCH’S KITCHEN, 183 


Mephistopheles (approaching the fire). 
And this pot? 


The Monkeys. 
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 been 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 ina mist. The loveliest image of 

a woman! Is it possible, is woman so lovely? Must I 

see in these recumbent limbs the innermost 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 bravo at the end, it is but natural that some- 
thing clever should come of it. For this time look your 
fill. I know where to find out such a love for you, and 


184 HEXENKUCHE. 


Und selig, wer das gute Schicksal hat, 
Als Bräutigam sie heimzuführen ! 

[Faust sieht immerfort in den Spiegel. MEPHISTOPHELES, 
sich in dem Sessel dehnend und mit dem Wedel spie- 
lend, fährt fort zu sprechen.] : 

Hier sitz’ ich wie der König auf dem Throne, 
Den Zepter halt’ ich hier, es fehlt nur noch die Krone. 


Die Thiere (welche bisher allerlei wunderliche Bewegungen 
durch einander gemacht haben, bringen dem MEPHIsTO- 
PHELES eine Krone mit groszem Geschrei.) 

O, sei doch so gut, 2095 
Mit Schweisz und mit Blut 
Die Krone zu leimen ! 

[Sie gehn ungeschickt mit der Krone um und zerbrechen 

sie in zwei Stücke, mit welchen sie herumspringen. | 

Nun ist es geschehn ! 
Wir reden und sehn, 
Wir hören und reimen. 2100 


Faust (gegen den Spiegel). 
Weh mir! Ich werde schier verrückt. 


Mephistopheles (auf die THIERE deutend). 
Nun fängt mir an fast selbst der Kopf zu schwanken. 


Die Thiere. 
Und wenn es uns glückt, 
Und wenn es sich schickt, 
So sind es Gedanken ! 2105 


Faust (wie oben). 
Mein Busen fängt mir an zu brennen ! 
Entfernen wir uns nur geschwind ! 


WITCH’S KITCHEN. 185 


happy he whose fortune it is to bear her home as a 
bridegroom. 

[Faust continues looking into the mirror. 
MEPHISTOPHELES, stretching himself on the 
settle and playing with the brush, 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 MEPHISTOPHELES a crown, with 


loud cries), 
Oh, be so good 


As to glue the crown” 
With sweat and blood. 

[They handle the crown awkwardly, and break it 

into two pieces, with which they jump about. | 
Now it is done. 
We speak and see; 
We hear and rhyme— 
Faust (before the mirror). 
Woe is me! Iam becoming almost mad! 


Mephistopheles (pointing to the MonxEys). 
Now my own head almost begins to reel. 
The Monkeys. 
And if we are lucky, 
And if things fit, 
Then they are thoughts! 
Faust (as before). 
My breast is beginning to burn! Do let us begone 
immediately ! 


186 HEXENKUCHE. 


Mephistopheles (in obiger Stellung). 
Nun, wenigstens musz man bekennen, 
Dasz es aufrichtige Poeten sind. 

[Der Kessel, welchen die Kärzıw bisher auszer Acht ge- 
lassen, fängt an, überzulaufen ; es entsteht eine grosze 
Flamme, welche zum Schornstein hinausschlägt. DIE 
Hrxz kommt durch die Flamme mit entsetzlichem 
Geschrei heruntergefahren. | 


Die Hexe. 
Au! Au! Au! Au! 2110 
Verdammtes Thier! Verfluchte Sau ! 
Versäumst den Kessel, versengst die Frau! 
Verfluchtes Thier ! 
[Faust und MEPHISTOPHELES erblickend.] 
Was ist das hier P 
Wer seid ihr hier ? 2115 
Was wollt ihr da? 
Wer schlich sich ein ? 
Die Feuerpein 
Euch ins Gebein ! 
[Sie fährt mit dem Schaumlöffel in den. Kessel und spritzt 
Flammen nach Faust, MEPHISTOPHELES und den 
Tuıeren. Diz THIERE winseln.] 


Mephistopheles (welcher den Wedel, den er in der Hand hält, 
umkehrt und unter die Gläser und Töpfe schlägt). 
Entzwei ! 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. 
er [The cauldron, which the Suz Monkey has neglected, 
begins to boil over; a great flame arises, which 
streams up the chimney. The WircH 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 MErHISTOPHELES.] 
What now ? 
Who are ye? 
What would ye here ? 
Who hath come slinking in? 
The plague of fire 
Into your bones ! 
[She dips the skimming ladle into the cauldron, and 
sprinkles flames at Faust, MEPHISTOPHELES, and 
the Monxrys. The Monxeyrs whimper. ] 


Mephistopheles (who inverts the brush which he holds in his 
hand, and strikes amongst the glasses and pots). 
To pieces! To pieces! wi 
There lies the porridge! 
There lies the glass! 


188 HEXENKÜCHE. 


Es ist nur Spasz, 

Der Takt, du Aas, 

Zu deiner Melodei ! 2125 

[Indem die Hexe voll Grimm und Entsetzen zurücktritt.] 

Erkennst du mich, Gerippe! Scheusal du! 
Erkennst du deinen Herrn und Meister? 
Was hält mich ab, so schlag’ ich zu, 
Zerschmettre dich und deine Katzengeister ! 
Hast du vorm rothen Wamms nicht mehr Respekt ? 2130 
Kannst du die Hahnenfeder nicht erkennen ? 
Hab’ ich dies Angesicht versteckt ? a 
Soll ich mich etwa selber nennen ? . 


Die Hexe. 
O Herr, verzeiht den rohen Grusz ! 
Seh’ ich doch keinen Pferdefusz. "2135 
Wo sind denn eure beiden Raben P 


Mephistopheles. 
Für diesmal kommst du so davon ; 
Denn freilich ist es eine Weile schon, 
Dasz wir uns nicht gesehen haben. 
Auch die Kultur, die alle Welt beleckt, 2140 
Hat auf den Teufel sich erstreckt; 
Das nordische Phantom ist nun nicht mehr zu schauen ; 
Wo siehst du Hörner, Schweif und Klauen ? 
Und was den Fusz betrifft, den ich nicht missen kann, 
Der würde mir bei Leuten schaden ; 2145 
Darum bedien’ ich mich, wie mancher junge Mann, 
Seit vielen Jahren falscher Waden. 


Die Hexe (tamzend). 
Sinn und Verstand verlier’ ich schier, 
Seh’ ich den Junker Satan wieder hier ! 


Mephistopheles, 
Den Namen, Weib, verbitt’ ich mir! 2150 


Die Hexe. 
Warum? Was hat er euch gethan P 


WITCH'S KITCHEN. ( 189 
mr 


It is only a jest, 

The measure, thou carrion, 

To thy melody. 

[As the WırcH steps back 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. 
O master, pardon this rough reception! But Isee no 
cloven foot. Where then are your two ravens? 


Mephistopheles. 

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 licks all 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). 
I am almost beside myself, to see Squire Satan here 
again. ' 
Mephistopheles. 
Woman, I deprecate that name. 
The Witch. 
Wherefore? What has it done to you? 


190 HEXENKUCHE. 


Mephistopheles. 

Er ist schon lang’ ins Fabelbuch geschrieben ; 
Allein die Menschen sind nichts besser dran, 
Den Bösen sind sie los, die Bösen sind geblieben. 
Du nennst mich Herr Baron, so ist die Sache gut; zı55 
Ich bin ein Kavalier wie andre Kavaliere, 
Du zweifelst nicht an meinem edlen Blut; 
Sieh her, das ist das Wappen, das ich führe ! 

[Er macht eine unanständige Geberde.] 


Die Hexe (lacht unmäszig). 
Ha! Ha! Das ist in eurer Art! 
Ihr seid ein Schelm, wie ibr nur immer wart! 2160 


Mephistopheles (zu Faust). 
Mein Freund, das lerne wohl verstehn ! 
Dies ist die Art, mit Hexen umzugehn. 


Die Hexe. 
Nun sagt, ihr Herren, was ihr schafft ! 


Mephistopheles. 
Ein gutes Glas von dem bekannten Saft! 
Doch musz ich euch ums ältste bitten ; 2165 
Die Jahre doppeln seine Kraft. 


Die Hexe. 
Gar gern! Hier hab’ ich eine Flasche, 
Aus derich selbst zuweilen nasche, 
Die auch nicht mehr im Mindsten stinkt; 
Ich will euch gern ein Gläschen geben. 2170 
(Leise.) Doch wenn es dieser Mann unvorbereitet trinkt, 
So kann er, wiszt ihr wohl, nicht eine Stunde leben, 


Mephistopheles. 
Es ist ein guter Freund, dem es gedeihen soll; 
Ich gönn’ ihm gern das Beste deiner Küche. 
Zieh deinen Kreis, sprich deine Sprüche 2175 
Und gieb ihm eine Tasse voll ! 
[Diz Hexe, mit seltsamen Geberden, zieht 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 cavaliers. You doubt not of my 
gentle blood ; see here, this is the coat of arms I bear! 


[He makes an ai 
The Witch (laughs immoderately). 


Ha, ha! Thatis 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 glassof 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 WircH, with strange gestures, draws a circle 


192 HEXENKUCHE. 


und stellt wunderbare Sachen hinein; indessen fangen 
die Gläser an zu klingen, die Kessel zu tönen. und 
machen Musik. Zuletzt bringt sie ein groszes Duch, 
stellt die MEERKATZEN in den Kreis, dieihr zum Pult 
dienen und die Fackel halten müssen. Ste winkt 
FAUSTEN, zu ihr zu treten.] 


, 


Faust (zu MEPHISTOPHELES). 
Nein, sage mir, was soll das werden ? 
Das tolle Zeug, die rasenden Geberden, 
Der abgeschmackteste Betrug 
Sind mir bekannt, verhaszt genug. 2130 


Mephistopheles. 
Ei Possen ! Das ist nur zum Lachen ; 
Sei nur nicht ein so strenger Mann ! 
Sie musz als Arzt ein Hokuspokus machen, 
Damit der Saft dir wohl gedeihen kann. 
[Er nöthigt FAUSTEN, in den Kreis zu treten.] 


‚Die Hexe (mit groszer Emphase, füngt an, aus dem 
Buche zu deklamiren). 
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 Fünf 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 make 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 Faust 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 oldand thoroughly abominate 


them. 
Mephistopheles. 


Pooh! that is only mere foolery. Don’t be so 
fastidious. As mediciner she is obliged to play off some 
hocus-pocus, that the dose may operate well on you. 

[He makes Faust 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, 
o 


194 HEXENKÜCHE. 


Und Zehn ist Keins : 
Das ist das Hexen-Einmaleins ! 


Faust. 
Mich dünkt, die Alte spricht im Fieber. 


> Mephistopheles. 
Das ist noch lange nicht vorüber, 
Ich kenn’ es wohl, so klingt das ganze Buch; 2209 
Ich habe manche Zeit damit verloren, 
Denn ein vollkommner Widerspruch 
Bleibt gleich geheimniszvoll für Kluge wie für Thoren, 
‘| Mein Freund, die Kunst ist alt und neu. 
- Es war die Art zu allen Zeiten, 2205 
_-— Durch Drei und Eins und Eins und Drei . 
Irrthum statt Wahrheit zu verbreiten. 
So schwätzt und lehrt man ungestört, 
Wer will sich mit den Narr'n befassen ? 
Gewöhnlich glaubt der Mensch, wenn er nur Worte hört, 
Es müsse sich dabei doch auch was denken lassen. 2211 


Der Heue (fährt fort). 
Die hohe 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 für Unsinn vor? 
Es wird mir gleich der Kopf zerbrechen, 
Mich dünkt, ich hör’ ein ganzes Chor 2220 
Von hunderttausend Narren sprechen, 


Mephistopheles, x: 
Genug, genug, o treffliche Sibylle!" 
Gieb deinen Trank herbei und fülle 
Die Schale rasch bis an den Rand hinan ; 


WITCH’S KITCHEN. 195 


And ten is none. 
That is the witch’s one-times-one.” 


Faust, 
It seems to me that the hag raves in fever. 


Mephistopheles. 

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. 


Mephistopheles. 
Enough, enough, excellent Sibyl! Hand us thy drink, 
and fill the cup to the brim without more ado; for this 


ee) 


196 HEXENKUCHE. 


a 


Denn meinem Freund wird dieser Trunk nicht schdeit: 
Er ist ein Mann von vielen Graden, 2 ae ae 2226 
Der manchen guten Schluck gethan. ie 
[Die Hıxr, mit vielen Zeremonien, schenkt den Trank in 
eine Schale; wie sie Faust an den Mund bringt, ent« 
steht eine leichte Flamme.] 
Nur frisch hinunter! Immer zu ! 
Es wird dir gleich das Herz erfreuen. 
Bist mit dem Teufel du und du, 2230 
Und willst dich vor der Flamme scheuen ? 
[Die Hexe löst den Kreis. Faust tritt heraus. 
Nun frisch hinaus! Du darfst nicht ruhn, 


Die Hexe. 
Mög’ euch das Schlückchen wohl behagen ! 


Mephistopheles (zur Hexr). ms N 
Und kann ich dir was zu Gefallen thun, ae 
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 fiihren ! 
Du muszt nothwendig transpiriren, 
Damit die Kraft durch Inn- und Aeuszres dringt. 2240 
Den edlen Müsziggang lehr’ ich hernach dich schätzen, 
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 Frauenbild war gar zu schön ! 2245 


WITCH'S KITCHEN. 197 


draught will do my friend no harm. He is a man of 
many grades, who has taken many a good gulp already. 
[The Wırca with many ceremonies pours the 
liquor into a cup; as Faust 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 WircuH dissolves the circle—Fausr steps out. | 

Now forth at once! You must not rest. 


The Witch. 
Much good may the draught do you. 


Mephistopheles (to the Wırcn). 
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 Faust). 

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. 
7 


198 HEXENKUCHE. 


Mephistopheles. 
Nein, nein! Du sollst das Muster aller Frauen 
Nun bald leibhaftig vor dir sehn. 
(Leise.) Du siehst mit diesem Trank im Leibe 
Bald Helenen in jedem Weibe. 


WITCH’S KITCHEN. 199 


Mephistopheles. 
Nay, nay; you shall soon see the model of all woman- 
kind in flesh and blood. (Aside.) With this draught 
in your body, you will soon see a Helen in every 


woman. Re ig A 


STRASZE. 
Faust, MARGARETE vorübergehend. 


Faust. 
EIN schönes Fräulein, darf ich wagen, 2250 
Meinen Arm und Geleit ihr anzutragen ? 


Margarete. i 
Bin weder Fräulein weder schén, _,,.__ 
Kann ungeleitet nach Hause gehn. 
[Sie macht sich los und ab.] 


Faust. 

Beim Himmel, dieses Kind ist schön ! 
So etwas hab’ ich nie gesehn ! 2255 
Sie ist so sitt- und tugendreich 
Und etwas schnippisch doch zugleich. 
Der Lippe Roth, der Wange Licht, 
Die Tage der Welt vergess’ ich’s nicht ! 
Wie sie die Augen niederschlägt, 2260 
Hat tief sich in mein Herz geprägt ; 
Wie sie kurz angebunden war, 
Das ist nun zum Entzücken gar! 

[ MePHIsTOPHELES tritt auf.] 


Faust. 
Hör, du muszt mir die Dirne schaffen ! 
Mephistopheles 
Nun, welche ? 
Faust. 


Sie ging just vorbei. 2265 


THE STREET. 
Faust. Marcaret™ (passing by). 


Faust. 
Y pretty lady, may I take 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. 


Mephistopheles. 
Which ? 
Faust. 
She passed but now. 


STRASZE. 


Mephistopheles. 
Da die? Sie kam von ihrem Pfaffen, 
Der sprach sie aller Sünden frei ; 
Ich schlich mich hart am Stuhl vorbei ; 
Es ist ein gar unschuldig Ding, 
Das eben für nichts zur Beichte ging ; 
Ueber die hab’ ich keine Gewalt ! 


Faust. 
Ist über vierzehn Jahr’ doch alt. 


Mephistopheles. 
Du sprichst ja wie Hans Liederlich, 
Der begehrt; jede liebe Blum’ für sich, 
Und dünkelt ihm, es wär’ kein’ Ehr’ 
Und Gunst, die nicht zu pflücken wir’ ; 
Geht aber doch nicht immer an, 


Faust. 
Mein Herr Magister Lobesan, 
Lasz er mich mit dem Gesetz in Frieden ! 
Und das sag’ ich ihm kurz und gut: 
Wenn nicht das süsze junge Blut 
Heut Nacht in meinen Armen ruht, 
So sind wir um Mitternacht geschieden, 


Mephistopheles. 
Bedenkt, was gehn und stehen mag ! 
Ich brauche wenigstens vierzehn Tag’, 
Nur die Gelegenheit auszuspüren. 


Faust. 
Hitt’ ich nur sieben Stunden Ruh, 
Brauchte den Teufel nicht dazu, 
So ein Geschöpfchen zu verführen. 


Mephistopheles. 
Thr sprecht schon fast wie ein Franzos ; 
Doch bitt’ ich, laszt’s euch nicht verdrieszen: 
Was hilft’s, nur grade zu genieszen ? 


2270 


2275 


2280 


2285 


2290 


TUE STREET. 203 


Mephistopheles. 

What, she? She came from her confessor, who ab- 
solved her from all her sins. I stole up close to the 
chair. It isan innocent little thing, that went for next 
to nothing to the confessional. Over her I have no 


power. 
Faust. 


Yet she is past fourteen ! 


Mephistopheles. 

You positively speak like Jack Rake, 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. 


Faust. 
~ My honourable pedagogue, don’t plague me with 
your morality. And, ia 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. 


Mephistopheles. 
~~ You talk now almost like a Frenchman ; but don’t 
fret about it, I beg. What boots it to go straight to 


204 


STRASZE, 


Die Freud’ ist lange nicht so grosz, 

Als wenn ihr’erst herauf, herum, 

Durch allerlei Brimborium 

Das Piippchen geknetet und zugericht't, 
Wie’s lehret manche wälsche Geschicht’. 


Faust. 
Hab’ Appetit auch ohne das. 


Mephistopheles. 
Jetzt ohne Schimpf und ohne Spasz. 
Ich sag’ euch, mit dem schönen Kind 
Geht’s ein- für allemal nicht geschwind. 
Mit Sturm ist da nichts einzunehmen ; 
Wir müssen uns zur List bequemer. 


a : Faust. 

Schaff mir etwas vom Engelsschatz ! 
Führ mich an ihren Ruheplatz ! 

Schaff mir ein Halstuch von ihrer Brust, 
Ein Strumpfband meiner Liebeslust ! 


Mephistopheles. 
Damit ihr seht, dasz ich eurer Pein 
Will förderlich und dienstlich sein, 
Wollen wir keinen Augenblick verlieren, 


Will euch noch heut in ihr Zimmer führen. 


Faust. 
Und soll sie sehn? Sie haben ? 


Mephistopheles, 
Nein ! 
Sie wird bei einer Nachbarin sein. 
Indessen kénnt ihr ganz allein 
An aller Hoffnung kiinft’ger Freuden 
In ihrem Dunstkreis satt euch weiden. 


Faust. 
Können wir hin ? 


2295 


2300 


2305 


2310 


2315 


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. 


Mephistopheles. 

Now, seriously and without offence, I tell you once for. 
all, that the lovely girl is not to be had in sucha 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. 


Mephistopheles. 
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 STRASZE. 


Mephistopheles. 
Es ist noch zu früh. 


Faust. 
Sorg du mir für ein Geschenk für sie ! [ Ab. ] 


Mephistopheles, 
Gleich schenken P Das ist brav! Da wird er reussiren ; 
Ich kenne manchen schönen Platz 2320 
Und manchen altvergrabnen Schatz ; 
Ich musz ein biszchen revidiren. [4b.] 


THE STREET. 207 


Mephistopheles, 
It is too early. 
Faust. 
Get me a present for her. [Eeit.] 
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 bit. 
[Evit.] 


ABEND. 


Ein kleines reinliches Zimmer. 


Margarete (ihre Zöpfe flechtend und auf bindend). 
CH gäb’ 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’ ich ihm an der Stirne lesen— 
Er wär’ auch sonst nicht so keck gewesen. [4.] 


MEPHISTOPHELES, Faust. 


Mephistopheles. 
Herein, ganz leise, nur herein ! 


Faust (nach einigem Stillschweigen). 
Ich bitte dich, lasz mich allein ! 2330 


Mephistopheles (herumspürend). 
Nicht jedes Mädchen hält so rein. [4b.] 


Faust (rings aufschauend). 

Willkommen, süszer Dämmerschein, 
Der du dies Heiligthum durchwebst! 
Ergreif mein Herz, du süsze Liebespein, 
Die du vom Thau der Hoffnung schmachtend lebst! 2335 
Wie athmet rings Gefühl der Stille, 
Der Ordnung, der Zufriedenheit! 
In dieser Armuth welche Fülle ! 
In diesem Kerker welche Seligkeit ! 

[Er wirft sich auf den ledernen Sessel am Bette. ] 


EVENING. 
A neat little Room. 


Margaret (braiding and binding up her hair). 
WOULD give something to know who that gentle- 
man was to-day! He had a gallant bearing, and is 

of a noble family Iam sure. I could read that on his 
brow; besides, he would not else have been so impudent.” 
[Exit.) 

MEPHISTOPHELES— FAUST. 


Mephistopheles. 
Come in—as softly as possible. Only come in! 


j 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 (looking 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. ] 
P 


310 ABEND. 


O, nimm mich auf, der du die Vorwelt schon 2440 
Bei Freud’ und Schmerz in offnen Arm empfangen ! 
Wie oft, ach, hat an diesem Väterthron 
Schon eine Schaar von Kindern rings gehangen ! 
Vielleicht hat, dankbar fiir den Heil’gen Christ, 
Mein Liebchen hier mit vollen Kinderwangen 2345 
Dem Ahnherrn fromm die welke Hand gekiiszt, 
Ich fühl’, o Mädchen, deinen Geist 

-"Der Fill und Ordnung um mich säuseln, 
Der mütterlich dich täglich unterweist, 
Den Teppich auf den Tisch dich reinlich breiten heiszt, 
Sogar den Sand zu deinen Füszen kriuseln. 2351 
O liebe Hand ! So göttergleich ! 
Die Hütte wird durch dich ein Himmelreich. 


Und hier! _ [Er hebt einen Bettvorhang auf.] 
Was faszt mich fur ein Wonnegraus ! 
Hier möcht’ ich volle Stunden säumen, 2355 


Natur! Hier bildetest in leichten Träumen 

Den eingebornen Engel aus. 

Hier lag das Kind, mit warmem Leben 

Den zarten Busen angefüllt, _ 

Und hier mit heilig reinem Weben 2360 
Entwirkte sich das Götterbild ! 


Und du! Was hat dich hergeführt ? 
Wie innig fühl’ ich mich gerührt ! 
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 fühle mich in Liebestraum zerflieszen ! 
Sind wir ein Spiel von jedem Druck der Luft? 


Und träte sie den Augenblick herein, 2370 
Wie würdest du für deinen Frevel büszen | 
Der grosze Hans, ach wie eo klein, 
Lag’ hingeschmolzen ihr zu Füszen, 


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 grandsiré> 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 
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,inairydreams. Herelaythechild ! itsgentle 
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 longer 
know thee. . 

Am Tin 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. 


4 


212 


ABEND. 


Mephistopheles. 
Geschwind! Ich seh’ sie unten kommen, 


Faust. 
Fort! Fort! Ich kehre nimmermehr ! 2378 


Mephistopheles. 
Hier ist ein Kästchen, leidlich schwer, 
Ich hab’s wo anders hergenommen, 
Stellt’s hier nur immer in den Schrein, 
Ich schwör’ euch, ihr vergehn die Sinnen: 
Ich that euch ‚Sächelchen hinein, 2380 
Um eine Andre zu gewinnen. 
Zwar Kind ist Kind, und Spiel ist Spiel. 


Faust. 
Ich weisz nicht, soll ich ? 


Mephistopheles. 
Fragt ihr viel ? 
Meint ihr vielleicht den Schatz zu wahren ? 
Dann rath’ ich eurer Lüsternheit, 2385 
Die liebe schöne Tageszeit 
Und mir die weitre Müh zu sparen. 
Ich hoff’ nicht, dasz ihr geizig seid! 
Ich kratz’ den Kopf, reib’ an den Händen— 
[Er stellt das Kästchen in den Schrein und drückt 
das Schlosz wieder zu.] 
Nur fort! Geschwind !— 2396 
Um euch das süsze junge Kind 
Nach Herzens Wunsch und Will’ zu wenden ; 
Und ihr seht drein, 
Als solltet ihr in den Hörsaal hinein, - 
Als stünden grau leibhaftig vor euch da 2395 


Physik und Metaphysika! 
Nur fort !— [ 4b.] 


Margarete (mit einer Lampe). 
Es ist so schwiil, so dumpfig hie, 
[Sie macht das Fenster auf. | 
Und ist doch eben so warm nicht drausz. 
Es wird mir so, ich weisz nicht wie— > 


EVENING. 213 


Mephistopheles, 
Quick ! I see her coming below. 


Faust. 
Away, away! Ireturn 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 is 
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 tome. Ihope you are not avaricious. 
I scratch my head, rub my hands- 

[He 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.” [She opens the 
window.] And yet it is not so very warm without. I 
begin to feel Iknow not how. I wish my mother would. 


OA ABEND. 


Ich wollt‘, die Mutter kim’ nach Haus, 2400 

Mir läuft ein Schauer übern ganzen Leib— 

Bin doch ein thöricht furchtsam Weib! : 
[Sie fängt an zu singen, indem sie sich auszieht.] 


Es war ein König in Thule 
Gar treu bis an das Grab, 

Dem sterbend seine Buhle 2405 
Einen goldnen Becher gab. 


Es ging ihm nichts darüber, 

Er leert’ ihn jeden Schmaus ; 

Die Augen gingen ihm über, 

So oft er trank daraus. 2410 


Und als er kam zu sterben, 
Zählt’ er seine Städt’ im Reich, 
Gönnt’ Alles seinem Erben, 
Den Becher nicht zugleich, 


Er sasz beim Königsmahle, 2415 
Die Ritter um ihn her, 

Auf hohem Vätersaale, 

Dort auf dem Schlosz am Meer. 


Dort stand der alte Zecher, 

Trank letzte Lebensgluth 2420 
Und warf den heiligen Becher 

Hinunter in die Fluth. 


Er sah ihn stürzen, trinken 

Und sinken tief ins Meer. 

Die Augen thäten ihm sinken, 2425 
Trank nie einen Tropfen mehr, 


[Sie eröffnet den Schrein, ihre Kleider einzurüumen, 
und erblickt das Schmuckkästchen, 

Wie kommt das schöne Kästchen hier herein ? 
Ich schlosz doch ganz gewisz den Schrein. 
Es ist doch wunderbar! Was mag wohl drinne sein ? 
Vielleicht bracht’s Jemand als ein Pfand, 2430 
Und meine Mutter lieh darauf, 
Da hängt ein Schlüsselchen am Band, 


EVENING. 215 


come home. I tremble all over; butIama 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. 


[She opens the press to put away her clothes, and 
perceives the casket. | 

How came this beautiful casket here? 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 


ABEND. 


Ich denke wohl, ich mach’ es auf! 

Was ist das? Gott im Himmel ! Schau, 

So was hab’ ich mein’ Tage nicht gesehn ! 2435 
Ein Schmuck ! Mit dem könnt eine Edelfrau 

Am höchsten Feiertage gehn. 

Wie sollte mir die Kette stehn ? 

Wem mag die Herrlichkeit gehören ? 

[Sie putzt sich damit auf und tritt vor den Spiegel] 
Wenn nur die Ohrring’ meine wären ! 2440 
Man sieht doch gleich ganz anders drein, 

Was hilft euch Schönheit, junges Blut ? 


* Das ist wohl Alles schön und gut, 


Allein man läszt’s auch Alles sein ; 

Man lobt euch halb mit Erbarmen. 2415 
Nach Golde drängt, 

Am Golde hängt 

Doch Alles. Ach, wir Armen! 


EVENING. 217 


ribbon; I have a good mind to open it. What is this? 
Good heavens! Look! I have never seen anything like 
itin 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? 
[She adorns herself with them, and steps before the 
looking-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. You are praised, half in pity. 
After gold all press, all are attached to gold. Alas, 
we poor ones ! 


SPAZIERGANG, 


Faust in Gedanken auf und ab gehend. Zu ihm 
MEPHISTOPHELES, 


Mephistopheles. 
B™ aller verschmähten Liebe! Beim höllischen Ele- 
mente! 
Ich wollt’, ich wüszte was Aergers, dasz ich's fluchen 
könnte! 2450 


Faust. 
Was hast? Was kneipt dich denn so sehr? 
So kein Gesicht sah ich in meinem Leben ! 


Mephistopheles. 
Ich möcht’ mich gleich dem Teufel übergeben, 
Wenn ich nur selbst kein Teufel wär’! 


Faust. 
Hat sich dir was im Kopf verschoben ? 2455 
Dich kleidet’s, wie ein Rasender zu toben! 


Mephistopheles. 
Denkt nur, den Schmuck, für Gretchen angeschafft, 
Den hat ein Pfaff hinweggerafft — 
Die Mutter kriegt das Ding zu schauen, 
Gleich fängt’s ihr heimlich an zu grauen: 2460 
Die Frau hat gar einen feinen Geruch, 
Schnuffelt immer im Gebetbuch 
Und riecht’s einem jeden Möbel an, 
Ob das Ding heilig ist oder profan ; 
Und an dem Schmuck da spürt sie’s klar, 2465 


A PROMENADE. 


Faust walking up and down thoughtfully. To him 
MEPHISTOPHELES, 


Mephistopheles. 
Yall 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! 


Mephistopheles. 
I could give myself to the devil directly, were I no 


devil myself. 
Faust. 


Is your brain disordered? It becomes you truly, 
to rave like a madman. 


Mephistopheles. 

Oniy think! A priest has carried off the jewels pro- 
vided for Margaret. The mother gets sight of the 
thing, and begins at once to have a secret horror of it. 
Truly the woman hath a fine nose, is ever snuflling 
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 nicht viel Segen war. 

Mein Kind, rief sie, ungerechtes Gut 
Befängt die Seele, zehrt auf das Blut. 
Wollen’s der Mutter Gottes weihen, 
Wird uns mit Himmelsmanna erfreuen ! 
Margretlein zog ein schiefes Maul; 

Ist halt, dacht’ sie, ein geschenkter Gaul, 
Und wahrlich, gottlos ist nicht der, 

Der ihn so fein gebracht hierher. 

Die Mutter liesz einen Pfaffen kommen ; 
Der hatte kaum den Spasz vernommen, 
Liesz sich den Anblick wohl behagen. 
Er sprach : So ist man recht gesinnt ! 
Wer überwindet, der gewinnt. 

Die Kirche hat einen guten Magen, 

Hat ganze Länder aufgefressen 

Und doch noch nie sich übergessen ; 

Die Kirch’ allein, meine lieben Frauen, 
Kann ungerechtes Gut verdauen. 


Faust. 
Das ist ein allgemeiner Brauch, 
Ein Jud’ und König kann es auch, 


Mephistopheles. 
Strich drauf ein Spange, Kett’ und Ring’, 
Als wären’s eben Pfifferling’, 
Dankt’ nicht weniger und nicht mehr, 
Als ob’s ein Korb voll Nüsse wir’, 
Versprach ihnen allen himmlischen Lohn— 
Und sie waren sehr erbaut davon, 


Faust. 
Und Gretchen ? 
Mephistopheles. 
Sitzt nun unruhvoll, 
Weisz weder, was sie will noch soll, 
Denkt ans Geschmeide Tag und Nacht, 
Noch mehr an den, der's ihr gebracht, 


2470 


2475 


2480 


2485 


2490 


2495 


A PROMENADE, 921 


much blessing in them. “My child,” said she, “un. 
righteous wealth ensnares the soul, consumes the blood. 
We will consecrate it to the Mother of God; she will 
gladden us with heavenly manna!” Margaret made awry 
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 herself; the church alone, my 
good women, can digest unrighteous wealth.” 


Faust. 

That is a general custom; a Jew and a King can do 
it too. 

Mephistopheles. 

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. 


Faust. 
Des Liebchens Kummer thut mir leid. 
Schaff du ihr gleich ein neu Geschmeid! 
Am ersten war ja so nicht viel. 


Mephistopheles. 
O ja, dem Herrn ist Alles Kinderspiel ! 2500 


Faust. 
Und mach und richt’s nach meinem Sinn! 
Häng dich an ihre Nachbarin. 
Sei, Teufel, doch nur nicht wie Brei 
Und schaff einen neuen Schmuck herbei ! 


Mephistopheles. 
Ja, gnid’ger Herr, von Herzen gerne. 2505 
[Fausr ab.] 

Mephistopheles. 


So ein verliebter Thor verpufft 
Euch Sonne, Mond und alle Sterne 
Zum Zeitvertreib dem Liebchen in die Luft. [Ab.] 


A PROMENADE. 993 


Faust, 
My love’s grief distresses me. Get her another set 
immediately. The first was of no great value after all. 


Mephistopheles. 
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 
neighbour. Don’t be a milk-and-water devil; and fetch 
a fresh set of jewels. 


Mephistopheles. 
With all my heart, honoured Sir. [Faust 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.] 


DER NACHBARIN HAUS. 


Marthe (allein). 
“OTT verzeih’s meinem lieben Mann, 
Er hat an mir nicht wohl gethan ! 2510 
Geht da stracks in die Welt hinein 
Und läszt mich auf dem Stroh allein. 
Thät ihn doch wahrlich nicht betrüben, 
Thät ihn, weisz Gott, recht herzlich lieben. 





[Sie weint.] 
Vielleicht ist er gar todt !—O Pein ! 2515 
Hätt’ ich nur einen Todtenschein ! i 
. [MARGARETE kommt.] 
Margarete. 
Frau Marthe ! 
Marthe. 


Gretelchen, was soll’s ? 


Margarete. 

* Fast sinken mir die Kniee nieder ! 

Da find’ ich so ein Kästchen wieder 

In meinem Schrein, von Ebenholz, 2520 
Und Sachen, herrlich ganz und gar, 

Weit reicher, als das erste war, 


Marthe. 
Das musz sie nicht der Mutter sagen ; 
That's wieder gleich zur Beichte tragen. 


Margarete. 
Ach, seh sie nur! Ach, schau sie nur! 2525 


THE NEIGHBOUR’S HOUSE. 


Martha (alone). 

OD forgive my dear husband ; he has 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 ! 

MARGARET enters. 


Margaret. 
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 carry it at once to the confessional again. 


Margaret. 
Now, only see! do but look at them ! 
Q 


226 DER NACHBARIN HAUS. 


Marthe (putat sie auf). 
O du gliicksel’ge Kreatur ! 


Margarete. 
Darf mich leider nicht auf der Gassen 
Noch in der Kirche mit sehen lassen. 


Marthe. 
Komm du nur oft zu mir heriiber 
Und leg den Schmuck hier heimlich an ; 2530 
Spazier ein Stündchen lang dem Spiegelglas vorüber, 
Wir haben unsre Freude dran; 


Und dann giebt’s einen Anlasz, giebt’s ein Fest, "."... FÜ 
Wo man’s so nach und nach den Leuten sehen läszt, 
Ein Kettchen erst, die Perle dann ins Ohr; 2535 
Die Mutter sieht's wohl nicht, man macht ihr auch was 

vor. 

Margarete. 

Wer konnte nur die beiden Kästchen bringen ? 
Es geht nicht zu mit rechten Dingen ! [Es klopft.] 


Ach Gott, mag das meine Mutter sein? 


Marthe (durchs Vorhiingel guckend). 
Es ist ein fremder Herr—Herein ! 2540 
[MrriistoPHELEs tritt auf. ] 


Mephistopheles. 
Bin so frei, grad herein zu treten, e 
Musz bei den Frauen Verzeihn erbeten. 
[Tritt ehrerbietig vor MARGARETEN zurück.) 
Wollte nach Frau Marthe Schwerdtlein fragen ! 


Marthe. 
Ich bin’s. Was hat der Herr zu sagen P 


THE NEIGIIBOUR’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 put 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, little by little, one lets folks see them ; 
—first a chain, then the pearl in the ear. Your 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 Marcarnr.] 
I came to inquire after Mrs. Martha Schwerdtlein. 


Martha. 
Iam she. What is your pleasure, Sir? 


228 


DER NACHBARIN HAUS, 


Mephistopheles (leise zu ihr). 
Ich kenne sie jetzt, mir ist das genug; 
Sie hat da gar vornehmen Besuch. 
Verzeiht die Freiheit, die ich genommen, 
Will nach Mittage wiederkommen. 


Marthe (laut). 
Denk, Kind, um Alles in der Welt! 
Der Herr dich für ein Fräulein hält. 


Margarete. 
Ich bin ein armes junges Blut; 
Ach Gott! Der Herr ist gar zu gut: 


Schmuck und Geschmeide sind nicht mein. 


Mephistopheles. 
Ach, es ist nicht der Schmuck allein ; 
Sie hat ein Wesen, einen Blick, so scharf ! 
Wie freut mich’s. dasz ich bleiben darf. 


Marthe. 
Was bringt er denn? Verlange sehr— 


Mephistopheles. yo 


Ich wollt’, ich hätt’ eine frohere Mär’! 


Ich hoffe, sie läszt mich’s drum nicht büszen : 


Ihr Mann ist todt und läszt sie grüszen. 


Marthe. 
Ist todt? Das treue Herz! O weh! 
Mein Mann ist todt! Ach, ich vergeh’ ! 


Margarete. 
Ach, liebe Frau, verzweifelt nicht! 


Mephistopheles. 
So hört die traurige Geschicht’ ! 


2545 


2550 


2555 


2560 


TILE NEIGHBOUR’S HOUSE. 229 


Mephistopheles (aside to her). 
I know you now—that is enough. You havea 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. You have a mien, 

a look, so striking. How glad Iam that I may stay. 


Martha. 
What do you bring then? Iam 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. 


Mephistopheles. 
Listen to the melancholy tale. 


230 DER NACHBARIN HAUS. 


Margarete. 
Ich möchte drum mein’ Tag’ nicht lieben,, 5»: 2565 
Würde mich Verlust zu Tode betrüben. a 


Mephistopheles. 
Freud’ musz Leid, Leid musz Freude haben. 


Marthe. 
Erzählt mir seines Lebens Schlusz ! 


Mephistopheles. 
Er liegt in Padua begraben 
Beim heiligen Antonius, 2570 
An einer wohlgeweihten Stätte 
Zum ewig kühlen Ruhebette. 


Marthe. 
Habt ihr sonst nichts an mich zu bringen ? 


Mephistopheles. 
Ja, eine Bitte, grosz und schwer > 
Lasz sie doch ja für ihn dreihundert Messen singen! 2575 
Im Uebrigen sind meine Taschen leer. 


Marthe. 
Was! Nicht ein Schaustück, kein Geschmeid, 
Was jeder Handwerksbursch im Grund des Säckels spart, 
Zum Angedenken aufbewahrt, 
Und lieber hungert, lieber bettelt ? 2580 


Mephistopheles. 
Madam, es thut mir herzlich leid; 
Allein er hat sein Geld wahrhaftig nicht verzettelt. 
Auch er bereute seine Fehler sehr, 
Ja, und bejammerte sein Unglück noch viel mehr. 


Margarete. 
Ach! Dasz die Menschen so unglücklich sind! 2585 
Gewisz, ich will für ihn manch Requiem noch beten. 


THE NEIGHBOUR’S HOUSE, 231 


Margaret. 
For this reason I should wish never to be in love for 
all the days of my life. The loss would grieve me 


to death. 
Mephistopheles. 


Joy must have sorrow—sorrow, joy. 


Martha. 
Relate to me the close of his life. 


Mephistopheles. 
He lies buried in Padua at St. Antony’s, in a well- 
consecrated spot for an eternally cool bed of rest. 


Martha. 
Have you nothing else for me? 


: Mephistopheles. 
Yes, a request, big and heavy; be sure to have three 
hundred masses sung forhim! For the rest, my pockets 


are empty. Bst 
artha. 


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— 


Mephistopheles. 
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. 


} 


Wi 


232 DER NACHBARIN HAUS. 


Mephistopheles. 
Ihr wäret werth, gleich in die Eh’ zu treten: 
Ihr seid ein liebenswürdig Kind. 


Margarete. 
Ach nein, das geht jetzt noch nicht an. 


Mephistopheles. 
Ist’s nicht ein Mann, sei’s derweil ein Galan, 2590 
’g ist eine der gröszten Himmelsgaben ! 
So ein lieb Ding im Arm zu haben. 


Margarete, m 
Das ist des Landes nicht der Brauch. (," 


Mephistopheles. 
Brauch oder nicht! Es giebt sich auch. 
Marthe. 
Erzählt mir doch ! 
Mephistopheles. 


Ich stand an seinem Sterbebette, 2595 
Es war was besser als von Mist, 
Von halbgefaultem Stroh; allein er starb als Christ 
Und fand, dasz er weit mehr noch auf der Zeche hätte. 
Wie, rief er, musz ich mich von Grund aus hassen, 
So mein Gewerb, mein Weib so zu verlassen ! 2600 
Ach, die Erinn’rung tödtet mich. 
“Vergäb' sie mir nur noch in diesem Leben !— 


Marthe (weinend). 
Der gute Mann! Ich hab’ ihm längst; vergeben. 


Mephistopheles, 
Allein, weisz Gott, sie war mehr Schuld als ich. 


THE NEIGHBOUR’S HOUSE. 233 


Mephistopheles. 
You deserve to be married directly. You are a love- 


able child. 
Margaret. 


Oh, no} 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. 
Mephistopheles. 
Custom or not! Such things do come to pass though. 
Martha. 
But relate to me! 
Mephistopheles. 


I stood by his death-bed. It was somewhat better 
than dung,—of half-rotten 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, God knows, she was more in fault than I. 


224 DER NACHBARIN HAUS. 


Marthe. 
Das lügt er! Was, am Rand des Grabs zu lügen ! 2605 


Mephistopheles. fa" 
Er fabelte gewisz in letzten Zügen, Ar @ 
Wenn ich nur halb ein Kenner bin. 
Ich hatte, sprach er, nicht zum Zeitvertreib zu gaffen, 
Erst Kinder und dann Brod für sie zu schaffen, 
Und Brod im allerweitsten Sinn, 2610 
Und konnte nicht einmal mein Theil in Frieden essen. 


Marthe. 
Hat er so aller Treu’, so aller Lieb’ vergessen, u“; 
Der Plackerei bei Tag und Nacht! = jar” | \ 


Mephistopheles. 
Nicht doch, er hat euch herzlich dran gedacht, 
Er sprach : Als ich nun weg von Malta ging, 2615 


Da betet’ ich für Frau und Kinder brünstig ; 

Uns war denn auch der Himmel günstig, 

Dasz unser Schiff ein türkisch Fahrzeug fing, 

Das einen Schatz des groszen Sultans führte, 

Da ward der Tapferkeit ihr Lohn, 2629 
Und ich empfing denn auch, wie sich’s gebührte, 

Mein wohlgemessnes Theil davon. 


Marthe. 
Ei wie? Ei wo? Hat er’s vielleicht vergraben ? 


Mephistopheles. 
Wer weisz, wo nun es die vier Winde haben ! 
Ein schönes Fräulein nahm sich seiner an, 2625 
Als er in Napel fremd umherspazierte ; 
Sie hat an ihm viel Lieb’s und Treu’s gethan, 
Dasz er’s bis an sein selig Ende spürte, 


Marthe. 
Der Schelm ! Der Dieb an seinen Kindern ! 


THE NEIGHBOUR’S HOUSE. 235 


Martha. 


He lied then! What, tell lies on the brink of the 
grave! 
Mephistopheles. 2 
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: 
When 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 it? 


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 


236 DER NACHBARIN HAUS. 


Auch alles Elend, alle Noth 
Konnt’ nicht sein schändlich Leben hindern I 


x Mephistopheles. 
Ja seht! Dafür ist er nun todt. 
Wär’ ich nun jetzt an eurem Platze, an 


Betraurt’ ich ihn ein züchtig Jahr, 
Visirte dann unterweil nach einem neuen Schatze. 


Marthe. 
Ach Gott, wie doch mein erster war, 
Find’ ich nicht leicht auf dieser Welt den andern! 
Es konnte kaum ein herziger Närrchen sein. 
Er liebte nur das allzu viele Wandern 
Und fremde Weiber und fremden Wein 
Und das verfluchte Würfelspiel. 


Mephistopheles. 
Nun, nun, so konnt’ es gehn und stehen, 
Wenn er euch ungefähr so viel 
Von seiner Seite nachgesehen. 
Ich schwör' euch zu, mit dem Beding 
Wechselt’ ich selbst mit euch den Ring ! 


Marthe. 
O, es beliebt dem Herrn zu scherzen ! 


Mephistopheles (für sich). 
Nun mach’ ich mich bei Zeiten fort! 
Die hielte wohl den Teufel selbst beim Wort. 


2630 


2635 


2640 


2645 


2649 


(Zu GrEICHEN.) Wie steht es denn mit ihrem Herzen? 


Margarete. 
Was meint der Herr damit ? 


Mephistopheles (für sich). 


Du gut’s, unschuldig’s Kind ! 


(Zaut.) 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 
IT 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. 

Mephistopheles. 

Well, well, 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 MARGARET.) 
How goes it with your heart? 


Margaret. 
What do you mean, Sir? 
Mephistopheles (aside). 
Good, innocent child.—(Aloud.) Farewell, ladies ! 


Margaret. 
Farewell ! 


238 DER NACHBARIN HAUS. 


Marthe. 
O, sagt mir doch geschwind! 
Ich méchte gern ein Zeugnisz haben, 
Wo, wie und wann mein Schatz gestorben und begraben. 
Ich bin von je der Ordnung Freund gewesen, 2655 
Mécht’ ihn auch todt im Wochenblättchen lesen, 


Mephistopheles. 
Ja, gute Frau, durch zweier Zeugen Mund 
Wird allerwegs die Wahrheit kund; 
Habe noch gar einen feinen Gesellen, 
Den will ich euch vor den Richter stellen. 2660 
Ich bring’ ihn her. 

Marthe. 
O, thut das ja! 


Mephistopheles. 
Und hier die Jungfrau ist auch da ?— 
Ein braver Knab’! Ist viel gereist, 
Fräuleins alle Höflichkeit erweist. 


Margarete. ' 
Müszte vor dem Herren schamroth werden. 2665 


Mephistopheles. 
Vor keinem Könige der Erden. 


Marthe. 
Da hinterm Haus in meinem Garten 
Wollen wir der Herrn 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. 


Mephistopheles. 

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. 


Martha. 
Oh, pray do! 


Mephistopheles. 
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. 


STRASZE. 


Faust. MEPHISTOPHELES. 


Faust. 
\ N JIE ist's? Will's fördern ? Will’s bald gehn P 


Mephistopheles. 
Ah bravo! Find’ ich euch in Feuer? 2670 
In kurzer Zeit ist Gretchen euer. 
Heut Abend sollt ihr sie bei Nachbars Marthen sehn: 
Das ist ein Weib wie auserlesen 
Zum Kuppler- und Zigeunerwesen ! 


Faust. 
So recht ! 


Mephistopheles. 
Doch wird auch was von uns begehrt. 2675 


Faust. 
Ein Dienst ist wohl des andern werth. 


Mephistopheles. 
Wir legen nur ein gültig Zeugnisz nieder, 
Dasz ihres Ehherrn ausgereckte Glieder 
In Padua an heil’ger Stätte ruhn, 


Faust. 
Sehr klug! Wir werden erst die Reise machen müssen ! 2689 


THE STREET. 


Faust—MEPHISTOPHELES. 


Faust. 
OW goes it? Is it in train? Will it soon 
do? 
Mephistopheles. 


Bravo! Do I find you all on fire? Margaret will 
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 calling. 


Faust. 
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 suppose. 
R 


213 STRASZE. 


Mephistopheles. 
Sancta simplicitas! Darum ist’s nicht zu thun ; 
Bezeugi nur, ohne viel zu wissen! 


Faust. 
Wenn er nichts Bessers hat, so ist der Plan zerrissen. 


Mephistopheles. 
O heil’ger Mann! Da wärt ihr’s nun ! 
Ist es das erste Mal in eurem Leben, 2685 


Dasz ihr falsch Zeugnisz abgelegt ? 

Habt ihr von Gott, der Welt und was sich drin bewegt, 
Vom Menschen, was sich ihm in Kopf und Herzen regt, 
Definitionen nicht mit groszer Kraft gegeben ? 

Mit frecher Stirne, kühner Brust ? 2690 
Und wollt ihr recht ins Innre gehen, 

Habt ihr davon, ihr müszt es grad gestehen, 

So viel als von Herrn Schwerdtlein’s Tod gewuszt ! 


Faust. 
Du bist und bleibst ein Lügner, ein Sophiste. 


Mephistopheles. 
Ja, wenn man’s nicht ein biszchen tiefer wiiszte ! 245 
Denn morgen wirst in allen Ehren 
Das arme Gretchen nicht bethören 
Und alle Seelenlieb’ ihr schwören P 


Faust, 
Und zwar von Herzen, , 


Mephistopheles. 
Gut und schön! 
Dann wird von ewiger Treu’ und Liebe, 2700 
Von einzig überallmächt’gem Triebe— 
Wird das auch so von Herzen gehn ? ig 


THE STREET. 243 


Mephistopheles. 
Sancta simplicitas! 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. 
Mephistopheles. 


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 STRASZE. 


Faust. 
Lasz das ! Es wird !— Wenn ich empfinde, 
Für das Gefühl, für das Gewühl 
Nach Namen suche, keinen finde, 2705 
Dann durch die Welt mit allen Sinnen schweife, 
Nach allen höchsten Worten greife 
Und diese Gluth, von der ich brenne, 
Unendlich, ewig, ewig nenne, 
Ist das ein teuflisch Lügenspiel ? 2710 


Mephistopheles. 
Ich hab’ doch Recht ! 
Faust. 

Hör! Merk dir dies— 
Ich bitte dich und schone meine Lunge— 
Wer Recht behalten will und hat nur eine Zunge, 
Behält’s gewisz. 
Und komm, ich hab’ des Schwätzens Ueberdrusz ; 2715 
Denn du hast Recht, vorzüglich 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? 


Mephistopheles. 
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. 


MARGARETE an Faustens Arm, MARTHE mit MEPHISTOPHELES 
auf und ab spazierend, 


Margarete, 
CH fühl’ es wohl, dasz mich der Herr nur schont, 
. Herab sich läszt, mich zu beschämen, 
Ein Reisender ist so gewohnt, 
Aus Gütigkeit fürlieb zu nehmen ; 2720 
Ich weisz zu gut, dasz solch erfahrnen Mann 
Mein arm Gespräch nicht unterhalten kann. 


Faust. 

Ein Blick von dir, ein Wort mehr unterhält 

Als alle Weisheit dieser Welt. [Er küszt ihre Hand.] 

Margarete. 

Inkommodirt euch nicht! Wie könnt ihr sie nur küssen ? 

Sie ist so garstig, ist so rauh ! 2726 

Was hab’ ich nicht schon Alles schaffen müssen ! 

Die Mutter ist gar zu genau. [Gehn vorüber.] 
Marthe. 

Und ihr, mein Herr, ihr reist so immerfort ? 

x Mephistopheles. 
Ach, dasz Gewerb und Pflicht uns dazu treiben ! 2730 


Mit wie viel Schmerz verläszt man manchen Ort 
Und darf doch nun einmal nicht bleiben ! 


GARDEN. 


Marearet on Faust’s arm, Marrua with Mrruts- 
TOPHELES, walking up and down, 


. Margaret. 

T FEEL 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 hand. ] 


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 travelling in this manner? 


Mephistopheles. 
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. 


Marthe. 
In raschen Jahren geht’s wohl an, 
So um und um frei durch die Welt zu streifen ; 
Doch kömmt die böse Zeit heran, 2735 
Und sich als Hagestolz allein zum Grab zu schleifen, 
Das hat noch Keinem wohlgethan. 


Mephistopheles. 
Mit Grausen seh’ ich das von weiten, 


Marthe. 
Drum, werther Herr, berathet euch in Zeiten ! 


(Gehn vorüber} 


Margarete. 
Ja, aus den Augen, aus dem Sinn! 2740 
Die Höflichkeit ist euch geläufig ; 
Allein ihr habt der Freunde häufig, 
Sie sind verständiger, als ich bin, 


Faust. 
O Beste, glaube, was man so verständig nennt, 
Ist oft mehr Eitelkeit und Kurzsinn, 


Margarete. 
Wie? 2745 
Faust. 
Ach, dasz die Einfalt, dasz die Unschuld nie 
Sich selbst und ihren heil’gen Werth erkennt! 
Dasz Demuth, Niedrigkeit, die höchsten Gaben 
Der liebevoll austheilenden Natur— 


Margarete. 
Denkt ihr an mich ein Augenblickchen nur, 2750 
Ich werde Zeit genug an euch zu denken haben. 


Faust. 
Thr 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! Politeness 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- 
clates 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, 


Margarete. 
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 früh und spat ; 
Und meine Mutter ist in allen Stücken 
So akkurat! 
Nicht dasz sie just so sehr sich einzuschränken hat ; 
Wir könnten uns weit eh’r als Andre regen ; 2760 
Mein Vater hinterliesz ein hübsch Vermögen, 
Ein Häuschen und ein Girtchen 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 übernähm’ ich gern noch einmal alle Plage, 
So lieb war mir das Kind. 


Faust. 
Ein Engel, wenn dir’s glich ! 


Margarete. 
Ich zog es auf, und herzlich liebt’ es mich, 
Es war nach meines Vaters Tod geboren ; 2770 
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 Würmchen selbst zu tränken, 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. 


Faust. 
Du hast gewisz das reinste Glück empfunden. 2780 


Margarete. 
Doch auch gewisz gar manche schwere Stunden. 
Des Kleinen Wiege stand zu Nacht 


GARDEN, 251 


Margaret. 

Yes, our household is but small, and yet it must be 
looked after. We keepno maid; Iam obliged to cook, 
sweep, knit and sew, and run early and late. And my 
mother 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. 

Faust. 

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. 
You 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 erwacht; 
Bald muszt’ ich’s tränken, bald es zu mir legen, . 2785. 
Bald, wenn’s nicht schwieg, vom Bett aufstehn 
Und tänzelnd in der Kammer auf und nieder gehn 
Und früh am Tage schon am Waschtrog stehn ; 
Dann auf dem Markt und an dem Herde sorgen, 
Und immerfort wie heut so morgen. 2790 
Da geht’s, mein Herr, nicht immer muthig zu ; 
Doch schmeckt dafür das Essen, schmeckt die Ruh. 
[Gehn vorüber.] 


Marthe. 
J Die armen Weiber sind doch übel dran : 
Ein Hagestolz ist schwerlich zu bekehren. 


Mephistopheles. 
Es käme nur auf eures Gleichen an, 2795 
Mich eines Bessern zu belehren. 


Marthe. 
Sagt grad, mein Herr, habt ihr noch nichts gefunden ? 
Hat sich das Herz nicht irgendwo gebunden ? 


Mephistopheles. 
Das Sprichwort sagt: ein eigner Herd, 
Eiu braves Weib sind Gold und Perlen werth. 2800 


Marthe. 
Ich meine, ob ihr niemals Lust bekommen, 


Mephistopheles. 
Man hat mich überall recht höflich aufgenommen. 


Marthe. 
Ich wollte sagen: ward’s nie Ernst in eurem Herzen ? 


GARDEN. 2538 


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 ?—.Has your heart never attached itself any- 
where? 3 = 


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 seriously 


affected ? 


254 GARTEN. 


Mephistopheles. 
Mit Frauen soll man sich nie unterstehn zu scherzen. 
Marthe. 
Ach, ibr versteht mich nicht ! 
Mephistopheles. 
Das thut mir herzlich leid ! 
Doch ich versteh’—dasz ihr sehr gütig seid. 2806 
[Gehn vorüber.) 
Faust. 


Du kanntest mich, o kleiner Engel, wieder, 
Gleich als ich in den Garten kam ? 


Margarete. 
Saht ihr es nicht ? Ich schlug die Augen nieder. 


Faust. 
Und du verzeihst die Freiheit, die ich nahm ? 2810 


Was sich die Frechheit unterfangen, —. 


Als du jüngst aus dem Dom gegangen ? 


; Margarete. 

Ich war bestiirzt, mir war das nie geschehn ; 

Es konnte Niemand von mir Uebels sagen, 

Ach, dacht’ ich, hat er in deinem Betragen 2815 
Was Freches, Unanständiges gesehn ? 

Es schien ihn gleich nur anzuwandeln, 

Mit dieser Dirne gradehin zu handeln. 

Gesteh’ ich’s doch! Ich wuszte nicht, was sich 

Zu eurem Vortheil hier zu regen gleich begonnte; 2820 
Allein gewisz, ich war recht bös auf mich, 

Dasz ich auf euch nicht böser werden konnte, 


Faust, 
Süsz Liebchen ! 


GARDEN. 255 


Mephistopheles. 
One should never venture to joke with women. 


Martha. 
Ah, you do not understand me. 


Mephistopheles. 
Iam heartily sorry for it. But I understand—that 
you are very kind. [ They pass on. | 
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 ? 


Margaret. 

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. 


Margarete. 
Laszt einmal ! 
[Sie pflückt eine Sternblume und zupft die Blätter ab, 
eins nach dem andern.) 


Faust. pu act 
Was soll das? Einen Strausz? 


Margarete. 
Nein, es soll nur ein Spiel. 


Faust. 
Wie? \ 


Margarete. . 
Geht! Ihr lacht mich aus. 
[Sie rupft und murmelt.] 


Faust. 
Was murmelst du ? 


Margarete (halblaut). 
Er liebt mich—Liebt mich nicht. 


Faust. 
Du holdes Himmelsangesicht ! 2826 


Margarete ( fährt fort). 
Liebt mich—Nicht—Liebt mich— Nicht — 


[Das letzte Blatt ausrupfend, mit holder Freude.) 
Er liebt mich ! 


Faust. 


Ja, mein Kind! Lasz dieses Blumenwort 
Dir Götterausspruch sein ! Er liebt dich ! 


Verstehst du, was das heiszt? Er liebt dich ! 2330 
[Er fasat ihre beiden Hände] 


Margarete. 
Mich iiberliuft’s, 


GARDEN. 257 


Margaret. 


Wait a moment! 


[She plucks a star-flower, and picks off the leaves 
one after the other.] 


Faust. 
What is that for? A nosegay ? 


Margaret. 
No, only a game. 
Faust. 
What? 
Margaret. 


Go! You will laugh at me. 
[She plucks off the leaves and murmurs 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 fower-prophecy be to thee 
an oracle divine. He loves thee! Dost thou understand 
what that means? He loves thee! 

[He takes both her hands.] 


Margaret. 
J tremble all over. 
8 


258 GARTEN. 


Faust. 
0 schaudre nicht! Lasz diesen Blick, 
Lasz diesen Händedruck dir sagen, 
Was unaussprechlich ist: 
Sich hinzugeben ganz und eine Wonne 2835 
Zu fühlen, die ewig sein musz! — 
Ewig !—Ihr Ende würde Verzweiflung sein. 
Nein, kein'Ende! Kein Ende! 
[MARGARETE drückt ihm die Hände, macht sich los 
und läuft weg. Er steht einen Augenblick in 
Gedanken, dann folgt er ihr.) 


Marthe (kommend). 
Die Nacht bricht an. 


Mephistopheles. 
Ja, und wir wollen fort. 


Marthe. 
Ich bät’ euch, länger hier zu bleiben, 2840 
Allein es ist ein gar zu böser Ort. 
Es ist, als hätte Niemand nichts zu treiben 
Und nichts zu schaffen, 
Als auf des Nachbarn Schritt und Tritt zu gaffen, 2844 
Und man kommt ins Gered’, wie man sich immer stellt. 
Und unser Pirchen ? 


Mephistopheles. 
Ist den Gang dort aufgeflogen. 
Mutkwill’ge Sommervögel ! 


Marthe, 
Er scheint ihr gewogen. ~ 


Mephistopheles. 
Und sie ihm auch. Das ist der Lauf der Welt. 


GARDEN. 259 

Faust. 10 ee 

Oh, tremble not. Let this look, 1c bis 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! 

[MARGARET presses 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 will 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. 


EIN GARTENHAUSCHEN. 


MARGARETE springt herein, steckt sich hinter die Thür, hält 
die Fingerspitze an die Lippen und guckt durch die Ritze. 


Margarete. 
FE? kommt! 
Faust (kommt). 
Ach Schelm, so neckst du mich ! 2849 
Treff’ ich dich! [Er küszt sie. ] 


Margarete (ihn fassend und den Kusz zurückgebend). 
Bester Mann! Von Herzen lieb’ ich dich! 
[MzpHistorHELEs klopft an. | 


Faust (stampfend). 
Wer da? 


Mephistopheles. 
Gut Freund !. 


Faust. 
Hin Thier! 


% 


Mephistopheles. 
Es ist wohl Zeit zu scheiden, 


Marthe (kommt). 
Ja, es ist spät, mein Herr. 


Faust. 
Darf ich euch nicht geleiten ? 


A SUMMER HOUSE. 

MARGARET runs in, gets behind the door, holds the tip of 
her finger to her lips, and peeps through the crevice. 
Margaret. 

| E comes! 
Faust (enters). 


Ah, rogue, is it thus you tease me? I have caught 
you at last. [He kisses her.] 


Margaret (embracing him and returning the kiss). 
Dearest! from my heart I love thee! 
[MerH#1sToPHELes knocks.] 


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 würde mich— Lebt wohl! 


Faust. 
Musz ich denn gehn ? 
Lebt wohl ! 
Marthe. 
Ade! 


Margarete. 
Auf baldig Wiedersehn. 
[Faust und MEPHISTOTHEIES ab.] 


Margarete. 
Du lieber Gott! Was so ein Mann 2855 
Nicht Alles, Alles denken kann! 
Beschämt nur steh’ ich vor ihm da 
Und sag’ zu allen Sachen ja. 
Bin doch ein arm, unwissend Kind, 2859 
Begreife nicht, was er an mir find’t. [4d.] 


A SUMMER HOUSE. 263 


Margaret. 
My mother would—farewell ! 


Faust. 
Must I then go? Farewell! 


Martha. 
Adieu ! 
Margaret. 
Till our next speedy meeting! 
[Faust and MEPHISTOPHELES eweunt.] 


Margaret. 

Gracious God! How many things such a man can 
think about! I only stand abashed in his presence, 
and say yea to everything! Iam but a poor silly girl; 
I cannot understand what he finds in me, [-Exit.] 


ts. * WALD UND HÖHLE. 


Faust allein = 


a 


. Faust. ‘ 


RHABNER Geist, du gabst mir, gabst mir Alles, . 


Warum ich bat. Du hast mir nicht umsonst 
Dein Angesicht im Feuer zugewendet, 
Gabst mir die herrliche Natur zum Königreich, 
Kraft, sie’zu fühlen, zu genieszen.. Nicht 
Kalt staunenden Besuch erlaubst du nur, 
Vergönnest mir, in ihre tiefe Brust 
Wie in den Busen eines Freunds zu schauen. 
Du führst die Reihe der Lebendigen 
Vor mir vorbei und lehrst mich meine Brüder 
Im stillen Busch, in Lüft und Wasser kennen, 
Und wenn der Sturm im Walde braust und knarrt, 
Die Riesenfichte stürzend Nachbaräste 
Und Nachbarstämme, quetschend, niederstreift, 
Und ihrem Fall dumpf hohl der Hügel donnert: 
Dann führst du mich zur sichern Höhle, zeigst 
Mich dann mir selbst, und meiner eignen Brust 
Geheime tiefe Wunder öffnen sich. 
Und steigt vor meinem Blick der reine Mond 
Besänftigend herüber, schweben mir 
Von Felsenwänden, aus dgm feuchten Busch 
Der Vorwelt silberne Gestalten auf 
Und lindern der Betrachtung strenge Lust. 


O, dasz dem Menschen nichts Vollkommnes wird, 
Empfind’ ich nun. Du gabst zu dieser Wonne, 
Die mich den Göttern nah und näher bringt, 


Mir den Gefährten, den ich schun nicht mehr 
N‘ kl 


2865 


2870 


2875 


2880 


2885 


FOREST AND CAVERN. 


Faust (alone). 

UBLIME 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 things, 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 off 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 WALD UND HÖHLE. 


Entbehren kann, wenn er gleich kalt und frech 

Mich vor mir selbst erniedrigt und zu Nichts 

Mit einem Worthauch deine Gaben wandelt. 2890 

Er facht in meiner Brust ein wildes Feuer 
(si jenem schönen Bild geschäftig an. 

U: 


é 


So tauml’ ich von Begierde zu Genusz, 
nd im Genusz verschmacht’ ich nach Begierde. 
; [MeErHistoPHELes tritt auf.) 


4 


Mephistopheles. 
Habt ihr nun bald das Leben g’nug geführt? 2895 
Wie kann’s euch in die Länge freuen ? 
Es ist wohl gut, dasz man’s einmal probirt; 
Dann aber wieder zu was Neuen ! 


Faust. 
Ich wollt’, du hittest mehr zu thun, 
Als mich am guten Tag zu plagen. 2900 
2 
Mephistopheles. 
Nun, nun! Ich lass’ dich gerne ruhn, 
Du darfst mir’s nicht im Ernste sagen. 
An dir Gesellen, unhold, barsch und toll, 
'Ist wahrlich wenig zu verlieren. 
Den ganzen Tag hat man die Hände voll! 2905 
Was ihm gefällt und was man lassen soll, 
Kann man dem Herrn nie an der Nase spüren. 


; Faust. 
Das ist so just der rechte Ton ! 
Er will noch Dank, dasz er mich ennuyirt. 


Mephistopheles. 
Wie hätt’st du, armer Erdensohn, 2910 
Dein Leben ohne mich geführt ? 
Vom Kribskrabs der Imagination 
Hab’ ich dich doch auf Zeiten lang kurirt ; 
Und wär’ ich nicht, so wärst du schon 
Von diesem Erdball abspaziert. 2915 


FOREST AND CAVERN. 267 


whom already I cannot do without ; although, cold and 
insolent, he degrades me 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 
do I reel from desire to enjoyment, and in enjoyment 
languish for desire. 


MEPHISTOPHELES enters. a 
Mephistopheles. a 
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. 
Faust. 


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. You 
need not say so in earnest. Truly, it is little to lose an 
ungracious, peevish and crazy companion like 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 


968 WALD UND HOIILE, 


Was hast du da in Höhlen, Felsenritzen 
Dich wie ein Schuhu zu versitzen P 


Was schlurfst aus dumpfem Moos und triefendem Gestein 


Wie eine Kröte Nahrung ein ? 
Ein schöner, süszer Zeitvertreib 
Dir steckt der Doktor noch im Leib, 


Faust. 
Verstehst du, was für neue Lebenskraft ° 
Mir dieser Wandel in der Oede schafft ? 
Ja, würdest du es ahnen können, 


2920 


Du wärest Teufel g’nug, mein Glück mir nicht zu gönnen, 


Mephistopheles. 
Ein überirdisches Vergnügen ! 
In Nacht und Thau auf den Gebirgen liegen 
Und Erd’ und Himmel wonniglich umfassen, 
Zu einer Gottheit sich aufschwellen lassen, 
Der Erde Mark mit Ahnungsdrang durchwühler, 
Alle sechs Tagewerk’ im Busen fühlen, 
In stolzer Kraft, ich weisz nicht was, genieszen, 
Bald liebewonniglich in Alles überflieszen, 
Verschwunden ganz der Erdensohn, 
Und dann die hohe Intuition—(mit einer Geberde) 
Ich darf nicht sagen wie—zu schlieszen, 


Faust. 

Pfui über dich! 

Mephistopheles. 

Das will euch nicht behagen ; 

Ihr habt das Recht, gesittet Pfui zu sagen. 
Man darf das nicht vor keuschen Ohren nennen, 
Was keusche Herzen nicht entbehren können, 
Und kurz und gut, ich gönn’ ihm das Vergnügen, 
Gelegentlich sich, gtwas vorzulügen ; 
Doch lange hält’er das nicht aus. 
Du bist schon wieder abgetrieben 
Und, währt es länger, aufgerieben 
In Tollheit oder Angst und Graus. 
Genug damit! Dein Liebchen sitzt dadrinne, 


2926 


2930 


2935 


2940 


2945 


FOREST AND CAVERN. 269 


globe. Why mope in caverns and fissures of rocks, like 
an owl? Why sip in nourishment from sodden moss 
‚and dripping stone, like a toad? A fair, sweet pastime ! 
The doctor still sticks to you. 


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 earth’s marrow with your prescient yearnings—feel 
the whole six days’ work in your 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 gesture)— 
I must not say how. 

Faust. 

Fie upon you. 

Mephistopheles. 

That is not, to your mind; you are entitled to ery 
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. You 
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 dich übermächtig lieb. 

Erst kam deine Liebeswuth übergeflossen, 


2950 


Wie vom geschmolznen Schnee ein Bächlein übersteigt ; 


Du hast sie ihr ins Herz gegossen, 
Nun ist dein Bächlein wieder seicht, 
Mich dünkt, anstatt in Wäldern zu thronen, 
Liesz’ es dem groszen Herren gut, 
Das arme, affenjunge Blut 
Für seine Liebe zu belohnen. 
Die Zeit wird ihr erbärmlich lang ; 
Sie steht am Fenster, sieht die Wolken ziehn 
Ueber die alte Stadtmauer hin. 
Wenn ich ein Vöglein wir’, so geht ihr Gesang 
Tage lang, halbe Nächte lang. 
Einmal ist sie munter, meist betrübt, 
Einmal recht ausgeweint, 
Dann wieder ruhig, wie's scheint, 
Und immer verliebt. 
Faust. 
Schlange! Schlange! 


Mephistopheles (für sich). 
Gelt, dasz ich dich fange! 


Faust. 
Verruchter! Hebe dich von hinnen 
Und nenne nicht das schöne Weib! 
Bring die Begier zu ihrem süszen Leib 
Nicht wieder vor die halb verrückten Sinnen ! 


Mephistopheles. 
Was soll es denn ? Sie meint, du seist entflohn, 
Und halb und halb bist du es schon. 


Faust. 
Ich bin ihr nah, und wir’ ich noch so fern, 
Ich kann sie nie vergessen, nie verlieren ; 
Ja, ich beneide schon den Leib des Herrn, 
Wenn ihre Lippen ihn indesz berühren, 


2955 


2960 


2965 


2970 


2975 


FOREST AND CAVERN. 271 


home, and all to her is confined and melancholy. You 
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 roll away over the 
old town-walls. “ Were I abird!” *™ so runs her song, 
during all the day and half the night. Now she is 
cheerful, mostly cast down,—now she has cried her fill 
—then, as it seems, calm again, and ever in love! 


Faust. 
Serpent! serpent ! 


Mephistopheles (aside). 
Now I have trapped you! 


Faust. 
Reprobate! 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. 


aoe 


272 "WALD UND HÖHLE. 


Mephistopheles. 
Gar wohl, mein Freund! Ich hab’ euch oft beneidet 2980 
Ums Zwillingspaar, das unter Rosen weidet. 


Faust. 
Entfliehe, Kuppler ! 
Mephistopheles. 
Schön! Ihr schimpft, und ich musz lachen, 
Der Gott, der Bub und Mädchen schuf, 


‘Erkannte gleich den edelsten Beruf, 


Auch selbst Gelegenheit zu machen. 2985 
Nur fort! "Es ist ein groszer Jammer ! 
Ihr sollt in eures Liebehens Kammer, 


“Nicht etwa in den Tod. 


Faust. 


\ Was ist die Himmelsfreud’ in ihren Armen ? 


Lasz mich an. ihrer Brust erwarmen, 2990 
Fühl’ ich nicht immer ihre Noth ? 

Bin ich der Flüchtling nicht, der Unbehauste, 

Der Unmensch ohne Zweck und Ruh, 

Der wie ein Wassersturz von Fels zu Felsen brauste, 
Begierig wüthend, nach dem Abgrund zu ? 2995 
Und seitwärts sie, mit kindlich dumpfen Sinnen, 

Im Hüttchen auf dem kleinen Alpenfeld, 

Und all ihr häusliches Beginnen 

Umfangen in der kleinen Welt. 

Und ich, der Gottverhaszte, 3000 
Hatte nicht genug, 

Dasz ich die Felsen faszte 

Und sie zu Trümmern schlug! 

Sie, ihren Frieden muszt’ ich untergraben ! 

Du, Hölle, musztest dieses Opfer haben ! 3005 
Hilf, Teufel, mir die Zeit der Angst verkürzen ! 

Was musz geschehn, mag’s gleich geschehn ! 

Mag ihr Geschick auf mich zusammenstiirzen 

Und sie mit mir zu Grunde gehn! 


FOREST AND CAVERN. 273 


Mephistopheles. 
Very well, my friend! I have often envied you the 
twin-pair,'® which feed among roses, 


Faust. 
Pander, begone! 


Mephistopheles. 

Good again! You 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. 


Faust. 

What are the joys of heaven in her arms? Even 
when I kindle on her breast, do I not feel her 
wretchedness unceasingly ? Am I not the outcast—the 
houseless one P—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 ! 

T 


974 WALD UND HÖHLE. 


Mephistopheles. 

Wie’s wieder siedet, wieder glüht ! 3010 
Geh ein und tröste sie, du Thor ! 
Wo so ein Köpfchen keinen Ausgang sieht, 

tellt er sich gleich das Ende vor. 

s lebe, wer sich tapfer hält ! 
Du bist doch sonst so ziemlich eingeteufelt. 3015 
Nichts Abgeschmackters find’ ich auf der Welt 
Als einen Teufel, der verzweifelt. 


FOREST AND CAVERN. 975 


Mephistopheles. 

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. 


GRETCHENS STUBE. 


Gretchen (am Spinnrade allein). 
EINE Ruh ist hin, 
Mein Herz ist schwer ; 
Ich finde sie nimmer 
Und nimmermehr. 


Wo ich ihn nicht hab’, 
Ist mir das Grab, 

Die ganze Welt 

Ist mir vergällt. 


Mein armer Kopf 
Ist mir verrückt, 

Mein armer Sinn 
Ist mir zerstückt. 


Meine Ruh ist hin, 
Mein Herz ist schwer; 
Ich finde sie nimmer 
Und nimmermehr 


Nach ihm nur schau’ ich 
Zum Fenster hinaus, 
Nach ihm nur geh’ ich 
Aus dem Haus, 


3020 


3025 


2030 


3035 


MARGARET'S ROOM. 


Margaret (alone, at the spinning-wheel). 
Y peace is gone; 
My heart is heavy; 
I shall find it never, 
And never more. 


Where I have him not 
Is the grave to ıne. 
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 


GRETCHENS STUBE. 


Sein hoher Gang, 

Sein’ edle Gestalt, 
Seines Mundes Licheln, 
Seiner Augen Gewalt 


Und seiner Rede 
Zauberflusz, 

Sein Hindedruck 
Und, ach, sein Kusz ! 


Meine Ruh ist hin, 
Mein Herz ist schwer ; 
Ich finde sie nimmer 
Und nimmermehr. 


Mein Busen drängt 
Sich nach ihm hin. 
Ach, dürft’ ich fassen 
Und halten ihn ! 


Und küssen ihn, 
So wie ich wollt‘, 
An seinen Küssen 
Vergehen sollt? ! 


3040 


3045 


3050 


3055 


MARGARET’S ROOM. 


His stately step, 

His noble form; 

The smile of his 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! 


279 


MARTHENS GARTEN. 


MARGARETE, Faust. 


Margarete. 
SEEN mir, Heinrich ! 
& a 
Faust. 
Was ich kann ! 


Margarete. 
Nun sag, wie hast du’s mit der Religion ? 
Du bist ein herzlich guter Mann, 3060 
Allein ich glaub’, du hältst nicht viel davon, 


Faust. 
Lasz das, mein Kind! Du fühlst, ich bin dir gut; 
Für meine Lieben liesz’ ich Leib und Blut, 
Will Niemand sein Gefühl und seine Kirche rauben. 


Margarete. 
Das ist nicht recht, man musz dran glauben ! 3065 
Faust, 
Musz man ? 
Margarete. 


Ach, wenn ich etwas auf dich könnte ! 
Du ehrst auch nicht die heil’gen Sakramente. 


Faust. 
Ich ehre sie, 


MARTHA’S GARDEN. 


Marcaret—Favst, 


Margaret. 
7° me, Henry! 
Faust. 
What I can! 
Margaret. 


Now, tell me, how is it with your religion? You 
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 Ihad any influence over you! You do not 
honour the holy sacraments, either. 


Faust. 
I honour them, 


282 MARTHENS GARTEN. 


Margarete. 
Doch ohne Verlangen. 


Zur Messe, zur Beichte bist du lange nicht gegangen. 


Glaubst du an Gott? 
Faust. 


Mein Liebchen, wer darf sagen : 


Ich glaub’ an Gott ? 

Magst Priester oder Weise fragen, 
Und ihre Antwort scheint nur Spott 
Ueber den Frager zu sein. 


Margarete. 
So glaubst du nicht ? 


Faust. 

Miszhör mich nicht, du holdes Angesicht ! 
Wer darf ihn nennen, 

Und wer bekennen : 

Ich glaub’ ihn ? 

Wer empfinden 
‘Und sich unterwinden, 

Zu sagen : ich glaub’ ihn nicht ? 

Der Allumfasser, 

Der Allerhalter, 

Faszt und erhält er nicht 

Dich, mich, sich selbst ? 

Wolbt sich der Himmel nicht da droben ? 
Liegt die Erde nicht hier unten fest ? 
Und steigen, freundlich blickend, 

Ewige Sterne nicht herauf? 

Schau’ ich nicht Aug’in Auge dir, 

Und drängt nicht Alles 

Nach Haupt und Herzen dir 

Und webt in ewigem Geheimnisz, 
Unsichtbar, sichtbar, neben dir? 

Erfüll davon dein Herz, so grosz es ist, 
Und wenn du ganz in dem Gefühle selig bist, 
Nenn es dann, wie du willst, 
Nenn’s.Glück! Herz! Liebe! Gott! 

Ich habe keinen Namen 


3071 


3075 


3080 


3085 


3090 


3095 


MARTHA’S GARDEN, 283 


Margaret. 
But without desiring them. It is long since you 
went to mass or confession. Do you believe in God? 


Faust. 
My love, who dares say, I believe in God? You may 
ask priests and philosophers, and their answer will 
appear but a mockery of the questioner. 


Margaret. 
You don’t believe, then ? 


Faust. 

Mistake me not, sweet darling! Who dare name 
him? and who avow: “I believe in him?” Who feel 
—and dare to say: “I believe not in him?” The All- 
embracer, the All-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! 
Call it Bliss !—Heart !—Love !—God! I have noname 


MARTHENS GARTEN. 


Dafür! Gefühl ist Alles; 
Name ist Schall und Rauch, 
Umnebelnd Himmelsgluth. 


Margarete. 
Das ist Alles recht schön und gut; 
Ungefähr sagt das der Pfarrer auch, 
Nur mit ein biszchen andern Worten, 


Faust. 
Es sagen’s aller Orten 
Alle Herzen unter dem himmlischen Tage, 
Jedes in seiner Sprache; 
Warum nicht ich in der meinen ? 


Margarete. 
Wenn man’s so hört, micht’s leidlich scheinen, 
Steht aber doch immer schief darum; 
Denn du hast kein Christenthum. 


Faust. 
Lieb’s Kind! 
Margarete. 
Es thut mir lang’ schon weh, 
Dasz ich dich in der Gesellschaft seh’. 


Faust. 

Wie so? 

Margarete. 

Der Mensch, den du da bei dir hast, 

Ist mir in tiefer innrer Seele verhaszt ; 
Es hat mir in meinem Leben 
So nichts einen Stich ins Herz gegeben 
Als des Menschen widrig Gesicht. 


Faust. SK 
Liebe Puppe, fiircht ihn nicht! 


Margarete. 
Seine Gegenwart bewegt mir das Blut. 
Ich bin sonst allen Menschen gut ; 


3100 


3105 


3110 


3115 


MARTHA’S GARDEN. 285 


for it!’ Feeling is all in all.. Name is sound and 
smoke,'” clouding heaven’s glow. 


Margaret. 
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? 


Margaret. 
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! 


Margaret. 
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 makes my blood creep. I have kind 
feelmgs towards everybody else; but, much as I long 


286 


MARTHENS GARTEN. 


Aber, wie ich mich sehne, dich zu schauen, 

Hab’ ich vor dem Menschen ein heimlich Grauen 
Und halt’ ibn fiir einen Schelm dazu! 3125 
Gott verzeih’ mir’s, wenn ich ihm Unrecht thw’ ! 


Faust. 
Es musz auch solche Käuze geben. 


Margarete. 
Wollte nicht mit seines Gleichen leben ! 
Kommt er einmal zur Thür herein, 
Sieht er immer so spöttisch drein 3130 
Und halb ergrimmt ; 
Man sieht, dasz er an nichts keinen Antheil nimmt, 
Es steht ihm an der Stirn geschrieben, 


'Dasz er nicht mag eine Seele lieben. 


Mir wird’s so wohl in deinem Arm, 3135 
So frei, so hingegeben warm, 
Und seine Gegenwart schnürt mir das Innre zu. 


Faust. 


‘ Du ahnungsvoller Engel du! 


Margarete. 
Das übermannt mich so sehr, 
Dasz, wo er nur mag zu uns treten, 3140 
Mein’ ich sogar, ich liebte dich nicht mehr. 
Auch wenn er da ist, könnt’ ich nimmer beten. 
Und das friszt mir ins Herz hinein ; 
Dir, Heinrich, musz es auch so sein, 


Faust. 
Du hast nun die Antipathie ! 3145 


Margarete. 
Ich musz nun fort. 
Faust. 
Ach, kann ich nie 
Ein Stündchen ruhig dir am Busen hängen 
Und Brust an Brust und Seel’ in Seele drängen 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 like 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. 
You 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. You, 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 little hour undisturbed 
upon thy bosom, and press heart to heart and soul to 
soul ? 


288 MARTHENS GARTEN. 
Margarete. 

Ach, wenn ich nur alleine schlief’ ! 

Ich liesz’ dir gern heut Nacht den Riegel offen ; 3150 

Doch meine Mutter schläft nicht tief, 

Und würden wir von ihr betroffen, 

Ich wär’ gleich auf der Stelle todt! 


Faust. 
‘Du Engel, das hat keine Noth. 
Hier ist ein Fläschchen, drei Tropfen nur 3155 
In ihren Trank umhüllen 
Mit tiefem Schlaf gefällig die Natur. 


Margarete. 
Was thw’ ich nicht um deinetwillen ! 
Es wird ihr hoffentlich nicht schaden ! 


Faust. 
‘Würd’ ich sonst, Liebchen, dir es rathen ? 3160 


Margarete. 
Seh’ ich dich, bester Mann, nur an, 
Weisz nicht, was mich nach deinem Willen treibt; 
Ich habe schon so viel für dich gethan, 
Dasz mir zu thun fast nichts mehr übrig bleibt. [Ab.] 
[M=PuISToPHELEs tritt auf. | 


Mephistopheles. 
Der Grasaff’! Ist er weg? 


Faust. 
Hast wieder spionirt? 3165 


Mephistopheles. 
Ich hab’s ausführlich wohl vernommen, 
Herr Doktor wurden da katechisirt ; 
Hoff’, es soll Ihnen wohl bekommen. 
Die Mädels sind doch sehr interessirt, 
Ob Eimer fromm und schlicht nach altem Brauch. 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 
door 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 1s no fear of that. You see this 
phial! Only three drops in her drink will gently 
envelop nature in deep sleep. 


Margaret. 
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? 


Margaret. 

If, best of men, I do but look on you, I know not 
what drives me to comply with your will. Ihave already 
done so much for you, that scarcely anything more 
remains for me to do. [Beit.] 


MEPHISTOPHELES enters. 


Mephistopheles. 
The little monkey ! is she gone? 


Faust. 
Hast thou been playing the spy again ? 


Mephistopheles. 

I heard what passed plainly enough. You 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.” 
U 


290 MARTHENS GARTEN, 


Faust. 
Du Ungeheuer siehst nicht ein, 
Wie diese treue, liebe Seele, 
Von ihrem Glauben voll, 
Der ganz allein 3175 
Ihr seligmachend ist, sich heilig quäle, 
Dasz sie den liebsten Mann verloren halten soll 


Mephistopheles. 
Du übersinnlicher, sinnlicher Freier, 
Ein Mägdelein nasführet dich. 


Faust. 
Du Spottgeburt von Dreck und Feuer ! 3180 


Mephistopheles. 
Und die Physiognomie versteht sie meisterlich. 
In meiner Gegenwart wird’s ihr, sie weisz nicht wie; 
Mein Mäskchen da weissagt verborgnen Sinn; 
Sie fühlt, dasz ich ganz sicher ein Genie, 
Vielleicht wohl gar der Teufel bin, 3185 
Nun heute Nacht-— ? 
Faust. 
Was geht dich’s an? 


Mephistopheles. 
Hab’ ich doch meine Freude dran ! 


MARTHA’S GARDEN, 291 


Faust. 

Thou, monster as thou art, canst not conceive how 
this loving, faithful soul, full of her faith, which, ac- 
cording to her notions, is alone capable 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 Iam most 
assuredly a genius—perhaps the devil himself. To-night, 


then— ? 
Faust. 


What is that to you? 


Mephistopheles. 
I have my pleasure in it, though. 


AM BRUNNEN. 


GRETCHEN und LiESCHEN mit Kriigen, 


Lieschen. 
HA nichts von Bärbelchen gehört ? 


Gretchen. 
Kein Wort. Ich komm’ gar wenig unter Leute. 


Lieschen. 
Gewisz, Sibylle sagt’ mir's heute, 
Die hat sich endlich auch bethört, 
Das ist das Vornehmthun ! 


Gretchen. 
Wie so? 


Lieschen. 


3190 


Es stinkt! 


Sie füttert Zwei, wenn sie nun iszt und trinkt. 


Gretchen. 
Ach! 

Lieschen. 

So ist's ihr endlich recht ergangen. 

Wie lange hat sie an dem Kerl gehangen ! 
Das war ein Spazieren, 
Auf Dorf und Tanzplatz Führen, 
Muszt’ überall die Erste sein, 
Kurtesirt’ ihr immer mit Pastetchen und Wein; 
Bildt’ sich was auf ihre Schönheit ein, 
War doch so ehrlos, sich nicht zu schämen, 
Geschenke von ihm anzunehmen. 


3195 


3200 


AT THE WELL. 


Marearet and Bessy with pitchers. 


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 isa bad business. She feeds two when she eats and 


drinks now. 
Margaret. 
Ah! 


Bessy. 

She is rightly served at last. What a time she has 
hung upon the fellow! There was a promenading and 
. & 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 Gekos’ und ein Geschleck’ ; 
Da ist denn auch das Blümchen weg ! 


Gretchen, 
Das arme Ding! 
Lieschen. 
: Bedauerst sie noch gar ! 3205 
Wenn Unsereins am Spinnen war, 
Uns Nachts die Mutter nicht hinunterliesz, 
Stand sie bei ihrem Buhlen süsz, 
Auf der Thürbank und im dunkeln Gang 
Ward ihnen keine Stunde zu lang. 3210 
Da mag sie denn sich ducken nun, 
Im Sünderhemdchen Kirchbusz’ thun ! 


Gretchen. 
Er nimmt sie gewisz zu seiner Frau. 
Lüeschen. 
Er war’ ein Narr! Ein flinker Jung’ 
Hat anderwärts noch Luft genung. 3215 
Er ist auch fort. 
Gretchen. 


Das ist nicht schön ! 


Lieschen. 
Kriegt sie ihn, soll’s ihr übel gehn. 
Das Kränzel reiszen die Buben ihr, 
Und Häckerling streuen wir vor die Thür! [Ab] 


Gretchen (nach Hause gehend). 
Wie konnt’ ich sonst so tapfer schmählen, 3220 
Wenn thät ein armes Mägdlein fehlen ! 
Wie konnt’ ich über Andrer Sünden 
Nicht Worte g’nug der Zunge finden ! 
Wie schien mir’s schwarz, und schwärzt’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 Sünde blosz ! 
Doch—Alles, was dazu mich trieb, 
Gott, war so gut, ach, war so Heb! 


AT THE WELL. 295 


to receive presents from him. There was a hugging and 
kissing—and lo, the flower is gone! 


Margaret. 
Poor thing! 
Bessy. 


You 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 off. 


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 chaff 
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! 


ZWINGER. 


In der Mauerhöhle ein Andachtsbild der Mater dolorosa, 
Blumenkrüge davor. 


GREICHEN (steckt frische Blumen in die Krüge). 
A= neige, 3230 
Du Schmerzenreiche, 
Dein Antlitz gnädig meiner Noth ! 


Das Schwert im Herzen, 
Mit tausend Schmerzen 
Blickst auf zu deines Sohnes Tod, 3235 


Zum Vater blickst du 
Und Seufzer schickst du 
Hinauf um sein’ und deine Noth, 


Wer fühlet, 

Wie wühlet 3240 
Der Schmerz mir im Gebein ? 

Was mein armes Herz hier banget, 

Was es zittert, was verlanget, 

Weiszt nur du, nur du allein ! 


Wohin ich immer gehe, 3245 
Wie weh, wie weh, wie wehe 

Wird mir im Busen hier ! 

Ich bin, ach, kaum alleine, 


ZWINGER.'® 


In the niche of the wall a devotional image of the Mater 
Dolorosa, with pots of flowers before it. j 


MARGARET (places fresh flowers in the pots). 
H, incline, 
Thou full of pain, 
Thy countenance graciously to my distress. 


The sword in thy heart,’ 
With thousand pangs 
Up-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’, ich wein’, ich weine, 
Das Herz zerbricht in mir. 3250 


Die Scherben vor meinem Fenster 
Bethaut’ ich mit Thränen, ach, 
Als ich am frühen Morgen 

Dir diese Blumen brach. 


Schien hell in meine Kammer 3255 
Die Sonne früh herauf, 


“ Sasz ich in allem Jammer 


In meinem Bett schon auf. 


Hilf! Rette mich von Schmach und Tod! 

Ach, neige, 3260 
Du Schmerzenreiche, 

Dein Antlitz gnädig 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 ! 


» 


NACHT.—STRASZE VOR GRETCHENS 


Vatentin, Soldat, GREICHENS Bruder, 


Valentin. 

vn ich so sasz bei einem Gelag, 

Wo Mancher sich berühmen mag, 
Und die Gesellen mir den Flor 
Der Mägdlein laut gepriesen vor, 
Mit vollem Glas das Lob verschwemmt: 
Den Ellenbogen aufgestemmt, 
Sasz ich in meiner sichern Ruh, 
Hört’ all dem Schwadroniren zu, 
Und streiche lächelnd meinen Bart 
Und kriege das volle Glas zur Hand 
Und sage: Alles nach seiner Art! 
Aber ist Eine im ganzen Land, 
Die meiner trauten Gretel gleicht, 
Die meiner Schwester das Wasser reicht ? 


THURE. 


3265 


3270 


3275 


Top! Top! Kling! Klang! Das ging herum ! 


Die Hinen schrieen: er hat Recht, 

Sie ist die Zier vom ganzen Geschlecht ! 
Da saszen alle die Lober stumm. 

Und nun !—Um’s Haar sich auszuraufen 
Und an den Wänden hinauf zu laufen !— 
Mit Stichelreden, Naserümpfen 

Soll jeder Schurke mich beschimpfen ! 
Soll wie ein böser Schuldner sitzen, 

Bei jedem Zufallswörtchen schwitzen ! 
Und möcht’ ich sie zusammenschmeiszen, 
Könnt’ ich sie doch nicht Lügner heiszen. 


3280 


3285 


Was kommt heran? Was schleicht herbei? 


Irr’ ich nicht, es sind ihrer Zwei. 
Ist er's, gleich pack’ ich ihn beim Felle, 
Soll nicht lebendig von der Stelle! 


NIGHT.—STREET BEFORE MARGARET'S 
DOOR. 


VALENTINE (a Soldier, Mancarzr’s brother). 
HEN 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 Sakristei 
Aufwärts der Schein des ew’gen Lämpchens flämmert 
Und schwach und schwächer seitwärts dämmert, 3295 
Und Finsternisz drängt ringsum bei: 
So sieht's in meinem Busen nächtig. 


Mephistopheles. 

Und mirist’s wie dem Kätzlein schmächtig, 

Das an den Feuerleitern schleicht, 

Sich leis dann um die Mauern streicht. 3300 
Mir ist’s ganz tugendlich dabei, 
Ein biszchen Diebsgelüst, ein biszchen Rammelei. 

So spukt mir schon durch alle Glieder 

Die herrliche Walpurgisnacht. 

Die kommt uns übermorgen wieder, 3305 
Da weisz man doch, warum man wacht. 


Faust. 
Riickt wohl der Schatz indessen in die Héh’, 
Den ich dort hinten flimmern seh’ ? 


Mephistopheles. 
Du kannst die Freude bald erleben, 
Das Kesselchen herauszuheben, 3310 
Ich schielte neulich so hinein, 
Sind herrliche Löwenthaler drein. 


Faust. 
Nicht ein Geschmeide, nicht ein Ring, 
Meine liebe Buhle damit zu zieren ? 


Mephistopheles. 
Ich sah dabei wohl so ein Ding 3315 
Als wie eine Art von Perlenschnüren, 


STREET. 803 


Faust—MEpuHISTOPHELES. 


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. 
“Will in the meantime the treasure rise, which I 
see glimmering yonder ?'" : 


; Mephistopheles. 

You 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, 


804 STRASZE, 


Faust, 
So ist es recht! Mir thut es weh, 
Wenn ich ohne Geschenke zu ihr geh’, 


Mephistopheles. 
Es sollt’ euch eben nicht verdrieszen, 
Umsonst auch etwas zu genieszen. 3320 
Jetzt, da der Himmel voller Sterne glüht, 
Sollt ihr ein wahres Kunststück hören : 
Ich sing’ ihr ein moralisch Lied, 
Um sie gewisser zu bethören. [Singt zur Zither.] 


Was machst du mir 3325 
Vor Liebchens Thür, 

Kathrinchen, hier 

Bei frühem Tagesblicke ? 

Lasz, lasz es sein! 

Er läszt dich ein, 3330 
Als Madchen ein, 

Als Mädchen nicht zurücke, 


Nehmt euch in Acht! 

Ist es vollbracht, 

Dann gute Nacht, 3335 
Ihr armen, armen Dinger ! 

Habt ihr euch lieb, 

Thut keinem Dieb 

Nur nichts zu Lieb’ . 

Als mit dem Ring am Finger. 3340 


Valentin (tritt vor). 
Wen lockst du hier? Beim Element! 
Vermaledeiter Rattenfänger ! 
Zum Teufel erst das Instrument! 
Zum Teufel hinterdrein den Sänger ! 


Mephistopheles. 
Die Zither ist entzwei! An der ist nichts zu halten, 3345 


Valentin. 
Nun soll es an ein Schädelspalten ! 


STREET, 305 


Faust. 

That is well. I feel sorry when I go to her without a 
present. 

Mephistopheles. 

You. 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. 

[He sings to the guitar. 

“What are you doing here, Catherine, before your 
lovers 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. 


Mephistopheles. 
The guitar is broken to pieces! It is all up with it. 
& 


Valentine. 
Now then for a skull-cracking. 


306 STRASZE.- , 


Mephistopheles (zu Faust), 
Herr Doktor, nicht gewichen! Frisch ! 
Hart an mich an, wie ich euch führe ! 
Heraus mit eurem Flederwisch ! 
Nur zugestoszen! Ich parire. 


Valentin. - 
Parire den! 
Mephistopheles. 
Warum denn nicht? 


Valentin. 
Auch den! 
Mephistopheles. 
Gewisz ! 


Valentin. 
Ich glaub’, der Teufel ficht! 
Was ist denn das? Schon wird die Hand mir lahm, 


Mephistopheles (zu Faust). 
Stosz zu ! j 
j Valentin (fällt). 

O weh! 
Mephistopheles. 
Nun ist der Lümmel zahm ! 
Nun aber fort! Wir müssen gleich verschwinden ; 
Denn schon entsteht ein mörderlich Geschrei. 
Ich weisz mich trefllich mit der Polizei, 
Doch mit dem Blutbann schlecht mich abzufinden, 


Marthe (am Fenster). 
Heraus! Heraus! 


Gretchen (am Fenster). 
Herbei ein Licht! 


Marthe (wie oben). 
Man schilt und rauft, man schreit und fickt. 


3350 


3355 


3360 


STREET. 307 


Mephistopheles (to Faust). 
Don’t give way, Doctor! Courage! Stick close, and 
do as I tell you. Out with your toasting-iron!™ 
Thrust away, and I will parry. 


Valentine. 
Parry that! 
Mephistopheles. 
Why not? 
Valentine. 
And that! 
Mephistopheles. 
To be sure. 


2 Valentine. 
I believe the devil is fighting. What is that? My 
hand is already lamed. 


Mephistopheles (to Faust). 
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. 


Volk. 
Da liegt schon Hiner todt ! 


Marthe (heraustretend). 
Die Mérder, sind sie denn entflohn ? 


Gretchen (heraustretend). 
Wer liegt hier ? 
Volk. 
Deiner Mutter Sohn, 


Greichen. 
Allmächt’ger! Welche Noth! 


Valentin. 
Ich sterbe! Das ist bald gesagt 3365 
Und bälder noch gethan. 
Was steht ihr Weiber, heult und klagt ? 
Kommt her und hört mich an! [Alle treten wm ihn. ] 
Mein Gretchen, sieh, du bist noch jung, 
Bist gar noch nicht gescheit genung, 3370 
Machst deine Sachen scklecht. 
Ich sag’ dir's im Vertrauen nur: 
Du bist doch nun einmal eine — ; 
So sei’s auch eben recht! 


Gretchen. 
Mein Bruder! Gott! Was soll mir das? 3375 


Valentin. 
Lasz unsern Herr Gott aus dem Spasz ! 
Geschehn ist leider nun geschehn, 
Und wie es gehn kann, so wird’s gehn, 
Du fingst mit Einem heimlich an, 
Bald kommen ihrer mehre dran, 3380 
Und wenn dich erst ein Dutzend hat, 
So hat dich auch die ganze Stadt. 


Wenn erst die Schande wird geboren, 
Wird sie heimlich zur Welt gebracht, 
Und man zieht den Schleier der Nacht 3385 


STREET, 309 


People. 
Here lies one dead already. 


Martha (coming out). 
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! God! 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. You 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 


STRASZE, 


Ihr über Kopf und Ohren ; 

Ja, man möchte sie gern ermorden. 
Wichst sie aber und macht sich grosz, 
Dann geht sie auch bei Tage blosz 
Und ist doch nicht schöner geworden. 
Je häszlicher wird ihr Gesicht, 

Je mehr sucht sie des Tages Licht. 


Ich seh’ wahrhaftig schon die Zeit, 
Dasz alle brave Biirgersleut’, 
Wie von einer angesteckten Leichen, 
Von dir, du Metze, seitab weichen, 
Dir soll das Herz im Leib verzagen, 
Wenn sie dir in die Augen sehn! 
Sollst keine goldne Kette mehr tragen, 


In der Kirche nicht mehr am Altar stehn, 


In einem schönen Spitzenkragen 


‚Dich nicht beim Tanze wohl behagen, 


In eine finstre Jammerecken 


3390 


3395 


3400 


Unter Bettler und Kriippel dich verstecken 


Und, wenn dir dann auch Gott verzeiht, 
Auf Erden sein vermaledeit ! 


Marthe. 
Befehlt eure Seele Gott zu Gnaden ! 
Wollt ihr noch Listrung auf euch laden ? 


Valentin. 
Könnt’ ich dir nur an den dürren Leib, 
Du schändlich kupplerisches Weib, 
Da hofft’ ich aller meiner Sünden 
Vergebung reiche Masz zu finden. 


Greichen. 
Mein Bruder! Welche Höllenpein ! 


Valentin. 
Ich sage, lasz die Thränen sein ! 
Da du dich sprachst der Ehre los, 
Gabst mir den schwersten Herzensstosz. 
Ich gehe durch den Todesschlaf 
Zu Gott ein als Soldat und brav. 


3405 


3410 


3415 


[Störbt.] 


STREET. 311 


her head and 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. Your heart will sink within 
you when they look you in the face. You 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. You will hide yourself in some dark miser- 
able corner, amongst beggars and cripples, and, even 
should God forgive you, be cursed upon earth! 


Martha. 
Commend your soul to God’s merey. 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 done with tears, I tell you. When you re- 
neunced honour, you gave me the deepest heart-stab of 
all. I go through death’s sleep unto God, a soldier and 
a brave one. [He dies.] 


DOM, 
AMT, ORGEL UND GESANG, 


GREICHEN unter vielem Volke. Böser Guist hinter 
GREICHEN. 


Böser Geist. 
"IE anders, Gretchen, war dir's, 

Als du noch voll Unschuld 3420 
Hier zum Altar tratst, 
Aus dem vergriffnen Büchelchen 
Gebete Talltest, 
Halb Kinderspiele, 2 
Halb Gott im Herzen ! 3425 
Gretchen ! 
Wo steht dein Kopf? 
In deinem*Herzen 
Welche Missethat ? 
Betst du fiir deiner Mutter Seele, die 3430 
Durch dich zur langen, langen Pein hintiberschlief? 
Auf deiner Schwelle wessen Blut? 
—-Und unter deinem Herzen 
Regt sich’s nicht quillend schon 
Und ängstet dich und sich 3435 
Mit ahnungsvoller Gegenwart ? 

oo 


Gretchen 
Weh! Weh! 
Wir’ ich der Gedanken los, 
Die mir heriiber und hiniiber gehen 
Wider mich ! 3440 


CATHEDRAL. 
SERVICE, ORGAN, AND ANTHEM. 


MARGARET amongst a number of People. EvıL Spirit 
behind MARGARET. 


Evil Spirit. 
_J OW different was it with thee, Margaret, 
When still full of innocence 
Thou camest 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 me and across me 
Against myself! 


314 


DOM. 


Chor. 
Dies ir, dies illa 
Solvet seeclum in favilla, 


Böser Geist. 
Grimm faszt dich ! 
Die Posaune tönt! 
Die Gräber beben ! 
Und dein Herz, 
Aus Aschenruh 
Zu Flammenqualen 
Wieder aufgeschaffen, 
Bebt auf! 


Gretchen. 
Wär’ ich hier weg! 


Mir ist, als ob die Orgel mir 


Den Athem versetzte, 
Gesang mein Herz 
Im Tiefsten liste. 


Chor. 
Judex ergo cum sedebit, 
Quidquid latet, adparebit, 
Nil inultum remanebit. 


Gretchen. 
Mir wird so eng ! 
Die Mauernpfeiler 
Befangen mich! 
Das Gewölbe 
Drängt mich !— Luft! 


[Orgelton.] 


3445 


3450 


3455 


3460 


CATHEDRAL. 315 


Chorus. 
Dies ive, dies illa 
Solvet seclum in favilla."" [Organ plays.] 


Evil Spirit. . 
Horror seizes thee! 
The Trump 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, 
Quidquid latet, adparebit, 
Nil inultum remanebit. 


Margaret. 
I feel so oppressed ! 
The wall-pillars 
Close on me! 
The vaulted roof 
Presses on me !—Air! 


316 


DOM. 


Büser Geist. 
Verbirg dich! Siind’ und Schande 
Bleibt nicht verborgen, 
Luft? Licht? 
Weh dir! 


Chor. 
Quid sum miser tume dictwrus ? 
Quem patronum rogaturus, 
Cum via justus sit securus ? 


Böser Geist. 
Ihr Antlitz wenden 
Verklärte von dir ab. 
Die Hände dir zu reichen, 


Schauert’s den Reinen. 
Weh! 


Chor. 
Quid sum miser tune dictwrus ? 


Gretchen. 
Nachbarin ! Euer Fläschchen !— 


3465 


3470 


3475 


[Sie fällt in Ohnmacht.] 


CATHEDRAL. 


Evil Spirit. 
Hide thyself! Sin and shame 
Remain, unhidden. 
Air? Light ? 
Woe to thee! 


Chorus. 
Quid sum miser tunc dicturus ? 
Quem patronum rogaturus, 
Cum vie 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! 


317 


[She swoons away.] 


WALPURGISNAOHT. 
HARZGEBIRG. 
Gegend von Schierke und Elend. 


Faust. MEPHISTOPHELES. 


Mephistopheles. 


ERLANGST du nicht nach einem Besenstiele ? 


Ich wiinschte mir den allerderbsten Bock. 
Auf diesem Weg sind wir noch weit vom Ziele. 


Faust. 


3480 


So lang’ ich mich noch frisch auf meinen Beinen fühle, 


Geniigt mir dieser Knotenstock. 

Was hilft’s, dasz man den Weg verkürzt! 

Im Labyrinth der Thäler hinzuschleichen, 
Dann diesen Felsen zu ersteigen, 

Von dem der Quell sich ewig sprudelnd stürzt, 
Das ist die Lust, die solche Pfade würzt! 

Der Frühling webt schon in den Birken, 

Und selbst die Fichte fühlt ihn schon ; 

Sollt’ er nicht auch auf unsre Glieder wirken ? 


Mephistopheles. 
Fürwahr, ich spüre nichts davon! 
Mir ist es winterlich im Leibe; 
Ich wünschte Schnee und Frost auf meiner Bahn. 
Wie traurig steigt die unvollkommne Scheibe 
Des rothen Monds mit später Gluth heran 
Und leuchtet schlecht, dasz man bei jedem Schritte 
Vor einen Baum, vor einen Felsen rennt ! 
Erlaub, dasz ich ein Irrlicht bitte! - 


3485 


3490 


3495 


a E - po Bs 
et rast Keraj Ly esoshe © “Se 


WALPURGIS-NIGHT.!» 
THE HARTZ MOUNTAINS, 
District of Schirke and Elend, 
Faust. MEPHISTOPHELES. 


Mephistopheles. 
O you not long for a broomstick? For 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 WALPURGISNACHT. Pe 


Dort seh’ ich eins, das eben lustig brennt. 

He da! Mein Freund! Darf ich dich zu uns fodern? 3500 
Was willst du so vergebens lodern ? 

Sei doch so gut und leucht uns da hinauf! 


Irrlicht. 
Aus Ehrfurcht, hoff’ ich, soll es mir gelingen, 
Mein leichtes Naturell zu zwingen ; 
Nur ziekzack geht gewöhnlich unser Lauf. 3505 


Mephistopheles. 
Ei, ei! Er denkt’s den Menschen nachzuahmen. 
Geh er nur grad, ins Teufels Namen ! 
Sonst blas’ ich ihm sein Flackerleben aus. 


Irrlicht. 
Ich merke wohl, ihr seid der Herr vom Haus, 
Und will mich gern nach euch bequemen. 3510 
Allein bedenkt ! Der Berg ist heute zaubertoll, 
Und wenn ein Irrlicht euch die Wege weisen soll, 
So müszt ihr’s so genau nicht nehmen, 


Faust, MrPpHIsToPHELEs, IRrLIcHT (im Wechselgesang). 
In die Traum- und Zaubersphäre 
he Sind wir, scheint es, eingegangen, 3515. 
Führ uns gut und mach dir Ehre, 
Dasz wir vorwärts bald gelangen 
In den weiten, öuun Räumen ! 


Seh’ die Bäume hinter Bäumen, 
Wie sie schnell vorüberrücken, 3520 
Und die Klippen, die sich bücken, 
Und die langen Felsennasen, 
Wie sie schnarchen, wie sie blasen ! 


Durch die Steine, durch den Rasen 
Eilet Bach und Bächlein nieder. 3525 
Hör’ ich Rauschen ? Hör’ ich Lieder ? 
Hör’ ich holde Liebesklage,' 
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. 
Mephistopheles, 

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. 


Faust, MEPHISTOPHELES, WILL-0’-THE-WISP (in 

alternating song). 

Into the sphere of dreamgpand 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 

Y 


322 


WALPURGISNACHT. 


Was wir hoffen, was wir lieben ! 
Und das Echo, wie die Sage 
Alter Zeiten, hallet wieder. 


Ubu! Schuhu! Tönt es näher ; 
Kauz und Kibitz und der Häher, 
Sind sie alle wach geblieben ? 

Sind das Molche durchs Gesträuche, 

* Lange Beine, dicke Bäuche ? 
Und die Wurzeln, wie die Schlangen, 
Winden sich aus Fels und Sande, 
Strecken wunderliche Bande, 
Uns zu schrecken, uns zu fangen ; 
Aus belebten, derben Masern 
Strecken sie Polypenfasern 
Nach dem Wandrer. Und die Mäuse, 
Tausendfärbig, schaarenweise, 
Durch das Moos und durch die Heide ! 
Und die Funkenwürmer fliegen 
Mit gedrängten Schwärmezügen 
Zum verwirrenden Geleite. 


Aber sag mir, ob wir stehen 
Oder ob wir weiter gehen ? 
Alles, Alles scheint zu drehen : 
Fels und Biume, die Gesichter 
Schneiden, und die irren Lichter, 
Die sich mehren, die sich blähen, 


Mephistopheles. 
Fasse wacker meinen Zipfel! 
Hier ist so ein Mittelgipfel, 
Wo man mit Erstaunen sieht, 
Wie im Berg der Mammon glüht. 


Faust. 
Wie seltsam glimmert durch die Gründe 
Ein morgenröthlich trüber Schein! 
Und selbst bis in die tiefen Schlünde 
Des Abgrunds wittert er hinein. 


“Da steigt ein Dampf, dort ziehen Schwaden, 


3539 


3535 


3540 


3545 


3550 


3555 


3560 


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 seize us; 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. 


Mephistopheles. 
Keep a stout hold of my skirt! Here is a central 


. . ty % 
peak, from which one sees with wonder how Mammon: | 


is glowing in the mountain. . 


Faust. 

How strangely a melancholy light, of morning-red, 
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 leuchtet Gluth aus Dunst und Flor, 

Dann schleicht sie wie ein zarter Faden, 3565 
Dann bricht sie wie ein Quell hervor, 

Hier schlingt sie eine ganze Strecke 

Mit hundert Adern sich durchs Thal, 

Und hier in der gedrängten Ecke 

Vereinzelt sie sich auf einmal. 3570 
Da sprühen Funken in der Nähe 

Wie ausgestreuter goldner Sand, 

Doch schau ! In ihrer ganzen Höhe 

Entzündet sich die Felsenwand, 


Mephistopheles. 
Erleuchtet nicht zu diesem Feste 3575 
Herr Mammon prächtig den Palast ? 
Ein Glück, dasz du’s gesehen hast ; 
Ich spüre schon die ungestümen Gäste. 


Faust. 
Wie ras’t die Windsbraut durch die Luft! 
Mit welchen Schlägen trifft sie meinen Nacken! 3530 


Mephistopheles. 
Du muszt des Felsens alte Rißpen packen ; 
Sonst stürzt sie dich hinab in dieser Schlünde Gruft. 
Ein Nebel verdichtet die Nacht. 
Höre, wie’s durch die Wälder kracht ! 
Aufgescheucht fliegen die Eulen. 3585 
Hör, es splittern die Säulen 
Ewig grüner Paläste. Bh 
Girren und Brechen der Aeste ! 
Der Stimme michtiges Dréhnen! 
Der Wurzeln Knarren und Gihnen ! 3590 
Im fürchterlich verworrenen Falle 
Ueber einander krachen sie alle, 
Und durch die übertrümmerten Klüfte 
Zischen und heulen die Lüfte, 
Hörst du Stimmen in der Höhe? 3595 
In der Ferne, in der Nähe P 
Ja, den ganzen Berg entlang 
Strömt ein wüthender Zaubergesang ! 


WALPURGIS-NIGHT. 225 


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. 


Mephistopheles. 
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 ! 


Mephistopheles. 

You 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 might, Hark! what a crashing through the 
forest ! The 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 P—Ay, a raving 
witch-song streams along the whole mountain. 


326 


WALPURGISNACHT. 


Hewen (im Ohor). 
Die Hexen zu dem Brocken ziehn ; 
Die Stoppel ist gelb, die Saat ist grün. 3600 
Dort sammelt sich der grosze Hauf, 
Herr Urian sitzt oben auf. 
So geht es über Stein und Stock ; 
Es — die Hexe, es stinkt der Bock. 


Stimme. 
Die alte Baubo kommt allein ; 3605 
Sie reitet auf einem Mutterschwein, 


Chor. 
So Ehre denn, wem Ehr’ gebührt! 
Frau Baubo vor! Und angeführt ! 
Ein tuchtig Schwein und Mutter drauf, 
Da folgt der ganze Hexenhauf. 3610 


Stimme. 
Welchen Weg kommst du her? 


Stimme. 
Uebern Ilsenstein !' 
Da guckt’ ich der Eule ins Nest hinein. 
Die macht’ ein Paar Augen ! 


Stimme. 
O, fabre zur Holle! 
Was reit’st du so schnelle! 


Stimme. 
Mich hat sie geschunden, 3615 
Da sieh nur die Wunden! 


Hexen. (Chor.) 
Der Weg ist breit, der Weg ist lang; 
Was ist das für ein toller Drang ? 
Die Gabel sticht, der Besen kratzt, 
Das Kind erstickt, die Mutter platzt. 3620 


WALPURGIS-NIGITT. 827 


The Witches (in chorus). 

To the Brocken the witches repair! The stubble is 
yellow, the corn is green. There the huge multitude 
assembles. Sir Urian’” 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. (Halbes Chor.) 
Wir schleichen wie die Schneck’ im Haus, 
Die Weiber alle sind voraus. 
Denn geht es zu des Bésen Haus, 
Das Weib hat tausend Schritt voraus, 


(Andre Hälfte.) 
Wir nehmen das nicht so genau. 3625 
Mit tausend Schritten macht’s die Frau ; 
Doch wie sie auch sich eilen kann, 
Mit einem Sprunge macht’s der Mann. 


Stimme (oben). 
Kommt mit, kommt mit, vom Felsensee! 


Stimmen (von unten). 
Wir möchten gerne mit in die Höh’, 3630 
Wir waschen, und blank sind wir ganz und gar, 
Aber auch ewig unfruchtbar. 


Beide Chöre. 
Es schweigt der Wind, es flieht der Stern, 
Der trübe Mond verbirgt sich gern ; 
-Im Sausen sprüht das Zauberchor 3635 
Viel tausend Feuerfunken hervor, 


Stimme (von unten). 
Halte ! Halte! 


Stimme (von oben). , 
Wer ruft da aus der Felsenspalte ? 


Stimme (unten). 
Nehmt mich mit! Nehmt mich mit ! 
Ich steige schon dreihundert Jahr’ 3640 
Und kann den Gipfel nicht erreichen. 
Ich wäre gern bei meines Gleichen. 


Beide Chöre, 
Es trägt der Besen, trägt der Stock, 
Die Gabel trägt, es trägt der Bock. 


WALPURGIS-NIGHT. 329 


Wizards (half-chorus). 
We steal along like snails in 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 does 
it with a thousand steps; but, let her make as much 
haste as she can, the man does it at a single bound. 


Voices (above). 
Come with us, come with us, from Felsensee ! 


Voices (from below). 
We should like to mount with you. We wash, and 
are thoroughly clean, but we are ever barren. 


Both Ohoruses. 
The wind 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 below). 
Hold! hold! 
Voice (from above). 
Who calls there, from the cleft in the rock ? 


Voice (from below). 
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. 


fee Both Choruses. 
% with . - - 
The besom carries, the stick carries, the fork carries, 


330 WALPURGISNACHT. 


Wer heute sich nicht heben kann, 3645 
Ist ewig ein verlorner Mann. 


Halbhexe (unten). 
Ich tripple nach, so lange Zeit; 
Wie sind die Andern schon so weit ! 
Ich hab’ zu Hause keine Ruh 
Und komme hier doch nicht dazu. 3650 


Chor der Hexer. 
Die Salbe giebt den Hexen Muth, 
Ein Lumpen ist zum Segel gut, 
Ein gutes Schiff ist jeder Trog ; 
Der flieget nie, der heut nicht flog. - 


Beide Chöre. 
Und wenn wir um den Gipfel ziehn, 3655 
So streichet an dem Boden hin 
Und deckt die Heide weit und breit 
Mit eurem Schwarm der Hexenheit. 
[Sie lassen sich nieder. 


Mephistopheles, 
Das drängt und stöszt, das ruscht und klappert, 
Das zischt und quirlt, das zieht und plappert, 3660 
Das leuchtet, spriht und stinkt und brennt, 
Ein wahres Hexenelement ! 
Nur fest an mir! Sonst sind wir gleich getrennt. 
Wo bist Du ? 


Faust (in der Ferne). 


Hier ! 
Mephistopheles. 
Was! Dort schon hingerissen ? 
Da werd’ ich Hausrecht brauchen miissen. 3665 


Platz ! Junker Voland kommt. Platz! Süszer Pöbel, Platz! 
Hier, Doktor, fasse mich! Und nun in einem Satz 

Lasz uns aus dem Gedräng’ entweichen; 

Es ist zu toll, sogar für meines Gleichen. 


WALPURGIS-NIGHT. 331 


i 
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. Room! 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 leuchtet was mit ganz besondrem Schein ; 3670 
Es zieht mich was nach jenen Sträuchen. 
Komm, komm ! Wir schlupfen da hinein. 


Faust. 
Du Geist des Widerspruchs ! Nur zu! Du magst mich 
führen. 
Ich denke doch, das war recht klug gemacht : 
Zum Brocken wandeln wir in der Walpurgisnacht, 3675 
Um uns beliebig nun hieselbst zu isoliren. 


Mephistopheles. 
Da sieh nur, welche bunte Flammen ! 
Es ist ein muntrer Klub beisammen, 
Im Kleinen ist man nicht allein, 


Faust. 

Doch droben möcht’ ich lieber sein ! 3680 
Schon seh’ ich Gluth und Wirbelrauch, 

Dort strömt die Menge zu dem Bösen ; 

Da musz sich manches Räthsel lösen. 


Mephistopheles, 
Doch manches Räthsel knüpft 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 macht. 
Da seh’ ich junge Hexchen, nackt und blosz, 
Und alte, die sich klug verhüllen, 3690 
Seid freundlich, nur um meinetwillen ! 
Die Müh ist klein, der Spasz ist grosz. 
Ich höre was von Instrumenten tönen ; 
Verflucht Geschnarr! Man musz sich dran gewöhnen. 
Komm mit! Komm mit! Es kann nicht anders sein, 3695 
Ich tret’ heran und führe dich herein, 
Und ich verbinde dich 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 goon! 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. 


Mephistopheles. 
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. Yonder the multitude is 
streaming to the Evil One. Many a riddle must there 
be untied. 

Mephistopheles. 

And many a riddle is also knotted here, Let the 
great world bluster as it may! We will here settle our- 
selves in peace. It is an old custom, that in the great 
world one makes little worlds. Yonder 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! 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 WALPURGISNACHT. 


Da sieh nur hin! Du siehst das Ende kaum. 


Ein Hundert Feuer brennen in der Reihe; 3700 
Man tanzt, man schwatzt, man kocht, man trinkt, man 
liebt, 


Nun sage mir, wo es was Bessers giebt ? 


Faust. 
Willst du dich nun, um uns hier einzuführen, 
Als Zaubrer oder Teufel produciren ? 


Mephistopheles, 

Zwar bin ich sehr gewohnt, inkognito zu gehn ; 3705 
Doch läszt am Galatag man seinen Orden sehn. 
Ein Knieband zeichnet mich nicht aus, 
Doch ist der Pferdefusz hier ehrenvoll zu Haus. 
Siehst du die Schnecke daP Sie kommt herangekrochen ; 
Mit ihrem tastenden Gesicht 3710 
Hat sie mir schon was abgerochen. 
Wenn ich auch will, verleugn’ ich hier mich nicht. 
Komm nur ! Von Feuer gehen wir zu Feuer, 
Ich bin der Werber, und du bist der Freier. 

[Zu Einigen, die um verglimmende Kohlen sitzen.] 
Ihr alten Herrn, was macht ihr hier am Ende ? 3715 
Ich lobt’ euch, wenn ich euch hübsch in der Mitte fände, 
Von Saus umzirkt und Jugendbraus; 
Genug allein ist Jeder ja zu Haus, 


General, 
Wer mag auf Nationen trauen, 
Man habe noch so viel für sie gethan ! 3720 
Denn bei dem Volk wie bei den Frauen 
Steht immerfort die Jugend obenan. 


Minister. 
Jetzt ist man von dem Rechten allzu weit, 
Ich lobe mir die guten Alten ; 
Denn freilich, da wir Alles galten, 3725 
Da war die rechte goldne Zeit, 


WALPURGIS-NIGHT. 835 


look! you can hardly see the end! A hundred fires are 
burning ina row. People are dancing, talking, cooking, 
drinking, lovemaking! 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, Iam 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 embers. | 
Old gentlemen, what are you doing here at the ex- 
tremity? I should commend you, did I find you nicely 
in the middle, in 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 f 
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 WALPURGISNACHT. 


Parvenu, 
Wir waren wahrlich auch nicht dumm 
: Und thaten oft, was wir nicht sollten ; 
Doch jetzo kehrt sich Alles um und um, 
Und eben da wir’s fest erhalten wollten. 3730 


Autor. 
Wer mag wohl überhaupt jetzt eine Schrift 
Von mäszig klugem Inhalt lesen ! 
Und was däs liebe junge Volk betrifft, 
Das ist noch nie so naseweis gewesen. 


Mephistopheles (der auf einmal sehr alt erscheint). 
Zum jüngsten Tag fühl’ ich das Volk gereift, 3735 
Da ich zum letzten Mal den Hexenberg ersteige, 

Und weil mein Fäszchen trübe läuft, 
So ist die Welt auch auf der Neige. 


Trédetheme, 
Thr Herren, geht nicht so vorbei ! 
Laszt die Gelegenheit nicht fahren ! 3740 
Aufmerksam blickt nach meinen Waaren! 
Es steht dahier gar mancherlei. 
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 gereicht. 
Kein Dolch ist hier, von dem nicht Blut geflossen, 
Kein Kelch, aus dem sich nicht in ganz gesunden Leib 
Verzehrend heiszes Gift ergossen, 
Kein Schmuck, der nicht ein liebenswürdig Weib 3750 
Verführt, kein Schwert, das nicht den Bund gebrochen, 
Nicht etwa hinterrücks den Gegenmann durchstochen. 


Mephistopheles. 
Frau Muhme, sie versteht mir schlecht die Zeiten. 
Gethan, geschehn ! Geschehn, gethan ! j 
Verleg sie sich auf Neuigkeiten ! 3755 
Nur Neuigkeiten ziehn uns an, 


WALPURGIS NIGHT: i 337 


Parvenu. 
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, 


Author. 
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. 


Mephistopheles (who all at once appears very old). 
I feel the people ripe for doomsday, now that I ascend 
the witch-mountain for the last time ;—-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 ; Ihave them ofall 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 flowed ; 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. 


nd 
a 


838 WALPURGISNACHT. 


Faust. 
Dasz ich mich nur nicht selbst vergesse ! 
Heisz’ ich mir das doch eine Messe! 


Mephistopheles. 
Der ganze Strudel strebt nach oben ; 
Du glaubst zu schieben, und du wirst geschoben. 


Faust. 
Wer ist denn das ? 


Mephistopheles. 
Betrachte sie genau ! 
Lilith ist das. 


Faust. 
Wer? 


Mephistopheles. 
Adam’s erste Frau. 
Nimm dich in Acht vor ihren schénen Haaren, 
Vor diesem Schmuck, mit dem sie einzig prangt ! 
Wenn sie damit den jungen Mann erlangt, 
So läszt sie ihn sobald nicht wieder fahren. 


Faust. 
Da sitzen Zwei, die Alte mit der Jungen; 
Die haben schon was Recht’s gesprungen ! 


Mephistopheles. 
Das hat nun heute keine Ruh. 


3760 


3765 


Es geht zum neuen Tanz ; nun komm, wir greifen zu, 3770 


Faust (mit der Jungen tanzend), 
Einst hatt’ ich einen schönen Traum ; 
Da sah ich einen Apfelbaum, 
Zwei schöne Aepfel glänzten dran, 
Sie reizten mich, ich stieg hinan. 


WALPURGIS-NIGHT. 339 


Faust. 
I must endeavour to keep my senses! This is a fair 
with a vengeance ! 


Mephistopheles. 
The whole throng struggles upwards. You think to 
shove, and you yourself are shoved. 


; Faust. 
Who, then, is that? 
Mephistopheles. 
Mark her well! That is Lilith.’ 
Faust. 
Who? 
Mephistopheles. 


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 Schöne. 


Der Aepf.lchen begehrt ihr sehr, 
Und schon vom Paradiese her. 

Von Freuden fühl’ ich mich bewegt, 
Dasz auch mein Garten solche trägt. 


Mephistopheles (mit der Alten). 
Einst hatt’ ich einen wüsten Traum ; 


Die Alte. 


Ich biete meinen besten Grusz 
Dem Ritter mit dem Pferdefusz ! 


Proktophantasmist. 


Verfluchtes Volk! Was untersteht ihr euch ? 
Hat man euch lange nicht bewiesen, 

Hin Geist steht nie auf ordentlichen Füszen ? 
Nun tanzt ihr gar, uns andern Menschen gleich ! 


Die Schöne (tanzend). 
Was will denn der auf unserm Ball? 


" Faust (tanzend). 


Ei! Der ist eben überall. 

Was Andre tanzen, musz er schitzen, 

Kann er nicht jeden Schritt beschwitzen, 

So ist der Schritt so gut als nicht geschehn. 

Am Meisten ärgert ihn, sobald wir vorwärts gehn, 
Wenn ihr euch so im Kreise drehen wolltet, 

Wie er's in seiner alten Mühle thut, 

Das hiesz’ er allenfalls noch gut, 

Besonders wenn ihr ihn darum begrüszen solltet, 


3775 


3780 


3785 


3790 


3795 


3800 


WALTURGIS-NIGHT. 341 


The Fair One. 
Little apples you covet much, and you have done so 
already in paradise. I feel moved with 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, 


Procktophantasmist."* 

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 WALPURGISN ACHT. 


Proktophantasmist. 
Ihr seid noch immer da! Nein, das ist unerhört. 
Verschwindet doch ! Wir haben ja aufgeklärt ! 
Das Teufelspack, es fragt nach keiner Regel ! 
Wir sind so klug, und dennoch spukt’s in Tegel. 
Wie lange hab’ ich nicht am Wahn hinausgekehrt, 38305. 
Und nie wird’s rein, das ist doch unerhört ! 


Die Schöne. 
So hört doch auf, uns hier zu ennuyiren ! 


Proktophantasmist. 
Ich sag’s euch Geistern ins Gesicht : 
Den Geistesdespotismus leid’ ich nicht ; 
Mein Geist kann ihn nicht exerciren. 3810 
[Es wird fortgetanzt.] 
Heut, seh’ ich, will mir nichts gelingen ; 
Doch eine Reise nehm’ ich immer mit 
Und hoffe, noch vor meinem letzten Schritt 
Die Teufel und die Dichter zu bezwingen. 


. Mephistopheles. 
Er wird sich gleich in eine Pfütze setzen, 3815 
Das ist die Art, wie er sich soulagirt, 
Und wenn Blutegel sich an seinem Steisz ergetzen, 
Ist er von Geistern und von Geist kurirt. 
[Zu Faust, der aus dem Tanz getreten ist.] 
Was lässest du das schöne Mädchen fahren, 
Das dir zum Tanz so lieblich sang ? 3820 


Faust. 
Ach! Mitten im Gesange sprang 
Ein rothes Mäuschen ihr aus dem Munde, 


Mephistopheles. 
Das ist was Recht’s! Das nimmt man nicht genau ; 
Genug, die Maus war doch nicht grau. 
Wer fragt darnach in einer Schäferstunde ? 3825 


WALPURGIS-NIGHT. 343 


Procktophantasmist. 

You are still there, then! No, that 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 ! 


Procktophantasmist. 

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 


amd 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 Faust, who 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 nice about such matters. Enough that the 
mouse was not grey. Who cares for such things in a 
lovers’ hour ? 


344 WALPURGASNACHT. 


Faust. 
Dann sah ich— 


Mephistopheles. 
Was? 


Faust. 
Mephisto, siehst du dort 
Ein blasses schönes Kind allein und ferne stehen ? 
Sie schiebt sich langsam nur vom Ort, 
Sie scheint mit geschlossnen Füszen zu gehen. 
Ich musz bekennen, dasz mir däucht, 3830 
Dasz sie dem guten Gretchen gleicht. 


Mephistopheles. 
Lasz das nur stehn! Dabei wird’s Niemand wohl. 
Es ist ein Zauberbild, ist leblos, ein Idol. 
Ihm zu begegnen ist nicht gut; 
Vom starren Blick erstarrt des Menschen Blut, 3835 
Und er wird fast in Stein verkehrt : 
Von der Meduse hast du ja gehört. 


Faust. 
Fürwahr, es sind die Augen einer Todten, 
Die eine liebende Hand nicht schlosz, 
Das ist die Brust, die Gretchen mir geboten, 3840 
Das ist der süsze Leib, den ich genosz. 


Mephistopheles. 
Das ist die Zauberei, du leicht verführter 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 schönen Hals 
Ein einzig rothes Schnürchen schmücken, 
Nicht breiter als ein Messerrücken ! 


WALPURGIS-NIGHT, 845 


Faust. 
Then I saw— 
Mephistopheles, 
What ? man 
Faust. 


Mephisto, do you see yonder a pale, fair girl, stand- 
ing alone and afar off? She fags 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 look, and he is wellnigh 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 adorn that 
lovely neck. 


346 


WALPURGISNACHT. 


Mephistopheles, 
Ganz recht, ich seh’ es ebenfalls, 
Sie kann das Haupt auch unterm Arme tragen, 3850 
Denn Perseus hat’s ihr abgeschlagen.— 
Nur immer diese Lust zum Wahn ! 
Komm doch das Hügelchen heran ! 
Hier ist’s so lustig wie im Prater; 
Und hat man mir’ggicht angethan, 3855 
So seh’ ich wahrlic#ein Theater, 
Was giebt’s denn da? 


Servibilis. 
Gleich fängt man wieder an. 

Ein neues Stiick,.das letzte Stück von sieben ; 
So viel zu geben, ist allhier der Brauch. 
Ein Dilettant hat es geschrieben, 3860 
Und Dilettanten spielen’s auch. 
Verzeiht, ihr Herrn, wenn ich verschwinde ; 
Mich dilettirt’s, den Vorhang aufzuziehn. 


Mephistopheles. 
Wenn ich euch auf dem Blocksberg finde, 
Das find’ ich gut; denn da gehört ihr hin. 3865 


WALPURGIS-NIGHT. 347 


Mephistopheles. 

Right! I see it too. She can also carry her head 
under her arm, for Perseus has cut it off for her. But 
ever this fondness for delusion! 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 ? 





Servibilis. 

They will 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. 


Mephistopheles. 
When I find you upon the Blocksberg,—that is just 
what I approve ; for this is the proper place for you. 


WALPURGISNACHTSTRAUM 


ODER 


OBERON’S UND TITANIA’S GOLDNE HOCHZEIT. 


INTERMEZZO, 


Theatermeister. 
EUTE ruhen wir einmal, 
Mieding’s wackre Söhne, 
Alter Berg und feuchtes Thal, 
Das ist die ganze Scene! 


‚Herold. 
Dasz die Hochzeit golden sei, 3370 
Soll’n funfzig Jahr’ sein vorüber ; 
Aber ist der Streit vorbei, 
Das golden ist mir lieber. 


Oberon. 
Seid ihr Geister, wo ich bin, 
So zeigt’s in diesen Stunden ! 3875 
König und die Königin, 
Sie sind aufs Neu’ verbunden. 


Puck, 
Kommt der Puck und dreht sich quer 
Und schleift den Fusz im Reihen, 
Hundert kommen hinterher, 3880 
Sich auch mit ihm zu freuen. 


Ariel, 
Ariel bewegt den Sang 
In himmlisch reinen Tönen ; 
Viele Fratzen lockt sein Klang, 
Doch lockt er auch die Schönen. 3885 


WALPURGIS-NIGHT’S DREAM; 
OR, 


OBERON AND TITANIA’S GOLDEN WEDDING. 


INTERMEZZO. 8% 


Stage-Manager. 
O-DAY 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 be golden, fifty years are 
to be past; but 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. 

Ariel.” 


Ariel awakes the song, in tones of heavenly purity ; 
his music lures many ugly faces, but it also lures the 


fair ones. 


3 


0 


WALPURGISNACHTSTRAUM. 


Oberon. 
Gatten, die sich vertragen wollen, 
ernen’s von uns Beiden ! 
A enn sich Zweie lieben sollen, 
Trasaht man sie nur zu scheiden. 


Titania. 


Schmollt der Mann, und grillt die Frau, 


So faszt sie nur behende, 
Führt mir nach dem Mittag sie, 
Und ihn an Nordens Ende. 


Orchester. Tutti (Fortissimo). 
Fliegenschnauz’ und Mückennas’ 
Mit ihren Anverwandten, 

Frosch im Laub und Grill’ im Gras, 
Das sind die Musikanten ! 


Solo. 
Seht, da kommt der Dudelsack ! 
Es ist die Seifenblase. 
Hört den Schneckeschnickeschnack 
Durch seine stumpfe Nase, 


Geist, der sich erst bildet. 
Spinnenfusz und Krötenbauch 
Und Flügelchen dem Wichtchen ! 
Zwar ein Thierchen giebt es nicht, 
Doch giebt es ein Gedichtchen. 


Ein Pärchen. 
Kleiner Schritt und hoher Sprung 
Durch Honigthau und Düfte; 
Zwar du trippelst mir genung, 
Doch geht’s nicht in die Lüfte. 


Neugieriger Reisender. 
Ist das nicht Maskeradenspott ? 
Soll ich den Augen trauen, 
Oberon, den schönen Gott, 
Auch heute hier zu schauen ? 


3890 


3895 


3900 


3995 


3910 


WALPURGIS-NIGHT’S DREAM. 351 


Oberon. 
Wedded ones, who would agree, —let them take a 
lesson from us two. To make a couple love each other, 
_it is only y necessary to ‚separate ‘them. j 


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-Tutti (Fortissimo). 

Flies’ 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 Sehnegke scliniok schnack through its 
snub-nose. ER - ü : 


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 


WALPURGISNACHTSTRAUM, 


Orthodox. 
Keine Klauen, keinen Schwanz ! 
Doch bleibt es auszer Zweifel, 
So wie die Götter Griechenlands, 
So ist auch er ein Teufel. 


Nordischer Künstler, 
Was ich ergreife, das ist heut 
Fürwahr nur skizzenweise ; 
Doch ich bereite mich bei Zeit 
Zur italiän’schen Reise, 


Purist. 
Ach, mein Unglück führt mich her: 
Wie wird nicht hier geludert ! 
Und von dem ganzen Hexenheer 
Sind Zweie nur gepudert. 


Junge Hexe. 
Der Puder ist, so wie der Rock, 
Für alt- und graue Weibchen ; 
Drum sitz’ ich nackt auf meinem Bock 
Und zeig’ ein derbes Leibchen. 


Matrone, 
Wir haben zu viel Lebensart, 
Um hier mit euch zu maulen; 
Doch, hoff” ich, sollt ihr jung und zart, 
So wie ihr seid, verfaulen. 


‚Kapellmeister. 
Fliegenschnauz’ und Mückennas', 
Umschwärmt mir nicht die Nackte! 
Frosch im Laub und Grill im Gras, 
So bleibt doch auch im Takte! 


Windfahne (nach der einen Seite). 
Gesellschaft, wie man wünschen kann, 
Wahrhaftig, lauter Briute! 

Und Junggesellen, Mann für Mann, 
Die hoffnungsvollsten Leute | 


3915 


3920 


3925 


3930 


3935 


3940 


WALPURGIS-NIGHI’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. ö 

What I catch, is at present only sketch-ways as it 
were; but I prepare myself betimes for the Italian 
journey. 

Purist.? 

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. Frog 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! 

AA 


354 


WALPURGISNACHTSTRAUM. 


Windfahne (nach der andern Seite). 
Und thut sich nicht der Boden auf, 
Sie Alle zu verschlingen, 

So will ich mit behendem Lauf 
Gleich in die Hölle springen. 


Xenien. 
Als Insekten sind wir da 
Mit kleinen scharfen Scheren, 
Satan, unsern Herrn Papa, 
Nach Wiirden zu verehren. 


Hennings. 
Seht, wie sie in gedrängter Schaar 
Naiv zusammen scherzen ! 
Am Ende sagen sie noch gar, 
Sie hätten gute Herzen. 


Musaget. 
Ich mag in diesem Hexenheer 
Mich gar zu gern verlieren ; 
Denn freilich, diese wüszt’ ich eh'r 
Als Musen anzuführen. 


Ci-devant Genius der Zeit. 
Mit rechten Leuten wird man was. 
Komm, fasse meinen Zipfel ! 


Der Blocksberg, wie der deutsche Parnasz 


Hat gar einen breiten Gipfel. 


Neugieriger Reisender. 
Sagt, wie heiszt der steife Mann ? 
Er geht mit stolzen Schritten, 


Er schnopert, was er schnopern kann, 


“Er spürt nach Jesuiten.” 


Kranich. 
In dem Klaren mag ich gern 
Und auch im Trüben fischen ; 
Darum seht ihr den frommen Herrn 
Sich auch mit Teufeln mischen, 


3945 


395° 


3955 


3960 


3965 


WALPURGIS-NIGHT’S DREAM. 855 


Weathercock (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. 

Xenien.4s 

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 stiff man?'* He 
stalks along with proud steps; he snuffles everything 
he can snuffle. “ He is scenting out Jesuits.” 


a 


The Crane.” 
I like to fish in clear and even in troubled waters. 
Therefore you also see the pious gentleman associato 
even with devils. 


856 


WALPURGISNACHTSTRAUM. 


Weltkind. 
Ja, für die Frommen, glaubet mir, 
Ist Alles ein Vehikel ; 
Sie bilden auf dem Blocksberg hier 
Gar manches Konventikel. 


Tänzer. 
Da kommt ja wohl ein neues Chor ? 
Ich höre ferne Trommeln. 
« Nur ungestört! Es sind im Rohr 
Die unisonen Dommeln.” 


Tamzmeister. 
Wie Jeder doch die Beine lupft, 
Sich, wie er kann, herauszieht ! 
Der Krumme springt, der Plumpe hupft 
Und fragt nicht, wie es aussieht. 


Fideler. 
Das haszt sich schwer, das Lumpenpack, 
Und gäb’ sich gern das Restchen ; 
Es eint sie hier der Dudelsack, 
Wie Orpheus’ Leier die Bestjen. 


Dogmatiker. 
Ich lasse mich nicht irre schrein, 
Nicht durch Kritik noch Zweifel. 
Der Teufel musz doch etwas sein ; 
Wie gäb’s denn sonst auch Teufel ? 


Idealist. 
Die Phantasie in meinem Sinn 
Ist diesmal gar zu herrisch : 
Fürwahr, wenn ich das Alles bin, 
So bin ich heute närrisch. 


Realist. 
Das Wesen ist mir recht zur Qual 
Und musz mich basz verdrieszen ; 


3979 


3975 


3980 


3985 


399° 


3995 


WALPURGIS-NIGHT’S DREAM. 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.7 
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. 


Ich stehe hier zum ersten Mal 
Nicht fest auf meinen Füszen. 


Supernaturalist. 
Mit viel Vergnügen bin ich da 
Und freue mich mit diesen; 
Denn von den Teufeln kann ich ja 4000 
Auf gute Geister schlieszen. 


Skeptiker. 
Sie gehn den Flämmchen auf der Spur 
Und glauben sich nah dem Schatze. 
Auf Teufel reimt der Zweifel nur; 
Da bin ich recht am Platze, 4005 


Kapellmeister. 
Frosch im Laub und Grill’ im Gras, 
Verfluchte Dilettanten ! 
Fliegenschnauz’ und Miickennas’ 
Thr seid doch Musikanten ! 


Die Gewandien. 
Sanssouci, so heiszt das Heer 4010 
Von lustigen Geschöpfen ; 
Auf den Füszen geht’s nicht mehr, 
Drum gehn wir auf den Köpfen. 


‚Die Unbehiilflichen. 
Sonst haben wir manchen Bissen erschranzt ; 
Nun aber Gott befohlen ! 4015 
Unsere Schuhe sind durchgetanzt, 
Wir laufen auf nackten Sohlen. 


Irrlichter. 
Von dem Sumpfe kommen wir, 
Woraus wir erst entstanden; 
Doch sind wir gleich im Reihen hier 4020 
Die glänzenden Galanten. 


WALPURGIS-NIGHT’S DREAM. 359 


me much. I stand here, for the first time, not firm 
upon my feet. 


Supernaturalist. 
Iam greatly pleased at being here, and am delighted 
with these; for, from devils, I can certainly draw con- 
clusions as to good spirits. 


Sceptic. 
They follow the track of the flame, and believe them- 
selves near the treasure. Only doubt (Zweifel) rhymes 
‚to devil (Teufel). Here I am quite at home. 


Leader of the Band. 
Frog in the leaves, and cricket in the grass, con- 
founded dilettanti! Flies’ snouts and gnats’ noses, 
you are real musicians! 


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 


WALPURGISNACHTSTRAUM. 


Sternschnuppe. 
Aus der Höhe schosz ich her 
Im Stern- und Feuerscheine, 
Liege nun im Grase quer; 
Wer hilft mir auf die Beine ? 


Die Massiven. 


Platz und Platz! Und ringsherum ! 


So gehn die Gräschen nieder. 
Geister kommen, Geister auch, 
Sie haben plumpe Glieder, 


Puck, 
Tretet nicht so mastig auf 
Wie Elephantenkälber! 
Und der Plumpst’ an diesem Tag 
Sei Puck, der Derbe, selber ! 


Ariel. 
Gab die liebende Natur, 
Gab der Geist euch Flügel, 
Folget meiner leichten Spur, 
Auf zum Rosenhiigel ! 


Orchester (Pianissimo). 
Wolkenzug und Nebelflor 
Erhellen sich von oben. 

Luft im Laub und Wind im Rohr, 
Und Alles ist zerstoben. 


4025 


4030 


4035 


4040 


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. 
Room! room! And round about! So down go the 
grass-stalks. Spirits are coming, but spirits as they 
are, they have clumsy limbs. 


Puck. 
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 hill 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 ! 


. BRUBER.TAG. FELD. 
Faust. _MEPHISTOPHELES. 


Faust. 

M Elend! Verzweifelnd! Erbärmlich auf der Erde! 

Lange verirrt und nun gefangen! Als Missethäterin im 
Kerker zu entsetzlichen {Qualen eingesperrt, das holde, 
unselige Geschöpf! Bis dahin! Dahin !—Verrätherischer, 
nichtswürdiger Geist, und das hast du mir verheimlicht ! 5 
—Steh-nur, steh ! Wälze die teuflischen Augen ingrim- 
mend im Kopf herum ! Steh und trutze mir durch deine 
unerträgliche Gegenwart! Gefangen ! Im unwiederbring- 
lichen Elend ! Bösen Geistern übergeben und der richten- 
den gefühllosen Menschheit! Und mich wiegst du indesz 10 
in abgeschmackten Zerstreuungen, verbirgst mir ihren 
wachsenden Jammer und lässest sie hülflos verderben ! 


Mephistopheles. 
Sie ist die Erste nicht. 


Faust. 

.Hund! Abscheuliches Unthier !—Wandle ihn, du un- 
endlicher Geist, wandle den Wurm wieder in seine Hunds- 15 
gestalt, wie er sich oft nächtlicher Weise gefiel, vor mir 
herzutrotten, dem harmlosen Wandrer vor die Füsze zu 
kollern und sich dem niederstürzenden auf die Schultern 
zu hängen ! Wandl ihn wieder in seine Lieblingsbildung, 
dasz er vor mir im Sand auf dem Bauch krieche, ich ihn 20 


A GLOOMY DAY.—OPEN COUNTRY. 


. 
FAust— MEPHISTOPHELES. 


Faust. 

N misery! Despairing! Miserably lying on the 
ground!” <A long time wandering about, and 
now a prisoner! The dear, unhappy being, cooped up 
in the dungeon, as a malefactor, for horrid tortures ! 
Even tothat! To that! Treacherous, worthless spirit, 
and this hast thou concealed from me! Stand, only 
stand . Roll thy devilish eyes infuriated in thy head! 
Stand and brave me with thy unbearable 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. 
Faust. J 


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 belly before me in the sand, whilst I spurn him with 


— 


364 TRUBER TAG. FELD. 


mit Füszen trete, den Verworfnen !—Die Erste nicht! 
—Jammer! Jammer, von keiner Menschenseele zu fassen, 
dasz mehr als ein Geschöpf in die Tiefe dieses Elendes 
versank, dasz nicht das erste genugthat für die Schuld 
aller übrigen in seiner windenden Todesnoth vor den 25 
Augen des ewig Verzeihegden! Mir wühlt es Mark und 
Leben durch, das Elend dieser Hinzigen; du grinsest 
gelassen über das Schicksal von Tausenden hin ! 


Mephistopheles. 

Nun sind wir schon wieder an der Grenze unsers Witzes, 
da, wo euch Menschen der Sinn überschnappt. Warum 30 
machst du Gemeinschaft mit uns, wenn du sie nicht durch- 
führen kannst? Willst fliegen und bist vorm Schwindel 
nicht sicher ? Drangen wir uns dir auf, oder du dich uns? 


Faust. 

Fletsche deine gefräszigen Zähne mir nicht so ent- 
gegen! Mir ekelt’s!—Groszer, herrlicher Geist, der du 35 
mir zu erscheinen würdigtest, der du mein Herz kennest 
und meine Seele, warum an den Schandgesellen mich 
schmieden, der sich am Schaden weidet und am Verderben 
sich letzt P 


Mephistopheles. 
Redigst du ? 40 


Faust. 
Rette sie, oder weh dir! Den gräszlichsten Fluch über 
dich auf J; abrtausende ! ! 


Mephistopheles. 
Ich kann die Bande des Rächers nicht lösen, seine 


A GLOOMY DAY—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. 


Mephistopheles. 

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? Willst fly, and 
art not safe from dizziness? Did we force ourselves on 
thee, or thou thyself on us? 


Faust. 
Gnash 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. 


T cannot loosen the shackles of the avenger, nor undo 
5 


366 TRUBER TAG. FELD, 


Riegel nicht öffnen. —Rette sie !—Wer war's, der sie ins 
Verderben stürzte !: Ich oder du? 4 
[Faust blickt wild umher.) 

Greifst du nach dem Donner ? Wohl, dasz er euch 
elenden Sterblichen nicht gegeben ward! Den unschuldig 
Eintgegnenden zu zerschmettern, das ist so Tyrannenart, 
sich in Verlegenheiten Luft zu machen, 


5 


Faust. 
Bringe mich hin! Sie soll frei sein! so 
Mephistopheles. 

Und die Gefahr, der du dich aussetzest ? Wisse, noch 
liegt auf der Stadt Blutschuld von deiner Hand, Ueber 
des Erschlagenen Stätte schweben rächende Geister und 
lauern auf den wiederkehrenden Mörder, 


Faust. 
Noch das von dir? Mord und Tod einer Welt über dich 55 
Ungeheuer! Fihre mich hin, sag’ ich, und befrei sie! 


Mephistopheles. 

Ich führe dich, und was ich thun kann, höre ! Habe ich 
alle Macht im Himmel und auf Erden? Des Thiirners 
Sinne will ich umnebeln ; bemächtige dich der Schlüssel 
und führe sie heraus mit Menschenhand! Ich wache ; die 60 
Zauberpferde sind bereit, ich entführe euch. Das vermag 
ich ! 

‘ Faust. 

Auf und davon! 


A GLOOMY DAY—OPEN COUNTRY, 367 


his bolts——Save her!—Who was it that plunged her 
into run? Iorthou? [Faust looks wildly arownd.] 
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 ! 


Mephistopheles. 

And the danger to which you expose yourself? Know, 
the guilt of blood, from your hand, still 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! 

Mephistopheles. 

I will conduct thee, and what I can do, hear! Have I 
all power in 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 will be ready, I will bear you off. This 


much I can do. 
Faust. 


Up and away! 


NACHT, OFFEN FELD. 


Faust; MEPHISTOPHELES, auf schwarzen Pferden daher- 
brausend. 


Faust. 
\ N TAS weben die dort um den Rabenstein ? 


Mephistopheles. 
Weisz nicht, was sie kochen und schaffen. 


Faust, 
Schweben auf, schweben ab, neigen sich, beugen sich, 


Mephistopheles. 
Eine Hexenzunft, 4045 
Faust. 
Sie streuen und weihen. 


Mephistopheles 
Vorbei ! Vorbei! 


NIGHT.—A COMMON. 


Faust and MEPHISTOPHELES rushing along upon 
black horses. 


Faust. 
HAT are they weaving—those about the Raven- 
stone’ yonder ? 
Mephistopheles. 


Can’t tell what they’re cooking and making. 


Faust. 
Are waving upwards—waving downwards—bending 
—stooping. 
Mephistopheles. 
A witches’ company. 


Faust. 
They are sprinkling and charming. 


Mephistopheles. 
On! on! 


BB 


KERKER. 


Faust (mit einem Bund Schlüssel und einer Lampe vor 
einem eisernen Thürchen). 2 


M ICH faszt ein längst entwohnter Schauer, 
‘1 Der Menschheit ganzer Jammer faszt mich an. 
Hier wohnt sie, hinter dieser feuchten Mauer, 4050 
Und ihr Verbrechen war ein guter Wahn! 
Du zauderst, zu ihr zu gehen ! 
Du fürchtest, sie wiederzusehen ! 
Fort! Dein Zagen zögert den Tod heran. 
[Er ergreift das Schloss. Es singt inwendig.] 


Meine Mutter, die —, 4055 
Die mich umgebracht hat! 

Mein Vater, der Schelm, 

Der mich gessen hat! 

Mein Schwesterlein klein 

Hub auf die Bein’ 4060 
An einem kühlen Ort; 

Da ward ich ein schönes Waldvögelein ; 

Fliege fort, fliege fort ! 


Faust (aufschlieszend). 
Sie ahnet nicht, dasz der Geliebte lauscht, 
Die Ketten klirren hört, das Stroh, das rauscht. 4065 
[Er tritt ein.] 


Margarete (sich auf dem Lager verbergend). 
Weh! Weh! Sie kommen. Bittrer Tod! 


Faust (leise). 
Still ! Still ! Ich komme, dich zu befreien, 


DUNGEON. 


Faust (with a bunch of keys and a lamp, before an iron 
wicket). 
TREMOR, 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! Thou 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. 


Fly away ! fly away !1°? 





2 


Faust (opening the lock). 
She does not suspect that her lover is listening, hears 
the chains clank, the straw rustle. [He enters. ] 


Margaret (hiding her face in the bed of straw). 
Woe! woe! They come. Bitter death! 


Faust (softly). 
Hush! hush! I come to free thee. 


872 KERKER. 


Margarete (sich vor ihn hinwälzend). 
Bist du ein Mensch, so fühle meine Noth ! 


Faust 


Du wirst die Wächter aus dem Schlafe schreien ! 
[Er faszt die Ketten, sie aufzuschlieszen. | 


‘Margarete (auf den Knicen). 
Wer hat dir Henker diese Macht 4070 
Ueber mich gegeben ! 
Du holst mich schon um Mitternacht. 
Erbarme dich und lasz mich leben ! 
Ist's morgen früh nicht zeitig genung ? [Sie steht auf.) 
Bin ich doch noch so jung, so jung! 4075 
Und soll schon sterben ! 
Schön war ich auch, und das war mein Verderben. 
Nah war der Freund, nun ist er weit; 
Zerrissen liegt der Kranz, die Blumen zerstreut. 
Fasse 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 iiberstehen ! 


Margarete. 
Ich bin nun ganz in deiner Macht. 4085 
Lasz mich nur erst das Kind noch tränken. 
Ich herzt’ es diese ganze Nacht ; 
Sie nahmen mir’s, um mich zu kränken, 
Und sagen nun, ich hätt’ es umgebracht. 
Und niemals werd’ ich wieder froh. 4090 
Sie singen Lieder auf mich! Es ist bis von den Leuten !... 
Ein altes Märchen endigt so, 
Wer heiszt sie’s deuten P 


DUNGEON. 373 


Margaret (throwing herself before him). 
If thou art human, feel for my wretchedness. 


Faust. 
You will wake the guard by your cries ! 


[He takes hold of the chains to unlock them. ] 


Margaret (on her knees). 

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. ] 

Tam yet so young, so young! and am to die already ! 
I was fair, too, and that was my undoing! Mytrue-love 
was near—he is now far away. Torn lies my wreath, 
scattered the flowers. Don’t take hold of meso roughly! 
Spare me! What have I done to you? Let me. not 
implore in vain! I never saw you before in all my life, 
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 
killed 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 ? 


874 KERKER, 


Faust (wirft sich wieder). 
Ein Liebender liegt dir zu Füszen, 
Die Jammerknechtschaft aufzuschlieszen. 4095 


Margarete (wirft sich zu ihm). 
O lasz uns knien, die Heil’gen anzurufen ! 
Sieh ! Unter diesen Stufen, 
Unter der Schwelle 
Siedet die Hölle ! 
Der Böse, 4106 
Mit furchtbarem Grimme, 
Macht ein Getöse ! 


Faust (laut), 
Gretchen ! Gretchen ! 


Margarete (aufmerksam). 

Das war des Freundes Stimme ! 
[Sie springt auf; die Ketten fallen ab.) 

Wo ist er? Ich hab’ ihn rufen hören. 4105 
Ich bin frei! Mir soll 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 Hölle, 4110 
Durch den grimmigen, teuflischen Hohn 
Erkannt’ ich den süszen, den liebenden Ton. 


Faust. 
Ich bin’s! 
Margarete. 
Du bist’s! O sag es noch einmal ! 
[Ihn fassend.] 


+ 


Er ist's! Er ist’s! Wohin ist alle Qual ? 

Wohin die Angst des Kerkers? Der Ketten ? 4115 
Du bist’s! Kommst, mich zu retten ! 

Ich bin gerettet !—Schon ist die Strasze wieder da, 

Auf der ich dich zum ersten Male sah, 

Und der heitere Garten, 

Wo ich und Marthe deiner warten, 4120 


DUNGEON. 375 


Faust (throws himself on the ground). 
A lover lies at thy feet, to unloose the bonds of 
wretchedness. 


Margaret (throws herself 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 up ; the 
chains fall of.) Where is he? I heard him call. Iam 
free! Nobody 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, devilish 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 1s all my wretchedness? 
Whither the agony of the dungeon ?—Of the chains? 
Tis thou! Thou com’st to save me. Iam 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 KERKER. 


Faust ( fortstrebend). 
Komm mit! Komm mit! 


Margarete. 
O weile! 
Weil’ ich doch so gern, wo du weilest. [Liebkosend. ] 
Faust. 

Eile! 
Wenn du nicht eilest, 
Werden wir’s theuer büszen müssen. 4125 

Margarete. 


Wie? Du kannst nicht mehr küssen ? 

Mein Freund, so kurz von mir entfernt, 

Und hast’s Küssen verlernt ? 

Warum wird mir an deinem Halse so bang, 

Wenn sonst von deinen Worten, deinen Blicken 4130 
Ein ganzer Himmel mich überdrang 

Und du mich küsztest, als wolltest du mich ersticken ? 
Küsse mich ! : 

Sonst küss’ ich dich! [Sie umfaszt thn. | 
O weh! Deine Lippen sind kalt, 4135 
Sind stumm. 

Wo ist dein Lieben 


Geblieben ? 

Wer brachte mich drum ? [Sie wendet sich von ihm. ] 
Faust. 

Komm ! Folge mir! Liebchen, fasse Muth ! 4140 


Ich herze dich mit tausendfacher Gluth ; 
Nur folge mir! Ich bitte dich nur dies ! 


Margarete (2u ihm gewendet). 
Und bist du’s denn? Und bist du’s auch gewisz? 


Faust, 
Ich bin’s! Komm mit! 


DUNGEON. 877 


Faust (striving to take her away). 
Come! Come with me! 


Margaret. 
Oh stay! I like to stay where thou stayest. 
[Caressing him.] 


Faust. 


Haste! If you do not make haste, we shall pay dearly 
for it. 


Margaret. 

What? You 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? Kiss me! or I will kiss you! (She em- 
braces him.) O woe! your lips are cold,—are dumb. 
Where have you left your love? Who has robbed me of 
itP | [She turns from 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. 
"Tis L Come along! 


378 KERKER. 


Margarete. 
Du machst die Fesseln los, 
Nimmst wieder mich in deinen Schoosz. 4145 
Wie kommt es, dasz du dich vor mir nicht scheust ?— 
Und weiszt du denn, mein Freund, wen du befreist ? 


Faust. 
Komm ! Komm ! Schon weicht die tiefe Nacht. 


Margarete. 
Meine Mutter hab’ ich umgebracht, 
Mein Kind hab’ ich ertrinkt. 4150 
War es nicht dir und mir geschenkt ? 
Dir auch—du bist’s! Ich glaub’ es kaum. 
Gieb deine Hand! Es ist kein Traum ! 
Deine liebe Hand !—-Ach, aber sie ist feucht ! 
Wische sie ab ! Wie mich däucht, 4155 
Ist Blut dran. 
Ach Gott! Was hast du gethan ! 
Stecke den Degen ein; 
Ich bitte dich drum ! 


Faust. 
Lasz das Vergangne vergangen sein, 4160 
Du bringst mich um. 
Margarete. 


Nein, du muszt übrig bleiben ! 

Ich will dir die Gräber beschreiben, 

Für 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 süszes, ein holdes Glück! 

Aber es will mir nicht mehr gelingen ; 

Mir ist’s, als miiszt’ ich mich zu dir zwingen, 4175 


DUNGEON, 379 


Margaret. 

You 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. 

Ihave 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 off. 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 kill 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 Ican no more attain ib; I feel as if I 


380 KERKER. 


Als stieszest du mich von dir zuriick. 
Und doch bist du’s und blickst so gut, so fromm, 


™ 


Faust. 
Fühlst du, dasz ich es bin, so komm! 
Margarete. 
Da hinaus ? 
Faust. 
Ins Freie, 
Margarete. 


Ist das Grab drausz, 
Lauert der Tod, so komm ! 
Von hier ins ewige Ruhebett, 
Und weiter keinen Schritt— 
Du gehst nun fort? O Heinrich, könnt’ ich mit! 


Faust. 
Du kannst ! So wolle nur! Die Thür steht offen. 


Margarete. 
Ich darf nicht fort ; für mich ist nichts zu hoffen, 
Was hilft es fliehn P Sie lauern doch mir auf. 
Es ist so elend, betteln zu müssen, 
Und noch dazu mit bösem Gewissen ! 
Es ist so elend, in der Fremde schweifen, 
Und sie werden mich doch ergreifen! 


‚Faust. 
Ich bleibe bei dir. 


Margarete, 
: Geschwind ! Geschwind ! 
Rette dein armes Kind! 
Fort! Immer den Weg 
Am Bach hinauf, 
Ueber den Steg, 
In den Wald hinein, 
Links, wo die Planke steht 
Im Teich. 


4180 


4185 


4190 


4195 


DUNGEON. 381 


must force myself upon you, as if you did repel me. 
And yet, ’tis you; and you look so kind, so good. 


Faust. 
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? O Henry, 
could I but go too! 

Faust. 

Thou canst! Thou need’st only will it! The door 
stands open. 

Margaret.% 

I dare not go out; there is no hope for me! What 
avails it flying? They are lying in wait forme. 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 gleich ! 4200 
Es will sich heben, 
Eis zappelt noch. 
Rette! Rette ! 
Faust. 


“ Besinne dich doch ! 
Nur einen Schritt, so bist du frei! 


Margarete. 
Wären wir nur den Berg vorbei !- 4205 
Da sitzt meine Mutter auf einem Stein, 
Es faszt mich kalt beim Schopfe ! 
Da sitzt meine Mutter auf einem Stein 
Und wackelt mit dem Kopfe; 
Sie winkt nicht, sie nickt nicht, der Kopf ist ihr schwer, 
Sie schlief so lange, sie wacht nicht mehr, 4211 
Sie schlief, damit wir uns freuten, 
Es waren glückliche Zeiten ! 


Faust, 
Hilft hier kein Flehen, hilft kein Sagen, 
So wag’ ich’s, dich hinwegzutragen. 4215 


Margarete. 
Lasz mich! Nein, ich leide keine Gewalt ! 
Fasse mich nicht so mörderisch an ! 
Sonst hab’ ich dir ja Alles zu Lieb’ gethan. 


Faust. 
Der Tag graut! Liebchen ! Liebchen ! 


Margarete. 
Tag! Ja, es wird Tag! Der letzte Tag dringt herein; 
Mein Hochzeittag sollt’ es sein ! 4221 
Sag Niemand, dasz du schon bei Gretchen warst. 
Weh meinem Kranze ! 
Es ist eben geschehn ! 
Wir werden uns wiedersehn ; 4225 
Aber nicht beim Tanze. . 
Die Menge drängt sich, man hört 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 
done everything to please you. 


Faust. 
The day is dawning! My love! My love! 


Margaret. 

Day! Yes, 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! Itis all overnow! We shall meet again, 
but not at the dance. The crowd thickens; it is not 


384 KERKER. 


Der Platz, die Gassen 

Können sie nicht fassen. 

Die Glocke ruft, das Stäbchen bricht. 4230 
Wie sie mich binden und packen ! 

Zum Blutstuhl bin ich schon entrückt. 

Schon zuckt nach jedem Nacken 

Die Schärfe, die nach meinem zückt. 

Stumm liegt die Welt wie das Grab! 4235 


Faust, 
O, wir’ ich nie geboren ! 


MEPHISTOPHELES erscheint brauszen. 


Mephistopheles. 
Auf! Oder ihr seid verloren. 
Unniitzes Zagen, Zaudern und Plaudern! 
Meine Pferde schaudern, 
Der Morgen dämmert auf. 4240 


Margarete. 
Was steigt aus dem Boden herauf? 
Der! Der! Schick ihn fort! 
Was will der an dem heiligen Ort P 
Er will mich ! 
Faus.. 
Du sollst leben ! 


Margarete. 
Gericht Gottes! Dir hab’ ich mich übergeben ! 4245 


Mephistopheles (zu Faust). 
Komm ! Komm ! Ich lasse dich mit ihr im Stich, 


Margarete. 
Dein bin ich, Vater! Rette mich ! 
Ihr Engel ! Ihr heiligen Schaaren, 
Lagert euch umher, mich zu bewahren ! 
Heinrich ! Mir graut’s vor dir. 4250 


DUNGEON, 885 


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!1™ 
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 born! 


Mephistopheles (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! Ihave given myself up to thee. | \ 


Mephistopheles (to Faust). 
Come! come! I will leave you in the lurch with 
her. 
Margaret. 
Thine am I, Father! Save me! Ye Angels! Ye 
Holy Hosts,” range yourselves round about, to guard 
me! Henry! I shudder to look upon thee. 


386 KERKER. 


Mephistopheles. 
Sie ist gerichtet ! 


Stimme. (von oben). 
Ist gerettet ! 


— Mephistopheles (zu Faust). ° 
Her zu mir! 
[ Verschwindet mit Faust. ] 


Stimme (von innen verkallend). 
Heinrich ! Heinrich ! 


DUNGEON. 387 
Mephistopheles. 
She is judged |" 


Voice from above. 
Is saved. 


Mephistopheles (to Faust). 
Hither to me! 


[Disappears with Faust. ] 


Voice (from within, dying away). 
Henry! Henry ! 


NOTES. 


PAGE 3, x. 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 off 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.—Ep. 


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. 


Paas 5, n. 4. Pleasing and instructive. Cp. 
“Omne tulit punctum qui miscuit utile dulei.” 
HORACE. 
PAGE 9, n. 5. People come to look. Cp. 
‘‘ Segnius irritant animos demissa per aures, 
Quam que sunt oculis subjecta fidelibus, et que 
Ipse sibi tradit spectator.” HORACE. 


=” 

PAGE 9, n. 6. “La Comedie des Visionnaires nous réjouit 
beaucoup: nous trouvames que c’est la representation de tout 
le monde; chacun a ses visions plus ou moins marquées.”— 
MADAME DE SEVIGNE. 


890 FAUST. 


PAGE 1], n. 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. 8. ““ 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 Demonum (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 ? ”—Lorp 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.”—CoLERIDGE’S 
Biog. Lit. 


Pace 16, n. 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, n. 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- 


NOTES. 391 


ciple of evil, and that followed by Klopstock, Milton, and Lord 
Byron 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 in 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, &.— 
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 
me.—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 scoffs 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- 


892 FAUST. 


factory explanation of it. Das Werdende is literally The Be- 
coming, but werden is rather the Greek yvoyat 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 fits 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 
“ Fraser’s Magazine” for May, 1832. [Cp. ll. 436, 437.—Eb.] 


PAGE 26, n. 16. I like to see the Ancient One occasionally.— 
Shelley translates den Alten, the Old Fellow. But the term 
may allude merely to ‘‘ The Ancient of Days,” and is not neces- 
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 
Mephistopheles in heaven amongst the host.”—p. 37. 


PAGE 29, n. 17. Night.—The 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. Chorusand Act 1, scene 1. 


PAGE 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 increaseth 

‘knowledge, increaseth sorrow.”—Ecel. e. i. 


PAGE 29, n. 19. I have therefore devoted myself to magic.— 
Goethe tells us, in his Memoirs, that whilst he was confined 
by ill-health, he and Fräulein 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 Macrocosmus 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, born in 1503, at St. Remy 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 Döring (‘ Life of Goethe,” page 72) mentions the cir and t 
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 style and their obscurity. 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.” j 


PAGE 33, n. 22. Up, acolyte!—I 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, n. 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 up.”—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 Die- 
tionary,” p. 82,—Ep. 


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 Yrröxpısıg, which includes not action merely, 
‘but all that relates to the delivery of a speech. 


% 


PaGE4l,n. 27. In which ye crisp the shreds of, &c.— The phrase 
Schnitzel kräuseln is one about which great variety of opinion 
exists, but the two highest authorities substantially agree :— 

“Vos discours qui brillent d’un si faux éclat, dans lequel 
vous étalez les ornemens les plus factices de l’esprit humain, &c. 
Kréiuseln, rendre crépu, friser. Schnitzel, ce sont des decoupures 
de papier. En les tordant en differens sens on peut en faire 
des ornemens, méme des fleurs, mais ces fleurs n’ont aucune 
fraicheur. Le poete les compare donc avec les ornemens d’une 
rhethorique affectée. Une des beautés de ce passage cest la 
singularité de la rime kräuseln et säuseln, laquelle & son tour 
aura amené les expressions un peu bizarres du second vers.”— 
M. DE SCHLEGEL—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,” &e.—DR. JACOB GRIMM— 
private letter. The analogy between this passage and the st 
vis me flere, &e., 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 famulus (Lat.), 


«¢ servant.”—ED, 
2 The word Papier-Schnitzel is used in this sense in “Wilhelm Meister.” See 


« Goethe’s Works,” Stuttgart and Tübingen edition, vol. xviii, p. 86. 


396 FAUST. 


PAGE 43, n. 28. Cp. Revel. St. John v. 1.—En. 


PAGE 43, n. 29. Haupt- und Staats-Action was the name 
given to a description of drama formerly well known in Ger- 
many. Dr. Grimm’s note upon this passage is: ‘‘ Ein Kehricht- 
Fass,” &c., 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 Staats-Action : C’est le titre qu’on affichait pour 
les drames destinés aux marionnettes, lorsqu’ils traitaient des 
sujets héroiques et historiques.” 


PAGE 43, n. 30. “Il faut avoir une pensée de derriére et 
juger de tout par 1A, en parlant cependant comme le peuple.”— 
PASCAL. 


PAGE 47, n. 31. The same sentiment, very beautifully ex- 
pressed, will be found in Schiiler’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.—Ep. 


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. Itis in Apollonius 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 bliss. —It is impossible 
to translate Werdelust. The meaning probably is, that our 
. 1 Taylor renders 1, 330, ‘‘ Earn it anew, to really possess it.”—-Ep, 


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 some 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 
Royal Institution, enables me to furnish an explanation of this 
passage, which has generally been passed over as (what M. 
Saint-Aulaire 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 metallic nature or 
body. 

nei The simply implies the conjoining or union of 
two bodies of opposite natures; red and white were supposed 
to be male and female. 

—to the lily.—This term denotes a preparation of antimony, 
called lilium minerale, or lilium Paracelsi; the white stone, or 
perhaps albified mercury, sometimes called the “ white fume,” 
or the “‘ most milk-white swanne.” 

—in the tepid bath.—This denotes a vessel filled with heated 
water, or a “balneum Mari®,” 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 
united 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 chamber.—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 offspring 
of the red lion and the lily, or its alliance to the noble metals 
—the sublimer products. ° 

— with varied hues then appeared.—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.—t.e. people did not make any 
inquiries about the beneficial influence of the medieines.—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 will 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 alchymistie terminology dates from the time 
when he returned, in 1768, from Leipzig to Frankfurt in an ailing condition, 
At his mother’s solicitation he had recourse to the “panacea” of a mystic 
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 Ströme flieszen.” 


PAGE 77, n. 41. The day before me and 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” 2 
“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 ” isa 
literal translation from Schiller. 


PAGE 77, n. 42. No bodily wing, &e.— 


« 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- 
nichs, der über mich hinflog, zu dem Ufer des ungemessenen 
Meeres gesehnt.”—Werther’s Leiden—Letter 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 Christian 
dogma of the divine and human elements in Christ.—Ep. 


PAGE 79, n. 45. The realms of an exalted ancestry.—This 
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.”—P/d. 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, 

Möchte mich 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 möchte fort.” 


PAGE 79, n. 46. ““ The spirits 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 Pennilesse his Supplication, 1592, 
cited in Steeven’s Shakespeare. ‘‘ The air is not so full of flies 
in summer, as it is at all times of invisible devils ; this Para- 
celsus stiffly maintains.”—BURTON, 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 persens 
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 phenomenon more frequently, be- 
cause the reflection immediately suggests itself. Schiller wished 
many a time that this theory had never been communicated to 


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, n. 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, Farbenlehre. 


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 (““ Ueber Goethe’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 


DD 


402 FAUST. 


water, the Sylphs in the air, and the Kobolds or Gnomes re- 
presented the spirits of the earth.—ED. 

Pace 93, n. 51. Fahrende Schüler, “roving” or ‘ travel- 
ling scholars "—scholastici vagantes—used to be called in the 
fourteenth, fifteenth, and sixteenth centuries, those students 
who wandered from university to university, living on the 
bounty or credulity of charitable people.—Ep. 

PacE 95, n. 52. Fly-god, i.e. Beelzebub, whose name is 
partly compounded of a Hebrew word signifying Ay. 

Pace 95, n. 53. I am, &e.—“ 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. e. i. 

“ Granted, that day, proceeding from the original source of 
light, deserves all honour, beeause 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 opposed 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, water, earth, &ce.—“ 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.”—HERDER, 
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 Work 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 be inferred 
from their names,—Ep, 3 


NOTES. 403 


Those who wish for more information on this subject may 
refer to “‘ Schol. in Aristoph. Nub.” 599, and Lucian’s Dialogue— 
* De lapsu inter salutandum ”—inthe 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, conjuring 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 aceused 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. 


PaGE 101, n. 58. It would seem that Faust’s sensuous longing 
has been awakened, and he therefore asks for some “ pleasant 
tidings.” —Ep. 


PAGE 118, n. 59. ‘Our physical as well as social life, manners, 
customs, worldly wisdom, philosophy, religion, all exclaim to 
to us, ‘That we shall renounce.’”—Dichtung und 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, &e.—“ 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.—Alluding to the inau- 
guration feast given on the taking of a degree. 


404 FAUST. 


PAGE 125, n. 63. Take a poet to counsel, &.—See, for example, 
the wishes put into the mouth of Sir Epicure Mammon in “ The 
Alchymist.” 


Pace 127, n. 64. I am not a hair’s breadth higher, &e.— 
“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 o’erleaps, &c.— 
“T 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 application of pedantic phrases and college 
slang, which are no more capable of being relished in England 
than such terms as wooden-spoon, little-go, cramming, 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 pen.”—MITCHELL’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. They 
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) ; that is quartz (Keiselerde) ; that 
is this, and this is that. But what am I the better if lam ever 
so perfect in all these names? When I hear them I always 
think of the old lines in ‘ Faust ’— 


‘ Encheiresin nature nennt’s die Chemie 
Bohrt sich selber Esel und weiss nicht wie !° 


“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 
(Fächer) 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 flocks 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 acuteness is 
necessary to perceive that this is an entirely mistaken path.”— 
Mrs. Austın’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 will be spent in teaching 
you, &c.—‘ In logie it struck me as strange that I was so to 


406 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 atrhetorician’s rules, 
Teach nothing but to name his tools.” —Hudibras. 


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 wishes, &e.— 


“ 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 Dramatic 
Art and Literature, vol. ii. p. 127. 


PAGE 135, n. 71. Encheiresin nature 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.” 


Pace 137, n. 72. Five lectures, &c.—Five is the number of 
courses of lectures a young and eager student ordinarily attends.” 


PAGE 187, n. 73. As if the, &e.—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. I cannot reconcile myself 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 ll, 1598-99 :— 


"a splendid word to serve, you'll find, 
For what goes in—or won't go in—the human mınd.”—Ep. 


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 pure. It may assist 
future translators, not versed in German jurisprudence, to be 
told that Gesetz, in strictness, means ‘‘ enactment,” and Recht, 
“law,” or a rule of law, generally. @esetz und Rechte [l. 1618], 
therefore, are both included under the term Jaws. 


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, &e.—This verse is from the Vulgata, 
where, however, the word diz occurs instead of deus.—ED. 


PAGE 145, n. 77. We have but to spread out this mantle.— 
This was the mode of travelling afforded by Asmodeus to Don 
Cleofas. 


PAGE 147, n. 78. Auerbach’s Cellar in Leipzig.—Auerbach’s 
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 yault are two very old paintings, 
shaped like 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 Wohlthat, Plage, “ benefits turn into plagues.”—ED. 
2 Auerbach’s Keller, which exists to thıs very day, ıs in No, 1 of the Grim- 
maische Strasze.—ED. 


408 FAUST. 


tioned bears a Latin inscription, which has proved a puzzler to 
the philologists ! :— 
“st VIVE. BIBE. OBGREGARE, MEMOR FAVSTI HVIVS ET HVIVS 
PENZ: ADERAT CLAVDO HHC ASTERAT AMPLA GRADV.— 
1525.” 4 
A distinguished scholar, Dr. Maginn, proposes to read it 
thus :— 
““yIYE, BIBE, OBGRECARE, MEMOR FAUSTI HUJUS ET HUJUS 
PENZ ! ADERAT CLAUDO HAC, AST ERAT AMPLA GRADU.” ?— 
Over the other are inscribed the lines following :— 
“ Doctor Faust zu 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— 
Grüsz’ mein Schätzchen tausendmal. 


Hayward quotes in full the second song, beginning, Nachti- 
gall, ich hör’ 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, &e.—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 “Leipziger Tageblatt” for 1833, Nos. 22, 23, 25; and Stieglita’s 
“Sage vom Doctor Faust.” R 
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.”—Ep, 
3 Leipzig was called a klein Paris in a book published in 1768,—Ep, 


NOTES. 409 


PAGE 157, n. 81. You probably started, &e.—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 Riesentédter, Jack the Giant-Killer. 


PAGE 159, n. 82. Mephistopheles sings.—A favourite at the 
court of Weimar is said to be 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 submit 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.—Hayward and other translators, following. 
some commentators, render the line— 


Uns ist ganz kannibalisch wohl— 


rather literally, “‘ We are happy as cannibals,” which does not 
seem to convey the right notion. The word kannibalisch is 
used in common language, figuratively, for “awfully,” “in a 
high degree,” &c. Cp. Sanders’ “Wörterbuch,” sub voce 
“ kannibalisch.” 


PAGE 175, n. 84.—The best commentary on this scene is to 
be found in Retzsch’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 für 
einen Hurenjäger, 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 butt for ridicule to the people of 
Leipzig in particular; just as is the case with Schilda, Krähwinkel, &c., 
h hout Germany.—ED. . ; 
ö Er 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- 


katze.—E». 


410 FAUST. 


save the reader a good deal of profitless puzzling: “ For 
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 all the interpreting and allegorizing of this drama: 
tic humoristic 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 literary 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. —Ep. 


PAGE 183, n. 87. Take the brush here, &c.—Retzsch repre- 
sents Mephistopheles as holding a light screen or fan in his 
hand. 


PAGE 185, n. 88. Oh! be so good as to glue the crown, &e.— 
“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, chapter 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, 
ie. multiplication table. 


PAGE 195, n. 91. For a downright contradiction, &e.—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 Nichis,—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 milliner. 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 und Wahrheit,” b. 5, 


PAGE 205, n. 93. All sorts, &c.—“‘ Ces pendardes-la, avec leur 
pommade, ont, je pense, enviede meruiner. Je ne vois partout 
que blancs d’ceufs, lait virginal, et mille autres brimborions? 
que je ne connois point.”—Les Precieuses Ridicules, act i, sc. 4. 


PAGE 209, n. 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 Nouvelle 
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 close, so sultry 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. se. 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 reminiscence from the poet’s life occurs farther on (1, 2306, &c.), 
where Faust asks for a token from his beloved—or rather ‘‘for his love's 
delight.” Cp. Goethe’s poem, ‘‘ Lebendiges Angedenken.”—Ep. 

2“ Bromborium,” says Schroer (‘ Faust,” i. 159), “ französisch brimborion, 
Goethe gebraucht es aber nıcht 1m Sinne des französischen Wortes (Bettel, 
Lumpereı), sondern für leere Umschweife, wobei er vielleicht an ‘praeambulum’ 
oder Ahnlıebes denkt.” Cp. also Düntzer’s Commentary, p. 289, on the 
etymology of Brimborton, of which Brachet declares “ origine inconnue.”—ED, 


412 FAUST. 


this song with considerable applause in a social meeting. [Cp. 
on this ballad my collection of Balladen und Romanzen in the 


“Golden Treasury Series,” p. 36 n.—ED.] 


PAGE 22], n. 98. Hayward, and I believe most, if not all other 
translators, render Pfiferling wrongly ‘‘mushrooms,” “ toad- 
stools,” &c. This is the primary meaning of the word, but its 
figurative meaning is ‘‘ trifles,” “‘ worthless things,” and in this 
signification it is here employed.—Ep. 


PAGE 237, n. 99. I would change rings with you myself.—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, n. 100. Two witnesses.—Alluding to the rule of the 
civil law, which forms the basis of all the German systems— 
Unius responsio testis ino non audiatur.—Cod. 4, 20, 9. 


PAGE 271, n. 101. Like a snow-flushed rivulet, &e.— Like a 
rock in the mid-channel of a river swoln by a sudden rain-flush 
from the mountains,” &c.—COLERIDGE’S Aids to Reflection, p. 
79. 

PAGE 271, n. 102. Were I a bird, &e.— 


«Wenn ich ein Vöglein wär 

Und auch zwei Flüglein hätt’, 

Flög’ ich zu dir; 

Weils aber nicht 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.” 
HeErver’s Volkslieder, i. p. 67. 
Wunderhorn, part i. p. 259 [Hempel’s edition]. 


PAGE 273, n. 103. I have often envied you, &e.— “Thy two 





NOTES. 413 


breasts are like two young roes that are twins, which feed 
among the lilies.”—Song of Solomon, ch. iv., v. 5. ‘Je ne vous 
conseille pas de traduire cela littéralement. On jeterait les 
hauts cris. C’est A Ja responsibilité du poete. L’esprit malin 
semble vouloir insinuer que les saints méme, et les sages, tels 
que Solomon, n’étaient pas insensibles aux attraits de la 
volupte.”—M. DE SCHLEGEL. 


PAGE 285, n 104. I have no name for it.— The Persian poet 
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 smoke. 


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 : 
“T 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 blessing 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 isin 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 FAUST. 


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 (like the 
snood) is a token of virginity, and a ruined maiden is said to 
have lost her garland. 


PAGE 297, n. 108. Zwinger.—Zwinger is 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 unobserved, 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, 2. 110. Will 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 Schatzgräber ” :— 


“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 Hayward calls a “little 


i have left the above explanation of the word Zwinger—althongh it is wrong— 
on account of the mention of Retzsch in it. Zwinger has several significations; 
here it denotes the place between the town-wall and the moat, such as Goethe 
described in his “Dichtung 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 Gretchen lived near the town-wall will be seen from 
{ 2964, Cp. Sanders, sub voce ““ Zwinger.”—En. 


NOTES. 415 


poem,” is in fact 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. 111. There are, &c.—The Léwenthaler is a coin 
first struck by the Bohemian Count Schlick, from the mines of 
Joachims-Thal in Bohemia; the finest in the 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 Schliek.—KÖHLER’s Münz- 
Belustigungen. 


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. Ratcatcher.— 


“Tybalt, you ratcatcher, will you walk?” 
Romeo and Juliet, act iii. scene 1. 


The common people in Germany believe (or believed) that 
ratoatchers, 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'll so maul you and your toasting-iron, 
That you shall think the devil is come from hell.” 
King John, act iv. scene 3. 


Flederwisch, literally goosewing, is a cant term for a sword. 


PAGE 307, n. 115. Ican manage very well the police, but very 
badly the blood-ban.—Blutbann is an old name for criminal 
jurisdiction in the general sense. The distinction between 
Polizei-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 MITTERMAIER’S “ Strafverfahren,” pp. 10 and 


416 FAUST. 


16. To make matters sure, I referred both Blutbann and 
Blutschuld to M. Mittermaier himself. 


PAGE 313, 2: 116. And under thy heart, &e.—It is common 
in Germany to say, Sie trägt das Pfand der Liebe unter ihrem 
Herzen—“‘ She bears the pledge of love under her heart.” Thus 
Schiller in “Die Kindesmérderin,”—‘‘ Nicht das Knäblein 
unter meinem Herzen?” 


PAGE 315, n. 117. Dies ire, &e.—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 would 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, 
Nothing 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, &e.—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 ire, Dies illa, 

Solvet seclum in favilla— 

While the pealing organ rung.” 


PAGE 319, n. 119. Walpurgis-Night.—The Walpurgis-Night 
isin German folk-lore the eve of the Ist of May, which day was 
dedicated to St. Walpurga (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 Ist. The culte of St. 
Walpurga became very popular in the ninth century, and when 
the heathenish gods 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 Blocksberg, forms 
the highest point of the Harzgebirge, at the foot of which the 
small places Schierke 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, &e., and Notes.'—Ep. 


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 Walpurgisnacht ‘‘ May-Day Night,” 
quotes in a longer note, containing much 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 Magie” (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. 


EG 


418 FAUST. 


conically forked leaves,” &e., &c.—HEINE, Reisebilder, vol. i. 
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 b2 found in the 
Grote’sche “ Kritische Gesammtausgabe von Heine’s Werken,” 
vol. iii. p. 44, &e., and in my own, above-mentioned edition of 
the ‘ Harzreise,” pp. 44, 45, &c.—Eb.] 


PAGE 323, n. 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 !” Christabel. 


PAGE 823, 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-like, 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.”—Reisebilder. 


PAGE 325, n. 123. Shelley has translated vereinzelt sich— 
masses ttself—probably under the notion of making the con- 
trast more complete. But the next line—There sparks are 
sputtering near, &e.—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 Windsbraut for rasender 
wind, ‘‘ raging,” or “‘ tempestuous wind,” has a mythological 
basis. Hayward quotes Luther’s version: “Nicht lang aber 
darnach erhob sich wider ihr Vornehmen eine Windsbraut, 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.”)—En. 


PAGE 327, n. 125. Urian is one of the nicknames of the 
Devil.—Eb. 


PAGE 327, n. 126. The witch s, the he-goat stinks.—In 
Aristophanic language—the witch zepdérat, the he-goat kıvaßpa, 





PAGE 327, n. 127. Baubo is in Greek mythology the indeco- 
rous nurse of Demeter or Ceres. Here she is introduced as the 
symbol of shamelessness.—ED. 


NOTES, 419 


PAGE 327, n. 128. The Ilsenstein is a colossal granite rock, 
and the most considerable among the Brockengebirge. Tra- 
dition relates that an enchanted princess of the name of Ilse 
guards there hidden treasures. The Felsensee mentioned (1. 3629) 
is also situated in that distriet.—ED. 


PaGE 331, 2. 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 Lilith ; 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 Lilith occurring in Isaiah 
(xxxiv. 14), is rendered in the Vulgata Lamia, 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.?—Ep. 


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 zpwxréc, 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 
assumed character, and mocks at the same time the tone of the four preceding 
speakers. Cp. Bayard Taylor’s note on this passage.—Ep. ; 

2 Hayward seems to have taken considerable trouble to furnish a correct 
explanation of Lilith, but his longer note does not convey a distinct notion of the 
subject. The above explanation ıs based on the standard German commentaries, 


420 FAUST. 


enough to make his malady and cure the subject of a disserta- 
tion, which he read before the Academy of Sciences at Berlin 
in 1799.!—E». 


PAGE 343, n. 133. The phrase, es 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: ‘‘ Parturiunt montes, nascetur 
ridiculus 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 IIpwerog.? 


1 Hayward quotes in a very long note, chiefly relating to Nicolai’s literary 
activity, a passage on the latter from Carlyle’s “German Romance ” (vol. iv. 
pP. 15), and concludes with the following references: ““ An account of his malady, 
drawn up by the sufferer himself, is quoted by Dr. Hibbert (* Theory of Appa- 
ritions’), and may be seen in Nicholson’s ‘Philosophical Journal,’ vol. vi. 
p. 161.”—Ep. 

2 The real gist of the allusion to the fact that “ Tegel was haunted ” lies in 
the cireumstance that Nicolai had alluded to it in the above-mentioned dis- 
sertation, The reproach to Shelley and M, Stapfer is unfounded. Goethe had 


actually first written ‘‘ Brocktophantasmist,” and subsequently altered it into 
“ Procktophantasmist.”—ED. 


NOTES. 421 


; PAGE 343, n. 134. A little red mouse jumped out, &e.—In 
German 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.—This 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.—Ep. 


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 
full of denuneiations of popery. 

Ihave 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 epigrammatical, 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. j 

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 stif man applies again, as has been 
pointed out above, to Nieolai.—ED. 


PAGE 355, n. 145. The nickname Crane has been applied by 
Goethe to Lavater, on account of his curious walk>—Ep. 


PAGE 357, n. 146. Düntzer interprets the word Fideler to 
denote a “jolly” or “good fellow,” reading it Fidéler, and 
Bayard Taylor follows him in his translation. Loeper takes 


1 «German Romance,” vol. ii. p. 8. 

2 « Musaget,” 7.e., “leader of the muses;” “friend,” or “patron of the 
muses,” was the title of a supplement, in the shape of a ‘ Musenalmanach,” to 
the "Genius der Zeit.”—Ep. 


NOTES. 423 


the word Fideler to mean “a fiddler ;” Schröer adopts the 
same meaning, but has the reading Fiedler.—Ep. 


PAGE 357, n. 147. The five philosophers here mentioned refer 
respectively to Wolf (Dogmatist), Fichte (Idealist), to Garve 
and others (Realist), to Jacobi (Supernaturalist), and to the dis- 
ciples of Hume (Sceptie).—ED. 


PAGE 359, n. 148. To the best of my information, Irrlichter 
means parvenus : and Sternschnuppe & 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 #o 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 Rémusat and published in the third volume of the 
“ Théatre 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 vécu quelques années 
pres de Goethe (says M. de Schlegel) lorsqu’il était dans la force 
de l’äge et dans la maturité de son génie; j’ai souvent passé 
des journées entitres avec lui, et nous avons beaucoup cause 
sur ses ouvrages ; mais il n’aimait guére & donner des explica- 
tions, comme aussi il n’a jamais voulu faire des préfaces.” 

M. Varnhagen von Ense tells 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 Schröer, runs thus: “Erbärmlich 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.” —Ep. 


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. sc. 2. 
PAGE 369, n. 151. The Rabenstein, ‘“‘raven stone,” was a 

raised square block on which the gallows used to be erected. 
That the ravens flocked to such a place is a matter of course. 


Pace 371, n. 152. Fly away! fly away! &c.—The song is 
founded on a popular German story, to be found in the 
“ Kinder- und Haus-Märchen” of the distinguished 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 
“mother’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 
Sucht alle meine Benichen, 
Bindt sie in ein seiden Tuch, 
Legt’s unter den Machandelboom ; 
Kywitt ! Kywitt ! 
Wat vör’n schön 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 1% 


It will be doing an acceptable service to those who love to 
trace poetical analogies, to remind them 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 
To fearful passion roused.” 


PAGE 385, n. 153. The wand is broken.—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 Re- 
marks, 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. se. 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 usually broken when the sentence of death is pronounced; but, 


according to an old German custom, a white staff was broken by the judge before 
the execution, after having read the sentence of death, He then threw the 


Pieces at the feet of the executioner.—Ep. 


426 | FAUST. 


calling 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 
Schlegel, however, certainly the highest living authority on 
such matters, says : ‘ Sie ist gerichtet, se rapporte & la sentence 
de mort prononcée par le juge; les mots suivants, Sie ist 
gerettet, au salut de son äme.” It has been contended that 
Ste 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 
Todten zu richten, to judge the quick and the dead. 


APPENDIX. 
I. 


ABSTRACT OF THE SECOND PART or “ Faust,” AND SOME 
Account oF THE CIRCUMSTANCES UNDER 
WHICH IT WAS COMPOSED. 


HE heading, 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 ZEolian 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 (meaning the astrologer) at my side, 
but where tarries the fool?” The fool, it seems, has just been 
carried out drunk or in 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 FAUST. 


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 theemperor. 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 his 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; if they had the stone of the philosopher, they would want 
the philosopher for the stone.” 

The subject of the next scene is a Mask [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 Parcze, 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 to 
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 
their distresses have been suddenly removed by the creation of an 
odd sort of paper-money, bills promising payment in the emperor’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 effect 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 Mephistopheles on his wit, 
Faust and Mephistopheles are then represented walking in « 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. Mephistepheles 
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 Mothers,' 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 

11 have never yet met with anyone who could tell me what Die Mütter 
means. [Since Hayward made this discouraging declaration, a good deal has 
been written on the mysterious mention of “The Mothers,” which Bayard 
Taylor, in an interesting note, characterizes as “an enigma, acomplete and 
gatisfactory solution of which is not to be expected.” All attempts at an 
acceptable explanation must, of course, be founded on mere conjectures, but the 
reader will find some very valuable information on the subject in Düntzer’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.] 


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 he 
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, Lamize 
Anaxagoras, Thales, Dryas, Phorkyas, Nereids, Tritons, Nereus, 
Proteus, and many other less familiar names which it would be 
wearisome to recapitulate, all scattering apophthegms 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 Trojan 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 purpose, 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 intimated 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 fly 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 bis 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 atime. Whilst they are out of sight, Phorkyas converses with 

i is quite in harmony with the former Faust-criticism.— Ep, 

: ee ee Foreign Review,” vol, i. p. 429, by Mr. Carlyle, for 

# full 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 behaving 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 chorus to avail 
themselves of the opportunity of returning to Hades, which they 
decline, saying, that as they have been given back 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 ; 
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 direction) 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 comes 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 


Mephistopheles. 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 apparently 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 that, 
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 of" the old couple. Mephistopheles, with 
three sailons 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 Samuel, b. ii. ch. xxiii. v. 8-13. 
2 There is hardly a description of any sort in the poem which is not placedin 
the mouth of someone looking down from a commanding point of view upon the 


scene. This was Sir Walter Seott’s favourite mode of deseribing. Several 
instances are enumerated in Mr. L. Adolphus’ “Letters on the Author of 


Waverley,” p. 242. 
FF 


434 FAUST. 


topheles acting as overseer to a set of workmen (earthly 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 wisdom. 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 
then, 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 sinks back; the Lumures 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 this they have been nibbling 
at this grave reat, singularly precious treasure has been wrested 
from me; en to me, this have 

u 


i 


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 Helena were explained 
in the “ Kunst und Alterthum” 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.” 

Tam also enabled to state in his own words the manner in which 
this wished-for issue was brought about :— 

“] have now arranged the Second Part of ‘ Faust,’ which, during 
the last four years, I have taken up again in earnest, filled up chasms 
ginning to end. ° 

“TI hope I have succeeded in obliterating all difference between 
Earlier and Later. ; 

“JT have known for a long time what I wanted, and even how I 


436 FAUST. 


wanted it, and have borne it about within me for so many years a8 
an inward tale of wonder—but I 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, 

“Tf 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 give. 

“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 samesubject occur. The fol- 
lowingis translated from the “‘ Bibliothéque Universelle” 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 publish them himself, 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 work by the 
fourth. This broken manner of working was, perhaps, not always 
his; but it is explained in this case by the care he took to conceive 
his plan entire 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 out all that might injure the 
integrity of the poem. Thus it happens that ih 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 Chancellor von Müller, 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. Ihave 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 entirely 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 bursting 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 earnegtly 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; he laid it down as a law to himself to complete 


1 This account is confirmed by Falk’s story of the “ Walpurgissack ;” and 
also by the following anecdote communicated to me in a private letter by M. de 
Schlegel: “Ce pöeme, des son origine, était condamné a ne rester qu’un frag- 
ment. Mais quoiqu’on juge de l'ensemble, les détails sont admirables. Ceci me 
rappelle une anecdote que je tiens du célébre médecin Zimmermann, fort lie avec 
Goethe dans sa jeunesse: Faust avait été annoncé de bonne heure, et l’on 
s’attendait alors ä le voir paraitre prochai t. Zimmermann, se trouvant a 
Weimar, demanda ä son ami des nouvelles de cette composition. Goethe apporta 
un sac rempli de petits chiffons de papier. Il le vide sur la table et dit; ‘ Voila 

' 
mon Fauste’.” 





438 FAUST. 


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 Review” (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 

oldest merely venture to suggest that Faust’s salvation or justifica- 

ion, without any apparent merit of his own, is in strict accordance 

ith the purest doctrines of our faith; and that, though he suffered 

imself to be seduced into wickedness, his mind and heart remained 

ntainted 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 w long conversation which I had 
with him on this subject in August last (1833). 


1 The above verdict on Part II. 1s one of the instances which confirm Professor 
J. M. Hart’s dictum—in the thoughtful introduction to his edition of Goethe’s 
*¢ Faust”—to the effect that one of the principal merits of Hayward’s notes con- 
sists in the fact that they afford an interesting glimpse at the thenstate of Goethe 
criticism in England. Since the above was written much new hght has been 
thrown on tlre Second Part, and if Hayward had only made later on the acquain- 
tance of, say, Düntzer’s “ Erläuterungen,” he would certainly have reversed his 
judgment, both as regards the poem and its commentators, Even Mr. G. H. Lewes’s 
estimate of Part II. may now be considered antiquated. Cp. Bayard Taylor’s 
excellent preface and notes to the latter.—Ep, 


APPENDIX. L 439 


Tasso tells us in a letter toa friend on the “ Jerusalem Delivered,” 
that when he was beyond the middle of the poem and began to con- 
sider the strietness 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; Rinaldo, 
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 
life.” 

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 eonjuror from the very beginning ; the incredulus 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. Thescene 
in Auerbach’s cellar is one of the best, perhaps the very best 3 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 untenableness, not to say unfairness, of the above “ subjective ” criti- 
cism of Faust,” as n whole, has been fully proved by Mr. G, H. Lewes in his 
“ Life and Works of Goethe,” p, 483, ete.—Eb. 


APPENDIX. 
II. 


Berne an Historicat Notice or THE Srory or “ Faust,” 
AND THE VARIOUS PRODUCTIONS IN ART AND 
LITERATURE THAT HAVE GROWN 
OUT OF I'v.’ 


URING u late visit to Germany (1833), # was one of my 
amusements to inquire at all 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, 
such as Hayward wrote it; more especially because his views and those of the 
authorities quoted by him, furnish an excellent view of the state of criticism of 
the drama in general and of the Faust-legend in particular, as ıt was current 
sixty years ago. It has, as I said in the Preface to the present volume, & 
litterar-historisches Interesse. 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. 

2 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.—Ep. 

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 Taschenbuch restricted Dr. Stieglitz to giving little 
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 me 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 “ Historie 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 manuseripts.! 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 Faüstus), 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 was 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) ina 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 is an invented one; the notion 
being that it was given to a megician—ob faustum in rebus peractu difficillimis 
successum, 

2 So says the “ Conversations-Lexicon ;” but Dr. Stieglitz is silent on the point. 

8 The correct name is Knittlingen.—ED, 

4 Anhalt and Brandenburg also claim the honour of his birth. 

5 A distinct title is assigned to each in the “ Conversations-Lexieon.” The 
printer is supposed to have died of the plague in 1466. 

6 In 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 top line of P 


APPENDIX. IL 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 Görres) 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 (Fahren- 
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 
Mr. 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.—Ep. 

“ And what am Ito do for you in return ?—The actual or traditional compact 
was to the following effect :— 

‘Puis le D. Fauste regoit son sang sur une tuile, et y met des charbons tout 
chauds, et écrit comme s’ensuit ci aprés : 

« Jean Fauste, Docteur, reconnois de ma propre main manifestement pour 
une chose ratifiée, et ce en vertu de cet écrit: qu’aprés que je me suis mis & 
spéculer les élémens, et aprés les dons qui m’ont été distribuez et départis dela- 
haut: lesquels n'ont point trouvé d’habitude dans mon entendement. Et de ce 
que je n’ai peu ätre enseigné autrement des hommes, lors je me suis présente- 
ment adonné ä un Esprit, qui s’appelle Méphistophilés, qui est valet du prince 
infernal en Orient, par paction entre lui et moi, qu’il m’adresseroit et m’appren- 
droit, comme il m'étoit prédestiné, qui aussi réciproquement m’a promis de 
m’étre sujet en toutes choses, Partant et & l’opposite, je lui ai promis et lui cer- 
tife, que d'ici & vingt-quatre ans de la date de ces présentes, vivant jusques-lä 
complétement, comme il m’enseignera en son art et science, et en ses inventions 
me maintiendra, gouvernera, conduira, et me fera tout bien, avec toutes chosıs 
nécessaires ä mon corps, 4 mon äme, & ma chair, 4 mon sang, et ä ma santé: 
que je suis et serai sien ä jamais. Partant, je renonce a tout ce qui est pour la 
vie du maitre céleste et de tous les hommes, et que je sois en tout sien. Pour 
plus grande certitude, et plus grande confirmation, Jai écrit la présente promesse 
de ma propre main, et l’ai sous-écrit de mon propre sang que je me suis tiré ex- 
pressément pour ce faire, de mon sens et de mon jugement, de ma pensée et 
volonté, et l’ai arrété, scellé et testifié, &c.” ’—Cayet’s ‘ Widmann,’ Part I. 

« In Marlowe’s ‘ Faustus’ the instrument is formally set out.” 

1 « Volksbücher,” as translated by Mr. Roscoe. 


4144, FAUST. 


peared; whether under a feigned name, by the rope ofsome hangman, 
or frightfully torn in pieces by the devil near the village of Rimlich, 
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 as to the date of Faust’s 
disappearance. Nothing authentic was heard 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 
diffusion. It spread rapidly through France, Italy, Spain, England, 
Holland, and Poland, giving birth to numerous fictions, some of 
a high order of poetical merit. Amongst others, Calderon’s “El 
Magico Prodigioso” has been attributed to it. St. Cyprian of 
Antioch was the model which Calderon really worked upon, 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 Pliny 
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 ofa woman. For this purpose he 

1 “Disquisitio de Fausto,” &c. [The full title of the curious work in ques- 


tion is, Neumann, J. G., et C. Chr. Kirchner, “ Disquisitio historica de Fausto 
prestigiatore, vulgo von Doctor Faust.” Wittaberge, 1693,—ED.] 


APPENDIX. It. 445 


selects Justine, one of the new converts to Christianity, who is living 
in Antioch under the care of her adopted father, Lysando.! She is 
beloved by Floro and Lelio, 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 rock (penasco) 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 falling, but resists, and 
saves herself by faith. Iam 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, 
Listening sits, a bough beyond. 


Be silent, Nightingale |—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 1s ıts ruin,— 
No more, with green embraces, vine, 
Make me think on what thou lovest,— 


1 This may remind the reader of Recha in “Nathan the Wise.” 


446 Faust. 


For whilst thou thus thy boughs entwine, 
I 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 ! 
Follow not his faithless glance 
With thy faded countenance, 
Nor touch my beating heart to fear, 
Tf leaves can mourn without a tear, 
How eyes must weep! 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! love! 


The devil, thus fuiled 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—oue 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 toa series of 
trials through the rivalry of Floro and Lelio, 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, Lelio, 
Lysando, and Justine. The grand aim of the piece is obviously to 
exalt Christianity, 

We may also refer te the histories of Virgilius, a magician who 
long preceded Faust,! in proof that we are not loosely to attribute all 


1 See Roscoe’s “German Novelists,” vol. i, p. 257. Paracelsus, Cornelius 
Agrippa, Cardanus, Thomas Oampanella, Albertus Magnus, are enumerated by 


, 


APPENDIX. II. 447 


U and fietions which have a necromantie doctor for their hero, 
the latter. The works directly founded on or relating to Faust’s 
aa are numerous enough to satisfy the most ardent supporter of 

is dignity. Dr. Stieglitz makes the bouks 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 1594 mentioned by Mr. Roscoe? as lent to him 
by Mr. Douce; nor Mr. Roseoe’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 u 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 sittmg 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 swiftas 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 mysterious pursuits which went by the name 
of magical; and we might match our own Roger Bacon against any of them. 
See “ The Famous Historie of Fryer Bacon, with the Lives and Deaths of the 
Two Conjurors Bungye and Vandermast,” reprinted in 1815. 

1 The Second Report of Doctor John Faustus, containing his Appearances, 
and the Deedes of Wagner, written by an English Gentleman, Student in 
Wittenberg, an University of Germany, in Saxony. Published 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 Milfred Church by the Stockes, 1594.” 

2 In his ‘“ Freundliche Schriften ” (Th, 2), and also in his “ Poesie und Bered- 
samkeıt, &e.,” vol. ii. p. 263. At p. 258, he gives a short account of the old 
puppet-play of Don Juan, whom he calls, in another work, the antithesis of Faust. 


448 FAUST, 


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 Kasper] figures as the only atten- 
dant upon Faust, So soon as Kasper 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 Berlok, 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 
Italian duke is the scene of all those which are represented in this 
show; where he calls up Samson, Goliah, Solomon, Judith, &e,, &c., 
for the amusement of the duchess. He is thus growing into high 
favour with ber, 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, 
(Kasper! is the Austrian popular diminutive form for Kaspar.—Ep.] 


APPENDIX. II. 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 contract 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: Bereite dichy—Prepare thyself ; 
and shortly afterwards the same voice exclaims: Du bist angeklagt, 
— Thou art arraigned, It strikes ten, and as Kasperl (in his capa- 
city of watchman) calls the hour, the voice exclaims: Du bist 
gerichtet,—Thou art judged. “Thus then,” says Franz Horn, “no 
retreat is any longer possible, for the judgment (Urtheil not Verur- 
theilung) 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 auf ewig verdammt,— Thou 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. Stieglitz; 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. 
Ge 


450 FAUST. 


“ Harlequin Dr. Faustus, or the Devil will have his Own. Tanto. 
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 extemporized 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 Müller, 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 Miiller’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 us, is the work of other hands. The 
earliest known edition is that of 1604; but it must have been written.some time 
before, as it is supposed to have suggested ‘‘ The Honourable History of Friar 
Bacon and Friar Bungay,” published in 1594, by Greene. See Collier, vol. iii, 
p. 159, and Dyce’s edition of Greene’s Works, Marlowe’s “ Faustus” has been 
translated into German by Wilhelm Müller, with a Preface by Von Arnim, one 
of the editors of the ““ Wunderhorn.” [Professor Selss has two interesting notes 
on Marlowe’s “ Faustus ” in his edition of Goethe’s « Faust.”—Ep,] 

2 “Life and Death of Dr. Faustus,” by W, 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 Munich 
in 1775. “Faust, Ein Fragment,” by Goethe, was published in 1790, 


APPENDIX, Il 451 


is represented as conversing with her lover from her window in this 
manner :— 

“ Kölbel. Margaret, my charmer, my angel! Oh, that I were 
above there, in thy arms! 

“ Margaret. Hush! I hear my sister; my uncle coughs, Come 
round to the other window, and I have something more to say to you, 

“ Kölbel. 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 turn 
upon the same topics of discontent, but there is one reply made 
by Müller’s Faust to the devil, which bears so close a likeness to 
one placed by Goethe in his mouth, that I shall quote it also as it 
stands :— 

* Faust. Know’st thou then all my wishes ? 

“ Sixth Devil, —And will leave them in the consummation far 
behind. 

“ Faust. 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 Feust’s Life.” It presents nothing 
remarkable. 

Among the writers who have followed Goethe in writing poems, 
dramas, or dramatic scenes about Faust, are Lenz, Schreiber, 
Klinger, Von Soden, Schink, Von Chamisso, Voigt, Schöne, Ber- 
kowitz, Klingemann, Grabbe, Holtei, Harro Harring, 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 Ellesmere), and 
appended to his translation of Goethe’s “ Faust.” Madame de Staél 
suggests that Goethe’s plan was borrowed from ıt, and she 1s pro- 


1 In the present edition, pp. 287 and 117 respectively.—Ep. 
2 Besides the above authors should be mentioned Lenau, Braun von 


Braunthal, Heine, Stolte, &c,—ED. 


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 für 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 is 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 Seria, entitled “ Fausto,” was also produced at 
Paris in March, 1831, the music by Mademoiselle Louise Bertin ; 
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 “ Romantic 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) 


1 A great deal has been written on the relation of Goethe’s “ Faust ” to the 
two extant diminutive Faust-fragments of Lessing, of which one only is quite 
authentic; but anything like a learned discussion on the subject, in order to 
show that both Madame de Staél and Mr. Hayward were wrong in their judg- 
ment, would be out of place in a volume like the present. I cannot help pointing 
out, however, that Hayward seems to have mixed up the two 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 
now call in English ‘‘ Dramatic” or “ Theatrical Remains,” I believe, and not 
“ Theatrical Legacy,” —Ep, 


APPENDIX. II. 453 


has printed, or is about to print, the whole for circulation 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 must 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” (Lect. 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 über Goethe’s Faust, &c., von Dr. 
Hinrichs,” Halle, 1825. 

“ Ueber Calderon’s Tragoedie vom Wunderthätigen Magus; Ein 
Beitrag zum Verständniss der Faustischen Fabel, von Karl Rosen- 
kranz,” Halle und Leipzig, 1829. 

“Ueber Erklärung und Fortsetzung des Faust im Allgemeinen, &c., 
von K. Rosenkranz,” Leipzig, 1831. 

« Doctor Faustus, Tragödie von Marlowe,&c.; aus dem Englischen 
übersetzt von W. Müller. Mit einer Vorrede von Ludwig von 
Arnim,” Berlin, 1808. [The translation is by the poet Wilhelm 
Müller, father of Professor Max Müller. The preface was written 
by Achim, and not by Ludwig von Arnim.—En.] 


1 Musical compositions in connection with “Faust” have been written, besides, 
by Schumann, Berlioz, Liszt, Wagner, Gounod, &c,—Ep. $ 

2 Cp. “Goethe’s Letters to Zelter,” translated by Mr. A. D, Coleridge 
(Bell's), p- 74.—ED. 

3 See Bechstein’s pamphlet, published at Stuttgardt, 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. of “Faust”—of course, if properly 
represented—and even Part II. has been successfully performed, Some highly 
interesting remarks on Faust-performances will be found in Mr. H, Schütz 
Wilson’s ““ Facts and Fancies about Faust,” in his volume of essays entitled 
«Studies in History, Legend, and Literature.”—ED, 


454 FAUST. 


“Herold’s Stimme zu Goethe’s Faust, von C. F. G——1,” Leipzig, 
1831. : 

“ Zur Beurtheilung Goethe’s, mit Beziehungauf verwandte Literatur 
und Kunst, von Dr. Schubarth,” 1820; a work in two volumes, of 
which a large part is occupied with “ Faust.” 

“ Goethe aus persönlichem Umgange dargestellt, von Falk;” the 
last 110 pages of which consist of a Commentary on “Faust.” 

“ Vorlesungen über Goethe’s Faust, von Dr. Rauch,” 1830. 

M. von Arnim’s Preface to the German translation of Marlowe’s 
“ Faust.” 

In Schlegel’s “ Lectures on Dramatie 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 moderndrama 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 books and 
instruments, with « 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 his name; Nauwerk, Nehr- 
lich,’ Nake, 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 universally 
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,—Eb. 

2 In the present edition, p. 147, n. 78.—ED. 

3 Cp. G. Nehrlich’s “ Zeichnungen nach Goethe’s Faust, mit erläuternden 
Worten von H. Düntzer.” Stapfer’s translation of “ Faust” has been illustrated 
by F. V. E. Delacroix.—Ep. 

4 See Goethe’s ‘* Post, Works,” vol. vi. p. 169. 


APPENDIX. II. 455 


ing at Düsseldorf, and is now (1834) President of the 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 illustrations of “ Faust,” there should be mentioned 
those by Kaulbach, Kreling, Liezen-Mayer, Seibertz, etc. The “ Faust ” illus, 
trations of Cornelius are now issued in smaller size at a moderate price, and have 
in recent years been rendered more popular by photography,—Ep, 


TRANSLATOR’S PREFACES. 
I. 
TO THE EDITION PRINTED FOR PRIVATE 
CIRCULATION. 


HE 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 Greek tragedians, than from any 
other versions of them he was acquainted with. The 
following remarks by Goethe himself confirmed me in 
it:— 

“We Germans 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 Hschenburg, being a 
reading generally intelligible and adapted to every 


! (The Rey. H. F. Cary, 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 
opposite 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.” 
—JOHNSon’s Life of Pope. 


TRANSLATOR’S PREFACES. 457 


reader, was enabled to spread rapidly, and produce a 
great effect. I honour both rhythm and rhyme, by 
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. 
Tam not aware that I can illustrate my meaning better 
than by the following extract from a German Review.? 
It forms part of a critical notice of a work by M. 
Rosenkranz, and (with all 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 Goethe 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 


1 ¢ Aus meinem Leben: Dichtung und Wahrheit,” Th. iii. 
b. 11. Hardly a single sentence of the English version, pub- 
lished under de 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 
Grüber, was paid at the rate of two Thalers (six geen ae per 
sheet. He completed twenty-two of the plays; which were 
afterwards republished by Eschenburg with the rest translated 
by himself. ; ; Peete 

2 «Blatter für 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- 
sophical 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 recon? 
cilement of the great contradiction of the world, the 
establishment of peace between the Real 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. Iam 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. For 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 
Retzsch’s “ Outlines,” the author of the translated pas- 
sages in “ Blackwood’s Magazine,” No. 39 (Dr. Anster), 
Madame de Staél, and MM. de Sainte-Aulaire, Stapfer, 
and Gerard. These remarks are omitted because their 
original purpose has been fulfilled —Haywarp. | 

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. “Il me reste (says M. 
Stapfer), 4 protester contre ceux qui, aprés la lecture 
de cette traduction, s’imagineraient avoir acquis une 
idee complete de Voriginal. Porte sur tel ouvrage 
traduit que ce soit, le jugement serait errone; il le 
serait surtout & l’egard de celui-ci, & cause de la per- 
fection continue du style. Qu’on se figure tout le 
charme de l’Ampbhitryon de Moliére joint 4 ce que les 
poésies de Parny offrent de plus gracieux, alors seule- 
ment on pourra se croire dispensé de le lire.” 

IfI do not say something of the sort, it is only be- 
cause I cannot decide with what English names Moliére 
and Parny. 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 Iam 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 Ruh’ 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. 461 
“Sag Niemand dass du schon bei Gretchen warst,” 


it is quite impossible to render in English the finely 
shaded. meaning of bei. Here, therefore, Germany has 
the best of it, but when we translate— 


“Schön war ich auch, und das war mein Verderben,? 


“I was fair too, and that was my undoing ’—we greatl; 
improve upon the original, and add a delicacy hich T 
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 Pyrrha,” 
entitled: “ Quis multä gracilis te puer in rosa. Rendered 
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 in 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 Verderben:—Eb. 

2 The above is the well-known 5th Ode of Book EL, 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 make an Englishman per- 
fectly au fait 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 point 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- 
visal 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 PREFACES, 468 


master-mind, soaring proudly up into tLe 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 filled with trashy 
amplifications 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 
im 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. Hills, 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 :” 
Dr. Bernays, Professor of the German Language and 


464 TRANSLATOR’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, 
Attaché 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.’ 

In 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. 


1T alluded to Mr. G. C. Lewis, translator of Boekh’s 
“‘ Domestic Policy of the Athenians” and (with Mr. H. Tuffnell) 
Müller’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 G. C. Lewis (sub- 
sequently * Sir George Cornewall Lewis”), 1830 ; (2) K. O. Mül- 
ler's “‘ History and Antiquities of the Doric Race,” translated 
by H. Tufnell and G. C. Lewis, 1830.—Ep. 


II. 
ADVERTISEMENT 


PREFIXED TO 


THE FIRST PUBLISHED EDITION. 


I COMMENCED this translation without the slightest 
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 will 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- 

HH 


466 TRANSLATOR’S PREBACES, 


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, February 25th, 1833 


III. 
PREFACE 


TO THE 


SECOND EDITION OF THE TRANSLATION. 


N this Edition much of the matter has been re- 
arranged, the Notes are augmented by about a 
third, 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. 

Tt is singular (and to the student of German litera- 
ture at once cheering and delightful) to see the interest 
which Germans 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 German 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 Fouqué, Dr. Hitzig,? Retzsch, and Madame de 
Goethe. M. Varnhagen 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 
to employ the licence thus enjoyed by the writers of 
his country to the full, and in the compass of this. 


1 The real author of ‘‘ Peter Schlemihl,” most unaccountably 
attributed by the English translator to De la Motte Fouqué, 
® President of the Literary Society of Berlin. 


TRANSLATOR’S PREFACES, 469 


single production he has 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 
Review” :—‘‘ 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 difficulties 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 Mühlenfel’s “ Lecture.” [Hayward alludes here to the 
“Introductory Lecture” on “German Literature,” delivered 
by Prof. L. von Mühlenfels (not ‘* Mühlenfel”) in 1828, at the 
den University of London. —ED.] 


470 TRANSLATOR’S EREFACES, 


the meanwhile, is it not the wisest course to make the 
most favourable bargain that the nature of the dilemma 
offers? Unless the public is absurd enough to abjure 
the literature of all 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 embellishments 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, 113.7 j 

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 German language. By the industry of 
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 ““ Revue 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 
for the sake of this substitute we must renownce some por- 
tion of the original sense, and nearly all the expressions ; 
whereas, by a prose translation, we can arrive perfectly at 
the thoughts, and very nearly at the words of the original, 
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 born 
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 creativemood. The sacred and mysterious union of 
thought with verse, twin born and immortally wedded from 
the moment of their common birth, cam never be understood 
by 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, 
combined 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 :— j 

“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.” —The Atheneum 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 Klopstock, 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 and 
children by stealth.’ 


1 “Dichtung und Wahrheit,” b. 3. The ‘ Messiah” is in 
hexameter verse, distinguished from the Greek and Latin hexa, 
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 Rhine’) 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 
modern tragedies, his ‘ Fiesco,’ 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 :— 

“T have read a good deal of Mr. Hayward’s version, 
and I think it done in a very manly style ; but I donot 
admit the argument for prose translations. Iwould 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.” —Table 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 examiple :— 


474 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 by 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 sufficiently 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 in 
the last ‘ Edinburgh Review’ calls it, is set at rest for 
ever, by simply showing that there is nothing to fight, 


TRANSLATOR’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 form.”—Characteristics of Goethe, &c., 
vol. i., pp. 82 to 34. 

Few will deny that both matter and form are impor- 
tant in Goethe’s “Faust ;” in such a case we want to 
know, 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. Hayward 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. 183. . } 

The writer contrasts, as inconsistent, 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. 4054) occurs this puzzling line: 


“Fort! dein Zagen zögert den Tod heran.” 


Two interpretations, neither quite satisfactory, are 
suggested to me: it may mean either that death is 
advancing whilst Faust remains irresolute, or that 
death is accelerated by his irresolution. Having, there- 
fore, first ascertained that the German word zögern 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 
Das 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 ü Véprewve de 
la sagesse les fantömes que de vagues désirs 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 Ehrenman), or thegrammatical 
construction of a passage (as in Doch hast Du Speise, 
&c.), is disputed ; and as it is impossible to construe two 
ways at once, in such instances rejection is unavoidable. 


* The verb zögern 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 . . . hitherwards,” by 
which he intended to shadow out the meaning of zögert . .\. 
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 toembrace. 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 
English 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 itself, 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. | 

“JT 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 (such 
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 Schlag, das weiss ich, 
Denn was verschmerzte nicht der Mensch?” 


Literally :— 


‘TI 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 sZeeps 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 was written, 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. “ Goethe'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 sublimity and impressiveness, 
it perhaps stands alone in the whole circle of literature. 
It had a fine effect,—how Faust, in the manner of 
the spirits that flitted 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. 9, will be found an account of the 
story of “Faust,” and the various productions in art 
and literature that have grown out of it. 


1 «The Foreign Quarterly Review,” N o, 28, Art. 4 
2 Stieglitz, “ Sage vom Doctor Faust.’ 


Tempe, January, 1834. 


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Italy, from the Period of the Revival of 
the Fine Arts to the End of the 18th 
Century. With Memoir and Portraits. 
Trans. by T. Roscoe. 3 vols. 


LAPPENBERG’S England under the 
Anglo-Saxon Kings, Trans. by B. Thorpe, 
F.S.A. 2 vols. 


LESSING’S Dramatic Works. 
lete. By E. Bell, n 
y H. Zimmern. Portrait. 


Com- 
With Memoir 
2 vols. 


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Representation of Death by the Ancients. 
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Zimmern. Frontispiece. 


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LuTHer's CArTEchısm. Portrait after 
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phe Trans. by W. Hazlitt. “With 
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hammed. 

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m Text of M. Auguste Molinier by 
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POETRY OF AMERICA. Selections 
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their Church and State, and their Conflicts 
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8 BOHN'S LIBRARIES. 





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BACON’S Novum Organum and Ad- 
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BAX. A Handbook of the History 
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COMTP’S Philosophy of the Sciences. 
An Exposition of the Principles of the 

. Cours de Philosophie Positive. By G. H. 
Lewes, Author of ‘ The Life of Goethe.’ 

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MILLER (Professor). History Philo- 
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SCHOPENHAUER on the Fourfold 
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Io 


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CHILLINGWORTH’S Religion of 
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EUSEBIUS. Ecclesiastical History 
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EVAGRIUS. History ofthe Church. 
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HARDWICE. History ofthe Articles 
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PEARSON (John, D.D.) Exposition 
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Works of. The 


PHILO -JUDZUS, 
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Contemporary of Josephus. 
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SOCRATES’ Ecclesiastical History, 
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THEODORET and EVAGRIUS. His. 
tories of the Church from A.D. 332 to the 
Death of Theodore of Mopsuestia, A.D. 
427; and from A.D. 431 to A.D. 544. With 
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AD BLOB AKON CHRONICLE. — See 

ede. 

ASSER’S Life of Alfred.—See Six O. E. 
Chronicles. 

BEDE’S (Venerable) Ecclesiastical 
History of England. Together with the 
ANGLO-SAXON CHRONICLE. With Notes, 
Short Life, Analysis, and Map. Edit. by 
J. A. Giles, D.C.L. 

BOETHIUS’S Consolation of Philo- 
sophy. ne Alfred’s Anglo-Saxon Ver- 
sion of. With an English Translation on 
opposite pages, Notes, Introduction, and 
Glossary, by Rev. S. Fox, M.A. To 
which is added the Anglo-Saxon Version of 
the Metres or BoETHIUS, with a free 
Translation by Martin F. Tupper, D.C.L. 

BRAND’S Popular Antiquities of 
England, Scotland, and Ireland. Illus- 
tratıng the Origin of our Vulgar and Pro- 
vincial Customs, Ceremonies, and Super- 
stitions. By Sir Henry Ellis, K,H., F.R.S. 
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(82. 155. per set.) 


CHRONICLES of the CRUSADES. | 
Contemporary Narratives of Richard Coeur 
de Lion, by Richard of Devizes and Geof: 
frey de Vinsauf; and of the Crusade at 
Saint Louis, by Lord John de Joinville, 
With Short Notes. Illuminated Frontis- 
piece from an old MS. 


DYER’S (T. F. T.) British Popular 
Customs, Present and Past. An Account 
of the various Games and Customs asso- 
ciated with different Days of the Year in 

the British Isles, arranged according to the 

Calendar. By the Rev. T. F. Thiselton. 

Dyer, M.A. 


EARLY TRAVELS IN PALESTINE. 
Comprising the Narratives of Arculf, 
Willibald, Bernard, Sewulf, Sigurd, Ben- 
jamin of Tudela, Sir John Maundeville, 

e la Brocquiére, and Maundrell; all un- 
abridged. With Introduction and Notes 
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ANTIQUARIAN LIBRARY, 





ELLIS (G.) Specimens of Early En- 

lish Metrical Romances, relating to 

ur, Merlin, Guy of Warwick, Richard 

Cceur de Lion, Charlemagne, Roland, &c. 

&c. With Historical Introduction by J .O. 

Halliwell, F.R.S. Illuminated Frontis- 
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ETHELWERD. Chronicle of.— See 
Six O. E. Chronicles. 


FLORENCE OF WORCESTER’S 
Chronicle, with the Two Continuations : 
comprising Annals of English History 
from the Departure of the Romans to the 
Reign of Edward I. Trans., with Notes, 
by Thomas Forester, M.A. 


GEOFFREY OF MONMOUTH. 
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GESTA ROMANORUM, or Enter- 
taining Moral Stories invented by_the 
Monks. Trans. with Notes by the Rev. 
Charles Swan. Edit. by W. Hooper, M.A. 


GILDAS. Chronicle of.—See Six O. E. 
Chronicles. 


GIRALDUS CAMBRENSIS’ Histori- 
cal Works. Containing Topography of 
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Ireland, by Th. Forester, M.A. Itinerary 
through Wales, and Description of Wales, 
by Sir R. Colt Hoare. 


HENRY OF HUNTINGDON’S His- 
tory of the English, from the Roman In- 
vasion to the Accession of Henry 11.; 
with the Acts of King ee and the 
Letter to Walter. By T. Forester, M.A. 
Frontispiece from an old MS. 


INGULPH’S Chronicles of the Abbey 
of Croyland, with the ConrinuATıon b 
Peter of Blois and others. Trans. wi 
Notes by H. T. Riley, B.A. 


KEIGHTLEY’S (Thomas) Fairy My- 
thology, illustrative of the Romance and 
Superstition of Various Countries. Frontis- 
piece by Cruikshank. 


LEPSIUS’S Letters from Egypt, 
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L. and J. B. Horner. Maps and Coloured 


View of Mount Barkal. 


»s Northern Antiquities, or 
SE tical Account of the Manners, 
Customs, Religions, and Literature of the 
Ancient Scandinavians. Trans. by Bishop 
With Translation of the Prose 
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Also an Abstract of the ‘ Eyrbyggia Saga 
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MARCO POLO’S Travels; with Notes 
and Introduction. Edit. by T. Wright. 


MATTHEW PARIS’S English His- 
tory, from 1233 t> 1273. By Rev. J. A. 
Giles, D.C.L. With Frontispiece. 3 vols.— 
See also Roger of Wendover. 


MATTHEW OF WESTMINSTER’S 
Flowers of History, especially such as re- 
late to the affairs of Britain, from the be- 
ging. of the World to A.D. 1307. By 

„ D. Yonge. 2 vols. 


NENNIUS. Chronicle of.— See Six 
O. E. Chronicles. 


ORDERICUS VITALIS’ Ecclesiastical 
History of Englandand Normandy. With 
Notes, Introduction of Guizot, and the 
Critical Notice of M. Delille, by T. 
Forester, M.A. To which is added the 
CHRONICLE oF St. EvRouLT. With Gene. 
ral and Chronological Indexes. 4 vols. 


PAULTS (Dr. R.) Life of Alfred the 
Great. To which is appended Alfred's 
ANGLO-SAXON VERSION OF OResIUs. With 
literal Translation interpaged, Notes, and 
an ANGLO-SAXON Grammar and Glossary, 
by B. Thorpe. Frontispiece. 


RICHARD OF CIRENCESTER. 
Chronicle of.—See Six O. E. Chronicles. 


ROGER DE HOVEDEN’S Annals of 
English History, comprising the History 
of England and of other Countries of Eu- 
rope from A.D. 732 to A.D. ızor. With 
Notes by H. T. Riley, B.A. 2 vols. 


ROGER OF WENDOVER’S Flowers 
of History, comprising the History of 
England from the Descent of the Saxons to 
A.D. 1235, formerly ascribed to Matthew 
Paris. With Notes and Index by J. A. 
Giles, D.C.L. 


SIX OLD ENGLISH CHRONICLES : 
viz., Asser's Life of Alfred and the Chroni- 
cles of Ethelwerd, Gildas, Nennius, Geof- 
frey of Monmouth, and Richard of Ciren- 
cester. Edit., with Notes, by J. A. Giles, 
D.C.L. Portrait of Alfred. 


2 vols, 


WILLIAM OF MALMESBURY’S 
Chronicle of the Kings of England, from 
the Earliest Period to King Stephen. By 
Rev. J. Sharpe. With Notes by J. A. 

iles, D.C.L. Frontispiece. 


YULE-TIDE STORIES. A Collection 
of Scandinavian and North-German Popu- 
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Danish, and German. Edit. by B. Thorpe. 


12 BOHN'S LIBRARIES. 





ILLUSTRATED LIBRARY. 


78 Vols. at 55. each, excepting those marked otherwise. 


ALLEN’S (Joseph, R.N.) Battles of 
the British Navy. Revised edition, with 
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traits and Plans, 2 vols. 


ANDERSEN’S Danish Fairy Tales. 
By Caroline Peachey. With Short Life 
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ARIOSTO’S Orlando Furioso. In 
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BECHSTEIN’S Cage and Chamber 
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BLERS. 43 Coloured Plates and Woodcuts, 


BOMOMI'S Nineveh and its Palaces. 
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es and 294 Woodcuts. 


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