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Full text of "The first part of Goethe's Faust : together with the prose translation, notes and appendices of the late Abraham Hayward"



PT 2026.F2H42 

First part of Goethe's Faust 




3 1924 026 191 910 



CORNELL 

UNIVERSITY 

LIBRARY 




Si 



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Cornell University 
Library 



The original of tliis book is in 
tine Cornell University Library. 

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the United States on the use of the text. 



http://www.archive.org/details/cu31 9240261 91 91 



GOETHE'S FAUST 

PAET I. 



THE FIRST PART OF 

GOETHE'S EAUST 

TOGETHER WITH THE PROSE TRANSLATION, NOTES 
AND APPENDICES OF THE LATE 

ABEAHAM HAYWAED, Q.C. 



EFULLY REVISED, WITH INTRODUCTION 

/> 

BY 

. A. BUCHHEIM, Ph.D. 

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



LONDON 

GEOEGE BELL & SONS, YOEK ST., COVENT GAEDEN 

AND NEW YORK 

1892 






CHISWICK PUFSS ;— <!. WHITTINGHAM AND CO. TOOKS COURT, 
CHANCEKY LANE. 



PREFACE. 

VARIOUS causes have combined to diminisli in the 
course of time the popularity of Hayward's trans- 
lation of Groethe's "Taust," which attracted so much 
attention when it was first published. He adopted the 
first of the three methods of translating poetry enume- 
rated by Groethe, and produced a schlicht prosaisehe 
Uehersetzung. This method has, according to the poet, 
" its own peculiar advantages ; " but as Hayward's 
version entirely lacked the poetical element, it was 
gradually superseded by several excellent translations 
in verse.' In addition to this, it was well known that 
Hayward's version, though on the whole meritorious 
and faithful enough, was by no means reliable through- 
out. A number of his grave errors were pointed^ ^eut 
from the beginning, but not all of them. Moreover, 
the Notes, though containing some valuable informa- 
tion, were often quite irrelevant or far too prolix, and 
not in aU instances in correspondence with modem 
Faust criticism. These remarks are certainly not in- 

' I need only mention here the well-known translations of 
Prof. Blackie, J. Anster, Sir T. Martin, C. T. Brooks, "W. D. 
Scones, T. E. Webb, Miss Swanwick, J. A. Bird, and Bayard 
Taylor, The versions of the last three translators have occa- 
sionally been of service to me in revising Hayward's translation. 



VI PREFACE. 

tended as a reproach on Hay ward's way of carrying out 
his task. He deserves, in fact, all praise for having 
produced about sixty years ago so creditable a perfor- 
mance, and what pains he took with his translation is 
fully testified by his Notes. Still, if his work was not 
to vanish entirely from the book market, it was neces- 
sary to subject it to a thorough revi^on. This I have 
done to the best of my ability. I have corrected his 
renderings whenever they seemed to me wrong, and 
have substituted simple and homely expressions and 
phrases for the stiff and pedantic terms and turns of 
speech occurring in the old version.' 

As regards the Notes, I have cut out from them every- 
thing which seemed to me irrelevant, and have corrected 
or supplemented occasionally those which I have left. I 
have, however, done still more than was first projected. 
In order not to leave the reader entirely in the dark 
regarding some rather perplexing and abstruse pas- 
sages, I have inserted a number of original notes. To 
annotate the text completely would have swelled this 
volume to double its size ; but to enable earnest readers 
of the tragedy to make a thorough study of it, I have 
drawn up a short list of books which wiU be found very 
serviceable for the purpose. 

I have, besides, prefixed a sketch of the Faust legend, 
which, supplementing as it does Hayward's instructive 
essay on the same subject, will, it is hoped, be read 
with some interest. 

' Cp. the excellent article " On the Translation of Faust;' by 
Prof. W. P. Andrews, lathe "Atlantic Monthly "of Dec, 1890. 



PREFACE. vn 

All Hayward's Prefaces and Appendices have been 
retained, but the former are now arranged more syste- 
matically than in the previous editions. His Appendices, 
to which I have also added some original Notes, contain 
some very interesting matter, and they show, like his 
Notes, the state of Faust criticism sixty years ago. 
They have, therefore, as we should say in German, a 
litterar-historisches Interesse. 

Besides revising Hayward's translation and editorial 
matter, I have also corrected the numerous misprints, 
wrong references, Ac, which had been left standing since 
the issue of the second revised edition in 1834. It seems 
that since the publication of the latter, Hayward turned 
to other literary pursuits which were more congenial to 
the bent of his intellect, and so he did not subject his 
work, later on, to another, final revision. Had he done 
so, he would certainly have issued it ia a more perfect 
shape, and he would most probably have corrected such 
grave errors as, for instance, the one which occurred in 
the " Song of the Spirits," where he curiously translated 
the lines (1145-46) :— 

Andere schwimmen 
Ueber die Seen — 

" Others are swimming over the seas " instead of " over 
the lakes." 

It has been considered advisable to give the original 
German together with the translation, and in order to 
make the perusal of the volume more convenient for the 
reader, I have placed the two opposite each other, and 



Viii PREFACE. 

inserted the reference numbers to the Notes in the 
translation. 

The text chosen for the present purpose is a reprint 
of the edition of 1808, and the numbering of the lines 
is that adopted by the late Gr. von Loeper in his excellent 
edition of the drama. 

I have taken considerable pains with the editing of 
this book. The process of revising another author's 
work is under all circumstances an irksome one, and in 
the present instance it was for various reasons particu- 
larly so ; but I shall consider my labour amply rewarded 
if I have the satisfaction of having rescued from oblivion 
a meritorious work, and of having furnished a fresh 
stimulus to the study of one of the greatest poems of 
all ages. 

c. a. euchheim. 

King's College, London, 
Aprils 1S92. 



CONTENTS. 

PAGE 

The Faust Legend. A General Suevey. By 

C. A. BUCHHEIM xi 

List of Books for the Study of Goethe's " Faust " xxv 

Text of Part I. and Translation .... 1 

Notes 389 

Translator's Appendices : — 

I. Abstract of the Second Part of "Faust," 

etc - . . - 427 

IL An Historical Notice of the Story, etc. . 441 

Translator's Prefaces 456 



A 



THE FAUST LEGEND. 
I. 

THEEEFOLD task is imposed upon the literary 
historian who wishes to give a satisfactory, though 
only general account of the Faust Legend. First he 
has to trace the idea underlying the legend itself; 
secondly, he must give a sketch of the person who, by a 
combination of circumstances, became the central figure 
of the legend, and finally he has to record the various 
accounts of the traditional hero current after his death. 
The first task seems to be the most important, involving 
as it does a remarkable phase in the history of civiliza- 
tion, or rather of mankind. Besides, it is impossible 
thoroughly to understand the drift of Groethe's great 
poem without being acquainted with what has been 
called the "Magus Legend." The interest which at- 
taches to the second task — the description, namely, of 
the person known by the name of Faiist— is, on the 
whole, of minor importance. It is only antiquarian, or 
rather biographical, since it merely concerns the life 
and doings of a mysterious individual who, at best, was 
nothing else but a highly-gifted adventurer. The third 
task, on the other hand, has both an historical and 



xii THE FAUST LEGEND. 

a litel-ary interest combined, that is to say, a litterar- 
hidorisches Interesse. 

The idea imdeiiying the Faust Legend is, properly 
speaking, as old as the human race. What is the basis 
of the great, nay, almost universal legend ? Nothing 
else but the morbid desire to penetrate the mysteries 
of nature — ^the over- weening pride which defiantly re- 
volts against supernatural agencies — combined with the 
aspiration to subject them to the human will, and, 
in some instances at least, the yearning after truth. - 1 
will pass over the incidents which might be cited from 
the Bible, where we could find the germ of the Paust 
Legend; else I should have to begin with Adam and 
leave ofE with Simon the Sorcerer ; and I will confine 
myself, as far as antiquity is concerned, to pagan 
times. 

The contest of the Titans and the G-iants, and still 
more so the revolt of Prometheus, partake, in some 
respects, of the character of the Faust Legend. It is 
the rebellion against the limits imposed upon man by 
a superior power — the effort to effect emancipation 
from the deities. Later on that contest entered a new 
phase, and a kind of compromise took place. Those who 
understood the laws of nature, and were able, in some 
respects, to control her forces, were supposed to be in 
communion with the divine powers ; for in those primitive 
days, as we know, the manifestations of nature were, in 
themselves, considered as individual deities.' The con- 
sequence was that those men who were initiated in the 
laws of nature were, although not actually placed on a 



THE FAUST LEGEND. xiu 

level with the Gods, still looked upon as their confidants, 
as their high-priests, so to say. This happened with the 
Greek philosopher Pythagoras, who, both on account of 
his mystico-religious character and his intellectual 
superiority, was looked up to with reverential awe. He 
was', in fact, regarded as a man who stood in close com- 
munion with the Gods, as a magician in the higher 
sense of the word. 

From the times of Pythagoras down to the dawn of 
Christianity the behef in magical powers spread most 
extensively, but this need not surprise us if we bear 
in mind that in those days superstition, mysticism, 
and immorality were rampant. The more depraved 
and superstitious an age is, the more it is prone to 
believe in magical and spiritual manifestations. This 
circumstance will sufficiently explain the admiration, 
■ which bordered on veneration, enjoyed by the well- 
known Pythagorean philosopher, ApoUonius Tyanensis 
(a contemporary of Christ), who was said to have worked 
miracles, and whose adventurous life has been made the 
subject of an extensive theological controversy. This 
then was the characteristic feature of the belief in magic 
in that period. It had lost the poetical charm of a 
Promethean striving, and become the handmaid of re- 
ligion, or rather of superstition. 

In the Christian era the belief in magic assumed 
a new aspect. It sank a step lower in public estimation, 
and persons who practised the so-called " occult sciences " 
were no longer considered as men endowed with a 
divine inspiration, but as magicians who were in league 



S'v THE FAUST LEGEND. 

with Satanic or demoniac powers. In fact, the super- 
natural powers, or " Gods of Antiquity," were, in them- 
selves, placed on a lower level. They were no longer 
considered as deities dwelling in eternal ether above the 
visible world, but as demons relegated to the dark 
regions of hell. The consequence was that the exer- 
cise of magic was condemned by the Church. A false 
etymology came to the assistance of the new interpreta- 
tion of magic art. The Grreek word necromanteia, de- 
noting "divinatiqn through communion with the dead," 
was transformed into the expression " nigromantia," 
and translated the " Black Art," which name contained 
in itself the condemhation of the " occult science." A 
compromise was, however, effected in this phase also of 
the belief in magic art. It was conceded that besides 
the "Black Art" there was a "White Art," which 
confined itself to invoking good spirits only. The 
Blaeh Art, in its comprehensive meaning, was con- 
demned by the Christian religion, or rather by its 
visible representative — the Church. This was chiefly 
done because it was considered nefarious to investigate 
the mysteries of nature by way of speculation or re- 
search, since man ought to believe implicitly, and not 
to think or reflect. It was also considered antagonistic 
to the Christian faith to secure by magical agencies that 
which, according to the doctrines of the Church, man was 
not to possess at all — the goods of this world, namely. 

Hence it came to pass that two classes were, in 
general, denounced by the Church — the philosopher and 
the experimentalist. The former class included some of 



THE FAUST LEGEND. XV 

the profoundest thinkers and scholars, whilst the latter 
class contained in its ranks, besides some scientific men, 
numbers of charlatans, such as alchymists, inventors of 
the elixir of Hfe, etc. The numbers of the last-named 
class were legion ; those of the former were naturally 
much smaller, because many of its members belonged to 
the most distinguished in the world of scholarship and 
philosophy. I need only just mention the names of 
some of these. In the tenth century Pope Sylvester II., 
the learned tutor of Otto II., Emperor of Germany, 
was by a strange irony of fate considered a sorcerer on 
account of his knowledge of mathematics and astronomy 
and his skiU. in mechanics. In the thirteenth century the 
same fate befell the famous Fraociscan friar, Roger 
Bacon, who was honoured with the [great name of " the 
father of modern science." The famous Dominican 
friar, Albert, Count of Bollstadt, commonly called 
" Albertus Magnus," was, on account of his familiarity 
with mechanics, but more especially in consequence of 
his " alchymistic " and chemical pursuits, branded with 
the stigma of sorcerer. The zealous Christian missionary. 
Raymond Lully, surnamed " Doctor illuminatus," was 
thrown in the same category. In the sixteenth century 
we meet with men like the distinguished physician and 
philosopher, Agrippa von Nettesheim, and the famous 
but fantastic Swiss physician, Theophrastus Paracelsus, 
both of whom were, on account of their intellectual 
superiority, reputed as being in league with the Devil. 

The Church did, however, not only confine itself to the 
condemnation' of the Black Art, but it also reserved for 



xvi THE FAX7ST LEGEND. 

itself the privilege of procuring a free pardon, as it were, 
for those who had forfeited the salvation of their souls 
by a league with the evil powers. The air of the Middle 
Ages was impregnated with superstition, so that it might 
have been difficult to eradicate the common belief in 
magic. Still, it would have conferred a great blessing 
on mankind, and would have greatly promoted the cause 
of civilization, if the representatives of the Christian 
religion, or of the Church, had strenuously opposed 
that superstitious belief. Unfortunately they omitted 
to do so, partly frbm ignorance, and partly because it 
would seem that every religion, or new form of religion, 
retains as a rule, Consciously or unconsciously, some 
elements of the creed which it endeavours to replace. 
Thus the Christian religion did not discard the 
heathenish belief in magic, and Protestantism retained 
the same belief tra|ismitted to it by Eoman Catholicism. 
It should also be remembered that the power and in- 
fluence of the Church was, in the Middle Ages, actually 
strengthened by humouring, as it were, the belief in 
magic ; for whilst acknowledging its existence it placed 
itself above it by promising deliverance from the Evil 
One to thos^ who, even at the eleventh hour, appealed 
to its protection. 

The traditional instances which show the superior 
power of the Church over that of Satan are numerous, 
and I will only confine myself to mentioning the well- 
known story of the CUician monk and coadjutor, 
Theophilus of Adana, of whom it was related that he 
had made a regular compact with the Devil, It was 



THE FAUST LEGEND. XVll 

ambition whicli prompted him to mate over his soul to 
the infernal powers, and this seems to be the first in- 
stance in which the giving of a bond is recorded. 
Later on, the curious feature was added to this trans- 
action that the bond was signed by the blood of the 
victim. It is further related that the ambitious monk 
having repented his covenant with the Devil, the Virgin 
Mary somehow recovered the bond, and laid it on the 
breast of the " repentant sinner " whUst he was sleeping 
exhausted in a church, after forty days' prayer and fast- 
ing. This legend, which was first told in a Greek 
biography of TheophHus, was subsequently made the 
subject of Latin, German, and French plays and poems. 
Li this respect the traditional coadjutor may be con- 
sidered as the forerunner of Faust, and it is a remart- 
able coincidence that the tradition of the rescue of 
TheophiluB by the Virgin Mary has, in some degree, 
been adopted by Goethe, who saw in it, perhaps, the 
symbol of beneficent female influence. At the conclu- 
sion of Part IL of Goethe's "Faust," Doctor Mariauus 
addresses the following invocation to the Virgin Mary : 

Jwngfram, Mutter, Konigin, 
Gbttin, bleibe gnddig, 

and the Chorus Mysticus concludes the poem with the 
following celebrated words : 

Das Vnheschreihliehe, 

Hier ist es gethan — 

Das ewig Weibliche 

Zieht uns hinan. 
I 



Xviii THE FAUST LEGEND, 

The intercessioa of the Virgin Mary on behalf of 
those who, after having devoted themselves to the Devil, 
had appealed to her, is of frequent occurrence in the 
traditions of magic and sorcery. This feature disap- 
peared, of course, with the Eeformation, not so much 
because it considered a league with the Devil as so great 
a sin that the person who committed it was irrevocably 
lost, but simply because it did not recognize the efB- 
ciency of any intermediate agency or supernatural inter- 
cession. A deadly malady, against which there is no 
remedy, must end fatally unless nature "helps itself;" 
and so it was assumed that those who had formally 
given themselves over to the Devil had, according to 
the tenets of the Protestant Church, forfeited the sal- 
vation of their souls for ever, unless they were saved by 
their own moral efEorts — ^that is to say, by sincere re- 
pentance. This was a great advance in the traditional 
belief in magic, and the almost universal superstition 
entered a new stage. The whole process was simpli- 
fied in a most rational manner. It was no longer ne- 
cessary to trouble any supernatural agency to make the 
Devil lose his prey. The victim had the remedy in 
himself. He had only to repent, and his compact with 
the Devil was naturally cancelled. On the other hand, 
the belief in magic assumed externally a more complex 
aspect ; more especially at the time when a single per- 
sonage was found round whom the various traditions 
gathered with a kind of natural selection. I allude, of 
course, to Faust, in whom the crystallization of the 
legend took place. 



THE FAUST LEGEND. xix 

As regards that person, who has become immortal 
through the halo shed round him by tradition and 
poetry, it is quite certain that there lived towards the 
end of the fifteenth and the first half of the sixteenth 
century a man who bore the name of Famt. The latter 
is not identical with the German equivalent of the 
English word "fist;" but is, according to Jatob 
Grrimm, an abbreviation of the Latin term " faustus," 
i.e., propitious, felicitous. 



II. 

We have, in fact, the authentic record of two persons 
bearing the name of Faust, and it has been conjectured 
bhat they were identical. The first authentic mention 
of an adventurer who has been identified with the hero 
of the legend, dates from the year 1607. His full name 
is given as " Magister Georgius SabelUus Faustus junior, 
fons necromanciorum astrologus," etc., and he is de- 
scribed — ^which must not astonish us after hearing his 
characteristic title — as a bragging vagabond, as a vagrant 
magician, who understood how to gain even the protec- 
tion of so enlightened a man as Franz von Sickingen. 
Another authentic record of the same personage we 
have from the year 1S13. He is there simply called 
Georgius Faustus, and described as a charlatan who 
lived on the credulity of his good-natured fellow- 
sitizens. There also exists an account of Faust from 
the year 1539, which fully coincides with the former 



XX THE FAUST LEGEND. 

descriptions. A contemporary of Faust relates, in a' 
book publislied in 1548, several incidents of which he 
asserts himself to have been an eye-witness, and which 
stamp him as a magician. This seems to be the first 
account of Paust, adorned with various magic stories, 
and it is a remarkable fact that it was written by a 
Protestant clergyman. 

Another account, dating from 1562, gives further- 
particulars of Faust — some of which form the basis of 
the legend in its expanded form — such as the fact that 
he was bom at Knittlingen in Wiirttemberg ; that he 
endeavoured to fly, and that the Devil threw him to the 
ground. We may confidently assume that if he had 
really been able to raise himself into the air by some 
mechanical process, his success would have been equally 
attributed to the Devil. 

In the account just mentioned the prsenomen of Faust 
is given as Johannes, whilst in the first account he is 
called Georg} Besides the discrepancy in the names, 
there is also one between the dates of the two Fausts, 
•which circumstances have naturally led to the con- 
jecture that there were two- different personages named 
Faust or Faustus, trading in the department of 
magic. On the other hand, it has been attempted to 

' Goethe applies to Faust the IDhristian name of Heinrich, 
which seems to have been a special favourite with him, and 
which is certainly more suitable in the present drama than 
either Georff or Johann would be. In the same way he assigned 
to Egmont the prsenomen Heinrich instead of Lamoral. Cf . my 
edition of Goethe's "Egmont' ("Clarendon Press Series"), 
p. 110, 1. 22, n. 



THE FAUST LEGliND. xxl 

reconcile the discrepancies, and to assume that the two 
different Fausts were, in fact, one and the same person, 
the data of whose biographies differ. At any rate, it 
may be taken for granted, as stated above, that there 
existed a clever adventurer who was what used to be 
called in those days a fahrender Schuler, " a roving 
scholar " or " student," ' who came in contact with the 
leaders of the Eeformation, and who became, in the 
course of time, the central figure of all the various 
stories and legends which form the " Faustsage," such 
as it is now known. 

Various reminiscences of classical and Teutonic or 
Northern mythology were now interwoven with the 
Faust Legend. Thus the story that Faust attempted 
to fly may be traced to the myth of Icarus ; but the 
most striking instance of the intimate connection of 
the " Faustsage " with antiquity is perhaps to be found 
in the introduction of the G-reek "Helena" into the 
Teutonic legend. The mention of Faust's roaming 
through the air by means of a magic cloak would seeaa 
to be a counterpart of the cloak used by the Northern 
god "Wodan" for carrying the heroes through the air. 

After the recorded death of Faust he seems to have 
been forgotten, since people were too much occupied 
with more portentous objects to concern themselves 
with the doings of a traditional hero who was said 
to have been carried off by the Devil. 

The legend had, however, taken such a firm root 

' Cf. p. 39 and n. 51, in this volume. 



XXU THE FAUST LEGEND. 

among the people that it only required some external 
impulse to be fully reviyed with all its fantastic 
details. This was done in 1687, when there appeared 
at Frankfort-on-the-Main the first original "Faust- 
buch," published anonymously by the printer Johann 
Spiesz. The author of the book seems to have been an 
intimate friend of the publisher, and he wished the 
book to be issued " as a warning to all Christians." 

It would far exceed the scope of the present volume 
to give a detailed account of the " Spiesz' sehe," or oldest 
'•' Faustbuch," and it may sufSqe to mention that the im- 
port of that remarkable publication, which is assumed to 
have been written by a Protestant clergyman, was to show 
that it was Faust's inordinate striving after universal 
knowledge that caused his ruin, and the author adds 
rather poetically, Er nahm an sich Adlerfliigel ; wolUe 
alle Grmid im Himmel und a%f Erden erforschen — " He 
took unto him eagle's wings and wanted to find out the 
cause of aU things ia Heaven and on Earth." In these 
few words we have the essence of the " Faustsage." The 
original " Faustbuch " seems to have attracted general 
attention on its appearance. A rhymed version of the 
story was published at the begianing of 1588, and what 
is still more remarkable, is the fact that shortly 
after the " Faustbuch " had appeared in Germany, there 
was published ia London a " Ballad of the Life and 
Death of Dr. Faustus, the great Sorcerer." A slightly 
altered reprint of Spiesz' s edition made its appearance 
at Frankfort in the above-mentioned year. An enlarged 
edition was issued in 1691, and a reprint of the same in 



THE FAD ST LEGEND. xxiil 

the following year. It was also translated into Low 
German, Danish, English, and even into French ; hut 
what speaks more than aU these data for the lively 
interest which the great Teutonic legend inspired in 
those days — as in otir own — is the fact that shortly 
after the publication of the English version (about 
1588 or 1589), Marlowe wrote his poetical drama, "The 
Tragical History of Dr. Paustus," which, by the bye, is 
the only production on the same subject which may 
worthily be placed by the side of Goethe's great drama. 
Eaust's Famulus, Christoph Wagner, who is so inti- 
mately connected with the life and doings of the adven- 
turous magician, found a biographer in the year 1593, 
when a " Volksbuch " was published giving an account of 
his life. In 1599 a scholar named Georg Eudolf 
Widman wrote a learned and pedantic account of the 
" Life and Death of Eaust,'' in three parts. It is, how- 
ever, utterly devoid of the charming simplicity of the 
original "Eaustbuch." Widman's version was re- 
edited in a shorter form by the physician Pfizer in 1679, 
and in 1728 there appeared a free, popular, and concise 
adaptation of Widman's and Pfizer's version combined. 
On the title-page we find the statement that " this book 
has been put into print as a warning to all sinners by 
a Christian-minded man." This version, which met with 
general favour and went through a number of editions, 
was read by Goethe when a child, and it is a remarkable 
fact that, whilst every well-educated person in Germany 
reads Goethe's " Faust," the charming " Volksbuch " is 
still a favourite with the lowest strata of the people, who 



XXIV THE FAUST LEGEND, 

buy it, printed on a kind of grey blotting-paper, at the 
fairs for a few Pfennige. 

It may be assumed that besides reading the more 
modem version of the " Faustbuch," Goethe was likewise 
acquainted with the well-known puppet-play treating of 
the same subject. Pictorial art also probably contri- 
buted to impress it deeply on his mind; for it was 
during his stay at Leipzig that he had frequent occasion 
to see in " Auerbach's Keller " the picture representing 
Faust as riding out of the cellar on a large wine-barrel.* 
In addition to these external influences, Leseing's famous 
letter on " Faust " must also have acted as a powerful 
incentive to the young poet, and thus we find that 
during his stay, in 1770, at Strasburg (where, more- 
over, he probably witnessed the performance of a " Faust- 
spiel" acted there in those days), the idea of drama- 
tizing the great subject was confirmed in him. Ac- 
cording to some he began the composition between 
1770-71 ; it was, however, not before the year 1790 
that he issued the greater portion of it under the title 
of " Faust, Bin Fragment," whilst the complete form 
of Part I. made its appearance as late as the year 
1808, and since that time it has grown so much in 
public estimation that it is now universally acknow- 
ledged as the greatest dramatic representation of the 
problem of mankind. 

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



A LIST 

OP SOME BOuKS rOE THE STUDY OF 
GOETHE'S "EATJST."' 

German. 

1. Duntzer, H. Goethe's "Faust." Erster und Zweiter 
Theil. Zum erstenmal vollstandig erlantert. [The most ex- 
haustive, and indispensable commentary on Goethe's poem.] 

2. Duntzer, H. Zur Goetheforschung. [Contains an inte- 
resting article on the Gochenhausen manuscript of Goethe's 
" Faust," and some valuable essays on Part II.] 

3. SchmMt, Erich. Goethe's "Faust" in urspriinglicher 
Gestalt. Also, Goethe's " Faust " in the Weimar Edition. 

4. Marhach, 0. Goethe's "Faust." Erster und Zweiter 
Theil. [Commentary.] 

5. Schreyer, H. Goethe's "Faust" nach seiner Einheit 
vertheidigt. [Commentary.] 

6. Strehlke, Fr. Paralipomena zu Goethe's "Faust.'' Ent- 
wurfe, Skizzen, Vorarbeiten und Fragmente. [Highly inte- 
resting for the thorough study of the histoiy of the composition 
of Goethe's drama.] 

7. Strehlke, Fr. Wbrterbuch zu Goethe's " Faust." [One 
of the most useful books in the vast Faust literature.] 

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

9. Creizenach, M. Die Buhnengeschichte des Goethe'schen 
"Faust." Also, "Geschichte des Volksschauspiels von Dr. 
Faust." 

10. Fischer, Kuno. Goethe's "Faust." Ueber die Entstehung 

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



xxvi A LIST OF BOOKS. 

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

11. Scherer, W. Vortrage iiber Goethe. 

Vi.' Carri&e, M. Goethe's "Faust." Mit Einleitungen 
und Erlauterungen. 2 Bde. [Text and commentary.] 

13. Schroer, K. J. "Faust" von Goethe. Mit Einleitung 
und fortlaufender Erklarung. 2 Bde. [Text and commen- 
tary.] 

14. Loeper's edition of " Faust," mentioned in the Preface. 

15. Engd, K. Das Volksschauspiel Dr. Johann Faust. Mit 
einem Anhang, Bibliotheca Faustiana. [Very meritorious.] 

16. Hememann, Wm. Goethe's " Faust " in England und 
Amerika. [A very carefully executed and most useful biblio- 
graphy of English translations, &c.] 

English. 

1. Boyesen, E. H. Goethe and Schiller. Including a Com- 
mentary on Goethe's "Faust." [This valuable treatise has 
been translated into German.] 

2. Coupland, W. C. The Spirit of Goethe's " Faust." [One 
of the best contributions to English Faust criticism in recent 
times.] 

3. Wwrd, A. W. The English Drama. Select Plays. 
Marlowe : Tragical History of Dr. Faustus. Greene : 
Honourable History of Friar Bacon and Friar Bungay. 
[This volume is of the greatest importance for the study of the 
Faust tradition. The relation between Marlowe's " Faustus " 
and Goethe's " Faust " is most intelligently worked out.] 

The annotated editions published in this country and 
America which are known to me, have been mentionefi in my 
Notes at the end of the volume. 



FAUST. 



ZUEIGNUNG. 

I HE naht euch wieder, schwankende Gestalten, 
Die friJh sioh einst dem triiben Bliok gezeigt. 
Versuch' ioh wohl, euch diesmal fest zu halten ? 
Piihl' ioh mein Herz noch jenem Wahn geneigt ? 
Ihr drangt euch zu ! Nun gut, so miigt ihr walten, 5 

Wie ihr aus Dnnst und Nebel um mich-steigt ; 
Main Busen fiihlt sich jugendlich erschiittert 
Vom Zauberhauch, der euren Zug umwittert. 

Ihr bringt mit euch die Bilder froher Tage, 
Und manche Hebe Schatten steigen auf ; 10 

Gleioh einer alten, halbverklungnen Sage, 
Kommt erste Lieb' und Freundsohaft mit herauf ; 
Der Schmerz wird neu, es wiederholt die Klage 
Des Lebens labyrinthisoh irren Lauf, 

Und nennt die Gruten, die, um schone Stunden 15 

Yom Gluck getausoht, vor mir hinweggeschwunden. 

Sie horen nicht die folgenden Gesange, 
Die Seelen, denen ich die ersten sang ; 
Zerstoben ist das freundliche Gedrange, 
Verklungen, ach, der erste Wiederklang. 20 

Mein Eeid ertcint der unbekannten Menge, 
Ihr Beifall selbst macht meinem Herzen bang, 
Und was sich sonst an meinem Lied erfreuet, 
Wenn es noch lebt, irrt in der Welt zerstreuet. 

Und mioh ergreift ein langst entwbhntes Sehnen 25 

Naoh jenem stillen, ernsten Geisterreich ; 
Es schwebet nun in unbestimmten Tonen 
Mein lispelnd Lied, der Aeolsharfe gleich ; 
Bin Schauer faszt mioh, Thrane folgfc den Thranen 
Das strenge Herz, es fiihlt sich mild und weieh ; ' 30 

Was ich besitze, seh' ich wie im Weiten, 
Und was verschwand, wird mir zu Wirklichkeiten, 



DEDICATION.^ 

YE approach, again, ye waTering forms, which, once, 
in the morning of life, presented yourselTCs to 
my trouhled view ! Shall I try, this time, to hold you 
fast ? Do I feel my heart still inclined to that illusion ? 
Te crowd upon me ! weU then, ye may hold dominion 
over me, as ye rise around out of vapour and mist. My 
bosom feels youthfully agitated hy the magic breath 
which surrounds your train. 

Te bring with you the images of happy days, and 
many loved shades arise : like to an old half -forgotten 
tradition, rises first-love, •with friendship, in their com- 
pany. The pang is renewed; the plaint repeats the 
labyrinthine mazy course of life, and names the dear 
ones, who, cheated of fair hours by fate, have vanished 
away before me. 

They hear not the following lays — the souls to whom 
I sang my first. Dispersed is the friendly throng — the 
first echo, alas, has died away ! My sorrow resounds 
among a strange crowd : their very applause saddens my 
heart ; and those who were once gladdened by my song 
— if still living, stray scattered through the world. 

And a yearning, long unfelt, for that quiet pensive 
spirit-realm seizes me. In half -formed tones my lisping 
lay is hovering like the iEolian harp. A tremor seizes 
me: tear follows tear: the austere heart feels itself 
growing mild and soft. What I have, I see as in the 
distance ; and what is gone, becomes a reality to me. 



VORSPIEL AUF DEM THEATER. 



DiREKTOB. Theateedichtek. Lustigb Pekson. 

Bwektor. 

IHR Beiden, die ihr mir so oft ^ 

In Noth und Trubeal beigestanden, 
Sagt, was ihr wohl in deutsohen Landen 
Von unsrer Untemehmung hefft ! 

let wiinsohte sehr, der Menge zu behagen, S 

Besonders weil sie lebt and leben laszt. 
Die Pfosten sind, die Bretter aufgeschlagen, 
Und Jedermann erwartet sich ein Pest. 
Sie sitzen schon mit hohen Augenbraunen 
Gelassen da und mochten gem erstaunen. lo 

loh weisz, wie man den Geist des Volks versohnt, 
Dooh so verlegen bin ioh nie gewesen ; 
Zwar sind sie an das Beste nichfc gewbhnt, 
AUein sie haben sohreoklich viel gelesen, 
Wie machen wir's, dasz Alles frisoh und neu 15 

Und mit Bedeutung auch gef allig sei ? 
Denn freilich mag ioh gem die Menge sehen, 
Wenn sich der Strom nach unsrer Bnde drangt, 
Und mit gewaltig wiederholten Wehen 
Sich duroh die enge Gnadenpforte zwangt, 20 

Bei hellem Tage, schon vor Vieren, 
Mit Stoszen sich bis an die Kasse fioht 
Und, wie in Hungersnoth um Brod an Backerthiiren, 
Um ein Billet sich fast die Halse bricht. 
Dies Wunder wirkt auf so verschiedne Leute 25 

Der Dichter nur ; mein Preundi o.. thu es heute ! 



PRELUDE OJT THE STAGE.'' 

Manager — Theatee-Poet — Mbebtman.^ 

Manager. 

YE two, ■who have so often stood by me in need and 
tribulation, say, what hopes do you entertain of 
our undertaking in German lands ? I wish very much to 
please the multitude, particularly because they live and 
let live. The posts, the boards, are put up, and every one 
looks forward to a feast. There they sit already, cool, 
with raised eyebrows, and would fain be set a wondering. 
I know how the spirit of the people is propitiated ; yet 
I have never been in such a dilemma as now. True, 
they are not accustomed to the best, but they have read 
a terrible deal. How shall we manage it — that all be 
fresh and new, and still be pleasing and instructive ? * 
For assuredly I like to see the multitude, when the 
stream rushes towards our booth, and, with powerfully- 
repeated efforts, forces itself through the narrow portal 
of grace — when, in broad daylight, before the hour 
of four, they elbow their way to the paying-place, and 
risk breaking their necks for a ticket, as in a famine at 
bakers' doors for bread. It is the poet only that works 
this miracle on such a motley crowd — my friend, oh ! 
do it to-day ! 



6 * TORSPIEL AUF DEM THEATEE. 



ai Bichier, 

0, sprioh mir nicht von jener bunten Menge, 
Bei deren Anbliok uns der Geist entflieht ! 
Verhiille mir das wogende Gedrange, 

Das wider Willen uns zum Strudel zieht. 3° 

Nein, fiihre mioh zur stillen Himmelsenge, 
Wo nur dem Dichter reine Freude bliiht, i^ 

Wo Lieb' und JFreundsohaft unsers Herzens Segen 
Mit Gotterband erschaffen and erpflegen. 

Aoh, was in tiefer Brust uns da entsprungen, 35 

Was sich die Lippe schuchtern vorgelallt, 
Miszrathen jetzt und jetzt vielleicbt gelungen, , 
Verschlingt des wilden Augenblioks Gewalt.H s "^ 
Oft, wenn es erst durch Jahre durohgedrungen, 
Erscheint es in voUendeter Gestalt. 40 

Was glanzt, ist fur den Augenbliok geboren, 
Das Bchte bleibt der Nachwelt unverloren. 



Lustige Person. 
Wenn ich nur nichts von Naohwelt horen sollte ! 
Gesetzt, dasz ich von Napl^elt reden wollte, 
Wer machte denn der Mtwelt Spasz ? 45 

Den will sie dooh und soil ihn haben. 
- Die Gegenwart von einem braven Knaben 
Ist, dacht' ich, immer auch schon was. 
Wer sich behaglich mitzutheilen weisz, 
Den wird des Volkes Laune nicht erbittern ; 50 

Er wunsoht sich einen groszen Kjeis, 
Um ihn gewisser zu erschiittem. 
Drum seid nur brav und zeigt euch musterhaft, 
Laszt Phantasie mit alien ihren Choren, 
Vernunft, Verstand, Empflndung, Leidensohaft, 55 

Doch, merkt euch wohl, nicht ohne Narrheifc horen ! 



DvreHor. 
Besonders aber laszt genug geschehn ! 



PRELUDE ON 'I'lIE STAGE. 

Poet. 
Oh! speak not to me of that motley multitui 
at whose very aspect one's spirit takes flight. V 
from me that surging throng, which draws us, agaii 
our will, into the whirlpool. No! conduct me to t 
quiet, heavenly nook, where alone pure enjoyme 
blooms for the poet — where love and friendship, wi 
godlike hand, create and cherish the bliss of our hear 
Ah ! what there hath gushed from us in the - dept 
of the breast, what the lip coyly whispered to its( 
— now failing, and now perchance succeeding — t 
wild moment's sway swallows up. Often only when 
has endured through ages, does it appear in complet 
form. What glitters, is bom for the moment; t 
genuine remains unlost to posterity. 

Merryman. 
If I could but hear no more about posterity ! Suppo 
I chose to talk about posterity, who then would ma 
fun for cotempora^ies ? That they will have — ai 
ought to have it. The presence of a good fellow, to 
is also worth something, I should think. Who kuoi 
how to impart himself agreeably — he will never 1 
soured by popular caprice. He desires a large circle, 
agitate it the more certainly. Then do but try yoi 
best, and show yourself a model. Let fancy, with s 
her choruses, — reason, understanding, feeling, passic 
be heard, but — mark me well — not without folly. 

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



8 VOESPIEL AUF DEM THEATER. 

Man kommt, zu sohau'n, man will am liebsten sehn. 

Wird Vieles vor den Augen abgesponnen, 

So dasz die Menge staunend gaffen kann, 60 

Da habt ihr in der Breite gleioh gewonnen, 

Ihr seid ein vielgeliebter Mann. ^ , . 

Die Masse konnt ihr nur durch Masse zwingen ; 

Ein Jeder sucht sich endlich selbst was aus. 

Wer Vieles bringt, wird Manchem etwas bringen, 65 

Und jeder geht zufrieden aus dem Hans. 

Gebt ihr ein Stiiok, bo gebt es gleioh in Stuoken ! 

Soloh ein Bagout, es musz euch gliioken ; 

Leicht ist es vorgelegt, so leicht als ausgedacht. 

Was hilft's, wenn ihr ein Ganzes dargebracht ? 70 

Das Fublikam wird es euch doch zerpfliicken. 

Dichter. 
Ihr fiihlet nicht, wie sohleoht ein solches Handwerk sei, 
Wie wenig das dem echten K.unstler zieme. 
Der saubern Herren Pfusoherei 
Ist, merk' ioh, schori bei euch Maxime. 75 

Direktor. 
Ein solcher Vorwurf laszt mioh ungekrankt ; 
Ein Mann, der recht zu wirken denkt, 
Musz auf das beste Werkzeug halten. i >, ' 

Bedenkt, ihr habet weiches Holz zu spalten,'^^,,.. * ' 
Und seht nur hig^J[ij]ppBn ihr sohreibt ! ' 80 

Wenn Diesen Langeweile treibt, 
Kommt Jener satt vom iibertisohten Mahle, 
Und, was das AUersohlimmste bleibt, 
Gar Mancher kommt vom Lesen der Journale. 
Man eilt zerstreut^^ij. i^ns wie zu den Maskenfesten, 85 
Und Neugier nur beflugelt jeden Schritt; 
Die Damen geben sich und ihren Putz zum Besten 
Und spielen ohne Gage mit. 
Was traumet ihr auf eurer Dichterhohe ? • 
Was maoht ein voiles Haus euch froh ? 90 



PRELUDE ON THE STAGE. 9 

People come to look;" their greatest pleasure is to see. 
If much is spun ofE before their eyes, so that the many 
can gape with astonishment, you have then gained 
immediately hy diffuseness ; you are a great favourite. 
Tou can only subdue the mass by mass. Each even- 
tually picks out something for himself. Who brings 
much," -will bring something to many a one, and all leave - 
the house content. If you give a piece, give it at once 
in pieces ! With such a hash, you cannot but succeed. 
It is easily served out, as easily as invented. What 
avails it to present a whole ? the public wiU pull it to 
pieces for you notwithstanding. 

Poet. 
Tou feel not the baseness of such a trade ; how little 
that becomes the true artist ! The bungling of these 
fine gentlemen, I see, is already a maxim with you. 

Manager. 
Such a reproof does not mortify me at aU. A man 
who intends to work properly, must have an eye to 
the best tool. Consider, you have soft wood to split ; 
and only look whom you are writing for ! Whilst one 
is driven by ennui, the other comes satiated from a 
meal of too many dishes ; and, what is worst of all, 
many a one comes from reading the newspapers. People 
hurry unheedingly to us, as to masquerades ; and curio- 
sity only wings every step. The ladies give themselves 
and their finery as a treat, and play with us without 
pay. What are you dreaming about on your poetical 
height ? What is it that makes a full house merry ? 



10 VORSPIEL AUF DEM THEATER. 



Beseht die Gonner in der N'dhe 1 

Halb siud sie kalt, halb siud sie roh ; 

Der, nach dem Sohauspiel, hofft ein Kartenspiel, 

Her eine wilde Kacht an einer Dime Busenk< ♦•-o-^^'' 

Was piagt ihr armen Thoren viel '' '^Vv^^M- 95 

Zu solchem Zweck die holden Musen ? 

loh sag' euch, gebt nur mehr und immer, immer mehr. 

So kannt ihr euch vom Ziele nie verirren ; 

Suoht nur die Mensohen zu verwirren, 

Sie zu befriedigen, isfc sohwer 100 

Was f allt euoh an ? Entzuckung oder Schmerzen ? 

Dichier. 
G-eh hin und such dir einen andern Knecht ! 
Der Diohter sollte wohl das hoohate Eecht, 
Das Menschenrecht, das ihm Natur vergonnt, , 
Um deinetwillen freventlich verscherzen !">*'-'' * ' 105 
Woduroh jD^wegJ er alle Herzen ? 
Woduroh beslegt er j§des Element ? 
1st es der Binklang nioht, der aus dem Busen dringt 
Und in sein Herz die Welt zuriicke sohlingt ? 
Wenn die Natur des Eadens ew'ge Lange, iia 

Gleiohgiiltig drehend, auf die Spin del zwingt; 
Wenn aller Wesen unharmon'sohe Menge 
Verdrieszlioh duroh einander klingt, 
Wer theilt die flieszend immer gleiohe Eeihe \ 
Belebend ab, dasz sie sioh rhy thmisoh regt ? \'; 115 
Wer ruft das Einzelne zur allgemeiueu Weihe, ' 
Wo es in herrlichen Akkorden schlagt ? i 

Wer laszt den Sturm zu Leidensohaften wiithen ? > 
Das Abendroth im ernsten Sinne glUhn ? 
Wer schiittet alle sohonen Pruhlingsbliithen 120 

Auf der Geliebten Pfade hin ? 
Wer flioht die unbedetitend griinen Blatter 
Zum Ehrenkranz Verdiensten jeder Art ? , / 

Wer sichert den Olymp, vereinet Gbtter? — 
Des Menschen Kraft, im Dichter offenbart ! nj 



PRELUDE ON THE STAGE. ]1 

Look closely at your patrons ! Half are indifferent, 
half coarse. One hopes for a game of cards after the 
play ; another, a -wild night on the bosom of a wench. 
Why, poor fools that ye are, do ye give the sweet 
Muses much trouble for such an end ? I tell you, only 
give more, and more, and more again; thus you can 
never be wide of your mark. Try only to mystify the 
people ; to satisfy them is hard — What overcomes you ? 
Delight or pain ? 

Poet. 
Begone ' and seek thyseK another servant ! The 
poet, forsooth, is wantonly to sport away for thy sake 
the highest right, the right of man, which Nature 
bestows upon him ! By what stirs he every heart ? 
By what means subdues he every element ? Is it not 
the harmony,— which bursts from out his breast, and 
iraws the world back again into his heart? When 
Nature, carelessly winding, forces the thread's inter- 
minable length upon the spindle ; when the confused 
multitude of all beings jangles out of tune and harsh, 
^who, life-infusing, so disposes the ever equably-flow- 
ing series, that it moves rhythmically 9^^ Who calls the 
individual to the general consecration — where it strikes 
in glorious harmony ? ? Who bids the tempest rage to 
passions ? the evening-red glow in the pensive spirit ? 
Who scatters on the loved one's path all beauteous 
i)lossomings of spring ? Who wreathes the unmeaning 
jreen leaves into a garland of honour for deserts of all 
iinds f Who ensures Olympus ? — ^unites the Gods ? 
VEan's power revealed in the Poet. 



12 VORSPIEL AUF DEM THEATER. 

Lustige Person. 
So brauohi^sie, denn, die schonen Krafte, 
Und trfflbtpie dicht'risohen Gesohafte, 
Wie man ein Liebesabenteuer treibt ! 
Zufailig naht man sioh, man fiihlt, man bleibt 
Und nach und nach wird man verflochten ; 1 30 

Es wachst das Gliiok, dann wird es angefochten, 
Man ist entziiokt, nun kommt der Schmerz heran 
Und, eh man Biob's versiebt, ist's eben ein Boman. 
Laszt uns auch so ein Scbauspiel geben ! 
'Greiffc nur hinein ins voile Mensohenleben ! 135 

Ein Jeder lebt's, niobt Vielen ist's bekannt, 
Und wo ihr's paokt, da ist's interessant. 
In bunten Bildern wenig Klarheit, 
Viel Irrthum und ein Funkchen A/yahrheit, 
So wird der bestejTrank gebraut, *>'V.'-'" 140 

Der alle Welt e^uiokt und auferbaut. 
Dann sammelt siofi. der Jljigend sohonste BlUthe 
Vor eurciBfi _^pj.el und lautcht %er Offenbarung, ^ 
Dann'^sauget jedes zartliohe Gemiithe l^fe. >-* - " 

Aus eurem Werk sieh melanohol'sohe Nahrung, .' ,j,, 145 
Dann wird bald dies, bald jenes aufgeregt, ■^*-^' \ 
Ein Jeder siebt, was er im BJerzen tragt. 
Koch sind sie gleich h^^it, zu weinen und zu lacheu, 
~ Sie ehren nooh den ochwung.erfreuen sioh am Schein ; 
Wer fertig ist, dem ist nichts i'eoht zu machen, J 50 

Ein Werdender wird immer dankbar sein, 

'ji--'^ DicMer. 

So gieb mir auch die Zeiten wieder. 
Da ich noch seibst im Werden war, 
Da sioh em QiJ^ll gedrangter Lieder 

Ununterbrochen neu gebar, 155 

Da Nebfil mir die Welt verhiillten, 
Die Kno3^''Wunder nooh verspraoh, 
Da ich die Jau^end Blumen brach, 
Die alle TM^^eichlich fiillten. 

Ich hatte nichts und dooh genug : / 160 

Den Drang nach Wahrheit und die Lust am Trag. 



PRELUDE ON THE STAGE. 13 

Merryman. 
Employ these fine powers then, and carry on your 
poetical aflfairs as one carries on a love-adventure. — 
Accidentally one approaches, one feels, one stays, and 
Httle by little one gets entangled. The happiness in- 
creases, — then it is disturbed ; one is delighted, — then 
conies distress ; and before one is aware of it, it is even 
a romance. Let us also give a play in this manner. Do 
but grasp into the thick of human life ! Every one lives 
it, — ^to not many is it known ; and seize it where you 
will, it is interesting. Little clearness in motley images ! 
much falsehood and a spark of truth ! ' this is the way 
to brew the best potion, which refreshes and edifies all 
the world. Then assembles youth's fairest flower to see 
your play, and listens to the revelation. Then every 
gentle mind sucks melancholy nourishment for itself 
from out your work ; then one while this, and one while 
that, is stirred up ; each one sees what he carries in his 
heart. They are as yet equally ready to weep and to 
laugh ; they still honour the soaring, are pleased with 
the glitter. One who is formed, there is no such thing 
as pleasing; one who is forming, will always be grateful. 

Poet. 
Then give me also back again the times, when 1 
myself was stiU forming ; when a fountain of crowded 
lays sprang freshly and unbrokenly forth ; when mists 
veiled the world before me, — the bud still promised 
marvels ; swhen I gathered the thousand flowers which 
profusely filled all the dales ! I had nothing, and yet 
enough,— the longing after truth, and the pleasure in 



14 VOfiSPIEL AUF DEM THEATER, 

, ,, f : y 

Gfieb ungebandigt jene Triebe, '^■■'; 

Das tiefe, schmerzenvoUe Gluck, '■ 

Des Hasses ICraft, die Macbt der Liebe, 

Gieb meine Jugend mir zaruck ! '^5 

Lmtige Person, f i ' " (^ 

per Jugend, gute^&^d, bedarfst du allenfalls, if- / "" 
Wenn dich in 8oWh(ia&n Feinde drangen, 
Wenn mit Gewallf ail deinen Hals ->-<<' y' 

Sioh allerliebste Madchen hangen, ^^,; ^ 

Wenn fern des schnellen^Laufes KranzPi;' /i . 170 

Vom schwer er^MMen Zjtele'winket, ■^'^■ 
Wenn nach dem heft'genl.'Wirbeltanz 
Die Nachte schmausend man ver.trinket. 
Dooh ins bekannte Saifcenspiel v" 5^. ; 
Mit Muth und Anmuth einzugreifen, 175 

Nach einem selbstgesteokten Ziel 
Mit holdem Irren hinzusohweifen, 
Das, alte Herr'n, ist eure Pflicht, 
Und wir vereiren euob darum nicht minder. 
Das Alter macM nioht kindisch, wie man sprioht, iSo 

Es findet uns nur nooh als wahre Kinder. 

BireMor. 
Der Worte sind genug gewechselt, 
Laszt mioh. auch endlioh Thaten sehn ! 
Indesz ihr Komplimente dreohselt, 

Kann etwas Niitzliobes geschehn. 185 

Was Mlft es viel von Stimmung reden ? 
Dem Zaudernden ersoheint sie nie. 
Gebt ihr euch einmal fiir Poeten, 
So kommandirt die Poesie ! 

Euch ist bekannt, was wir bediirfen, 190 

Wir wollen stark Getranke schliirfen ; 
Nun braut mir unverzuglich dran ! 
Was heute nioht geschieht, ist morgen nicbt gethan, 
Und keinen Tag soil man verpassen ; 

Das Mogliche soil der Entsohlusz 195 

Beherzt sogleich beim Schopfe fassen, 
Er will es dann nicht fahren lassen 



PRELUDE ON THE STAGE. 15 

delusion ! Give me back those impulses untamed, — the 
deep, pain-fraught happiness, the energy of hate, the 
power of love ! — Give me back my youth ! 

Merryman. 
Youth, my good friend, you want indeed, when foes 
press you hard in the fight, — when lovely lasses cling 
with ardour round your neck, — when from afar, the 
garland of the swift course beckons from the hard- 
won goal, — when, after the dance's maddening whirl, 
one drinks away the night carousing. But to strike 
the familiar lyre with spirit and grace, to sweep along, 
with happy wanderings, towards a self-appointed aim ; 
— that, old gentlemen, is your duty,' and we honour 
you not the less on that account. Old age does not 
make childish, as men say ; it only finds us still as true 
children> 

Manager. 
"Words enough hare been interchanged ; let me now 
see deeds also. Whilst you are turning compliments, 
something Tiseful may be done. What boots it to 
stand talking about being in the vein? The hesita- 
ting never is so. If ye once give yourselves out for 
poets, — command poesy. Ton well know what we want; 
we would sip strong drink — now brew away immediately ! 
What is not doing to-day is not done to-morrow ; and 
no day should be wasted. Eesolution should boldly 
seize the possible by the forelock at once. She will then- 



16 VORSPIEL AUF DEM THEATER. 

Und wirket weiter, well er musz. 

Ihr wiszt, auf unsern deutschen Buhnen 

Probirt ein Jeder, was er mag ; zoo 

Drum Bohonet mir an diesem Tag 

Prospekte nicht und nioht Masohinen, 

Gebraucht das grosz- und kleine Himmelslicht, 

Die Sterne diirfet ihr versohwenden ; 

An Wasser, Feuer, Felsenwanden, 205 

An Thier- uad Vogeln fehlt es nioht. 

So schreitet in dem engen Bretterhaus 

Den ganzen Kreis der Sohopfung aus, 

Und wandelt mit bedacht'ger Sohnelle 

Vom Himmel durch die Welt zur HoUe ! 210 



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



FAUST. 

EnSTE TEAGODIE. 



PEOLOG IM HIMMEL. 

Dee Hekb. Die himmlischen Heerschaaeen. 
Naohhek Mephisiopheles. 

Die drei Erzengel treten vor. 

Raphael. 

DIB Sonne tont naoh alter Weise 
In Bruderspharen Wettgesang, 
Und ihre vorgeschriebne Beise A^*''^^" ^ 
Vollendet sie mit Donnergang. 
Ihr Anbliok giebt den EnMln^ta^ke, 5 

^ Wenn Keiner sie ergninllen mag ; 
Die unbegreiflioh hohen Werke 
Sind herrlich wie am ersten Tag. 

Qahriel. 
IJnd sohnell und unbegreiiiioh sohnelle 
Drett^BJph Ujinher der Erde Praoht ; 10 

Es weonserf"Paradieseshelle 
Mit tiefer schauervoUer Nacht ; 
Es sohaumt das Meer in breit^. Mussen 
Am tiefen Grand der Felseii*auf, 
Und Eels und Meer wird fortgerissen ^ 15 

In ewig Bohnellem Spharenlauf. 

Michael. 
Und Sturme brausen um die Wette 
Vom Meer aufs Land, vom Land aufs Meer 
Und bilden, wuthend, eine Kette 
Der tiefsten Wirkung rings umher ; lo 



PEOLOGUE IN HEAVEN." 

j The Lord — the Heavenly Hosts. Afterwards 

Mephistopheles. 

The Three Archangels come forward. 

Raphael. 

THE sun chimes in, as ever, with the emulous music 
of his . brother spheres, and performs his pre- 
scribed journey with thundering miarch. His aspect 
gives strength to the angels, though none can fathom 
him. Thy inconceivably sublime works are glorious as 
on the first day. 
'' Odbriel. 

And rapid, inconceivably rapid, the splendour of the 
earth revolves ; the brightn^ss of paradise alternates 
with deep, fearful night. The sea foams up in broad 
waves at the deep base of the rocks ; and rock and sea 
are whirled on in the ever rapid course of the spheres. 

Michael. 
And storms are roaring as if in rivalry, from sea 
to land, from land to sea, and form all around a chain 
of the deepest efEect in their rage. There, flashing 



20 PROLOG IM IIIMMEL. 

]5a flammt oiii blitzendes Verheeren 
Dem Pfade vor des Donnersohlags ; 
Doch doiiie Boten, Heir, verehren 
Das sanfte Wandeln deines Tags. 

Zu Drei. 
Der Anbliok giebt den Bngeln Starke, 25 

Da Keiner dioh ergriinden mag, 
Und alle deiue hohen Werke 
Sind herrlich. wie am ersten Tag. 

Mejphisto'pheles. 
Da dii, Herr, dioh einmal wieder nahst 
Und fragst, wie AUes sich bei una befinde, 30 

Und du mich sonst gewohnlioh gerne sahst, , ^ 
Sq siehat du mich auch unter dem Geainde./*****^ 
V 'V'erzeih, ioh kann nicht hohe Worte machen, ,-, ^ - 
Und wenn mioh auch der ganze Kreis verhohnf ; 
Mein Pathos brachte dioh gewisz zum Lachen, 35 

Hattat du dir nioht das Lachen abgewohnt. 
Von Sonn' und Welten weisz ioh niohts zu aagen, 
Ioh sehe nur, wie sioh die Mensohen plagen. 
Der kleine Gott der Welt "bleibt stets von gleiohem Schlag 
Und ist so wunderlich als wie am ersten Tag. 40 

Bin wenig besser wiird' er leben, -_■ ■-" ,, 
Hattst du ihm nicht den Sohem aes Himmelslichts gegeben ; 
Er uenn^'s Vei^nunft und braiicht's allein, 
Nur thieftsoher als jedes Thier zu sein. 
Er soheint mir, mit Verlaub von Euer Gnaden, 45 

Wie eine der laugbeinigen Zikaden, 
Die immer fliegt und fliegend spriugt 
Und gleioh im Gras ihr altes Liedcheio. singt. 
Und lag' er nur noch immer in dem Grase 1 
I -1 jeden Quark begrabt er seine Naae. ca 

Ber Kerr. 
Ilaat du mir weiter niohts zu sagen ? 
Kommst du nur immer anzuklagen ? • 
Ist auf der Erde ewig dir niohts reoht ? 



PROLOGUE IN HEAVEN. 21 

desolation flares before the path of the thunder-clap. 
But thy messengers," Lord, revere the gentle movement 
of thy dayf^ 9^ 

The Three. 

The aspect gives strength to the angels, though none 
. can fathom thee, and all thy sublime works are glorious 
as on the first day. 

Mephistopheles. 
Since, Lord, you j^pproach once again, and inquire 
how things are going on with us, and on other occa- 
sions were generally not displeased to see me — there- 
fore is it that you see me also among your suite. 
Excuse me, I cannot talk fine, not though the whole 
circle should cry scorn on nie. My pathos would cer- 
tainly make you laugh, had you not left off laughing. 
I have nothing to say about suns and worlds ; I only 
mark how men are plaguing themselves. The little 
god of the world continues ever of the same stamp, and 
is as odd as on the first day. He would lead a some- 
what more pleasant Ufe, had you not given him a 
glimmering of heaven's light. He calls it reason, and 
uses it only to be more brutal than any brute. He 
seems to me, with your Grace's leave, like one of the 
long-legged grasshoppers, which is ever flying, and 
bounding as it flies, and then sings its old song in the 
grass ; — and would that he did but he always in the 
grass ! He thrusts his nose into every puddle. 

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



22 PROLOG IM HIMMEL. 

MephitiopJieles. Jjx' 

Nein, Herr, ich find' es dort, wie immer, herzlioh schlecht. 
Die Mensohen dauern mich in ihren Jammertagen ; 55 
Ich mag sogar die armen selbst nioht plagen. 

Ber Herr. 
Kennst du den Faust ? 

MepMsto'pheles. 
Den Doktor ? 

Ber 'Re/rr. 

Meinen Kneoht .' 

^>i.'- M.epMsto'gheles. 

' Fiirwahr, er dient euch auf besondre Weise. 
Nicht irdisoh ist des Th(yen Trank neoh Speise. 
Ihn treibt die GaE^-faiig' ui die^ Feme, 60 

Br ist sich seiner Tofmeit nalo bewuszt : 
Vom Himmel fordert er die sohonsten Sterne 
Und von der Erde jede hoohste Lust, 
TJnd alle Nah' und alle Feme 

Befriedigt nioht die tiefbewegte Brust. , ,, 65 

'■•- ■ ■■ ' A>-'' \ - 

Der Herr. . > 
Wenn er mir jetzt auch nur verworren dient, 
So ward' ich ihn bald in die Klarheit fuhren. j^y ~' •'- 

'Weisz doch der Gartner, wenn das Baumchen griint, 
Dasz Bliith' und Frucht die kunft'gen Jahre ziereu; ' ■" 

MeipMatopTieles. 
Was wettet ihr ? Den soUt ihr noch verlieren, 70 

"Wenn ihr mir die Erlaubnisz gebt, 
Ihn meine Strasze sacht zu fuhren ! 

Ber Herr. 
So lang' er auf der Erde lebt, 



/So lange sei dir's nioht verboten. 

( Es irrt der Mensch^ so lang' er strebt. ) 



1i 



PROLOGUE IN HEAVEN. 23 

Me^Mstopheles. 

No, Lord ! I find things there, as ever, miserably 

bad. Men, in their days of wretchedness, move my 

pity ; even I myself have not the heart to torment the 

poor things. 

The Lord. 

Do you know Faust ? 

Mephistopheles. 



The Doctor? 
Mv. servant! 



The Lord. 



Mephietopheles. 
'!> Verily ! he serves you in a strange fashion. The 
.iiool's meat and drink are not of earth. The ferment 
impels him towards the far away. He himself is half 
conscious of his madness. Of heaven — he demands its 
brightest stars ; and of earth — its every highest enjoy- 
ment ; and all that is near, and all that is far, contents 
not his deeply-agitated breast. 

The Lord. 
Although he does but serve me in perplexity now, 
I shall soon lead him into light. When the tree buds, 
the gardener knows that blossom and fruit will deck 
the coming years. 

Mephietopheles. 
What will you wager ? you shall lose him yet, if you 
give me leave to guide him quietly my own way. 

The Lord. 
So long as he lives upon the earth, so long be it not 
forbidden to thee, f Man is liable to error, whilst he 
is striving./ "~ 



24 PROLOG III HIMMEL. 

Mejphistophelei. 
Da dank' ich euch ; denn mit den Todten „ , ,^^ 
Hab' ioh mioh niemals gern befangen. ^•* ' ('■. 
Am Meisten lieb' ich mir die voUen, frisohen Wangen,' 
Pur einen Leiclinam bin ich nioht zu Haus ; 
Mir geht es wie der Katze mit der Maus. 80 

Ber Herr. 

Nun gut, es sei dir iiberlaaaen ! 

Zieh diesen Geist von seinem Urquell ab 

Und fiihr ihn, kannst du ihn erfassen, 

Auf deinem Wege mit herab 

Jnd steh beschamt, wenn du bekennen muszt : 85 

' Ein guter Mensoh in seinem dunkeln Drangfe - 
vlsji-jsioh des reohten Wages wob^ bewuszt. J 

Mephistopheles. 
Sohon gut, nur dauert.ea nioht lange ! ^^^, 

Mir ist fiir meine Wette;gar nicht bange.-^ ' 
Wenn ioh zu meinem Zweok gelange, 9° 

Brlaubt ihr mir Triumph aus voUer Brust. 
Staub soil er fressen, und mit Lust, * 

Wie meine Muhme, die beriihmte Sohlange. 

Ber Herr. 
Du darfst auoh da nur frei ersoheinen ; , 
Ich habe deines Gleichen nie gehaszt. ^^' 95 

Von alien Geistern, die verneinek, 
Ist mir der SchallSjjam Wsuigsten zur Last. 
Des Menschen Thatigkeit kann allzu leioht ersohlaffen, 
Er liebt sioh bald die uiibedingteBuh ; , , 
Drum geb' ich gern ihm den Gesellen zu, 100 

Der reizt und wirkt und musz als Teufel sohaiffen. 
■ Doch jbr, die echten Gottersohne, 
Ei'freut euch der lebendig reiohen Schone ! 
Das Werdende, das ewig wirkt und leht, ', : 
Umfasz' euch mit der Liebe holden Schranken, 105 

Und was in schwankender Erscheinung schwebt, 
Befestiget mit dauernden Gedanken ! 

[Der Hvmmel schUeszt, die Brzengel vertheilen sich.] 



PROLOGUE IN HEAVEN. )ib 

MejpMstopheles, 
I am much obliged to you for tliat ; for I have never 
had any fancy for the dead. I like plump, fresh cheeks 
the best. I am not at home to a corpse. I am like 
the cat -with the mouse. 

The Lord. 
Enough, it is permitted thee. Divert this spirit from 
his original source, and bear him, if thou canst seize him, 
down on thy own path with thee. And stand abashed, 
when thou art compelled to own — a good man, in his in- 
distinct strivings, is still conscious of the right way.'' 

Mephistopheles . 

Well, well, — only it will not last long. I am not at all 

in fear about my wager. Should I succeed, excuse my 

triumphing with my whole soul. Dust shall he eat, 

and with a relish, like my cousin, the renowned snake. 

The Lord. 
There also you are free to act as you like. I have 
never hated the like of you. Of all the spirits that 
deny, the waggish scoffer is the least offensive to ine." 
Man's activity is all too prone to slumber: he soon 
^ets fond of unconditional repose ; I am therefore glad 
to give him a companion, who stirs and works, and 
must, as devil, be doing. But ye, the true children of 
heaven, rejoice in the living profusion of beauty. The 
creative essence," which works and lives through aU 
time, embrace you within the happy bounds of love ; 
and what hovers in changeful seeming, do ye fix firm 
with everlasting thoughts. 

[Ileaven closes, the Archangels disperse.^ 



26 PROLOG IM HIMMEL 

Mephisfopheles (all&fl^ 
Von Zeit zu Zeit seh' ich den Alien gern 
Und hiite michyinit ihin^zu breohen. 
Es ist gar hubs^ von einem groszen Herrn, 
So menschlich mit dem Teufel selbst zu sprechen. 



Mephistopheles {alone). 
I like to see the Ancient One occasionally," and take 
care not to break with him. It is really civil in so 
great a Lord, to speak so kindly with the Devil himself. 



DEE TEAGODIE 

ERSTER THEIL. 



NAOHT. 

In einem hoehgewolbten, engen, gothischen Zimmer Fatjst 
uwuMg auf seinem Sessel am PuUe. 

FoMst. 

HABB nun, aoh, Philosophie, 
Juristerei nnd Medizin 
TJnd leider auch Theologie 
Durohaus studirt, mit heiszem Bemiihn ! 
Da steh' ioh nun, ieh armer Thor, S 

TJnd bin so klug als wie zuvor ; 
Heisze Magister, heisze Doktor gar 
TJnd ziehe sohon an die zehen Ja^r', i /, 
Herauf, herab und quer und krumm 
Meine Sohiiler an der Nase herum — lo 

_-— 4Jnd sehe, dasz wir nichts wissen konnen ! 
Das will mir s^lfier das Herz rerbrennen. 
Zwar bin icb gescheiter als alle die Laff^n, 
Doktoren, Magister, Schreiber und Pfaffen ; 
Mich plagen keine Skrupel noch Zweifel, 1 5 

Fiirchte mich weder vor Holle noch Teufel — 
Dafiir ist mir auoh alle iFreud' entrissen,-Jr 
Bilde mir nicht ein, was B,eoh.t's zu wissen, 
Bilde mir'nicbt ein, ioh konnte was lehren. 
Die Menschen zu bessern und zu bekehren. 20 

Auoh hab' ioh weder Gut nooh Geld, 
Nooh Bhr' und Herrliohkeit der Welt. 
Es moohte kein Hund so langer leben ! 

-iS^Drum hab' ioh mich der Magife ergeben, 

Ob mir durch Geistes Kraft und Mund 25 

Nicht manoh Geheimnisz wiirde kund, 
Dasz ioh nicht mehr mit saurem Schweisz 



FIEST PART OF THE TRAGEDY. 

NIGHT." 

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

Faust. 

I HAVE now, alas, by zealous exertion, thorougHy 
mastered philosophy, the jurist's craft, and medi- 
cine, — and to my sorrow, theology too. Here I stand, 
poor fool that I am, just as wise as before. I am called 
Master, ay, and Doctor, and have now for nearly ten 
years been leading my pupils about — up and down, 
crossways and crooked ways — by the nose; and see 
that we can know nothing ! This it is that almost bums 
up the heart within me. True, I am cleverer than all 
those wiseacres — doctors, masters, clerks, and priests. 
No doubts nor scruples trouble me ; I fear neither hell 
nor the devil. '^^or this very reason is aU joy torn 
from me." I no longer fancy I know a.nyf.liiTig wrrth 
kno wing ; I no longer fancy I could teach anything to 
better and to convert mankind. Then I have neither 
goods nor money, nor honour and rank in the world. 
No dog would like to live so any longer. I have there- 
fore devoted myself to magic " — whether, through the 
power and voice of the Spirit, many a mystery might 
not become known to me ; that I may no longer, with 



30 NACHT. 

Zu sagen brauohe, was ich nicht weisz, 

Dasz ich erkenne, was die Welt 

Im Innersten zusammenhalt, 3° 

Sohau' alle Wivkenskraft und Samen 

Und thu' nioht mehr in Worten kramen. 

0, sahst du, voUer Mondensehein, 
' "Zum letzten. Mai anf meine Pein, t-' "^ 

Den ich so manohe Mitternaoht 35 

An diesem Polt herangewacht : 

Dann iiber Buchern und Papier, 

Triibsel'ger Freund, ersohienst du mir ! 

Ach, konnt' ich doch auf Bergeshohn 

In deinem lieben Liohte gehn, 40 

Um Bergeshohle mit Geistern sehweben, 

Auf-Wiesen in deinem Dammer weben, 

Von allem Wissensqualm entladen 

In deinem '^au gesund mioh baden ! 

T'^^Jj ! Steok' ich in dem Kerker iiooh ? 45 

Verfluchtes dumpfes Mauerloch, 
Wo selbst das liebe Himmelslicht 
Triib duroh gemalte Scheiben bricht ! 
■ Besohrankt von diesem Bucherhauf, 
Den Wiirme nagen, Staub bedeckt, ' 50 

Den bis ans tphe Gewolb' hinauf 
Ein angeraucht Papier umsteokt ; 
Mit Glasern, BUchspn rings umstellt, 
Mit Instrnmenten voUgepfropft, 
Urvater Hausrath drein gestopft— 55 

Das ist deine Welt ! Das heiszt eine Welt ! 

Und fragst du noch, warum dein Herz 
Sioh bang in deinem Busen klemmt, 
Warum ein unerklarter Sohmerz 
Dir alle Lebensregung hemmt ? 60 

Statt der lebendigen Natur, 
Da Gott die Menschen soKufhi^jn, 
Umgiebt in Eauch und Moder nur 
Dioh Thiergeripp und Todtenbein. 



NIGHT-SCENE. 31' 



bitter sweat, be obliged to speak of what I do not 
loiow ; that I may learn what holds the world togethen 
in its inmost core, see all the springs and seeds of pro- 
duction, and rummage no longer in empty words. 

Oh ! would that thou, radiant moonlight, wert look- 
ing for the last time upon mj misery ; thou, for whom 
I have sat watching so many a midnight at this desk ; 
then, over books and papers, melancholy friend, didst 
thou appear to me ! Oh ! that I might wander on the 
mountain-tops in thy loved light — hover with spirits 
round the mountain caves — flit over the fields in thy 
glimmer, and, disencumbered from all the fumes of 
knowledge, bathe myself soimd in thy dew ! 

Woe is me ! am I still penned up in this dungeon ? — 
accursed, musty, waUed hole ! — where even the pre- 
cious light of heaven breaks mournfully through painted 
panes, stiated by this heap of books, — which worms 
eat — dust begrimes — which, up to the very top of the 
vault, a smoke-smeared paper encompasses ; with glasses, 
boxes ranged round, with instruments piled up on all 
sides, ancestral lumber stufEed in with the rest. This 
is thy world, and what a world ! 

And dost thou stiU ask, why thy heart flutters con- 
finedly in thy bosom ? — Why a vague aching deadens 
withiu thee every stirring principle of life ?— Instead 
of the animated nature, for which God made man, thou 
hast nought around thee but beasts' skeletons and dead 
men's bones, in smoke and mould. 



82 NACHT. 

Flieh ! Auf ! Hinaus ins weite Land ! 6S 

TJnd dies gelaeimniszvolle Buch 

Von Nostradamus' eigner Hand, 

1st dir es nicht Geleiti geniig*? 

Erkennest dann der Sterne Lauf, 

Und wenn Natur dioh unter waist, 7° 

Dann geht die Seelenkraft dir auf, 
~Wie spricht ein Gejsli zum andern Geist. 
' Umsoiist, dasz trocknes Sinnen hier 

Die heil'gen Zeichen dir erklart : 

Ihr schwebt, ihr Geister, neben mir, 75 

Antwortet mir, wenn ihr mioh hort ! 

[Er schldgt das Bucli auf und erhlickt_das Zeichen des 

MaTcrohosmus.] 
Ha ! Welche Wonne flieszt in diesem Blick 
Auf einmal mir durbh alle meine Sinnen ! 
loh fiiiile junges, heil'ges Lebensgluok 
Neugliihend mir duroh. Nerv'- und Adern rinnen. 80 

War es ein Gott, der .dipse Zeichen schrieb, 
Die mir das innre Toben stillen, 
Das arme Herz mit Freude fullen 
TJnd mit geheimniszvollem Trieb 

Die Krafte der Natnr rings um mich her enthUllen ? 85 
Bin ich ein Gott ? Mir -wird so lioht U \ 

loh Bohau' in diesen reinen Zugen 
Die wirkende Natur vor meiner Seele liegen. 
Jetzt erst erkenn' ich, was der Weise spricht : 
" Die Geisterwelt ist nicht verschlossen ; «, ,■>: 90 

Dein Sinn ist zu, dein Herz ist todt! 
Auf, bade, Schiiler, unverdrossenji 
Die ird'sche Brust im Movgenroth ! " 

[^Er leschaut das Zeichen.] 
Wie Alles sioh zum Ganzen webt ! 

Eins in dem Andern wirkt und lebt ! 95 

Wie Himmelskrafte auf und nieder steigen 
TJnd sich die goldnen Bimer reiehen ! 
Mit segenduftenden Schwingen j' 
Vom Himmel durch die Erde dringen, 
Harmonisch all' das All durohklingen ! 100 



NIGHT-SCENE. 33 

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

[He opens the took and perceives the sign of the 
MacroGosm!^^'] 

Ah ! what rapture thrills all at once through all my 
senses at this sight ! I feel youthful, hallowed life- joy, 
new-glowing, shoot through nerve and vein. Was it a 
god that traced these signs, which stUl the storm 
within me, fill my poor heart with gladness, and, by a 
mystical intuition, unveil the powers of nature all 
around me ? Am I a god ? All grows so bright ! I i 
see, in these pure lines, Nature herself working in my 
soul's presence. Now for the first time do I conceive what 
the sage saith, — " The spirit-world is not closed. Thy 
sense is shut, thy heart is dead ! Tip, acolyte ! '^^ bathe, 
untired, thy earthly breast in the morning-red." 

[He contemplates the sign."] 

How all weaves itself into a whole ; one works and 
lives in the other. How heavenly powers ^' ascend and 
descend, and reach each other the golden buckets, — 
with bliss-exhaling pinions, press from heaven through 
earth, all ringing harmoniously through the All, 



34 NACHT. 

Welch Schauspiel ! Aber ach, ein Sohauspiel nur ! 

Wo fass' ich. dioh, unendliohe Nafciir ? 

Buoh, Briiste, wo ? Ihr Qaellen alles Lebens, 

An denen IJi.mm,el und Brde haugfc, 

Dahin die -v^eU* Brast sioh. draugt — ■ 105 

Ihr qafSUb, ihr irankt, und aohmaoht' ich so vergebens ? 

\_Er sdhldgt unwilUg das Buch urn und erhlickt das 
Zeichen des Erdgeisies.} 

Wie anders wirkt dies Zeiohen auf mich ein ! 

Du, Geist der Erde, bist mir naher ; 

Schon fuhr ich meine Krafte hoher, 

Schon gliih' ioh wie von neaem Wein. ,^; ,,.,,,. , no 

Ich fiihle Muth, mich in die Welt zn wagen, 

Der Erde Weh, der Erde Gliick zu tragea, ,■ 

Mifc Stiirmen mich hex'amzi:^ghlagen ''■i 

Und in des SchifTbruchs Kuirsonen nicht zu zagen. 

Es wolkt sich i^ber mir — 115 

Der Mond verbirgt sein Licht — 
, JDiei l^ampe schwindet, ! 

Es dampft ! — Es zucken rothe Strahlen 

Mir um das Haupt — Es weht 

Bin Schauer vom Gewolb' herab 120 

IJnd faszt mich an ! 

i,Ich fiihl's, du schwebst um mich, erflehter Geist ! 

Buthiilledich! ~ti ..>„-, 

Ha, wie's in meinem Herzen reiszt ! 

Zu neuen Gefiihlen 125 

All' meine Sinnen sich erwiihlen ! 

Ich fiihle ganz mein Herz dir hingegeben ! 

Du muszt, du muszt, und kostet' es mein Leben ! 

[Er faszt das Such und spriehi das Zeichen des Geisies 
geheimmszvoll aus. Es zuckt sine rothlicJie Flamme, 
DEK Geist erscheint in der Flamme.'] 

Geist. 
Wer ruft mir ? 

Faust (abgewendet). 
Schreckliches Gesicht ! 



NIGHT-SCENE. 35 

What a show ! but ah ! a show only ! Where shall 
I seize thee, infinite nature ? Te breasts, where ? ye 
sources of all life, on which hang heaven and earth, 
towards which the blighted breast presses — ye gush, ye 
feed, and am I thus languishing in vain ? 

[ife turns over the book indignantly, and sees the 
sign of the Spirit of the Earth.'] 
How differently this sign affects me ! Thou, Spirit 
of the Earth, art nearer to me. Already do I feel my 
energies exalted, already I glow as with new wine ; I feel 
courage to venture into the world ; to endure earthly 
weal, earthly woe; to wrestle with storms, and stand 
unshaken mid the shipwreck's crash. — Clouds thicken 
over me ; the moon hides her light ; the lamp dies 
away ; exhalations arise ; red beams flash round my 
head ; a cold shuddei;ing flickers down from the vaulted 
roof and seizes me ! " I feel it — thou art hovering 
round me, invoked Spirit. Unveil, thyself ! £h. ! what 
a tearing in my heart — aU my senses are up-stirring to 
new sensations ! I feel my whole heart surrendered to 
thee. Thou must — thou must ! — should it cost me my 
Ufe. 

[fle seises the hook and pronounces mystically the 

sign of the Spirit. A red flame flashes wp ; the 

Spieit appears in the flame.] 

Spirit, 
Who calls to .me? 

Faust (averting his face). 
Horrible vision ! 



36 KACHT. 



Geist. 
Du hast mich machtig augezogen, 130 

An meiner Spbare lang' gesogen, 
Und nuu — 

Faust, 
Wch, ioh ertrag' dich nicht ! 

Geist. 
Du flehsfc erathmend mich zu Bchauen, 
Meine Stimtue zu. horen, mein Antlitz za sehn ; 
Mich neigt dein machtig Seelenflehn : 135 

Da bin ich I^Welch erbarmlich Grauen 
Paszt Ueb ermenschen d ich !/ "Wo ist der Seele Euf ? 
Wo ist SleBruBt, die eine Welt in sich ersohuf 
Und trug nnd hegte ? Die mit Freudebeben 
Erschwoll, sich uns, den Geistern, gleich zu heben ? 140 
Wo bist du, Paust, des Stimme mir erklarig, 

Dpmsich an mich mit alien Kraften drang ? 

Bist du eg, der, von meinem Hauch nmwittert. 

In alien Lebenstiefen zittert, 

Ein furchtsam weggekriimmter Wurm ! 

Faust. ■: 

Soil ich dir, Plammenbildung, weichen ? 
Ich bin's, bin Faust, bin deines Gleichen ! 

Geist. 
\ In Lebensfluthen, im Thatensturm 
"'-l^airiohanfundab, 

Wehe hin nnd her! 

Geburt und Grab, 

Ein ewiges Meer, 

Bin weohselnd Weben, 

Ein glUhend Leben, 



J SO 



NIGHT-SCENE. 37 

Spirit. 
Thou hast compelled me hither, hast, long been suck- 
ing at my sphere. And now — 

Faust. 
Woe is me ! I endure thee not. 

Spirit. 
Thou prayest, panting, to see me, to hear my voice, 
to .see my face. Thy powerful invocation worts upon 
me. I am here ! What pitiful terror seizes thee, 
the demigod! Where is the soul's calling? Where is 
the breast, that created a world in itself, and upbore 
and cherished it ? which, with tremors of delight, 
swelled to lift itself to a level with us, the Spirits. 
Where art thou, Faust ? whose voice rang to me, who 
pressed towards me with all his energies PjArt thou 
he ? thou, who, at the bare perception of my breath, art 
shivering through all the depths of life, a trembling, 
writhing worm ? 

Faust. ^ 
Shall I yield to thee, thing of flame ? I am he, am 
Faust thy equal. 

Spirit. 
In the tides of life, in action's storm, 
I am tossed up and down, 
I drift hither and thither, 
Birth and grave. 
An eternal sea, 
A changeful weaving, 
A glowing life — 



38 NACHT. 

^ ''\ 
So sohaff' ich am sausenden Webstahl der Zeit i; 

Und wirkg^der Gottheit lebendiges Kleid. 

vJ^ *■' 

Faiist. „^f'--'r' 
Der du die weite Welt umsohweifst,' 
Geschaftiger Geist, wie nah fiihl' ich mich dir ! 

Oeisi. ■ I ■■■ 

Du gleichst dem Geist, den du begreifst, - 
Nichtmir! [Versehwindet.} i( 

Faust (zusammenstiirzend). 
Nicht dir ? 
Wem denn ? 

Ich, Ebenbild der Gottheit ! 
Und nioht einmal dir ! 

[Es Uopft. 
O Tod ! Ich kenn's — das ist mein Famulus — it 

Es wird mein schonstes Gliick zu nichte .' 
Dasz diese Fi)Ug)^er Gesichtej. -^J' ' - ^ 
Der trockne Schleicher stciren musz ! 

.„ [Wagneb, im Schlafroche und der Nachimiitze, eir, 
Lampe in der Hand. Faust wendet sich unwilUg. 

Wagner. 
Vei'zeiht ! Ich hor' euch deklamiren ; j , ^(, . 

Ihr las't gewisz ein griechisch Trauerspiel ? V j. 

In dieser Kunat mocht' ich was profltiren ; 
Denn heut zu Tage wirkt das viel. 
Ich hab' es ofters ruhmen horen, 
Ein Kombdiant konnt' einen Pfarrer lehren. 

Fausi. 
Ja, wenn der Pfarrer ein Komddiant ist; i, 

Wie das denn wohl zu Zeiten kommen mag. 

Wagner. 
Achj wenn man so in sein Museum gebannt ist 



NIGHT-SCENE, 89 

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

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

Spirit. i 

Thou art lite the Spirit whom thou dost comprehend, Jj 
not like me. [The Spibit vanishes.'] y 

Faust (collapsing). 
Not thee ? Whom, then ? I, the image of the Deity, 
and not even like thee ! [A knocking at the door.] 

Oh, death ! I know it — that is my famulus '^ — My fairest 
happiness is turned to nought. That the pedantic 
groveller must disturb this fulness of visions ! 

[Wagnee enters in his dressing-gown and night-cap, 
with a lamp in his hand. Patist turns in dis- 
pleasure.] 

Wagner. ^^ 

Excuse me — I hear you declaiming ; you were surely 
reading a Grreek tragedy? I should like to improve 
myself in this art, for now-a-days it influences a good 
deal. I have often heard say, a player might instruct 
a preacher. 

Faust. 
Yes, when the preacher is a player, as may likely 
enough come to pass occasionally. 

Wagner. 
Ah! when a man is so confined to his study, and 



rj-k 



40 NACHT. 

TJnd sieht die Welt kaum einen Feiertag, 

Kaum duroh ein Fernglas, nur von weiten, , 

Wie soil man sie darch Ueberredung leiten ? '■' i8i 

Faust. , 

Wenn ihr's nicht fuhlt, ihr werdet's nicht erjagen, 
Wenn es nicht aus der Seele dringt , 
Und mit urkraftigem Behagen*-*^* ■, 
Die Herzen aller Horer zwingt. .^[ 

Sitzt ihr nur immer ! Leimt zuBammen, i8 

Braut ein ^Bagout von Andrer Schmaus 
Und D^St die J^^mprlichen Flammen 
Aus Gurem Aschenhaufchen^aus ! 
Bewuiidrung von Kindern und Affen, 
Wenn euch darnach der Gaumen steht ; 19 

Doch werdet ihr nie Herz zu Herzen 3chaffen.I«rV '• 
Wenn es euch nicht von Herzen geht. 

Wagner. /!.{>'''' 
Allein der Vortrag macht des Eedners GlUck ; 
Ich fiihV es wohl, noch bin ich weit zuriick. 

Faust. 
Such' er den redliohen Gewinn l^f*^' 19 

Sei er kein schellenlauter Thor ! ' 
Es tragt Verstand und rechter Sinn 
Mit wenig Kunst siqh selber vor ; 
Und wenn's euch Ernst 1st, was zu sagen. 



Ist's nothig, Worten nachzujag^n J,/ * ' 

Ja, eure Eeden, die so blinked sind, , 

In denen ihr der Menschheit Schnitzel krauselt, 

Sind unerquicklich wie der Nebelwind, 

Der herbstlich durch die diirren Blatter sauselt. 

Wagner. 
Ach Gott ! Die Kunst ist lang, 
Und kurz ist unser Leben. ; 

Mir wird bei meinem kritischen Bestreb.en -^ 
Doch oft nm Kopf und Busen bang, frl^' ' ■• 

Wio sohwer sind nicht die Mittel zu erwerben, ' ' 



NIGHT-SCENE. 41 

hardly sees tlie world of a holiday — hardly through 
a telescope, only from afar^how is he to lead it by 
persuasion ? 

Faust. \ 
If you do not feel it, you will not get it by hunting 
for it, — if it does not gush from the soul, and subdue 
the hearts of all hearers with powerful delight. Sit at 
it for ever — glue together — cook up a hash from the 
feast of others, and blow the paltry flames out of your 
own little heap of ashes ! Tou may gain the admira- 
tion of children and apes, if you have an appetite for 
it ; but you will never touch the hearts of others, if it 
does not flow fresh from your own. 

Wagner. 
But it is the delivery ^' that mates the orator's success. 
I feel well that I am still far behind-hand. 

Faust. \) 

Seek honest gain only ! — Be no fool with loud tinkling 
bells ! — Season and good sense are expressed with little 
art. And when you. are seriously intent on saying 
something, is it necessary to hunt for words ? Ay, 
your speeches, which are so glittering, in which ye 
crisp the shreds of humanity," are unrefreshing as the 
mist-wind which rustles througli the withered leaves 
in autumn. 

Wagner. 

Oh, Grod ! art is long, and our life is short. Often 
indeed, during my critical studies, do I feel oppressed 
both in head and heart. How hard it is to obtain 



tl "•"- 



42 NACHT. 

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

k»^ ■ • ■'' Fausi. A . ■''■ 

Das Pergament, ist das der heil'ge Bronrien, 
; , jWoraus .ein Trunk den Durst auf ewig stillt ? 
{ iJrcfufdkung hast du nicht gewonnen, 
' Wenn sie dir nicht aus eigner Seele qnillt. ', ' 

Wagner. 
Verzeiht ! Es ist ein grosz Ergetzen, T " . 
Sioh in den Geist der Zeiten zu versetzen, 
Zu schauen, wie vor uns ein weiser Mann gedacht, 
Und wie wir's dann zuletzt so herrlich weit gebraoht. ' 2 

Faust 
O ja, bis an die Sterne weit ! , , ;! ' ' '' 

Mein Preund, die Zeiten der Vergangenhei^; \ 

Sind uns ein Buoh mit sieben Siegeln. 
Was ihr den Geist der Zeiten heiszt, 
Das ist im Grund der Herren eigner Geist, 
In dem die Zeiten sioh bespiegeln.,''^;;'' ' 
Da ist's denn wahrlich oft ein Jammer ! f ' 
Man laujft euokbei dem ersten J31ipl? davpr;,.,,. 
Bin Kenrichtfisz und eine Eumpelliammer 
Und hochstens eine Haupt- und Staatsaktion 
Mit trefflichen pragmatischen Maximen, ,, 

Wie sie den Puppen wohl im Munde ziemen !^'' 

Wagner. 
Allein die, Welt ! Des Menschen Herz und Geist ! 
Mocht' Jeglicher dbch was davon erkennen. 

Faust. 
Ja, was man so erkennen heiszt ! 
Wer da,rf 4a^ Kind beim reohten Namen nennen ? 
Die Werii^en, die was davon erkannt,_ 
Die thoricht gnug ihr voiles Herz nicht wahrten,'; 



NIGHT-SCENE. 43 

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

Faiist. 
Is parchment the holy well, a drink from which allays 
the thirst for ever? Thou hast not gained refresh- 
ment, if it gushes not from thy own soul. 

Wagner. 
Excuse me ! It is a great pleasure to transport one- 
self into the spirit of the times ; to see how a wise man 
has thought before us, and to what a glorious height 
we have at last carried it. 

Faust. 
Oh, yes, up to the very stars. My friend, the past 
ages are to us a book with seven seals.^^ What you term 
the spirit of the times is at bottom only your own 
spirit, in which the times are reflected. A miserable 
exhibition, too, it frequently is ! One runs away from 
it at the first glance ! A dust-barrel and a lumber- 
room ! — and, at best, a heroic play,^' with fine pragmati- 
cal saws, such as may befit the mouths of the puppets ! 

Wagner. 
But the world ! The heart and mind of man ! Every 
one would like to know something about that. 

Faust. 
Ay, what is called knowing! Who dares call the 
child by its true name?'" The few who have ever 
known anything about it, who sillily enough did not 



44 NACHT. 

Dem Pobtel ihr Gefuhl 'iha Sohauen offenbarten, 

Hat man von je gekrepzigt und verbr^jirjj.j : 

Ich bitt' euoh, Freund, es ist tief m der Nabht ; 

Wir miissen's diesmal unterbrechen. 'i. ■<-^£-f ' ''-"^ 7 

Wagner. 
Ich hatte gem nur immer fortgewacht, 
Um so gelehrt mit euch mich zu besprechen. 
Dooh morgen, als am ersten Ostertage, ^ j 

Erlaub|i nur ein- und andre Frage ! ,^ ,^,^^ 

Mit Eif^nab' ich mich der Studien beflissen ; ' ' 
Zwar weisz ich viel, dooh mocht' ich AUes wissen. [i41 

Faust {oMeiri). , 

Wie nur dem Kopf nicht alleHpffnung schwindet, 
Der immerfort an schalenrZeuge klebt, V-^ ' j 

Mit gier'ger Hand nach Schatzen grabt 
Und froh ist, wenn er RegenwUrmer flndet ! 
^^ 
Darf eine solche Menschenstimme hier, 
Wo GeisterfuUe mich umgab, ertonen ?-5' ' 
Doch ach, fiir diesmal dank' ich dir, 2 

Dem armliphsten von alien Erdendqhnen. 
Du rissest mich von der Verztweiflung los, ' 
Die mir die Sinne schon zerstoreh. wollte. 
Ach, die Erscheinung war so riesengrosz, 
Dasz ich mich recht als Zwerg empflnden sollte. 2 

Ich, Ebenbild der Crotthejt, da^s sich schon ^ 

Ganz nah gedimktdem Spiegel ew'ger Wahrheit, 3 ' 

Sein selbst.gML^gz.m Himmelsglanz und -Klarheit 
Und abgefwe^fsaen Erdensohn ; 

Ich, mehr als Cherub, dessen freie Kraft i 

Schon durch die Adern der Natur zu flieszen 
Und, sohaffend, Gotterleben zu genieszen, 
Sich ahnungsvoll vermasz, wie musz ich's bUsze;i'^' '' 
Ein Donnerwort hat mich hinweggerafft. 3"' ' , 

■ ■' i i>^ 
Nicht darf ich dir zu gleiohen mich vermessen.'t*^ 2 



NIGHT-SCENE. 45 

keep a guard over their full hearts, who revealed what 
they had felt and seen to the multitude, — these, time 
immemorial, have been crucified and burned. I beg, 
friend — the night is far advanced---for the present we 
must breat ofi. 

Wagner. 
I could fain have kept waking to converse with you 
so learnedly. To-morrow, however, on Easter-day, permit 
me a question or two more. Zealously have I devoted 
myself to study. True, I know much; but I would 
fain know all. [Exit.] 

Faust (alone). 

How strange that aU hope is not lost to this brain, 
which clings perseveringly to trash, — gropes with greedy 
hand for treasures, and exults at finding earth-worms ! 

Dare such a human voice sound here, where all around 
me teemed with spirits ? Tet ah, this once I thank 
thee, thou poorest of all the sons of earth. Thou didst 
snatch me from despair, which threatened to destroy ' 
my sense. Alas ! the vision was so giant-great, that I 
should feel like a dwarf. 

I, formed in G-od's own image, who already thought 
myself near to the mirror of eternal truth ; who revelled, 
in heaven's lustre and clearness, with the earthly part 
of. me stripped ofE; I, more than cherub, whose free 
spirit already, in its imaginative soarings, aspired to 
?lide through nature's veins, and, in creating, enjoy the 
life of .gods — how must I atone for it ! A thunder- word 
las swept me wide away. 

I dare not presume to compare myself with thee. If 



46 NACHT. , 

Hab' ioh die Kraft dickans^uziehn besessea, 
So hatt' ich dioh zu haMn Keine Kraft. 
In jenem sel'gen Augenblicke, 
Ich f uhjje m^h 99jd^3Ja so grosz ; 

Du stieszest grausam mion zuruoke 2 

Ins ungewisse Menschenloos. J' •■'^ U^^' "'"' 
Wer lehret miob ? Was soil ich meiden p 
Soil ioh gehorchen jenem Drang ? >-'■ , 
Aoh, linsre Thaten selbst, bo gut als unsre Leiden, 
Sie henjmen unsers Lebens Gang.'^ .2 

''"'\. ^" . -'i.-j 

Dem Herriiohsten, was auch der Geist empfamgen, 

Drangt immer fremd- und fremder Stoff sich an ; 
Wenn wir zum Guten dieser Welt gelangen, ^•. 
Dann heiszt das Bessre Trug und Wahn. - 
Die uns das Leben gaben, herrliche Gef iihle, 2 

, Ersf(ari;en,in dem irdisohen Gewiihle. 

{■•"'•- "^t '" 

Wenn Phantasie sich sonst mit kuhnem Flug i, 
Und hoffnungsvoU zym Bwigen erweitert, 
So ist ein kleiner Iraijjm ihr nun genijig,^^ ' ' ;. ■.; '^ " 
Wenn Gliick auf QJij(?k im Zeitenstrudel soheitert. 2 

Die Sorse nisteVgleich im tiefen Herzen, 
Dort wirteji^ smeeheime Schmerzen,; ; •! , •" 

Unrahig Wiegt sie sich und storgt Lust und liuh ; 
Sie deckt' sich* stets mit n^euep. Mask'en zu, ^ 

Sie mag als Haus und Hof^ats Weib ujid Kind orscheinen 
Als Feu^r, Wasser, Dolch und Gift ; \" ' 2 

Da bebst vor AUem, was nicht trifft, v' \ ' ,.' ( 

Und was du nie verlierst, das muszt du stets beweinen. 

Den Gcitteru gleich' ich nicht ! Zu tief ist es gefiihlt 
Dem Wurme gleich' ich, der den Staub durchwiihlt, 3 
Den, wie er sichim Staube nahrend lebt, 
Des Wandrers Trttt verniohtet und begrabt. '■'• ' 

Ist es nicht ^aub^ was diese hohe Wand 
Aus Jaupdjgyt Fachfirn mir verenget, 'v "^' ' 
Der Trodel, der mit tausendfaohem Tand | ; 

In dieser Mottenwelt mich dranget ? ' 

Hier soil ich finden, was mir fehlt ? 



NIGHT-SCENE. 47 

I have possessed the power to draw thee to me, I had 
no power to hold thee. In that blest moment, I felt so 
little, so great ; you cruelly thrust me back upon the 
uncertain lot of humanity. Who will teach me ? What 
am I to shun ? Must I obey that impulse ? Alas ! our 
actions, equally with our sufferings, clog the course of 
our lives. 

Something foreign, and more foreign, is ever clinging/ 
to the noblest conception the mind can form. When we 
have attained to the good of this world, what is better 
is termed deception and illusion. The glorious feelings 
which gave us life, grow torpid in the worldly bustle.'^ 
If phantasy, at one time, on daring wing, and full of 
hope, diluted to infinity, — a little space is now enough 
for i^r. when venture after venture has been wrecked in 
the whirfpool of time. Care straightway nestles in the 
depths of the hear^natches vague tortures there, rocks 
herself restlessly, ^and friglTtars joy and peace away. 
She is ever putting on new masks ; she msiy appear as 
house and land, as wife and child, as fire, water, dagger 
and poison. Ton tremble before all that does not befall 
you, and must be always waiUng what you never lose. 

I am not like the godheads ; I feel it but too deeply. 
I am like the worm, which drags itself through the 
dust, — which, as it seeks its living in the dust, is 
crushed and buried by the step of the passer-by. 

Is it not dust all that in a hundred shelves narrows 
this lofty wall ? The lumber which, with a thousand- 
fold frippery oppresses me in this moth- world ? Here 
shall I find what I want ? Am I to go on reading in 



48 NACHT. 



Soil ich vielleicht ia tausend Bucheru leseu, 

Dasz uberall die Menschen sich gequalt, 

Dasz hie und da ein GlUoklicher gewesen ? — 

Was grinsest du mir, hohler Schadel, her, 

Als dasz dein Hirn, wie meines^ einst verwirret, 

Den leichten Tag gesucht und in der Dammrung sohw 

Mit Lust naoh Wahrheit, jammerlich geirret P 

Ihr Instrumente freilioh spottet mein , 

Mit Ead und Kammen, Walz' und Biigel. ' 'K^.^^^f^ 

Ich stand am Thor, ihr solltet Schlussel sein ; js***' 

Zwar euer Bart ist kraus, dooh hebt ihr nicht die Eiege 

Geheimniszvoll am liohten Tag, 

Laszt sich Natur des Schleiers nicht beraubeu, 

Und was sie deinem Geist nicht offenbaren mag, 

Das zwingst du ihr nicht ab mit Hebeln und mit Schraul 

Du alt Gerathe, das ich nicht gebraucht, 

Du stehst nur hier, well dich mein Yater brauohte. 

Du alte KoUe, du wirst angeraucht, 

So iang' an diesem Pult die triibe Lampe sohmauchte. 

Weit besser hatt' ich dooh meiu Weniges verpraszt, 

Als mit dem Wenigeu belastet hier zu schwitzen ! 

Was du ererbt von deinen Vatern hast, 

Brwirb es, um es zu besitzen. 

Was man nicht niitzt, ist eine schwere Last ; 

Nur was der Augenblick erschafft, das kann er niitzen. 

Doch warum heftet sich mein Blick auf jene Stelle ? 
Ist jenes Plaschchen dort den Augen ein Magnet ? 
Warum wird mir auf einmal lieblich belle, 
Als wenn im naoht'gen Wald uns Mondenglanz umwel 

Ich griisze dich, du einzige Fhiole ! 
Die ich mit Andacht nun herunterhole, 
In dir verehr' ich Menschenwitz und -Kunst. 



NIGHT-SCENE. 49 

a thousand books, that men have t6iled everywhere, that 
now and then there has been a happy one ? 

Thou, hollow skull, what mean'st thou by that grin ? 
but that thy brain, like mine, once bewildered, sought 
the bright day, and, with an ardent longing after truth, 
went miserably astray in the twilight ? 

Te instruments are surely mocking me, with your 
wheels and cogs, cylinders and bows. I stood at the 
gate, ye were to be the key ; true, your wards are 
curiously twisted, but you raise not the bolt. Inscru- 
table at broad day, nature does not suffer herself to be 
robbed of her Teil ; and what she does not choose to 
reveal to thy mind, thou wilt not wrest from her by 
levers and screws. 

Thou, antiquated lumber, which I have never used, 
thou art here only because my father used you. Thou, 
old scroll, hast been growing smoke-besmeared since 
the dim lamp first smouldered at this desk. Far 
better would it be for me to have squandered away the 
little I possess, than to be sweating here under the 
burthen of that little. What thou hast inherited from 
thy sires, enjoy it, in order to possess it.^'' What one 
does not make use of, is an opprc ssive burthen ; what 
the moment brings forth, that only can it profit by. 

But why are my looks fastened on that spot : is that 
phial there a magnet to my eyes? Why, of a sudden 
is all so exquisitely bright, as when in the wood at 
night moonlight surrounds us ? 

I hail thee, thoii precious phial, which I now take 
down with reverence; in thee I honour the wit and 



50 , , NACHT. 

Du Inbegrifif der holdeu ScLlummersafte, 

Du Auszug aller todfclioh feinen Krafte, 

Erweise deinem Meister deine Gunst ! 

loh sehe dich, es wird der Schmerz gelinderfc, 

loh fasse dioh, das Streben wird gemindert, 

Des Geistes Fluthstrom ebbet nach und nach. 

Ins hohe Meer werd' ich hinausgewiesen, 

Die Spiegelflufch erglanzt zu meinen Fiiszen, 

Zu neuen Ufern lookt ein neuer Tag. V 

Ein Feuerwagen sohwebt auf leichten Schwingea - 
An mioh heran ! loh fUhle mich bereit, 
Auf neuer Bahn den Aether zu durchdringen 
Zu neuen Spharen reiner Thatigkeit. 
Dies hohe Leben, diese Gotterwonne, 
Du, erst noch Wurm, und die verdienest du ? 
Ja, kehre nur der holden Erdensonne 
Entsohlossen deinen Eiicken zu I 
Vermesse dich, die Pforten aufzureiszen, 
Vor denen Jeder gern voriiberschleicht ! 
Hier ist es Zeit, duroh Thaten zu beweisen, 
Dasz Manneswurde nicht der Gotterhohe weicht, 
Vor jener dunkeln Hcihle nicht zu beben, . 
In der sich Pbantasie zu eigner Qual verdammt, 
Nach jenem Durchgarfg ninzustreben, 
Um dessen engen Mund die ganze Holle flamtnt, 
Zu diesem Schritt sich heiter zu entschlieszen, 
Und war' es mit Gefahr, ins Nichts dahinznflieszen. 

Nun komm herab, krjSrstallne reine Schale, 
Hervor aus deinem alten Futterale, P%4 

An die ich Tiele Jahre nicht gedacht ! ^ n 

Du glanztest bei derVater Preudenfeste, ) 

Er|eitertest die ernsten Gaste, 
Wenn Einer dioh dem Andern zugebracht. 
Der vielen Bilder kiinstlich reiche Praoht, 
Des Trinkers Pflioht, sie reimweis zu erklarenjl^jl^ 
Auf einen Zug die Hohlurig auszuleeren, ^, •) ' 

Erinnert mich an manohe Jugendnaeht. * 

Ich werde jetzt dioh keinem Nachbar reichen, 
Ich werde meinen Witz an deiner Kunst nicht zeiger 



NIGHT-SCENE. CI 

art of man. Thou essence of soothing soporific juices, 
thou concentratiin of all refined deadly powers, show 
thy favour to thy master ! I see thee, and the pang 
is mitigated ; I grasp thee, and the struggle abates ; 
the spirit's fiood-tide ebbs by degrees. I am beckoned 
out into the wide iea. ; the glassy flood glitters at my 
feet ; another day invites to other shores. 

A chariot of fire floats, on light pinions, down to me. 
I feel prepared to permeate the realms of space, on a 
new track, to new spheres of pure activity. This sub- 
lime e:^tence, this god-like beatitude, dost thou, 
worm but now, dost thou merit it ? Ay, only resolutely 
turn thy back on the lovely sun of this earth ! Dare to 
tear open the gates which each willingly slinks by ! 
Now is the time to show by deeds that man's dignity 
yields not to divine sublimity, — to quail not in presence 
'of that dark abyss, in which phantasy damns itself to 
its own torments — to struggle onwards to that pass, 
round whose narrow mouth all Hell is flaming ; calmly 
to resolve upon the step, even at the risk of dropping 
into nothingness. 

Now come down, pure crystal goblet, on which I have 
not thought for many a year, — come forth from your 
old ease ! Tou glittered at my ancestors' festivities ; you 
gladdened the grave guests, as one passed you to jthe 
other. The gorgeousness of the many artfully-wrought 
images," — ^the drinker's duty to explain them in rhyme, 
to empty the contents at a draught, — remind me of 
many a night Of my youth. I shall not now pass you 
to a neighbour : I shall not now display my wit on your 



52 NACHT. 



Hier ist ein Saft, der eilig trunken maoht. 

Mifc brauner Muth erfullt er deine Hohle. 

Den ich bereitet, den ich wahle, 

Der letzte Trunk sei nun mit ganzer Seele 

Als festlich hoher Gmsz dem Morgan zugebracht ! 

{Er setzt die Schale an den M 



Gloclcenklang und OJiorgesang. 

CHOS nER ENGEL. 

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

Faust. 
Welch tiefes Summen, welch ein heller Ton 
Ziehfc mit Gewalt das Glas von meinem Munde ? 
Verkiindiget ihr dumpfen Glocken schon 
Des Osterfestes erste Feierstunde ? 
Ihr Chore, singt ihr schon den trostliohen Gesang, 
Der einst um Grabesnaoht von Engelslippen klang, 
Gewiszheit einem neuen Bunde ? 



CHOR DER WEIBER. 

Mit Spezereien 
Hatten wir ihn gepflegt, 
Wii", seine Treuen, 
Hatten ihn hingelegt ; 
Tiicher und Binden 
EeinKch umwanden wir, 
Ach, und wir findgn 
Christ nicht mehr hier. 



NIGUT-SCENE. 63 

devices. Here is a juice which soon intoxicates. It 
fills your cavity with its brown flood. Be this last 
draught — which I have prepared, which I choose — 
quaffed, with my whole soul, as a solemn festal greeting 
to the morn. [Replaces the goblet to his mouth.] 

The ringing of hells and singing of choruses. 

CHOEUS OF ANGELS. 

Christ is arisen ! 
Joy to the mortal, 
Whom the corrupting. 
Creeping, hereditary 
Imperfections enveloped. 

Faust. 
What deep humming, what clear strain, draws irre- 
sistibly the goblet from my mouth? Are ye hollo v^- 
sounding bells already proclaiming the first festal hour 
of Easter ? Are ye choruses already singing the com- 
forting hymn, which once, round the night of the 
sepulchre, pealed forth, from angel lips, assurance to a 
new covenant ! 

CHOEUS OF WOMEN. 

With spices 

Had we embalmed him ; 
We, his faithful ones. 
Had laid him out. 
Clothes and bands 
Cleanlily swathed we round ; 
Ah ! and we find 
Christ no more here ! 



6i HACHT. 



CBOB DER EXCEL, 



Clirist ist erstanden ! 
Selig der Liebende, 
Der die betriibende, 
Heilsam und iibende 
Piixfung bestanden. 

Faiist. 
Was suoht ihr, machtig und gelind, 
Thr Himmelstone, mioh am Staube ? 
Klingt dort umher, wo weiche Menschen sind. 
Die Botschaft hoi-' ich wohl, allein mir fehlt der Glaub 
Das Wunder ist des Glaubens liebstes Kind. 
Zu jenen Spharen wag' ich nioht zu streben, 
Woher die holde Nachricht tont, 

Und doch, an diesen Klang von Jugend auf gewohnt, 
Ruft er auch jetzt zuriick mich in das Leben. 
Sonst stiirzte sich der Himmelsliebe Kusz 
Auf mich herab in ernster Sabbathstille ; 
Da klang so ahnungsvoll des Glockentones Fiille, 
Und ein Gebet war briinstiger Genusz ; 
Ein nnbegreiflioh holdes Sehnen 
Trieb mich, duroh Wald und Wiesen hinzugehn, 
Und unter tausend heiszen Thranen 
Fiihlt' ich mir eine Welt entstehn. 
Dies Lied Terkiindete der Jugend muntre Spiele, 
Der Priihlingsfeier freies Gluck ; 
Erinnrung halt mioh nun mit kindlichem Gef iihle 
Vom letzten, ernsten Schritt zuriick. 
O tonet fort,' ihr siiszen Himmelslieder ! 
Die Thrane quillt, die Erde hat mich wieder ! 

CHOE DER jiJNGER. 

Hat del- Begrabene 
Schon sich nach oben, 
Lebend Erhabene, 
Herrlich crhoben ; 
Ist er in Werdelust 
Seha£Fender Freude naU 



NIGUT-SCENE. 55 

CHORUS OF ANGELS. 
Clirist is arisen ! <" 

Happy the loving one, 
Who the afflicting, 
Wholesome and chastening 
Trial has stood ! 

Faust. 1/ 
Why, ye heavenly tones, subduing and soft, do 
y ou seek me out in the dust ? Peal out, where tender 
men are to be found ! I hear the message, but want 
faith. Miracle is the pet child of faith. I dare not 
aspire to those spheres from whence the glad tidings 
sound; and yet, accustomed to this sound from infancy, 
it even now calls me back to life. In other days, the kiss of 
heavenly love descended upon me in the solemn stillness 
of the Sabbath; then the full-toned bell sounded so 
fraught with mystic meaning, and a prayer was intense 
enjoyment. A longing, inconceivably sweet, drove me 
forth to wander over wood and plain, and amidst a 
thousand burning tears, I felt a world arise for me. 
This anthem harbingered the gay sports of youth, the 
unchecked happiness of spring festivity. Recollection 
now holds me back,'* with childlike feeling.-f rom the last 
decisive step. Oh ! sound on, ye sweet heavenly strains ! 
The tear is flowing, earth has me again. 

CHOEUS OF DISCIPLES. 

Whilst the Buried One, 
Who was sublime in his life, 
Has already on high 
Gloriously raised himself ! 
Whilst he is, in reviving bliss,'' 
Near to creative joy. 



6c KACHT. 



Acb, an der Erde Brust 
Sind wir zum Leide da. 
Liesz er die Seinen 
Schmacbtend uns bier zui'uck ; 
Acb, wir beweinen, 
Meister, dein Gliick ! 

CHOBDEE ENGEL. 

Cbi'ist ist erstanden 
Aus der Verwesung Schoosz ! 
Beiszet Ton Banden 
Freudig euch los ! 
Thatig ihn Preisenden, 
Liebe Beweisenden, 
Briiderlich Speisenden, 
Predigend Eeisenden, 
AVonne Verheiszenden, 
Euch ist del' Meister nah, 
Euoh ist er da ! 



HIGHT-SCENE. 6? 

Ah ! on earth's bosom 
Are we for suffering here ! 
He left us, his own, 
Languishing here below ! 
Alas ! we weep over, 
Master, thy happy lot ! 

CHOEUS OF ANGELS. 

Christ is arisen 

Out of corruption's lap. 

Joyfully tear yourselves 

Loose from your bonds ! 

Ye, in deeds giving praise to him, 

Love manifesting, 

Breaking bread brethren-like, 

Travelling and preaching him 

Bliss promising — 

You is the master nigh, 

For you is he here ! 



VOE DEM THOE. 
Spaziergdnger oiler Art xiehen Jtinam. 

Eimge HandwerlcshwscJie. 
"\ X rARUM denn dort hiaaus ? 45S • 

Andre. 
Wir gehn hinaua aufs Jagerhaus. 

Die Ersteri. 
Wir aber wollen naoh der Muhle wandern. 

Ein Handwerlcsbwsch. 
loh rath' ench, naoh dem Wasserhof zu gehn. 

Zweiter. 
Der Weg dahin ist gar nicht sohon. 

Die Zweiten. 
Was thust denn du ? 

Ein Driiter. 

loh gehe mit den Andern. 460 

Vierter. 
Nach Burgdorf kommfc herauf ! Gewisz, dort fludet ihr 
Die schonsten Madohen und das beste Bier 
Und Handel von der ersten Sorte. 

' Funfier. 

Du iiberlustiger Gesell, 

Jnckt dich zum dritten Mai das Fell ? 465 

loh mag nicht hin, mir graut es vor dem Orte. 



BEPOEE THE GATE. 

Promenaders of all hinds pass out. 

Some Mechanics. 
TT T'HYthatway? 

' ^ Others. 

We are going up to the Jagerhaus. 

The Former. 

f 

But we, are going to the mill. 

A Mechanic. 
I advise you to go to the Wasserhof. 

A Second. 
The road is not at all pleasant. 

The Others. 
And what will you do then ? 

A Third. 
I am going with the others. 

A Fourth. 
Come up to Burghdorf ; you are there sure of finding 
the prettiest girls and the best beer, and rowfe of the first 
order. 

A Fifth. 
You wild fellow, is your skin itching for the third time ? 
I don't like going there ; I have a horror of the place. 



60 VOR DEM THOK. 



Bienstnuxdchen. 
Nein, nein, ioh gehe naoh der Stadt zuriiok. 

Andre. 
Wir finden ihn gewisz bei jenen Pappeln stehen. 

Brste. 
Das ist fur mich kein groszes Gluok ; 
Er wird an deiner Seite gehen, 470 

Mit dir nur tanzt er auf dem Plan. 
Was gehn mich deine Freuden an ! 

Andre. 
Heut ist er sicher nioht allein ; 
Der Krauskopf, sagt er, -wurde bei ihm sein. 

SchiHer. 
Blitz, wie die waokern Dirnen schreiten ! 475 

Herr Bruder, komm, wir miissen sie begleiten. 
Ein starkes Bier, ein beizender Toback 
Und eine Magd im Putz, das ist nun mein Geschmaok, 

Biirgerrmidchen. 
Da sieh mir nur die sohonen Knaben ! 
Es ist wahrhaftig eine Schmach ; 480 

Gesellschaft konnten sie die allerbeste haben 
Und laufen diesen Magden nach ! 

Zweiter ScMler {mm ersten). 
Nicht so gesohwind ! Dort hiuten kommen zwei, 
Sie sind gar niedlich angezogen, 

's ist meine Nachbarin dabei ; 485 

Ioh bin dem MSdchen sehr gewogen. 
Sie gehen ihren stillen Schritt 
Und nehmen uns doch auoh am Eade mit. 

Ersier. 
Herr Bruder, neiu ! Ich bin uicht gern genirt. 



BEFORE THE GATE. CI 

Servant- Girl. 
No, no, I shall return to the town. 

Another. 
We shall find him to a certainty by those poplars. 

The First. 
That is no great gain for me. He will walk by your 
side. With you alone does he dance upon th^ green. 
What have I to do with your pleasures ? 

The Second. 
He is sure not to be alone to-day. The curly-head, 
he said, would be with him. 

Stvdent. 
Zounds ! how the buxom wenches step out ; come 
along, brother, we must go with them. Strong beer, 
stinging tobacco, and a servant-girl in full trim, — that 
now is my taste. 

Citizen's Daughter. 
Now do but look at those fine lads ! It is really a 
shame. They might have the best of company, and 
are running after these servant-girls. 

Second Student to the First. 
Not so fast ! There are two coming up behind ; they 
are triialy dressed out. One of them is my neighbour ; 
I have a great liking for the girl. They are walking 
in their quiet way, and yet will suffer us to join them 
in the end. 

The First. 
No, brother. I do not like to be under restraint. 



62 VOR DEM THOK. 

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

Burger. 
Nein, er gefallt mir nicht, der neue Burgemeistor ! 
Nun, da er's ist, wird er nur taglich di-eister. 
Und fiir die Stadt, was thut denn er ? 4i;5 

Wird es nicht alle Tage schlimmer ? 
Gehorchen soil man mehr als immer 
Und zahlen mehr als je vorher. 

Bettler (singf). 
Ihr guten Herr'n, ihr schonen Frauen, 
So wohlgeputzt und backenroth, S°" 

Belieb' es euch, mich anzuschauen, 
Und seht und mildert meine Noth ! 
Laszt hier mich nicht vergebens leiern ! 
Nur der ist froh, der geben mag. 

Ein Tag, den alle Menschen feiern, 505 

Er sei fiir mich ein Erntetag. 

Andrer Burger. 
Nichts Bessera weisz ich mir an Sonn- und Feiertagen 
Als ein Gesprach von Krieg und Kriegsgesch'rei, 
Wenn hinten, weit, in der TUrkei 

Die Volker auf einander schlagen. 510 

Man steht am Eenster, trinkt sein Glaschen aus 
Und sieht den Elusz hinab die bunten Schiffe gleiten ; 
Dann kehrt man Abends froh nach Haus 
Und segnet Pried' und Priedenszeiten. 

Dritier Burger. 
Herr Nachbar, ja, so lass' ich's auch geschehn: 515 

Siembgen sich die Kopfe spalten, 
Mag Alios duroh einander gehn, 
Doch nur zu Hause bleib's beim Alten. 

Alte {zu den Bilrgennddchen). 
Ei ! Wie geputzt ! Das schoue ^unge Blut ! 



BEFORE THE GATE. 63 

Quick, lest we lose the game. The hand that wields the 
broom on Saturdays, will fondle you best on Sundays. 

Burgher. 
No, the new Burgomaster is not to my taste ; now that 
he has become so, he is daily getting bolder ; and what 
is he doing for the town? Is it not growing worse 
every day ? One is obliged to submit to more restraints 
than ever, and pay more than in any time before. 

Beggar (sings). 
Te good gentlemen, ye lovely ladies, so trimly dressed 
and rosy cheeked, be pleased to look upon me, to regard 
and relieve my wants. Do not suffer me to sing here in 
vain. The free-handed only is light-hearted. Be the 
day, which is a holiday to all, a harvest-day to me. 

Another Burgher. 
I know nothing better on Sundays and holidays than 
a chat of war and war's alarms, when people are fighting 
far away in Turkey. A man stands at the window, 
drinks a glass, and sees the painted vessels glide down 
the river ; then returns home glad at heart at eve, and 
blesses peace and times of peace. 

Third Burgher. 
Ay, neighbour, I have no objection to that; they 
may break one another's heads, and turn everything i 
topsy-turvy, for aught I care ; only let things at home | 
remain as they are. 

An Old Woman to the Citizens' Daughters. 
Heyday! How smart! the pretty young creatures. 



64 VOR BEM THOK. 



Wer soil sich nioht in euch vergaffen ? — 510 

Nur nicht so stolz ! Es ist schon gut ! 

Und was ihr wunscht, das wuszt' ioh wohl zu sohafiFen. 

BurgeTmddehen. 
Agathe, fort ! Ich nehme micli in Aoht, 
Mit solohen Hexen offentlich zu gehen ; 
Sie liesz mioh zwar in Sankt Andreas' Nacht 525 

Den kunft'gen Liebsten leiblioh sehen — 

Die Andre. 
Mir zeigte sie ihn im Krystall, 
Soldatenhaft mit mehreren Verwegnen ; 
Ich seh' mich um, ich such' ihn uberall, 
Allein mir will er nicht begegnen. 530 

Soldaten. 
Burgen mit hohen 
Mauern und Zinnen, 
Madchen mit stolzen, 
Hohnenden Sinnen 

Mocht' ioh gewinnen ! 535 

Kiihn ist das Miihen, 
Herrlich der Lohn ! 

Und die Trompete 

Lassen wir werben, 

Wie zu der Freude, 540 

So zum Verderben. 

Das ist ein Sturmen ! 

Das ist ein Leben ! 

Madchen und Burgen 

Mussen sich geben. 54 ^ 

Kiihn ist das Miihen, 



BEFORE THE GATE. 65 

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

Gitizen's Daughter. 
Come along, Agatha. I take care not to be seen with 
such witches in public; true, on Saint Andrew's eve, 
she showed me my future sweetheart in flesh and blood.'° 

The Other. 
She showed me mine in the crystal, soldierlike, with 
other bold fellows; I look around, I seek him every- 
where, but I can never meet with him. 

Soldier. 
Towns with lofty 
Walls and battlements, 
Maidens with proud 
Scornful thoughts, 
I fain woidd win. 
Bold the adventure. 
Noble the reward. 

And the trumpets 

Are our summoners 

As to joy 

So to death. 

That is a storming. 

That is a life for you ! 

Maidens and towns 
Must surrender. 
Bold the adventure. 



66 YOR DEM THOR. 

Herrlioh der Lohn ! 
Und die Soldaten 
Ziehen davon. 



Faust und Wagner. 

Faiist. 
Vom Eise befreit sind Strom und Bache 550 

Durch des Friihlings holden, belebenden Blick, 
Im Thale griinet Hoffnungsgliiok ; 
Der alte Winter in seiner Sohwache 
Zog sioh in rauhe Berge zuriick. 

Von dorther sendet er fliehend nur SS5 

Ohnmaohtige Sohauer koruigen Eises 
In Streifen Uber die griinende Flur. 
Aber die Sonne duldet kein Weiszes, 
Ueberall regt sioh Bildung und Streben, -- 

Alles will sie mit Parben beleben ; 560 

Doch an Blumen fehlt's im Eevier, 
Sie nimmt geputzte Menschen dafiir. 
Kehre dich um, von diesen Eohen 
Naoh der Stadt zuriick zu sehen. 
Aus dem hohlen, flnstern Thor 565 

Dringt ein buntes Gewimmel hervor. 
Jeder sonnt Bich heute so gern. 
Sie feiern die Auferstehung des Herrn, 
Denn sie sind selber auferstanden ; 
Aus niedriger Hauser dumpfen Gemaohern, 570 

Aus Handwerks- und Gewerbesbanden, 
Aus dem Druok von Giebeln und Dachern, 
Aus der Straszen quetschender Enge, 
Aus der Kirohen ehrwiirdiger Nacht 
Sind sie Alle ans Licht gebracht. 575 

Sieh nur, sieh, wie behend sich die Menge 
Durch die Garten und Felder zerschlagt, 
Wie der Musz in Breit' und Lange 
So manchen lustigen Nachen bewegt, 
Und, bis zum Sinken iiberladen, 580 

Entfernt sich dieser letzte Kahn. 
Selbst von des Barges fernen Pfaden 



BEFORE THE GATE. 67 

Noble the reward — 
And the soldiers 
Are off. 

Faust and Wagnee. 

Favst. 
Eiver and rivulet are freed from ice" hy the gay 
quickening glance of spring ; the joys of hope are 
budding in the dale ; old winter, in his weakness, has 
retreated to the bleak mountains. From thence he 
sends, in his flight, nothing but impotent showers of 
hail, in belts, over the green-growing meadows. But 
the Sun endures no white. Production and growth are 
everywhere stirring; he wants to enliven everything 
with colours ; the landscape wants flowers, he takes 
gaily-dressed men and women instead. Turn and look 
back from this rising ground upon the town. Forth 
from the gloomy portal presses a motley crowd. Every 
one suns himself so willingly to-day. They celebrate 
the rising of the Lord, for they themselves have arisen ; 
— from the damp rooms of mean houses, from the 
bondage of trade and industry, from the confii ement 
of gables and roofs, from the stifling narrowness of 
streets, from the venerable gloom of churches, are they 
all raised up to the open light of day. But look, look ! 
how quickly the mass scatters itself through the gardens 
and fields ; how the river, in breadth and length, tosses 
many a merry bark upon its surface, and how this last 
boat, overladen almost to sinking, moves ofE. Even 
from the farthest paths of the mountain, gay-coloured 



C8 TOK DEM THOK. 

Blinken uqs farbige Kleider an. 

loh hore sohon des Dorfs Getiimmel, 

Hier ist des Volkes wahrer Himmel, 585 

Zufrieden jauohzet Grosz und Klein : 

Hier bin ich Mensch, hier darf ick's sein. 

Wagner. 
Mit euch, Herr Doktor, zu spazieren, 
Ist ehrenvoll und ist Gewinn ; ' 
Doch wiird' ich nioht allein mioh her verlieren, 590 
Weil ich ein Feind von allem Eohen bin. 
Das Fiedeln, Schreien, Kegelschieben 
Ist mir ein gar verhaszter Klang ; 
Sie toben, wie vom bosen Geist getrieben, 
Und nennen's Freude, nennen's Gesang. 595 



BAUERN UNTER DER LINDE. 

TANZ UND GESANG. 

Der Schafer putzte sich zum Tanz 

Mit bunter Jacke, Band und Kranz, 

Schmuck war er angezogen. 

Schon uin die Linde war es voll, 

Und Alles tanzte schon wie toll. goo 

Juchhe! Juohhel 

Juchheisa! Heisa! He! 

So ging der Eiedelbogen. 

Er driiokte hastig sich heran ; 

Da stiesz er an ein Madchen an 50, 

Mit seinem Ellenbogen. 

Die frische Dime kehrt sich um 

Und sagte : Nun, das find' ich dumm. 

Juchhe ! Juchhe ! 

Juchheisa ! Heisa ! He ! gj^ 

Seid nioht so ungezogen ! 

Doch hurtig in dem Kreise ging's ; 
Sie tanzten rechts, sie tauzten links, 
Und alle Eocke flogen. 



BEFORE THE GATE. 69 

dresses glance upon us. I hear already the hustle of 
the village ; here is the true heaven of the multitude ; 
big and little are huzzaing joyously. Here, I am a man. 
— here, I may be one. 

Wagner. 
To walk with you. Sir Doctor, is honour and profit ; 
but I would not lose myself here alone, because I 
am an enemy to coarseness of every sort. This fiddling, 
shouting, skittle-playing, are sounds thoroughly detest- 
able to me. People run riot as if the devil was driving 
them, and call it merriment, call it singing. 

RUSTICS UNDER THE LIME-TEEE. 

DANCE AND SONG. 

The shepherd dressed himself out for the dance, 
With party-coloured jacket, ribbon and garland. 
Smartly was he dressed ! 
The ring round the lime-tree was already full, 
And all were dancing like mad. 

Huzza ! Huzza ! 

Tira-lira-hara-Ia ! 
MeiTily went the fiddle-stick. 

He pressed eagerly in. 

Gave a maiden a push 

With his elbow : 

The buxom girl turned round 

And said— Now that I call stupid. 

Huzza ! Huzza ! 

Tira-lira-hara-la ! 
Don't be so ill-bred. 

Yet nimbly sped it in the ring ; 
They turned right, they turned left. 
And all the petticoats were flying. 



70 TOR DEM THOR. 

Sie wnrden roth, sie wurden warm 6] 

Und ruhtcn athmend Arm in Arm. 
Juchhe! Juchbe! 
Jnchbeisa ! Heisa ! He ! 
Und Hiift' an Ellenbogen. 

Und thu mir doch nicht so vertraut ! 6: 

Wie Mancher hat nicht seine Brant 

Belogen und betrogen ! 

Er scbmeichelte sie doch bei Seit', 

Und von der Linde scholl es weit : 

Juchhe I Juchhe ! ft 

Juchheisa ! Heisa ! He ! 

Geschrei und Eiedelbogen. 

Alter Bauer. 
Herr Doktor, das ist schon von each, 
Dasz ihi- una heute nicht versohmaht 
Und unter dieses Volksgedrang' 63 

Als ein so hochgelahrter geht. 
So nehmet auch den schonsten Krug, 
Den wir mit frisohem Trunk gefiillt. 
Ich bring' ihn ?u und wiinsche laut, 
Dasz er nicht nur den Durst euoh stillt : 6; 

Die Zahl der Tropfen, die er hegt, 
Sei euren Tagen zugelegt ! 

FaViSt. 
loh nehme den Erquiokungstrank, 
Erwidr' euch Allen Heil und Dank. 

\_I)as Volk tammelt sick in Kreis uniber 

Alter Bauer. 
Furwahr, es ist sehr wohl gethan, & 

Dasz ihr am frohen Tag ersoheint ; 
Habt ihr es vormals dooh mit uns 
An bosen Tagen gut gemeint! 
Gar Mancher steht lebendig hier, 
Den euer Vater noch zuletzt 6. 

Der heiszen Fieberwuth entrisz, 
Als er der Seuche Ziel gesetzt. 
Auch damals ihr, ein junger Mann, 



BEFORE THE GATE. ?1 

They grew red, they gi-ew warm, 
And rested panting arm-in-arm, 

Huzza ! Huzza ! 

Tira-lira-hara-la ! 
And elbow on hip. 

Have done now ! Don't be so familiar ! 

How many a man has cajoled and 

Deceived his betrothed. 

But he coaxed her aside, 

And far and wide echoed from the lime-tree 

Huzza ! Huzza ! 

Tira-lira-hara-la ! 
Shouts and fiddle-sticks. 

Old Peasant. 
Doctor, this is really good, of you, not to scorn us 
to-day, and great scholar as you are, to mingle in this 
crowd. Take then the fairest jug, wliicli we have filled 
■with fresh liquor. I pledge you in it, and pray aloud 
that it may not only quench your thirst — may the 
numher of drops which it holds be added to your days ! 

Faust. 
I accept the refreshing draught, and wish you all 
health and happiness in return. 

^The people collect round him.] 

Old Peasant. 
Of a surety it is well done of you, to appear on this 
glad day ; you who have heen heretofore our friend in 
evil days. Many a one stands here alive whom your 
father tore from the hot fever's rage, when he stayed 
the pestilence. You too, at that time a young man. 



72 VOR DEM THOB. 

Ihr gingt in jedes Krankenhaus ; 

Gar manche Leiche trug man fort, 650 

Ihr aber kamt gesund heraus, 

Bestandet manche harte Proben ; 

Dem Heifer half der Heifer droben. 

Alle. 
Gesundheit dem bewahrten Mann, 
Dasz er noch lange helfen kann ! £55 

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

[Er geht ndt Wagnebn weiter.'] 

Wagner. 
Welch ein Gefiihl muszt du, o groszer Mann, 
Bei der Verehrung dieser Menge haben 1 
O gluoklich, wer von seinen Gaben 660 

Solch einen Vortheil ziehen kann ! 
Der Vater zeigt dich seinem Knaben, 
Ein Jeder fragt und draugt und eilt. 
Die Fiedel stookt, der Tanzer weilt. 
Du gehst, in Beihen stehen sie, 665 

Die Miitzen fliegen in die Hoh, 
Und wenig fehlt, so beugten sich die Knie, 
Als kam' das Venerabile. 

Famt 
Nur wenig Schritte noch hinauf zn jenem Stein ! 
Hier wollen wir von unsrer Wandrung rasten. 670 
Hier sasz ich oft gedankeuvoll allein 
Und qualte mich mit Beten und jnit Fasten. 
An Hofifnung reich, im Glauben fest, 
Mit Thranen, Seufzen, Handeringen 
Dacht' ich das Bnde jener Pest 675 

Vom Herrn des Himmels zu erzwingen. 
Der Menge Beifall tijnt mir nua wie Hohn. 
O, kdnntest du in meinem Innern lesen, 
Wie wenig Vater und Sohn 
Solch eines Euhmes werth gewesen ! 680 



BEFORE THE GATE. 73 

■went into every sict house; many a dead body was 
borne forth, but you came out safe, you endured many a 
sore trial ; the helper was helped by the Helper aboVe. 

All. 
Health to the trusty man — may he long have the 
power to help ! 

Fa^lst. 
Bend before Him on high, who teaches how to help, 
and sends help. [He proceeds with Wagnee.] 

Wagner. 
What a feeling, great man, must you experience at 
the honours paid you by this multitude. Oh, happy 
he who can turn his gifts to so good an account. 
The father points you out to his boy; all ask, and press, 
and hurry round ; the fiddle stops, the dancer pauses. 
As you go by, they range themselves in rows, caps fly 
into the air, and they all but bend the knee as if the 
Host were passing. 

Faust. 
Only a few steps further, up to that stone yonder ! 
Here we will rest from our walk. Here many a time 
have I sat, thoughtful and soUtary, and mortified my- 
self with prayer and fasting. Rich in hope, firm in 
faith, I thought to extort the stoppage of that pestilence 
from the Lord of Heaven, with tears, and sighs, and 
wringing of hands. The applause of the multitude now 
sounds to me like derision. Oh ! couldst thou read in my 
inmost soul, how little father and son have merited such 



74 VOR DEM THOR. 

Mein Vater war ein dunkler Ehrenmann, 

Der liber die Natur und ihre heil'gen Kreise 

In Eedliohkeit, jedooh auf seiae Wei^e, 

Mit grillenhafter Miihe sann ; 

Der in Gesellsohaft von Adepten 6: 

Sich in die schwarze Kiiche schlosz 

Und nach unendlichen Kezepten 

Das Widrige zusammengosz. 

Da ward ein rother Leu, ein kiihner Freier, 

Im lauen Bad der Lilie vermahlt, 6i 

Und beide dann mit offnem Flammenfeuer 

Aus einem Brautgemach ins andere gequalt. 

Erschien darauf mit bunten Farben 

Die junge Kdnigin im Glas, 

Hier war die Arzenei, die Patienten starben, 6i 

Und Niemand fragte, w-er genas. 

So haben wir mit hollischen Latwergen 

In dieaen Thalern, diesen Bergen 

Weit sohlimmer als die Pest getobt. 

Ich habe selbst den Gift an Tausende gegeben ; 7( 

Sie welkten bin, ich musz erleben, 

Dasz man die frechen Morder lobt. 

Wagniir. 
Wie konnt ihr euch dariim betriiben ! 
Thut nicht ein braver Mann genug, 
Die Kunst, die man ihm iibertrug, 7c 

Gewisaenhaft und piinktlich auszuuben ? 
Wenn du als Jungling deinen Vater ehrst, 
So wirst du gern von ihm empfangen ; 
Wenn du als Mann die Wissenschaft vermehrst, 
So kann dein Sohn zu hoh'rem Ziel gelangen, 71 

Fati:st. 
O gliicklich, wer noch hoffen kann, 
Aus diesem Meer des Irrthums aufzutanchen ! 
irVVas man nicht weisz, das eben brauohte man, A 
HTlnd was man weisz, kann man nicht brauchenT' \ 
'"Doch lasz uns dieser Stunde sohones Gut - ' 71 

Duroh solcheu Triibsinn nicht verkUmmem ! . 



BEFORE THE GATE. 75 

an honour ! My father was a worthy, obscure man, 
who, honestly but in his own way, meditated, with 
whimsical application, on nature and her hallowed 
circles ; who, in the comj/any of adepts, shut himself up 
in the dark kitchen,'" and fused contraries together 
after numberless recipes. There was a red lion, a bold 
lover, married to the lily in the tepid bath, and then 
both, with open flame, tortured from one bridal chamber 
to another. If the young queen, with varied hues, then 
appeared in the glass — this was the physic; the patients 
died, and no one inquired who recovered." Thus did 
we, with hellish electuaries, rage in these vales and 
mountains far worse than the pestilence. I myself 
have given the poison to thousands ; they pined away, 
and I must now live to hear the reckless murderers 
praised ! 

Wagner. 
How can you make yourself uneasy on that ac- 
count? Is it not enough for a good man to practise 
conscientiously and scrupulously the art that has been 
handed over to him ? If, in youth, you honour your 
father, you will willingly learn from him : if, in man- 
hood, you extend the bounds of knowledge, your son 
may mount still higher than you. 

Faust. 

Oh, happy he, who can still hope to emerge from 

this sea of error! That which we know not is just 

what we require, and what we know is of no use. But 

let us not embitter the blessing of this hour by such 



76 VOB DEM THOR. 

Setrachte, wie in Abendsonneglnth 

Die griinumgebnen Hiitten schimmern. 

Sie riickt und weicht, der Tag ist iiberlebt, 

Dorfc eilt sie bin und fordert neues Leben. 

O, dasz kein Fliigel mich vom Boden hebt, 

Ihr nach und immer nach zu St.reben ! 

Ich sah' im ewigen Abendstrahl 

Die stille Welt zu meinen Fiiszen, 

Entzundet alle Hbhn, beruhigt jedes Thai, 

Den Silberbach in goldne Strome flieszen. 

Nicht hemmte dann den gottergleicben Lauf 

Der wilde Berg mit alien seinen Sobluchten ; 

Schon tbut das Meer sioh mit erwarmten Buohten 

Vor den erstaunten Augen auf. 

Doch scheint die Gottin endlich wegzusinken ; 

AUein der neue Trieb erwacht, 

Ich eile forlj, ihr ew'ges Licht zu trinken, 

Vor mir den Tag und hinter mir die Nacht, 

Den Himmel iiber mir und unter mir die Wellen. 

Bin schoner Traum, indessen sie entweicht ! 

Ach, zu des Geistes FlUgeln wird.RO leicht 

Kein korperlicher Flugel sich gesellen. ^ 

Dooh ist es Jedem eingeboren, 

Dasz sein GefUhl hinanf und vorwarta dringt, 

Wenn uber uns, im blauen Eaum verloren, 

Ihr schmetterndjjied die Lerche singt, 

Wenn iiber achroffen Kchtenhohen 

Der Adler ausgebreitet sohwebt, 

Und iiber Flachen, iiber Seen 

Der Kranich nach der Heimath strebt. 



Waqr. 



vagner. 

Ich hatte selbst oft grillenhafte Stunden, 
Doch solchen Trieb hab' ich noch nie empfunden. 
Man sieht sich leicht an Wald und Feldern satt, 
Des Vogels Fittig werd' ich nie beneiden. 
Wie anders tragen uns die Geistesfreuden 
Von Buch zu Buch, von Blatt zu Blatt ! 
Da werden Winternachte hold und schon, 
Bin selig Leben warmet alle Glieder, 



BEFORE THE GATE. 77 

inelanclioly reflections. See, how the green-girt cottages 
shimmer in the setting Sun ! He bends and sinks — the 
day is done. Yonder he hurries off, and quickens other 
life. Oh ! that I have no wing to lift me from the 
ground, to struggle after, for ever after, him ! I should 
see, in everlasting evening beams, the stilly world at my 
feet, — every height on fire, — every vale in repose, — the 
silver brook flowing into golden streams.*" The rugged 
mountain, with all its dark defiles, would not then break 
my godlike course. — Already the sea, with its heated 
bays, opens on my enrapfSred sight. Tet the god seems 
at last to sink away. But the new impulse wakes. I 
hurry on to drink his everlasting light,^the day before 
me and the night behind,"' — the heavens above, and 
under me the waves. — A glorious dream, but he vanishes. 
Alas ! no bodily wing will so easily be joined to the 
wings of the mind."" Tet it is the inborn tendency 
of our being that our feelings strive upwards and on- 
wards ; when, over us, lost in the blue expanse, the lark 
sings its trilling lay ; when, over rugged pine-covered 
heights, the outspread eagle soars; and over marsh and 
sea, the crane struggles onwards to her home."' 

■Jf Wagner. 

I myself have often had my whimsical moments, but 
I never yet experienced an impulse of the kind. One 
soon looks one's fill of woods and fields. I shall never 
envy the wings of the bird. How differently the plea- 
sures of the mind bear us, from book to book, from 
page to page. With them, winter nights become cheer- 
ful and bright, a happy life warms every limb, and, 



78 VOK DEM THOR. 

Und, aoh, entrollst du gar ein wUrdig Pergamen, 
So Bteigt der gauze Himmel zu dir nieder. 



Fault. 
Du bist dir nur des einen Triebs bewuszt ; 
O, lerne nie den andern kennen ! 
Zwei Seelen wohnen, ach, in meiner Brust, 
Die eine will sich von der andern trennen ; 
Die eine halt in derber Liebeslusfc 
Sich an die Welt mit klammfernden Organen ; 
Die andre hebt gewaltsam sich vom Dust 
Zu den Gefilden hoher Ahnen. 
O, giebt ea Geister in der Luft, 
Die zwischen Erd' und Himmel herrschend weben, 
So steiget nieder aus deni goldnen Dnft 
Und fiihrt mioh weg zu neaem, buntem Leben ! 
Ja, ware nur ein Zaubermantel mein 
Und triig' er mifih in fremde Lander, 
Mir Bollt' er um die kbstliohsten Gewander, 
Mcht feil um einen Konigsmautel sein. 

Wagner. 
Berufe nicht die wohlbekannte Schaar, 
Die stromend sich im Dunstkreis uberbreitet, 
Dem Mensohen tausendfaltige Gefahr 
Von alien Enden her bereitet. 
Von Norden dringt der soharfe Geisterzahn 
Auf dich herbei mit pfeilgespitzten Zungen ; 
Von Morgen ziehn vertrooknend sie heran 
Und nahren sich von deinen Lungen ; 
Wenh sie der Mittag aus der Wiiste sohickt, 
Die Gluth auf Gluth um deinen Scheitel haufen, 
So bringt der West den Schwarm, der erst erquiokt, 
Um dich und Feld und Aue zu ersaufen. 
Sie horen gem, zum Schaden froh gewandt, 
Gehorohen gem, well sie uns gem betriigen ; 
Sie stellen wie vom Himmel sich gesandt " 

Und lispeln englisch, wenn sie liigen. 
Doch gehen wir ! Brgraut ist schon die Welt, 



BEFORE THE GATE. 79 

ah ! wlien you unroll a venerable parchment, all heaven 
descends to you. 

Faust. 
Thou art conscious only of one impulse. Oh, never 
become acquainted with the other ! Two souls, alas ! 
dwell in my breast : ** the one would fain separate 
itself from the other. The one with sensuous love 
clings to the world with tenacious organs: the other 
lifts itself energetically from the mist to the realms of 
an exalted ancestry.'"' Oh ! if there be spirits in the air, 
which hover ruling 'twixt earth and heaven, descend ye, 
from your golden atmosphere, and lead me off to a new 
varied life. Ay, were but a magic mantle mine, and 
could it bear me into foreign lands, I would not 
part with it for the costliest garments — not for a king's 
mantle. 

Wagner. 
Invoke not the well-known troop,*' which diffuses 
itself, streaming, through the atmosphere, and pre- 
pares danger in a thousand forms, from every quarter, 
to man. The sharp-fanged spirits, with arrowy tongues, 
press upon you from the north; from the east, they 
come parching, and feed upon your lungs. If the south 
sends from the desert those which heap fire after fire 
upon thy brain, the west brings the swarm which oidy 
refreshes, to drown fields, meadows, and yourself.- 
They readily listen, ever keenly alive for mischief: 
they obey with pleasure, because they take pleasure to 
delude; they feign to be sent from heaven, and lisp like 
angels when they lie. But let -us be going ; the earth is 



80 VOR DKM THOR. 

Die Luft gekuhlt, der Nebel fallt ! 
,»>^CAm Abend schatzt man erst das Haus. — 

Was stehst du so und bliokst erstaunt hinaus ? 
Was kann dioh. in der Dammrung so ergreifen ? 



Faust. 
Siehst du den sohwarzen Hund duroh Saat und 

Stoppel Btreifen ? 

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



Faust. 
Betraoht ihn recht ! Fur was haltst du das Thier ? 

Wagner. 
Fiir einen Pudel, der auf seine Weise 
Sioh auf der Spur des Herren plagt. 

Faust. 
Bemerkst du, wie in weitem Schneokenkreise 
Br um uns her und immer naher jagt ? 
Und irr' ich nicht, so zieht ein Feuerstrudel 
Auf seinen Pfaden hinterdrein. 

Wagner. 
Ich sehe nichts als einen schwarzen Pudel ; 
Es mag bei euch wohl Augentauschung sein. 

Faust. 
Mir soheint es, dasz er magisch leise Sohlingeu 
Zu kunft'gem Band um unsre Fiisze zieht. 



Ich seh' ihn ungewisz und furchtsam uns umspringen, 
Weil er statt seines Herrn zwei Uubekanute sieht. 



BEFORE THE GATE. 81 

already grown grey, the air is chill, the mist is falling ; 
it is only in the evening that we set a proper value on 
our homes. Why do you stand still, and gaze with 
astonishment thus ? What can thus fix your attention 
in the gloaming ? 

Faust. 
Seest thou the hlack dog ranging through the com 
and stuhble ? 

Wagner. 
I saw him long ago; he did not strike me as any- 
thing particular. 

Faust. 
Mark him well ! For what do you take the brute ? 

Wagner. 
For a poodle, who, in his way, is puzzling out the 
track of his master. 

Faust. 
Dost thou mark how, in wide spiral circles, he courses 
round and ever nearer us ? And, if I err not, a line of 
fire follows upon his track." 

Wagner. 
I see nothing hut a black poodle ; you may be de- 
ceived by some optical illusion. 

Faust. 
It appears to me, that he is drawing light magical 
nooses, to form a toil around our feet. 

Wagner. 
I see him bounding hesitatingly and shyly around us, 
because, instead of his master, he sees two strangers. 

G 



82 VOR DEM THOR. 

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

Wagner, 
Du siehst,. ein Hund, und kein Gespenst ist da. 1 
Er knurrt und zweifelt, legt Bich auf den Bauch, 
Er wedelt. Alles Hundebrauch. 

FcMst 
Geselle dich za uus ! Komm bier ! 

Wagner. 
Es ist ein pudelnarrisch Thier. 
Da stehest still, er wartet auf ; i 

Du spriobst ibn an, er strebt an dir hinauf ; 
Verliere was, er wird es bringen, 
Nach deinem Stock ins Wasser springen. 

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

Wagner. 
Dem Hunde, wenn er gut gezogen, 
Wird selbst ein weiser Mann gewogen. 
Ja, deine Gunst verdient er ganz und gar, 
Er, der Studenten treflSicher Scolar. 

[8ie gehen in das Stadtthot 



BEFOKE THE GATE. 83 

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

Wagner. 
Tou see, it is a dog, and no phantom. He growls and 
hesitates, crouches on his belly and wags with his tail — 
aU asdogs are wont to do. 

Faust. 
Come to us ! — Hither ! 

Wagner. 
It's a droll creature of a dog. Stand still, and 
he will sit on his hind legs ; speak to him, and he 
will jump upon you ; lose aught, and he will fetch it to 
you, and jump into the water for your stick. 

Faust. 
I believe you are right ; I find no trace of a spirit, 
and all is training. 

Wagner. 
Even a wise man may become attached to a dog 
when he is well brought up. Ay, he richly deserves 
all your favour, — he, the apt pupil of the students. 

[They enter the gate of the town.y 



STUDIRZIMMEE. 

Fatjst (mii dem Fudel heremtretend). 

VERLASSBN hab' ich Feld und Auen, Szs 

Die eine tiefe Nacht bedeokt, 
Mit ahnungsvollem, heirgem Grauen 
In tins die bessi'e Seele weckt. 
Entsohlafen sind nun wilde Triebe 
Mit jedem nngestumen Thun ; 830 

Es reget sioh die Mensohenliebe, 
Die Liebe Gottes regt eich nun. 

Sei ruhig, Pudel ! Eenne nioht bin und wieder ! 

An der Schwelle was schnoperst du hier ? 

Lege, dich hinter den Ofen nieder ! 835 

Mein bestes Kissen geb' ioh dir. 

Wie du drauszen auf dem bevgigen Wege 

Durch Kennen und Springen ergotzt uns hast, 

So nimm nun auch von mir die^PHege 

Als ein willkommner stiller Gast. 840 

Aoh, wenn in unarer engen Zelle 

Die Lampe frenndlich wieder brennt, 

Dann wird's in unserm Busen helle, 

Im Herzen, das sioh selber kennt. 

Vernunft fangt wieder an zu sprechen 845 

Und HoiTnung wieder an zu bliihn ; 

Man sehnt sioh nach des Lebena Bachen, 

Aoh, nach des Lebens Quelle hin. 

guurrenicht, Pudel ! Zu den heiligen Tonen, 

Die jetzt meine ganze Seel' umfassen. 850 

Will der thierische Laut nicht passen. 



/ 



FAUST'S STUDY. 
Faust entering with the Poodle. 

I HAVE left plain and meadow veiled in deep night, 
■which wakes the better soul within us with a holy 
feeling of foreboding awe. Wild desires are now sunk 
in sleep, with every deed of violence : the love of man is 
stirring — the love of God is stirring now. 

Be quiet, poodle ! Eun not hlfner and thither. "Why 
are you snuffling at the threshold';' Lie down behind 
the stove ; there is my best cushion for you. As with- 
out, upon the mountain path, you amused us by running 
and gambolling, so now receive my kindness as a wel- 
come quiet guest. 

Ah! when the friendly lamp is again burning in our 
narrow cell, then all becomes clear in our bosom, — in 
the heart that knows itself. Reason begins to speak, 
and hope to bloom, again; we yearn for the streams, 
ay, for the fountain, of life. 

Growl not, poodle ! The brutish sound ill harmonizes 
with the hallowed tones which now possess my whole 



86 STUDIKZIMMER. 

Wir Bind gewohnt, dasz die Menschen verhohnen, 
Was sie nicht verstehn, dasz sie vor dem Guteii 

und Schonen, 
Das ihnen oft beschwerlioh ist, murren ; 
Will es der Huod wie sie beknurren ? 855 

Aber ach, schon^fiihl' ich bei dem besten Willen 

Befriedigung nicht mehr aus dem Busen quillen. 

Aber warum musz der Strom so bald versiegen, 

Und wir wieder im Durste liegen ? 

Davon hab' ich so viel Erfahrung. 860 

Doch dieser Mangel laszt sich ersetzen, 

Wir lernen das Ueberirdisohe sohatzen, 

Wir sehnen uns nach OflFenbarUng, 

Die nirgends wUrd'ger und schoner brennt 

Als in dem Neuen Testament. 865 

Mich drangt's, den Grundtext aufzuschlagen, 

Mit redlichem Gefiihl einmal 

Das heilige Original 

In moin geliebtes Deutsch zu iibertragen. 

[^Er sahldgt ein Volum auf und schicht sich an.] 
Geschrieben steht : Im Anfang war das Wort ! 870 

— Hier stock' ich schon ! Wer hilft mir welter fort ? 
Ich kann das Wort so hoch unmoglich sohatzen ; 
Ich musz es anders ubersetzen, 
Wenn ich vom Geiste recht erleuchtet bin. 
Geschrieben steht : Im Anfang war der Sinn. 875 

Bedenke wohl die erste Zeile, 
Dasz deine Feder sich nicht Ubereile ! 
Ist es der Sinn, der AUes wirkt und schafft ? 
Es sollte stehn ; Im Anfang war die Kraft 1 
Doch, auoh indem ich dieses niederschreibe, 8Sc 

Schon warnt mich was, dasz ich dabei nicht bleibe. 
Mir hilft der Geist ! Auf einmal seh' ich Eath 
Und schreibe getrost : Im Anfang war die That ! 

Soil ich mit dir das Zimmer theilen, 

Pudel, so lasz das Heulen, ggc 

So lasz das Bellen ! 

Solch einen storenden Gesellen 



Faust's studt. 87 

soul. We are accustomed to see men deride what they 
do not understand *' — to see them grumble at the good 
and beautiful, which is often troublesome to them. Is 
the dog disposed to snarl at it like them ? 

But ah ! I feel already that, much as I may wish for 
it, contentment wells no longer from my breast. Yet 
why must the stream be so soon dried up, and we again 
lie thirsting ? I have had so much experience 'of that ! 
This want, however, admits of being compensattied. We 
learn to prize the supernatural; we long for revela- 
tion," which nowhere bums more majestically or more / 
beautifully than in the New Testament. I feel impelled / — 
to open the original text— to translate for once, with 
upright feeling, the sacred original into my beloved 
German. [He opens a volume, and applies himself to if] 

It is written : In the beginning was the Word. 
Here I am already at a stand ! Who will help me on ? 
I cannot possibly value the Word so highly ; I must 
translate it differently, if I am truly inspired by the 
spirit. It is written: In the beginning was the 
Sense. Consider well the first line, that your pen be 
not over hasty. Is it the Sense that influences and 
produces everything? It should stand thus: In tke 
beginning was the Power. Yet, even as I am, writing / 
down this, something warns me not to keep to it. The i^ 

spirit comes to my aid ! At once I see my way, and ■: 
write confidently : In the beginning was the Deed. -- / 

If I am to share the chamber with you, poodle, cease" 
your howling — cease your barking. I cannot endure so 



88 STUDIBZIMMER. 



Mag ioh nioht in der Nahe leiden. 

Biner von uns Beiden 

Musz die Zelle meiden. 8yo 

TJngera heb' ioh das Gastreoht auf. 

Die Thiir ist offen, hast freien Lauf. 

Aber was musz ich seben ! 

Kann das natiirlich geschehen ? 

Ist es Sohatten ? Ist's Wirklichkeit ? 895 

Wie wird mein Pudel lang und breit ! 

Er hebt sich mit Gewalt, 

Das ist nicht eines Hundes Gestalt ! 

Welch ein Gespenst braoht' ich ins Hans ! 

Schon sieht er wie ein Nilpferd ans, 900 

Mit fenrigen Augen, schreckliohem Gebisz. 

O, dn bist mir gewisz ! 

Fur solche halbe Hollenbrut 

Ist Salomonis Schlussel gut. 

Geisier {auf dem Oange). 
Drinnen gefangen ist Einer ! 905 

Bleibet hauszen ! Eolg' ihm Keiner ! 
Wie im Eisen der Fnohs, 
Zagt ein alter Hollenluchs. 
Aber gebt Acht ! 

Sohwebet hin, sohwebet wieder, 910 

Auf und nieder, 
Und er hat sich losgemaoht. 
Konnt ihr ihm niitzen, 
Laszt ihn nicht sitzen ! 
Denn er that uns Allen 915 

Schon Tiel zu Gefallen. 



A 



Fcmat. 
Erst zu begegnen dem Thiere, 
Branch' ich den Spruoh der Viere : 

Salamander soil glUhen, 

Undene sich winden, 920 



89 

troublesome a companion near to me. One of us two 
must quit the cell. It is witli reluctance that I with- 
draw the rights of hospitality ; the door is open — the 
way is clear for you. But what do I see ! Can that 
come to pass by natural means ? Is it shadow ? Is it 
reality ? How long and broad my poodle grows ! He 
raises himself powerfully; that is not the form of a 
dog ! What a phantom I have brought into the house ! 
— ^He looks already like a hippopotamus, with fiery eyes, 
terrific teeth. Ah ! I am sure of thee ! Solomon's key 
is good for such a half -hellish brood. 

Spirits (in the passage). 
One is caught within ! 
Stay without, follow none 
As in the gin the fox. 
Quakes an old lynx of hell. 

But take heed ! 
Hover thither, hover back, 

Up and down, 
And he is loose ! 
If ye can aid him, 
Leave him not in the lurch. 
For he has already done 
Us many a service. 

Faust. 
First to confront the beast, . 
Use I the spell of the four : 

Salamander shall glow,°° 

Undine twine. 



90 STUDIRZIMMEB, 

Sylphe verschwinden, 
Kobold sich mUhen. 

Wer sie nicht kennte, 

Die Blemente, 

Ihre Kraft 925 

Ilnd Eigenschaft, 

Ware kein Meister 

Ueber die Geister. 

Verschwind in Flammen, 

Salamander ! 930 

Bauschend fliesze zusammen, 

TJndene ! 

Leucht in Meteorenschone, ♦ 

Sylphe! 

Bring hausliche Hiilfe, 935 

Incubus ! Incubus ! 

Tritt hervor und maohe den Schluaz ! 

Keines der Viere 

Steckt in dem Thiere. 

Es liegt ganz ruhig und grinst mich an ; 940 

Ich hab' ihm noch nicht weh gethan. 

Du soUst mich horen ^ 

Starker beschworen. 

Bist du, Geselle, 

Bin Fluchtling der Hdlle, 945 

So sieh dies Zeiohen, Q_^ 

Dem sie sich beugen, '" " -- 

Die schwarzen Schaaren ! 

Schon schwillt es auf mit borstigen Haaren. 

Verworfnes Wesen ! 550 

Kannst du ihn lesen ? 
Den Nieentsprossnen, 
Unausgesprochnen, 



Faust's study. 91 

Sylph vanisli, 
Kobold stall toil. 

Who does not know 

The elements, 
Their power and properties, 

Were no master 

Over the spirits. 

Vanish in flamie, 

Salamander ! 
Eushingly flow together. 

Undine ! 
Shine in meteor beauty, 

Sylph! 
Bring homely help, 
Incubus ! Incubus ! s 
Step forth and finish the work. 

No one of the four 

Lurks in the beast. 
He lies undisturbed and grins at me. 

I have not yet hurt him. 
Thou shalt hear me conjure stronger. 

Art thou, fellow, 

A scapeling from hell ! 

Then see this sign ! 

Before which bow the dark hosts. 

He is already swelling up with bristling hair. 

Reprobate ! 

Canst thou read him ? — 

The unoriginated. 

Unpronounceable, 



92 STUDIRZIMMER. 

Dnrch alle Himmel Gegossnen, 

Freventlioh Dnrohstoohnen ? 955 

Hinter den Ofen gebannt, 

Sohwillt es wie ein Elephant, 

Den gauzen Baum fuUt es an, 

Eb will zum Nebel zerflieszen. 

Steige nicht zur Deoke hinan ! 960 

Lege dich zn des Meisters Fiiszen ! 

Da siehst, dasz ich nicht vergebens drohe, 

loh versenge dich mit heiliger Lohe ! 

Erwarte nicht 

Das dreimal gluhende Licht ! 965 

Erwarte nicht 

Die starkste von meinen Eiinsten ! 

Mephistopheles iritt, mdem der Nebel fallt, geMeidet wie 
ein fahrender SeholasMimSflwnter dem Ofen hervor. 

MepMsiopheles. 
Wozu der Larm ? Was steht dem Herrn zu Diensteu ? 

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



loh salutire den gelehrten Herrn ! 

Ihr habt mich weidlioh schwitzen maohen. 

Fatist. 
Wie nennst du dich ? 

Mephistopheles. 
Die Frage scheint mir klein 
Piir Einen, der das Wort so sehr verachtet, 
Der, weit entfernt von allem Schein, 975 

Nur in der Wesen Tiefe trachtet. 

Faust, 
Bei euch, ihr Harm, kauu man das Wesen 



taust's study. 93 

Through all heaven diffused, 
Vilely transpierced ? 

Spellbound behind the stove, it is swelling like an 
elephant ; it fills the whole space, it is about to vanish 
into mist. Else not to the ceiling! Down at thy 
master's feet ! Thou seest I do not threaten in vain. 
I will scorch thee with holy fire. Wait not for the 
thrice glowing light. Wait not for the strongest of my 
spells. 

Mephistopheles comes forward as the mist sinks, in the 
* dress of a Tra/oelUng Scholar," from behind the stove. 

Mephistopheles. 
Wherefore such a fuss ? What may be your pleasure ? 

Faust. 
This, then, was the kernel of the poodle ! A tra- 
velling scholar ? The casus makes me laugh. 

Mephistopheles. 
I salute your leariied worship. Tou have made me 
sweat with a vengeance. 

Faust. 
What is thy name ? 

Mephistopheles. 
The question strikes me as trifling for one who rates 
the Word so low; who, far estranged from all mere 
outward seeming, looks only to the essence of things. 

Faust. 
With Buch gentlemen as you, one may generally 



94 STUDIRZfMMER. 

Gewohnlich aus dem Namen lesen, 

Wo es sich allzu deutlich weist, 

Wenn man euoh Fliegengott, 'Verderber, Lugner heiszt. 58c 

Nun gut, wer bist du denn ? 

MepMstopheles. 

Ein Theil von jener Kraft, 
Die stets das Bose will und stets das Gute schafft. 

Famt. 
Was ist mit diesem Eathselwort gemeint ? 

MepMstopheles. 
Ich bin der Geist, der stets verneint ! 
Und das mit Recht ; denn Alles, was entsteht, 985 

Ist werth, dasz es zu Grunde geht ; 
Drum besser war's, dasz nichts entstUnde. 
So ist denn Alles, was ihr Sunde, 
Zerstorung, kurz das Bbse nennt, 
Meiu eigentliohes Element, 59c 

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

MepMstopheles. 
Bescheidne Wahrheit sprech' ich dir. 
Wenn sich der Mensch, die kleine Narrenwelt, 
Gewohnlich fiir ein Ganzes halt : 

Ich bin ein Theil des Theils, der Anfangs Alles war, 995 
Ein Theil der Pinsternisz, die sich das Licht gebar, 
Das stolze Licht, das nun der Mutter Nacht 
Den alten Hang, den Raum ihr streitig macht. 
Und doch golingt's ihm nicht, da es, so viel es strebt, 
Verhaftet an den Korpern klebt ; 1000 

Von Korpern stromt's, die Kcirper macht es sohon, 
Ein Kcirper hemmt's auf seinem Gange. 
80, hoff ' ich, dauert es nicht lange, 
Und mit den Korpern wird's zu Grunde getoi. 



FAUST^S STUDY. 95 

learn the essence from the name, since it appears but 
too plainly, if your name be fly-god," destroyer, liar. 
Now, in a word, who art thou then ? 

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

Faust. 
What is meant by this riddle ? 

Mephistopheles. ^.^ "!'■ -^^'^f^ ^'^"^. 
I am the spirit which constantly denies ! and rightly / 
so ; for everything that has originated, deserves to be 
annihilated. Therefore better were it nothing should 
originate. Thus, all that you call sin, destruction, in 
a word. Evil, is my proper element. 

Faust. 

You call yourself a part, and yet stand whole before 
me? 

Mephistopheles. 

I tell you the modest truth. Although man, that 
microcosm of folly, commonly esteems himself a whole : 
I am a part of the part which in the beginning was 
all ; a part of the darkness which brought forth light, — 
the proud light, which now contests its ancient rank 
and space with mother Mght." But it succeeds not ; 
since, strive as it will, it cleaves, as if bound, to 
bodies. It streams from bodies, it gives beauty to 
bodies, a body stops it in its course, and so, I hope, 
it will perish with bodies before long. 



96 STUDIEZIMMER. 

FoMSt. 

Nun kenn' ich deine wiird'gen Pflichten ! loo- 

Du kannst im Groszen niohts vernichten 
Und fangst es nun im Kleinen an. 

Mephistopheles. 
TJnd freilich isfc nicht viel damit gethan. 
Was sich dem Nichts entgegenstellt, 
Das Btwas, diese plumpe Welt, ioi< 

So viel als ich schon unternommen, 
Ich wuszte nicht ihr beizukommen, 
Mit Wellen, StUrmen, Sohiitteln, Brand ; 
Geruhig bleibt am Ende Meer und Land ! 
Und dem verdammten Zeug, der Thier- und Mensohen. 
bvut, _ loi, 

Dem i8t nun gar nichta anzuhaben. 
Wie Viele hab' ich schon begraben ! 
Und immer circulirt ein neues, frisches Blut. 
So geht es fort, man mochte rasend werden ! 
Der Luft, dem Wasser wie der Erden lozi 

Entwinden tausend Keime sich 
Im Trocknen, Feuchten, Warmen, Kalten ! 
Hatt' ich mir nicht die Plamme vorbehalten, 
Ich hatte nichts Apart's fur mich. 

Faust. 
So setzest du der ewig regen, jq^ 

Der heilsam sohaffenden Gewalt 
Die kalte Teufelsfaust entgegen, 
Die sich vergebens tUckisch ballt ! 
Was Anders suche zu beginnen, 
Des Chaos wunderlicher Sohn ! iq,, 

MepMstopheles, 
Wir wollen wirklich uns besinnen ; 
Die nachsten Male mehr davon ! 
Durft' ich wohl diesmal mich entfernen ? 

Fa/usi, 
Ich sehe nicht, warum du frags t. . 

Ich habe jetzt dich kennen lernen ; u,. 

Besuche nun mich, wie du magst. 



Faust's study. 97 

Faust. 
Now I know thy dignified calling. Thou art not 
able to destroy on a large scale, and so thou dost it in 
a small way. 

Mephistopheles. 
And, to say truth, little can be achieved by this process. 
That which is opposed to nothing" — the something, 
this clumsy world, much as I have tried already, I have 
not yet been able to overcome it, — with waves, storms, 
earthquakes, fire. Sea and land remain undisturbed 
after all ! And the damned set, the brood of brutes 
and men, there is no such thing as getting the better 
of them neither. How many I have already buried ! 
And new fresh blood is constantly circulating ! Things 
go on so — it is enough to make one mad ! From air, 
water, earth — ^in wet, dry, hot, cold — germs by thou- 
sands evolve themselves." Had I not reserved fire, I 
should have nothing apart for myself. 

Faust. 
So thou opposest thy cold devil's fist, clenched in 
impotent mahce, to the ever stirring, the beneficent 
creating power. Try thy hand at something else, strange 
son of Chaos. 

Mephistopheles. 
We will think about it in good earnest — more of that 
anon ! Might I be permitted this time to depart ? 

Faust. 
I see not why you ask. I have now made acquain- 
tance with you ; call on me in future as you feel inclined. 

K 



98 STUDIKZIMMEK, 

Hier ist das Fenster, hier die ThUre, 
Ein Eauohfang ist dir auoh gewisz. 

Mephistopheles. 
Gesteh' ich's nur ! Dasz ioh hinausapaziere, 
Verbietet mir ein kleines Hindernisz, 1040 

Der Drudenfusz auf eurer Schwelle — 

FaVfSt. 
Das Pentagramma macht dir Fein ? 
Bi, sage mir, du Sohn der Holle, 
Wenn das dich bannt, wie kamst du denn herein ? 
Wie ward ein solclier Geist betrogen ? 1045 

MepMstopheles. 
Beschaat es recht ! Es ist nicht gut gezogen ; 
Der eine Winkel, der nach auszen zu, 
Ist, wie du siehst, ein wenig offen. 

Faust. 
Das hat der Zufall gut getrofFen ! 

Und mein Gefangner warst denn du ? 1050 

Das ist von ungefahr gelungen ! 

MepTiisiopheles. 
Der Pudel merkte nichts, als er hereingesprnngen, 
Die Saohe sieht jetzt anders aus ; 
Der Teufel kann nicht aus dem Haus. 

Faust. 
Doch warum gehst du nicht durchs Fenster ? 1055 

MepMstopheles. 
's ist ein Gesetz der Teufel und Gespenster : 
Wo sie hereingeschliipft, da miissen sie hinaus. 
Das Erste steht uns frei, beim Zweiten sind wir Knechte. 

„ Faust. 

Die Holle selbst hat ihre Kechte'? 

Das find' ioh gut, da liesze sioh ein Pakt, 1060 

Und sicher wohl, mit each, ihr Herren, schlieszen ? 



* faust's study. 99 

!ere is the window, here the door; there is also a 
limney for you. 

MepMstopJieles. 

To confess the truth, a small obstacle prevents me 
■om walking out — the wizard-foot upon your threshold. 

Faust. 
The Pentagram '* embarrasses you ? Tell me then, 
lou child of hell, if that repels thee, how cam'st thou 
1 ? How was such a spirit entrapped ? 

Mephistopheles. 
Mark it well ! It is not well drawn ; one angle, the 
utward one, is, as thou seest, a little open. 

Famt. 
It is a lucky accident. So thou art my prisoner 
ow ? This is a chance hit. 

Mephistopheles. 

The poodle observed nothing when he jumped in. 

]he case has a different aspect now ; the devil cannot 

:et out. 

Faust. 

But why do you not go through the window ? 

Mejihistopheles. 
It is a law binding on devils and phantoms, that 
hey must go out the same way they stole in. The 
irst is free to us ; we are slaves as regards the second. 

Faust. 
Hell itself has its laws ? I am glad of.-it^ in that 
ase a compact," a binding one, may be made with you 
rentlemen ? 



100 STUDIKZIMMEK. 

Mephisto'pheles. 
Was man verspncht, das soUsfc du rein genieszen 
Dir wird davon niohts abgezwaokt. 
Dooh das ist nicht so kurz zu fassen, 

Und wir bespreohen das zunachst ; 1065 

Dooh jetzo bitt' ioh hooh und hochst, 
Fiir dieses Mai mioh zu entlassen. 

FoMst. 
So bleibe dooh noch einen Augenbliok, 
TJm mir erst gute Mar zu sagen. 

Me'pTiisiopheles. 
Jetzt lasz mich los ! Ioh komme bald zuriiek ; 1070 

Dann magst du nach Belieben fragen. 

Faust. 
Ioh habe dir uioht nachgestellt, 
Bist du dooh selbst ins Garn gegangen. 
Den Teufel halte, wer ihn halt ! 
Er wird ihn nioht so bald zum zweiten Male fangen. 1075 

Me'phisio'plieles. 
Wenn dir's beliebt, so bin ich auch bereit, 
Dir zur Gesellschaft hier zu bleiben ; 
Dooh mit Bedingnisz, dir die Zeit 
Duroh meine Kiinste wiirdig zu vertreiben. 

Faust. 
Ich seh' es gem, das steht dir frei • 1080 

Nur dasz die Kunst gefallig sei ! 

MefMstopheles. 
Du wirst, mein Freund, fiir deine Sinnen 
In dieser Stunde mehr gewinnen 
Als in des Jahres Einerlei. 

Was dir die zarten Geister singen, 10S5 

Die sohonen Bilder, die sie bringen, 



FAUST'S STUDY. 101 

MepMgtopJieleg. 
What is promised, ttat shalt thou enjoy to the 
letter ; not the smallest deduction shall be made from 
it. But this is not to be discussed so summarily, and 
we wUl speak of it the next time. But now I most 
earnestly beg of you to let me go for the present. 

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

.tiding s.°° ,Szju?l^=^ 

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

Favst. 
I have laid no snare for thee ; thou hast run into 
the net of thy own free will. Let whoever has got 
hold of the devil, keep hold of him. He will not catch 
him a second time in a hurry. 

Mephistopheles. 
It you like, I am ready to stay and keep you com- 
pany here, but upon condition that I may beguile the 
time worthily for you by my arts. 

Faust. , 

I shall attend with pleasure; you may do so, pro- 
vided only that the art be an agreeable one. 

Mephistojiheles. 
My friend, you will gain more for y our senses in this 
one hour, than in the whole year's monotony. What 
the delicate spirits sing to youj the lovely images which 



102 STTTDIEZIMMER. 

Sind nicht ein leeres Zauberspiel. 

Auch dein Geruch wird sioh ergetzen, 

Dann wirst du deinen Gaumen letzen, 

Und dann entzuckt sich dein Gefiihl. 1090 

Bereitung braucht es nicht TOran, 

Beisammen sind wir, fanget an ! 

OEISTEB. 

Scliwindet, ihr dunkeln 

Wolbnngen drobon ! 

Reizender schaue, 109s 

Freundlich der bla^e 

Aether herein ! 

Waren die dunkein 

Wolken zerronnen ! 

Sternelein funkeln, nob 

Mildere Sonnen 

Scheinen darein. 

Himmlischer Sohne 

Geistige Sehone, 

Sohwankende Bengnng 1105 

Schwebet voriiber, 

Sehnende Neigung 

Folget hiniiber ; 

Und der Gewander 

Flatternde Bander mo 

Decken die Lander, 

Decken die Laube, 

Wo sich fiirs Lebcn. 

Tief in Gedanken, 

Liebende geben. mj 

Laube bei Laube ! 

Sprossende Banken ! 

Lastende Traube , 

Stiirzt ins Behalter 

Drangender Keller, 1120 

StUrzen in Bachen 

Schaumende Weine, 

Rieseln durch reiije, 

Edle Gesteine, 

Lassen die Hohen 1125 



faust's study. 103 

they call up, are not an unsubstantial play of encLant- 
ment. Your smell will be charmed, you will then 
delight your palate, and then your feelings will be 
entranced. No preparation is necessary ; we are all 
assembled — strike up ! 

SPIKITS. 

Vanish ye dark 
Arched ceilings above ! 
More charmingly look in 
The friendly blue sky ! 
Were the dark clouds 
Melted away ! 
Little stars sparkle,' 
Softer suns shine in. 
Etherial beauty 
Of the children of heaven, 
Tremulous bending 

Hovers across ; 
Longing desire 

Follows after. 
And the fluttering 
Ribbons of drapery 
Cover the plains, 
Cover the bower, 
Where lovers. 
Deep in thought. 
Give themselves for life. 
Bower on bower ! 
Sprouting tendrils ! 
Down-weighing grapes 
Gush into the vat 
Of the hard-squeezing press. 
The foaming wines 
Gush in brooks. 
Rustle through 
Pure, precious stones, 
Leave the heights 



104 STUDIRZIMMER. 

Hinter sich liegen, 
Breiten zu Seen 
Sich urns GenOgen 
Griinender Hiigel. 
Und das Geflugel 
Sohliirfet sich Wonne, 
Flieget der Sonne, 
Flieget den hellen 
Inseln entgegen, 
Die sich auf Wellen 
Oauklend bewegen, 
Wo wir in Choren 
Jauchzende horen, 
Ueber den Auen 
Tanzende schauen, 
Die sich im Freien 
Alle zerstreuen. 
Einige klimmen 
Ueber die Hohen, 
Andere schwimmen 
Ueber die Seen, 
Andere schweben ; 
Alle zum Leben, 
Alle zur Feme, 
Liebender Sterne 
Seliger Huld. 



MephistopJieles. 
Er Bohlaft ! So recht, ihr luffgen, zarten Jungen ! 
Ihr habt ihn treulich eingeBungen ! 
Fiir dies Konzert bin ich in eurer Schuld. 
Du bist noch nicht der Mann, den Teufel fest zu halten ! 
Umgaukelt ihn mit sUazen Traumgestalten, 1156 

Versenkt ihn in ein Meer des Wahns ; 
Doch dieser Schwelle Zauber zu zerspalten, 
B^darf ich eines Rattenzahns. 

Nioht lange branch' ich zu beschworen, 1 1 60 

Schon raschelt eine hier und wird sogleich mich horen. 
Der Herr der Ratten und der Mause, 
Der Fliegen, Frosche, Wanzen, Lause, 



fattst's studt. 105 

Behind them lying, 

Broaden to lakes 

Around the charm of 

Green-growing hills. 

And the winged throng 

Sips happiness, 

Flies to meet the sun, 

Flies to meet the bright 

Isles, which dancingly 

Float on the waves ; 

Where we hear 

Shouting in choruses. 

Where we see 

Dancei's on meads ; 

All in th' open air 

Disporting alike. 

Some are clambering 

Over the heights, 

Others are swimming 

Over the lakes. 

Others are hovering — 

All towards the life, 

All towards the distant regions 

Of loving stars 

Of blissful grace. 

Mephistopheles. 

He slumbers ! Well done, my airy, delicate yoimg- 
sters ! Ye have fairly sung him to sleep. I am your 
debtor for • this concert. Thou art not yet the man 
to hold fast the devil ! Play round him with sweet 
dreamy visions ; plunge him in a sea of illusion. But 
to break the spell of this threshold I need a rat's tooth. 
I have not to conjure long ; one is already rustling 
hither, and will hear me in a moment. 

The lord of rats and mice, of flies, frogs, tugs and 



106 STUDIKZIMMER, 

Beflehlt dir, dich hervorzuwagen 

Und diese Sohwelle zu benagen, ii6 

So wie er sie mit Oel betupft — 

Da kommst du schon hervorgehupffc ! 

Nur frisch ans Werk ! Die Spitze, die mich bannte, 

Sie sitzt ganz vornen an der Kante. 

Noch einen Bisz, so ist's geschehn. — 117 

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

Fmist (^erwachend). 
Bin ich denn abermals betrogen ? 
Verschwindet so der geisterreiche Drang, 
Dasz mir ein Traum den Teufel vorgelogen, 
Und dasz ein Pudel mir entsprang ? 117 



Faust's study. 107 

lice, commands thee to venture forth and gnaw this 
threshold so soon as he has touched it with oil. Thou 
com'st hopping forth already ! Instantly to the work ! 
The point which repelled me, is towards the front on the 
ledge. One bite more, and it is done. — Now, Faust, 
dream on, till we meet again. 

Faust (waKng). 
Am I then once again deceived? Does the throng 
of spirits vanish thus, and has the Devil deceptively 
appeared to me in a dream, and has (only) a poodle 
escaped ? 



STUDIRZIMMER. 
Faust. Mephistopheles. 

Fauat. 
Tj* S klopft ? Herein ! Wer will mich wieder plagen ? 

Mephistop'heles. 



Ich bin's. 

Herein ! 



Faust. 



Herein denn ! 



Mephistoflieles. 

Du muszt es dreimal sagen. 

Fa/ast. 



MepJiiitopheles. 
So gefallst du mir. 
Wir werden, hofif ich, uns vertragen ; 
Denn dir die Grillen zu verjagen, 
Bin ioh als edler Junker hier 
In rothem, goldverbramten Kleide, 
Das Mantelchen von starrer Seide, 
Die Hahnenfeder auf dem Hut, 
Mit einem langen, spitzen Degen, 
TJnd rathe nun dir kurz und gut, 
Dergleichen gleichfalls anzulegen, 
Da;mit du losgebunden, frei 
Erfahrest, was das Leben sei. 



D 



FArst'S STUDY. 
Faust — Mephistopheles. 

Faust. 
OES amy one knock ? Come in ! WTio wants to 
disturb me again ? 



Mephistopheles. 
It is I. 

Faust. 
Com^ in. 

Mephistopheles. 
You must say so three times. 

Faud. 
Come in, tlien ! 

Mephistopheles. 
Thus thou pleasest me. We shall agree very well 
together, I hope ; for, to chase away your fancies, I am 
here, like a youth of condition, in a coat of scarlet laced 
with gold, a mantle of stifE silk, a cock's feather in my 
hat, and a long pointed sword at my side. And to 
make no more words about it, my advice to you is to 
array yourself in the same manner immediately, that 
unrestrained, emancipated, you may try what life is. 



110 STUDIRZIMMER. 

FauBt. 
In jedem Kleide werd' ich wohl die Peiu 
Des engen Erdelebens fuhlen. 
Ich bin zu alt, um nur zu spielen, 
Zu jung, um ohne Wunsch zu sein. 
Was kann die Welti mir wohl gewahren ? 
Entbehren soUst du ! Sollst entbehren ! 
Das ist der ewige Gesang, 
Der Jedem an die Ohren klingt, 
Den unser ganzes Leben lang 
Uns heiser jede Stunde singt. 
Nur mit Bntsetzen waoh' ich Morgens auf, 
Ich mochte bittre Thranen weinen, 
Den Tag zu sehn, der mir in seinem Lauf 
Mcht einen Wunsch erfullen wird, nicht einen, 
Der selbst die Ahnung jeder Lust 
Mit eigensinn'gem Krittel mindert, 
Die Schopfung meiner regen Bi-ust 
Mit tausend Lebensfratzen hindert. 
Auch musz ich, wenn die Naoht sich niedersenkt, 
Mich angstlich auf daS^Lpger strecken ; ; 
Auch da wird keine East geschenkt, 
Mich werden wilde Traume sohrecken. 
J)er Gott, der mir im Busen wohnt, 
Kann tief meiu Innerstes erregen, 
Der iiber alien meinen Kraften thront, 
Er kann nach auszen nichts bewegen ; 
Und so ist mir das Dasein eine Last, 
Der Tod erwunscht, das Leben mir verhaszt. 

Mephisiopheles. 
Und doch ist nie der Tod ein ganz willkommner Gast. 

\Jf- Fcmst. 

selig der, dem er im Siegesglanze 
Die blut'gen Lorbeern um die Schlafe windet, 
Den er naoh rasch durohras'tem Tanze . ,v Ji 

In eines Madchens Armen findet ! , __<<,* ^ 

0, war' ich vor des hohen Geistes'^Kraft 
EutzUokt, entseelt dahiugesunken ! 



fatjst's study. Ill 

Faust. 
In every dress, I dare say, I shall feel the torture 
of the contracted life of this earth. I am too old 
to do nothing but play, too young to be without 
a desire. What can the world afford me ! — Thou 
shalt renounce ! Thou shalt renounce ! " That is the 
eternal song which rings in every one's ears ; which, 
our whole life long, every hour is hoarsely singing to 
us. ' In the morning I wake only to horror. I would 
fain weep bitter tears to see the day, which, in its 
course, will not accomplish a wish for me, no, not one ; 
which, with wayward oaptiousness, weakens even the 
presentiment of every joy, and disturbs the creation of 
my busy breast by a thousand ugly realities. Then 
again, when night comes round, I must stretch myself 
in anguish on my bed ; here, too, no rest is vouchsafed 
to me ; wild dreams are sure to harrow me up. The 
God, that dwells in my bosom, that can stir my inmost 
soul, that sways all my energies — he is powerless as 
regards things without ; andth us existence is a, load to 
me, death is desired, and life hateful. 

MepMstopheles. 
And yet death is never an entirely welcome guest. 

Faust. 
Oh ! happy the man around whose brows he wreathes 
the bloody laurel in the glitter of victory — whom, after 
the maddening dance, he finds in a maiden's arms. Oh 
that I had sunk away, enrapt, exanimate, before the 
great spirit's power ! 



112 STUDIRZEMMER. 

Mepkistopheles. 
Und dooh hat Jemand etnen braunen Saft 1225 

In jener Nacht nicht ausgetrunken. 

Faust. 
Das Spioniren, soheint's, ist 'deine Lust. 

Mephistoplieles. 
AUwissend bin ich nicht, doch viel ist mir bewuszt. 

Faust. 
Wenn aus dem schrecklichen GewUhle 
Ein sUsz bekannter Ton mioh zog, 1230 

Den Rest von kindlichem Gefuhle 
Mit Anklang froher Zeit betrog : 
So flach' ioh AUem, was die Seele 
Mit Lock- und Gaukelwerk umspannt 
Und sie in diese Trauerhbhle 1235 

Mit Blend- und Schmeichelkraften bannt ! 
Verflucht voraus die hohe Meinung, 
Womit der Geist sich selbst umfangt ! 
Verflucht das Blenden der Brscheinung, •' ^, t?fc»*"'' 

Die sich an unsre Sinne drangtj„- ^iJ^"*) 1240 

Verflucht, was uns in Traume^Tieuchelt, 

Des Buhms, der Namensdauer Trug ! 

Verflucht, was als Besitz uns schmeichelt, 

Als Weib und Kind, als Knecht und Pflug ! 

Verflucht seiTVKminon, wenn mit Schatzen 1245 

Er uns zu kiihnen Thaten regt, 

Wenn er zu miiszigem Ergetzen 

Die Bolster uns zureohte legt ! 

Fluch sei dem Balsamsaft der Trauben ! 

Fluch jener hochsten Liebeshuld ! 1250 

Fluch pei der Hofinung ! Fluch dem Glauben ! 

Und Fluch vor alien der Geduld ! 



OEiSTEKOHOE {tmsichtbo/r). 

Weh! Weh! 

Du hast sie zerstort. 



fatjst's study. 113 

M&phistopheles. 
And yet a certain person did not drint a certain 
trown juice on a certain night. 

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

MephistopTieles. 
I am not omniscient ; but much is known to me. 

Faust. 
If a sweet familiar tone drew me from that terrible 
tumult,"" and beguiled the relics of my childlike feel- 
ings with the echo of a happier time, I now curse [ 
everything that entwines the soul with false alluring I 
jugglery, and spell-binds it in this den of wretched- 
ness with dazzling and flattering influences. Accursed, 
first, be the lofty opinion in which the mind wraps 
itself ! Accursed, the dazzUng of appearances, by 
which our senses are subdued! Accursed, the hypo- 
crite dreams — the delusion of glory and of an ever- 
lasting name ! Accursed, what flatters us as property, 
as wife and child, as slave and plough ! Accursed 
be Mammoffi when he stirs us to bold deeds with 
treasures, when he smooths our couch for indolent 
delight ! My curse on the balsam-juice of the grape ! 
My curse on 'that highest favour of love ! My curse 
on Hope, my curse on Faith, and my curse, above all, 
on Patience ! 

CHORUS OF SPIRITS {invisible). 

Woe, woe, 

Thou hast destroyed it,' 

I 



1 14 STUDIRZIMMER. 

Die schone Welt, izss 

Mit machtiger Faust ; 
Sie stiirzt, sie zerf allt ! 
£in Halbgott hat sie zerschlagen ! q 
Wir tragen 

Die Triimmern ins Nichts hiniiber 1260 

Und klagen 

Ueber die verlorne Schone. 
Machtiger 
Der Erdensohne, 

Praohtiger 1265 

Baue sie wieder, 
In deinem Bnsen baue sie auf ! 
J!. Neuen Lebenslauf 
Beginne 

Mit hellem Sinne, 1270 

Und neue Lieder 
Tonen darauf ! 



0^^ 



4^ 



MepMstopheles. 
Dies sind die Kleinen 
Von den. Meinen. 

Hore, wie zu Lust und Thaten 1275 

Altklug sie rathen ! - 
In die Welt weit 
Aas der Eiusamkeit, 
Wo Sinnen und Safte stocken, 
Wollen sie dioh looken. 12 So 

Hor auf mit deinem Gram zu spielen, 

Der wie ein Geier dir am Leben friszt ; 

Die schlechteste Gesellschaft laszt dich fiihlen, 

Dasz du ein Mensch mit Menschen bist. 

Dooh so ist's nicht gemeint, 1285 

Dich unter das Pack zu stoszen. 

Ich bin Keiner von den Groszen ; 

Doch willst du mit mir vereint 

Deine Schritte durohs Leben nehmen, 

So will ich mich gern bequemen, 1290 

Dein zu sein auf der Stelle. 

Ich bin dein Geselle, 

Und maoh' ich dir's reobt, 

Sin ieh dein Dienei', bin dein Koeclit I 



FAUST'S STUDY. 115 

The beautiful world, 

With violent hand ; 

It falls, it is broken ! 

A demigod has shattered it to pieces ! 

We bear away 

The wrecks into nothingness, 

And wail over 

The beauty that is lost. 

Mighty 

Among the sons of earth, 

Proudlier 

Build it again, 

Build it up in thy bosom ! 

A new career of life, 

With unclouded sense 

Begin, 

And new lays 

Shall peal out thereupon. 



MepMstopheles. 

These are the little ones of my train. Listen, how, 
with wisdom beyond their years, they counsel you to 
pleasure and action. Out into the world, away from 
solitariness, where senses and the sap of life stagnate — 
would they fain lure you. 

Cease to trifle with your grief — which, like a vulture, 
feeds upon your vitals. The worst company will make 
you feel that you are a man among men. Yet I do not 
mean to thrust you amongst the common throng. I am 
not one of the great ones ; but if, united with me, you 
will wend your way through life, I will readily accom- 
modate myself to be yours upon the spot. I am your 
companion ; and, if you are satisfied, I am your ser- 
vant, your slave ! 



116 STUDIRZIJIMER. 

Faust. 
Und was soil ich dagegen dir erfiillen? 1^95 

MepMstopheles. 
Dazu hast du noch eine lange Frist. 

Fmist 
Nein, nein ! Der Teufel ist ein Egoist 
TJnd thut nioht leicht um Gottes willen, 
Was einem Andern niitzlioh ist. 

Sprich die Bedingung deutlioh aus , 1300 

Ein Boloher Diener bringt Gefahr ins Haus. 

MephisiopTielei. 
Ich will mich hier zu deinem Dienst verbinden, 
Auf deinen Wink nicht rasten und nioht ruhn ; 
Wenn wir uns driihen wiederfinden, 
So sollst du mir das Gleiohe than. 1305 

Faust. 
Das Driiben kann mich wenig kUmmern ; 
Schlagst du erst diese Welt zu Triimmem, 
Die andre mag darnach entstehn. 
Aus dieser Erde quillen meine Preuden, 
Und diese Sonne scheinet meinen Leiden ; 1310 

Kann ich mich erst von ihnen scheiden, 
Dann mag, was will und kann, geschehn. 
Davon will ich nichts weiter horen, 
Ob man auch kUnftig haszt und liebt 
Und ob es auch in jenen Spharen 1315 

Ein Oben oder Unten giebt. 

MepJiistopheles. 
In diesem Sinne kannst du's wagen. 
Verbinde dich ; du sollst in diesen Tagen 
Mit Freuden meine Kunste sehn. 
Ich gebe dir, was noch kein Mensoh gesehn, 1 32a 

Faust. 
Was willst du arm^r Teufel geben ? 



FAUST'S STUDY, 117 

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

Mephiatopheles. 
For that you have still a long day of grace. 

Faust. 
No, no; the devil is an egoist, and is not likely 
to do for nothing what is useful to another. Speak 
the condition plainly out; such a servant is a dan- 
gerous inmate. 

Mephistopheles. 
I will bind myself to your service here, and never 
rest nor repose at your call. When we meet on the 
other side, you shall do as much for me 

Faust. 
I care little about the other side : if you first knock 
this world to pieces, the other may arise afterwards if 
it will. My joys flow frotn this earth, and this sun 
shines upon my sufferings : if I can only separate 
myself from them, what will and can, may then come to 
pass. I will hear no more about it — whether ■ there be 
hating and loving in the world to come, and whether 
.there be an Above or Below in those spheres too. 

V 

Mephistopheles. 
In this mood, you may venture. Bind yourself ; and 
during these days, you shall be delighted by my arts ; 
I will give thee what no human being ever saw yet. 

Faust. 
What, poor devil, wilt thou give? Was a man's 



118 STT7DIBZIMMEB. 

Ward eines Menschen Geist in seinem hohen Streben 

Von deines Gleichen je gefaszt ? 

Doch hast du Speise, die nicht sattigt ? Hast 

Du rothes Gold, das ohne Rast, 1325 

Quecksilber gleich, dir in der Hand zerrinnt ? 

Ein Spiel, bei dem man nie gewinnt ? 

Bin Madchen, das an meiner Brust 

Mit Aiugeln schon dem. Naohbar sich verbindet ? 

Der Ehre schone Gotterlust, 1330 

Die wie ein Meteor verschwindet ? 

Zeig mir die Eruoht, die fault, eh man sie bricht, 

Und Baume, die sich taglich neu bcgriinen ! 

MepMstoplieles. 
Ein solcher Auftrag schreckt mich nicht, 
Mit solchen Schatzen kann ich dienen. 1335 

Doch, guter Freuud, die Zeit kommt auch herau, 
Wo wir was Gut's in Euhe sohmausen mogen. 

^^/■"\*»''1'''«Y'^' Faust. 

( ' ( Werd' ich beruhigt je mich anf ein Faulbett legen, 
/ So sei es gleich um mich gethan ! 

1 Kannst du mich schmeiohelnd je belugen, 1340 

Dasz ich mir selbst gefallen mag, 
Kannst du mich mit Genusz betriigen : 
Das sei fiir mich der letzte Tag ! 
Die Wette biet' ich ! 

Mephiatopheles. 
Top! 

/y^^" Famt. 

^ -f^ Und Schlag auf Schlag ! 

Werd' ich zum Augenblicke sagen : 1 345 

Verweile doch ! Du bist so schon ! 

Dann m^gat dn miph jn FeRseln schlagen, ■ 

Dann wiJHch ^er n zu Grun^e^gehn ! , 
"Dann mag die Todtenglocke schallen, " ' 

DannbisTdii deines Dienstes frei, 1350 

Die Uhr mag stehn, der Zeiger fallen, 

Es sei die Zeit fiir mich vorbei 1 



FAUST'S STUDY. 119 

mind, in its high aspiring, ever comprehended by the 
like of thee ? But hast thou food which satisfies not ? 
Euddy gold which, volatile, like quicksilver, melts 
away in the hand ? A game, at which one never wins ? 
A maiden, who, on my breast, is already ogling my 
neighbour ? The bright godlike joy of honour, which 
vanishes like a meteor ? — Show me the fruit which rots 
before it is plucked, and trees which every day grow 
green anew." 

Mephistopheles. 

Such a task affrights me not. I have such treasures 
at my disposal. But, my good friend, the time will 
come round when we would like to feast on what is 
really good in peace. 

Faust. 

If ever I stretch myself composed -upon a bed of 
indolence, be there at once an end of me. If thou 
canst ever flatteringly delude me. into being pleased with 
myself — if thou canst cheat me with enjoyment, be that 
day my last. I offer the wager. . / / / 






MepMstopheles. 
Done ! 

^ Faust. 
And my hand upon it ! If I ever say to the passing ^1, 
moment — Stay, thou art so fair ! then mayst thou , 
cast me into chains ; then will I readily perish ! Then 
may the death-bell toll ; then art thou free from thy 
service, the clock may stand, the index-hand may fall 
and time be never more for me ! 



120 STUDIEZIMMER. 

Mephisfophelee. 
Bedenk es wohl ! Wir w^den's nicht vergessen. 

• Faust. 

Dazu hast du ein voiles Eecht ; 

loh habe mich nicht freventlich vermessen. ' 1355 

Wie ich beharre, bin ioh Kneoht, 

Ob dein, was frag' ioh, oder wessen. 

MepJmtopheles. 
Ich werde heute gleioh beim DoktorschtnaUs 
Als Diener meine Pflicht erfiillen. 

Nur Eins ! — Um Lebens oder Sterbens willen 1360 

Bitt' ich mir ein paar Zeilen aus. 

Faiist. 
Auch was Geschriebnes forderst du, Pedant ? 
Hast du noch- keinen Mann, nicht Mannesworfc gekannt ? 
Ist's nicht genug, dasz main gesprochnes Wort 
Auf ewig soil mit meinen Tagen schalten ? 1365 

Eas't nicht die Welt in alien Strdmen fort, 
Und mich soil ein Versprechen halten ? 
Doch dieser Wahn ist uns ins Herz gelegt, 
Wer mag sich gern davon befreien ? 

BeglUokt, wer Treue rein im liusen tragt, 1 370 

Kein Opfer wird ihn je gereuen ! 
tAUein ein Pergament, beschrieben und bepragt, 
Ist ein Gespenst, yor cfem sich Alle scheuen. 
Das Wort erstirbtf sohon in der Feder, 
Die Herrschaft -fUhren Wachs und Leder, 1375 

Was willst du, boser Geist, von mir ? 
Brz, Marmor, Pergament, Papier ? 
Soil ioh mit Griffel, Meiszel, Feder schreiben ? 
Ich gebe jede Wahl dir frei. 

• MepMsioplieles. 
Wie magst du deine Eednerei 1380 

Nur gleioh so hitzig ubertreiben ? 
Ist doch ein jedes Blattohen gut. 
Du unterzeichnest dich rnit einem Tropfohen Blut. 



faust's study. 121 

Mejiliistopheles. 
Consider it well ! We shall bear it in mind. 

Faust. 
You have a perfect right so to do. I have formed 
no rash estimate of myself. As I drag on, I am a 
slave ; what care I, whether thine or anpther's. 

MepJiistopTieles. 
This very day, at the doctor's feast,''' I shall enter 
upon my duty as servant. Only one thing — to guard 
against accidents, I must trouble you for a line or two. 

Faust. 
Pedant, dost thou, too, require writing ? Hast 
thou never tnown man nor man's word ? Is it not 
enough that my word of mouth disposes of my days for 
all eternity ? Does not the world rave on in all its 
currents, and am I to be bound by a promise ? Yet 
this prejudice is implanted in our hearts : who would 
wilUngly free himself from it ? Happy the man who 
bears truth pure in his breast ; he will never have cause 
to repent any sacrifice ! But a parchment, written and 
stamped, is a spectre which all shrink from. The word 
dies away in the very pen ; in wax and leather is the 
mastery. What, evil spirit, wouldst thou of me? 
Brass, marble, parchment, paper ? Shall I write with 
style, graver, pen ? I leave the choice to thee. 

, Mephistopheles. 

How can you so passionately declaim and exaggerate ? 
Any scrap will do. You will subscribe your name with 
a drop of blood. 



/ 



122 STUDIRZIMMER. 

Faust 
Wenn dies dir vollig G'niige thut, 
So mag es bei der Fratze bleiben. i|l5 

Mephistopheles. 
Blut ist ein ganz besondrer Saft. 



Fav,st. 
Nur keine Furcbtnlasz ioh dies Biiudiiisz breohe ! 
Das Streben meiner ganzen Kraft 

Ist grade das, was ich verspreohe. l-^vtv^ 

[i,\^ Ich habe mich zu hooh geblaht, i|$o. 

In deinen Bang gehor' tch. nur. -j if^ 

Der grosze Geist hat mioh verschmaht, 
Vor mir verschlieszt sioh die Natur. 
Des Denkens Faden ist zerrissen, 

Mir ekelt lange vor allem Wis sen. if55 

Lasz in den Tiefen der Sinnliohkeit 
Dns gliihende Leidenschaften stillen ! 
In undurohdrungnen ZauberhUllen 
Sei jedes Wunder gleioh bereit ! 

Sturzen wir uns in das Bauschen der Zeit, i4«« 

Ins Eollen der Begebenheit ! 
Da mag denn Schmerz und Geuusz, 
Gelingen und Verdrusz 
Mit einander wechseln, wie es kann ; 
Nur rastlos bethatigt sich der Mann. i4»5 

Mephistopheles. 
Euch ist kein Masz und Ziel gesetzt. 
Beliebt's euch, uberall zu nasohen, 
Im Fliehen etwas zu erhaschen, 
Bekomm' euch wohl, was euch ergetzt. 
Nur greift mir zu und seid nicht blode ! i4i» 

/ 

i Faust. 

i \Du horest ja, von Freud' ist nicht die Eede. 
^"Dem Taumel weih' ich mich, dem schmerzlichsten Genusz, 

Verliebtem Hasz, er^uickendem Verdrusz. 



Faust's study. 123 

Faust. 
If this will fully satisfy you, the wMm shall be com- 
plied with. 

Me^histo^heles. 
Blood is quite a peculiar sort of juice. 

Faust. 
Only no fear that I shall hreak this compact. What 
I promise, is precisely what all my energies are 
striving for. I have aspired too high : I belong only to 
thy class. The Great Spirit has spurned me ; Nature 
shuts herself against me. The thread of thought is 
snapped ; I have long loathed every sort of knowledge. 
Let us quench our glowing passions in the depths of 
sensuality ! Let every wonder be forthwith prepared be- 
neath the hitherto impervious veil of sorcery. Let us 
cast ourselves into the rushing of time, into the rolling 
of events. There pain and pleasure, success and dis- 
appointment, may succeed each other as they will — 
In restless activity alone man is proved. 

MepMstopheles. 
Nor end nor limit is prescribed to you. If it is your 
pleasure to sip the sweets of everything, to snatch at 
all as you fly by, much good may it do you — only fall 
to and don't be coy. 

Faust. 
I tell thee again, pleasure is not the question: I 
devote myself to the intoxicating whirl ; — to the most 
agonizing enjoyment — to enamoured hate — to cheering ) 



124 STUDIRZIMMER. 

Mein Busen, der vom "Wissensdrang geheilt ist, 

Soil keinen Schmerzen kiinftig sich versohlieszen, 141 5 

Und was der ganzen Menschheit zugetheilt ist, 

Will ich in meinem innern Selbst genieszen, 

Mit meinem Geist das Hoohst- und Tiefste greifen, 

Ihr Wohl und Weh auf meinen Busen haufen 

Und so mein eigen Selbst zu ihrem Selbst erweitern 1420 

Und, wie sie selbst, am End' auch. ioh zerscheitern. 

Mephistopheles. 
glaube mir, der manche tausend Jahre 
An dieser harten Speise kaut, 
Dasz von der Wiege bis zur Bahre 

Kein Mensch den alten Sauerteig verdaut ! 1425 

Grlaub unser Binem, dieses Ganze 
Ist nur fur einen Gott gemacht ; 
Er findet sich in einem ew'gen Glanze, 
Uns hat er in die Finsternisz gebraoht, 
Und euch taugt einzig Tag und Nacht. 1430 

Faust. 
Allein ich will ! 

Meplbistophelei. 
Das laszt sich horen ! 
Dooh nur vor Einem ist mir bang : 
Die Zeit ist kurz, die Kunst ist lang. 
Ich dacht', ihr lieszet euch belehren. 
Associirt euch mit einem Poeten, 14 3 5 

Laszt den Herrn in Gedankeu schweifen 
Und alle edlen Qualitaten 
Auf euren Bhrenscheitel haufen, 
Des Lbwen Muth, 

Des Hirsches Schnelligkeit, 1440 

Des Italianers feurig Blut, 
Des Nordens Dau'rbarkeit ! 
Laszt ihn euch das Geheimnisz finden, 
Groszmuth und Arglist zu verbinden 
Und euch mit warmen Jugendtrieben 1445 

- Nach einem Plane zu verlieb*i ! 



faust's study. 125 

vexation. My breast, cured of the thirst of know-\ 
ledge, shall henceforth bare itself to every pang. I will 
enjoy in my own heart's core all that is parcelled out 
among mankind; grasp in spirit the highest and deepest; 
heap the weal and woe of the whole race upon my breast, 
and thus dilate my o\m individuality to theirs, and perish 
also, in the end, like them. 

M&pMstojpheles. 
Oh, believe me, who many thousand years have 
chewed the cud on this hard food, that, from the cradle 
to the bier, no human being digests the old leaven. 
Believe a being like me, this Whole is only made for 
a god. He exists in an eternal halo ; «« he has 
brought forth into darkness, and only day and night 
are proper for you. 

Faust. 
But I will. 

Mephistopheles. 
There is some sense in that ! But I am only troubled 
about one thing; time is short, art is long. I think 
you should suffer yourself to be advised. Take a 
poet to counsel ; "' make the gentleman set his- imagina- 
tion at work, and heap all noble qualities on your 
honoured head, — the lion's courage, the stag's swift- 
ness, the fiery blood of the Italian, the durability of 
the North, Make him find out the secret of com- 
bining magnanimity with cunning, and of being in 
love, after a set plan, with the burning desires of 



126 STUDIRZIMMER. 

Moohte selbst solch einen Herren kennen, 
Wiird' ihn Herrn Mikrokosmus nennen. 

Faust. 
Was bin ich denn, 'wenn es nicht mHglioh ist, 
Der Menschheit BIrone zu erringen, 1450 

Nach der sioh alle Sinne dringen ? 

Mephisiopheles. 
Du bist am Ende — was du bist. 
Setz dir Periioken auf von Millionen Locken, 
Setz deinen Fnsz auf ellenhohe Sooken, 
Du bleibst doch immer, was du bist. , .„ 

Fausf. 
loh fiihl's, vergebens hab' ich alle Schatze 
Des Mensohengeists auf mich herbeigerafft, 
Und wenn ich mich am Ende niedersetze, 
Quillt innerlich doch keine neue Kraft ; 
Ich bin nicht nm ein Haar breit hoher, 1460 

Bin dem Unendlichen nicht naher. 

Mephisiopheles. 
Mein guter Herr, ihr seht die Sachen, 
Wie man die Sachen eben sieht ; 
Wir miissen das gescheiter maohen, 

Eh uns des Lebens Preude flieht. 1465 

Was Henker ! Ereilich Hand' und Fiisze 

Und Kopf und H , die sind dein ; 

Doch AUes, was ich frisoh geniesze, 

Ist das drum weniger mein ? 

Wenn ich sechs Hengste zahlen kann, 147^ 

Sind ihre Krafte nicht die meine ? 

Ich renne zu und bin ein rechter Mann, 

Als hatt' ich vierundzwanzig Seine, 

Drum frisch ! Lasz alles Sinnen sein. , 

Und grad' mit in die Welt hiuein ! 1475 

Ich sag' es dir : ein Kerl, der spekulirt, 

Ist wie ein Thier, auf diirrer Heide 

Von einem bosen Geist im Kreis herumgefuhrt, V 

Und rings umher liegt sdhone gvUue Weide. 2a^ 



FAUST'S STUDY. 127 

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

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

Me^histopheles. 
Thou art in the end — what thou art. Put on wigs 
with a million of curls — set thy foot upon ell-high 
socks, — thou abidest ever what thou art. 

Faust. 
I feel it ; in vain have I scraped together and accu- 
mulated all the treasures of the human mind upon 
myself ; and when I sit down at the end, still no new 
power wells up within : I am not a hair's breadth higher,"^ 
nor a whit nearer the Infinite. 

Mephistopheles. 
My good Sir, you see things precisely as they are 
ordinarily seen; we must manage matters better, be- 
fore the joys of life pass away from us. What the 
deuce ! you have surely hands and feet, and head 

and v^S^nd what I enjoy with spirit, is that then 

the less my own ? If I can pay for six horses, are not 
their powers mine ? I dash along and am a proper 
man,^' as if I had four-and-twenty legs. Quick, then, 
have done with poring, and straight away into the 
world with me. I tell you, a fellow that speculates is 
like a brute driven in a circle on a barren heath by an 
evil spirit, whilst fair green meadow lies everywhere 
firound. 



jlxW 



128 STUDIRZIMMER. 

Faust. 
Wie fangen wir das an ? 

MepMstopJieles. 

Wir gehea eben fort. 
Was ist das fur ein Marterort ? 
Was heiszt das fiir ein Leben fuhren, 
Sioh Tind die Jungens ennuyiren? 
Lasz du das dem Herrn Nachbar Wanst ! 
Was willst du dich das Stroh zu dreschen plagen ? 1485 
Das Beste, was du wissen kannst, 
Darfst du den Buben dooh nicht sagen. 
Gleioh hor' ich einen^auf dem Gauge ! 

FoMst. 
Mir ist's nicht moglioh, ihn zu sehn. 

Mephistopheles. 
Der arme Knabe wartet lange, 1490 

Der darf nicht ungetrostet gehn. 
Komm, gieb mir deinen Bock and Miitze ; 
Die Maske musz mir kostlich stehn. 

[Er Meidet sieh vm.'\ 
Nun iiberlasz as meinem Witze ! 

Ich brauohe nur ein Viertelstiindohen Zeit ; 1495 

Indessen mache dich zur schonen Fahrt bereit ! 

[Faust a6.] 

Mepfiistopheles (in Faust's langem Kleide). 
Verachte nur Vernunft und Wissenschaft, 
Des Mensohen allerhochste Kraft, 
Lasz nur in Blend- und Zauberwerken 
Dich von dem Lugengeist bestarken, 1500 

So hab' ich dich schon unbedingt — 
Ihm hat das Sohicksal einen Geist gegeben, 
Der ungebandigt immer vorwarts dringt, 
Und dessen iibereiltes Streben 

Der Erde Freuden Uberspringt. 1505 

Den schlepp' ich durch das wilde Leben, 



FAUST'S STUDY. 129 

Faust. 
How shall we set about it ? 

Mej^histopJieles, 
We will just start and take our chance. What a place 
of martyrdom is this ? What a precious life to lead — 
wearying one's self and a set of youngsters to death? 
Leave that to your neighbour, Mr. Paunch ! Why will 
you plague yourself to thrash straw? The best that 
you can know, you dare not tell the lads. Even now 
I hear one in the passage. 

Faust. 
I cannot possibly see him. 



The poor boy has waited long ; he must not be sent 
away disconsolate. Come, give me your cap and gown ; 
the mask will become me to admiration. 

[He changes his dress.] 

Now trust to my wit. I require but a quarter of an 

hour. In the mean time prepare for our pleasant trip. 

[Endt Patjst.J 

Mephistopheles (m Faust's goivn). 
Only despise reason and knowledge, the highest 
strength of humanity ■ only permit thyself to be con- 
firmed in delusion and sorcery- work by the spirit of lies, 
— and I have thee unconditionally. Pate has given him 
a spirit which is ever pressing onwards uncurbed, and 
whose overstrained striving o'erleaps the joys of earth."* 
Him will I drag through the wild passages of life, 



/ 



130 STUDIRZIMMEB. 

Durch flaohe Unbedeutenheit, 

Br BoU mir zappeln, starren, kleben, 

Und seiner Unersattliohkeit 

Soil Speis' und Trank vor. gier'gen Lippen schweben ; 1510 

Er wird Brquiokung sioh umsonst erflehn, 

Und hatt' er sioh auoh nioht dem Teufel ubergeben, 

Er mlisate dock zu Grande gehn ! [Ein ScHiJLEE tritt aufj] 

Schiller. 
Ich bin allhier erst kurze Zeit 

Und komme voll Ergebenheit, 1515 

Einen Mann zu sprechen und zu kennen, 
Den AUe mir mit Ehrfuroht nennen. 

Mephisiopheles. 
Eure Hoflichkeit erfreut mich sehr! 
Ihr seht einen Mann wie andre mehr. 
Habt ihr euch sonst Bchon umgethan ? 1520 

Sehiiler. 
Iph bitt' euch, nehmt euch meiner an ! 
oh komme mit allem guten Muth, 
Leidlichem Geld und frischem Blut ; 
Meine Mutter wollte mich kaum entfernen ; 
Mochte gem was Eechts hierauszen lernen. 1525 

Mephistopheles. 
Da seid ihr eben recht am Ort. 

Sehiiler. 
AiTfrichtig, mochte schon wieder fort : 
In diesen, Mauern, diesen Hallen 
Will es mir keineswegs gefallen. 

Es ist ein gar beschrankter Baum, 1530 

Man sieht niohts Griines, keinen Baum, 
Und in den Salen, auf den Banken 
Vergeht mir Horen, Sehn und Denken.- 



FAUST'S STUDY. 131 

through vapid insignificance. He shall sprawl, stand 
amazed, stick fast — and meat and drink shall hang, for 
his insatiableness, before his craving lips ; he shall pray 
for refreshment in vain, and had he not already given 
himself up to the devil, he would, notwithstanding, in- 
evitably be lost. [A Student enters."] 
Student, 
I am but just arrived, and come, full of devotion, to 
pay my respects to, and make acquaintance with, a 
man whom all name to me with reverence. 

Me'phistapheles. 

I am flattered by your politeness. You see a man, 
like many others. Have you yet made any inquiry 
elsewhere ? 

Student. 

Interest yourself for me, I pray you. I come with 
every good disposition, a little money, and youthful 
spirits; my mother could hardly be brought to part 
with me, but I would fain learn something worth 
learning in the world. 

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



Honestly speaking, I already wish myself away : 
these walls, these halls, are by no means to my taste. 
The space is exceedingly confined ; there is not a tree, 
nothing green, to be seen; and in the lecture-rooms, 
on the benches, — ^hearing, sight, and thinking fail me. 



132 STUDIEZIMMER. 

MepMsiojpheles. 
Das kommt nur auf Gewohnheit an. 

So nimmt ein Kind der Mutter Brust 1535 

Nicht gleioh im Anfang willig an, 
Doch bald ernahrt es sioh mit Lust. 
So wird's euch an der Weisheit Briisten 
Mit jedem Tage mehr gelusten. 

Schuler. 
An ihrem Hals will ioh mit Freuden hangen ; 1540 

Doch sagt mir nur, wie kann ich hingelangen ? 

MepMstopheles. 
Erklart euch, eh ihr weiter geht, 
Was wahlt ihr fiir eine Fakultat ? 

Schuler. 
Ich wiinschte recht gelehrt zu werden 
Und mochte gem, was auf der Erden 1545 

Und in dem Himmel ist, erfassen, 
Die Wissenschaft und die Natur. 

MepMstopheles. 
Da seid ihr auf der rechten Spur ; 
Doch miiszt ihr euch nioht zerstreuen lassen. 

Schuler. 
Ich bin dabei mit Seel' und Leib ; 1550 

Doch freilich wurde mir behagen 
Ein wenig Ereiheit und Zeitvertreib 
An Bohbnen Sommerfeiertagen, 

Meph,istopheles. 
Gebrauoht der Zeit, sie geht so sehnell von hinnen ; 
Doch Ordnung lehrt euch Zeit gewinnen. 1555 

Mein theurer Freund, ich rath' euch drum 
Zuerst Collegium logicum. 
Da wird der Geist euch wohl dressirb, 
In spanische Stiefeln eingeschniirt, 



FAUST'S STUDY. 133 

MepMstopheles. 
It all depends on habit. Thus, at first, the child 
does no't take kindly to the mother's breast, but soon 
finds a pleasure in nourishing itself. Just so will you 
daily experience a greater pleasure at the breasts of 
wisdom. 

Student. 
I shall hang delightedly upon her neck ; do but tell 
me how I am to attain it. 

Mephistopheles. 

Tell me before you go further, what faculty you fix 

upon ? 

Student. 

I should wish to be profoundly learned, and should 

like to comprehend what is .upon earth or in heaven, 

all science and nature. 

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

Student. 

I am heart and soul in the cause ; but a little relaxation 
and pastime, to be sure, would not come amiss on bright 
summer holidays. 

Mephistopheles. 

Make the most of time, it glides away so fast; still 
method will teach you to gain time. For this reason, 
my good friend, I advise you to begin with a course 
of logic. In this study, the mind is well broken in, — 
laced up in Spanish boots,'' so that it may creep circum- 



134 STUDIRZIMMER. 

Dasz er bedachtiger so fortan 1560 

Hinsohleiche die Sedankenbahn 

TTnd nioht etwa die Kreuz und Quer 

Irrlichtelire bin und her. 

Dann lehret man euoh manohen Tag, 

Dasz, was ihr sonst auf einen Schlag 1565 

Getrieben, wie Essen und Trinken frei, 

Eins ! ZweiJ Drei ! dazu nothig sei. 

Zwar ist's mit der Gedankenfabrik 

"Wie mit einem Webermeisterstiick, 

Wo ein Tritt tausend Faden r6gt, 137° 

Die Sohifflein heruber, hiniiber echieszen, 

Die Faden nngesehen flieszen, 

Ein Schlag tausend Verbindungen sohlagt : 

Der Philosoph, der tritt herein 

tJnd beweist euoh, es miiszt' so sein : 1575 

Das Erst' war' so, das Zweite so, 

Und drum das Dritt' und Vierte so ; 

TJnd wenn das Erst' und Zweit' nioht war', 

Das Dritt' und Viert' war' nimmermehr. 

Das preisen die Sohiiler aller Orten, 1580 

Sind aber keine Weber geworden. 

Wer will was Lebendig's erkennen und beschreiben, 

Sucht erst den Geist herausautreiben, 

Dann hat er die Theile in seiner Hand, 

Fehlt leider nur das geistige Band. 1585 

Encheireem natwae nennt's die Ghemie, 

Spottet ihrer selbst und weisz nicht wie. 

Schuler. ■ 
Kanu euoh nicht eben ganz verstehen. 

Mephistopheles. 
Das wird nachstens schon besser gehen, 
Wenn ihr lernt AUes reduciren 1 590 

Und gehorig klassificiren. 

Schuler. 
Mir wird von alledem so dumm, 
Als ging' mir ein MUhlrad in Kopf herum. 



FAUST'S STUDY. 135 

spectly along the path of thought, and runs no risk of 
flickering, ignis-fatuus-like, in all directions. Then 
many a day will be spent in teaching you that one, two, 
three °' — is necessary for that which formerly you hit off 
at'a blow, as easily as eating and drinking. It is true, it 
is with the factory of thought as with a weaver's master- 
piece, where one treadle moves a thousand threads ; the 
shuttles shoot backwards and forwards, the threads 
flow unseen ; ties, by thousands, are struck ofE at a 
blow : ^ your philosopher, — he steps in and proves to 
you thlat this must needs be so : the first is so, the 
second ^so, and therefore the third and fourth are so ; 
and if the first and second were not, the third and fourth ^v -^ 
would never be. The students of all countries put a, Vr , (i 
high value on this, but none have become weavers, ^ae \j^''^ 
who wishes to know and describe anything living, seeks 
first to drive |he spirit out of it ; ™ he has then the parts 
in his hand ; ^yfraluckily, the spiritual bond is want- 
ing. Chemiapry -terms it encheiresis naturw, and mocks 
herself witho^knowing 'jt." 

Student. 
I cannot qjuite comp™|end you. 



Mephistopheles. 
You will soon improve in that respect, if you learn 
to reduce and classify all things properly. 

Student. 
I am so confounded by all this, 1 feel as if a mill- 
wheel was turning round in my head. 



136 



STUDIRZIMMER. 



Mephhtophelee. 
Nacliher vor alien andern Saohen 
Muszt ihr euch an die Metaphysik machen ! 
Da Beht, dasz ihr tiefsinnig faszt, 
Was in des Menschen Hirn nioht paszt ; 
Fur was drein geht und nicht drein geht, 
Jlin prachtig Wort zu Biensten steht. 
Dooh vorerst dieses halbe Jahr 
Nehmt ja der besten Ordnung wahr. 
FUnf Stnnden habt ihr jeden Tag ; 
Said drinnen mit dem Glockenschlag ; 
Habt euch vorher wohl praparirt, 
Paragraphos wohl einstudirt, 
Damit ihr nachher besser seht, 
Dasz er nichts sagt, als was im Buche steht ; 
Doch euch des Schreibens ja befleiszt, 
Als diktirt' euch der Heilig' Geist ! 

ScMler. 
Das sollt ihr mir nicht zweimal sagen ! 
Ich denke mir, wie viel es nii 
Denn was man Schwarz auf 
Kann man getrost nach Haus' 

MepMsto} 
Doch wahlt mir eine Fakultat 

Zur Reohtsgelehrsamkeit kannj 




1605 




1610 



It bequemen. 



Mephistopheles. 
Ich kann es euch so sehr nicht iibel nehmen^ 
Ich weisz, wie es um diese Lehre steht. 
Es erben sich Gcsetz' und Eechte 
Wie eine ew'ge Krankheit fert ; v, 

Sie Bchleppen von Geschtecht sich zum Gesohlechtc 
Und riicken saeht von Ort zu Ort. ,' 

Vernunft wird Unsinn, Wohlthat Plage; ' 

Weh dir, dasz du ein Enkel bist ! 



1616 



t6jo 



FAUST'S STUDY. 137 

MepMstopheles. 
In the riext place, before everything else, you must 
set to at metaphysics. There see that you conceive 
profoundly what is not made for human brains. A 
fine word will stand you in stead for what enters and 
what does not enter there. And be sure, for this haK- 
year, to adopt the strictest regularity. You will have 
five lectures every day." Be in as the clock strikes. Be 
well prepared beforehand with the paragraphs care- 
fully conned, that you may see the better that he says 
nothing but what is in the book; and write away as 
zealously as if the Holy G-host were dictating to you." 

Student. 
You need not tell me that a second time. I can 
imagine how useful it is. For what one has in black 
and white, one can carry home in comfort. 

MephUtopheles. 
But choose a faculty. 

Student. 
I cannot reconcile myself to jurisprudence." 

MepMstopheles. 
I cannot much blame you. I know the nature of 
this science. Laws descend, like an inveterate heredi- 
tary disease ; they trail from generation to generation, 
and glide imperceptibly from place to place. Eeason 
becomes nonsense ; beneficence, calamity. Woe to thee 
that thou art a grandson ! Of the law that is bom 



138 STUDIRZIMMER. 

Vom Eeohte, das mit una geboren ist. 

Von dem ist leider nie die Frage. 1625 

Schiller. 
Mein Abscheu wird durch euch vermehrt. 
gliioklioh der, den ihr belehrt ! 
Fast mocht' ich nun Theologie studiren. 

Mephistopheles. 
loh wiinsohte nicht,' euch irre zu fuhren. 
Was diese Wissenschaft betrifft, 1630 

Es ist so schwer, den falschen Weg zu meiden, 
Es liegt in ihr so viel verborgnes Gift 
TJnd von der Arzenei isfc's kaum zu unterscheiden. 
Am Besten ist's auch hier, wenn ihr nur Biaen hiirt 
Und auf des Meisters Worte sohwort. 1635 

Im Ganzen — haltet euch an Worte ! 
Dann geht ihr durch die sichre Pforte 
Zum Tempel der Gewiszheit ein. 

Scliiiler. 
Doch cin Begriff musz bei dem Worte sein. 

Mephisfopheles. 
Schon gut! Nur musz man sioh nicht allzu aagstlieh 
qualen; 1640 

Denn eben wo Begriffe fehlen, 
Da stellt ein Wort zur rechten Zeit sioh ein. 
Mit Worten laszt sioh treflBich streiten, 
Mit Worten ein System bereiten, 

An Worte laszt sioh trefflich glauben, 1645 

Von einem Wort laszt sich kein Iota rauben. 

Schiiler. 
Verzeiht, ioh halt' euch auf mit vielen Fragen, 
Allein ioh musz euch noch bemiihn. 
Wollt ihr mir von der Medizin 

Nicht auoh ein kraftig Wortchen sagen ? 1650 

Drei Jahr' ist eine kurze Zeit, 
Und, Gott, das Feld ist gar zu weit. 



FAUST'S 6TUDT. 139 

with us — of that, unfortunately, there is never a ques- 
tion. 

Student, 
You increase my repugnance. Oh, happy he, ■whom 
you instruct. I should almost like to study theology. 



I do not wish to mislead you. As for this science, it 
is so dif&cult to avoid the wrong way ; there is so much 
hidden poison in it, which is hardly to be distinguished 
from the medicine. Here, again, it is best to attend 
but one master, and swear by his words. On the 
whole, stick to words ; you wiU then pass through the 
safe gate into the temple of certainty. 



But there must be some meaning connected with the 
word. 

MepMstopheles. 

Eight ! Only we must not be too anxious about that ; 
for it is precisely where ideas fail that a word comes in 
most opportunely. With words one can admirably 
argue ; with words one can form a system ; it is easy 
to believe in words ; from a word not an iota can be 
taken. 

Student. ^ 

Tour pardon, I detain you by my many questions, 
but I must still trouble you. Would you be so kind as 
to add a pregnant word or two on medicine? Three 
years is a short time, and the field, G-od knows, is far 



140 STUDIliZIMMER. 

Wenn man einen Fingerzeig nur hat, 
Laszt sioh's schon eher welter fiihlen. 

MepJiistopheles (fur sicTi). 
Ich bin des trocknen Tons nun satt, 1655 

Musz wieder recht den Teufel spielen. 
{Laut.') Der Geist der Medizin ist leicht zu fassen ; 
Ihr durohstudirfc die grosz- und kleine Welt, 
Um es am Bnde gehn zu lassen, 

Wie's Gott gefallt. 1660 

Vergehens, dasz ihr ringsum wissenschaftlich schweift, 
Ein Jeder lernt nur, was er lernen kann ; 
Dooh der den Augenblick ergreift, 
Das ist der reohte Mann. 

Ihr seid noch ziemlioh wohlgebaut, 1665 

An Kuhnheit wird's euch auch nicht fehlen, 
Und wenn ihr euoh nur selbst vertraut, 
Vertrauen euoh die andern Seelen. 
Besonders lernt die Weiber fiihren ; 

Es ist ihr ewig Weh und Aoh 1670 

So tausendfach 

Aus einem Punkte zu knriren, 
Und wenn ihr halbweg ehrbar thut, 
Dann habt ihr sie all' unterm Hut. 

Ein Titel musz. sie erst vertraulich machen, 1675 

Dasz eure Kunsfc viel Kiinste Ubersteigt 
Zum Willkomm tappt ihr dann nach alien Siebensaohen, 
Um die ein Andrer viele Jahre streioht, 
Versteht das Pulslein wohl zu driioken 
Und fasset sie mit feurig schlauen Blicken i63o 

Wohl um die schlanke Hiifte frei, 
Zu sehn, wie fest geschniirt sie sei. 

Schiller. 
Das sieht schon besser aus ! Man sieht dooh, wo und wie. 

MephistoTiilieles. 
Grau, theurer Freund, ist alle Theorie 
Und griin des Lebens goldner Baum. 1685 



FAUST'S STUDY. 141 

too wide. If one has but a hint, one can feel one's 
■vray along further. 

MepMstopheles (aside), 

I begin to be tired of the prosing style. I must play 
the genuine devil again. lAloud.J 

The spirit of medicine " is easy to be caught ; you 

study through the great and little world, and let things 

go on in the end — as it pleases God. It is vain that 

you wander scientifically about; no man will learn 

more than he can ; he who avails himself of the passing 

moment — that is the proper man. Tou are tolerably 

well built, nor will you be wanting in boldness, and if 

you do but confide in yourself, other souls will confide 

in you. In particular, learn how to treat the women : 

their eternal ohs ! and ahs ! so thousandfold, are to be 

cured from a single point, and if you only assume a !•>//' 

moderately demure air, you will have them all under 

your thumb. Tou must have a title, to convince them 

that your art is superior to most others, and then you 

are admitted from the first to all those little privileges 

for which another cozens many a year. Learn hoW to 

press the pulse adroitly, and boldly clasp them, with 

sly fiery glances, around the tapering hip, to see how 

tightly it is laced. 

Student. 

There is some sense in that ; one sees at any rate the 

where and the how. 

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



/ cue - 



142 STUDIRZIMMER. 

ScMler. 
loh sohwor' euoh zu, mir ist's als wie ein Traum. 
Diirft' ioh euch. wohl ein andermal beschweren, 
Von eurer Weisheit auf den Grand zu horen ? 

Mephistophelea. 
Was ich vermag, soil gem geschehn. 

ScMler. 
Ioh kann unmoglioh wieder gchn, 1690 

Ich musz each noch mein Stammbach iiberreicheu. 
Gonn' eare Ganst mir dieses Zeichen ! 

Mephistopheles. 
Sehr wohl. lEr schreibt und gielfs.'] 

ScMler (Uest). 
Eritis sicat Deas, scientes bonam et malam. 

[Machfs ehrerhietig zu und empfiehlt aich.'] 

MepJiistopJielet. 
Folg' nar dem alien Spruch and meiner Mahme, der 

Schlange, 1695 
Dir wird gewisz einmal bei deiaer Gottahnlichkeit bange ! 

[Fattst tritt om/.] 

Fami. 
Wohin soil es nun gehn ? 

MephuiopJielet. 

Wohin es dir gef allt. 
Wir sehn die kleine, dann die grosze Welt. 
Mit welcher Freade, welchem Natzen 
Wirst du den Carsam darohschmarutzen ! 1700 

Faust. 
Allein bei meinem langen Bart 



faust's study. 143 

Student. 
I vo-w to you, it seems like a dream to me. Might I 
trouble you another time to hear your wisdom tho- 
roughly expounded. 

Mephistopheles. 

I am at your service, to the extent of my poor 

abilities. 

Student. 

I cannot possibly go away without placing my album 

in your hands. Do not grudge me this token of your 

favour. 

Me^hist&pheles. 

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

Student {reads). 
Ebitis sicut Detts, scientes bonttm et malum.™ 
[He closes the hook reverentially, and 
takes his leave.] 

Mephistopheles. 
Only follow the old saying and my cousin the snake, 
and your resemblance to God will surely cause you 
anxiety one day. 

Faust {enters). 
Whither now ? 

Mephistopheles. 

Where you please ; to see the little, then the great 

world. With what joy, what profit, will you revel 

through the course ! 

Faust. 

But with my long beard, I want the easy manners 



144 STUDIRZIMMER. 

Fehlt mir die leiohte Lebensart. 

Es wird mir der Yersuoh nioht glUcken ; 

Ich wuszte nie mich in die Welt zu sohicken, 

Vor Andern fiihl' ich mich bo klein ; 1705 

Ich werde stets verlegen sein. 

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

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



Wir breiten nur den Mantel aus, 

Der soil uns durch die Liifte tragen. 

Du nimmst bei diesem kuhnen Schritt 

Nur keinen groszen BUndel mit. 

Ein biszchen Peuerluffc, die ich bereiten werde, 1715 

Hebt uns behend von dieser Erde. 

Und sind wir leicht, so geht es Bohnell liinauf ; 

Ich gratulire dir zum neuen Lebenslauf. 



FAUST'S STUDY. 145 

of society. I shall fail in the attempt. I never knew 
how to present myself in the world, I feel so little in 
the presence of others ; I shall be in a constant state 
of embarrassment. 

M&phistopheles. 

My dear friend, all that will come of its own accord ; 

so soon as you feel confidence in yourself, you know 

the art of life. 

Faust. 

How, then, are we to start? Where are your car- 
riages, horses, and servants ? 

Mephistoj)heles. 
We have but to spread out this mantle ; " that shall 
bear us through the air. Only you will take no heavy 
baggage on this bold trip. A little inflammable air, 
which I will get ready, will lift us quickly from this 
earth ; and if we are light, we shall mount rapidly. I 
wish you joy of your new course of life. 



AUEEBitiH'S KELLER IN LEIPZIG. 
Zeche VusUger Gesellen. 

Frosch. 

WILL Keiner trinken ? Keiner lachen ? 
loh will euch lehren Gesiohter macheu ! 1720 

ihr seid ja heut wie nasses Stroh 
Und brennt BOnst immer liohterloh. 

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

Frosch (gieszt ihm ein Glae Wein iiler den Eopf). 
Da hast du Beides ! 

Srander. 
Doppelt Sohwein ! 1725 

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

Sieliel. 
Zur Thiir hinauB, wer sich entzweit ! 
Mit offner Brust singt Runda, sauft und schreit ! 
Auf! Holla! Ho! 

AUmayer. 
Weh mir, ioh bin verloren ! 
Baumwolle her I Der Kerl sprengt mir die Ohsen. 1730 



AtTEEBACH'S CELLAE™ IN LEIPZIG. 

(Drinking bout of merry Fellows.) 

Frosch. 
\ T T'ILL no one drink? No one laugh? None of 
V V yoTir gloomy faces ! Why, you are like wet 
straw to-day, yet at other times you hlaze brightly 
enough. 

Brander. 

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

Frosch (throws a glass of wine over Bbandee's head). 
There are both for you ! 

Brander. 
You double swine ! 

Frosch. 

Why, you wanted me to be so. 

Siebel. 
Out with him who quarrels ! With open throat strike 
up a chorus ! swill and shout ! holla, holla, ho ! 

Altmayer. 
Woe is me, I am a lost man ! Cotton, here ! the 
knave splits my ears. 



148 KELLER IN LEIPZIG. 



Wenn das Gewolbe wiedersohallt, 

FhhH man erat rechL des Basses Grandgewalt 

Frosch. 
So reeht, hinaus mit dein, der etwas iibel nimmfc ! 
A ! Tara lara da ! 

AUmayer. 
A ! Tara lara da ! 

FroscJi. 

Die Kehlen sind gestinjmt. 

(Singt.) 

Das liebe Heil'ge Eom'sohe Eeich, 1735 

Wie halt's nur noch zusammen ? 

Brander. 
Ein garstig Lied ! Pfui ! Bin politisch Lied ! 
Ein leidig Lied ! Dankt Gott mit jedem Morgen, 
Dasz ihr nioht brauoht fiirs Rbm'sohe Eeich zu sorgen ! 
Ichhalt' es wenigstens fiir reichlichen Gewinn, 1740 

Dasa ich nicht Kaiser oder Kauzler bin. 
Doch musz auch uns ein Oberhaupt nicht fehlen j 
Wir woUen einen Papst erwahlen. 
Ihr wiszt, welch eine Qualitat 
Den Ausschlag giebt, den Mann erhoht. 1745 

Frosch (smgt). 

Schwing dich auf, Prau Naehtigall, 
Griisz mir mein Liebchen zehntausendmal ! 

Siebet 
Bern Liebchen keinen Grusz ! Ich will davon nichts horen I 

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



CELLAR IN LEIPZIG. 149 

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

Frosch. 

jht, out with him who takes anything amiss. Ah ! 

lara da ! 

Altmayer. 
. ! Tara lara da ! 

Frosch. 

r throats are tuned. [He dngs.] 

e dear, holy Eoman empire, how holds it still 

her? 

Brander. 

Qasty song ! Psha ! A political song ! An offensive 

! Thank God every morning of your life, that you 

not the Roman empire to care for! I, at least, 

m it no slight gain that I am not emperor nor 

;eUor. But we cannot do without a head. We 

ihoose a pope. You know what sort of qualification 

I the scale, and elevates the man. 

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



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

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



160 KELLER IN LEIPZIG. 

(Singt), 

Eiegel auf ! In stiller Naoht. 1750 

Riegel auf! Der Liebste wacht. 
Riegel zu ! Des Morgens friih. 

Siehel. 
Ja, singe, singe nur und lob und riihme sie ; 
loh will zu meiner Zeit schon laohen. 
Sie hat mich angefuhrt, dir wird sie's auch so maolien. 1755 
Zum Liebsten sei ein Kobold ihr beschert ! 
Der mag mit ihr auf einem Kreuzweg sohakern ; 
Bin alter Bock, wenn er vom Blooksberg kehrt, 
Mag im Galopp nooh gute Naoht ihr meokera ! 
Ein braver Kerl von echtem Fleisoh und Blut 1760 

1st fiir die Dirne viel zu gut. 
Ich will von keinem Grusze wissen, 
Als ihr die Fenster eingeschmissen ! 

Erander (auf den Ttseh seMagenc£). 
Paszt auf! Paszt auf! Gehorchet mir ! 
Ihr Herrn gesteht, ich weisz zu leben ; 1765 

Verliebte Leute sitzen hier, 
Und diesen musz naoh Standsgebiihr 
Zur guten Nacht ich was zum Besten geben. 
Gebt Acht ! Ein Lied vom neusten Schnitt ! 
Und singt den Kundreim kraftig mit ! 1770 

(Er singt.) 
Es war eine Eatt' im Kellernest, 
Lebte nnr von Fett und Butter, 
Hatte sich ein Ranzlein angemast't 
Als wie der Doktor Luther. 

Die Kochin hatt' ihr Gift gesfellt ; 1775, 

Da ward's so eng ihr in der Welt, 
Als hatte sie Lieb' im Leibe. 

CHOEns (-iauchzend). 
Als hatte sie Lieb' im Leibe. 

Brander. 
Sie fuhr herum, sie fuhr heraus 
Und sofF aus alien Pfutzen, 1780 



CELLAR IN LEIPZIG. 151 

Open boks ! In stilly night. 
Open bolts ! The lover wakes. 
Shut bolts ! At morning's dawn. 

Siebel. 
J, sing, sing on, and praise and celebrate her ; my 
for laughing will come. She has taten me in ; 
will do the same for you. May she have a hob- 
in for a lover ! He may toy with her on a cross- 
An old he-goat, on his return from the Blocks- 
, may bleat good night to her on the gallop. A 
fcy fellow of genuine flesh and blood is far too good 
he wench. I will hear of no greeting, unless it be 
Hash her windows. 

Brander (striking on the table), 
ttend, attend ! Listen to me ! You gentlemen must 
V me to know something of life. Lovesick folks 
lere, and I must give them something suitable to 
' condition by way of good night. Attend ! A song 
le newest cut ! and strike boldly in with the chorus. 

[He dngs^ 
lere was a rat in the cellar, who lived on nothing 
Eat and butter, and had raised himself up a paunch 
that of Doctor Luther. The cook had laid poison 
lim ; then the world became too hot for him, as if 
id love in his body. 

Chorus. 
3 if he had love in his body. 

'i 

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



152 KELLER IN LEIPZIG. 

Zernagt', zerkratzt' das ganze Haus, 

WoUte nichta ihr Wuthen niitzen ; 

Sie that gar manchen Aengstesprung, 

Bald batte das arme Thier genung, 

Als hatt' es Lieb' im Leibe. 1785 

CHOBUS. 

Als hatt' es Lieb' im Leibe. 

Brander. 

Sie kam vor Angst am hellen Tag 

Der Kucha zugelaufen, 

Fiel an den Herd und zuckt' und lag 

Und that erbarmlich schnaufen. 1790 

Da lachte die Vergifterin noch : 

Ha ! Sie pfeift auf dem letzten Loch, 

Als hatte sie Lieb' im Leibe. 

CHORUS. 

Als hatte sie Lieb' im Leibe, 

Siebel. 
Wie sioh die platten Bursche freuen ! 1795 

Es ist mir eine reohte Kunst, 
Den armen Batten Gift zu streuen ! 

Bramder. 
Sie stehn wohl sehr in deiner Gunst ? 

AUma/yer. 
Der Schmerbauch mit der kahlen Platte ! 
Das Ungliick macht ihn zahm und mild; 1800 

Er sieht in der geschwollnen Batte 
Sein ganz natiirlich Ebenbild. 

Faust wnd Mephistophelbs. 

. MepMstopheles. 

loh nmsz dich nun vor alien Dingen 
In lustige Gesellschaft bringen, 
Damit du siehst, wie leicht sich's leben laszt. 1805 



CELLAR IN LEIPZIG. 153 

puddle ; he gnawed and scratched the whole house, but 
his fury availed nothing ; he gave many a bound of 
agony ; the poor beast was soon done for, as if he had 
love in his body. 

Glwrus. 
As if he had love in his body. 

Brander. 
He came running into the kitchen, for sheer pain, 
in open daylight, fell on the hearth and lay convulsed, 
and panted pitiably. Then the poisoner exclaimed, with 
a laugh — Ha ! he is at his last gasp, as if he had love 
in his body. 

Chorus. 
As if he had love in his body. 

Siebel. 
How the flats chuckle ! It is a fine thing, to be sure, 
to lay poison for the poor rats. 

Brander. 
Perchance they stand high in your favour ? 

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

Fattst and Mephistopheles, 

M&phistopheles. 
Before all things else, I must bring you into merry 
compaDy, ■ that you may see how lightly life may be 



154 KELLER IN LEIPZIG. 

Dem Volke hier wird jeder Tag ein Fest. 

Mit wenig Witz und viel Behagen 

Dreht Jeder sich im eugen Zirkeltanz, 

Wie junge Katzen mit dem Schwanz. 

Wenn sie nichfc iiber Kopfweh klagen, igio 

So lang' der Wirth nur weiter borgt, 

Sind sie vergnligt und unbesorgt. 

Brander. 
Die kommen eben von der Keise, 
Man sieht's an ihrer wunderlichen Weise ; 
Sie sind nioht eine Stunde hier. igij 

Frosch. 
Wahrhaftig, du hast Eecht ! Mein Leipzig lob' ioh mir ! 
Es ist ein klein Paris und bildet seine Leute. 

Siehel. 
Fur was siehst du die Fremden an ? 

Froseh, 
Lasz mioh nur gehn ! Bei einem voUen Glase 
Zieh' ich, wie einen Kinderzahn, rSzo 

Den Bursohen leioht die Wiirmer aus der Nase. 
Sie seheinen mir aus einem edlen Haus, 
Sie sehen stolz und unzufrieden aus. 

Brander. 
Marktsohreier sind's gewisz, ioh wette ! 

AUmayer. 
Vielleicht. 

Ih'osch. 
Gieb Acht, ioh schranbe sie ! 1825 

MepMstopheles (zu Faust). 
Den Teufel spiirt das Volkchen uie, 
TJnd wenn er sie beim Kragen hatte. 



CELLAR IN LKIPZIG. 155 

passed. These people make every day a feast. With'\ 
little wit and mucli self-complacency, each turns round 
in the narrow circle-dance, like kittens playing with 
their tails. So long as they have no headache to com- 
plain of, and so long as they can get credit from their 
host, they are merry and free from care. 

Brand&r. 

They are just off a journey ; one may see as much 

from their strange manner. They have not been here 

an hour. 

Frosch. 

Indeed thou art right ! Leipzig is the place for me ! ^^ 

It is a little Paris, and gives its folks a finish. 

Siebel. 
What do you take the strangers to be ? 

Frosch. 
Let me alone! In the drinking of a bumper I will 
worm it out of them as easily as draw a child's tooth. 
They appear to me to be noble ; they have a proud 
and discontented look. 

Brander. 
Mountebanks to a certainty, I wager. 

Altmayer. 

Perhaps. 

Frosch. 

Now mark ; I will smoke them. 

Mephistopheles {to Fatjst). 
These folk would never scent the devil, if he had them 
by the throat. 



156 KELLER IN LEIPZIG. 

Fault. 
Seid uns gegriiszt, ihr Herrn ! 



Viel Dank zum Gegeugrusz ! 
ILeise, Mephistopheles von der Seite ansehend.'] 
Was ? Hinkt der Kerl auf einem Fusz ? 

MepMetopheles. 
1st es erlaubt, uns auch zu euch zd setzen P 1830 

Statt eines guten Trunks, den man nicht haben kann, 
Soil die Gesellschaft uns ergetzen. 

Altmayer. 
Ihr scheint ein sehr verwohnter Mann. 

Froseh. 
Ihr seid wohl spat von Eippach aufgebroohen ? 
Habt ihr mit Herren Hans noch erst zu iN'acht gespeist ? 

Meiphistoipheles. 
Heut sind wir ihn vorbeigereist ; 1S36 

Wir haben ihn das letzte Mai gesprochen. 
Von seinen Vettern wuszt' er viel zu sagen, 
Viel Griisze hat er uns an Jeden aufgetragen. 

[Er neigt aich gegen Feosch.J 

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



Ein pfiflSger Patron ! 1840 

Froseh. 
Nun, warte nur, ich krieg' ihn schon ! 

MepMstophelea, 
Wenn ich nioht irrte, horten wir 
Geiibte Stimmen Chorus singen ? 



CELLAR IN LEIPZIG. 157 

Faust. 
Dur greetings, gentlemen. 

Siebel. 
Many thanks to you in return. 

[Aside, looking at Mephistopheles ashxnce.] 
What ? Does the fellow halt on one foot ? 

Mephistopheles. 

Will you permit us to sit down with you ? We shall 

ve company to cheer us instead of good liquor, which 

not to be had, 

AltmoA/er. 

You seem a very dainty gentleman. 

Frosch. 
You probably started at a late hour from Rippach ? " 
:d_you sup with Mr. Hans before you left? 

Mephistopheles. 
We passed him without stopping to-day. Last time 
3 spoke with him. He had much to say of his 
usins ; he charged us with many greetings to each. 
[With an inclination towards Fbosch.J 

Altmayer (aside). 
Thou hast it there ! He knows a thing or two ! 



A knowing fellow ! 

Frosch. 
Only wait, I shall have him presently. 

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



158 KELLER IN LEIPZIG. 

Gewisz, Gesang musz trefflich hier 

Von dieser Wolbung wiederklingen ! 1 8 ; 5 

Frosch. 
Seid ihr wohl gar ein Viftuos ? 

Mephistopheles. 
nein ! Die Kraft ist schwach, allein die Lust ist grosz. 

Altmayer. 
Gebt uns ein Lied ! 

MepMstopheles. 

Wenn ihr begehrt, die Menge. 

Siebel. 
Nur auch ein nagelneues Stiick ! 

Me'phistofheles. 
AVir kommen erst aus Spanien zuriiok, 1850 

Dem sohbnen Land des. Weins und der Gesange. 

(Swigt") 
Es war einmal ein Konig, 
Der liatt' einen groszon Floh— 

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

MepMstopJieles (singi). 
Es war einmal ein Konig, 
Der hatt' einen groszen Floh ; 
Den liebt' er gar nicht wenig, 
AIs wie seinen eignen Sohn. 
Da rief er seinen Schneider, 18 ;o 

Der Schneider Icam heran : 
" Da, miaz dem Junker Kleider 
Und misz ihm Hosen an ! " 

Brdnder. 
Vergeszf^ur nicht, dem Schneider einzuscharfen. 



CELLAR IX LEIPZIG. 169 

singing in chorus ? No doubt singing must echo ad- 
mirably from this vaulted roof. 

Frosch. 
Are you perhaps a virtuoso ? 

Mephistopheles. 
Oh, no ! The power is weat, but the desire is strong. 

AUmayer. 
Give us a song. 

MepMstopheles, 
As many as you like. 

Siebel. 
Only let it be brand-new. 

Mephistopheles. 
We are just returned from Spain, the fair land of 
wine and song. [He sings.] 

There was once upon a time a king who had a great 



FroseJi. 
Hark ! A flea ! Did you catch that ? A flea is a fine 
sort of chap. 

Mephistopheles (sings')!''' 
There was once upon a time a king ; he had a great 
flea, and was as fond of it as if it had been his own 
son. Then he called his tailor; the tailor came: "There, 
measure the youngster for clothes, and measure him for 
breeches." 

Brandef. 

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



160 KELLER IN LEIPZIG. 

Dasz er mir anfs Genauste miszt, 1865 

Und dasz, so lieb sein Kopf ihm ist, 
Die Hosen keine Falten werfen ! 

MepMstopheles. 
In Sammet und in Seide 
War er nun angethan, 

Hatte Bander auf dem Kleide, 1870 

Hatt' auch ein Kreuz daran 
Und war sogleich Minister 
Pnd hatt' einen groszen Stern. 
Da wurden seine Gesohwister 
Bei Hof auch grosze Herrn. 1875 

Und Herrn und IVau'n am Hofe 

Die waren sehr geplagt, 

Die Konigin und die Zofe 

Gestochen und genagt, 

Und durften sie nicht kuicken i88o 

Und weg sie jucken nicht. 

Wir knicken und ersticken 

Doch gleich, wenn einer sticht. 

CHORns (Javchemcl). 
Wir knicken und ersticken 
Doch gleich, wenn eIner stioht, 1883 

TProsch. 
Bravo ! Bravo ! Das war sohon ! 



So sou es jedem Floh ergehn ! 

Brander. 
Spitzt die Finger und paokt sie fein 

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

Mephisiopheles. 
loh tranke gem ein Glas, die Freiheit hooh za ehren, 1850 
Wenn eure Weine nur ein biszchen besser -wiiren. 



CELLAR IN LEIPZIG. 161 

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

MephistopJieles . 

He was now attired in velvet and silk, had ribbons 
on his coat, had a cross besides, and was forthwith 
made minister, and had a great star. Then his brothers 
also became great lords at court. 

And the ladies and gentlemen at court were dreadfully 
tormented ; from the queen to the waiting- woman they 
were pricked and bitten, yet dared not crack nor scratch 
them away. But we crack and stifle fast enough when 
one pricks. 

Chorus. 
But we crack and stifle fast enough when one pricks. 

Frosch. 
Bravo ! bravo ! That was capital ! 

Siebel. 
So perish every flea. 

Brander. 
Point your fingers, and nick them cleverly. 

Altmayer. 
Liberty for ever ! Wine for ever ! 

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

M 



162 KELLER IN LEIPZIG. 

Siehel. 
Wir mogen das niclit wieder horen ! 



Mephisiopheles. 
Ich furchte nur, der Wirth beschweret sich ; 
Sonst gab' ich diesen werthen Gasten 
Aus imserm Keller was zum Besten. 1895 

Siehel. 
Nur immer her ! Ich nehm's auf mich. 

Frosch. 
Schafft ihr ein gutes Glas, so woUen wir euoh loben. 
Nur gebt nicht gar zu kleine Proben ; 
Denn wenn ich judioiren soil, 
Verlang' ich auch das Maul reoht voll. rgoo 

AUmayer (leise). 
Sie sind Tom Eheine, wie ich spUre. 

Me'p'hisio;pheles. 
Schafft einen Bohrer an ! 

Brander. 

Was soil mit dem geschehn ? 
Ihr habt doch iiioht die Passer vor der Thiire ? 

AUmayer. 
Dahinten hat der Wirth ein Korbchen Werkzeug stehn. 

MepMstopheles (nimmt den Bohrer. Zu Feosch). 
Nun sagt, was wunschet ihr zu schmeckeu ? 1505 

Frosch. 
Wie meint ihr das ? Habt ihr so Mancherlei? 

Me'phisto'p'heles. 
Ich steir es einem Jcden frei. 



CELLAR IN LEIPZIG. 163 

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

Mej>hi8to;pheles. 
I am afraid the landlord would feel hurt, or I would 
3at these worthy gentlemen out of our cellar. 

Siebel. 
Do let us have it ! I take the blame upon myself. 

Frosch. 

If you give us a good glass, we shall not be sparing 

our praise. Only don't let your samples be too small ; 

r if I am to ^ve an opinion, I require a regular 

outhful. 

Altmayer (aside). 

They are from the Ehine, I guess. 

Mephistopheles. 
Bring a gimlet. 

Brander. 
What for? You surely have not the casks at the 

lor? 

Altmayer. 

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

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

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

Mepldstopheles. 
I give every man his cheice. 



164 KELLER IN LEIPZIG. 



AUftiayer (xu Fkosch). 
Aha ! Du fangst schon an, die Lippen abzulecken. 

Froseh. 
Gut ! Wenn ich wahlen soil, so will ich Eheinwein habeu. 
Das Vaterland yerleiht die allerbesten Gaben. 1910 

Meph'siopheles (indem er an dem Platz, wo Fkosch sitzt, 

ein Loch in den Tischrand hohrt). 

VerscbafiFt ein wenig Waclis, die Pfropfen gleich zu 

machen ! 

Altmayer. 
Ach, das sind Tasohenspielersaohen. 

MepMstopheles (zu BEANDBEy. 
Und ihr ? 

Brander. 
Ich will Ohampagnerwein, 
Und reoht mussirend soil er sein ! 

[Mephistopheies hohrt s Einer hat indessen die 
Wachspfropfen gemaeht und verstopft.'] 
Man kann nioht stets das Premde meiden, 191 5 

Das Gute liegt uns oft so fern. 

Eiu echter deutsober Mann mag keinen Franzen leiden, 
Doch ihre Weine trinkt er gem. 

Siehel (indem sich Mephistopheles seinem Platze nahert). 
Ich musz gestehn, den Sanren mag ich nicht. 
Gebt mir ein Glas vom eohten Siiszen ! 1 920 

Mephistopheles (lohrt), 
Euch soil sogleioh Tokaier flieszen. 

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



CKLLAR IN LEIPZIG. 165 

AUmayer (to Peosch). 
Ah ! you begin to lict your lips already. 

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

MepJdstopheles (boring a hole in the edge of the table 

where Feosch is sitting). 
Get a little wax to make stoppers immediately. 

AUmayer. 
Ah ! these are jugglers' tricks. 

Mephistopheles {to Beandee). 

And you ? 

Brander. 

I choose champagne, and let it be right sparkling. 

[Mephistopheles bores ; one of the others has in 

the meantime jprepared the wax-stoppers and 

stopped the holes.'\ 

One cannot always avoid what is foreign ; what is good 

often lies so far off. A true German cannot abide 

Frenchmen, but willingly drinks their wines. 

Siebel {as Mephistopheles approaches him). 
I must own, I do not like acid wine ; give me a glass 
of genuine sweet. 

Mephistopheles (bores). 
You shall have Tokay in a twinkling. 

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



168 KELLER IN LEIPZIG. 



Mephistopheles. 
Ei ! Ei ! Mit solchen edlen Gasten 

War' es ein biszchen viel gewagt, 1925 

Gesohwind ! Nnr grad heraus gesagt ! 
Mit welchem Weine kann ich dienen ? 

AUniayer. 
Mit jedem ! Nur nioht lang' gefragt ! 

l_NacMem die Looker alle gehohrt und verstopft sind.'] 

Mephistopheles {mit seltsamen Gelerden). 
Trauben tragt der Weinstock, 
Horner der Ziegenbook ! 1930 

Der Wein ist saftig, Holz die Reben ; 
Der holzerne Tisch kann Wein auch geban. 
Bin tiefer Blick in die Natur ! 
Hier ist ein Wunder, glaubet nur ! 
Nun zieht die Pfropfen und genieszt ! 1935 

Alle (indem sie die Pfropfen ziehen und Jedem der 
verlangte Wein ins Olas Iduft). 
sohoner Brunnen, der uns flieszt ! 

. Mephistopheles. 
Nur hUtet ench, dasz ihr mir niohts vergieszt ! 

[_8ie trinhcn wiederholt.'] 

Alle (singen). 
Uns ist ganz kannibalisch wohl 
Als wie fiinfhuHdert Sauen ! 

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



CELLAR IN LEIPZIG. 167 

MepMstopheles. 
Ha ! ha ! that would be taking too great a liberty 
with such distinguished guests. Quick ! Only speak out 
at once. What wine can I have the pleasure of serving 
you with ? 

Altmayer. 
With any ! Only don't lose time in asking. 

[After all the holes are bored and stopped.'] 

Mephistopheles (with strange gestures). 
TluB vine bears grapes. 
The he-goat bears horns. 
Wine is juicy, vines are wood ; 
The wooden table can also give wine. 
A deep glance into nature ! 
Here is a miracle, only have faith ! 
Now draw the stoppers and drink. 

All (as they draw the stoppers, and the wine chosen by 

each runs into his glass). 
Oh ! beautiful spring, that flows for us ! 

Mephistopheles. 
Only take care not to spill any of it. 

[They drink repeatedly.] 

All (sing). 
We feel as awfully jolly" 
As five hundred swine. 

Mephistopheles. 
These people are free ; behold how happy they are ! 



168 KELLER IN LEIPZIG. 

Fauti. 
Ich hiitte Lust, nun abzafahren. 

MephUtopheles. 
Gieb nnr ersb Acht, die Bestialitafc 
Wird sich gar herrlioh ofifenbaren. 

Siehel {trinht unvorsichtig ; der Wein JUeszt auf die Erde 
und wird zur Flmnme). 
Helft ! Feuer ! Helft ! Die Holle brennt ! 

MepMstopieles (die Flamme hespreehend). 
Sei rnhig, freuudlich Element ! 1945 

\Zu dem Gesellen.^ 
Fiir diesmal war es nuj ein Tropfen Fegefeuer. 



Was soil das sein ? Wart ! Ihr bezahlt es theuer ! 
Es scheinet, dasz ihr uns nicht keunt. 

Froseh. 
Lasz er uns das zum zweiten Male bleiben ! 

AUmayer. 
Ich dacht', wir hieszen ihn ganz sachte seitwarts gehn. 



Was, Herr? Er will sich unterstehn 1951 

XJnd hier sein Hokuspokus treiben P 

MepJiistepheles. 
Still, altes Weinfasz ! 

Sielel. 
Besenstiel ! 
Du willst uns gar nooh grob begegnen P 

Brander. 
Wart nur ! Es sollen Schlage reguen. 1955 



CELLAR IN LEIPZIG. 169 

Faust. 
I should like to be off now. 

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

Siehel (drinks carelessly ; the wine is spilt upon the 

ground, and turns to flame). 
Help ! fire ! help ! Hell is burning. 

Mephistopheles (conjuring the flame). 
Be quiet, friendly element. (To Siebel.) This time 
it was only a drop of the fire of purgatory. 

Siebel. 
What does that mean ? Hold ! you shall pay dearly 
for it. It, seems that you do not know us. 

Frosch. 
Tou had better not try that a second time. 

Altmayer. 
I think we had better send him packing quietly. 

Siebel. 
"What, Sir, dare you play off your hocus-pocus here ? 

Mephistopheles. 
Silence, old wine-butt ! 

Siebel. 
Broomstick ! will you even be rude to us ? 

Brander. 
Just wait ! It shall rain blows ! 



170 KELLER IN LEIPZIG. 

Allmiayer (zieJit einen Pfropf aus dem Tiseh, es springt ihm . 

Feuer entgegen). 
Icli bronne ! Icli brenne ! 

Siebel. 
Zauberei ! 
Stoszt zu ! Der Kerl ist vogelfrei ! 

[Sie Ziehen die Messer wnd l/ehn auf Mephistopheles losj] 

MepMsiopheles (mii ernstJiafter Oelerde). 
Falsch Gebild und Wort 
Verandern Sinn und Ort ! 
Seid hier und dorb ! 1 960 

[Sie stehn erstcmnt imd sehn einander an.'} 

AUmayer. 
Wo bin ich ? Welches schone Land ! 

Frosch. 
Weinberge ! Seh' ich recht ? 

Siehel. 
Und Trauben gleioh znr Hand ! 

Brander. 
Hier unter diesem griinen Laube, 
Seht, welch ein Stock ! Seht, welche Traube ! 

[^Erfasxt Siebeln lei der Nase s die Andern thim es 
wechselseiiig wnd hehen die Messer.^ 

MepMsiopheles (ivie olen). 
Irrthuni, lasz los der Augea Band! 1965 

Und merkt euch, wie der Tenfel spasze ! 

[Er verschwindet mit Faust; die Gesellen fahren aus 



Was giebt's ? 



CELLAR IN LEIPZIG. 171 

Altmayer (draws a stopjper from the table; fireflies out 

against him). 
I burn ! I burn ! 

Siebel. 

S(wca-y ! thrust home ! The knave is outlawed. 

\They draw their knives and fall wpon Mephis- 

TOPHELES.] 

Mephistopheles {with solemn gestures). 
False form and word, 
Change sense and place. 
Be here, be there ! 
[They stand amazed and gaze on each other.] 

Altmayer. 
Where am I ? What a beautiful country ! 

Frosch. 
Vineyards ! Can I believe my eyes ? 

Siebel. 
And grapes close at hand ! 

Brander. 
Here, under these green leaves, see, what a stem ! See 
what a bunch ! 

[Be seizes Siebel hy the nose. The others do the 
same one with the other, and raise their hnives.] 

Mephistopheles (as before). 
Error, loose the bandage from their eyes ! And do 
ye remember the devil's mode of jesting ! 

l_He disappears with Taitst. The fellows start 
back from one another.] 

Siebel. 
What's the matter ? 



172 KELLER m LEIPZIG 

Altmayer. 
Wie? 

Frosch. 
War das deine Nase ? 

Brander («« Siebel), 
TJnd deine hab' ich in der Hand I 

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

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



Wo ist der Kerl ? Wenn ich ihn spiire, 
Er Boll mir nicht lebendig gehn ! ■ 

Altmayer. 
Ich hab' ihn selbst hinaus zur Kellerthure — 

Auf einem Paase reiten sehn 1975 

Es liegt mir bleischwer in den Fuszen. 

[Sich nach dem Tische wendend.'] 
Main ! Sollte wohl der Wein noch flieszen ? 

Siehel. 
Betrug war Alles, Lng uud Schein. 

Froscli. 
Mir dauohte doch, als trank' ich Wein, 

Brander. 
Aber wie war es mit den Trauben ? 1980 

Altmayer. 
Nun sag' mir Eins, man soil kein Wunder glauben ! 



CKX.LAR IN I.KIPZIG. 173 

Altmayer. 
How? 

Frosch. 
Was that thy nose ? 

Brander (to Sibbel). 
And I have thine in my hand ! 

Altmayer. 
It was a shock which thrilled through every limb! 
Give me a chair, I am sinking. 

Frosch. 
No, do but tell me ; what has happened ? 

Siebel. 
Where is the fellow ? If I meet with him, it shall 
be as much as his life is worth. 

Altmayer. 
I myself saw him at the cellar door, riding out upon 
a cask. My feet feel as heavy as lead. ^ 

[Turning towards the table] 
My ! I wonder whether the wine is running still ? 

Siebel. 
It was all a cheat, a lie, and a delusion. 

Frosch. 
Yet it seemed to me as if I was drinking wine. 

Brander. 
But how was it with the grapes ? 

Altmayer. 
Let anyone tell me after that, that one is not to 
believe in miracles ! 



HEXBNKDCHB. 

Auj einem niedriyen Herde steM ein groszer Kessel uber dem 
Feuer. In dem Dampfe, der davon in die Hbhe eteigt, 
zeigen sich verschiedne Gestalten. Einb Meeekatze $itzt 
hei dem Kessel und schdumt ihn imd sorgt, dasz er mcht 
uberlduft. Dee Meeekatee mit den Jungen sitzi darnelen 
und wdrmt sich. Wdnde und Becke sind mit dem selU 
samsten Hexenhausrath ausgeschmiickt. 

Fadst. Mephistopheles. 

Faust. 

MIE widersteht das tolle Zauberwesen ! 
Versprichst du mir, ich soil genesea 
In diesem Wust von Raserei? 

Verlang' ioh Eath voji einem alten Weibe ? 1985 

Und sehafft die Sudelkooherei 
Wohl dreiszig Jahre mir vom Leibe ? 
Web mir, wenn du niohts Bessers weiszt ! 
Schon ist die Hoffnung mir verschwundeu. 
Hat die Natur und hat ein edler Geist 1990 

Nicht irgend einen Balsam ausgefunden ? 

Mephistopheles. 
Mein Freand, nun sprichst du wieder klug! 
Dioh zu Terjdngen, giebt's auoh ein naturlicb Mittel : 
AUein es steht in einem andern Buch 
Und ist ein wunderlich Kapitel. 1995 

Faust. 
Ich will es wissen. 



WITCH'S KITCHEN. 

1 large cauldron is hanging over the fire on a low hearth. 
Different figures are seen in the fumes which rise from 
it. A Female Monket is sitting hy the cauldron and 
shimming it, and talcing care that it does not run over. 
The Male Monkey is seated near with the young ones, 
and warming himself. The walls and ceiling are hung 
with the strangest articles of Witch furniture.^'' 

Faust. 

I LOATHE this mad concern of witclicraft. Do you 
promise me that I shall recover in this chaos of in- 1 
sanity? Do I need an old hag's advice? And will this foul ' 
mess perchance take " thirty years from my life ? Woe 
Ls me, if you tnow of nothing better ! Hope is already 
gone. Has nature and has a noble spirit discovered no 

sort of balsam ? 

Mephistopheles. 

My friend, now again you speak wisely ! There is 

also a natural mode of renewing youth. But it is in 

another book, and forms a very strange chapter. 

Faust. 
Let me know it. 



176 HEXENKUCIIE. 



ties. 
Gutl^Ein Mittel, ohne Geld 
Uud Arzt und Zauberei zu haben : 
Begieb dieh gleich hinaus aufs Feld, 
Fang au zu hacken und zu graben, 

Erhalte dich und deinen Sinn zooo 

In einem ganz besohrankten Kreise, 
Ernahre dich mit ungemischter Speise, 
Leb mit dem Vieh als Vieh und acht es nicht fiir Eaub, 
Den Acker, den du erntest, selbst zu diingen ; 
Das ist das beste Mittel, glaub, ^°°S 

Auf achtzig Jahr' dich zu verjungen ! 

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

Mephistophelei. 
So musz denn doch die Hexe dran. zoio 

Fausi. 
Warum denn just das alte Weib ? 
Kannst du den Trank nicht selber braaen ? 

Mephistopheles. 
Das war' ein schbner Zeitvertreib ! 
Ich wollt' indesz wohl tausend Briicken bauen. 
Nicht Kunst und Wissenschaft allein, 2015 

Geduld will bei dem Werke sepi'i , Ai 

Ein stiller Geist ist Jahre lang geschaftig, ' ' ^ 

Die Zeit nur macht die feine Gahrung kraftig. )a^- , ■'' 
Und Alles, was dazu gehort, 

Bs sind gar wunderbare Sachen! 2020 

Der Teufel hat sie's zwar gelehrt, 
Allein der Teufel kanni's nicht macheu. 

[Bie Thieub erhUckend.'] 
Sieh, welch ein zierliohes Geschleoht ! 
Das ist die Magd ! Das ist der Knecht ! 

[Xm den Thieben.] 
B? soheint, die Frau ist nicht zu Hause ? 2025 



witch's kitchen. 177 

Mephistopheles. 

Well ! there is a remedy to be had without money, 
physician, or sorcery : betake thyself straightway to the 
field, begin to hoe and dig, confine thyself and thy sense 
within- a thoroughly contracted circle ; support thyself 
on simple food ; live with beasts as a beast, and think 
it no robbery to manure yourself the field from which 
you reap. That is the best way, believe me, to keep 
you young t»-eighty. 

*" Faust. 

I am not used to it. I cannot bring myself to take 
the spade in hand ; the confined life does not suit me 
at all. 

Mephistopheles. 

Then you must have recourse to the witch after all. 

Faust. 
But why must it just be the hag ? Cannot you brew 
the drink yourself ? 

Mephistopheles. 
That were a pretty pastime ! I would rather build a 
thousand bridges in the time. Not art and science only, 
but patience is required for the job. A quiet spirit is 
active at it for years ; time only strengthens this fine fer- 
mentation. And the ingredients are exceedingly curious. 
The devil, it is true, has taught it her, but the devil can- 
not make it. (Perceiving the Monkets.) See what a 
pretty breed ! This is the maid — that is the rnan. (To 
the Monkeys.) It seems your mistress is not at home ? 

N 



178 HEXENKUCHE. 

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

MepMsiopheles. 
Wie lange pflegt sie wohl zu schwarmen ? 

Die Thiere. 
So laag' wir uns die Pfoten warmen. 2030 

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

Faust. 
So abgeschmaokt, als ioh nur Jemand sah ! 

MepMsiopheles. 
Nein, ein Discurs wie dieser da 
1st grade der, den ioh am Liebsten fuhre ! 

\Zu den Thierbn.] 
So sagfc mir doch, verfluohte Pappen, 2035 

Was quirlt ihr in dem Brei herum ? 

Thiere. 
Wir kochen breite Bettelsuppen. 

Mephistgpheles. 
Da habt ihr ein grosz Publikum. 

Ber Kater (macht sich herhei wnd schmeiehelt dem 
Mephistopheles). 
O, wurfle nur gleich 

Und mache mioh reich 2040 

Und lasz mioh gewinnen ! 
Gar schleoht ist's bestellt, 
Und war' ich bei Geld, 
So wHr' ipjj bei Sinnen, 



witch's kitchen. 179 

The Monkeys. 
At the feast,'= 
Out of the house, 
By the chimney out. 

■ Mephistopheles. 
How long does she usually roam about ? 

TJie Monkeys. 
As long as we warm our paws. 

Mephistopheles (to Faust). 
How do you find these tender creatures ? 

Faust. 
As disgusting as I ever saw anything. 

Mephistopheles. 
Nay, a discourse like the present, is precisely what I 
am fondest of engaging in. (To the Monkeys.) Tell 
me, ye accursed puppets, why do you stir so this mess ? 

Monkeys. 
We are cooking watery soups for beggars.'* 

Mephistopheles. 
You will have plenty of customers. 

TAe Se Monkey {a/pproaches and fawns on 
Mephistopheles). 

quick throw the dice, 
And make me rich — 
And let me win ! 

My fate is a sorry one, 
And had I money 

1 should also have reason. 



180 HEXENKUCHE. 



Mephistophelea. 
Wie gliicklich wurde sioh der Affe schafczen, 2045 

Konut' er nur auch ins Lotto setzen ! 

[Indessen haben cUejungen Meeekatzchen mii einer 
groszen Kugel getpielt und rotten sie hervor.] 

Der Eater. 
Das ist die Welt ; 
Sie steigt und fallt 
Und roUt bestandig ; 
. Sie klingt wie Glas ; 2050 

Wie bald bricht das ? 
Ist hohl inwendig ; 
Hier glanzt sie sehr 
TJnd hier nooh mehr. 
Ich bin lebendig ! 2055 

Mein lieber Sohn, 
Halt dich davon ! 
Du muszt sterben ! 
Sie ist von Thon, 
Es giebt Scherben. 2069 

Me'phistojpheles. 
Was soil das Sieb ? 

Der Eater (holt es herunter). 
Warst du ein Dieb, 
Wollt' ieh dioh gleioh erkennen. 
[Er lauft zur Edtzin und Idszt sie ditrchsehen.] 
Sieh dui'ch das Sieb ! 
Erkennst du den Dieb ? 2065 

Und darfst ihn nioht nennen ? 



witch's kitchen. 181 

Mej>histo;phele8. 
How happy the monkey would think himself, if he 
could only put into the lottery. 

[The Young Monkeys have, in the meantime, 
been playing with a large globe, and roll it 



The He Monkey. 
That is the world ; 
It rises and falls. 
And rolls unceasingly. 
It rings like glass : 
How soon breaks that ? 
It is hollow within ; 
It glitters much here. 
And still more here — 
I am alive ! 
My dear son, 
Keep thee aloof ; 
Thou must die ! 
It is of clay, 
This makes potsherds. 

Mephistopheles. 
What is the sieve for ? 

The He Monkey (takes it down). 
Wert thou a thief, I should know thee at once. 

[He^runs to the female and makeS^her look through.] 
Look through the sieve ! 
, Dost thou recognize the thief ? 

And darest not name him ? 



182 HEXENKiJCHE. 



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

Kaier und Edtzin. 
Der alberne Tropf ! 
Er kennt nicht den Topf, 
Er kennt nicht den Kessel ! 2070 

Mephistopheles. 
Unhofliches Thier ! 



Der Kater. (Jr *" 

Den Wedel nimm hier 
Und Beta dich. in Sessel ! 
[Er nothigt den Mephistophbles, zu sitzen.'] 

Faust (welcher diese Zeit uher vor einem Spiegel gestanden, 

•sich ihm lal^ genahert, laid sich von ihm entfernt hat.} 
Was seh' ich ? Welch ein himmlisch Bild 
Zeigt sich in diesem Zauberspiegel ! 2075 

O Liebe, leihe mir den schnellsten deiner Fliigel 
Und fuhre mich in ihr Gefild ! 
Ach, wenn ich nicht auf dieser Stella, bleibe, 
Wenn ich es wage, nah zu gehn, 

Kann ich sie nur ak wie im Nebel sehn ! — 2080 

Das schonste Bild von einem Weibe ! 
Ist's moglich, ist das Weib so schou ? , ' 

Musz ich an diesem hingestreckten Leibe ^"^"^ 
Den Inbegriff von alien Himmeln sehn ? 
So etwas fiudet sich auf Erden? 2085 

Mephistopheles. 
Natiirlich, wenn ein Gott sich erst sechs Tage plagt 
Und selbst am Ende Bravo sagt, 
Da musz es was Gescheites werden. 
Eiir diesmal sieh dich immer satt ; , 

Ich weisz dir so ein Schatzchen auszuspiiren, 2090 



witch's kitchen. 183 

Mephistopheles (approaching the fire). 
And this pot ? 

The Morikeys. 
The half-witted sot ! 
He knows not the pot ! 
He knows not the kettle ! 

Mephistopheles. 
Uncivil brute ! 

The He Monkey. 
Take the brush here," 
And sit down on the settle. 

[He makes Mephistopheles sit down."] 

Faust (who all this time has heen standing before a look- 
ing-glass, now approaching and now retiring from it) . 
What do I see ? What a heavenly image shows itself 
in this magic mirror ! O Love ! lend me the swiftest of 
thy wings^ and bear me to her region ! Ah ! when I do 
not remain upon this spot, when I venture to go near, 
I can only see her as in a mist. The loveliest image of 
a woman ! Is it possible, is woman so lovely ? Must I 
see in these recumbent limbs the inneimost essence of 
all Heavens ? Is such a thing to be found on earth ? 

Mephistopheles. 
When a God first works hard for six days, and him- 
self says hravo at the end, it is but natural that some- 
thing clever should come of it. Tor this time look your 
fill. I know where to find out such a love for you, and 



184 KLXEyKVCKE. 



Und selig, wer das gute Sohicksal hat, 
Als Brautigam sie heimzufiihren ! 

[Paust tieht immerfort in den Spiegel. Mephistopheles, 

sich in dem Sessel dehnend und mit dem Wedel spie- 

lend, fahrt fort zu sprechen.'] 
Hier sitz' ich wie der Konig auf dem Throne, 
Den Zepter halt' ich hier, es fehlt nur noch die Krone. 

Die Thiere (welche higher allerlei wunderliche JBewegv/ngen 
durch einander gemacht haben, hringen dem Mephisto- 
pheles eine Krone mit groazem Geechrei.) 

0, sei doch so gut, 2095 

Mit Sohweisz und mit Blut 
Die Krone zu leimen ! 
\_Sie gehn ungeschicht rmt der Krone um und zerhrechen 
sie in zwei Stucke, mit weldhen sie herumspringen.^ 
Nun ist es gesohehn ! 
Wir reden und sehn, 
Wir horen und reimen. z'oo 

FaviSt (gegen den Spiegel). 
Weh mir ! Ich werde sohier verriickt. 

Mephistopheles {auf die Thiere deutend^. 
Nun fangt mir an fast selbst der Kopf zu schwaaken. 

Die Thiere. 

Und wenn es uns glUckt, 

Und wenn es sich schickt, 

So sind es Gedanken ! zio? 

/ -* 

Faiist (wie ohen'). 
Mein Busen fangt mir an zu brennen ! 
Entfernen wir uns nur gesohwind ! 



witch's kitchen. 185 

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

[Fattst continues looking into the mirror. 

Mbphistopheles, stretching himself on the 

settle and playing with the hrvsh, continues 

speaking.'} 

Here I sit, like the king upon his throne ; here is my 

sceptre — I only want the crown. 

The Monkeys (who have hitherto been playing all sorts of 
strange antics, bring Mbphistopheles a crown, with 

loud ciHes). 

Oh, be so good 
As to glue the crown'' 
With sweat and blood. 
[They handle the crown awkwardly, and break it 
info two pieces, with which they jwmp about.'] 
Now it is done. 
We speak and see ; 
We hear and rhyme — 
Faust (before the mirror). 
Woe is me ! I am becoming almost mad ! 

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



186 HEXENKUCHE. 



MepMstopheles (in obiger Siellwng). 
Nun, wenigstens mnsz man bekennen, 
Dasz es anfriohtige Poeten sind. 

[Per Eessel, welchen die Katzin Usher cmszer Acht ge- 
lassen, fixngt an, uherzulaufen ; es entsteht eine grosze 
Flamme, welohe zv/m Schornstein hinoMSschldgt. Die 
Hbxe Jconmit dv/rch die Flamme mii entsetzUchem 
Oesehrei herutitergefahren.'] 

Die Hexe. 
An! An! Au ! Au! 21 lo 

Verdammtes Thier ! Verfluchte Sau ! 
Versaumst den Eessel, versengst die Fran ! 
Verfluohtes Thier ! 

[Faust und Mbphistopheles erhliclcend.'} 

Was ist das bier P 

Wer seid ihr hier ? 2 1 1 5 

Was woUt ihr da ? 

Wer schlich sich ein ? 

Die Feuerpein 

Euch ins Gebein ! 
l_8ie fahrt mit dem Schaumloffel in den.Kessel und S'pntzt 
Flarmnen nach Faust, Mbphistopheles und den 
Thieben. Die Thierb winseln.'] 

Mephietopheles (welcJier den Wedel, den erin der Hand halt, 
umhelirt und unter die Gldser und Tbpfe schldgt). 

Bntzwei ! Entzwei ! 2120 

Da liegt der Brei, 
Da liegt das Glas ! 



witch's kitchen. 187 

Mephistopheles (in the same position). 
Well, no one can deny, at any rate, that they are 
sincere poets. 

\_The cauldron, which the She Monket has neglected, 
begins to hoil over ; a great flame arises, which 
streams uja the chimney. The Witch comes shoot- 
ing down through the flame with horrible cries.} ^ 

The Witch. 
Ough, ough, ough, ough ! 
Damned beast ! Accursed sow ! 
Neglecting the cauldron, scorching your dame — 
Cursed beast ! 

[Espying Faust and Mephistopheles.J 
What now ? 
Who are ye ? 
What would ye here ? 
Who hath come slinking in ? 
The plague of fire 
Into your bones ! 
[^8he dips the skimming ladle into the cauldron, and 
sprinkles flames at Faust, Mephistopheles, and 
the Monkeys. The Monkeys whimper.] 

Mephistopheles (who inverts the brush which he holds in his 
hand, and strikes amongst the glasses and pots). 
To pieces ! To pieces ! ,i ii 

There lies the porridge ! 
There lies the glass ! 



188 HEXENKUCHE. 

Es ist nur Spasz, 

Der Takt, du Aas, 

Zu deiner Melodei ! zi^S 

[^Indem die Hbxe voU Qrvmm v,nd Enitetzen zwucktrittj] 
Erkennst du mioh, Gerippe ! Scheusal du ! 
Erkennst du deiueu Herrn und Meister ? 
Was halt mioh ab, so schlag' ich zu, 
Zerschmettre dich und deine Katzengeister ! 
Hast du vorm rothen Wamms nicht mehr Eespekt ? zijo 
Kannst du die Hahnenfeder nioht erkennen ? 
HaV ich dies Angesioht versteokt ? ■ :'^ 

Soil ich mich etwa selber uennen ? 

Die Hexe. 
O Herr, verzeiht den rohen Grusz ! 

Seh' ich dooh keinen Pferdefusz. 2135 

Wo Bind denn sure beiden Baben P 

Mephistopheles, 
FUr diesmal kommst du so davon ; 
Denn freilich ist es eine Weile schon, 
Dasz wir uns nicht gesehen haben.^ 

Auch die Kultur, die alle Welt beleokt, 2140 

Hat auf den Teufel sich erstreckt ; 
Das nordische Phantom ist nun nicht mehr zu schauen ; 
Wo siehst du Horner, Schweif und Klauen ? 
Und was den Fusz betrifft, den ich nicht missen kann, 
Der wiirde mir bei Leu ten schaden ; 214.5 

Darum bedien' ich mich, wie maucher junge Mann, 
Seit vieleu Jahren falscher Waden. 

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

MepMstophelee. 
Den Namen, Weib, verbitt' ich mir ! 2150 

Die Hexe. 
Warum ? Was hat er euch gethan ? 



witch's kitx;iien, ( 18^ 

It is only a jest. 

The measure, thou carrion. 

To thy melody. 
[As the Witch steps hack in rage and horror.] 
Dost thou know me, thou skeleton, thou abomination ? 
Dost thou know thy lord and master ? What is there to 
hinder me from striking in good earnest, from dashing 
thee and thy monkey-spirits to pieces ? Hast thou no 
more any respect for the red doublet ? Canst thou not 
recognize the cock's feather? Have I concealed this 
face ? Must I then name myself ? 

The Witch. 

master, pardon this rough reception ! But I see no 
cloven foot. Where then are your two ravens ? 

Mephisiopheles. 
This once, you will come off unhurt ; for, to be sure, 
it is some while since we saw each other. The march of 
intellect too, which Hcks aU the world into shape, has 
even reached the devil. The northern phantom is now 
no more to be seen." Where do you see horns, tail, and 
claws ? And as for the foot, which I cannot do without, 
it would prejudice me in society ; therefore, like many 
a youngster, I have worn false calves these many years. 
The Witch (dancing). 

1 am almost beside myself, to see Squire Satan here 

again. 

M&phistopheles. 

Woman, I deprecate that name. 

The Witch. 

Wherefore ? What has it done to you ? 



190 HEXENKUCHE. 

MepMstopheles. 
Er ist Bchon lang' ins Fabelbuch geschrieben ; 
Allein die Menschen sind nichts besser dran, 
Den Bosen sind sie los, die Bosen sind geblieben. 
Du nennst mioh Herr Baron, so ist die Sache gut; 2155 
Ich bin ein Kavalier wie andre Kavaliere. 
Du zweifelst nioht an meinem edlen Blut ; 
Sieh her, das ist das Wappen, daa ich fiihre ! 

[Er macM eine unanstandAge Gclerde.'J 

Die Hexe (lacht unmiiszig). 
Ha ! Ha ! Das ist in eurer Art ! 
Ihr Beid ein Sohelm, wie ihr nur immer wart ! z'^o 

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

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

Mephistopheles. 
Ein gutes Glas von dem bekannten Saft ! 
Dooh mnsz ich euch nms altste bitten ; 2165 

Die Jahre doppeln seine Kraft. 

Die Hexe. 
Gar gern ! Hier hab' ich eine Plasohe, 
Aus der ich selbst zuweilen nasche, 
Die auch nicht mehr im Mindsten stinkt ; 
Ich will euch gern ein Glaschen geben. 2170 

(Leise.) Doch wenn es dieser Mann unvorbereitet trinkt, 
So kann er, wiszt ihr wohl, nicht eine Stunde leben. 

MepMstopheles. 
Es ist ein guter Freund, dem es gedeihen soil ; 
Ich gonn' ihm gern das Beste deiner Kiiche. 
Zieh deinen Kreis, sprich deine Spriiche 2175 

Und gieb ihm eine Tasse voll ! 

[Die Hexe, mit seltsatnen Geberden, xieht einen Kreis 



witch's kitchen. 191 

Mephistopheles. 
It has long been relegated to the book of fables ; but 
men are not the better off for that ; they are rid of the 
evil one, but the evil ones have remained. You may 
call me Lord Baron, that will do very well. I am a 
cavalier, like other cavaHers. Tou doubt not of my 
gentle blood ; see here, this is the coat of arms I bear ! 
[fle makes an unseerrdy^ gesture.'] 

The Witch (laughs immoderately). 

Ha, ha ! That is in your way. You are the same mad 

wag as ever. 

Mephistopheles (to Faust). 

My friend, attend to this. This is the way to deal 

with witches. 

The Witch. 

Now, sirs, say what is your pleasure ? 
Mephistopheles. 

A good glass of the well-known juice ! I must beg you 
to let it be of the oldest. Years double its strength. 
The Witch. 

Most willingly ! Here is a bottle out of which I some- 
times sip a little myself; which, besides, no longer 
stinks the least. I will give you a glass with pleasure. 
(Whispering^ But if this man drinks it unprepared, 
you well know he cannot live an hour. 

Mephistopheles. 

He is a dear friend of mine, on whom it will have 

a good effect. I grudge him not the best of thy kitchen. 

Draw thy circle, speak your spells, and give him a cup 

full. 

[The Witch, with strange gestures, draws a circle 



192 HEXENKUCHE. 



und sielli wunderlare Sachen hineins indessen fa/)igen 
die (xlaser an zu Mingen, die Kessel zu toners und 
machen MusiJc. Zuletzi Iringt sie ein groszes Buck, 
stelU die Meekkatzen in den Kreis, die ikr zum Fult 
dienen und die Fackel halten miissen. Sie ivinht 
Fausten, z« ihr zu treten.'} 

Faust (zu Mephistopheles). 
Nein, sage mir, was soil das werden ? 
Das toUe Zeug, die rasenden Geberden, 
Der abgeschmaokteste Betrag 
Sind mir bekannt, verhaszt genug. 2180 

Mephistopheles. 
Ei Fosseu ! Das ist cur zum Lacheu ; 
Sei nur nioht ein so strenger Mann ! 
Sie musz als Arzt ein Hokuspokus machen, 
Damit der Saffc dir wohl gedeihen kaun. 

[Er nothigt Patjsten, in den Kreis zu treten."] 

Die Seme (mit groszer Emphase, fdngt an, cms dem 
Buche zu deklanmen). 
Du muszt verstehn ! 2185 

Aus Eins mach Zehn 
Und Zwei lasz gehn 
Und Drei mach gleich, 
So bist Du reich. 

Verlier die Vier ! 2190 

Aus Piinf und Sechs, 
So sagt die Hex', 
Mach Sieben und Acht, 
So ist's vollbracht ; 
Und Neun ist Eins, 2195 



witch's kitchen. 193 

and places strange things in it ; in the meantime, 
the glasses begin to ring, and the cauldron to sound, 
and mioke music. Lastly, she brings a great book, 
and places the Monkeys in the circle, who are 
made to serve her for a reading-desk and hold the 
torch. She signs to Taust to approach.} 

Faust (to Mephistopheles). 

But tell me what is to come of all this ? This absurd 

apparatus, these frantic gestures, this most disgusting 

jugglery — I know them of old and thoroughly ahominate 

them. 

Mephistopheles. 

Pooh ! that is only mere foolery. Don't be so 

fastidious. As mediciner she is obliged to play ofE some 

hocus-pocus, that the dose may operate well on you. 

\_He makes Fattst enter the circle.] 

The Witch (with a strong emphasis, begins to declaim 
from the book). 
You must understand. 
Of one make ten. 
And let two go. 
And three make even ; 
Then art thou rich. 
Lose the four ! 
Out of five and six. 
So says the Witch, 
Make seven and eight, 
Then it is done ; 
And nine is one, 





194 HEXENKUCHE. 

Und Zehn iet Keins : 

Pas ist das Hexen-Emmaleins ! 

Faust. 
Mich diiukt, die Alte sprioht im Fieber, 

' MepMstopheles. 

Das ist noch lange nicht voriiber, 

Ich kfenn' es wohl, so klingt das ganze Buch ; 2200 

Ich habe manche Zeit damit verloren, 
Denn ein vollkommner Widerspruch 
Bleibt gleich gebeimniszvoll fur Kluge wie fiir Thoren. 
Mein Freund, die Kunst ist alt und neu. 
Es war die Art zu alien Zeiten, 2205 

_ Durch Drei und Eins und Eins und Drei 
Irrthum statt Wahrheit zu verbreiten. 
So sohwatzt und lehrt man ungestort, 
Wer will sich mit den Warr'n befassen ? 
Gewohnlich glaubt der Mensoh, wenn er nur Worte hort, 
Es miisse sich dabei doch auch was denken lassen. 2211 

Der Hexe (fdhrt fort). 
Die hobe Kraft 
Der Wissenschaft, 
Der ganzen Welt verborgen !, 
Und wer nicht denkt, 2215 

Dem wird sie geschenkt, 
Er hat sie ohne Sorgen. 

Faust. 
Was sagt sie uns fur TJnsinn vor ? 
Es wird mir gleich der Kopf zerbrechen. 
Micl* diinkt, ich hor' ein gauzes Chor 2220 

Von hunderttausend Narren spreohen. 

Mephisiopheleg. ,\- 
Genng, genug, o treffliche Sibylle I-'' 
Gieb deinen Trank herbei und fiille 
Die Schale rasch bis an den Eand hinan ; 



witch's kitchen. 196 

And ten is none. 

That is the witch's one-times-one."" 

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

Mephistopheles. J 

It is far from over yet, I know it well ; the whole 
book is to the same tune. I have wasted many an hour 
upon it, for a downright contradiction" remains equally 
mysterious to wise folks and fools. My friend, the 
art is old and new. It has ever been the fashion to 
spread error instead of truth by three and one, and 
one and three. Thus they prattle and teach unin- 
terruptedly; who will concern themselves about these 
dolts ? Men are wont to believe, when they hear only 
words, that there must be something in it. 

The Witch (continues). 
The high power 
Of knowledge. 

Hidden from the whole world ! 
And he who thinks not, 
On him is it bestowed ; 
He has it without trouble. 

Faust. 
What nonsense is she reciting to us? My head is 
splitting ! I seem to hear a hundred thousand idiots 
declaiming in full chorus. 

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



196 HEXENKUCHE. 



Denn meinem Freund wird dieser Trunk nicht schad»n : 
Er ist ein Mann von vielen Graden, A, ^^ ' ^z^S 

Der manohen guten Schluck gethan. i\ - '' 

[Die Hexe, mii vielen Zeremoiiien, schenht den Trank m 
eine Schale ; wie sie Faust an den Mund hringt, enU 
stiht eine leichte Flamme.'\ 
Nur frisch hinunter ! Immer zu ! 
Bs wird dir gleich das Herz erfreuen. 

Bist mifc dem Teufel du und du, 2230 

Und willst dich vor der Flamme scheuen ? 

[Die Hexe lost den Kreis. Faust tritt heraits.'] 
Nun frisch hinaus ! Du darfst nicht ruhn. 

Die Hexe. 
Mog' euch das Schliiokchen wohl behagen ! 

MepJiistopheles {zur Hexe). , '^>ff' 

Und kann ich dir was zu Gefallen thun, -^ 

So darfst du mir's nur auf Walpurgis sagen. ' 2235 

Die Hexe. 
Hier ist ein Lied ! Wenn ihr's zuweilen singt, 
So werdet ihr besondre Wirkung spiiren. 

Mephistopheles (zu Faust). 
Komm nur geschwind und lasz dich fUhren ! 
Du muszt nothwendig transpiriren, 

Damit die Kraft durch Inn- und Aeuszres dringt. 2240 
Den edlen Musziggang lehr' ich hernach dich sohatzen, 
Und bald empfindest du mit innigem Ergetzen, 
Wie sich Kupido regt und hin und wieder springt. 

Faust. 
Lasz mich nur schnell noch in den Spiegel schauen ! 
Das Fraueubild war gar zu schon ! 2245 



witch's kitchen. 197 

draught will do my friend no harm. He is a man of 

many grades, who has talcen many a good gulp already. 

[The Witch with many ceremonies pours the 

liquor into a cup ; as Fatjst lifts it to his 

mouth a light flame arises.] 
Down with it at once! Do not stand hesitating. It 
will soon warm your heart. Are you hail-fellow well- 
met with the devil, and afraid of fire ? 

[The Witch dissolves the circle — Faust steps out.] 
Now forth at once ! Tou must not rest. 

The Witch. 
Much good may the draught do you. 

Mephistopheles (to the Witch). 
And if I can do anything to pleasure you, you need 
only mention it to me on Walpurgis' night. 

The Witch. 
Here is a song ! If you sing it occasionally, it will 
have a particular effect on you. 

Mephistopheles (to Fatjst). 
Come quick, and be guided ; it is absolutely necessary 
for you to perspire, that the potent juice may penetrate 
your whole frame. I will afterwards teach you how to 
appreciate noble idleness, and you will feel ere long, 
with heartfelt delight, how Cupid bestirs himself and 
bounds hither and thither. 

Faust. 
Let me only look another moment in the glass. That 
female form was too, too lovely. 



198 HEXENKUCHE. 

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



witch's kitchen. 199 

Mephisto^Jieles. 
Nay, nay ; you shall soon see the model of all woman- 
tind in flesh and blood. {Aside.) With this draught 
in your body, you will soon see a Helen in every 
woman. P^-^h.,i\ 



M 



STEASZB. 

Fattst. Maegakete voriibergehend. 

Faust. 
EIN Bohones Fraulein, darf ich wagen, 2250 
Meinen Arm und Geleit ihr anzutragen ? 



Margarete. , '■ 

Bin weder Fraulein weder schon, ,, 
Kanu ungeleitet nach Hause gehn. 

[Sie maeJit sieh los und a6.] 

Faust. 
Beim Himmel, dieses Kind ist schon ! 
So etwas hab' ich nie gesehn ! 2255 

Sie ist so sitt- und tugendreich 
TJnd etwas schnippisch doch zugleich. 
Der Lippe Roth, der Wange Licht, 
Die Tage der Welt vergess' ich's nicht ! 
Wie sie die Augen niederschlagt, 2260 

Hat tief sich in mein Herz gepragt ; 
Wie sie kurz angebunden war, 
Das ist nun zum Bntziicken gar ! 

[Mephistopheles tritt aw/.] 

Faiist. 
Hiir, du muszt mir die Dime schafTen ! 

MepJiistopheles 
Nun, welche ? 

Faust. 
Sie ging just vorbei. 2265 



M 



THE STEEET. 

Eatjst. Maegaeet ^'' {passing hy). 

Faust. 
T pretty lady, may I tate the liberty of offering 
you my arm and escort ? 



Margaret. 
I am neither lady, nor pretty, and can go home by 
myself. [She disengages herself, and exit.'] 

Faust. 
By heaven, this girl is lovely ! I have never seen the 
like of her. She is so modest and virtuous, and a little 
pert withal. The redness of her lip, the light of her 
cheek — I shall never forget them all the days of my 
life. The manner in which she cast down her eyes is 
deeply stamped upon my heart ; and how sharp her 
speech was — it was absolutely ravishing ! 

[Mephistopheles enters.] 

Faust. 
Hark, you must get me the girl. 

MejiMstQjpheles. 
Which? 

Faust. 
She passed but now. 



202 STEASZE. 

Me^phistoipTieles. 
Da die ? Sie kam von ihrem Pfaffen, 
Der spracli sie aller Sunden frei ; 
Ich sohlich mich hart am Stuhl vorbei ; 
Es isfc ein gar unschuldig Ding, 

Das eben fiir niohts zur Beichte ging ; 2270 

Ueber die hab' ich keine Gewalt ! 

Faust. 
1st Uber vierzehn Jahr' doch alt. 

MeTpMstoTpheles. 
Du sprichst ja wie Hans Liederlicb, 
Der begehrfc jede liebe Blum' fiir sioh, 
Und diinkelt ihm, es war' kein' Ehr' 2275 

Und Grunst, die nicht zu pfliicken war' ; 
Geht aber doch nicht immer an. 

Fanst. 
Mein Herr Magister Lobesan, 
Lasz er mich mit dem Gesetz in Frieden ! 
Und das sag' ich ihm kurz und gut : 2280 

Wenn nicht das sUsze junge Blut 
Heut Nacht in meinen Armen ruht, 
So sind wir um Mitternacht geschieden, 

Me'phisto'p'heles. 
Bedenkt, was gehn und stehen mag ! 
Ich brauche wenigstens vierzehn Tag', 2285 

Nur die Gelegenheit auszuspuren. 

Faust. 
Hatt' ich nur sieben Stunden Euh, 
Brauchte den Teufel nicht dazu, 
So ein Geschopfchen zu verfiihren. 

Me'p'hAsto'pJieles. 
Ihr sprecht schon fast wie ein Franzos ; 2290 

Doch bitt' ich, laszt's euch nicht verdrieszen: 
Was hilft's, nur grade zu genieszen ? 



THE STREET. 203 

M&phisto^heles. 

What, slie ? She came from her confessor, who ah- 

solved her from all her sius. I stole up close to the 

chair. It is an innocent little thing, that went for next 

to nothing to the confessional. Over her I have no 

power. 

Faust. 

Yet she is past fourteen ! 

MepMstopheles. 
Tou positively speak like Jack Eake, who covets 
every sweet flower for himself, and fancies that there is 
neither honour nor favour which is not to be had for 
the plucking. But this will not always do. 

Favst. 

-i. My honourable pedagogue, don't plague me with 

your morality. And, in a word, I tell you this : if the 

sweet young creature does not lie this very night in my 

arms, at midnight our compact is at an end. 

Mephistopheles. 
Consider what is possible. I need a fortnight, at 
least, only to find an opportunity. 

Faust. 
Had I but seven hours clear, I should not want the 
devil's assistance to seduce such a child. 

MepMstophelee. 
Tou talk now almost Uke a Frenchman ; but don't 
fret about it, I beg. "What hoots it to go straight to 



204 STKASZE. 

Die Freud' ist lange nioht so grosz, 

Als wenn ihr'erst herauf, heram, 

Durch allerlei Brimborium 2295 

Das Puppohen geknetet und zugerloht't, 

Wie's lehret manohe walsche Geschicht'. 

Faust. 
Hab' Appetit auch ohne das. 

Mephistopheles. 
Jetzt ohne Sohimpf und ohne Spasz. 
Ich sag' euch, mit dem sohonen Kind 2300 

Geht's ein- f iir allemal nioht geschwind. 
Mit Sturm ist da nichts einzunehmen ; 
Wir miissen uns zur List bequemen. 

Faust. 
SoEaff mir etwas vom Engelpschatz ! 
ruhr mioh an ihren Euheplatz ! 2305 

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

MepMstopheles. 
Damit ihr seht, dasz ich eurer Pein 
Will forderlich und dienstlich sein, 
Wollen wir keinen Augenblick verlieren, 2310 

"Will ench noch heut in ihr Zimmer fuhren. 

Faust. 
Und soil sie sehn ? Sie haben ? 

Mepliistopheles. 

Nein ! 
Sie wird bei einer Nachbarin sein. 
Indessen konnt ihr ganz allein 
An aller Hoffnung kiinft'ger Preuden 2315 

In ihrem Dunstkreis satt euch weiden. 

Faust. 
Konnen wir hiu ? 



THE STREET. 205 

enjoyment ? The delight is not so great by far, as when 
you have kneaded and moulded the doll on all sides with 
all sorts of nonsense," as many an Italian story 
shows us. 

Faust. 
But I have appetite without all that. 

Mephist(ypheles. 
Now, seriously and without offence, I tell you once for 
all, that the lovely girl is not to be had in such a hurry. 
Nothing here is to be taken by storm ; we must have re- 
course to stratagem. 

Faust. 
Get me something belonging to the angel. Carry me 
to her place of repose; get me a kerchief from her bosom, 
a garter of my love. 

Mephistojpheles. 
That you may see my anxiety to minister to your pas- 
sion, — we will not lose a moment ; this very day I will 
conduct you to her chamber. 

Faust. 
And shall I see her ? have her ? — 

Mephistopheles. 
No. She will be at a neighbour's. In the meantime, 
you, all alone, and in her atmosphere, may feast to 
satiety on future joys. 

Faust. 
Can we go now ? 



206 STKASZE. 

Mephistopheles. 
Es ist noch zu friih. 

Faust. 
Sorg du mir fur ein Geschenk fiir sie ! [-^^O 

Mephistopheles. 
Gleioh schenken ? Das ist brav ! Da wird er reussiren : 
Ich kenne manchen sohonen Platz 2320 

Und manchen altvergrabnen Schatz ; 
Ich musz ein biszchen revidiren. L^^-] 



THE STEEKT. 207 

Mephistopheles, 
It is too early. 

Faust. 
Get me a present for her. \_Exit.'] 

Mephistopheles. 
Making presents directly ! That's capital ! That's 
the way to succeed ! I know many a fine place and many 
a long-buried treasure. I must look them over a hit. 

[Exif] 



ABEND. 

Ein Ideines remliches Zimmer. 

Margarets (Hire Zopfe flecMend und aufbmdend). 

I OH gab' was drum, wenn ich nur wiiszt', 
Wer heut der Herr gewesen ist ! 
Er sah gewisz recht wacker aus 2325 

Und ist aus einem edlen Haus ; 
Das konnt' ioh ihm an der Stirne lesen — 
Er wiir' auch sonst nicht so keck gewesen. [A^-l 

Mephistophelbs. Fatjst. 

Mejphistopheles. 
Herein, ganz leise, nur herein ! 

Fomst (nobch einigem Stillschweigen). 
Ioh bitte dich, lasz mich alleiu ! 2330 

MephisiopJieles (herumspurend). 
Nicht jedos Madchen halt so rein. [-46. j 

FaVfSi (rings aufschcmend). 
Willkommen, suszer Dammerschein, 
Der du dies Heiligthum durchwebst ! 
Ergreif mein Herz, du s'dsze Liebespein, 
Die du vom Thau der Hoffnung schmachtend lebst ! 2335 
Wie athmet rings Gefiihl der Stille, 
Der Ordnung, der Zufriedenheit ! 
In dieser Armuth welche Piille ! 
In diesem Kerker 'welohe Seligkeit ! 

[Br wirft sich auf den ledemen Sessel am Betie.] 



EVENING. 
A neat little Boom. 

Margaret {braiding and binding up her hair). 

I WOULD give something to kno-w who that gentle- 
man was to-day ! He had a gallant bearing, and is 
of a noble family I am sure. I could read that on his 
brow; besides, he would not else have been so impudent.''' 

\_Exit.'] 
Mephistopheles — Pattst. 

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

Faust {after a pause). 
Leave me alone, I beg of you. 

Mephistopheles {prying about). 
It is not every maiden that is so neat. , [Exit.'] 

Faust {looJcing round). 
Welcome, sweet twilight, that pervades this sanctuary! 
Possess my heart, delicious pangs of love, ye who live 
languishing on the dew of hope! What a feeling of 
peace, order, and contentment breathes round ! What 
abundance in this poverty ! What bliss in this cell ! 
[He throws himself upon the leathern easy chair by 
the side of the bed.] 



210 ABEXB. 

0, nimm mich auf, der du die Vorwelt Bohon 2340 

Bei Freud' und Sohmerz in offnen Arm empfangen ! 
Wis oft, ach, hat an diesem Vaterthron 
Sehon eine Schaar von Kindern rings gehangen ! 
Vielleicht hat, dankbar fiir den Heil'gen Christ, 
Mein Liebchen hier mit voUen Kinderwangen 2345 

Dem Ahnherrn fromm die welke Hand gekiiszt. 
Ich fiihr, o Madchen, deinen Geist 
'Der Full' und Ordnung um mich sauseln, 
Der miitterlich dich taglich unterweist, 
Den Teppich auf den Tisch dich reinlich breiten heiszt, 
Sogar den Sand zu deinen Fuszen krauseln. 2351 

liebe Hand ! So gottergleich ! 
Die Hiitte wird durch dich ein Himmelreich. 
Und hier ! , [JE?r helt emen Bettvorhang auf. J 

Was faszt mich fur ein Wonnegraus ! 
Hier mocht' ich ToUe Stunden saumen. 2355 

Natur ! Hier bildetest in leichten Traumen 
Den eingebornen Engel aus. 
Hier lag das Kind, mit warmem Leben 
Den zarten Busen angefuUt, 

Und hier mit heilig reinem Weben 2360 

Bntwirkte sich das Gotterbild ! 

Und du ! Was hat dich hergef iihrt ? 
Wie innig fiihl' ich mich geriihrt ! 
Was willst du hier? Was wird das Herz dir schwer ? 
Armsel'ger Faust ! Ich kenne dich nicht mehr. 2365 

Umgiebt mich hier ein Zauberduft ? 
Mich drang's, so grade zu genieszen, 
Und fiihle mich in Liebestraum zerflieszen ! 
Sind wir ein Spiel von jedem Druck der Luft ? 

Und trato sie den Augenbliok herein, 2370 

Wie wiirdest du fiir deinen Frevel biiszen I 
Der grosze Hans, ach wie bo klein, 
Lag' hingescbmolzen ihr zu Fiiszeu, 



EVENING. 211 

Oh ! receive me, thou, who hast welcomed, with open 
arms, in joy and sorrow, the generations that are past. 
Ah, how often has a swarm of children clustered about 
this patriarchal throne! Here, perhaps, in gratitude 
for her Christmas-gift, with the warm round cheek of 
childhood — has my beloved piously kissed the withered ^ 
hand of her grandsire; Maiden, I feel thy spirit of 
abundance and order breathe round me — that spirit 
which daily instructs thee like a mother — which bids 
thee spread the cloth neatly upon the table and curl the 
sand at thy feet. Dear hand ! so godlike ! you make f 
the hut a heaven ; and here — [.He lifts up a bed-curtain] 
. — what blissful tremor seizes me ! Here could I linger 
for whole hours ! Nature ! This angel from birth you 
shaped, here, in airy dreams. HereJay the child ! its gentle 
bosom filled with warm life ; and here, with weavings of 
hallowed purity, the divine image developed itself. 

And thou, what has brought thee hither ? How 
deeply moved I feel ! What wouldst thou here ? Why 
grows thy heart so heavy ? Miserable Faust, I no l onge r 
kno w the e. 

Am I in an enchanted atmosphere ? °' I panted so for 
instant enjoyment, and feel myself dissolving into a 
dream of love. Are we the sport of every pressure of 
the air ? 

And if she entered this very moment, how wouldst 
thou atone for thy guilt ! The big boaster ! alas, how 
small ! would lie, dissolved away, at her feet. 



212 ABEND. 

Me;phisto'pheles. 
Geschwind ! Ich seh' sie unten kommen. 

Fallot. 
Port ! Port ! Ich. kehre nimmermehr ! 2375 

Mefhisto'pheles. 
Hier ist ein Kastcben, leidlich schwer, 
Ich hab's wo andera hergenommen. 
Stent's bier nur immer in den Sohrein, 
Icb scbwiir' euch, ibr vergebn die Sinnen ; 
Icb tbat eucb .Saobelcben binein, 2380 

Um sine Andre zu gewinneu. 
Zwar Kind ist Kind, und Spiel ist Spiel. 

Favat. 
Icb weisz uicbt, soil icb ? 

Mejphisto'pheles. 

Fragt ihr viel ? 
Meint ibr vielleicbt den Schatz zu wahren ? 
Dann rath' icb eurer Lusternbeit, 2385 

Die liebe schone Tageszeit 
Und mir die weitre Miib zu aparen. 
Icb bofiT' nicbt, dasz ihr geizig seid ! 
Icb kratz' den Kopf, reib' an den Han den — 

\Fr stelU das Kastchen in den Schrein und druckt 
das Schlosz wieder zis.] 
Nur fort ! Geschwind ! — 239c- 

Um euch das susze junge Kind 
Nacb Herzeas Wunsch und Will' zu wenden ; 
Und ibr sebt drein, 
Als solltet ihr in den Horsaal hinein, 
Als stunden grau leibhaftig vor euob da 2395 

Pbysik und Metaphysika ! 
Nur fort!— [^^6.] 

Marga/rete (mdi einer Ldmpe). 
Es ist so scbwiil, so dumpflg bie, 

\_8ie macht das Fenster auf.l 
Und ist doch eben so warm nicbt drausz. 
Es wird mir so, icb wei^z nicht wie — 



mepnisToptieiet 
Quiet ! I see her. coming below. 



EVENING. 213 

MepMstoj/hsles. 



Faust. 
Away, away ! I return no more. 

Mephistopheles. 
Here is a casket tolerably heavy; I took it from 
somewhere else. Only place it instantly in the press 
here. I swear to you, she will be fairly beside herself. 
I put baubles in it to win by it another ; but child i? 
child, and play is play. 

Faust. 
I know not — shall I ? 

Mephistopheles. 

Is that a thing to ask about ? Perchance you mean 
to keep the treasure for yourself ? In that case I advise 
your covetousness to spare yourself the precious hours, 
and further trouble to me. I hope you are not avaricious. 
I scratch my head, rub my hands- 

[Ile places the casket in the press and closes the lock.] 

But away, quick ! — to bend the sweet young creature 
to your heart's desire ; and now you look as if you were 
going to the lecture-room — as if Physic and Metaphysic 
were standing grey and bodily before you there. But , 
away ! [Exeunt] 

Margaret (with a lamp). 

It feels so close, so sultry here.'" \_8he opens the 
window.] And yet it is not so very warm without. I 
begin to feel I know not how. I wish my mother would 



211i ABEND. 

Ich woUt', die Mutter kam' naoh Haus. 2400 

Mir lauft ein Schauer iibern ganzen Leib — 
Bin dooh ein thSricht furchtsam Weib ! 

[Siefdngt an zu singen, indem sie sich auszieht.^ 

Es war ein Konig in Thule 

Gar treu bis an das Grab, 

Dem sterbend seine Buhle 2405 

Einen goldnen Becher gab. 

Es ging ihm nichts dariiber, 

Er leert' ihn jeden Schmaus ; 

Die Augen gingen ihm iiber. 

So oft er trank daraus. 24,0 

Und als er kam zu sterben, 
Zahlt' er seine Stadt' im Reich, 
Gonnt' AJles seinem Erben, 
Den Becher nicht zugleich. 

Er sasz beim Konigsmahle, 24,5 

Die Eitter um ihn her, 

Auf hohem Vatersaale, 

Dort auf dem Schlosz am Meer. 

Dort stand der alte Zecher, 

Trank letzte lebensgluth 2420 

Und warf den heiligen Becher 

Hinunter in die Eluth. 

Er sah ihn stiirzen, trinken 

Und sinken tief ins Meer. 

Die Augen thaten ihm sinken, 2425 

Trank nie einen Tropfen mehr. 

[ffie eroffnet den Schrein, ihre Kleider einzuraumen, 
und erbUckf das SchmucJcMstchenJ 
Wie kommt das schone Kastchen bier herein ? 
Ich schlosz doch ganz gewisz den Schrein. 
Es ist doch wunderbar! Was mag wohl drinne sein ? 
Vielleicht braoht's Jemand als ein Pfand, 24,0 

Und meine Mutter lieh darauf. ' 

Da hangt ein Schlusselchen am Band, 



EVEMXG. 215 

come home. I tremble all over ; but I am a silly, timid 
woman. [She begins to sing as she undresses herself.'] 

SONG. 

There was a king in Thule," 
Faithful even to the grave, 
To whom his dying mistress 
Gave a golden goblet. 

He prized nothing above it ; 
He emptied it at every feast ; 
His eyes overflowed as often 
As he drank out of it. 

And when he came to die, 
He reckoned up the cities in his kingdom ; 
He grudged none of them to his heir. 
But not so with the goblet. 

He sat at the royal banquet, 
With his knights around him, 
In his proud ancestral hall, there 
In his castle on the sea. 

There stood the old carouser, 
Took a parting draught of life's glow, 
And threw the hallowed goblet 
Down into the waves. 

He saw it splash, fill, and sink 
Deep into the sea ; 
His eyes sank, he never 
Drank a drop more. 

[SAe opens the press to put away her clothes, and 

perceives the casTcet.'] 

How came this beautiful casket bere? I am sure 

I locked the press. It is very strange ! What is in it, 

i wonder? Perhaps someone brought it as a pledge, 

and my mother lent upon it. A little key hangs by the 



216 ABEx\D. 

Ich denke wohl, ich mach' es auf ! 

Was ist daa ? Grott im Himmel ! Sohau, 

So was hab' ich mein' Tage nicht gesehn ! 243 ; 

Bin Sohmuck ! Mit dem konnt eine Edelfrau 

Am hochsten Feierfcage gehn. 

Wie sollte mir die Kette stehn ? 

Wem mag die Hei'rlichkeit gehoren ? 

[/Sie putzi sioh damit auf und tritt vor den Spiegel.^ 
Wenn nur die Ohrring' meine waren ! 2440 

Man sieht doch gleich ganz andcrs drein. 
Was hilft euoh Schonheit, junges Blut ? 
Das ist wohl AUes Bchon und gut, 
Allein man laszt's auch A.lles sein ; 
Man lobt euch halb mit Erbarmen. 24,5 

Nach Golde drangt, 
Am Golde hangt 
Doch AUes. Aoh, wir Armen ! 



EVENING. 217 

ribbon ; I hare a good mind to open it. What is this? 
Good heavens ! Look ! I have never seen anything like 
it in my life. A set of trinkets ! a noble dame might 
wear such on the highest festival. How would the chain 
become me ? To whom may this splendour belong ? 
\_8he adorns herself with them, and steps lefore the 
looJdng-glass.] 
If the earrings were but mine ! One cuts quite a dif- 
ferent figure in them. What avails your beauty and 
your youth? That may be all pretty and good, but 
one leaves it alone. Tou are praised, half in pity. 
After gold all press, all are attached to gold. Alas, 
we poor ones ! 



SPAZIERGANG. 

Faust in Qedanken auf und ah gehend. Zu ihm 
Mephisiopheles. 

M&pJmtofheles. 

BEI aller verschmakten Liebe ! Beim hoUischen Ele- 
mente ! 
loh wollt', ioh -wiiszte was Aergers, dasz ich's fluohen 
konnte ! 2450 

FoAJiSt. 

Was hast ? Was kneipt dich denn so sehr ? 
So kein Gesioht sah ioh in meinem Leben ! 

Mephistojpheles. 
Ich mbcht' mich gleich dem Teufel iibergeben, 
Wenu ich nur selbst kein Tenfel war' ! 

Faust. 
Hat sich dir was im Eopf verschoben ? 2455 

Dich kleidet's, wie ein Rasender zu toben ! 

Me'pMsioTp'heles, 
Denkt nur, den Schmuok, fiir Gretchen angeschafTt, 
Den hat ein Pfaff hinweggerafft ! — 
Die Mutter kriegt das Ding zu schauen, 
Gleich fangt's ihr heimlioh an zu grauen : 2460 

Die Frau hat gar einen feinen Geruoh, 
Schnuffelt immer im Gebetbuoh 
Und riecht's einem jeden Mobel an, 
Ob das Ding heilig ist oder profan ; 
Und an dem Schmuok da spurt sie's klar, 2465 



A PEOMENADE. 

Faust walking wp and down thoughtfully. To him 
Mephistophelbs. 



B 



Mephistopheles. 
T all despised love ! By the flames of hell ! Would 
that I knew something worse to curse by ! 



Faust. 
What is the matter ? What is it that pinches you so 
sharply ? I never saw such a face in my life ! 

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

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

Mephistopheles. 
Only think ! A priest has carried off the jewels pro- 
vided for Margaret. The mother gets sight of the 
thing, and be^ns at once to have a secret horror of it. 
Truly the woman hath a fine nose, is ever snuffling 
in her prayer-book, and smells in every piece of furni- 
ture whether the thing be holy or profane ; and she 
plainly smells out in the jewels, that there was not 



220 SPAZIERGANG. 

Dasz dabei nioht viel Segen war. 

Mein Eind, rief sie, ungerechtes Gut 

Befangt die Seele, zehrt auf das Blut. 

WoUen's der Mutter Gottes weihen, 

Wird uns mit Himmelsmanna erfreuen ! 2470 

Margretlein zog ein schiefes Maul ; 

1st halt, dacht' sie, ein geschenkter Gaul, 

Und wahrlioh, gottlos ist nicht der, 

Der ihn so fain gebracht hierher. 

Die Mutter liesz einen Pfaffen kommeu ; 24.75 

Der hatte kaum den Spasz vernommen, 

Liesz sieh den Anbliok wohl behagen. 

Er spraoh : So ist man recht gesinnt ! 

Wer uberwindet, der gewinnt. 

Die Kirche hat einen guten Magen, 2480 

Hat ganze Lander aufgefressen 

Und doch noch nie sich ubergessen ; 

Die Kirch' allein, meine lieben Frauen, 

Kann ungerechtes Gut verdauen. 

Faust. 
Das ist ein allgemeiner Brauch, 2485 

Ein Jud' und Konig kann es auoh. 

Mephistopheles. 
Strich drauf ein Spange, Kett' und Ring', 
Als waren's eben Pfiflferling', 
Dankt' nicht weniger und nioht mehr, 
Als ob's ein Korb voll Niisse war', 2490 

Versprach ihnen alien/ himmlischen Lohn — 
Und sie waren sehr erbaut davon. 

Faust. 
Und Gretchen ? 

Mephistopheles . 

Sitzt nun unruhvoll, 
Weisz weder, was sie will nooh soil, 
Denkt ans Geschmeide Tag und Nacht, 2495 

Noch mehr an den, der's ihr gebracht. 



A PROMENADE. 221 

mucli blessing in them. " My child," said she, " un- 
righteous wealth ensnares the soid, consumes the blood. 
We will consecrate it to the Mother of Grod ; she will 
gladden us with heavenly manna ! " Margaret made a wry 
face ; it is after all, thought she, a gift horse ; and truly, 
he cannot be godless, who brought it here so handsomely. 
The mother sent for a priest. Scarcely had he heard 
the curious story, when the look of it greatly pleased him. 
He spoke : " This shows a good disposition ; who over- 
comes himself, — he is the victor. The church has a 
good stomach ; she has eaten up whole countries, and 
has never yet over-eaten herseH ; the church alone, my 
good women, can digest unrighteous wealth." 

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

MepMstopheles. 
So saying he swept off clasp, chain, and ring, as if 
they were mere trifles °'; thanked them neither more 
nor less than if it had been a basket of nuts ; pro- 
mised them all heavenly reward— and very much edified 
they were. 

Faust. 
And Margaret ? 

Mephistopheles. 
Is now sitting full of restlessness ; not knowing what 
she wants, or what she should do with herself ; thinks 
day and night on the trinkets, and still more on him 
who brought them to her. 



222 SPAZIERGANG. 

Des Liebohens Kummer thut mir leid. 
Schaff du ihr gleioh ein neu Geschmeid ! 
Am ersten war ja so nioht viel. 

MifhisiopTieles. 
ja, dem Herrn ist Alles Kinderspiel ! 2500 

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

Mephisto^hehi. 
Ja, gnad'ger Herr, von Herzen gerne. 2505 

[Faust ah.'] 

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



A PROMENADE. 223 

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

M&phisto^h eles. 
Oh ! to be sure, all is child's play to the gentleman ! 

Faust. 
Do it, and order it as I wish. Stick close to her 
neighhoTir. Don't he a milk-and-water devil ; and fetch 
a fresh set of jewels. 



With all my heart, honoured Sir. [Patjst exit.'] 

Mephistopheles. 
A love-sick fool like this puffs away into the air, 
sun, moon and stars, by way of pastime for his mis- 
tress. [Exit.'] 



DIB, NACHBAEIlSr HAUS. 

Martlie (allein). 

GOTT verzeih's memem lieben Mann, 
Er hat an mir nioht wohl gethan ! 2510 

Geht da stracks in die Welt hinein 
Und laszt mich auf dem Stroh allein. 
That ihn dooh wahrlich nicht betriiben, 
That ihn, weisz Gott, recht herzlich lieben. 

\_Sie wemi-l 

Vielleioht ist er gar todt ! — Pein ! ■ 2515 

Hatt' ich nur einen Todtenschein ! 

[Mabgaebte leommtl 

Margarete, 



Frau Marthe ! 



Marthe. 
Gretelchen, was soil's ? 



Margarete. 
Fast sinken mir die Kniee nieder ! 
Da find' ich so ein Kastchen wieder 
In meinem Schrein, von Ebenholz, 2520 

Und Saohen, herrlich ganz und gar, 
Weit reicher, als das erste war. 

Marihe. 
Das musz sie nioht der Mutter sagen; 
That's wieder gleich zur Beichta±ragen. 

Marga/reie. 
Aoh, set sie nur ! Aoh» sohau sie nur ! 2525 



THE NEiaHBOUE'S HOUSE. 

Martha (alone). 

GOD forgive my dear husband ; lie lias not acted well 
towards me. He goes straight away into the world, 
and leaves me quite alone on the straw. Yet truly I never 
did anything to vex him ; God knows I loved him with 
all my heart. (She weeps.) Perhaps he is actually 
dead ! Oh, torture ! — Had I but a certificate of his 
death ! 

Maegaeet enters. 

Ma/rgwret. 
Dame Martha ! 

Martha. 
What is the matter, Margaret ? 

Margaret. 
My knees almost sink under me ! I have found just 
such another casket of ebony in my press, and things 
quite grand, far costlier than the first. 

Martha. 
You must say nothing about it to your mother ; she 
would cany it at once to the confessional again. 

Margaret. 
Now, only see ! do but look at them ! 
<4 



226 DER NACHBARIN HAUS. 



Marthe (putat sie auf). 
du glucksel'ge Kreatur ! 

Margarete. 
Darf mich l eider nicht auf der Gassen 
Noch in der Kii-che mit sehen lassen. 

Martlie. 
Komm du nur oft zu mir heriiber 

Und Jeg den Schmuck hier heimlioli an ; 2530 

Spazier ein Stundchen lang dem Spiegelglas voriiber, 
Wir haben unsre Freude dran; 

Und dann giebt's einen Anlasz^^giebt's ein Fest, '^ '-■".t- ■-f^\i 
Wo man's so nach und nach den Leuten sehen laszt, 
Ein Kettchen erst, die Perle dann ins Ohr; 2535 

Die Mutter sielit's wohl nicht, man maoht ihr auch was 
vor. 

Mwrgareie. 
Wer konnte nur die beiden Kastohen bringen ? 
Es geht nicht zu mit rechten Dingen ! [J5s hlopfl^ 

Ach Gott, mag das meine Mutter sein ? 

Ma/rthe (^durcJis VorJiangel guchend). 
Es ist ein fremder Herr — Herein ! 2540 

[MEPniSTOPHELBS tritt auf.'] 

Mephistoplieles. 
Bin so frei, grad herein zu treten, ■ 

Musz b'ei den Prauen Verzeihn erbeteu. 

[rW/f ehrerhietig vor Makgaheten zuriick.'j 
WoUte nach Frau Marthe Schwerdtlein fragen ! 

Marihe. 
Ich bin's. Was hat der Herr zu sagen ? 



THE neighbour's HOUSE. 227 

Martha (dresses her up in them). 
Oh ! you happy creature. 

Margaret. 
Unfortunately, I must not be seen in them in the 
street, nor in the church. 

Martha. 

Do but come over frequently to me, and pat on the 
trinkets here in private ; walk a little hour up and 
down before the looking-glass ; we shall have our enjoy- 
ment in that. And then an occasion offers, a holiday 
happens, when, Uttle by little, one lets folks see them ; 
— first a chain, then the pearl in the ear. Tour mother 
will probably not observe it, or one may make some pre- 
tence to her. 

Margaret. 

But who could have brought the two caskets ? There 
is something uncanny about it. [^Someone knocks.] 

Good God ! can that be my mother ? 

Martha (looking through the little curtain). 
It is a stranger. Come in ! 

Mephistopheles enters. 
Mephistopheles. 
I have made free to come in at once ; I have to beg 
pardon of the ladies. 

[He steps back respectfully on seeing Margaret.] 
I came to inquire after Mrs. Martha Schwerdtlein. 

Martha. 
I am she. What is your pleasure, Sir ? 



228 DER NACHBARIN IIAUS. 

Mephistopheles (leiee zu ihr). 
Ich kenne sie jetzt, mir ist das genug ; 2545 

Sie hat da gar vornehmen Besuch. 
Verzeiht die Freiheit, die ich genommen, 
Will nach Mittage wiederkommen. 

Marthe (laut). 
Denk, Kind, um Alias in der Welt ! 
Der Herr dich fUr ein Fraulein halt. 2550 

Margareie. 
Ich bin ein armes junges Blut ; 
Aoh Gott ! Der Herr ist gar zu gut : 
Sohmuck und Gesohmeide sind nicht mein. 

Mephistopheles. 
Ach, es ist nioht der Schmuck allein ; 
Sie hat ein Wesen, einen Blick, so soharf ! 2555 

Wie freut mioh's. dasz ich bleiben darf. 

Marthe. 
Was bringt er denn ? Verlange sehr — 

Mephistopheles, ri 

Ich woUt', ich hatt' eine frohere Mar' ! """^''^ 
Ich hoffe, sie laszt mioh's drum nicht biiszen : 
Ihr Mann ist todt und laszt sie griiszeu. 2560 

Mmrthe. 
Ist todt ? Das treue Herz ! weh ! 
Mein Mann ist todt ! Ach, ich vergeh' ! 

Mwrga/rete. 
Ach, liebe Frau, verzweifelt nicht ! 

Mephistopheles. 
So hort die traurige Geschioht' ! 



THE neighbour's hoc!5e. 229 

MepMstopheles (aside to her). 
I know you now — that is enough. You have a visitor 
of distinction there. Excuse the liberty I have taken. 
I will call again in the afternoon. 

Martha (aloud). 
Only think, child — of all things in the world ! This 
gentleman takes you for a lady. 

Margaret. 
I am a poor young creature. Oh! Heavens, the 
gentleman is too obliging. The jewels and ornaments 
are none of mine. 

Mephistopheles. 
Ah ! it is not the jewels alone. Tou have a mien, 
a look, so striking. H'ow glad I am that I may stay. 

Martha. 
What do you bring then ? I am very curious — 

Mephistopheles. 

I wish I had better news ! I hope you will not make 

me suffer for it. Your husband is dead, and sends you 

his greeting. 

Martha. 

Is dead ? The good soul ! Oh, woe is me ! My husband 

is dead ! Ah, I shall die ! 

Margaret. 
Ah, dearest dame, don't despair. 

Mej)histo]c>heles, 
Listen to the melancholy tale. 



230 Tjer nachbarin haus. 

Margarete. 
Ich mcichte drum meiu' Tag' nicht lieben,. >«,' 2565 

Wurde mioh Verlust zu Tode betruben. j^^' 

MepMstophelee. 
Freud' musz Leid, Leid musz Freude haben. 

Marthe. 
Brzahlt mir seines Lebens Scblnsz ! 

Mephistopheles. 
-Er liegt in Padua begraben 

Beim heiligen Antonius, 2570 

An einer wohlgeweihten Statte 
Zum ewig kiihlen Kuhebette. 

Ma/rilie. 
Habt ihr sonat nicbts aa mioh zu bringen ? 

Mephistopheles. 
Ja, eine Bitte, grosz und sohwer> 

Lasz sie dooh ja fur ihn dreihunderfc Messen singen ! 2575 
Im TJebrigen sind meine TascLen leer. 

Marihe. 
Was ! Nicht ein Schaustiiok, kein Geschmeid, 
Was jeder Handwerksbursch im Grand des Sackels spart. 
Zum Angedenken aufbewahrt, 
Tjnd lieber hungert, lieber bettelt ? 25S0 

MepMstopheles. 
Madam, es thut mir herzlioh leid ; 
AUein er hat sein Geld wahrhaftig nicht veraettelt, 
Auch er bereute seine Fehler sehr, 
Ja, und bejammerte sein UnglUck nooh viel mehr. 

Margarete. 
Ach ! Dasz die Menschen so ungliioklich sind ! 2585 

Gewisz, ich will fiir ihn mauch Bequiem nooh beten. 



THE neighbour's HOUSE. 231 

Margaret. 

For this reason I should wish never to he in love for 

all the days of my life. The loss would grieve me 

to death. 

Mephistopheles. 

Joy must have sorrow — sorrow, joy. 

Martha. 
Eelate to me the close of his life. 

MepMstojpheles. 
He lies huried in Padua at St. Antony's, in a well- 
consecrated spot for an eternally cool bed of rest. 

Martha. 
Have yen nothing else for me? 

/•-. MepMstopheles. 

Tes, a request, big and heavy ; be sure to have three 

hundred masses sung for him ! For the rest, my pockets 

are empty. 

Martha. 

What ! Not a medal ? Not a trinket ? what every 

journeyman spares at the bottom of his wallet, keeping 

it as a token, and rather starves, rather begs — 

Mephistojaheles. 
Madam, I am very sorry. But he really has not 
squandered away his money. He also bitterly re- 
pented of his sins ; ay, and bewailed his ill-luck still 

more. 

Margaret. 

Ah ! that mortals should be so unfortunate ! Assuredly 

I will say many a prayer for his soul. 



232 DER NACHBARIN HAUS. 



MepMstoTphelci. 
Ihr waret werth, gleich in die Eh' zu treten : 
Ihr seid ein liebenswurdig Kind. 

Ma/rgaffete. 
Ach nein, das geht jetzt noch nioht an. 

Meplidsiophelei. , 
Ist's nicht ein Mann, sei's derweil ein Galan, 2590 

's' ist eine der groszten Himmelsgaben ! 
So ein lieb Ding im Arm zu haben. 

Marr/arete. i ^ 

Das ist des Landes nicht der Branch. C/-^^ 

Mephiitopheleg. 
Branch oder nicht ! Es giebt sich auch. 

Marthe. 
Erzahlt mir doch ! 

MepMstopheles, 
Ich stand an seinem Sterbebette, 2595 
Es war was besser als von Mist, 
Von halbgefaultem Stroh ; allein er starb als Christ 
TJnd fand, dasz er weit mehr noch auf der Zeche hatte. 
Wie, rief er, musz ich mich von Grund aus hasseu, 
So main Gewerb, mein Weib so zu verlassen ! 2600 

Ach, die Erinn'rung todtet mich. 
Vergab' sie mir nur noch in diesem Leben ! — 

Marthe (weinend). 
Der gute Mann ! Ich hab' ihm langst vergeben. 

Mephittopheleg. 
Allein, weisz Gott, sie war mehr Schuld als ich. 



THE neighbour's HOUSE. 233 

MephistopJieles. 
You deserve to be married directly. Tou are a love- 
able child. 

Margaret. 

Oh, no I that would not do for the present. 

Mephistopheles. 
If not a husband, then a gallant in the meantime. It 
is one of the best gifts of heaven to have so sweet a 
thing in one's arms. 

Margaret. 
That is not the custom in this country. 

Mephietopheles. 
Custom or not ! Such things do come to pass though. 

Martha. 
But relate to me ! 

Mejphistopheles. 
I stood by his death-bed. It was somewhat better 
than dung, — of halfrrotten straw; but he died like 
a Christian, and found that he had still much more 
upon his score. How thoroughly, he cried, must I 
detest myself — to run away from my business and my 
wife in such a manner. Oh ! the recollection is death 
to me. If she would but forgive me in this life ! — ■ 

Martha (weeping). 
The good man ! I have long since forgiven him. 

Mephistopheles. 
But, Grod knows, she was more in fault than I. 



234 DEE NACHBARIN HATJS. 

Marihe. 
Das lugt er ! Was, am Band des Grabs zu liigen ! 2605 

Mephistopheles. , - 't^j-y 
Br fabelte gewisz in letzten Ziigen, A^ 
Wena ich nur halb ein Kenner bin. 
Icii hafcte, sprach er, nicht zum Zeitvertreib zu gaifen, 
•Erst Kinder und dann Brod fiir sie zu schaffen, 
Und Brod im allerweitsten Sinn, 2610 

Und konnte nicht einmal mein Theil in Frieden essen. 



Hat er so aller Treu', so aller Lieb' vergessen^-j >'| 
Plackerei bei Tag und Naoht ! X?^' * 'i' 



MeplvMopheles. 
Nicht doch, er hat euch herzlioh dran gedaoht. 
Er sprach : Als ich nun weg von Malta ging, ?,6i5 

Da betet' ich fiir Frau und Kinder briinstig ; 
Une war denn auch der Himmel giinstig, 
Dasz nnser Schiff ein tiirkisch Fahrzeug fing, 
Das einen Schatz des groszen Sultans fiihrfce. 
Da ward der Tapferkeit ihr Lohn, ihvi 

Und ich empflng denn auch, wie sich's gebiihrte, 
Mein wohlgemessnes Theil davon. 

Marihe. 
Ei wie ? Bi wo ? Hat er's vielleicht vergraben ? 

MeplJiitophelet. 
Wer weisz, wo nun es die vier Winde haben ! 
Ein schones Praulein nahm sich seiner an, Z625 

Als er in Napel fremd umherspazierte ; 
Sie hat an ihm viel Lieb's und Treu's gethan, 
Dasz er's bis an sein selig Bnde spiirte. 

Manilie. 
Der Schelm ! Der Dieb an seinen Kindern \ 



THE NEIGHBOUK's HOUSE. 235 

Martha,. 
He lied then ! What, tell lies on the brink of the 
grave ! 

MephistopJieles. 
He certainly fabled with his last breath, if I am but 
half a judge. I, said he, had no occasion to gape for 
pastime — first to get children, and then bread for them 
— and bread in the widest sense, — and could not even 
eat my share in peace. 

Martha. 
Did he thus forget all my fidelity, all my love — ^my 
drudgery by day and night ? 

• Mephistopheles. 
Not so ; he affectionately reflected on it. He said : 
Wlien I left Malta, I prayed fervently for my wife and 
children ; and heaven was so far favourable, that our 
ship took a Turkish vessel, which carried a treasure of 
the great sultan. Bravery had its' reward, and, as was 
no more than right, I got my fair share of it. 

Martha. 
How ! Where ! Can he have buried itf 

Mephistopheles. 
Who knows where it is now scattered to the four 
winds of heaven ! A fair damsel took an interest in 
him as he was strolling about, a stranger, in Naples. 
She showed great fondness and fidelity towards him ; so 
much so, that he felt it even unto his blessed end. 

Martha. 
The villain ! The robber of his children ! And all the 



23C DER NACHBARIN HAUS. 

Auchalles Blend, alle Noth 2630 

Konnf nicht sein schandlich Leben hindern I 

MepMitophelet, 
Ja seht ! Dafiir ist er nun todfc. 
War' ioh nnn jetzt an eurem Platze, , ,j-\^^ 

Betraurt' ich ihn ein zuchtig Jahr, 
Visirte dann unterweil nach einera neuen Schatze. z6j 5 

MiM-the. 
Ach Gott, wie doch mein erster war, 
Find' ich nicht leicht auf dieser Welt den andern ! 
Bs konnte kaum ein herziger Narrohen sein. 
Er liebte nur das- allzu viele Wandern 
Und fremde Weiber nnd fremden "Wein 2640 

Und das verfluchte Wurfelspiel. 

MepMstopheles. 
Nun, nun, so konnt' es gehn und stehen, 
Wenn er euch ungefahr so viel 
Von seiner Seite nachgesehen. 

Ioh schwor' euch zu, mit dem Beding 2645 

Wechselfc' ich selbst mit euch den Eing ! 

Marthe. 
0, es beliebt dem Herrn zu scherzen ! 

Mephistopheles (Jur aicK). 
Nun mach' ich mich bei Zeiten fort ! 

Die hielte wohl den Teufel selbst beim Wort. 2649 

{Zu Gketchen.) Wie steht es denn mit ihrem Herzen ? 

Margarete. 
Was meint der Herr damit ? 

MepMsiopheles (ftir sich). 

Du gut's, unschuldig's Kind ! 
(Laut.) Lebt wohl, ihr Frau'n ! 

Margarete. 

Lebt wohl ! 



THE neighbour's HOUSE. 237 

wretchedness, all the poverty, could not check his scan- 
dalous life. 

Mephistopheles. 

But you see, he died in consequence of it. Now, were 

I in your place, I would mourn him for one chaste year, 

and have an eye towards a new sweetheart in the mean- - 

time. 

Martha. 

Oh, God ! but I shall not easily in this world find 

another like my first. There could hardly be a sweeter 

little fool. He only loved too much roaming about, 

and foreign women, and foreign wine, and the cursed 

dicing. 

Mejphistojpheles. 

Well, weU, things might have gone on very well, if 

he, on his part, only had the same indulgence for you. 

I swear, upon this condition, I would change rings 

with you myself ! °' 

Martha. 

Oh, the gentleman is pleased' to jest. 

Mephistopheles (aside). 
Now it is full time to be off. I dare say she would 
take the devil himself at his word.— (To Maegaket.) 
How goes it with your heart H 

Margaret. 
What do you mean. Sir ? 

Mephistopheles (aside). 
Good, innocent chili.— (Aloud.) Farewell, ladies ! 

Margaret. 
Farewell ! 



238 DER NACHBAEIN HAUS. 

MartUe. 

0, sagt mir doch gesohwiud ! 
loh mochte gern em Zeugnisz habeu, 
Wo, wie und wann meia Sohatz gestorben und begrabeu. 
Ich bin von je der Ordnung Freund gewesen, 2655 

Mooht' ihn auch todt im Woohenblattchen lesen. 

Me^hidopheles. 
Ja, gute Fran, durch zweier Zeugen Mund 
Wird allerwegs die Wahrheit kund ; 
Habe nooh gar einen feinen Gesellen, 

Den will ich euch vor den Eichter stellen. 26&0 

Icli bring' ihn her. 

Ma/rtTie. 

O, thut das ja ! 

Meiphisto;p'keles. 
Und hier die Jungfrau ist auch da ? — 
Bin braver Knab' ! Ist viel gereist, 
Frauleins alle Hdflichkeit erweist. 

MwrgareU. 
Miiszte vor dem Herren schamrofch warden. 2665 

Me'phistofhelet. 
Vor keinem Konige der Erden. 

Marthe. 
Da hinterm Haus in meinem Garten 
WoUen wir der Herm heut Abend warten. 



THE neighbour's HOUSE. 239 

Martha. 
Oh, but tell me quickly ! I should like to have a 
certificate where, how, and when my love died and was 
buried. I was always a friend to regularity, and should 
like to read his death in the weekly paper. 

Me]pTiistopheles. 
Ay, my good madam, the truth is manifested by the 
testimony of two witnesses "'° all the world over ; and I 
have a gallant companion, whom I will bring before 
the judge for you. I will fetch him here. 

Mariha. 
Oh, pray do ! 

Me^ hidopheles. 
And the young lady will be here too ? — A fine lad ! 
Has travelled much, and shows all possible politeness to 

the ladies. 

Margaret. 

I should be covered with confusion in the presence of 

the gentleman. 

Mephistopheles. 

In the presence of no king on earth. 

Martha. 
Behind the house there, in my garden, we shall expect 
you both this evening. 



STRA.SZE. 

Faust. Mephistopheles. 

Faust. 
■\ 1 T'lE ist's ? Will's fdrdera ? WiU's bald gehn ? 

Mephistopheles. 
Ah bravo ! Find' ioh each in Feuer? 2670 

In kurzer Zeit ist Gretohen euer. 
Heut Abend soUt ihr sie bei Naohbars Marfchen sehn : 
Das ist ein Weib wie auserlesen 
Zum Kuppler- und Zigeunerwesen .' 

Fault. 
So recht ! 

Mephistopheles. 
Dooh wird auch was von uns begehrt, 2675 

Faust, 
Ein Dienst ist wohl des andern werth. 

Mephistopheles. 
Wir legen nur ein giiltig Zeugnisz nieder, 
Dasz ihres Ehherrn ausgereckte Glieder 
In Padua an heil'ger Statte ruhn. 

Fwusi. 
Sehr king ! Wir warden erst die Eeise machen miissen ! z68o 



THE STREET. 

Faust — Mephistopheles. 

FavM. 

HOW goes it ? Is it in train ? Will it soon 
do? 

Mej)Mstop?iele8. 

Bravo ! Do I find you all on fire ? Margaret -wiH 
very shortly be your's. This evening you will see her at 
neighbour Martha^s. This is a -woman especially chosen, 
as it were, for the procuress and gipsy calliag. 

Fauat. 
So far so good. 

Mephistopheles. 
Something, however, is required of us. 

Faust. 
One good turn deserves another. 

Mephistopheles. 
We have only to make a formal deposition that her 
husband's rigid limbs repose in holy ground in Padua. 

Faust. 
Wisely done '^ We shall first be obliged to take the 
journey thither, I su^jpose. 



2 12 STRARZE. 



Mephuto;pheles. 
Sanda simpUcitns ! Darum ist's nicht zu thun ; 
Bezeugt nur, ohne viel zu wissen ! 

Fault. 
Wenn er niohts Bessere hat, so ist der Plan zerrissen. 

Mephistopheles. 
heil'ger Mann ! Da wart ihr's nun ! 
1st es das erste Mai in eurem Leben, 2685 

Dasz ihr falsch Zeugnisz abgelegt ? 
Habt ihr Ton Gott, der Welt und was sioh drin bewegt, 
Vom Menschen, was sioh ihm in Kopf und Herzen regt, 
Definitionen nicht mit groszer Kraft gegeben ? 
Mit frecher Stime, kiihner Brust ? 2690 

Und wollt ihr recht ins Innre gehen, 
Habt ihr davon, ihr miiszt es grad gestehen, 
So yiel als von Herrn Schwerdtlein's Tod gewuszt ! 

Faust. 
Du bist und bleibst ein Liigner, ein Sophiste. 

MepMstopheles. 
Ja, wenn man's nicht ein biszohen tiefer wiiszte ! 2*1 ;^ 

Denn morgen wirst in alien Bhren 
Das arme Gretchen nicht bethciren 
Und alle Seelenlieb' ihr schwCren ? 

Faust, 
Und zwar von Herzen. 

Mephisiopheles. 
Gut und schftu ! 
Dann wird von ewiger Treu' und Liebe, 2700 

Von einzig iiberallmacht'gem Triebe — 
Wird das auch so von Herzen gehn ? * 



THE STREET. 243 

MepMstopheles. 
Sancta sinvplicitas ! There is no necessity for that. 
Only bear witness without knowing much about the 
matter. 

Faust. 
If you have nothing better to propose, the scheme is 
at an end. 

MepMstopkeles. 

Oh, holy man ! There you are ! Is it the first 
time in your life that you have borne false testi- 
mony ? Have you not confidently given definitions of 
God, of the world, and of whatever moves in it — of man, 
and of the workings of his head and heart — with un- 
abashed front, dauntless breast? And, looking fairly 
at the real nature of things, you knew — you must cer- 
tainly confess — as much of these matters as of Mr. 
Schwerdtlein's death ! 

Faust. 
Thou art and ever wilt be a liar, a sophist. 

Mephistopheles. 
Ay, if one did not look a little deeper. To-morrow, 
too, will you not, in all honour, make a fool of poor 
Margaret, and swear to love her with all your soul ? 

Faust. 
And truly from my heart. 

Mephistopheles. 
Fine talking ! Then will you speak of eternal faith 
and love — of one exclusive, all- subduing passion ; — will 
that also come from the heart ? 



244 STPASZE. 

Faust. 
Lasz das ! Bs wird ! — Wenn ioh empfinde, 
Fur das Gefiihl, fijr das Gewuhl 

Nach Namen suche, keinen finde, 2705 

Dann duroh die Welt mit alien Sinnen schweife, 
Nach alien hochsten Worten greife 
Und diese Gluth, von der ioh brenne, 
Unendlich, ewig, ewig nenne, 
1st das eiu teuflisoh LUgenspiel ? 2710 

Mephistopheles. 
Ioh hab' doch Recht ! 

FaiiiSt. 
Hor ! Merk dir dies — 
Ich bitte dich und schone meine Lunge — 
Wer Recht behalten will und hat nur eine Zunge, 
Behalt's gewisz. 

Und komm, ich hab' des Schwatzens TJeberdrusz; 2715 
Denn dn hast Eeoht, vorziiglioh weil ich musz. 



THE STREET. 245 

Faust. 
Peace ! It will ! — When I feel, and seek a name for the 
passion, the frenzy, but find none ; then range with all 
my senses through the world, grasp at all the most sub- 
lime expressions, and call this flame, which is consum- 
ing me, endless, eternal, eternal ! — is that a devilish play 
of lies? 

M&pMstcypheles. 

I am right for all that. 

< 

Faust. 
Hear ! mark this, I beg of you, and spare my lungs. 
He who is determined to be right and has but a tongue, 
will be right undoubtedly. But come, I am tired of 
gossiping. For you are right, particularly because I 
cannot help myself. 



GARTEN". 

Maegabete an Faustens Arm, Maethe mii Mefhisiopheles 
auf und ab spazierend, 

Margarete. 

ICH fiihr es wohl, dasz mich der Herr nur schont, 
Herab sich laszt, mich zn besohamen. 
Ein Eeisender ist so gewohnt, 

AuB Giitigkeit fUrlieb zu nelimen ; 2720 

Ich weisz zu gut, dasz sblch erfahrneu Mann 
Mein arm Gesprach nicht unterhalten kann. 

Faust. 
Ein Blick von dir, ein Wort mehr unterhalt 
Als alle Weisheit dieser Welt. \_Er Tmszt ihre Hand.'] 

Margarete. 
Inkommodirt ench nicht ! Wie konnt ihr sie nur kiissen ? 
Sie ist so garstig, ist so rauh ! 2726 

Was hab' ich nicht schon Alles schaffen miissen ! 
Die Mutter ist gar zu genau. IGehn voriiber.] 

Martlie. 
Und ihr, mein Herr, ihr reist so immerfort ? 

Me;phistopheleB. 
Ach, dasz Gewerb und Pflicht nns dazu treiben ! 2730 

Mit wie viel Schmerz verlaszt man manchen Ort 
Und darf doch nun einmal nicht bleiben ! 



GAEDEN. 

Maegaeet on Faust's arm, Maetha vnth Mephis- 
TOPHELES, walking wp and down. 

Margaret. 

ITEEL it indeed — the gentleman is only indulgent 
■with, me — and is condescending, to make me blush. 
Travellers are wont to put up with things out of good 
nature. I know too well that my poor prattle cannot 
entertain a man of ^ your experience. 

Faust. 

A glance, a word from thee, gives greater pleasure 

than all the wisdom of this world. 

\_He kisses her liand.^ 

Margaret. 

Don't inconvenience yourself ! How can you kiss it ? 

It is so coarse, so hard. I have been obliged to do — 

heaven knows what not ; my mother is indeed too close. 

[They pass on."] 
Martha. 

And you, Sir, are always travelUng in this manner ? 

Mej>histopheles. 
Alas, that business and duty should force us to it ! 
How many a place one quits with regret, and yet may 
not tarry in it ! 



248 GARTEN. 

Ma/rthe. 
In rascheu Jahren geht's wohl au, 
So um und um frei diirch die Welt zu streifen ; 
Doch kommt die bose Zeit heran, 2735 

Und sich als Hagestolz allein zum Grab zu schleifen, 
Das hat nooh Keinem wohlgethan. 

MepMstopheles. 
Mit Grausen seh' ich das von weiten. 

Mm-tTie. 
Drum, werther Herr, berathet euoh in Zeiten ! 

j^Ge^w voriiher^ 

Margarete. 
Ja, ans den Augen, aus dem Sinn ! 2740 

Die Hcifliohkeit iat euoh gelaufig ; 
Allein ihr habt der Freunde haufig, 
Sie sind verstandiger, als ich bin. 

Faust. 
Beste, glanbe, was man so verstandig nennt, 
1st oft mehr Eitelkeit und Kurzsinn. 

Margarete. 

Wio ? 274; 

Faust. 
Ach, dasz die Einfalt, dasz die TJnsohuld nie 
Sich selbst und ihren heil'gen Werth erkennt ! 
Dasz Demuth, Niedrigkeit, die hochsten Gaben 
Der liebevoU austheilenden Natur — 

Margarete. 
Deukt ihr au mich ein Augenblickchen nur, 2750 

Ich werde Zeit genug an euch zu denken haben. 

Faust. 
Ihr seid wohl viel allein ? 



GARDEN. 249 

Martha, 
It does very -well in the wild years of youth, to rove 
about freely through the world. But the evil day comes 
at last, and to sneak a solitary old bachelor to the grave 
— that was never well for anyone yet. 

Mephistopheles. 
I shudder at the distant view of it. 

Martha. 

Then, -worthy Sir, think better of it in time. 

[They pass on.] 
Margaret. 

Ay ! out of sight out of mind ! Paliteness sits easily 

on you. But you have plenty of friends : they are more 

sensible than I am. 

Faust. 

O dearest ! believe me, what is called sensible, often 
better deserves the name of vanity and narrow-minded- 
ness. 

Margaret. 
How? 

Faust. 
Alas, that simplicity, that innocence, never appre- 
ciates itself and its own hallowed worth ! That humility, 
lowliness — the highest gifts of love-fraught, bounteous 

nature — 

Margaret. 

Only think of me one little minute ; I shall have 

time enough to think of you. 

Faust. 
You are much alone, I dare say ? 



250 GARTEN. 

Marga/feie. 
Ja, unsre Wirthschaft ist nur klein, 
Und doch will sie versehen sein. 

Wir haben keine Magd ; musz kochen, fegen, stricken 2755 
Und nahn und laufen friih und spat ; 
Und meine Mutter ist in alien Stucken 
So akkurat ! 

Nioht dasz sie just so sehr sich einzusohranken hat ; 
Wir konnten uns weit eh'r als Andre regen ; 2760 

Mein Vater hinterliesz ein hiibsch Vermogen, 
Ein Hauschen und ein Gartchen vor der Stadt. 
Doch hab' ich jetzt so ziemlich. stille Tage ; 
Mein Bruder ist Soldat, 

Mein Schwesterchen ist todt. 2765 

Ich hatte mit dem Kind wohl meine liebe Noth ; 
Doch iibornahm' ich gern noch einmal alle Plage, 
So lieb war mir das Kind. 

Faust. 

Ein Engel, wenn dir's glich ! 

Margarete. 
Ich zog es anf, und herzlich liebt' es mich. 
Bs war nach meines Vaters Tod geboren ; 1770 

Die Mutter gaben wir verloren, 
So elend wie sie damals lag, 

Und sie erholte sich sehr langsam, nach und nach. 
Da konnte sie nun nicht dran denken, 
Das arme Wurmchen selbst zu tranken, 2775 

Und so erzog ich's ganz allein 
Mit Milch und Wasser ; so ward's mein. 
Auf meinem Arm, in meinem Schoosz 
War's freundlich, zappelte, ward grosz. 

Faiisi. 
Du hast gewisz das reinste Gluck empfunden. 2780 

Marga/rete. 
Doch auch gewisz gar manche schwere Stunden. 
Des Kleinen Wiege stand zu Naoht 



GARDEN. 251 

Margaret. 

Yes, our household is but small, and yet it must be 
looked after. We keep no maid ; I am obliged to cook, 
sweep, knit and sew, and run early and late. And my 
inother is so precise in everything ! Not that she has 
such pressing occasion to stint herself. We might do 
more than many others. My father left a nice little 
property — a small house and a garden outside the town. 
However, my days at present are tolerably quiet. My 
brother is a soldier ; my little sister is dead. I had my 
full share of trouble with her, but I would gladly take 
all the worry upon myself again, so dear was the child 
to me. 

Favst. 

An angel, if it was like thee ! 

Margaret. 

I brought it up, and it loved me dearly. It was born 
after my father's death. We gave up my mother for 
lost, so sad was the condition she then lay in ; and she 
recovered very slowly, by degrees. Thus she could not 
think of suckling the poor little babe, and so I brought 
it up, all by myself, with milk and water. It thus 
became my own. On my arm, in my lap, it smiled, and 
kicked, and grew. 

Faust. 

Tou felt, no doubt, the purest joy. 

Margaret. 
And many anxious hours, too. The little one's cradle 



252 GARTEN. 



An meinem Bett ; es durfte kaum sich regen, 

War ich erwaoht ; 

Bald muszt' ich's tranken, bald es zu mir legen, 2785 

Bald, wenn's nioht; sohwieg, vom Bett aufstehn 

Und tanzelnd in der Kammer auf und nieder gehn 

Und friih am Tage schon am Waschtrog stehn ; 

Dann auf dem Markt und an dem Herde sorgen, 

Und imnierfort wie heut so morgen. 2790 

Da geht's, mein Herr, nicht immer muthig zu ; 

Doch Bchmeckt dafiir das Essen, schmeckt die Euh. 

lOehn voriiber.'] 

Marthe. 
•J Die armen Weiber sind doch iibel dran : 
Ein Hagestolz ist schwerlich zu bekehren. 

Es kame nur auf eures Gleiohen an, 2795 

Mich eines Bessern zu belehren. 

Marfhe. 
Sagt grad, mein Herr, habt ihr noch nichts gefunden ? 
Hat sioh das Herz nicht irgendwo gebunden ? 

Das Sprichwort sagt : ein eigner Herd, 

Bin braves Weib siud Gold und Perlen werth. 2800 

Mwrthe. 
loh meine, ob ihr niemals Lust bekommeu. 

M.efhisto'^'heles. 
Man hat mich iiberall recht hbflich aufgenommen. 

Mmilie. 
Ich wollte sagen : ward's nie Ernst in eurem Herzen ? 



GARDEN. 253 

stood at night by my bed-side : it could scarcely move 
but I was awake ; now obliged to give it drink ; now to 
take it to bed to me ; now, when it would not be quiet, 
to rise from bed, and walk up and down in the room 
dandling it ; and early in the morning, stand already at 
the wash-tub : then go to market and attend to the 
cooking; and so on, day after day. Under such circum- 
stances. Sir, one is not always in spirits ; but food and 
rest relish the better for it. [They pass on.] 

Martha. 
The poor women have the worst of it. It is no easy 
matter to convert an old bachelor. 

Mephistopheles. 
It only depends on one like you to teach me better. 

Martha. 
Tell me plainly, Sir, have you never met with any- 
one f-~~jlas your heart never attached itself any- 
where ? ~^ 

Mephistopheles. 

The proverb says — a hearth of one's own, a good wife,"^ 
are worth pearls and gold. 

Martha. 
I mean, have you never had any inclination ? 

Mephistopheles. 
I have been in general very politely received. 

Martha. 
I wished to say — was your heart never serious 
affected ? 



254 GARTEN. 



Mit Frauen soil man sich nie unterstehn zu scherzen. 

Marihe. 
Ach, ihr versteht mich nioht ! 

MejpMstojpheles. 

Das thut mir herzHoh leid ! 
Doch ich versteh' — dasz ihr sehr gutig seid. 2X06 

[Gehn voriiber.'] 

FoMsi. 
Du kanntest mich, kleiner Bngel, wieder, 
Gleich als ich in den Garten kam ? 

Margarete. 
Saht ihr es nicht ? Ich sohlng die Augen nieder. 

Faust. 
Und du verzeihst die Freiheit, die ich nahm ? 2810 

Was sich die Frechheit unterfangen, -~ 

Als du jiingst aus dem Dom gegangen ? 



Ich war bestUrzt, mir war das nie geschehn ; 

Es konnte Niemand von mir Uebels sageu. 

Ach, dacht' ich, hat er in deinem Betragen 2815 

Was Freches, TJnanstandiges gesehn ? 

Es schien ihn gleich nur anzuwandeln, 

Mit dieser Dime gradehin zu handeln. 

Gesteh' ich's doch ! Ich wuszte nicht, was sich 

Zu eurem Vortheil bier zu regen gleich begonnte ; 2820 

AUein gewisz, ich war reoht bos auf mich, 

Dasz ich auf euch nicht boser werden konnte, 

Faust. 
^Usz Liebchen ! 



OARDEy. 256 

Mephistopheles. 
One should never venture to joke witli women. 

Martha. 
Ah, you do not understand me. 

Mephistopheles. 
I am heartily sorry for it. But I understand — that 
you are very kind. [They pass 07i.] 

Faust. 
You knew me again, you little angel, the moment I 
entered the garden ? 

Margaret. 
Did you not see it ? I cast down my eyes. 

Faust. 
And you forgive the liberty I took — my impudence 
as you were lately leaving the cathedral ? 

Marga/ret. 

I was confused ; such a thing had never happened to 
me before; no one could say anything bad of me. 
Alas, thought I, has he seen anything bold, unmaidenly, 
in thy behaviour ? It seemed as if the thought sud- 
denly struck him, " I need stand on no ceremony with 
this girl." I must own, I knew not what began to stir 
in your favour here ; but certainly I was right angry 
with myself for not being able to be more angry with 
you. 

Faust. 

Sweet love ! 



256 GARTEN-. 



Laszt einmal ! 
iSie p-flucM eine Stemllume und zupft die Blatter ab, 
eins nobch dem andern.'] 

Faust. Lo'-t-JkA'-' 

Was soil das? Einen Stransz? 

Margarete. 
Nein, es soil nur ein Spiel. 

Faust. 
Wie? 

Margarete. 

Geht ! Ihr laoht mich aus. 
[Sie rwpft und murmelt.'] 

Faust. 
Was murmelst du ? 

Margarete (halblaui). 

Er liebt mich — Liebt mich uicht. 

Fauist. 
Du holdea Himmelsangesicht ! 2826 

Margarete (^fcihrtfort). 
Liebt mich — Nioht — Liebt mich — Nicht — 

l^Das letzte Blatt ausrupfend, mit holder Freude.] 
Er liebt mich ! 

Faust. 
Ja, mein Kind ! Lasz dieses Blumenworb 
Dir Grotterausspruch sein ! Er liebt dich ! 
Verstehst du, was daa heiszt? Er liebt dich ! 2830 

[Frfaszt ihre heiden Hiinde.'] 

Margarete. 
Mich uberliiuft's. 



GARDEN. 257 

Margwret. , 

Wait a moment ! 

\_8he plucks a star-flower, and picks off the lea/oea 

one after the other."] 

Faust. 
What is that for ? A nosegay ? 

Ma/rgaret. 
No, only a game. 

Faust. 
What? 

Marga/ret. 
Go ! You will laugh at me. 

[She plucks off the leaves and mu/rmvrs to herself.'] 

Faust. 
What are you murmuring ? 

Margaret (half aloud). 
He loves me — he loves me not ! 

Faust. 
Thou angelic being ! 

Margaret (continues). 
Loves me — not — loves me — not — (Plucking off the 
last leaf with fond delight.) — He loves me ! -— 

Faust. 
Yes, my child. Let this flower-prophecy be to thee 
an oracle divine. He loves thee ! Dost thou understand 
what that means ? He loves thee ! 

[He takes loth her hands.] 

Margaret. 
I tremble all over. 



258 GARTEN. 

Faust, 
Bohaudre nioht ! Lasz diesen Bliok, 
Lasz diesen Handedruck dir sagen, 
Was unausspreohlidh ist : 

Sich hinzugeben ganz und eine Wonne 2835 

Zu fiihlen, die ewig sein musz ! 
Bwig !— Ihr Bade wiirde Verzweiflung sein. 
Nein, kein'Ende ! Kein Bnde ! 

[Mabgaeete drilcM ihm die Sande, machi sich los 
wnd liiufi weg. Er stehi emen AugenbUck in 
Gedomken, dannfolgt er ihr. 2 

Marthe (hommend). 
Die Nacht bricht an. 

Mephieiopheles. 
Ja, und wir wolleu fort. 

Marthe. 
loh bat' euch, langer hier zu bleiben, 2840 

Allein es ist ein gar zu boaer Ort. 
Es ist, als hatte Niemand niohts zu treiben 
Und niohts zu sohaflfen, 

Ala auf des Naohbarn Sohritt und Tritt zu gaffen, 2844 
Und man kommt ins Gered', wie man sich immer stellt. 
Und unser Parohen ? 

Mephistopheles, 

Ist den Gang dort aufgeflogen. 
Mattwill'ge Sommervogel ! 

Marthe. 

Er scheint ihr gewogen. " 

Mephistopheles. 
Und sie ihm auoh. Das ist der Lauf der Welt. 



GARDEN. 259 

Favst. /"J. /? ^iMJ^j^ 

Oh, tremble not. Let this look, let this pressure of 
the hand, say to thee what is unutterable : — To give 
ourselves up wholly, and feel a bliss which must be 
eternal ! Eternal ! — its end would be despair ! No, no 
end ! no end ! 

[Makgaeet jyresses his hands, breaks from him, and 
runs away. He stands a moment in thought, and 
then follows her.] 

Martha (approaching). 
The night is coming on. 

Mephistopheles, 
Ay, and we wUl away. 

Martha. 
I would ask you to stay here longer, but it is much 
too wicked a place. One would suppose no one had any 
other object or occupation than to gape after his neigh- 
bour's incomings and outgoings. And one comes to be 
talked about, behave as one will. And our pair of 

lovers ? 

Mephistopheles. 

Have flown up the walk yonder. Wanton butter- 
flies ! 

Martha. 

He seems fond of her. 

Mephistopheles. 
And she of him. Such is the way of the world. 



Em GAETBNHAUSOHBN. 

Margaeete springt herein, steckt sich hdnter die Thilr, halt 
die Ftngerspitxe an die Lippen v/nd guckt dureh die Bitze. 

Ma/rgarefe.- 
"C E kommt ! 

JFcmst (hommi). 
Ach Schelm, bo necksti da mich ! ZS49 
Trefif ioh dich ! [Br Mszt sie.] 

Margca'ete (ihnfassend und den Kusz zwiickgehend). 

Bester Mann ! Von Herzen lieb' ioh dich ! 
[Mephistopheles Uopft an.'] 

Famt {gtampfend'). 
Werda? 

Mephistopheles. 
GutFreund! 

Faust. 
Ein Thier! 

MephMopheles. 

Eb ist wohl Zeit zu scheiden. 

Marthe {kimvmt'), 
Ja, es ist spat, mein Herr. 

Faust. 
Darf ioh euoh nioht geleiten ? 



A STTMMEE HOUSE. 

Maboabet runs in, gets behind the door, holds the tip of 
her finger to her lips, and peeps through the crevice. 

Margaret. 

HE comes ! 
Faust (enters). 
Ah, rogue, is it thus you tease me ? I hare caught 
you at last. \_He hisses her.] 



Ma/rgaret {ernbracing him and retwrning the kiss). 
Dearest ! from my heart I love thee ! 

[Mephistophelbs hnocks.J 

Faust (stamping). 
Who is there ? 

Mephistopheles. 
A friend. 

Faust. 
A brute. 

Mephistopheles. 
It is time to part, I believe. 

Martha (comes up). 
Yes, it is late, Sir. 

Faust. 
May I not accompany you ? 



262 EIN GARTENHAUSCHEN. 

Margarete. 
Die Mutter wiirde mich — Lebt wohl ! 



Lebt wohl ! 

Ade! 



Fcmst. 

Musz ich deun gehn ? 

Mai'the. 



Margwfete. 
Auf baldig Wiedersehn. 

[Faust wnd MEPHisToniEi es o?;.] 

Mwrgarete. 
Da lieber Gott! Was so ein Mann 2855 

Kicht AUes, Alles denken kann ! 
Seschamt nnr steh' ioh vor ihm da 
Und sag' zu alien Sachen ja. 

Bin dooh ein arm, unwissend Kind, 4859 

Begreife nicht, was er an mir find'fc. [^6.] 



A SUMMER HOUSE. 263 

Marga/ret, 
My motlier would— farewell ! 

Famst. 
Must I then go ? Tarewell ! 

Martha. 
Adieu! 

Margaret. 

TiU our next speedy meeting ! 

[Faust and Mephistophelbs exeunt."] 

Margaret. 

Gracious God ! How many things such a man can 

think about ! I only stand abashed in his presence, 

and say yea to everything ! I am but a poor silly girl ; 

I cannot understand what he finds in me. lExit.'] 



' t7ALD tnSTD HpHLB, 

H' -■ 

Faust allei/b. 

. Faust. ^ ~. 

EEHABNBE Geist, du gabst mir, gabst mir AUes, 
■Wamm ioh bat. Du hast mir nioht umsonst 
Dein Angesicht im Feuer zugewendet, 
Gabst mir die herrliche Natur zum Konigreioh, 
Kraft, siezu fiihlen, zu' genieszen.-- Nicht 2865 

Kalt st^nendeu Besuch erlanbst du nur, 
Vergonnest mir, in ihre tiefe Brust 
Wie in den Bnsen eines Freunds zu schauen. 
iDu f iihrst die Eeihe der Lebendigen 

Vor mir vorbei und lehrst mich meine Briider 3870 

Im stillen Bnsoh, in Luft und Wasser kennen. 
Und wenn der Sturm im Walde braust und knarrt. 
Die Eiesenfichte stiirzend Nachbaraste 
Und Nacbbarstamme, quetschend, niederstreift, 
Und ihrem Fall dumpfi hohl der Hiigel donnert : 2875 

Dann fuhrst du mich zur sichern Hohle, zeigst 
Mich dann mir selbst, und meiner eignen Brust 
Geheime tiefe Wunder offnen sich. 
Und steigt vor meinem Bliok der reine Mond 
Besanftigend heriiber, schweben mir 2880 

Von Felsenwanden, aus dj^ feuchten Buseh 
Der Yorwelt silbeme Gestalten auf 
Und lindern der Betrachtung strenge Lust. 

0, dasz dem Menschen nichts Vollkommnes wird, 
Empfind' ich nun. Du gabst zu dieser Wonne, 2885 

Die mich den Gottern nah und naher bringt, 
Mir den Gefahrten, den ich sohon nicht mehr 



FOEEST AJSTD CATEEN. 

Faust (alone). 

SUBLIME spirit ! thou gavest me, gavest me every- 
thing I prayed for. Not in vain didst thou turn 
thy face in fire to me ; thou gavest me glorious nature 
for a kingdom, with power to feel, to enjoy her. It is not 
merely a cold wondering visit that thou permittest me ; 
thou grantest me to look into her profound depth, 
as into the bosom of a friend. Thou passest in review 
before me the whole series of animated thiags, and 
teachest me to know my brothers in the still wood, in 
the air, and in the water. And when the storm roars 
and groans in the forest, and the giant-pine, precipi- 
tating its neighbour - boughs and neighbour - trunks, 
sweeps, crushing, down, — and the mountain thunders 
with a dead hollow muttering to the fall, — then thou 
bearest me ofE to the sheltered cave; then thou showest 
me to myself, and deep mysterious wonders of my own 
breast reveal themselves. And when the clear moon, 
with its soothing influences, rises full in my view, — 
from the rocky walls, out of the damp underwood, the 
silvery forms of past ages hover up to me, and soften 
the austere pleasure of contemplation. 

Oh, now I feel that nothing perfect falls to the lot of 
man ! With this beatitude, which brings me nearer 
and nearer to the gods, thou gavest me the companion, 



266 WAtD UND HOHtE. 

Entbehren kann, wenn er gleich kalt nnd freoh 
Mich vor mir selbst erniedrigt und zu Nichts 
Mit einem Worthauch deine Gaben wandelt. 2890 

Br facht in meiner Brust ein wildes Feuer , 
Nach jenem schonen Bild gesohaftig an. 
//So tauml' ich von Begierde zu Genusz, 
'iTJnd im Genusz versohmacht' ich nach Begierde. 

[Mephistopheles iritt auf.'\ 

Mephistopheles. 
Habt ihr nun bald das Leben g'nug gefuhrt ? 2895 
Wie kann's euoh in die Lange freuen ? 
Es ist wohl gut, dasz man's einmal probirt; 
Dann aber wieder zu was Neuen ! 

Fcmst. 
Ich woUt', du hattest mehr zu thun, 
Als mich am guten Tag zu plagen. 2900 

MephistopJieles. 
Nun, nun ! Ich lass' dich geme ruhn, 
Du darfst mir's nicht im.Ernste sagen. 
;An dir Gesellen, unhold, barsch und toll, 
lillat wahrlioh wenig zu verlieren. 
Den ganzen Tag hat man die Hande veil ! 2905 

Was ihm gefallt und was man lassen soil, 
Kann man dem Herrn nie an der Nase spiiren. 

Faust. 
Das ist so just der rechte Ton ! 
Er will noch Dank, dasz er mich ennuy.irt, 

Mephistophelee. 
Wie hatt'st du, armer Erdensohn, 2910 

Dein Leben ohne mich gefuhrt ? 
Vom Kribskrabs der Imagination 
Hab' ich dich doch auf Zeiten lang kurirt ; 
Und war' ich nicht, so warst du schon 
Von diesem Erdball abspaziert. 2915 



FOREST AND CAVEEN. 26? 

wliom already I cannot do without ; although, cold and 
insolent, he degrades nae in my own eyes, and turns 
thy gifts to nothing with a breath. He is ever kind- 
ling a wildfire in my heart for that lovely image. Thus t 
do I reel from desire to enjoyment, and in enjoyment 
languish for desire. 



Mbphistopheles enters. 
Mephistopheles. 



ci: 



/ 



Have you not had enough of this kind of life ? How 
can you delight in it for any length of time ? It is all 
well enough to try it once, but then on again to some- 
thing new. 

Faiist. 

I would you had something else to do than to plague 
me in. my happier hour. 

Mephistopheles, 

Well, well ! I will let you alone if you wish. Tou 

need not say so in earnest. Truly, it is little to lose an 

ungracious, peevish and crazy companion Hke you. The 

livelong day one has one's hands full. One cannot read 

in your worship's face what pleases you, and what to 

let alone. 

Faust. 

That is just the right tone! He would fain be 

thanked for wearying me to death. 

Mephistopheles. 

Poor son of earth ! what sort of life would you have 

led without me ? I have cured you, for some time to 

come, of the crotchets of imagination, and, but for me, 

you would already have taken your departure from this 



268 WALD UND HOIILE. 

Was hast du da in Hohlen, Felsenritzen 

Dich wie ein Schuhu zu versitzen ? 

Was sohlurfst aus dumpfem Moos und triefeadem Gefltein 

Wie eine Krote Nahrung ein ? 

Ein sohoner, suszer Zeitvertreib 2920 

Dir steckt der Doktor nooh im Leib. 

Fcmst. 
Verstehst du, was fiir neue Lebenskraffc * 

Mir dieser Wandel in der Oede schafft ? 
Ja, wurdest du es ahnen konnen, 
Du warest Teufel g'nug, mein Gliiok mir nioht za gonnen, 

MephistopTieles. 
Ein iiberirdisches Vergniigen ! 2926 

In Nacht und Thau auf den Gtebirgen liegen 
Und Erd' und Himmel wonniglich umfassen, 
Zu einer Gottheit sioh anfschwellen lassen, 
Der Erde Mark mit Ahnungsdrang durchwuhlen, 29J0 
AUe sechs Tagewerk' im Busen fiihlen, 
In stolzer Kraft, ioh weisz nioht was, genieszen, 
Bald liebewonniglioh in Alles uberflieszen, 
Verschwunden ganz der Erdensohn, 
Und dann die hohe Intuition — (mit einer Gelerde) 2935 
Ioh darf nioht sagen wie — zu sohlieszen. 

Fomst. 
Pfui iiber dioh ! 

MephistopTieles. 
Das will euch nioht behagen ; 
Ihr habt das Eeoht, gesittet Pfui zu sagen. 
Man darf das nicht vor keusohen Ohren nennen, 
Was keusohe Herzen nioht entbehren konnen. 2940 

Und kurz und gut, ioh gonn' ihm das Vergniigen, 
Gelegentlioh sidi^^was vorzuliigen ; 
Dooh lange halt er das nioht aus. 
Du bist schon wieder abgetrieben 

Und, wahrt es langer, aufgerieben 2945 

In ToUheit oder Angst und Graus. 
G«nug damit ! Dein Liebohen sitzt dadrinne, 



FOREST AND CAVERN. 269 



globe. Why mope in caverns and fissures of rocts, like 
an owl ? Why sip in nourishment froia sodden moss 
and dripping stone, like a toad ? A fair, sweet pastime ! 
The doctor still sticks to you. 



;l 



Faust. 
Dost thou understand what new life-power this 
wandering in the desert gives me ? Ay, couldst thou 
have but a dim notion of it, thou wouldst be devil ' 
enough to grudge me my enjoyment. 

Mephistopheles, 

A super-earthly pleasure ! To lie on the mountains 
in darkness and dew — clasp earth and heaven ecstati- 
cally — swell yourself up to a godhead — rake through 
the egJth/ s ma rrow with your prescient yearnings — feel 
the whole six days' work in yotir bosom — in haughty 
might enjoy I know not what — now overflow, in love's 
raptures, into all, with your earthly nature cast aside 
— and then to end the lofty intuition (with a gestv/re) — 
I must not say how. 

Faust. 

Fie upon you. 

Mephistopheles. 

That is not to your mind ; you are entitled to cry 
fie ! so morally ! We must not name to chaste ears 
what chaste hearts cannot renounce. And, in a word, 
I do not grudge you the pleasure of lying to yourself 
occasionally. But you will not keep it up long. Tou 
are already worn out again, and, if this holds much 
longer, will be fretted into madness or torture and 
horror. Enough of this ! your little love sits yonder at 



270 WALD UND HOHLE. 

Und Alles wird ihr eng und triib. 

Du kommst ihr gar nicht aus dem Sinne, 

Sie hat dioh Ubermachtig lieb. 2950 

Erst kam deine Liebeswuth iibergeflossen, 

Wie vom geschmolznen Sohnee ein Bachlein iibersteigt ; 

Du hast sie ihr ins Herz gegossen, 

Nun ist dein BSchlein wieder seicht. 

Mich diinkt, anstatt in Waldern zu thronen, 2955 

Liesz' es dem groszen Herren gut, 

Das arme, affenjunge Blut 

Piir seine Liebe zu belohnen. 

Die Zeit wird ihr erbarmlioh lang ; 

Sie steht am Fenster, sieht die Wolken ziehn 2960 

Ueber die alte Stadtmauer hin. 

Wenn ich ein Voglein war', so geht ihr G'esang 

Tage lang, halbe Nachte lang. 

Einmal ist sie munter, meist betriibt, 

Einmal recht ausgeweint, 2965 

Dann wieder rnhig, wie's soheint, 

Und immer verliebt, 

Faust. 
Sohlange ! Sohlange ! 

Mephisiopheleg (Jur sicK). 
Gelt, dasz ich dich fange ! 

Faust. 
Verruchter ! Hebe dich von hinnen 2970 

Und nenne nicht das schbne Weib ! 
Bring die Begier zu ihrem siiszen Leib 
Nicht wieder vor die halb verrlickten Sinnen ! 

MepMstophelet. 
Was soil es denn ? Sie meint, du seist entflohn, 
Und halb und halb bist du es schou. 2975 

FoMst. 
loh bin ihr n'ah, und war' ich noch so fern, 
Ich kann sie nie vergessen, nie verlieren ; 
Ja, ich beneide schon deu Leib des Herrn, 
Wenn ihre Lippen ihu indesz beriihren. 



FOREST AND CAVERN. 271 

home, and all to lier is confined and melancholy. Tou 
are never absent from her thoughts. She loves you all 
subduingly. At first, your passion came overflowing, 
like a snow-flushed rivulet; you have poured it into 
her heart, and lo ! your rivulet "' is dry again. Methinks, 
instead of reigning in the woods, your lordship would 
do well to reward the poor young creature for her love. 
The time seems lamentably long to her ; she stands at 
the window and watches the clouds roU away over the 
old town- walls. " Were I a bird ! " "" so runs her song, 
during all the day and half the night. Now she is 
cheerfid, mostly cast down, — now she has cried her fill 
— ^then, as it seems, calm again, and ever in love ! 

FavM. 
Serpent ! serpent ! 

Mephistopheles (aside). 
Now I have trapped you ! 

Faust. 
Eeprobate ! take thyself away, and name not the 
lovely woman. Bring not the desire for her sweet body 
before my half -distracted senses again ! 

Mephistopheles. 
What is to become of this ? She thinks that you are 
off, and in some manner you are. 

Faust. 
I am near her, and were I ever so far off, I can never 
forget, never lose her. Nay, I already envy the body 
of the Lord when her lips are touching it. 



272 WALD UND HOHLE. 



MephiatopTieleg. 
Gar wohl, mein Frennd! loh hab' ench oft beneidet zgSo 
Urns Zwillingspaar, das unter Koseu weidet. 

Fawi. 
Entfliehe, Knppler ! 

MepMstopheles. 
Sohon ! Ihr schimpft, und ich musz lacben. 
Der Gott, der Bub nnd Madcheii schuf, 
Erkannte gleicb den edelsten Bemf, 

Auch selbst Gelegenheit zu macheii. 2985 

Nur fort ! - Es ist ein groHzer Jammer ! 
Ihr soUt in cures Liebehens Kammer, 
"Nicbt etwa in den Tod. 

Fcmst. 
\\ Was ist die Himmelsfreud' in ihren Armen ? 
Lasz mich an. ihrer Brust erwarmen, aqgo 

Eiihr iob nioht immer ibre Notb ? 
Bin ich der Pluohtling nicbt, der UnbehauBte, 
Der Unmenscb ohne Zweck und Eub, 
Der wie ein Wasserstura von Eels zu Felsen biiauste, 
Begierig wutbend, nach dem Abgrund zu ? 2995 

Und seitwarts sie, mit kindlicb dumpfen Sinnen, 
Im Huttchen auf dem kleinen Alpenfeld, 
Und all ibr bausliobes Beginnen 
TJmfangen in der kleinen Welt. 

Und ich, der Gottverbaszte, 3000- 

Hatte nicbt genug, 
Dasz ich die Pelsen faszte 
Und sie zu Triimmern schlug ! 
Sie, ihren Frieden muszt' ich untergraben ! 
Du, Holle, musztest dieses Opfer Jiaben ! 3005 

Hilf, Teufel, mir die Zeit der Angst verkiirzen ! 
Was musz gescbebn, mag's gleicb gesobebn ! 
Mag ibr Geschick auf mioh zusammenstiirzen 
Und sie mit mir zu Grunde gebn I 



FOREST AND CAVERN. 273 

Mej>histopheles. 
Very well, my friend ! I have often envied you the 
twin-pair,"' which feed among roses. 

Faust. 
Pander, begone ! 

Mephistopheles. 
Good again ! Tou rail, and I cannot help laughing. 
The God, who made lad and lass, well understood the 
noble calling of making opportunity too. But away, it 
is a mighty matter to be sad about ! You should be- 
take yourself to your mistress's chamber — not, I think, 
to death. 

Fattst. 
What are the joys of heaven in her arms V Even 
when I kindle on her breast, do I not feel her 
wretchedness unceasingly ? Am I not the outcast — the 
houseless one ? — the monster without aim or rest — who, 
like a cataract, dashed from rock to rock, in devouring 
fury towards the precipice ? And she, upon the side, 
with childlike simplicity, in her little cot upon the little 
mountain field, and all her homely cares embraced 
within that little world ! And I, the hated of God — ^it 
was not enough for me to grasp the rocks and smite 
them to shatters ! Her, her peace, must I undermine ! 
— Hell, thou couldst not rest without this sacrifice! 
Devil, help me to shorten the pang ! Let what must 
be, be quickly ! Let her fate fall crushing upon me, 
and both of us perish together ! 



2<'4 WALD TJND HOHLE. 

MepTiistejpheles. 
Wie's wieder siedet, wieder gluht ! 3010 

Geh ein und trbste sie, du Thor ! 
Wo so ein Kopfchen keinen Ausgang sieht, 
^tellt er sich gleioh das Ende vor. 
Es lebe, wer sich tapfer halt ! 

Du bist doch sonst so ziemlioh eingeteufelt. 3015 

Nichts Abgeschtnaokters find' ioh auf der Welt 
Als eineu Teufel, der verzweifelt. 



FOREST AND CAVERN. 275 

MepMstoplieles. 
How it seethes and glows again ! Get in, and com- 
fort her, you fool! — When such a dull head sees no 
outlet, it imagines at once that all is at an end. He 
who bears himself bravely, for ever! Well, on the 
whole, you have a fair spice of the devil in you. I 
know nothing in the world more insipid than a devil 
that despairs. 



GEETCHENS STUBS. 

Gretclien (am Spinnrade allem), 

MEINB Euh ist hin, 
Mein Herz ist sohwer ; 
loh finde sie nimmer 3020 

Und nimmennehr. 

Wo ich ihn nioht hab', 

Ist mir das Grab, 

Die ganze Welt 

Ist mir vergallt. 3025 

Mein armer Kopf 
Ist mir verriiokt, 
Mein armer Sinn 
Ist mir zerstiiokt. 

Meine Ruh ist hin, 3030 

Mein Herz ist schwer; 
loh finde sie nimmer 
TJnd nimmermehr 

Naoh ihm nur schau' ich 

Znm Penster hinaus, 3035 

Kach ihm nur geh' ioh 

AuB dem Haas, 



MARGARET'S ROOM. 



Margaret (alone, at the spinning-wheeT), 
' Y peace is gone ; 
My heart is heavy ; 
I shall find it never. 
And never more. 



M 



Where I have him not 
Is the grave to me. 
The whole world 
Is embittered to me. 

My poor head 
Is wandering. 
My poor sense 
Distracted. 

My peace is gone ; 
My heart is heavy ; 
I shall find it never. 
And never more. 

For him alone look I 
Out at the window ! 
For him alone go I 
Out of the house ! 



278 GEETCHENS STUBE. 



Sein hoher Gang, 

Sein' edle Gestalt, 

Seines Mundes Lacheln, 3040 

Seiner Augen Gewalt 

(Jnd seiner Bede 

Zauberflusz, 

Sein Biindedruok 

Und, aoh, sein Kusz ! 3045 

Meine Euh ist bin, 
Mein Herz ist sohwer ; 
leh flnde sie nimmer 
Und nimmermehr. 

Mein Buseu drangt 3050 

Sich nach ihm bin. 
Aoh, diirft' ich fassen 
Und halten ihn ! 

Und kiissen ihu, 

So wie ich wollt', 3055 

An seinen Kiissen 

Vergehen sollt' ! 



MARGARET'S ROOM. 279 

His stately step. 
His noble form; 
The smile of Ws mouth, 
The power of his eyes. 

And of his speech 
The witching flow ; 
The pressure of his hand. 
And, ah ! his kiss ! 

My peace is gone ; 
My heart is heavy ; 
I shall find it never. 
And never more. 

My bosom yearns 
Towards him. 
Ah ! could I enfold him 
And hold him ! 

And kiss him 
As I would ! 
On his kisses 
I should die away ! 



MAETHEN« GAETBN. 

Mahgaeete. Fatjst. 

Ma/rgarete. 
^ 7-EESPElCH mir, Heinrioh ! 

Faust. 

Was ich kann ! 

Ma/rgarete, 
Nun sag, wie hast du's mit der Eeligion ? 
Du bist ein herzlich guter Mann, 3060 

AUein ich glaub', du haltst nicht viel davon. 

Fatist 
Lasz das, mein Kind ! Du fUhlst, ich bin dir gut ; 
Fur meine Lieben liesz' ich Leib und Blut, 
Will Niemand sein Gefiihl und seine Kirche rauben. 

Margarete. 
Das ist nicht recht, man musz dran glauben ! 3065 

Fcmst. 
Musz man ? 

Margarete. 
Ach, wenn ich etwas auf dich konnte ! 
Du ehrst auch nicht die heil'gen Sakramente. 

Faust. 
Ich ehre sie. 



MARTHA'S GAEDEN. 

Maegaeet — Faust. 

Margaret. 
"PROMISE me, Henry ! 

Faust. 
What I can ! 

Margaret. 

Now, tell me, how is it with your religion? Tou 

are a dear, good man, but I believe you don't think 

much of it. 

Faust. 

Leave that, my child ! you feel I love you : I would 

lay down my life for those I love, nor would I deprive 

any of their feeling and their church. 

Margaret. 
That is not right ; we must believe in it. 

Faust. 
Must we ? 

Margaret. 
Ah ! if I had any influence over you ! Tou do not 
honour the holy sacraments, either. 

Faust. 
I honour them. 



282 MARTHENS GARTEN. 



Doch ohne Verlangen. 
Zur Messe, zur Beichte bist du lange nicht gegangen. 
Grlaubst da an Gott ? 

FoMSt. 

Mein Liebohen, wer darf sagen : 
Ich glaub' an Gott ? 3071 

Magst Priester oder Weise fragen, 
Und ihre Antwort scbeint nur Spott 
XJeber den Frager zu sein. 

Margarete. 

So glaabat du nicht ? 

Faust. 
Miszhor mich nicht, du holdes Angesioht ! 3075 

Wer darf ihn nennen, 
Und wer bekennen : 
Ich glaub' ihu ? 
Wer empfinden 

Und sich unterwinden, 3080 

Zu sagen : ich glaub' ihn nicht P 
Der AUumfasser, 
Der AUerhalter, 
Faszt und erhalt er nicht 

Dioh, mich, sich selbst ? 3085 

Wolbt sich der Himmel nicht da droben ? 

Liegt die Brde nicht hier unten feet ? 

Und steigen, freundlich blickend, 

Ewige Sterne nicht herauf ? 

Schau' ich nicht Aug' in Auge dir, 3090 

Und drangt nicht Alles 

Naoh Haupt und Herzen dir 

Und webt in ewigem Geheimuisz, 

Unsichtbar, sichtbar, neben dir P 

Erfiill davon dein Herz, so grosz es ist, 3095 

Und wenn du ganz in dena Gefiihle aelig bist, 

Nenn es dann, wie du willst, 

Nenn's.GlUok ! Herz ! Liebe ! Gott ! 

Ich habe keinen Namen 



MARTHA'S GARDEN. 283 



Margaret. 
But without desiring them. It is long since you 
went to mass or confession. Do you believe in G-od ? 

Faust. 
My love, who dares say, I believe in God ? Tou may 
ask priests and philosophers, and their answer will 
appear but a mockery of the questioner. 

Margaret. 
Tou don't beHeve, then ? 

Faust. 
Mistake me not, sweet darling! Who dare name 
him ? and who avow : " I beUeve in him ? " Who feel 
— and dare to say : " I believe not in him ?" The AU- 
embracer, the AU-sustainer, does he not embrace and 
sustain thee, me, himself ? Does not the heaven arch 
itself there above ? — Lies not the earth firm here below ? 
— And do not eternal stars rise, kindly twinkling, on 
high ? — Are we not looking into each other's eyes, and 
is not all thronging to thy head and heart, and weaving 
in eternal mystery, invisibly — visibly, about thee? 
With it fill thy heart, big as it is, and when thou art 
wholly blest in the feeling, then call it what thou wilt ! 
CaU it Bliss ! — Heart ! — Love ! — God ! I have no name 



284i MARTHENS GAETEN. 

Dafiir ! Gefuhl ist Alles ; 3'oo 

Name ist Schall und Rauoh, 
Umnebelnd Himmelsgluth. 

Ma/rga/rete. 
Das ist Alles recht schon und gut ; 
Ungefahr sagt das der Pfarrer auch, 
Nur mit ein biszoLen andern Worten, 3105 

¥a/mt. 
Es sagen's aller Orten 
AUe Herzen unter dem himmlischen Tage, 
Jedes in seiner Spraohe ; 
Warum nicht ioh in der meinen ? 



Wenn man's so hort, mocht's leidlich scheinen, 3 no 
Steht aber doch immer schief darum ; 
Denn du hast kein Christenthum. 

Fa/mi. 
Lieb's Kind ! 

MargoA'ete. 
Es thut mir lang' schon weh, 
Dasz ich dich in der Gesellschaft seh'. 

Favjst 
Wie so? 

Margarete. 
Der Mensch, den du da bei dir hast, 3 115 
Ist mir in tiefer innrer Seele verhaszt ; 
Es hat mir in meinem Leben 
So niohts einen Stich ins Herz gegeben 
Als des Mensohen widrig Gesicht. 

Faust. -^ -jV'"" 

Liebe Puppe, furcht ihn nicht ! 3120 

Ma/rgarete. 
Seine Gegenwart bewegt mir das Blut. 
Ich bin sonst alien Mensohen gut ; 



Martha's garden. 285 

for it ! "* Feeling is all in all. Name is sound and 
smoke,"' clouding heaven's glow. 

Ma/rgaret. 
That is all very fine and good. The priest says nearly 
the same, only with somewhat different words. 

Faust. 
All hearts in all places under the blessed light of day 
say it, each in its own language — why not I in mine ? 

Mourgaret. 

When one hears this it seems passable ; but, for all 

that, there is something wrong about it, for thou hast 

no Christianity. 

Faust. 
Dear child ! 

Ma/rgaret. 

I have long been grieved at the company I see 

you in. 

Faust. 
How so ? 

Margaret. 
The man you have with you is hateful to me in my 
inmost soul."° Nothing in the whole course of my life 
has given my heart such a pang, as the repulsive visage 

of that man. 

Faust. 

Fear him not, sweet love ! 

Margaret. 
His presence mates my blood creep. I have kind 
feehngs tov/ards everybody else ; but, much as I long 



286 MARTHENS GARTEN. 

Aber, wie ioh mioh sehne, dich zu schanen, 
Hab' ioh vor dem Menschen ein heimlioh Grauen 
Und halt' ihu fur einen Schelm dazu ! 3125 

Gott verzeih' mir's, -wenn ich ihm Unreoht thu' ! 

Faust 
Es musz auch solche Kauze geben. 

Ma/rgcvreie. 
Wollte nicht mit seines Gleichen leben ! 
Kommt er einmal zur Thiir herein, 
Sieht er immer so spottisch drein 3130 

Und halb ergriramt ; 

Man sieht, dasz er an nichts keinen Antheil nimmt, 
Es steht ihm an der Stirn geschrieben, 
Dasz er nicht mag cine Seele lieben. 
Mir wird's so wohl in deinem Arm, 3135 

So frei, so hingegeben warm, 
Und seine Gegenwarfc sohniirt mir das Innre zu. 

' Du ahnungsvoller Engel da ! 

Marga/rete. 
Das iibermannt mioh so sehr, 

Dasz, wo er nur mag zu uns treten, 3140 

Mein' ich sogar, ich liebte dich nicht mehr. 
Auch wenn er da ist, konnt' ioh nimmer beten. 
Und das friszt mir ins Herz hinein ; 
Dir, Heinrioh, musz es auch so sein. 

Faust. 
Du hast nun die Antipathic ! 3145 

Margarete. 
Ich musz nun fort. 

Faust. 

Aoh, kann ioh nie 
Ein Stundohen ruhig dir am Busen hangeu 
Und Brnst an Brust und Seel' in Seele dran"en P 



'Martha's garden. 287 

to see you, I have an unaccountable horror of that man, 
and hold him for a rogue besides. God forgive me, if I 
do him wrong. 

Faust. 

There must be such queer fellows, too. 

Margaret. 
I would not live with the lite of him. Whenever he 
comes to the door, he looks in so mockingly, and with 
fury but half-suppressed ; one sees that he sympathizes 
with nothing. It is written on his forehead, that he can 
love no living soul. I feel so happy in thy arms — so 
unrestrained — in such glowing abandonment; and his 
presence closes up my heart's core. 

Faust. 
Tou foreboding angel, you ! 

Margaret. 

It overcomes me to such a degree, that when he but 

chances to join us, I even think I do not love you any 

longer. Nor could I ever pray, when he is present ; 

and this eats into my heart. Tou, too, Henry, must 

feel the same. 

Faust. 
Well, you have an antipathy against him. 

Margaret. 
I must go now. 

Faust. 
Ah, can I never recline one httle hour undisturbed 
upon thy bosom, and press heart to heart and soul to 
soul ? 



288 MARTHENS GARTEN. 

Margarefe. 
Ach, wenn ich nur alleine schlief ! 

Ich liesz' dir gern heut Nacht den Eiegel offen ; 3150 

Doch meine Mutter schlaft nicht tief, 
TJnd wiirden wir von ihr betroffen, 
Ich war' gleich auf der Stelle todt ! 

Faust. 
Da Engel, das hat keine Noth. 

Hier ist ein Fliisohchen, drei Tropfen nur 3155 

In ihren Trank umhiillen 
Mit tiefem Schlaf gef allig die Natur. 



Was thu' ich nicht um deinetwillen ! 
Es wird ihr hoffentlich nicht schaden ! 

Faust. 
Wiird' ich sonst, Liebchen, dir es rathen ? 3160 

Margarets. 
Seh' ich dich, besfcer Mann, nur an, 
Weisz nicht, was mich naoh deinem Willen treibt ; 
Ich habe schon so viel fur dich gethan, 
Dasz mir zu thun fast nichts mehr iibrig bleibt. [-46.] 

[Mephistopheles tritt cmf.'] 

MepMstoplieles. 
Der Grasaff ! Ist er weg ? 

FoAiSt. 

Hast wieder spionirt"^ 3165 

Mephistopheles. 
Ich hab's ausfiihrlich wohl vernommen, 
Herr Doktor wurden da kateohisirt ; 
Hoff', es soil Ihnen wohl bekommen. 
Die Madels sind doch sehr interessirt, 
Ob Einer fromm und sohlicht nach altem Branch. 3170 

Sie denken, duckt er da, folgt er uns eben auch. 



MARTHA'S GARDEN. 289 

Margaret. 
Ah, did I but sleep alone ! I would gladly leave the 
ddor unbolted for you this very night. But my mother 
does not sleep sound, and were we discovered by her, I 
should die upon the spot. 

Faust. 
Thou angel, there is no feai- of that. You see this 
phial! Only three drops in her drink will gently 
envelop nature in deep sleep. 

MoA-garet. 
What would I not do for thy sake ? It will do her 
no harm, I hope. 

Faust. 
Should I else advise it to you, my love ? 

Ma/rgaret. 

If, best of men, I do but look on you, I know not 

what drives me to comply with your will. I have already 

done so much for you, that scarcely anything more 

remains for me to do. [Exit.'] 

Mephistopheles enters. 

Mephistopheles. 
The little monkey ! is she gone ? 

Faust. 
Hast thou been playing the spy again ? 

MejphistopJieles. 
I heard what passed plainly enough. Tou were cate- 
chized, Doctor. Much good may it do you. The girls 
are certainly deeply interested in knowing whether a 
man be pious and simple-minded after the old fashion. 
They think :" If he is pliable in that matter, he will also 
obey us." 



290 MARTHENS GARTEN. 

Fa/usi. 
Du Ungeheuer siehst nioht ein, 
Wie diese treue, liebe Seele, 
Von ihrem Glauben voll, 

Der ganz allein 3175 

Ihr seligmachend ist, sich heilig quale, 
Dasz sie den liebsten Mann verloren halten soil 

MepMstopkeles. 
Du iibersinnlicher, sinnlicher Freier, 
Ein Magdelein nasf iihret dioh. 

Faust. 
Du Spottgeburt von Dreok und Feuer ! 3180 

Mephistopheles. 
Und die Physiognomie versteht sie meisterlioh. 
In meiner Gegenwart wird's ihr, sie weisz nioht wie ; 
Mein Maskohen da weissagt verborgnen Sinn ; 
Sie f Uhlt, dasz ioh ganz sicher ein Genie, 
Vielleicht wohl gar der Teufel bin. 3185 

Nun heute Nacht — ? 

Faust. 
Was geht dich's an ? 

MepMstopkeles. 
Hab' ioh doch meine Freude dran ! 



MARTHA'S GARDEN. 291 

Faust. 
Thou, monster as thou art, canst not conceive hoTJ 
this loving, faithful soul, full of her faith, which, ac- 
cording to her notions, is alone capahle of conferring 
eternal happiness, feels a holy horror to think that she 
must hold her best-beloved for lost. 

Mephistopheles. 
Thou super-sensual, sensual lover, a chit of a girl 
leads thee by the nose. 

Faust. 
Thou abortion of dirt and fire ! 

Mephistopheles. 
And she is knowing in physiognomy too. In my pre- 
sence she feels she knows not how. My little mask 
betokens some hidden sense. She feels that I am most 
assuredly a genius — ^perhaps the devil himself. To-night, 

then— ? 

Faust. 

What is that to you ? 

MepMstopheles. 
I have my pleasure in it, though. 



AM BEUimEIT. 
Gketchen ^md Lieschen mit Krilgen. 



H 



AST nlchts von Barbelchen gehort ? 



Gretchen. 
Kein Wort. loh komm' gar wenig unter Leute. 

Lieschen. 
Gewisz, Sibylle sagt' mir's heute, 3190 

Die hat sioh endlioh. auch bethbrt. 
Das ist das Yornebmthuu ! 

Gretchen. 

Wie so ? 

Lieschen. 

Es Btinkt! 
Sie futtert Zwei, wenn sie nun iszt und trinkt. 

Gretchen. 
Ach! 

Lieschen. 
So ist's ihr endlioh reoht ergangen. 
Wie lange hat sie an dem Kerl gehangen ! 3195 

Das war ein Spazieren, 
Auf Dorf und Tanzplatz FUhren, 
Muszt' uberall die Brste sein, 
Kurtesirt' ihr immer mit Pastetchen und Wein ; 
Bildt' sich was auf ihre Schonheit ein, 3200 

War dooh so ehrlos, sich nioht zu sohamen, 
Geschenke von ihm anzunehmen. 



H 



AT THE WELL. 

Maegaeet and Bessy ivith jpitchers. 

Bessy. 
AVE you heard nothing of Barbara ? 



Margaret. 
Not a word. I go very little abroad. 

Bessy. 
Certainly, Sybella told it me to-day. She has even 
made a fool of herself at last. That comes of playing 
the fine lady. 

Margaret. 
How so ? 

Bessy. 
It is a bad business. She feeds two when she eats and 
drinks now. 

Ah! 



Margaret. 



Bessy. 
She is rightly served at last. What a time she has 
hung upon the fellow ! There was a promenading and 
a leading to village resorts and dancing places — she for- 
sooth must be the first everywhere — he was ever treat- 
ing her to tarts and wine. She thought great things of 
her beauty, and was so lost to honour as not to be ashamed 



294 AM BRUNNEN. 

War ein Grekos' und ein Gesohleck' ; 
Da ist denn auoh das Blumohen weg ! 

Greichen. 
Das arme Ding ! 

lAeschen. 
Bedauerst sie noch gar ! 3205 

Wenn Unsereins am Spinnen war, 
Una Nachts die Mutter nicht hinunterliesz, 
Stajid sie bei ihrem Bahlea bUsz, 
Auf der Thiirbank und im dunkeln Gang 
Ward ihnen keine Stunde zu lang. 3210 

Da mag sie denn sich ducken nun, 
Im Slinderhemdchen Kirchbusz' thun ! 

Gretchen. 
Er nimmt sie gewisz zu seiner Frau. 

Lieschen. 
Er war' ein Narr ! Ein flinker Jung' 
Hat anderwarts noch Luft genung. 3215 

Er ist auch fort. 

Gretchen, 
Das ist nicht schou ! 

Lieschen. 
Kriegt sie ihn, soil's ihr Ubel gebn. 
Das Kranzel reiszen die Buben ihr, 
Und Hackerling streuen wir vor die Thiir ! [-46.] 

Gretchen (fiach Hcmse gehend). 
Wie konnt' ich sonst so tapfer schmahlen, 3220 

Wenn that ein armes Magdlein fehlen ! 
Wie konot' ich iiber Andrer Siinden 
Nicht Worte g'nug der Zunge finden ! 
Wie schien mir's schwarz, amd schwarzt's noch gar, 
Mir's immer doch nicht schwarz g'nug war, 3225 

Und segnet' mich und that so grosz, 
Und bin nun selbst der Siinde blosz ! 
Doch — Alles, was dazu mich trieb, 
Gott, war so gut, ach, war so Keb ! 



AT THE WELL. 295 

to receiye presents from bim. There was a hugging and 
kissing — and lo, the flower is gone ! 

Margaret. 
Poor thing ! 

Bessy. 
Tou even pity her ! When the like of us were at the 
spinning, our mothers never let us go down at night. 
She was with her sweet lover ; on the bench before the 
door, and in the dark passage, the time was never too 
long for them. But now she may humble herself, and 
do church-penance, in a sinner's shift, in the church. 

Margaret. 
He will surely make her his wife. 

Bessy. 
He would be a fool if he did. A brisk young fellow 
has the world before him. Besides, he's ofE. 

Margaret. 
That's not fair ! 

Bessy. 

If she gets him, it will go ill with her. The boys 

will tear her wreath for her, and we will strew chafE 

before her door.'" [Exit.'] 

Margaret {going home). 
How stoutly I could formerly revile, if I saw a poor 
maiden make a slip ! how I could never find words 
enough to speak of another's shame ! How black it 
seemed to me ! and I blackened it still more, it was 
never black enough for me — and blessed myself and felt 
so grand, and am now myself a prey to sin ! Yet — all 
that drove me to it, was, God knows, so sweet, so dear ! 



ZWmGER. 

In der Mauerhohle em Andaehtshild der Mater dolorosa, 
Blumenhruge davor. 

Geetchen (stecM friiche Blumen in die Eruge). 

A OH, neige, 3230 

Du Schmerzenreiche, 
Dein Antlitz gnadig meiner Noth ! 

Das Schwert im Herzen, 
Mit tausend Schmerzen 
Blicksfc auf zu deines Sohnes Tod. 3235 

Zum Vater bliokst du 
TJnd Seufzer schickst du 
Hinauf um sein' und deine Noth. 

Wer fiihlet, 

Wie wUhlet 3240 

Der Schmerz mir im Gebein ? 

Was mein armes Herz hiei' bauget, 

Was es zittert, was verlanget, 

Weiszt nur du, nur du allein ! 

Wohin ioh immer gehe, 3245 

Wie weh, wie weh, wie wehe 
Wird mir im Busen hier ! 
Ich bin, aoli, kaum alleine, 



ZWINGEE."' 

In the niche of the wall a devotional image of the Mater 
Dolorosa, with pots of flowers before it. 

Maesaeet {places fresh flowers in the pots). 

AH, incline, 
Thou full of pain, 
Thy countenance graciously to my distress. 

The sword in thy heart,"' 

With thousand pangs 

TJp'lookest thou to thy Son's death. 

To the Father look'st thou. 

And sendest sighs 

Aloft for his and thy distress. 

Who feels 

How rages 

My torment to the quick ? 

How the poor heart in me throbbeth. 

How it trembleth, how it yearneth, 

Knowest thou, and thou alone ! 

Whithersoe'er I go, 
What woe, what woe, what woe. 
Grows within my bosom here ! 
Hardly, alas, am I alone. 



298 ZWINGER. 

Ich wein', ioh wein', ich weine, 

Das Herz zerbricht in mir. 3250 

Die Soherben vor meinem Tenster 
Bethaut' ioh mit Thranen, ach, 
Als ich am friihen Morgen 
Dir diese Blumen brach. 

Schien hell in meine Earnmer 3255 

Die Sonne friih herauf, 
Sasz ioh in allem Jammer 
In meinem Bett schon auf. 

Hilf ! Eette mioh von Schmach und Tod ! 

Ach, neige, 3260 

Du Schmerzenreiohe, 

Dein Antlitz gnadig meiner Noth ! 



ZWINGER. 299 

I weep, I weep, I weep. 

My heart is bursting within me ! 

The flower-pots on my window-sill 
Bedewed I with tears, alas ! 
When I at morning's dawn 
Plucked these flowers for thee. 

"When brightly in my chamber 
The rising sun's rays shone. 
Already, in all wretchedness. 
Was I sitting up in my bed, 

Help ! rescue me from shame and death ! 

Ah, incline. 

Thou full of pain. 

Thy countenance graciously to my distress ! 



NAOHT STEASZB VOE GEBTOaBNS THUEE. 

Valentin, Soldat, Geetchens Bruder. 

Valentin. 

WENN" ich so sasz bei einem Gelag, 
Wo Mancher sioh beruhmen mag, 
TJnd die Gesellen mir den Flor 3265 

Der MSgdlein laut gepriesen vor, 
Mit vollem Glaa das Lob versohwemmt : 
Den Ellenbogen aufgestemmt, 
Sasz ich in meiner sichern Ruh, 

Hort' all dem Schwadroniren zii, 3270 

Und streiohe laohelnd meinen Bart 
TJnd kriege das voile Glas zur Hand 
Und sage : AUes naoh seiner Art ! 
Aber ist Eine im ganzen Land, 

Piemeiner trauten Gretel gleicht, 3^75 

Die meiner Sohwester das Wasser reicht ? 
Top ! Top ! Kling ! Klang ! Das ging herum ! 
Die Einen sohrieen : er hat Eecht, 
Sie ist die Zier vom ganzen Geschleoht ! 
Da saszen alle die Lober stumm. 3280 

TJnd nun ! — Urn's Haar sich auszuraufen 
Und an den Wanden hinanf zu laufen J — 
Mit Stichelreden, Naseriimpfen 
Soil jeder Schurke mich beschimpfeu ! 
Soil wie ein boser Schuldner sitzen, 3285 

Bei jedem Zufallswortchen scbwitzen ! 
Und mocht' ich sie zusammenschmeiszen, 
Konnt' ich sie doch nicht Liigner heiszen. 

Was kommt heran ? Was schleicht herbei ? 
Irr' ich nicht, es sind ihrer Zwei. Sajci 

Ist er's, gleich pack' ich ihn beim Felle, 
Soil nicht lebendig von der Stelle ! 



NIGHT.— STREET BEFORE MARGARET'S 
DOOR. 

Valentine (a Soldier, Maegaeet's brother). 

WHEN I was seated at some carouse, where people 
are fain to boast, and my companions were loud in 
their praises of blooming girls, and drowned their com- 
mendation in bumpers, — ^with my elbows leaning on the 
board, I sat in quiet confidence, and listened to all 
their swaggering ; then I stroke my beard with a smile, 
and take the bumper in my hand, and say : " All very 
well in its way ! but is there one in the whole country 
to compare with my dear Margaret, — who is fit to hold 
a candle to my sister ? " Hob and nob, cling! clang! 
so it went round ! Some shouted, " He is right ; she is 
the pearl of the whole sex ; " and all those swaggerers 
were dumb. And now — it is enough to make one tear 
out one's hair by the roots, and run up the walls — I 
am to be twitted by the sneers and taunts of every knave, 
am to sit like a bankrupt debtor, and sweat at every 
chance word. And though I might crush them at a 
blow, yet I could not call them liars. 

Who comes there ? Who is slinking this way ? If 
I mistake not, there are two of them. If it is he, I 
will attack him at once ; he shall not leave this spot 
alive. 



302 STRASZE. 



Faust. Mephistopheles. 

Faust. 
Wie von dem Fenster dort der Sakrietei 
Aufwarts der Schein des ew'gen Lampchens flammert 
TTnd Bohwaoh und sohwaoher seitwarts dammert, 3*9S 

TJnd Finsteriiisz drangt ringBum bei : 
So sieht's in meinem Basen nachtig. 

MepMttophelei. 
Und mirist's wie dem Katzlein sohmaohtig, 
Das an den Feuerleitern sohleioht, 

Sioh leis dann um die Mauern streioht 3300 

Mir ist's ganz tugendlioh dabei, 
Ein biszchen Diebsgelust, ein biszohen Eammelei. 
So spukt mir sohon durph alle Glieder 
Die herrliohe Walpurgisnacht. 

Die kommt uns iibermorgen wieder, 3305 

Da weisz man doch, warum man wacht. 

FoMsl. 
BUckt wohl der Sohatz indessen in die Hoh', 
Den ich dort hinteu flimmern seh' p 

MepMstophehs. 
Da kannst die Freude bald erleben, 

Das Kesselchen herauszaheben. 3310 

Ich Bchielte neulioh so hinein, 
Sind herrliohe Lowenthaler dreiu. 

Faust. 
Nicht ein Gesohmeide, nicht ein Hing, 
Meine Hebe Buhle damit zu zieren ? 

Mephistopheles. 
Ich sah dabei wohl so ein Ding 3315 

Als wie eine Art von Perlenschniiren. 



STREET. 803 

Fattst — Mephistopheles. 

Faust. 
How from the window of the Sacristy there, the light of 
the eternal lamp flickers upwards, and glimmers weaker 
and weaker at the sides, and darkness thickens round ! 
Just so is all night-like in my breast 

Mephistopheles. 

And I feel languishing like the tom-cat, that 
sneaks along the fire-ladders and then creeps stealthily 
round the walls. I feel quite virtuously, — with a 
spice of thievish pleasure, a spice of wantonness. 
In such a manner does the glorious Walpurgis night 
already thrill me through every limb. The day after 
to-morrow it comes round to us again ; there one knows 
what one wakes for. 

Faust. 

WiU in the meantime the treasure rise, which I 
see glimmering yonder ? "° 

Mephistopheles. 
Tou will soon enjoy the lifting up of the kettle. I 
lately took a squint at it. There are capital lion-dollars 
within." 

Faust. 
Not a trinket — not a ring— to adorn my lovely mistress 

with ? 

Mephistopheles. 
I think I saw some such thing there, a sort of pearl 
necklace. 



304 STRASZE. 

FoAHt. 

So iat es recht ! Mir thut es weh, 
Wenn ioh ohne Geschenke zu ihr geh'. 

Me^phisto'pheles. 
Es sollt' euch eben nioht verdrieszen, 
Umsonst auoh etwas zu genieszen. 3320 

Jetzt, da der Himmel voUer Sterne gliiht, 
Sollt ihr sin wahres Kunststuok horen : 
Ich sing' ihr ein moralisoh Lied, 
Um sie gewisser zu bethoren. [Svngt xwr Zither.'] 

Was machst du mir 3325 

Vor Liebehens Thiir, 

Kathrinchen, bier 

Bei friibem Tagesblicke ? 

Lasz, lasz es sein ! 

£r laszt dich ein, 3330 

Als Madcben ein, 

Als Madcben nicht zuriicke, 

Nebmt euch in Aebt ! 

1st es vollbracht, 

Dann gute Nacht, 3335 

Ihr armen, armen Dinger ! 

Habtr ihr euch lieb, 

Thut keinem Dieb 

Nur nichts zu Lieb' 

Als mit dem Ring am Finger. 3340 

Valentin (iritt vor). 
Wen lockst du hier P Beim Element ! 
Vermaledeiter Rattenf anger ! 
Zum Teufel erst das Instrument ! 
Zum Teufel hinterdrein den Sanger ! 

MepMstopJieles. 
Die Zither ist entzwei ! An der ist nichts zu halten. 3345 

Valentin. 
Nun soil es an ein Schadelspalten ! 



STKEET. 305 



Faust. 

That is well.- I feel sorry when I go to her without a 
present. 

MejiJkistopJieles. 

Ton . ought not to regret having some enjoyment 
gratis. Now that the heavens are studded thick with 
stars, you shall hear a true masterpiece. I will sing her 
a moral song, to beguile her the more certainly. 

[Se sings to the guitar.'] 

"What are you doing here, Catherine, before your 
loveris door at morning dawn ? "" Stay, and beware ! 
he lets thee in a maid, not to come out a maid. 

" Beware ! If it be done, then good night to you, you 
poor, poor things. If you love yourselves, do nothing 
to pleasure any spoiler, except with the ring on the 
finger." 

Valentine {comes forward). 

Whom art thou luring here ? A plague on you ! thou 
cursed ratcatcher ! *" First, to the devil with the instru- 
ment, then to the devil with the singer. 

Mefhistopheles. 
The guitar, is broken to pieces ! It is all up with it. 

Valentine. 
Now then for a skull-cracking. 



306 STRASZE.'. 

Mephistopheles (jsu FAtrsi). 
Herr Doktor, nicht gewichen ! Frisch ! 
Hart ah mich an, wie ich euoh fiihre ! 
Herans mit eurem Mederwisch ! 
Nur zugestoszen ! loh parire. 3350 

Valentin. 
Parire den ! 

MeipTmto'p'heles, 
Waram denn nicht ? 

■ Yalentim. 
Auch den ! 

Mej^histoiplieles. 
Gewisz ! 

Valentin. * 

Ich glaub', der Teufel ficht ! 
Was ist denn das ? Schon wird die Hand mir lahm, 

Mephdstopheles (zu Faust). 
Stosz zu ! 

Valentin (fdiuy. 
weh! 

MepMstopheles. 

Nun ist der Lfimmel zahm ! 
Nun aber fort ! Wir mtissen gleich versohwinden ; 3355 
Denn schon entsteht ein morderlich Geschrei, 
Ich weisz mich trefflich mit der Polizei, 
Doch mit dem Blutbann schlecht mich abzufluden. 

Marthe {am Fenster'). 
Heraus ! Heraus ! 

Greichen (am Femter). 
Herbei ein Lioht ! 

Ma/rthe (wie olen). 
Man schilt und rauft, man schreit und flcht. 3360 



STREET. 307 

Mephistopheles (to Faust). 
Don't give way, Doctor ! Courage ! Stick close, and 
do as I tell you. Out witli your toasting-iron ! '" 
Thrust away, and I will parry. 



Valentine. 

MepMstopheles. 

Valentine. 



Parry that ! 

Why not? 

And that ! 

To be sure. 

, Valentine. 

I helieve the devil is fighting. What is that ? My 
hand is already lamed. 

Mephistopheles (to Faitst). 

Thrust home ! 

Valentine (falls). 
Oh, torture ! 

Mephistopheles. 

The clod is tamed now. But away ! We must 

vanish in a twinkling, for a horrible outcry is already 

raised. I can manage very well the police, but very 

badly the blood-ban."' 

Martha (at the window). 
Out! out! 

Margaret {at the window).' 

Bring a light ! 

Martha (as before). 
They are railing and scuffling, screaming and fighting. 



308 STRASZE. 

Vom. 

Da liegt Bchon Einer todt ! 

Marthe (heraustretend}. 
Die Morder, sind sie denn entflohn ? 

Gretchen (heratistretend). 
Wer liegt hier ? 

Volk 
Deiner Mutter Sohn. 

Gretchen. 
Allmacht'ger ! Welche Noth ! 

Valentin. 
Ich sterbe ! Das ist bald gesagt 3365 

TJud balder uoch gethan. 
Was steht ihr Weiber, heult and klagt ? 
Kommt her und hort mich an ! \_Alle treten vm ihn.'\ 
Mein Gretchen, sieh, du bist noch jung, 
Bist gar noch nioht gesoheit genuug, 3370 

Machst deine Sachen scLlecht. 
Ich sag' dir's im Vertrauen nur : 
Du bist doch nun einmal eine — ; 
So sei's auch eben rocht ! 

Gretchen. 
MeinBruder! Gott! Was soil mir das ? 3375 

Valeniin. 
Lasz unsern Herr Gott aus dem Spasz ! 
Geschehn ist leider nun geschehn, 
Und wie es gehn kann, so wird's gehn. 
Du flngst mit Einem heimlich an, 
Bald kommen ihrer mehre dran, 3380 

Und wenn dich erst ein Dutzend hat, 
So hat dioh auoh die ganze Stadt. 

Wenn erst die Schande wird geboren, 
Wird sie heimlich zur Welt gebraoht, 
Und man zieht den Schleier der 'Naoht 3385 



STREET. 309 

People. 
Here lies one dead already. 

Martha {coming old). 
Have the murderers escaped ? 

Margaret {coming out). 

Who lies here ? 

People. 
Thy mother's son. 

Margaret 

Almighty God ! what misery ! 

Valentine. 

I am dying ! that is soon said, and sooner still done. 
Why do you women stand howling and wailing ? Come 
here and listen to me. [All come round him.] 

Look ye, my little Margaret! you are still young! 
you are not yet adroit enough, and manage your matters 
ill. I tell it you in confidence ; since you are, once for 
all, a , be one in good earnest. 

Margaret. 
Brother ! G-od ! What do you mean ? 

Valentine. 

Leave our Lord God out of the game. What is done, 
alas ! cannot- be undone, and things will take their 
course. Tou began privately with one ; more of them 
will soon follow ; and when a dozen have had you, the 
whole town will have you too. 

When first Shame is born, she is brought into the 
world clandestinely, and the veil of night is drawn over 



310 STltASZE. 

Ihr uber Kopf und Ohren ; 

Ja, man mbchte sie gem ermorden. 

Wachst sie aber und macht sich grosz, 

Dann geht sie auch bei Tage blosz 

Und ist doch nicht schoner geworden, 3390 

Je haszlicher wird ihr Gesioht, 

Je mehr sucht sie des Tages Licht. 

Ich. seh' wahrhaftig schon die Zeit, 
Dasz alle brave Biirgersleut', 
Wie von einer angesteokten Leichen, 33V5 

Von dir, du Metze, Beitab weiohen. 
Dir soil das Herz im Leib verzagen, 
Wenn sie dir in die Augen sehn ! 
SoUst keine goldne Kette mehr tragen, 
In der Kirche nioht mehr am Altar stehn, 3400 
In einem schonen Spitzenkragen 
Dioh nioht beim Tanze wohl behagen, 
In eine finstre Jammerecken 
Unter Bettler und Kriippel dich verstecken 
* Und, wenn dir dann auch Gott verzeiht, 3405 

Auf Erden sein vermaledeit ! 

Mwfihe. 
Befehlt eure Seele Gott zu Gnaden ! 
Wollt ihr nooh Lastrung auf euoh laden ? 

Valentin. 
Konnt' ich dir nur an den diirren Leib, 
Du schandlich kupplerisches Weib, 3410 

Da hofift' ich aller meiner Siinden 
Veygebung reiche Masz zu finden. 

Gretchen. 
Mein Bruder ! "Welche HoUenpein ! 

Valentm. 
Ich sage, lasz die Thraneu sein ! 
Da du dich sprachst der Ehre los, 341 5 

Gabst mir den schwersten Herzensstosz. 
Ich gehe durch den Todesschlaf 
Zu Gott ein als Soldat und brav. [8tvrht.'\ 



STREET. 311 

her bead aud ears. Ay, people would fain stifle her. 
But when she grows and waxes big, she walks flaunt- 
ingly in open day, and yet is not a whit the fairer. The 
uglier her face becomes, the more she courts the light 
of day. 

Forsooth, I already see the time when all honest 
townspeople will turn aside from you, you harlot, as 
from an infected corpse. Tour heart will sink within 
you when they look you in the face. Tou will wear no 
golden chain again ! No more will you stand at the 
altar in the church, or take pride in a fair lace collar at 
the dance. Tou will hide yourself in some dark miser- 
able comer, amongst beggars and cripples, and, even 
should God forgive you, be cursed upon earth ! 

Ma/rtha. 
Commend your soul to God's mercy. Will you yet 
heap the sin of slander upon your soul. 

Valentine. 
Could I but get at thy withered body, thou shameless 
bawd, I should hope to find a full measure of pardon 
for all my sins ! 

Margaret. 
My brother ! Oh, this agonizing pang ! 

Valentine. 
Have dorfe with tears, I tell you. When you re- 
nounced honour, you gave me the deepest heart-stab of 
all. I go through death's sleep unto God, a soldier and 
a brave one. L-"^ a%es.\ 



DOM. 
AMT, ORGEL UND GESANG. 

Gbetchen imter vielem Votke. Bosee Geist hinter 
Greichen. 

Soser Geiat. 

WIS andera, Gretchen, war dir's, 
Als du noch vol! Unschuld 34^ 

Hier zum Altar tratst, 
Aus dem vergriffnen Biichelchen 
GeBefeTalltest, 
Halb Kinderspiele, 

Halb Gott im Herzen ! 3415 

Gretchen ! 

Wo steht dein Kopf ? 
In deinem Herzen 
Welche Missethat? 

Betst du fiir deiner Mutter Seele, die 34.30 

Durch dioh zur langen, langen Pein hiniibersohlief ? 
Auf deiner Sohwelle wessen Blut? 
— Und unter deinem Herzen 
Kegt sich's nioht quillend sohon 
Und angstet dioh und sioh 3435 

Mit ahnungsvoUer Gegenwart? 
^ /■ -■ 

Gretchen 
Weh! Weh! 

War' ioh der Gedanken los, 
Die mir heriiber und hiniiber gehen 
Wider mich ! 3440 



CATHEDEAL. 
SERVICE, ORGAN, AND ANTHEM. 

Maegaeet amongst a number of People, Evil Spieit 
behind Maegaeet. 

Evil Spirit. 

HOW different was it -with thee, Margaret, 
When still full of innocence 
Thou earnest to the altar there — 
Out of the -well-worn little book 
Lispedst prayers. 
Half child- sport, 
Half God in the heart ! 
Margaret ! 
Where is thy head ? 
In thy heart 
What crime ? 

Prayest thou for thy mother's soul — who 
Slept over into long, long pain through thee ? 
Whose blood on thy threshold ? 

And under thy heart 

Stirs it not quickening even now,"' 
Torturing itself and thee 
With its foreboding presence ? 

Margaret. 
Woe! woe! 

Would that I were free from the thoughts, 
That come over ms and across me 
Against myself ! 



314 DOM. 



Ghor. 
Dies ircB, dies ilia 
Solvet sosclum infavilla. [^Orgelton.'] 

Boser Qeist. 
Grimm faszt dich ! 
Die Fosaone tont ! 

Die Graber beben ! 3445 

Und dein Herz, 
Ans Asohenruh 
Zu Flammenqualen 
Wieder aufgeschaffen, 
Bebt auf ! 3450 

Gretchen. 
War' ioh hier weg ! 
Mir ist, als ob die Orgel mir 
Deu Athem versetzte, 
Gesang mein Herz 
Im Tiefsten IBste. 3455 

Ghor. 
Judex ergo owm sedebii, 
QmdqvM latet, adparehit, 
Nil iwultwm remanehit. 

Gretchen. 
Mir wird so eng ! 

Die Mauernpfeiler 3460 

Befangen mioh ! 
Das Gewolbe 
Drangt mich ! — Luft ! 



CATHEDRAL. 315 

Chorus. 
Dies irce, dies ilia 
Solvet sceclwm infavilla}" [^Organ plays.] 

Evil Spirit. 
Horror seizes thee ! 
The Truxap sounds ! 
The graves tremble ! 
And thy heart 
From the repose of its ashes 
For fiery torment 
Brought to life again. 
Trembles up ! 

Margaret. 
Would that I were hence ! 
I feel as if the organ "' 
Stifled my breath, 
As if the anthem 
Dissolved my heart's core ! 

Chorus. 
Judex ergo cum sedebit, 
Quidguid latet, adparebit. 
Nil inultum remanebit. 

Margaret. 
I feel so oppressed ! 
The wall-pillars 
Close on me ! 
The vaulted roof 
Presses on me ! — Air ! 



816 DOM. 



BUser Qeist. 
Verbirg dioh ! SUnd' und Schande 
Bleibt nioht verborgen, 3465 

Luft? Lioht? 
Weh dir ! 

Chor. 
Quid sum rmser tvmc dichtrtM ? 
Quern patrormm rogatv^tis. 
Cum vits Justus sit secwus ? 3470 

Bosef Geist. 
Ihr Antlitz wenden 
Verklarte von dir ab. 
Die Haude dir zu reiohen, 
Schauert's den Beinen. 
TVeh ! 347S 

Ghor. 
Quid sum miser tune dAdwrm ? 

Oretchen, 
Nachbarin ! Euer Flaschohen ! — 

[_8ie fallt in Ohnmacht.'] 



CATHEDRAL. Sill' 

Evil Spirit. 
Hide thyself ! Sin and shame 
Remain, unhidden. 
Air? Light? 
Woe to thee ! 

Chorus. 
Quid sum miser tunc dicturus ? 
Quern patrormm rogaturus, 
Cum vix Justus sit securus ? 

Evil Spirit. 

The glorified from thee 

Avert their faces. 

The pure shudder 

To reach thee their hands. 

Woe! 

Chorus. 

Quid sum miser tunc dicturus ? 

Margaret. 
Neighbour ! your smelling bottle ! 

\_She swoons away.] 



WALPUEGISNAOHT. 
HARZGEBIEG. 

Gegend von SchierJce und Blend. 

Fatjst. Mephistopheles. 

Mephistopheles. 

VEELANGST du nicht nach einem Besenstiele ? 
Ich wiinschte mir den allerderbsten Book. 
Auf diesem Weg sind wir noch weit vom Ziele. 3480 

FoMSt 

So lang' ich mich noch frisch auf meinen Beinen fiihle, 

Geniigt mir dieser Knotenstock. 

Was hilft's, dasz man den Weg verkUrzt ! 

Im Labyrinth der Thaler hinzusohleichen, 

Dann diesen Pelsen zu ersteigen, 3485 

Von dem der Quell sioh ewig sprudelnd sturzt, 

Das ist die Lust, die seiche Pfade wUrzt ! 

Der Friihling webt schon in den Birken, 

Und selbst die Fichte fuhlt ihn schon ; 

Sollt' er nicht auch auf unsre Glieder wirken ? 3490 

Mejghistojpheles. 
Fiirwahr, ich spUre nichts davon ! 
Mir ist es winterlich im Leibe ; 
Ich wiinschte Schnee und Frost auf meiner Bahn. 
Wie traurig steigt die nnvollkommne Soheibe 
Des rothen Monds mit spater Gluth heran 3495 

Und leuchtet sohlecht, dasz man bei jedem Schritte 
Vor einen Baum, vor einen Felsen reiint ! 
Erlaub, dasz ich ein Irrlicht bitte ! ^ 



WALPTJRGIS-NIGHT."' 

THE HARTZ MOUNTAINS. 

District of Schirke and Elend. 

rATJST. MePHISTOPHELES. 

Mephidopheles. 

DO you not long for a broomstick ? Tor my part, 
I should be glad of the sturdiest he-goat. By 
this road we are still far from our destination. 

Faust. 
So long as I feel fresh upon my legs, this knotted 
stick suffices me. What is the use of shortening the 
way ? To creep along the labyrinth of the vales, and 
then ascend these rocks, from which the ever-bubbling 
spring dashes — this is the pleasure which gives zest to 
such a path. - The spring is already stirring in the birch 
trees, and even the pine is beginning to feel it, — ought 
it not to have some effect upon our limbs ? 

Mephistopheles. 
Verily, I feel nothing of it. All is wintry in my 
body, and I should prefer frost and snow upon my 
path. How mournfully the imperfect disc of the red 
moon rises with belated glare ! and gives so bad a light, 
that, at every Step, one runs against a tree or a rock. 
With your leave, I will call a will-o'-the-wisp. I see 



820 WALPTJRGISNACHT. 

Dort seh* ioh eins, das eben lustig brennt. 

He da ! Mein Freund ! Darf ioh dich zu uns fodem ? 3500 

Was willst du so vergebens lodern ? 

Sei doch so gut und leuoht uns da hinauf ! 

IrrUchi. 
Aus Bhrfuroht, hoff' ioh, soil es mir gelingen, 
Mein leiohtes Naturell zu zwingen ; 
Nur zickzack geht gewohnlioh unser Lauf. 3505 

MepMstopheles. 
Ei, ei ! Er dehkt's den Mensohen nachzuahmen. 
Geh er nur grad, ins Teufels Namen ! 
Sonst bias' ioh ihm sein Flackerleben aus. 

IrrlicM. 
Ioh merke wohl, ihr seid der Herr vom Haus, 
Und will mioh gern naoh euch bequemen. 3510 

AUein bedenkt ! Der Berg ist heute zaubertoU, . 
Und wenn ein Irrlioht euch die Wege weisen soil, 
So mUszt ihr's so genau nioht nehmen. 

Fatjst, Mephistopheles, Irelicht (im Wechselgesang). 
In die Traum- und Zaubersphare 
i/i . Sind wir, soheint es, eingegangen. 35iS- 

Fiihr uns gut und maoh dir Ehre, 
Dasz wir vorwarts bald gelangen 
In den weiten, ouca Eaumen ! 

Seh' die Baume hinter Baumen, 
i/Vie sie schnell voruberriioken, 3520 

Und die Klippen, die sioh biioken, 
Und die langen Felsennason, 
Wie sie schnarchen, wie sie blasen ! 

Duroh die Steine, duroh den Basen 
Eilet Baoh und Bachlein nieder. 3525 

Hor' ioh Rausohen ? Hor' ioh Lieder ? 
Hor' ioh holde LiebesklB,ge,1 
Stimmen jener Himmelstage ? 



WALPURGIS-NIGHT. 321 

one yonder, burning right merrily. Holloa, there, my 
friend ! May I entreat your company ? Why wilt thou 
blaze away so uselessly ? Be so good as to light us up 
along here. 

Will-o'-the-Wisp. 
. Out of reverence, I hope, I shall succeed in subduing 
my unsteady nature ; our course is ordinarily but a 
zigzag one. 

M&pMstopheles. 

Ha ! ha ! you think to imitate men. But go straight, 
in the devil's name, or I will blow your flickering life 
out. 

Will-o' -the- Wisp. 

I see well that you are the master of the house, and 
will willingly accommodate myself to you. But consider ! 
The mountain is magic-mad to-night, and if a will-o'- 
the-wisp is to show you the way, you must not be too 
particular. 

Fattst, Mephistopheles, WiLr--o'-THE-Wisp (in 
alternating song). 

Into the sphere of dreai^Qand enchantments, it 
seems, have we entered, Lead us right, and do yourself 
credit ! — ^that we may advance betimes in the wide, deso- 
late regions. 

See trees after trees, how rapidly they move by ; and 
the cliffs, that bow, and the long-snouted rocks, how 
they snort, how they blow ! 

Through the stones, through the turf, brook and 
brooklet hurry down.'"" Do I hear rustling ? do I hear 
songs? do I hear the sweet plaint of love — voices of 
J 



^, 



322 WALPURGISNACHT. 

Was wir hoffen, was wir lieben ! 

Und das Echo, wie die Sage 3530 

Alter Zeiten, hallet wieder. 

Uhu ! Schuhu ! Tout es naher ; 
Kauz und Kibitz und der Haher, 
Bind sie alle waoh geblieben ? 
Sind das Molche durohs Gestrauche, 3535 

' Lange Beine, dicke Bauche ? 
Und die Wurzeln, wie die Schlangen, 
Winden sich aus Fels und Sande, 
Strecken wanderliche Bande, 
Uns zu schrecken, uns zu farigen ; 3540 

Aus belebten, derben Maseru 
Strecken sie Polypenfasern 
Nach dem Wandrer. Und die Mause, 
Tausendfarbig, schaarenweise, 
Durch. da.s Moos und durch die Heide ! 3545 

Und die Funkeuwurmer fliegen 
Mit gedrangteu Schwarmezugen 
Zum verwirrenden Geleite. 

Aber sag mir, ob wir stehen 
Oder ob wir weiter gehen ? 3550 

Alles, Alles scheint zu dreben : 
Fels und Baume, die Gesiohter 
Schneiden, und die irren Lichter, 
Die sich mehren, die sich blahen. 

Mejphistopheles. 
Fasse wacker meinen Zipfel ! 3555 

Hier ist so ein Mittelgipfel, 
Wo man mit Erstaunen sieht, 
Wie im Berg der Mammon gluht. 

FcMst. 
Wie seltsam glimmert durch die Griinde 
Ein morgenr othlich triiber S chein ! 3560 

Und selbst bis in die tiefen Schliinde 
Des Abgrunds wittert er hinein. 
Da steigt ein Dampf, dort Ziehen Schwaden, 



WALPURGIS-NIGHT. 323 



those blest days ? — What we hope, what we love ! And 
Echo, like the tale of old times, sends back the sound. 

Tu-whit! Tu-whoo!^" — it sounds nearer; the screech- 
owl, the plover, and the jay, — have they all remained 
awake ? Are those salamanders through the bushes, with 
their long legs, thick paunches ? And the roots, like 
snakes,"'' wind from out of rock and sand, and stretch 
forth strange filaments to terrify, to ^eize usj from living 
sturdy gnarls they stretch polypus-fibres towards the 
wanderer. And the mice, thousand-coloured, in whole 
tribes, through the moss and through the heath ! And 
the glowworms fly, in crowded swarms, a bewildering 
escort. 

But tell me whether we stand still, or whether we are 
moving on ? Everything seems to turn round, — rocks 
and trees, which make grimaces, and the will-o'-the- 
wisps, which multiply, which swell themselves out. 

MephistopJieles, 
Keep a stout hold of my skirt ! Here is a central 
peak, from which one sees with wonder how Mammon i' ' 
is glowing in the mountain. « 

Faust. 

How strangely a melancholy light, of morning-recI, 

glimmers through the mountain gorges, and quivers 

even to the deepest recesses of the precipice ! Here 

vapours rise, ' there float exhalations ; here glow 



324 WALPURGISNACHT. 

Hier leuohtet Gluth aus Dunst und Flor, 

Dann schleioht sie wie ein zarter Fades, 3565 

Dann bricht sie wie ein Quell hervor. 

Hier sohlingt sie eine ganze Streoke 

Mit hundert Adern sich durchs Thai, 

Und hier in der gedrangten Ecke 

Vereinzelt sie sich auf einmal. 3570 

Da spruhen Funken in der Nahe 

Wie ausgestreuter goldner Sand. 

Doch sohau ! In ihrer ganzen Hohe 

Entzundet sich die Felsenwand. 

MepTiisto'gTieles. 
Brleuchtet nioht zu diesem Feste 3575 

Herr Mammon prachtig den Palast ? 
Ein Gluck, dasz du's gesehen hast ; 
Ich spure schon die ungestiimen Gaste. 

FaViSt. 
Wie ras't die Windsbraut duroh die Luft ! 
Mit welchen Schlagen trifft sie meinen Nacken ! 3580 

MepTiisiopheles. 
Da muszt des Felsens alte EiJSpen packen ; 
Sonst sturzt sie dich hinab in dieser Schlunde Graft. 
Ein Nebel verdichtet die Nacht. 
Hore, wie's durch die Walder kracht ! 
Aufgescheucht fliegen die Eulen. 3585 

Hor, es splittern die Saulen 
Ewig griiner Palaste. 
Girren und Breohen der Aeste ! 
Der Stamme maohtiges Drohnen ! 

Der Wurzeln Knarren und Gahnen ! 3590 

Im fiirchterlich verworrenen Falle 
Ueber einander krachen sie alle, 
Und duroh die iibertriimmerten Kliifte 
Zisohen und heulen die Liifte. 

Horst du Stimmen in der Hohe? 3595 

In der Feme, ia der Nahe ? 
Ja, den ganzen Berg entlang 
Stromt ein wiithender Zaubergesang ! 



"WALPURGIS-NIGHT. S25 

sparkles out of vapour and haze, then steals along like 
a fine thread, and then again bursts forth like a foun- 
tain. Here it winds, a whole track, with a hundred 
veins, through the valley ; and here, in the compressed 
corner, it scatters itself suddenly."' There sparks are 
sputtering near, like scattered golden sand. But, see ! 
The wall of rocks is on fire in all its height. 

MepMstopheles. 
Does not Sir Mammon illuminate his palace magni- 
ficently for this festival ? It is lucky that you have seen 
it ; I feel already the approach of the boisterous guests. 

Faust. 
How the storm-blast "* is raging through the air ! 
With what thumps it strikes against my neck ! 

M&phidopheles. 
Tou must lay hold of the old ribs of the rock, or it 
will hurl you down into the depth of this abyss. A mist 
thickens the night. Hark ! what a crashing through the 
forest ! TM owls fly scared away. Hark, to the splin- 
tering of the pillars of the ever-green palaces ! the crack- 
ling and snapping of the boughs, the mighty groaning of 
the trunks, the creaking and yawning of the roots ! — All 
come crashing down, one over the other, in fearfully- 
confused fall ; and the winds hiss and howl through 
the wreck-covered cliffs ! Dost thou hear voices aloft ? 
— in the distance ?— close at hand ? — Ay, a raving 
witch-song streams along the whole mountain. 



326 WAXPUKGISNACHT. 

Semen {vm Ohor). 
Die Hexen zu dem Brooken ziehn ; 
Die Stoppel ist gelb, die Saat ist griin. 3600 

Dort sammelt sich. der grosze Hauf, 
Herr Urian sitzt oben auf. 
So geht ea uber Stein und Stock ; 
Bs — die Hexe, es stinkt der Bock. 

Stimme, 
Die alte Baubo kommt allein ; 3605 

Sie reitet auf einem Muttersohwein. 

Chor. 
So Ehre denn, wem Ehr' gebUhrt ! 
Frau Baubo vor ! Und angefUhrt ! 
Ein tiichtig Schwein und Mutter drauf, 
Da folgt der ganze Hexenhauf. 3610 

Stvnvme. 
Welohen Weg kommst du her ? 

Stimme. 

Uebem Ilsenstein !' 
Da guokt' ich der Eule ins Nest hinein. 
Die macht' ein Paar Augen ! 



Stimme. 
Was reit'st du so schnelle ! 



0, fahre zur Holle ! 



Stimme. 
Mich hat sie geschunden, 3615 

Da sieh nur die Wunden ! 

Hexen. (Ohor.) 
Der Weg ist breit, der Weg ist lang ; 
Was ist das fiir ein toller Drang ? 
Die Gabel stioht, der Besen kratzt, 
Das Kind erstickt, die Mutter platzt. 3620 



WALPUKGIS-NIGIIT. 327 

The Witches (in chorus). 
To tte Brocken the witches repair ! The stuhble is 
yellow, the corn is green. There the huge imiltitude 
assembles. Sir TJrian ^" sits at the top. On they go, 

over stone and stock ; the witch s, the he-goat 

stinks."' 

Voices. 
Old Baubo '" comes alone ; she rides upon a farrow- 
sow. 

Chorus, 
Then honour to whom honour is due ! Mother Baubo 
to the front, and lead the way! A goodly sow and 
mother upon her, — then follows the whole swarm of 
witches. 

Voice. 
Which way did you come ? 

Voice. 
By Ilsenstein."* I there peeped into the owl's nest. 
She made such eyes at me ! 

Voice. 
Oh ! Betake thee to hell ! What a rate you are 
riding at ! 

Voice. 
She has grazed me in passing; only look at the 
wound ! 

Chorus of Witches. 
The way is broad — the way is long ; what mad 
throng is this? The pitchfork pricks — the besom 
scratches : the child is suffocated— the mother bursts. 



328 WALPURGISNACHT. 

Hexenmeister. (ilaVbes OKor.') 
Wir schleichen wie die Sohneck' im Haus, 
Die Weiber alle sind voraus. 
Denn geht es zu des Bosen Haus, 
Das Weib hat tausend Schrifcfc voraus. 

{Andre EUlfte.) 
Wir nehmen das nicht so genau. 3625 

Mit tausend Schritten macht's die Fran ; 
Doch wie sie auch sich eilen kann, 
Mit einem Sprunge macht's der Mann. 

Siimme (oben). 
Kommt mit, kommt mit, vom Pelsengee ! 

Stimmen (von unteri). 
Wir moohten gerne mit in die Hoh'. 3630 

Wir waschen, und blank sind wir ganz und gar, 
Aber auch ewig unfruchtbar. 

Beide Chore. 
Es schweigt der Wind, es flieht der Stern, 
Der triibe Mond verbirgt sich gem ; 
•Im Sausen spriiht das Zauberchov 3635 

Viel tausend Feuerfunken hervor. 

Btimme (von unten). 
Halte ! Halte ! 

Stimnie (von oben). , 
Wer ruft da aus der Felsenspalte ? 

8tim/me (unten). 
Nehmt mioh mit ! Nehmt mich mit ! 
Ich Bteige schon dreihundert Jahr' 3640 

Und kann den Gipfel nicht erreiohen. 
Ich ware gem bei meines Gleiehen. 

Beide OJidre. 
Es tragt der Besen, tragt der Stock, 
Die Gabel tragt, es tragt der Bock. 



WALPURGIS-NIGHT. 329 

Wiaoirds (half -chorus). 
We steal along like snails ra their house ; the women 
are all before ; for, in going to the house of the evil 
one, "woman is a thousand steps in advance. 

The other Half. 
We do not take that so precisely. The woman doea 
it with a thousand steps ; but, let her make as much 
haste as she can, the man does it at a single bound. 

Yoices (above'). 
Come with us, come with us, from Pelsensee ! 

Voices (from helow). 
We should like to mount with you. We wash, and 
are thoroughly clean, but we are ever barren. 

Both Choruses. 
The wiad is still, the star flies, the melancholy moon 
is glad to hide herself ; the magic- choir sputters forth 
sparks of fire by thousands in its whizzing. 

Voice (from, helow). 
Hold! hold! 

Voice (from above). 
Who calls there, from the cleft in the rock ? 

Voice (from, helow). 
Take me with you ! take me with you ! I have been 
mounting for three hundred years already, and cannot 
reach the top. I would fain be with my fellows. 

/ , Both Choruses. 

The besom carries, the stick carries, the fork carries, 



330 WALPUKGISNACHT. 

Wer heute sioh nioht heben kann, J645 

1st ewig ein Terlorner Mann. 

Halbhexe (unten). 
loh tripple nach, so lange Zeit ; 
Wie sind die Andern sohon so weit ! 
loh hab' zu Hause keine Euh 
Und komme hier doch nioht daza. 3650 

Ghor der Sexer. 
Die Salbe giebt den Hexen Muth, 
Bin Lumpen ist zum Segal gut, 
Bin gutes Schiff ist jeder Trog ; 
Der fiieget nie, der heut nioht flog. 

Beide Ohore. 
Und wenn wir um den Gipfel ziehn, 3655 

So streichet an dem Boden bin 
TJnd deckt die Heide weit und breit 
Mit eurem Schwarm der Hexenheit. 

l_Sie lassen sich nieder.'] 

MepJiistopheles. 
Das drangt und stoazt, das ruscht und klappert, 
Das zisoht und quirlt, das zieht und plappert, 3660 

Das leuchtet, spriiht und stinkt und brennt, 
Ein wahres Hexenelement ! 

Nur fest an mir ! Sonst sind wir gleich getrennt. 
Wo bist Du ? 

Faust (in der Feme). 
Hier! 

MepMstopheles. 

Was ! Dort sohon hingerissen ? 
Da werd' ich Hausrecht brauchen miissen. 3665 

Platz ! Junker Voland kommt. Platz ! Siiszer Pobel, Platz ! 
Hier, Doktor, fasse mich ! Und nun in einem Satz 
Lasz uns aus dem Gedrang' entweichen ; 
Es ist zu toll, sogar fiir meines Gleichen. 



WALPURGIS-NIGHT. 331 

the he-goat carries. Who cannot raise himself to-night, 
is lost for ever. 

Demi-Witch (below). 
I have been tripping along such a length of time ; — 
how far the others are ahead already ! I have no rest 
at home, — and don't get it here either. 

Chorus of Witches. 
The salve gives courage to the witches ; a rag is good 
for a sail; every trough makes a good ship; he will 
never fly, who flew not to-night. 

Both Choruses. 
And when we round the peak, sweep along the ground, 
and cover the heath far and wide with your swarm of 
witch-hood. [They let themselves down.'] 

Mephistopheles. 
There's crowding and pushing, rustling and clatter- 
ing ! There's whizzing and twirling, bustling and bab- 
bling ! There's glittering, sparkling, stinking, burning ! 
A true witch-element ! But stick close to me, or we shall 
be separated in a moment. Where art thou ? 

Faust (in the distance). 
Here! 

Mephistopheles. 
What ! carried away already so far ? I must exert my 
authority as master. Eoom ! Squire Voland "' comes ! 
Make room, sweet rabble, make room ! Here, Doctor, 
take hold of me ! and now, at one bound, let us get 
clear of the crowd. It is too mad^ even for the like of 



332 WALPURGISNACHT. 

Dort neben leuohtet was mit ganz besondrem Schein ; 3670 
Es zieht mich was nach jenen Strauchen. 
Komm, komm ! Wir sohlapfen da hinein. 

Faust. 
Du Geist des Widerspruchs ! Nur zu ! Da magst mich 

fuhren. 
Ich denke doch, das war recht klug gemaoht ; 
Zum Brocken wandeln wir in der Walpurgisnacht, 3675 
Um una beliebig nun hieselbst zu isoliren. 

Mephisto'p'heles. 
Da sieh nur, welclie bunte Flammen ! 
Es ist ein muntrer Klub beisammen. 
Im Kleinen ist man nioht allein. 



Faust. 
Dooh droben mocht' ich lieber sein ! 3680 

Schon seh' ich Gluth und Wirbelrauoh. 
Dort stromt die Menge zu dem Bosen ; 
Da musz sich manches Bathsel losen. 

Mephisio]pheles. 
Dooh manches Eathsel kniipft sich auch. 
Lasz du die grosze Welt nur sausen ! 3685 

Wir wollen hier im Stillen hausen. 
Es ist doch lange hergebracht, 

Dasz in der groszen Welt man kleine Welten macbt. 
Da seh' ich junge Hexohen, nackt und blosz, 
Und alte, die sich klug verhiillen. 3690 

Seid freundlioh, nur um meinetwillen ! 
Die MUh ist klein, der Spasz ist grosz. 
Ich hore was von Instrumenten tonen ; 
Verflucht Geschnarr ! Man musz sich dran gewohnen. 
Komm mit! Komm mit! Es kann nicht anders sein, 3695 
Ich tret' heran und fiihre dich herein, 
Und ich verbinde dioh aufs Neue. 
Was sagst Du, Freund ? Das ist kein kleiner Raum. 



WALPURGIS-NIGHT. 333 

me. Hard by there, shines something with a peculiar 
light. Something attracts me towards those bushes. 
Come along ! we will slip in there. 

Faust. 
Thou spirit of contradiction ! But go on ! thou may'st 
lead me. But it was wisely done, to be sure ! We re- 
pair to the Brocken on Walpurgis' night — in order to 
isolate ourselves here voluntarily. 

Mephisto^lieles. 
Only see what variegated flames ! A merry club is 
met together. One is not alone in a small company. 

Faust. 

I should prefer being above, though ! I already see 
flame and eddying smoke. Tonder the multitude is 
streaming to the Evil One. Many a riddle must there 
be untied. 

MepMstopheles. 

And many a riddle is also knotted here. Let the 
great world bluster as it may ! We wiU here settle our- 
selves in peace. It is an old custom, that in the great 
world one makes little worlds. Tonder I see young 
witches, naked and bare, and old ones, who prudently 
cover themselves. Be amiable, if only for my sake! 
The trouble is small, the sport is great. I hear instru- 
ments resounding. Confounded jangle! One must 
accustom oneself to it. Come along, come along 1 It 
cannot be otherwise ; I will go forward and introduce 
you, and I shall lay you under a fresh obligation. What 
sayest thou, friend? This is no little space. Only 



334 WALPUBGISNACHT. 

Da sieh nur bin ! Du siehst das Ende kaum. 

Ein Hundert Feuer brennen in der Eeihe; 3700 

Man tanzt, man schwatzt, man kocht, man trinkt, man 

liebt, 
Nun sage mir, wo es was Bessers giebt ? 

Faust. 
Willst du diob nun, um uns bier einzufiihren, 
Als Zaubrer oder Teufel produciren ? 

Mephistofhelei. 
Zwar bin ioh sebr gewobnt, inkoghito zu gebn ; 3705 

Doob laszt am Galatag man seinen Orden sebn. 
Bin Knieband zeichnet miob niobt aus, 
Doch ist der Pferdefusz bier ebrenvoll zu Haus. 
Siebst du die Scbnecke da ? Sie kommt berangekrooben ; 
Mit ibrem tastenden Gesicbt 3710 

Hat sie mir sobon was abgerocben. 
Wenn iob aucb will, verleugn' iob bier micb nicbt. 
Komm nur ! Von Eeuer geben wir zu Feuer, 
Iob bin der Werber, und du bist der Preier. 

[Zu Einigen, die um verglimmende KoWen siixen.] 
Ibr alten Herrn, was maobt ibr bier am Ende ? 3715 

Ich lobt' euoh, wenn iob eucb biibscb in der Mitte fande, 
Von Saus umzirkt und Jugendbraus ; 
Genug allein ist Jeder ja zu Haus. 

General. 
Wer mag auf Nationen trauen, 
Man babe noob so -viel fur sie getban ! 3720 

Denn bei dem Volk wie bei den Frauen 
Stebt immerfort die Jugend obenan. 

Ministeir. 
Jetzt ist man von dem Recbten allzu weit, 
Iob lobe mir die guten Alten ; 
Denn freilicb, da wir AUes galten, 3725 

Da war die reobte goldne Zeit. 



■WALPCJRGIS-NIGHT. S35 

look ! you can hardly see the end ! A hundred fires are 
burning in a row. People are dancing, talking, cooking, 
drinking, love-making! Now tell me where could be 
found anything better ? 

Faust. 
To introduce us here, do you intend to present your- 
self as wizards or devils ? 

Mephistopheles. 
It is true, I am much used to go incognito ; but one 
shows one's orders on gala-days. I have no garter to 
distinguish me, but the cloven foot is held in high 
honour here. Do you see the snail there ? she comes 
creeping up, and with her feelers has already scented out 
something in me. Even if I would, I could not deny 
myself here. But come ! We will go from fire to fire ; I 
am the go-between, and you shall be the wooer. 

[To some who are sitting round expiring emhers.'] 
Old gentlemen, what are you doing here at the ex- 
tremity ? I should commend you, did I find you nicely 
in the middle, ia the thick of the riot and youthful 
revelry ; everyone is surely enough alone at home. 

General. 
Who can put his trust in nations, though he has done 
ever so much for them ? For with the people, as with / 
the women, youth has always the upper hand. 

Minister. 
At present people are wide astray from the right path 
— the good old ones for me ! For, verily, when we were 
all in all, that was the true golden age. 



336 WALPUHGISNACHT. 

'Pa/rvenv,, 
Wir waren wahrlioh auoh nicht dumm 
' TJnd thaten oft, was wir nicht soUten ; 
Dooh jetzo kehrt sioh AUes um und um, 
Und eben da wir's fest erhalten wollten. 3730 

Avior. 
Wer mag wohl iiberhaupt jetzt eine Schrift 
Von maszig klugem Inhalt leseu ! 
TJnd was das liebe junge Volk betrifift, 
Das ist nooh nie so naseweis gewesen. 

MepMstojiheles (der a/uf einmal sehr alt erscheinf). 
Zum jiingsten Tag fiihl' ich das Yolk gereift, 3735 

Da ich zum letzten Mai den Hexenberg ersteige, 
Und well mein Faszohen triibe lauft, 
So ist die Welt auoh auf der Neige. 

TrddelJieaie, 
Ihr Herren, geht nicht so vorbei ! 

Laszt die Gelegenheit nicht fahren ! 3740 

Aufmerksam bliokt nach meinen Waaren ! 
Es steht dahier gar mauoherlei. 
Und doch ist nichts in meinem Laden, 
Dem keiner auf der Erde gleicht, 

Das nicht einmal zum tiicht'gen Schaden 3745 

Der Menschen und der Welt gereioht. 
Kein Dolch ist hier, von dem nicht Blut geflossen, 
ICein Kelch, aus dem sich nicht in ganz gesunden Leib 
Verzehrend heiszes Gift ergossen, 

Kein Schmuck, der uicht ein liebenswiirdig Weib 3750 

Yerfiihrt, kein Schwert, das nicht den Bund gebrochen, 
Nicht etwa hinterriicks den Gegenmann durchstoohen. 

Mephistopheles. 
Prau Muhme, sie versteht mir schlecht die Zeiten. 
Gethan, geschehn ! Geschehn, gethan ! 
Verleg sie sich auf Neuigkeiten ! 3755 

Nur Neuigkeiten ziehn uns an. 



WALPURGIS-NIGHT.. 33? 

fwrvenu. 
We, too, were certainly no fools, and often did what 
we ought not; but now everything is turned topsy- 
turvy, and just when we wished to keep it firm. 

Aufhor. 
Who now-a-days, speaking generally, likes to read a 
work of even moderate sense? And as for the dear 
young folk, they were never so pert as now. 

Me^Mstopheles {who all at once appears very old). 
I feel the people ripe for doomsday, now that I ascend 
the witch-moulitain for the last time ; i2£,and because my 
own cask runs thick, the world also is come to the dregs. 

Huckster- Witch. 
Do not pass by in this manner, gentlemen ! Do not 
let the opportunity escape ! Look at my wares atten- 
tively ; I have them of all sorts. And yet there is nothing 
in my shop — ^which has not its fellow upon earth — that 
has not, some time or other, wrought great mischief to 
mankind and to the world. There is no dagger here, 
from which blood has not fl.owed ; no chalice, from which 
hot consuming poison has not been poured into a healthy 
body ; no trinket, which has not seduced some amiable 
woman ; no sword, which has not cut some tie asunder, 
which has not perchance stabbed an adversary from 

behind. 

Mephistopheles. 

Cousin ! you understand but ill the temper of the 

times. Done, happened ! Happened, done ! Take to 

dealing in novelties ; novelties only have any attraction 

for us. 



338 WALPURGISNACHT. 

Faust. 
Dasz ich mioh nur nicht selbst vergeBse ! 
Heisz' ich mir das dooh eine Messe ! 

MepMstopheles. 
Der ganze Strudel strebt nach oben ; 
Du glaubst zu schieben, und du wirst geschoben. 3760 

Favst. 
Wer ist denn das ? 

Mephistopheles. 
Betrachte sie genau ! 
Lilith ist das. 

Faiut. 
Wer? 

MepJiistopheles. 

Adam's erste Frau. 
Nimm dich in Acht vor ihren schonen Haaren, 
Vor diesem Schmuck, mit dem sie einzig prangt ! 
Wenn sie damit den jungen Mann evlangt, 3765 

So laszt sie ihn sobald nicht wieder fahren. 

Faust 
Da sitzen Zwei, die Alte mit der Jungen ; 
Die haben schon was Kecht's gesprungen ! 

Mephistopheles. 
Das hat nun heute keine Ruh. 
Es geht zum neuen Tanz ; nun komm, wir greifen zu. 3770 

Faust (mit der Jungen tcmxend). 
Ernst hatt' ich einen schonen Traum ; 
Da sah ich einen Apfelbaum, 
Zwei schoniO Aepfel glanzten dran, 
Sie reizten mich, ich stieg hinan. 



■WALPURGIS-NIGHT. 339 

Faust. 
I must endeavour to keep my senses ! This is a fair 
witli a vengeance ! 

Mephistopheles. 
The whole throng struggles upwards. You think to 
shove, and you yourself are shoved. 

Faust. 
Who, then, is that ? 

MephistopJieles. 
Mark her well ! That is Lilith."' 

Faust. 
Who? 

Me^histojiheles. 
Adam's first wife. Beware of her fair hair, of that 
ornament in which she shines pre-eminent. When she 
ensnares a young man with it, she does not let him off 
again so easily. 

Faust. 
There sit two, the old one with the young one. They 
have already capered a good bit ! 

Mephistopheles . 
There is no rest to-night for these folk. A new dance 
is beginning ; come, we will set to. 

Faust {dancing with, the young one). 
I had once upon a time a fair dream ; therein I saw an 
apple-tree ; two lovely apples glittered on it ; they en- 
ticed me, I climbed up. 



340 WALPURGISNACHT. 

Die Schone. 
Der Aepf jlchen begehrt ihr sehr, 3775 

Und schon vom Paradiese her. 
Von Preuden fiihl' ich mich bewegt, 
Dasz auoh mein Garten solche tragt. 

Me^phistopheles (mit der Alien). 
Einst hatt' ich einen wiisten Traum ; 
3780 



Bie Alte. 
Ich biete meinen besten Grusz 
Dem Bitter mit dem Pferdefusz ! 
3785 



ProhiopJianiasmist. 
Verfluchtes Volk ! Was untersteht ihr euch ? 
Hat man euoh lange nioht bewiesen, 
Ein Geist steht nie auf ordentlichen Piiszen ? 
Nun tanzt ihr gar, uns andern Mensohen gleich ! 3790 

Die Schone (tanzend). 
Was will denn der auf unserm Ball ? 

Faust (tanzend). 
Ei ! Der ist eben Uberall. 
Was Andre tanzen, musz er schatzen, 
Kann er nioht jeden Schritt beschwatzen, 
So ist der Schritt so gut als nicht gesohehn, 3795 

Am Meisteu argert ihn, sobald wir vorwarts gehn. 
Wenn ihr euoh so im Kreise drehen wolltet, 
Wie er's in seiner alten Muhle thut, 
Das hiesz' er allenfalls noch gut, 
Besonders weuu ihr ihn darum begriiszen soUtet. 3800 



■WALPURGIS-NIGHT. 341 

The Fair One. 
Little apples you covet mucli, and you have done so 
already in paradise. I feel moved witli joy, that my 
garden also bears such. 

Mephistopheles (with the Old One). 
I had once upon a time a wild dream. 



The Old One. 
I present my best respects 
To the knight of the cloven foot. 



ProcMophantasmist."' 
Confounded mob ! How dare you ? Was it not long 
since demonstrated to you that a spirit never stands upon 
ordinary feet ? And now you are actually dancing away, 
like us mortals ! 

The Fair One. 
Why then does he come to our ball ? 

Faust (dancing). 
Ha ! He is absolutely everywhere. He must appraise 
what others dance ! If he cannot talk about every 
step, the step is as good as never made at all. He is 
most vexed, when we go forwards. If you would but 
turn round in a circle, as he does in his old mill, he 
would term that good, I dare say ; particularly were 
you to consult him about it. 



342 WALPTTRGISNACHT. 

ProMophantasinist. 
Ihr seid noch immer da ! Nein, das ist unerhort. 
Verschwindet doch ! Wir haben ja aufgekliirt ! 
Das Teufelspack, es fragt naoh. keiner Eegel ! 
Wir sind so klug, und dennoch spukt's in Tegel. 
Wie lange hab' ich nicht am "Wahn hinausgekehrt, 3805 
Und nie wird's rein, das ist doch unerhort ! 

Die Schone. 
So horfc doch auf, uns hier zu ennuyiren ! 

Prohtophcmtasmist. 
Ich sag's euch Geistem ins Gesicht : 
Den Geistesdespotismus leid' ich nicht ; 
Main Geist kann ihn nicht exeroiren. 3810 

[^Es wM fortgetanzt.'} 
Heut, seh' ich, will mir niohts gelingen ; 
Doch eine Eeise nehm' ich immer mit 
Und hofle, noch vor meinem letzten Sohritt 
Die Teufol und die Dichter zu bezwiugen. 



Er wird sich gleich in eine Pfiitze setzen, 3815 

Das ist die Art, wie er sich soulagirt, 

Und wenn Blutegel sich an seinem Steisz ergetzen, 

Ist er von Geistem und von Geist kurirt. 

\_Zu Faust, der aus dem Tana getreten ist.'] 
Was lassest du das schone Madchen fahren. 
Das dir zum Tanz so lieblioh sang ? 3820 

Fcmst. 
Ach ! Mitten im Gesange sprang 
Ein rothes Mauschen ihr aus dem Munde. 

MepMsiopheles. 
Das ist was Kecht's ! Das nimmt man nicht genau ; 
Genug, die Maus war doch nicht grau. 
Wer fragt darnaoh in einer Schaferstunde ? 3825 



WALPURGIS-mGIIT. 343 

ProcMophantasmist. 
Tou are still there, then ! No, tliat is unheard of ! 
But vanish ! We have enlightened the world, you know ! 
This devil's brood pays no attention to rules. We are 
so wise, — and Tegel is haunted,"^ notwithstanding! 
How long have I not been sweeping away at the de- 
lusion ; and it never becomes clean ! It is unheard of ! 

The Fair One. 
Have done boring us here, at any rate, then ! 

Procldophantasmist. 

I tell you, Spirits, to your faces, I endure not the 

despotism of the spirit; my spirit cannot exercise it. 

{The dancing goes on.) To-night, I see, I shall succeed 

in nothing ; but I am always ready for a journey ; and 

still hope, before my last step, to get the better of devils 

and poets. 

Mephistopheles. 

He will, forthwith, seat himself in a puddle ; that is 

his mode of soothing himself ; and when leeches have 

feasted on his rump, he is cured of spirits and 

spirit. (To FirsT, to^o has left the dance.) Why 

do you leave the fair maid, who sung so sweetly to you 

in the dance ? 

Faust. 

Ah ! in the middle of the song, a little red mouse 
jumped out of her mouth."* 

Mephistopheles. 

There is nothing out of the way in that. One must 
not be too Jiice about such matters. Enough that the 
mouse was not grey. Who cares for such things in a 
lovers' hour? 



344 -WALPUROISNACHT. 

Faust. 
Dann sah ioh — 

MepMsiophelet. 
Was? 

Faiist. 
Mephisto, siehst du dort 
Ein blasses sohones Kind allein und feme stehen ? 
Sie sohiebt sioh langsam nur vom Ort, 
Sie scheint mit gesohlossiiien FUszen zu gehen. 
Ich musz bekenneu, dasz mir daacht, 3830 

Dasz sie dem guten Gretchen gleioht. 

Mephistopheles. 
Lasz das nur stehn ! Dabei wird's Niemand wohl. 
Es ist ein Zauberbild, ist leblos, ein Idol. 
Ihm zu begegnen ist nioht gut ; 

Vom starren Bliok erstarrt des Menschen Blut, 3835 

Und er wird fast in Stein verkehrt : 
Von der Meduse hast du ja gehort. 

Faust. 
Fiirwahr, es sind die Augen einer Todten, 
Die eine liebende Hand nicht sohlosz, 
Das ist die Brust, die Gretchen mir geboten, 3840 

Das ist der siisze Leib, den ich genosz. 

MepMstoyheles. 
Das ist die Zauberei, du leicht verfuhrter Thor ! 
Denn Jedem kommt sie wie sein Liebchen vor. 

Faust. 
Welch eine Wonne ! Welch ein Leiden ! 
Ich kann von diesem Blick nicht scheiden. 3845 

Wie sonderbar musz diesen schonen Hals 
Ein einzig rothes Schniirchen schmiicken, 
Nicht breiter als ein Messerriicken ! 



WALPURGIS-NIGHT. 345 

Faiist. 
Then I saw — 

Mephistopheles, 
What? 

Faust. 

Mephisto, do you see yonder a pale, fair girl, stand- 
ing alone and afar oft? She OTags herself but slowly 
from the place ; she seems to move with fettered feet. 
I must own, she seems to me to resemble poor 
Margaret. 

Mephistopheles. 

Have nothing to do with that ! No good can come of 
it to anyone. It is a magic shape, is lifeless, — an 
idol."' It is not well to meet it; the blood of man 
is benumbed at its chill loot, and he is weUnigh turned 
to stone : surely you have heard of Medusa. 

Faust. 
In truth, they are the eyes of one dead, which there 
was no fond hand to close. That is the bosom, which 
Margaret yielded to me ; that is the sweet body, which 
I enjoyed. 

Mephistopheles. 
That is sorcery, thou easily deluded fool; for she 
wears to everyone the semblance of his beloved. 

Faust. 
What bliss ! What suffering! I cannot tear myself 
from that look. How strange it is that a single red line, 
no thicker than the back of a knife, should adom that 
lovely neck. 



346 WALPUROISNACHT. 

Me'phiato'p'heles. 
Ganz recht, ich seh' es ebenfalls. 

Sie kann das Haupt auch unterm Arme tragcn, 3850 
Denn Perseus hat's ihr abgesohlagen. — 
Nur immer diese Lust zum Wahn ! 
Komm doch das Hiigelohen heran ! 
Hier ist's so lustig wie im Prater ; 
Und hat man mir'Mwcht angethan, 3855 

So seh' ich wahrlic^^in Theater. 
Was giebt's denn da ? 



Gleich fangt man wieder an. 
Ein neues Stuck,- das letzte Stuck von sieben; 
So viel zu geben, ist allhier der Brauch. 
Bin Dilettant hat es geschrieben, jge© 

Und Dilettanten spielen's auch. 
Verzeiht, ihr Herrn, wenn ich verschwinde ; 
Mich dilettirt's, den Vorhang aufzuziehn. 

MepMsiopheles. 
Wenn ich euch auf dem Blocksberg iinde, 
Das find' ich gut ; denn da gehort ihr hin. 3865 



WALPURGIS-NIGHT. 347 

MepMstopheles. 
Eight! I see it too. She can also carry her head 
under her arm, for Perseus has cut it ofE for her. But 
ever this fondness for delusio n ! Come up the hill, 
however ; here all is as merry as in the Prater ; "" and 
if I am not bewitched, I actually see a theatre. What 
is going on here, then ? 

Servihilis. 
They vrill recommence immediately. A new piece, 
the last of seven ; — ^it is the custom here to give so 
many. A dilettante has written it, and dilettanti play 
it. Excuse me, gentlemen, but I must be off. It is 
my dilettante office to draw up the curtain. 

MepMstopheles. 
When I find you upon the Blocksberg, — that is just 
what I approve ; for this is the proper place for you. 



WALPUEGISNACHTSTEAUM 

ODEK 

OBERON'S IIND TITANU'S GOLDNE HOCHZEITi 

INTERMEZZO. 



HEUTE ruhen wir einmal, 
Mieding'B wackre Sohne. 
Alter Berg und feuohtes Thai, 
Das ist die ganze Scene ! 

B.erold. 
Dasz die Hochzeit golden sei, 3870 

SoU'n funfzig Jalir' sein voruber ; 
Aber ist der Streit vorbei, 
Das golden ist mir lieber. 

Oleron. 
Seid ihr Geister, wo ich bin, 
So zeigt's in diesen Stunden ! 3875 

Koriig und die Konigin, 
Sie sind aufs Neu' verbunden. 

Fuck. 
Kommt der Puck und dreht sich quer 
Und Bchleift den Fusz im Eeihen, 
Hundert kommen hinterher, 3880 

Sich auch mit ihm zu freaen. 

Ariel. 
Ariel bewegt den Sang 
In himmlisch reinen Tonen ; 
Viele Pratzen lockt sein Elang, 
Doch lookt er auoh die Schijnen. *■ 3885 



WALPUEGTS-NIGHT'S DEEAM; 

OR, 

OBERON AND TITANIA'S GOLDEN WEDDING. 

INTERMEZZO."' 

Stage-Manager. 

TO-DAT we rest for once ; we, the brave sons of 
Mieding."' Old mountain and damp dale, — that 
is the whole scenery ! 

Herald. 
That the wedding-feast may he golden, fifty years are 
to be past ; hnt if the quarrel is over, I shall like the 
Golden Wedding the better."" 

Oberon. 
If ye spirits are with me, this is the time to show it ! 
The king and the queen, they are united anew. 

Puck. 
"When Puck comes and whirls himself about, and his 
foot goes whisking in the dance, — hundreds come after 
to rejoice along with him. 

ArieV" 
Ariel awakes the song, in tones of heavenly purity ; 
his music lures many ugly faces, but it also lures the 
fair ones. 



350 WALPURGISNACI-ITSTRAUM. 

Oheron. 
Gatten, die sich vertragen wollen, 
Lernen's von uns Beiden ! 
^Wenn sich Zweie lieben sollen, 
^sBrauoht man sie nur zu scheiden. 



SchmoUt der Mann, und grillt die Frau, 3890 
So faszt sie nur behende, 
Fiihrt mir nach dem Mittag sie, 
Und ihn an Nordens Ende. 

Orchesier. Tutti (Fortissimo). 
Fliegenschnauz' und Miiokennas' 
Mit ihren Anverwandten, 3895 

IVoBch im Laub und Grill' im Gras, 
Das sind die Musikanten 1 

Solo. 
Seht, da kommt der Dudelsaok ! 
Es ist die Seifenblase. 

Hort den Schneckeschniokeschnaok 3900 

Duroh seine stumpfe Nase, 

Oeist, der sich erst Mldet. 
Spinnenfusz und Krotenbauch 
TJnd Flugelolien dem Wichtchen ! 
Zwar ein Thierchen giebt es nicht, 
Doch giebt es ein Gedichtchen. 3905 

Ein Fdrchen. 
Kleiner Schritt und hoher Sprung 
Durch Honigthau und DUfte ; 
Zwar du trippelst mir genung, 
Doch geht's nicht in die Lufte. 

Neugieriger Beisender. 
1st das nioht Maskeradenspott ? 3910 

Soil ich den Augen trauen, 
Oberon, den schonen Gott, 
Auch heute hier zu schauen ? 



Walpurgis-night's dream. 351 

Oheron, 
Wedded ones, who would agree, — ^let them take a 
lesson from us two. To make a cou ple love each other, (3 
JHs^nly necessary to separate them. 

Titania. 
If the husband is sulky, and the wife is fretting, take 
hold of both of them immediately. Conduct me her to 
the South, and him to the extremity of the North. 

Orchestra-Tidti {Fortissimo). 
nies' snouts, and gnats' noses, with their kindred, 
frog in the leaves, and cricket in the grass— they are 
the musicians. 

Solo. 
See, here comes the bagpipe ! It is the soap-bubble. 
Hark to the Schnecke-schnicke-schnack through its 
snub-nose. 

Spirit that is fashioning itself. 
Spider's foot and toad's belly, and little wings for the 
little wight ! It does not make an animalcule, it is true, 
but it makes a little poem. 

A Pair of Lovers. 
Little step and high bound, through honey-dew and 
exhalations. Truly, you trip it me enough, but you do 
not mount into the air. 

Inquisitive Traveller. '^"^ 
Is not this masquerading-mockery ? Can I believe 
my eyes ? To see the beauteous god, Oberon, here to- 
night, too ! 



352 WAI.PUKGISNACHTSTRAUM. 

Orthodox. 
Keine Klauen, keinen Schwanz ! 
Dooh bleibt es auszer Zweifel, 3915 

So wie die Gotter Grieohenlands, 
So ist auch er ein Teufel. 

Nordisdher Kunstler. 
Was ich ergreife, das ist heut 
Furwahr nur skizzenweise ; 
Dooh ioh bereite mich bei Zeit 3920 

Zur italian'schen Eeise. 

Twist. 
Ach, mein IJnglUok fiihrt mich her : 
Wie wird nioht hier geludert ! 
TJnd von dem ganzen Hexenheer 
Sind Zweie nur gepudert. 3925 

Jwnge Hexe. 
Der Puder ist, so wie der Book, 
Piir alt- und graiie Weibohen ; 
Drum sitz' ioh nackt auf meinem Bock 
Und zeig' ein derbes Leibohen. 

Matrone. 
Wir haben zu viel Lebensart, 3930 

Um hier mit euch zu maulen ; 
Doch, hoflf' ioh, soUt ihr jung und zart, 
So wie ihr seid, verfaulen. 

Kapellmeister. 
Pliegenschnauz' und Miickennas', 
Umsohwarmt mir nioht die Nackte ! 3935 

Frosch im Laub ucd Gtill' im Gras, 
So bleibt dooh auoh im Takte ! 

WindfaJme (nacJi der einen Seite), 
Gesellsohaft, wie man wunsohen kann. 
Wahrhaftig, lauter Braute ! 

Uud Junggesellen, Mann fur Mann, 3940 

Die hoffnungsvollsten Leute 1 



"WALPURGIS-NIGHT'S DREAM. 353 

Orthodox, 
No claws, no tail! Yet it stands beyond a doubt 
that, even as the Gods of Greece, so is he too a devil. 

Northern Artist. ' 

What I catch, is at present only sketch-ways as it 
were ; but I prepare myself betimes for the Italian 
journey. 

Turist}"^ 
Ah ! my ill-fortune brings me hither ; what a con- 
stant scene of rioting ! And of the whole host of witches, 
only two are powdered. 

Young Witch. 
Powder as well as petticoats are for old and grey 
little women. Therefore I sit naked upon my he-goat, 
and show a strapping body. 

Matron. 
We have too much good-breeding to squabble with 
you here ; but I hope you will rot, young and delicate 
as you are. 

Leader of the Band. 
Flies' snouts and gnats' noses, don't swarm so about 
the naked one. Prog in leaves, and cricket in the grass, 
I beg of you, do keep time. 

Weathercock (towards one side). 
Company to one's heart's content ! Truly, nothing 
but brides ! And bachelors, man for man ! the hope- 
fullest people ! 

A 4 



S54 WALPURGISNACHTSTRA.irM. 

Windfahne (nach der andern Seiie). 
Und thut sich nioht der Bodeu auf, 
Sie Alle zu verschlingen, 
So will ioh mit behendem Lauf 
Grleich in die HoUe springen. 3945 



Als Insekten siud wir da 
Mit kleinen scharfeu Scheren, 
Satan, unsern Herrn Papa, 
Nach Wiirden zu verehren. 

Henmngs. 
Seht, wie sie in gedrangter Sohaar 3950 

Naiv zusammen scherzen ! 
Am Ends sageii sie nooh gar, 
Sie hatten gute Herzen. 

Musaget. 
Ich mag in diesem Hexenheer 
Mich gar zu gem verlieren ; 3955 

Denn freilich, diese wUszt' ich eh'r 
Als Musen anzufuhren. 

Oi-devani Genius der Zeit. 
Mit rechten Leuten wird man was. 
Komm.fasse meinen Zipfel ! 
Der Blooksberg, wie der dentsche Parnasz, 3960 
Hat gar einen breiten Gipfel. 

Neugieriger Beisender. 
Sagt, wie heiszt der steife Mann ? 
Er geht mit stolzen Sohritten, 
Er schnopert, was er schnopern kann. 
" Er spiirt nach Jesuiten." 3965 

Kranich. 
In dem Klaren mag ich gem 
TJnd auch im Triiben fisohen ; 
Darum seht ihr den frommen Herrn 
Sich auoh mit Teufeln mischen. 



■WALPURGIS-NIGHT'S DREAM. 356 

Weathercoclc (towards the other side). 
And if the ground does not open, to swallow up all of 
them — with a quick course, I will immediately jump 
into hell. 

We are here as insects, with little sharp nippers, to 
honour Satan, our worshipful papa, according to his 
dignity. 

Hennings. 
See ! how naively they joke together in a crowded 
troop. They will e'en say in the end, that they have 
good hearts. 

Musaget. 
I like full well to lose myself in this host of witches ; 
for, truly, I could easier lead them than the Muses. 

Ci-devant Genius of the Age. 
With proper people, one becomes somebody. Come, 
take hold of my skirt ! The Blocksberg, like the 
German Parnassus, has a very broad top. 

Inquisitive Traveller. 
Tell me, what is the name of that stifE man ? '** He 
stalks along with proud steps ^ he snuffles everything 
he can snuffle. " He is scenting out Jesuits." 

The Crane."' 
I like to fish in clear and even in troubled waters. 
Therefore you also see the pious gentleman associate 
even with devils. 



356 WALPURGISNACHTSTRAUM. 

WeltMnd. 
Ja, fiir die Frommen, glaubet mir, 3970 

1st AUea ein Vehikel ; 
Sie bilden auf dem Blocksberg hier 
Gar manches Konventikel. 

Tdnzer. 
Da kommt ja wohl ein neues Chor ? 
loh hore feme Trotnmeln. 3975 

" Nur ungestbrt ! Es sind im Eohr 
Die unisonen Dommeln." 

Tcmzmmster. 
Wie Jeder dooh die Beine lupft, 
Sioh, wis er kann, herauszieht ! 
Der Kramme springt, der Plumpe hupft 3980 
Und fragt nioht, wie es aussieht. 



Das haszt sich schwer, das Lumpenpaok, 

Und gab' sioh gem das Bestchen ; 

Es eint sie hier der Dudelsack, 

Wie Orpheus' Leier die Bestjen. 3985 

Dogmatilcer. 
Ich lasse mich nioht irre schreiu, 
Nicht durch Kritik noch Zweifel. 
Der Teufel musz doch etwas sein ; 
Wie gab's denn sonst auch Teufel? 

Idealist. 
Die Phantasie in meinem Sinn 3990 

1st diesmal gar zu herrisch : 
FUrwahr, wenn ich das AUes bin, 
So bin ich heute narrisoh. 

Bealist. 
Das Wesen ist mir recht zur Qual 
Und musz mich basz verdrieszen ; 3995 



WALPURGIS-NIGHT'S DKEAM. 357 

Worldling. 
Ay, for the pious, believe me, everything becomes a 
vehicle. They actually form many a conventicle, here 
upon the Blocksberg. 

Dancer. 
Is there not a new choir coming ? I hear distant 
drums. " But don't disturb yourselves ! They are the 
unisonous bitterns among the reeds." 

Dancing Master. 
How each throws up his legs, gets on as best he may ! 
The crooked jumps, the clumsy hops, and asks not how 
it looks. 

Fiddler.'*' 
How deeply this pack of ragamuffins hate each other, 
and how gladly they would give each other the finishing 
blow ! The bagpipe unites them here, as Orpheus' lyre 
the beasts. 

Dogmatist.'-" 
I shall not allow myself to be misled either by the 
cries of criticism or doubts. The devil, though, must 
be something ; for how else could there be devils ? 

Idealist. 
Phantasy, this once, is really too masterful in my 
mind : truly, if I be all that, I must be beside myself 
to-day. 

Realist. 
Entity is a regular plague to me, and cannot but vex 



358 WALPURGISNACHTSTRAUM. 

loh stehe hier zum ersten Mai 
Nioht fest auf meinen Fiiszen. 



SupernatttraKst. 
Mit viel Vergnugen bin ich da 
Und freue mioh mit diesen ; 

Denn von den Teufeln kann ich ja 4000 

Auf gute Geister schlieszen. 

STceptiker. 
Sie gehn den Flammchen auf der Spur 
Und glauben sioh nah dom Schatze. 
Auf Teufel reimt der Zweifel nur ; 
Da bin ioh recht am Platze. 40° 5 



Erosch im Laub und Grrill' im Gras, 
Verfluchte Dilettanten ! 
riiegensohnauz' und Miickennas' 
Ihr seid dooh Musikanten ! 

Bie Oewandten. 
Sanssouci, so heiszt das Heer 4010 

Von lustigen Geschbpfen ; 
Auf den Piiszen geht's nicht mehr, 
Drum gehn wir auf den Kopfen. 

Die UnlehulJUchen. 
Sonst haben wir manchen Bissen erschtanzt ; 
Nun aber Gott befohlen ! 4015 

TJnsere Sohuhe Bind durohgetanzt, 
Wir laufen auf naokten Sohlen. 

Irrlichter. 
Von dam Sumpfe kommen wir, 
Woraus wir erst entstanden ; 
Dooh sind wir gleich im Beihen hier 4020 

Die glanzenden Galanten. 



Walpurgis-night's dream. 359 

me much. I stand here, for the first time, not firm 
upon my feet. 

Swpernaturalist. 
I am greatly pleased at being here, and am delighted 
with these ; for, from devils, I can certainly draw con- 
clusions as to good spirits. 

Scejptie. 
They follow the track of the flame, and believe them- 
selves near the treasure. Only doubt (ZweifeT) rhymes 
to devil (TeufeT). Here I am quite at home. 

Leader of the Band. 
Frog in the leaves, and cricket in the grass, con- 
founded dilettanti! Kies' snouts and gnats' noses, 
you are real idusicians ! 

The Adroit. 
Sansouci, that is the name of the host of merry crea- 
tures ; there is no longer any walking upon feet, where- 
fore we walk upon our heads. 

The Awkward. 
In times past we have sponged many a tit-bit ; but 
now, good-bye to all that ! Our shoes are danced 
through ; we run on bare soles. 

Will-o'-the-Wisps.'''^ 
We come from the bog, from which we are just 
sprung ; but we are the glittering gallants here in the 
dance directly. 



360 WALPURGISNACHTSTRATJM. 

Siernschnuppe. 
Aus der Hbhe schosz ich her 
Im Stern- und Feuerscheine, 
Liege nun im Grase quer ; 
Wer hilft mir auf die Beine ? 4025 

Die Massiven. 
Plalz und Platz ! Und ringsherum ! 
So gehn die Grriischen nieder. 
Geister kommen, Geister auch, 
Sie haben plumpe Glieder. 

Puck. 
Tretet uicht so mastig auf 403a 

Wie Elephantenkalber ! 
Und der Plumpst' an diesem Tag 
Sei Puck, der Derbe, selber ! 

Ariel. 
Gab die liebende Natur, 

Gab der Geist euoh Fliigel, 4035 

Folget meiner leiohten Spur, 
Auf zum Eosenhiigel I 

Orchesier (Pianissimo). 
Wolkenzng und Nebelflor 
Erhellen sioh von oben. 

Luffc im Laub und Wind im Eohr, 4040 

Und Alias ist zerstoben. 



Walpurgis-night's dream. 36] 

Shooting Star. 
From on high, in star-and-fire-light, I shot hither, I 
am now lying crooked-ways in the grass ; who will help 
me upon my legs ? 

The Massive Ones. 
Eoom ! room ! And round ahout ! So down go the 
grass-stalks. Spirits are coming, but spirits as they 
are, they have clumsy limbs. 

PucJe. 
Don't tread so heavily, like elephant-calves ! And 
the clumsiest on this day be the sturdy Puck himself. 

Ariel. 
If kind nature gave — if the spirit gave you wings, 
follow my light track up to the hiU of roses ! 

Orchestra (pianissimo). 
Drifting clouds, and wreathed mists, brighten from 
on high ! Breeze in the leaves, and wind in the rushes, 
and all is dissipated ! 



m 



FaXTST. l^EPHISTOPHELES. 

Faiist. 

IM Elend ! Verzweifelud ! Erbarmlioh auf der Erde 1 
Lange verirrt und nun gefangen ! Als Missethaterin im 
Kerker zu entsetzliohen JQualen eingesperrt, das holde, 
unselige Gesohijpf ! Bis dahin ! Dahin ! — Verratherisoher, 
niohtswurdiger Geist, und das hast du mir verheimlioht ! 5 
— Steh.nur, steh ! Walze die teuflischen Augen ingrim- 
mend im Kopf herum ! Steh und trutze mir duroh. deine 
unertragliche Gegenwart ! Gefangen ! Im unwiederbring- 
lichen Blend ! Bbsen Geistern ubergeben und der richten- 
den gefiihllosen Menschheit ! Und mich wiegst du indesz 10 
in abgeschmaokten Zerstreuungen, verbirgst mir ihren 
waohsenden Jammer und lassest sie hiilflos verderben ! 

MepMsiopheles. 
Sie ist die Erste nicht. 

Faust. 
. Hund ! Absoheuliches Unthier ! — Wandle ihn, du un- 
endlicher Geist, wandle den Wurm wieder in seine Hunds- 15 
gestalt, wie er sich oft nachtlicher Weise gefiel, vor mir 
herzutrotten, dem harmlosen Wandrer vor die Fiisze zu 
kollern und sich dem niederstiirzenden auf die Schultern 
zu hangen ! Wandl ihn wieder in seine Lieblingsbildung, 
dasz er vor mir im Sand auf dem Bauch krieohe, ich ihn 20 



A GLOOMY DAY.— OPEN COTJNTEY. 

« 

Taust — Mephistopheles. 

Favst. 

IN misery! Despairing! Miserably lying on the 
ground ! "° A long time wandering about, and 
now a prisoner ! The dear, imhappy being, cooped up 
in the dungeon, as a malefactor, for horrid tortures ! 
Even to that ! To that ! Treacherous, worthless spirit, 
and this hast thou concealed from me ! Stand, only 
stand EoU thy devilish eyes infuriated in thy head ! 
Stand and brave me with thy imbearable presence ! A 
prisoner ! In irremediable misery ! Given over to evil 
spirits, and to condemning, unfeeling man ! And me, 
in the mean time, hast thou been lulling with tasteless 
dissipations, concealing her growing wretchedness from 
me, and leaving her to perish without help. 

Mephistopheles. 

She is not the first. 

Famt. / 

Dog! Horrible monster! — Turn him, thou Infinite 
Spirit ! turn the reptile back again into his dog's shape, 
in which he was often pleased to trot before me by 
night, to roll before the feet of the harmless wanderer,"" 
and fasten on his shoulders when he fell. Turn him 
again into his favourite shape, that he may crouch on 
his beUy before me in the sand, whilst I spurn him with 



364 TRUBEB TAG. FELD. 



mit Fiiszen trete, den Verworfnen ! — Die Erste nioht ! 
— Jammer ! Jammer, Ton keiner Menschenseele zu fiassen, 
dasz mehr als em Gesohopf in die Tiefe dieses Elendes 
versank, dasz nioht das erste genugthat fiir die Sohuld 
aller ubrigen in seiner windenden Todesnoth vor den 25 
Angen des ewig Verzeiheiyien I Mir wiihlt es Mark und 
Leben durch, das Elend dieser Einzigen ; da grinsest 
gelassen iiber das Schicksal von Tansenden bin ! 

Mephistopheles. 
Nun Bind wir schon wieder an der Grenze unsers Witzes, 
da, wo euoh Menschen der Sinn iiberschnappt. Warum 30 
machst du Gemeinschaft mit uns, wenn da sie nioht durch- 
fiihren kannst ? Willst fliegen und bist vorm Sohwindel 
nioht sioher ? Drangen wir uns dir auf, oder du dich uns? 

Fatist. 
Fletsohe deine gefraszigen Zahne mir nioht so ent- 
gegen ! Mir ekelt's ! — Groszer, herrlicher Geist, der du 35 
mir zu ersoheinen wilrdigtest, der du mein Herz kennest 
und meine Seele, warum an den Sohandgesellen mich 
Bohmieden, der sioh am Schaden weidet und am Verderben 
sich letzt P 

Mephistopheles. 
Iledigst du ? 40 

Faust. 
Kette sie, oder weh dir ! Den graszlichsten Much iiber 
dioh auf Jahrtausende ! 

Mephistopheles. 
Ich kann die Bande des Kaohers nioht losen, seine 



A GLOOMY DAT — OPEN COUNTRY. 365 

my foot, the reprobate ! Not the first ! Woe ! woe ! It 
is inconceivable by any human soul, that more than 
one creature should have sunk into such a depth of 
misery, — that the first, in its writhing death-agony, was 
not sufficient to atone for the guilt of all the rest in the 
sight of the Ever-pardoning. The misery of this one 
harrows up my marrow and my very life; thou art 
grinning away calmly at the fate of thousands. 



Now are we already at our wits' end again! just 
where the sense of your mortals snaps with overstrain- 
ing. Why dost thou enter into fellowship with us, if 
thou canst not go through with it ? Will'st fly, and 
art not safe from dizzuiess ? Did we force ourselves on 
thee, or thou thyself on us ? 

Faust. 
Grnash not thy greedy teeth thus defyingly at me ! 
I loathe thee! Great, glorious Spirit, thou who didst 
deign to appear to me, thou who knowest my heart 
and my soul, why yoke me to this shame-fellow, who 
feeds on mischief, and battens on destruction ! 

Mephistopheles. 
Hast done ? 

Faust. 
Save her, or woe to thee ! The most horrible curse 
on thee for thousands of years ! 

Mephistopheles. 
I cannot loosen the shackles of the avenger, nor undo 
5 



366 TRUBER TAG. FEI^D. 



Eiegel nioht oflTnen. — Eette sie ! — "Wer war's, der sie ins 
Verderben stUrzte ! loh oder du ? 

[Faust hlicJct wild vmher.J 

Greifst du nach dem Donner ? Wohl, dasz er euoh 

elenden Sterbliohen nioht gegeben ward ! Den unsohuldig 

Entgegnendeu zu zerschmetteru, das ist so Tyrannenart, 

sioh in Verlegenheiten Luffc zu machen. 

Ftmist. 
Bringe mich bin ! Sie soil frei sein ! 

Me;phistophelet. 
Und die Gefahr, der du dich aussetzest ? Wisse, noch 
liegt auf der Stadt Blutsohuld von deiner Hand. Ueber 
des BrBohlagenen Statte schweben rachende Geister und 
lauern auf den wiederkehrenden Morder. 

Fami 
Noch das von dir ? Mord und Tod einer Welt iiber dich 
TJngeheuer ! Fuhre mioh bin, sag' ich, und befrei sie ! 



45 



so 



5S 



MepMstopheles. 
Ich fuhre dich, und was ich thun kann, bore ! Habe ich 
alle Macht im Himmel und auf Erden ? Des Thiirners 
Sinne will ich umnebeln ; bemachtige dich der Schlussel 
und fuhre sie heraus mit Menschenhand ! Ich wache ; die g„ 
Zauberpferde sind bereit, ich entfuhre each. Das vermao' 
ich! 

• Fa^lst. 
Auf und davon ! 



A GLOOMY DAY — OPEN COUNTRY. 367 

Hs bolts. — Save her ! — Who was it that plunged her 
into ruin? I or thou? {Fatjst: loohs wildly around.'] 
Art thou grasping after the thunder ? Well, that it is 
not given to you, wretched mortals ! To dash to pieces 
one who replies to you in all innocence — that is just the 
tyrant's way of venting himself in perplexities. 

Faust. 
Bring me thither ! She shall be free ! 

MepMstopheles. 
And the danger to which you expose yourself ? E!now, 
the guilt of blood, from your hand, stiU lies upon the 
town. Avenging spirits hover over the place of the 
slain, and lie in wait for the returning murderer. 

Faust. 

That, too, from thee ? Murder and death of a world 
upon thee, monster ! Conduct me thither, I say, and 
free her ! 

Me^Jiistofheles. 

I will conduct thee, and what I can do, hear ! Have I 
all power iu heaven and upon earth ? I will cloud the 
gaoler's senses ; do you possess yourself of the keys, and 
bear her off with human hand. I will watch ! The 
magic horses wUl be ready, I will bear you off. This 

much I can do. 

Faust. 

Tip and away ! 



NAOHT, OFFBISr FELD. 

Faust,' Mephistopheles, auf sehwarzen Pferden daher- 
bi'cmsend. 



W 



Faust. 
AS weben die dort um den Eabenstein ? 



Mephistopheles. 
Weisz nicht, was sie kochen und schaffen. 

FoMst. 
Sohweben auf, schweben ab, neigen sioh, beugen sioh, 

Mephistopheles, 
Eine Hexenzunft, 40^5 

Faust. 
Sie streuen und weiheu. 

Mephistopheles 
Vorbei ! Vorbei I 



NIGHT.— A COMMON. 

Faust and Mephistopheles rushing along upon 
black horses. 

Faust. 

WHAT are they weaving — those about the Eaven- 
stone''' yonder F 

Mephistopheles. 
Can't tell what they're cooking and making. 

Faust. 
Are waving upwards — ^waving downwards — bending 
— stooping. 

Mephistopheles. 
A witches' company. 

Fav^st. 
They are sprinkling and charming. 

Mephistopheles. 
On ! on ! 



B B 



Fa0st (mit einem Bund ScMussel und einer Lampe vor 
einem eisernen Thurchen). 

MICH faszt ein langst entwohnter Sohauer, 
Der Menschheit ganzer Jammer faszt mioh an. 
Hier wohnt sie, hinter dieser feuchten Mauer, 4050 

Und ihr Verbrechen war ein guter Wahn ! 
Du zauderst, zu ihr zu gehen ! 
Du furchtest, sie wiederzusehen ! 
Fort ! Dein Zagen zogert den Tod heran. 

\Ilr ergreift das ScMosz. Es singt inwendig.'] 

Meine Mutter, die — , 4055 

Die mich umgebracht hat ! 

Mein Vater, der Schelm, 

Der mich gessen hat ! 

Mein Schwesferlein klein 

Hub auf die Bein' 4060 

An einem kiihlen Ort ; 

Da ward ich ein sohones Waldvogelein ; 

Fliege fort, fliege fort ! 

Faust (^aufscMieszend) . 
Sie ahnet nicht, dasz der Geliebte lauscht, 
Die Ketten klirren horfc, das Stroh, das rauscht. 406; 

[Er tritt ein.'] 

Margarets {sich a/uf dem Lager verhergendi). 
Weh ! Weh ! Sie kommen. Bittrer Tod ! 

Faust (leise). 
Still ! Still ! Ich komme, dich zu befreien. 



DimaEON. 

Fattst (with a bunch of Jceys and a lamp, before an iron 
wicket'). 

ATEEMOE, long unfelt, seizes me; the concen- 
trated misery of mankind seizes on me. Here, 
behind these damp walls, is her dwelling-place, and her 
crime was a dear delusion ! Thon dost hesitate to go to 
her ! Thou fearest to see her again ! On ! Thy delay 
will cause her death. 

[He takes hold of the lock. — Singing within.} 

My mother, the , 

That killed me ! 

My father, the rogue, 

That ate me up ! 

My little sister 

Laid my bones 

In a cool place ! 

There I became a beautiful little wood-bird. 

Flyaway! flyaway!'" 

Faust (opening the loch). 
She does not suspect that her lover is listening, hears 
the chains clank, the straw rustle. [_He eiders.] 

Margaret (hiding her face in the bed of straw). 
Woe ! woe ! They come. Bitter death ! 

Faust (softly). 
Hush ! hush ! I come to free thee. 



3?2 Kerker. 

Margarete (sich vor ihn Mnwalzend), 
Bist du ein Mensoh, so fiihle meine Noth I 

Fausl 
Du wirst die Waohter aus dem Schlafe schreien ! 

[Erfasnt Me Ketten, sie aufzuechlieszen.] 

Margarets (auf den Krdeen). 
Wer hat dir Henker diese Macht 4070 

Ueber mich gegeben ! 
Du hoist mich scbon um Mitternaoht. 
Erbarme dioh und lasz mich leben ! 

let's morgen friih nicht zeitig genung ? [^8ie steht auf.'] 
Bin ich doch noch so Jung, so jung ! 4075 

Und soil sohon sterben ! 

Schon -war ich anch, und das war mein Verderben, 
Nah war der Freund, nun ist er weit ; 
Zerrissen liegt der Kranz, die Blumen zerstreut. 
Passe mich nicht so gewaltsam an ! 4080 

Schone mich ! Was hab' ich dir gethan ? 
Lasz mich nicht vergebens flehen, 
Hab' ich dich doch mein' Tage nicht gesehen ! 

Faust. 
Werd' ich den Jammer uberstehen I 



MavgoA'ete. 
Ich bin nun ganz in deiner Macht. 4085 

Lasz mich nur erst das Kind noch tranken. 
Ich herzt' es diese ganze Nacht ; 
Sie nahmen mir's, um mich zu kranken, 
Und sagen. nun, ich hatt' es umgebracht. 
Und niemals werd' ich wieder froh. 4090 

Sie singen Lieder auf mich ! Es ist bos von den Leuten ! - 
Ein altes Marchen endigt so, 
Wer heiszt sie's deuten ? 



DUNGEON. 373 

Margaret {throwing herself before him). 
If thou art human, feel for my wretchedness. 

Faust. 
You will wake the guard by your cries ! 

[JSie takes hold of the chains to unlocJc them.] 

Margaret (on her hnees). 

Who has given you, headsman, this power over me ? 
You come for me whilst it is yet midnight. Be merciful 
and let me live. Is not to-morrow morning soon 
enough? [She rises.] 

I am yet so young, so young ! and am to die already ! 
I was fair, too, and that was my undoing ! My true-love 
was near — he is now far away. Tom lies my wreath, 
scattered the flowers. Don't take hold of me so roughly! 
Spare me ! What have I done to you ? Let me, not 
implore in vain ! I never saw you before in all my Ufe, 
you know ! 

Faust. 
Can I endure this misery ! 

Margaret. 
I am now entirely in thy power, Only let me first 
suckle my child. I pressed it this whole night to my 
heart. They took it away to vex me, and now say I 
kUled it. And I shall never be happy again. They sing 
songs upon me ! It is wicked of the people. An old 
tale ends so, — who bids them apply it ? 



374 KERKER. 

Faust (wirft sich mieder). 
Ein Liebeuder liegt dir zu FUszeu, 
Die JammerknechtBchaft aufeuschlieszen. 4095 

Marga/rete (wvrft sich zu ihm), 
O lasz un9 knien, die Heil'gen auzornfen J 
Sieh ! Unter diesen Stufen, 
Unter der Schwelle 
Siedet die HoUe ! 

Der Bose, 4100 

Mit furohtbarem Grimme, 
Maeht ein Getbse ! 

Faust (lout). 
Gretchen ! Gretclien ! 

Margarete (cmfmerTcsam). 
Das war des Freundes Stimme ! 

ISiespringt auf; die Ketten fallen a&.] 
Wo ist er ? Ich hab' ihn rufen horen. 4105 

Ich bin frei ! Mir soil Niemand wehren. 
An seinen Hals will ich fliegen, 
An seinem Busen liegen ! 
Er rief Gretchen ! Er stand auf der Schwelle, 
Mitten durchs Heulen und Klappen der HoUe, 41 10 

Durcb den grimmigen, teuflischen Hohii 
Erkannt' ich den siiszen, den liebenden Ton. 

Faust. 
Ich bin's ! 

Margarete. 
* Du bist's ! sag es noch einmal ! 

[Ihn fassend.J 
Er ist's ! Er ist's ! Wohin ist alle Qual ? 
Wohin die Angst des Kerkers? Der Ketten ? 41 15 

Du bist's ! Kommst, mioh zu retten ! 
Ich bin gerettet ! — Schon ist die Strasze wieder da, 
Auf der ich dioh zum ersten Male sah, 
Und der heitere Garten, 
^o ich und Marthe deiner warten. 4,20 



DUNGEON. 375 

Faust {throws himself on the ground). 
A lover lies at thy feet, to unloose the bonds of. 
wretchedness. 

Margaret (throws herselj by his side). 
Ay, let us kneel to invoke the saints. See, under 
these steps, under the threshold, hell is seething ! The 
Evil One, with fearful fury, is making a din. 

Faust {passionately). 
Margaret ! Margaret ! 

Margaret {aloud). 
That was my true-love's voice. {She springs wp ; the 
chains fall off .) Where is he? I heard him call. lam 
free ! Nohody shall hinder me. I will fly to his neck, 
lie on his bosom ! He called Margaret ! He stood 
upon the threshold. Amidst the howling and clattering 
of hell, amidst the grim, devihsh scoffing, I knew the 
sweet, the loving tone again. 

Faust. 

'Tis I. 

Margaret. 

'Tis thou! Ah, say so once again! (Clasping him.) 
'Tis he ! 'Tis he ! Whither is all my wretchedness ? 
Whither the agony of the dungeon ?— Of the chains ? 
'Tis thou ! Thou com'st to save me. I am saved ! — ^There 
again already is the street, where I saw thee for the first 
time; and the cheerful garden, where I and Martha 
waited for thee. 



376 KERKEK. 

Faitsi (fortetrehend). 
Komm mit ! Komm mit ! 

Margartle. 
O weile ! 
Weil' ich dooh so gem, wo du weilest. [LiebJeosend."] 

Faust. 
Eile! 

Wenn du nicht eilest, 
"Werden wir's theuer biiszen miissen, 4125 



Wie ? Du kannst nicht mehr kiissen ? 

Mein Freund, so kurz von mir entfernt, 

Und Last's Kiissen verlernt ? 

"Warum wird mir an deinem Halse so bang, 

Wenn sonst von deinen Worten, deinen Blicken 4130 

Bin ganzer Himmel mich iiberdrang 

Und du mich kiisztest, als woUtest du mich erstioken ? 

Kiisse mich ! 

Sonst kiiss' ich dich ! [Sie trnifasxt ihn.'\ 

O weh ! Deine Lippen sindkalt, 4135 

Siad stumm. 

Wo ist dein Lieben 

Geblieben ? 

Wer brachte mich drum ? [Sie wendst sieh von ihm.'} 

Fmist. 
Komm ! Folge mir ! Liebchen, fasse Muth ! 4140 

Ich herze dich mit tausendfacher Gluth ; 
Nur folge mir ! Ich bitte dich nur dies ! 

Margarete (zw ihm gewendet). 
Und bist du's denn ? Und bist du's auch gewisz ? 

Fauet, 
Ich bin's ! Komm mit ! 



DUNGEON. 877 



Faust (striving to take her away). 
Come \ Come with me ! 



Oh stay ! I like to stay where thou stayest. 

[Garessing him.l 

Faust. 
Haste ! If you do not make haste, we shall pay dearly 
for it. 

Margaret. 
n/ What ? Tou can no longer kiss ? So short a time away 
from me, my love, and already forgotten how to kiss ! 
Why do I feel so anxious on your neck — when, in other 
times, a whole heaven came over me from your words, 
your looks, and you kissed me as if you were going to 
smother me ? Eiss me ! or I will kiss you ! [She em- 
braces him.) woe ! your lips are cold, — are dumb. 
Where have you left your love? Who has robbed me of 
it? \^ IShe tit/rns froni him.] 

Faust. 
Come ! follow me ! Take courage, my love ! I will 
press thee to my heart with thousandfold warmth — only 
follow me ! I ask thee but this. 

Margaret (turning to him). 
And is it thou, then ? And is it thou, indeed? 

Faust. 
"lis I. Come along ! 



378 KERKEB. 

Margarete. 
Du machst die Fesseln los, 
Nimmst wieder mich in deinen Schoosz. 4145 

Wie kommt es, dasz du dich vor inir nicht soheust ? — 
Und weiszt du denn, mein Freund, wen du befreisfc? 

Fomst, 
Komm ! Komm ! Schon weicht die tiefe Naohfc. 

Ma/rgarete. 
Meine Mutter hab' ich umgebraoht, 

Mein Kind hab' ioh ertrankt. 4150 

War es nicht dir und mir geschenkt ? 
Dir auch — du bist's ! Ich glaub' es kaum. 
Gieb deine Hand ! Es ist kein Traum ! 
Deiue liebe Hand ! — Aeh, aber sie ist feucht ! 
Wische sie ab ! Wie mich diiucht, 4155 

Ist Blut dran. 

Ach Gott ! Was hast du gethan ! 
Stecke den Degen ein ; 
Ich bitte dich drum ! 

Favist. 
Lasz das Vergangne vergangen sein, 4160 

Du bringst mich um. 

Mwrgarete. 
Nein, du muszt Ubrig bleiben ! 
Ich will dir die Graber beschreiben, 
Fiir die muszt du sorgen, 

Gleich morgen ; 4165 

Der Mutter den besten Platz geben, 
Meinen Bruder sogleich darneben, 
Mich ein wenig bei Seit', 
Nur nicht gar zu weit ! 

Und das Kleine mir an die rechte Brust. 4170 

Niemand wird sonst bei mir liegen ! — 
Mich an deine Seite zu schmiegen, 
Das war ein siiszes, ein holdes Gluck ! 
Aber es will mir nicht mehr gelingen ; 
Mir ist's, als miiszt' ich mich zu dir zwingen, 4175 



DUNGEON. 379 

Margaret. 
Tou undo my fetters, you take me to your arms 
again ! How comes it that you are not afraid of me ? 
And do you then know, my love, whom you are 
freeing ? 

Faust. 
Come, come ! The depth of night is already passing 
away. 

Margaret. 
I have killed my mother, I have drowned my child. 
Was it not given to thee and me — to thee, too? 
'Tis thou ! I scarcely believe it. Give me thy hand. It 
is no dream — thy dear hand ! — but oh, 'tis damp ! 
Wipe it ofE. It seems to me as if there was blood on 
it. Oh, God! what hast thou done? Put up thy 
sword ! I pray thee, do ! 

Faust. 
Let what is past, be past. Thou wilt kiU me. 

Margaret. 
No, you must survive ! I will describe the graves to 
you ; you must see to them the first thing to-morrow. 
Give my mother the best place ; — my brother close by ; 
— me, a little on one side, only not too far off ! And 
the little one on my right breast ; no one else will lie by 
me. To nestle to thy side, — that was a sweet, a dear 
delight ! But I can no more attain it ; I feel as if I 



380 KERKER. 

Als stieezest du mich von dir zuriick. 

Und doch bist du's und bliokst so gut, bo fromm. 



Fuhlst du, dasz ich es 


Fomst. 
bin, so komm 


Da binaus ? 


Marga/rete. 


Ins I"reie. 


Faust. 



Ma/rga/rete. 
Ist das Grab drausz, 4180 

Lauert der Tod, so komm ! 
Von bier ins ewige Rubebett, 
Und weiter keinen Schritt — 
Du gebst nun fort ? Heinrioh, kiinnt' ich mit ! 

Faust. 
Du kannst ! So woUe nur ! Die Thur stebt ofifen. 4185 

Ma/rga/rete. 
loh darf nicht fort ; fiir micb ist niohts zu hoffen. 
Was bilft es fliehn ? Sie lauern dooh mir auf. 
Es ist BO elend, betteln zu miissen, 
Und noch dazu mit bbsem Gewissen ! 
Es ist so elend, in der Premde sobweifen, 4190 

Und sie warden micb doob ergreifen ! 

FoAJiSt. 

Icb bleibe bei dir. 

Mwrga/eete. 
Gescbwind ! Gescbwind ! 
Eette dein armes Kind ! 
Port ! Immer den Weg 

Am Baob binauf, 4195 

Ueber den Stag, 
In den Wald hinein, 
Links, wo die Planke stebt 
Im Teicb. 



DUNGEON. 381 

must force myself upon you, as if you did repel me. 
And yet, 'tis you ; and you look so kind, so good. 

Famt. 
If you feel that 'tis I, come along. 

Margaret. 
Out there? 

Faust. 
Into the free air ! 

Margaret. 
If the grave is without, if death lies in wait, — ^then 
come ! Hence into the eternal resting-place, and not a 
step further. — Thou art now going away ? Henry, 
could 1 but go too ! 

Faust. 
Thou canst ! Thou need'st only will it ! The door 
stands open. 

Marga/ret.*f- 
1 dare not go out ; there is no hope for me ! What 
avails it flying ? They are lying in wait for me. It is 
so miserable to be obliged to beg, — and with an evil 
conscience, too. It is so miserable to wander in a 
strange land, — and they will catch me, do as I will. 

Faust. 
I shall be with thee. 

Margaret. 
Quick, quick ! Save thy poor child. Away ! Keep 
the path up by the brook — over the bridge — into the 
wood — to the left where the plank is — in the pond. 



882 KERKER. 

Fasz es nur gleioh ! 4^0° 

Es will sich heben, 
Es zappelt noch. 
Eette! Bette ! 

Fa/ust. 
Besinne dioh doch ! 
Nur mien Schritt, so bist du frei ! 

Mcurgcureie. 
Waren wir nur den Berg vorbei ! 4205 

Da sitzt meine Mutter auf einem Stein, 
Es faszt mioh kalt beim Schopfe ! 
Da sitzt meine Mutter auf einem Stein 
Und waokelt mit dem Kopfe ; 

Sie winkt nicht, sie niokt nicht, der Kopf ist ihr schwer, 
Sie schlief so lange, sie wacht nicht mehr. 421 1 

Sie schlief, damit wir uns freuten. 
Es waren gliickliche Zeiten ! 

FoMit. 
Hilft hier kein Flehen, hilft kein Sagen, 
So wag' ich's, dioh hinwegzutragen. 4215 

Mwrga/rete. 
Lasz mich ! Nein, ioh leide keine Gewalt ! 
Easse mich nicht so morderisch an ! 
Sonst hab' ich dir ja AUes zu Lieb' gethan. 

FoMiSi. 
Der Tag grant ! Liebchen ! Liebohen ! 

Margwrete. 
Tag ! Ja, es wird Tag ! Der letzte Tag dringt herein ; 
Mein Hochzeittag soUt' es sein ! 4221 

Sag Niemand, dasz du schon bei Gretohen warst. 
Weh meinem Kranze ! 
Es ist eben gesohehn ! 

Wir werden uns wiedersehn ; 4225 

Aber nicht beim Tanze. 
Die Menge driingt sich, man hbrt sie nicht. 



DUNGEON. 383 

Only quick and catch hold of it ! It tries to rise ! it is 
still struggling ! Save it ! Save ! 

Faust. 
Be calm, I pray ! Only one step, and thou art free. 

Margaret. 
Were we but past the hill ! There sits my mother on 
a stone — my brain grows chill ! — there sits my mother 
on a stone, and wags her head. She .beckons not, 
she nods not, her head is heavy ; she slept so long, / 
she'll wake no more. She slept that we might enjoy ■■ 
ourselves. Those were happy times ! 

Faust. 
As no prayer, no persuasion, is here of any avail, I 
will risk the bearing thee away. 

Margaret 
Let me go ! No, I endure no violence ! Lay not 
hold of me so murderously ! You know I have else 4 
done everything to please you, 

Faust. 
The day is dawning ! My love ! My love ! 

Margaret. 
Day ! Tes, it is growing day ! The last day is break- 
ing in ! My wedding-day it was to be ! Tell no one 
that thou hadst been with Margaret already. Woe to 
my wreath ! It is all over now ! We shall meet again, 
but not at the dance. The crowd thickens ; it is not 



384 KERKEK. 

Der Platz, die Gas sen 

Konnen sie nicht fassen. 

Die Glocke rnft, das Stiibchen bricht. 4230 

Wie sie mich binden und packen ! 

Zum Blutstuhl bin ich schon entriickt. ' 

Schon zuokt nach jedem Nacken 

Die Scharfe, die nach meinem ziickt. 

Stumm liegt die Welt wie das Grab ! 4235 

Fami. 
0, war' ich nie geboren ! 

Mephistopheles erscJieint hrauszen. 

MepMstopheles. 
Auf ! Oder ihr seid verloren. 
Unniitzes Zagen, Zaudern und Plaudern ! 
Meine Pferde schaudern, 
Der Morgen dammert auf. 4240 

Ma/rgwfete, 
Was steigt aus dem Boden herauf ? 
Der! Der! Schick ihn fort ! 
Was will der an dem heiligen Ort ? 
Er will mich ! 

FauSv. 
Du soUst leben ! 

Margarete. 
Gericht Gottes ! Dir hab' ich mich iibergeben ! 4245 

MepMstopheles Qiu Faust). 
Komm ! Komm ! Ich lasse dioh mit ihr im Stich. 

Ma/rga/rete. 
Dein bin ich, Vater I Kette mich ! 
Ihr Engel ! Ihr heiligen Schaaren, 
Lagert euoh umher, mich zu bewahren ! 
Heinrich 1 Mir grant's vor dir. 42J0 



DUNGEON. 886 

heard. The square, the streets, cannot hold them. The 
bell tolls !— the wand is broken ! "' How they bind and 
seize me ! Already am I dragged off to the blood-seat ! '" 
Already quivering for every neck is the sharp steel 
which quivers for mine. Dumb lies the world as the 
grave! 

Faust. 
Oh that I had never been bom ! 

Mejphistopheles {appears without). 
Up ! or you are lost. Vain hesitation ! Lingering 
and prattling! My horses shiver; the morning is 
gloaming up. 

Margaret. 
What rises up from the floor? He! He! Send 
him away ! What would he at the holy place ? He 
comes for me ! 

Faust. 
Thou shalt live ! 

Margaret. 
Judgment of God ! I have given myself up to thee. >/ A 

MepMstopheles {to Faust). 
Come ! come ! I will leave you in the lurch with 
her. 

Margaret. 
Thine am I, Father! Save me! Ye Angels! Te I 
Holy Hosts,"' range yourselves round about, to guard / 
me ! Henry ! I shudder to look upon thee, 
c c 



386 KEKBER. 

Mephistopheles. 



Sie ist gerichtet ! 



Stinvme (yon'olen) . 
Ist gerettet ! 



— Meplmto^heles {zu Faust). * 
Her zu mir ! 
[Verschwindet mit FAtrsT.J 

Stimme (von innen verJiallend). 
Eeinrich ! Heinrich ! 



DUNGEON. 387 

Mephistopheles. 
She is judged ! "' 

Voice from above. 
Is saved. 

MepJiistopheles (to Pattst). 
Hither to me ! 

^Disappears with Faust."] 

Voice {from within, dying away), 
Henry ! Henry ! 



NOTES. 

Page 3, n. 1. Goethe began the composition of " Faust" fn 
early youth, somewhere between the years 1769 and 1773 ; but 
the exact date cannot be confidently stated. Having worked 
at it oif and on, he laid it aside, but, to judge from a com- 
munication of his to Schiller, he took it up again, 1797. In 
the latter year it was that he wrote the Zueignung, which forms a 
kind of poetical retrospect. The Dedication, or rather Invoca- 
tion, written in ottave rime, is considered one of the finest of 
Goethe's poems. — Ed. 

Page 5, n. 2. Prelude on the Stage. — It must be borne in 
mind that the theatre is one of those temporary theatres or 
booths which are common at fairs, and that the company is 
supposed to be an itinerant one. 

Page 5, n. 3. By the Lustige Person, " Merryman," an actor 
is here meant who used to represent the "Merry Andrew" or 
" Clown " — the Schalksnarr or Hanswurst of the German plays 
— ^in the Director's troop. — Ed. 

Page 5, n. 4. Pleasing and instructive. Cp. 

" Omne tulit punctum qui miscnit utile dulci." 

Horace. 
Page 9, n. 5. People come to look. Cp. 

" Segnius irritant animos deraissa per aures, 
Quam quae sunt oculis subjecta fidelibus, et quse 
Ipse sibi tradit spectator." — HOEACE. 

Page 9, n. 6. " La Com^die des Visionnaires nous r^jouit 
beaucoup : nous trouvames que c'est la representation de tout 
le monde ; chacun a ses visions plus ou moins marquees."— 
Madame de Sevign£. 



\ 



390 FAUST. 

Page 11, re. 7. Compare " Wilhelm Meister " (Book ii. ch. 
ii.), in which somewhat similar notions of the poet's vocation 
are put into the mouth of the hero. 

Page 13, n. S. "I cannot tell why, this same truth is a naked 
and open daylight, that doth not show the masques, and mum- 
meries, and triumphs of the present world, half so stately and 
daintily as candle-lights. Truth may perhaps come to the price 
of a pearl, that showeth best by day ; but it will not rise to the 
price of a diamond or carbuncle, which showeth best in varied 
lights. A mixture of lies doth ever add pleasure. Doth any 
man doubt, that, if there were taken from men's minds vain 
opinions, flattering hopes, false valuations, imaginations, as 
one would, and the like vinum Dsemonum (as a Father called 
poetry), but it would leave the minds of a number of men poor 
shrunken things, full of melancholy and indisposition, and 
unpleasing to themselves ? " — Loed Bacon, quoted in The 
Friend, vol. i. p. 9. 

Page 15, n. 9. It was a favourite theory of Goethe, that the 
power of calling up the most vivid emotions was in no respect 
impaired by age, whilst the power of pourtraying them was 
greatly improved by experience. 

"To carry on the feelings of childhood into the powers of 
manhood ; to combine the child's sense of wonder and novelty 
with the appearances which every day for perhaps forty years 
had rendered familiar : 

Both sun and moon, and stars, throughout the year. 
And man and woman, — 

this is the character and privilege of genius, and one of the 
marks which distinguish genius from talent." — Coleeidge's 
Biog. Lit. 

Page 16, re. 10. "And God made two great lights; the 
greater light to rule the day, and the lesser light to rule the 
night ; he made the stars also." — Gen. i. 17. 

Page 19, re. 11. Prologue in Heaven. — The idea of this pro- 
logue is taken from the Book of Job, chapters 1st and 2nd. 
"It is worthy of remark," says Dr. Schubart, "that in the 
guise in which the poet introduces his Mephistopheles, a great 
difference is to be seen between his mode of treating the prin- 



NOTBS. 391 

ciple of evil, and that followed by Klopstock, MUton, and Lord 
Syron in ' Cain.' It has also been a matter of course, to hold 
to one side only of the biblical tradition, which represents Satan 
as an angel of light fallen through pride and haughtiness, 
endeavouring to disturb the glorious creation of the Supreme 
Being. Goethe, on the contrary, has adhered rather to the other 
side of the tradition, of which the Book of Job is the ground- 
work, according to which Satan or the Devil forms one of the 
Lord's Host, not as a rebel against his will, but as a powerful 
tempter, authorized and appointed as such," &c. — Vorlesungen. 
We are also called upon to admire the propriety of the parts 
assigned to the Archangels in the introductory song. Dr. Hin- 
richs shows some anxiety to establish that The Lord depicted by 
Goethe, is the Lord of Christianity. On this subject he has 
the following note: "That The Lord iU this poem is the 
Christian God, and therefore the Divine Spirit, Cornelius also 
signifies in the title-page of his ' Illustrations of Faust,' where 
the Lord, in the middle of an unequal square, begirt by a half- 
circle of angels, bears the triple crown upon his head, and the 
terrestrial globe in his left hand ; whilst in Retzsch's ' Illus- 
trations of Faust,' the Lord without the triple crown and the 
cross, does not express the Christian God, and for that reason 
the conception is not embraced by it.' — Vorlesungen, p. 36. 

Page 21, n. 12. But thy messengers. Lord, revere the gentle 
movement of thy day.—" Canst thou send lightnings, that they 
may go, and say unto them. Here we are ? " — Job xxxviii. 35. 
" And of the angels he saith. Who maketh his angels spirits, 
and his ministers a flame of fire." — St. Paul, Heb. i. 7. 

Page 25, n. 13. A good man in his indistinct strivings, &c. — 
Drang in this passage is untranslatable, though the meaning is 
clear. In rendering it as above, I had the striving of jarring 
impulses (Coleridge's " Aids ") in my mind. 

Page 25, n. 14. The waggish scoffer is the least offensive to 
we.— This does not convey the character of Mephistopheles, 
nor is there any English word that would. The meaning must 
be : I prefer a malicious, roguish devil who laughs or scofis at 
my works, to one who openly defies. 

Page 25, n. 15. The creative essence, &c.— It is quite im- 
possible to translate this passage, and I have never seen a satis- 



392 fAtysr. 

factory explanation of it. Das Werdende is literally The Be- 
coming, but werden is rather the Greek yivo/iai than the 
English to become. The Greek word eyevero (says Mr. Cole- 
ridge) unites in itself the two senses of began to exist and was 
made to exist : it exemplifies the force of the middle voice, in 
distinction from the verb reflex. — Aids to Reflection, 2nd edit, 
p. 18. 

One friend, whom I consulted about this passage, sent me 
the following version: "Creation's energy — ever active and 
alive — encircle you with the joyous bounds of love — and that 
which flits before you, a fluent and changeful phantom, do ye 
fix by the power of enduring thought ! " 

Mr. Carlyle interpreted it thus: "There is clearly no trans- 
lating of these lines, especially on the spur of the moment ; yet, 
it seems to me the meaning of them is pretty distinct. The 
Lord has just remarked, that man (poor fellow) needs a devil, 
as. travelling companion, to spur him on by means of Denial; 
whereupon, turning round (to the angels and other perfect 
characters) he adds, ' But ye, the genuine sons of Heaven, joy 
ye in the living fulness of the beautiful ' (not of the logical, 
practical, contradictory, wherein man toils imprisoned) ; ' let 
Being (or Existence) which is everywhere a glorious birth into 
higher Being, as it for ever works and lives, encircle you with 
the soft ties of Love ; and whatsoever wavers in the doubtful 
empire of appearance ' (as all earthly things do), ' that do ye by 
enduring thought make firm.' Thus would Das Werdende, the 
thing that is a being (is o-being), mean no less than the uni- 
verse (the visible universe) itself ; and I paraphrase it by ' Ex- 
istence which is everywhere a birth into higher Existence ' (or 
in some such way), and make a comfortable enough kind of 
sense out of that quatrain." See also Mr. Heraud's remarks in 
" Eraser's Magazine " for May, 1832. [Cp. 11. 436, 437.— Ed.] 

Page 26, n. 16. Hike to see the Ancient One occasionally. — 
Shelley translates den Alien, the Old Fellow. But the term 
may allude merely to " The Ancient of Da^s," and is not neoes- 
sarily a disrespectful one. A correspondent proposes "The Old 
Gentleman." I am also told that der Alte is a slang expression 
for the father. 

In allusion to Mephistopheles' liking to see The Lord occa- 
sionally. Dr. Hinrichs observes : " A fallen angel, as Shake- 
speare himself says, is still an angel, who likes to see the Lord. 



, NOTES. 893 

occasionally, and avoids breaking with him, wherefore we find 
Mephistophelea in heaven amongst the host,"— p. 37. 

Page 29, n. 17. Night— Hhe opening scene is the only part 
in which the "Faustus" of Marlow bears any similarity to 

the " Faust " of Goethe The commencement of Lord Byron's 

" Manfred" is clearly traceable to "Faust," either Marlow's or 
Goethe's. Cf. Choru^iand Act 1, scene 1. 

Pack 29, n. 18. For this very reason is all Joy torn from me. — 
" I communed with my own heart, saying, Lo, I am come to 
great estate, and have gotten more wisdom than all they that 
have been before me in Jerusalem, yea, my heart hath great 
experience of wisdom and knowledge. 

"And I gave my heart to know wisdom, and to know mad- 
ness and folly : I perceive that this also is vexation of spirit. 
For in much wisdom is much grief: and he that increaeeth 
knowledge, increaseth sorrow."— ^ccZ. c. i. 

Page 29, n. 19. / have therefore devoted myself to magic. — 
Goethe tells us, in his Memoirs, that whilst he was confined 
by ill-health, he and Fraulein von Klettenberg read through 
several books on alchemy; e.g., Welling's " Opus Mago-Cabal- 
listicum," Theophrastus Paracelsus, Basilius Valentinus, Hel- 
mont, Starkey, and the " Aurea Catena Homeri." ' The study 
of these writers subsequently induced Goethe to put up a small 
chemical apparatus, of which he says: "Now were certain 
ingredients of the Maorocosmus and Microcosmus dealt with 
after a strange fashion." In his " Farbenlehre," also, he enters 
upon an animated defence of natural magic. It is clear from 
many passages in his Memoirs, that the reflections on the in- 
sufficiency of knowledge which he has here put into the mouth 
of Faust, were his own at one period. For instance: "The 
remarkable puppet-show fable of Faust found many an answer- 
ing echo in my breast. I too had ranged through the whole 
round of knowledge, and was early enough led to see its vanity. " 

Page 33, n. 20. -Nostradamus. — "Nostradamus, properly 
Michel Notre Dame, bom in 1503, at St. Eemy in Provence, 
of a family of Jewish origin, studied medicine, applied himself 
somewhat to quackery, and fell at last into the favourite 
malady of his age, astrology. The prophecies which, from his 

1 Ddring (" Life of Goetbe," page 7^) mentions the ctrcnmstance and connects 
it with "Faust." 



394 FAUST. 

seclusion at Salon, he made known in rhymed quatrains under 
the title of ' Centuries of the World,' excited great notice by 
their styje and their ohaourity. Henry II., King of France, 
sent for the author and rewarded him royally." — Convers. 
Lexikon. 

Page 33, n. 21. Macrocosm, and Spirit of the Earth or Micro- 
cosm. — Dr. Hinrichs says : " The Macrocosm signifies Nature, 
as such, and is opposed to Microcosm, as man." — p. 59. But 
I incline to think Macrocosm means the Universe, and the 
Spirit of Earth, the Earth generally. Thus Falk, in accounting 
for Faust's weakness in the presence of the latter, says, " The 
mighty and multiform universality of the earth itself — that 
focus of all phenomena, which at the same time contains within 
itself sea, mountain, storm, earthquake, tiger, lion, lamb. 
Homer, Phidias, Raphael, Newton, Mozart, and Apelles — 
whom, appear when and where it might, would it not strike 
with trembling, fear, and awe ? " — p. 247. The Ganzen (I am 
here adopting the gloss of a friend) is the Omneity of the meta- 
physicians, and Eins in dem Andern wirkt und lebt, is The 
Immanence of All in each of Plato. 

"According to Paracelsus," says Mr. Heraud, "the macro- 
cosm is the great world, and man is the microcosm-, or a little 
world — a kind of epitome of the great." 

Page 33, n. 22. Up, acolyte !—l have been called on for an 
authority for using this word in the above sense : — 

"You are doubtless an acolyte in the noble and joyous 
science of minstrelsy and music. " — Anne of Geierstein, vol. ii. 
p. 238.' 

Page 33, n. 23. How heavenly powers, &c. — "And he 
dreamed, and behold, a ladder set up on the earth and the top 
of it reached the heaven ; and behold the angels of God ascend- 
ing and descending on it. " — Genesis xxviii. 12. 

Page 35, w. 24. " Fear came upon me, and trembling, which 
made all my bones to shake. 

" Then a spirit passed before my face : the hair of my flesh 
stood ujf."— The Book of Job, ch. iv. 

1 That the word " acolyte " may be used in the sense of " novice " will be 
found confirmed by further quotations in Dr. Murray's "New English Dic- 
tionary/' p. 82,— Ed. 



NOTES. 395 

Page 39, n. 25. The traditional Faust had a disciple or pupil 
named Wagner or Wagenar, who figures in all the dramas or 
histories founded on the fable. A book entitled "Christoph. 
Wagner's Magic Arts and Life of Dr. Faust," was published 
at Berlin, in 1714, assumed to be by the veritable attendant of 
the philosopher.' 

It is also worthy of remark that one of Goethe's early friends 
was called Wagner. He signalized himself by stealing from 
"Faust" (which was communicated to him in confidence pre- 
viously to publication) the tragic portion relating to Margaret, 
and making it the subject of a tragedy, called " The Infan- 
ticide." Goethe expresses great indignation at the treachery. — 
Memoirs, B, 14. 

Page 41, n. 26. Wagner, a man of learning, was probably 
alluding to the well-known aphorism of Demosthenes. Vortrag 
comes near the Greek YiroKpwce, which includes not action merely, 
■but all that relates to the delivery of a speech. 

Page41,tc. 27. In which ye crisp the shreds of, &c. — The phrase 
Schnitzel krauseln is one about which great variety of opinion 
exists, but the two highest authorities substantially agree :— 

"Vos discours qui brillent d'un si faux ^clat, dans lequel 
vous ^talez les ornemens les plus factices de I'esprithumain, &c. 
Krauseln, r&ndre ciripu,friser. Schnitzel, ce sont des decoupures 
de papier. * En les tordant en differens sens on peat en faire 
des ornemens, mgme des fleurs, mais ces fleurs n'ont aucune 
fraicheur. Le poete les compare done avec les ornemens d'une 
rh^thorique affectde. Une des beaut^s de ce passage c'est la 
singularity de la rime krauseln et sauseln, laquelle k son tour 
aura amen^ les expressions un peu bizarres du second vers."— 
M. DE ^(mij&G^lj— private letter. 

"Your fine speeches, in which you ruffle up man's poorest 
shreds (in which you repeat the most miserable trifles in can- 
died language), are comfortless," &c.— De. Jacob Grimm— 
private letter. The analogy between this passage and the si 
vis meflere, &c., of Horace, will readily suggest itself. [Some 
consider der Menschheit to be in the dat. case.— Ed.] 

1 A professor's "assistant" is called at German universities /anra?BS (Lat.), 
" servant." — Ed. 

2 The word Pafier-Schnitxel is nsed in this sense in " Wilhelm Meister. ' See 
" Goethe's Works," Stuttgart and Tubingen edition, vol. xviii. p. 86. 



396 FAUST. 

Page 43, n. 28. Cp. Eevel. St. John v. 1.— Ed. 

Page 43, n. 29. Haupt- und Stcuits- Action was the name 
given to a description of drama formerly well known in Ger- 
many. Dr. Grimm's note upon this passage is : " Em Kehricht- 
Fass," Sec, a dust-vat (dirt-basket) and a lumber-room, and at 
best a historico-pragmatical play, with excellent moral maxims, 
as they are. fit for a puppet-show." M. de Schlegel says : 
"Haupt- und Stoats- Action : C'est le titre qu'on affichait pour 
les drames destinfe aux marionnettes, lorsq.u'ils traitaient des 
sujets h^roiques et historiques." 

Page 43, n. 30. " II faut avoir une pens^e de derrifere et 
jnger de tout par Ik, en parlant cependant comme le peuple." — 
Pascal. 

Page 47, n. 31. The same sentiment, very beautifully ex- 
pressed, wiU be found in Schiller's poem, "Die Ideale," ele- 
gantly translated by Lord F. Egerton (now Earl of Ellesmere). 
Goethe also observes in his Memoirs : " Ordinarily, when our 
soul-concert is more spiritually attuned, the harsh grating tones 
of the world strike in, in the most overpowering and boisterous 
manner, and the contrast which is ever secretly going on, 
suddenly coming forth, only influences the more sensibly on 
that account." He highly commends Wieland for his skill in 
representing this contrast. 

Page 49, n. 32. The inscription on an old tombstone may 
serve to illustrate the meaning of this passage : — 
' ' "What I gave, I have ; what I spent, I had ; what I left, I lost. " ' 

Page 51, n. 33. An allusion to an old German custom. — Ed. 

Page 55, n. 34. " There is one exquisite passage in ancient 
poetry which presents us with a similar touch of nature. If 
Goethe had read it, he has rather produced an admirable 
counterpart than an imitation of it. It is in ApoUonius Rhodius, 
whose Medea, being in like manner bent on self-destruction, is 
overpowered and recalled from her purpose by a sudden rush 
of kindly remembrances, even while the chest of magic drugs 
is resting on her knees." — Edinburgh Review, No. 125, p. 41. 

Page 55, n. 35. Whilst he is in reviving hliss. — It is impossible 
to translate Werdelust. The meaning probably is, that our 
. 1 Taylor readers 1. 330, " Earn it anew, to really possess it." — £i>. 



NOTES. 397 

Saviour enjoys, in coming to life again, a happiness nearly 
equal to that of the Creator in creating. 

Page 65, n. 36. According to a popular superstition formerly 
current in gome parts of Germany, St. Andrew's-night (Nov. 29) 
was specially favourable for maidens to discover their future 
sweethearts by means of various charms. — Ed. 

Page 67, n. 37. To understand Faust's position in this speech, 
the reader must fancy a town on a river, like most of those 
upon the Rhine, with a suburban village on the opposite bank. 

Page 75, n. 38. Mr. T. Griffiths, of Kensington, who delivered 
an extremely interesting lecture on Alchymical Signs at the 
Koyal Institution, enables me to furnish an explanation of this 
passage, which has generally been passed over as (what M. 
Saint- Anlaire is pleased to term it) galimatias. 

There was a red lion. — This expression implies the red stone, 
red mercury, or cinnabar. 

A bold lover. — This expression alludes to the property the 
above compound possessed (according to the adepts) of devour- 
ing, swallowing, or ravishing every pure metalUo nature or 
body. 

— married. — This simply implies the conjoining or union of 
two bodies of opposite natures ; red and white were supposed 
to be male and female. 

—fa the Wy.— This term denotes a preparation of antimony, 
called Ulium minerale, or lilium Paracelsi ; the white stone, or 
perhaps albified mercury, sometimes called the "white fume," 
or the " most milk-white swanne." 

—4n the tepid bath. — This denotes a vessel filled with heated 
water, or a "balneum Mariae," used as a very convenient 
means of elevating the body of an aludel or alembic slowly to 
a gentle heat. 

— and then with open flame. —This means the direct and fierce 
application of fire to the aludel upon its removal from the 
water-bath, after the marriage had taken place betwixt the 
"red and the white. " 

tortured. — The adepts deemed their compounds sensible of 

pleasure and pain ; the heat of the open fire tortured the newly 
imit«d bodies ; these therefore endeavoured to escape, or 
sublime, which is the sense in which the word tortured is to be 
taken. 



398 FAUST. 

—from one, bridal cfiamber.— This means the body of the 
aludel, in which they were first placed, and which had been 
heated to such a degree as to cause their sublimation. 

—to another.— This signifies the glass head or capital placed 
on the body of the aludel, which received the sublimed vapours. 
Many heads were put on in succession, into which the vapours 
successively passed. 

If the young queen. — This implies the supposed royal of&pring 
of the red lion and the lily, or its alliance to the noble metals 
— the sublimer products. 

— with varied hues then appea/red. — During the process, 
various hues appeared on the sublimed compound ; according 
to the order of their appearance, the perfection or completion 
of the great work was judged of. Purple and ruby were most 
esteemed, for being royal colours they were good omens. 

— in the glass. — This means the glass head or capital of the 
aludel, as before noticed. 

The passage divested of alchymical obscurity would read 
thus: — 

" There was red mercury, a powerfully acting body, united 
with the tincture of antimony, at a gentle heat of the water- 
bath. Then being exposed to the heat of the open fire in an 
aludel, a sublimate filled its heads in succession, which, if it 
appeared with various hues, was the desired medicine." 

In his note to me, Mr. Griffiths adds: "All the terms it 
contains may be found in alchymical works it is a very good 
specimen of mystical writing.'" 

Page 75, n. 39. No one, &c. — i.e. people did not make any 
inquiries about the beneficial influence of the medicines. — Ed. 

Page 77, n. 40. The silver brook flowing into golden streams. 
— This may allude to the gradual gliding of the waters, as the 
sunbeams come to play upon them, or to another natural phe- 
nomenon, which I wUl explain by an anecdote. In the summer 
of 1831, it was my good fortune to pass through the beautiful 

1 Some consider das Widrige (1. 688) to denote "the repulsive medicine." 
Goethe's acquaintance with alchymistic terminology dates from the time 
when he returned, in 1768, &om Leipzig to Frankfurt in an ailing condition. 
At his mother's solicitation he had recourse to the "panacea" of a mystio 
physician, and having been cured, he applied himself to the study of alchymy 
— Ep. 



NOTES. 399 

valley of Ahrenberg, a valley •which, wants but a Moore to 
make an Ovoca of it. Whilst we were changing horses, I 
walked with a German student to a rising ground to get a 
better view of the scenery. The setting sun was shining in 
such a manner, that the beams massed themselves on a broad 
part of the stream, and fell transversely over a tributary brook, 
thus giving a rich golden glow to the river and the appearance 
of a white silvery line to the rivulet. We had hardly gained 
the height, when my fellow-traveller exclaimed : — 

"Den Silberbach in goldne Strome flieszen." 

Page 77, n. 41. The day before me mid the night behind. — This 
fine expression occurs in a very old and popular tale of witch- 
craft mentioned at some length by Voss. Mr. Coleridge has 
something like it in " The Homeric Hexameter described and 
exemplified" : — 
" Strangely it bears us along in swelling and limitless billows. 

Nothing before and nothing behind but the sky and the 
ocean." 

" The Ovidian Elegiac Metre described and exemplified " is a 
literal translation from Schiller. 

Page 77, n. 42. No bodily wing, &c.— 

" Oft when my spirit doth spread her bolder wings, 
In mind to mount up to the purer sky. 
It down is weighed with thought of earthly things, 
And clogged with burden of mortality." 

Spenser's Sonnets. 

Page 77, n. 43. " Wie oft habe ich mit Fittigen eines Kra- 
niohs, der iiber mich hinflog, zu dem Ufer des ungemessenen 
Meeres gSisehnV—Werther's Leiden— Le^itec dated Aug. 18. 
—Ed. 

Page 79, n. 44. The notion that man is endowed with two 
souls is of ancient origin, and may be traced to the Christfan 
dogma of the divine and human elements in Christ.— Ed. 

Page 79, •«• 45- The realms of an exalted ancestry.— Tias 
alludes to a supposed divine origin of the soul or spirit of man, 
or to—" For I am in a strait betwixt two, having a desire to 
depart and to be with Christ, which is better."— PM. i. An 



400 FAUST. 

anonymous commentator quotes the following lines Apropos of 
the main sentiment in this speech : — 

" Und was die Menschen meinen, 

Das ist mir einerlei, 

Mochte mioh mir selbst vereinen 

Allein wir sind zu zwei ; 

" Und im lebend'gen Treiben 
Sind wir ein Hier und Dort, 
Das eine liebt zu bleiben 
Das andre mochte fort." 

Page 79, n. 46. " The spuits of the aire will mix themselves 
with thunder and lightning, and so infest the clyme where they 
raise any tempest, that soudainely great mortality shall ensue 
to the inhabitants." — Pierce PennUesse his Supplication, 1592, 
cited in Steeven's Shakespeare. " The air is not so fuU of flies 
in summer, as it is at aU times of invisible devils ; this Para- 
celsus stifily maintains."— BuETON, Anat., part i. 

Page 81, n. 47. In his work on Colours, Goethe gives the 
following explanation of this phenomenon : "A dark object, 
the moment it withdraws itself, imposes on the eye the necessity 
of seeing the same form bright. Between jest and earnest, I 
shall quote a passage from ' Faust ' which is applicable here. 
(Then follows the passage. ) This had been written some time, — 
from poetical intuition and in half consciousness, — when, as it 
was growing twilight, a black poodle ran by my window in the 
street, and drew a clear, shining appearance after him, — the 
undefined image of his passing form remaining in the eye. 
Such phenomena occasion the more pleasing surprise, as they 
present themselves most vividly and beautifully, precisely when 
we suffer our eyes to wander unconsciously. There is no one 
to whom such counterfeit images have not often appeared, but 
they are allowed to pass unnoticed ; yet I have known persons 
who teased themselves on this account, and believed it to be 
a symptom of the diseased state of their eyes, whereupon the 
explanation which I had it in my power to give inspired them 
with the highest satisfaction. He who is instructed as to the 
real nature of it, remarks the phesomenon more frequently, be- 
cause the reflection immediately suggests itself . Schiller wished 
many a tune that this theory had never been communicated f? 



NOTES. 401 

him, because he was everywhere catching glimpses of that the 
necessity for which was known to him." The phenomenon is 
now a recognized and familiar one. See Sir David Brewster's 
"Letters on Natural Magic," p. 20. 

In a note to the following lines in the " Lay of the Last 
Minstrel," there is a strange story of a fiend appearing in the 
shape of a black dog : — 

" For he was speechless, ghastly, wan. 
Like him of whom the story ran, 
He spoke the spectre-hound in Man." — Canto 6. 
According to the tradition, Faust was constantly attended 
by an evil spirit in the shape of a black dog. This four-footed 
'follower has a place in most of the old pictures, those in Auer- 
bach's cellar not excepted. 

Page 87, re. 48. "It has often and with truth been said, that 
unbelief is an inverted superstition, and our age suffers greatly 
by it. A noble deed is attributed to selfishness, an heroic 
action to vanity, an undeniable poetic production to a state of 
delirium ; nay, what is still stranger, everything of the highest 
excellence that comes forth, everything most worthy of remark 
that occurs, is, so long as it is barely possible, denied." — 
Goethe, FarhenUhre. 

Page 87, n. 49. It is clear from Goethe's Memoirs, and many 
other parts of his works, that he is here describing the workings 
of his own mind in youth ; that, when his spirit was tormented 
by doubts, he constantly referred to the Bible for consolation, 
and found it there. It also appears that he occasionally 
struggled to penetrate below the surface in somewhat the same 
manner as Faust. "So far as the main sense was concerned, 
I held by Luther's edition ; in particulars, I referred occasion- 
ally to Schmidt's verbal translations, and sought to make my 
little Hebrew as useful as I could." 

In one of Lessing's plans for a drama to be founded on 
" Faust," Faust was to be studying Aristotle (" UeberGoethe's 
Faust," &c., 82). In Calderon's "El Magico Prodigioso," 
Cyprian is studying Pliny. 

Page 89, n. 50. These are the elementary spirits in which 
the belief was very general in the Middle Ages. The Sala- 
manders were supposed to live in the fire, the Undines in the 

D D 



402 FAUST. 

water, the Sylphs in the air, and the Koholds or Gnomes re- 
presented the spirits of the earth. — Ed. 

Page 93, n. 51. Fahrende SchiUer, " roving " or " travel- 
ling scholars "—scholastici vagantes—usei to be called in the 
fourteenth, fifteenth, and sixteenth centuries, those students 
who wandered from university to university, living on the 
bounty or credality of charitable people.— Ed. 

Page 95, n. 52. Fly-god, i.e. Beelzebub, whose name is 
partly compounded of a Hebrew word signifying /y.' 

Page 95, n. 53. / am, &o.— " And the earth was without 
form and void ; and darkness was upon the face of the deep. 
And the Spirit of God moved upon the face of the waters. 
" And God said, Let there be light : and there was light. 
" And God saw the light, that it was good : and God divided 
the light from the darkness." — Gen. c. i. 

" Granted, that day, proceeding from the original source of 
light, deserves all honour, because it invigorates, quickens, 
gladdens— still it does not follow that darkness must be 
addressed and shunned as the evil principle, because it makes 
us uneasy, and lulls us to sleep ; we rather see in such an effect 
the characteristics of sensuous beings controlled by phe- 
nomena. "—Goethe. 

Page 97, n. 54. That which is (apposed to nothing. — Dr. 
Schubart cautions us against supposing that under the term 
nichts a complete void is intended, as it means merely the 
original state of things under the reign of Chaos. 

Page 97, n. 55. From air, vMter, earth, &c. — " In the air, in 
the water, in the marshes, in the sand, — genera and species 
multiplied, and I believe that they will continue to multiply in 
the same proportion with the course of discovery." — Heedee, 
Ideen zur Philosophie, &c., b. ii. c. 4. 

Page 99, n. 56. The Pentagram, Pentalpha, or Drudenfusz, 
was a pentagonal figure like the following ; — 

A 



— supposed to possess the same sort; of power which used popu- 
larly to be attributed to the horseshoe amongst us. 

1 Faust asserts that the characters of the devils may generally he inferred 
from their names. — Ed. 



NOTES. 403 

Those who wish for more information on this subject may 
refer to " Schol. in Aristoph. Nub." 599, and Lucian's Bialogne— 
" De lapsu inter salutandura" — in the Amsterdam quarto edition 
of 1743, vol. i. pp. 729, 730, in notis. The Pentalpha is also 
mentioned in Hobhouse's ' ' Historical Illustrations of the Fourth 
Canto of Childe Harold," p. 334. 

In one of a series of engravings by a Dutch artist of the be- 
ginning of the seventeenth century (Van Sichem by name), 
Faust is represented standing within two intersecting circles, 
upon two intersecting squares, conjoiing Mephistopheles, who 
is just appearing in his true shape. 

Page 99, n. 57. A compact, &c. — " ' These are fine promises,' 
replied the student ; ' but you gentlemen devils are accused of 
not being religious observers of what you promise to men.' ' It 
is a groundless charge,' replied Asmodeus ; 'some of my 
brethren indeed make no scruple of breaking their word, but I 
am a slave to mine.' " — The Devil upon Two Sticks, chap. i. 

Pagk 101, n. 58. It would seem that Faust's sensuous longing 
has been awakened, and he therefore asks for some "pleasant 
tidings."— Ed. 

Page llt,n. 59. "Our physical as well as sociallife, manners, 
customs, worldly wisdom, phUosophy, religion, all exclaim to 
to us, 'That we shall renounce.'" — Dicktung vnd Wahrheit, 
part ii. book 17. 

Page 113, n. 60. Faust alludes by the "sweet familiar 
tone " to the chiming of the Easter bells which had recalled 
him to life.— Ed. 

Page 119, n. 61. But hast thou food, &c.— " This passage has 
caused a good deal of puzzling," says Hayward, in a very long 
note in which he quotes several extracts from the older German 
commentaries ; but it seems that neither he nor most other 
translators saw the drift of the speech, which is, with the 
exception of the last two lines, throughout interrogatory. It 
must simply be assumed that Faust really wishes for volatile 
and changeable pleasures. Cp. Loeper on the passage in 
question. — Ed. 

Page 121, n. 62. At the doctor's feast.— A\\\iiing to the inau- 
guration feast given on the taking of a degree. 



404 FATTST. 

Page 125, n. 63. Take a poet to counsel, &c.— See, for example, 
the wishes put into the mouth of Sir Epicure Mammon in " The 
Alchymist. " 

Page 127, n. 64. / am not a hair's breadth higher, &o. — 
" Which of you by taking thought can add one cubit to his 
stature ? "—Matt. vi. 27. 

Page 127, n. 65. And am a proper man. — 

" As proper a man as any in Venice." — Shakespeare. 

Page 129, n. 66. Whose overstrained striving overleaps, &c. — 
" I have no spur 
To prick the sides of my intent, but only 
Vaulting Ambition, which o'erleaps itself 
And falls on the other." — Macbeth. 

Page 131, n. 67. A Student enters. — This scene is a satire on 
the modes of instruction pursued in German universities, and has 
been much admired. But the effect is in a great measure pro- 
duced by the happy applicatibn of pedantic phrases and college 
slang, which are no more capable of being relished in England 
than such terms as viooden-spoon, little-go, dramming, plucking, 
in Germany. A distinguished scholar thus mentions this scene 
and the three other scenes which have been thought to resemble 
it in tone : "To the great and overwhelming tragic powers of 
Goethe, Aristophanes, of course, can make no pretension ; but 
in their preference of the arbitrary comic to the comic of 
manners, the two writers come very close together ; and both 
writers should have lived, as Madame de Stael expresses it, 
when there was an intellectual chaos, similar to the material 
chaos. Had Aristophanes written in modern times, it is, per- 
haps, not impertinent to suggest, that the Auerbach's Keller in 
Leipzig, the Hexenkiiche, the Walpurgisnacht, and perhaps the 
quizzing scene with the young student just fresh from his uni- 
versity, are precisely the sort of scenes which would have fallen 
from his ^en."—M.lTCSELl,'s Translation of Aristophanes, Pre- 
face, p. xxvii. 

It is evident from many passages in his Memoirs, that 
Goethe's early impressions of university pursuits were pretty 
nearly what he has put into the mouth of Mephistopheles ; nor, 
if we are to believe Falk, did his opinions change materially in 
after-life : — 



NOTES. 405 

" Our scientific men are rather too fond of details. Tliey 
count out to us the whole consistency of the earth in separate 
lots, and are so happy as to have a different name for every 
lot. ^ That is argil {Thonerde.) j that is quai>tz (Keiselerde) ; that 
is this, and this is that. But what am I the better if I am ever 
so perfect in all these names ? When I hear them I always 
think of the old lines in ' Faust ' — 

' Encheiresin naturx nennt's die Chemie 
Bohrt sich selher Esel und weiss nicht wie I ' 

' ' What am I the better for these lots ? what for their names ? 
I want to know what it is that impels every several portion of 
the universe to seek out some other portion, — either to rule or 
to obey it, — and qualifies some for the one part and some for 
the other, according to a law innate in them all, and operating 
like a voluntary choice. But this is precisely the point upon 
which the most perfect and universal silence prevails." 

" Everything in science," said he at another time, with the 
same turn of thought, " is become too much divided into com- 
partments. In our professors' chairs the several provinces 
{Facher) are violently and arbitrarily severed, and allotted into 
half-yearly courses of lectures, according to fixed plans. The 
number of real discoveries is small, especially when one views 
them consecutively through a few centuries. Most of what 
these people are so busy about, is mere repetition of what has 
been said by this or that celebrated predecessor. Such a thing 
as independent original knowledge is hardly thought of. Young 
men are driven in iiocks into lecture-rooms, and are crammed, 
for want of any real nutriment, with quotations and words. 
The insight which is wanting to the teacher, the learner is to 
get for himself as he may. No great wisdom or aouteness is 
necessary to perceive that this is an entirely mistaken path." — 
Mes. Austin's Characteristics of Goethe. 

It is worthy of note that Burton (Anat., part i. sect. 2, sub- 
sec. 7), remarks on the several sciences in somewhat the same 
spirit as Goethe. 

Page 133, n. 68. The Spanish boot was an instrument of tor- 
ture, like the Scottish boot mentioned in "Old Mortality" 
{vol.'ii. p. 406). 

Page 135, n. 69. Then many a day wUl be spent in teaching 
t/ou, &c.— " In logic it struck me as strange that I was so to 



40C FAUST. 

pull to pieces, dismember, and, as it were, destroy those very 
operations of the mind which I had gone through with the 
greatest ease from my youth, in order to perceive the proper 
use of them."— Goethe's Memoirs. 

"And all ^rhetorician's rules, 

Teach nothing but to name his ioo\s."—Hvdibras. 

See also "Le Bourgeois Gentilhomme," act ii. scene 6, where 
the Master of Philosophy explains the object of logic. 

Page 135, n. 70. He who lioishes, &c. — 

"Like following life in creatures we dissect. 
We lose it in the moment we detect." — Pope. 

" It was, generally speaking, the prevailing tendency of the 
time which preceded our own, — a tendency displayed also in 
physical science, — ^to consider what is possessed of life as a mere 
accumulation of dead parts, to separate what exists only in 
connection and cannot be otherwise conceived, instead of pene- 
trating to the central point and viewing all the parts as so 
many irradiations from it." — Schlegel's Lectures on Dramatk 
Art and Literature, vol. ii. p. 127. 

Page 135, n. 71. Eneheiresin natures denotes " handling '' 
or " treatment of nature," and is here used in order to ridicule 
the analytical process by means of which we are unable to dis- 
cover " final causes." 

Page 137, n. 72. Five lectures, &c. — Five is the number of 
courses of lectures a young and eager student ordinarily attends.' 

Page 137, n. 73. As if the, &c. — It is or was the custom in 
Germany for the professors to read slowly enough for their 
pupils to follow them with the pen. This was called dictating. 

Page 137, n. 74. / cannot reconcile mysdf to jurisprudence. 
— Here again Goethe is repeating his own sentiments. He was 
originally destined by his father for the law, but it was only 
with the greatest reluctance that he could be brought to 
qualify himself for the necessary examination at Strasburg, 
where such examinations were comparatively light. He says 
that he had no turn for anything positive. — Memoirs book ix. 

1 Bayard Taylor translates II. 1698-99 : — 

"a splendid word to serve* yoa'll find. 
For what goes in — or won't go in — tile human mind." — El>. 



NOTES. 407 

The exclamation, "Woe to thee that thou art a grandson," 
alludes to the artificial and complicated systems which people 
coming late into the world are pretty sure to find entailed upon 
them. The law that is born' with us means, I suppose, what 
in common parlance is called the law of mture. It may assist 
future translators, not versed in German jurispi'udence, to be 
told that Gesetz, in strictness, means "enactment," and Recht, 
" law," or a rule of law, generally. Gesetz und Rechte [1. 1618], 
therefore, are both included under the term laws.^ 

Page 141, n. 75. The spirit of medicine. — Goethe associated 
a good deal with medical students at Strasburg, and took con- 
siderable interest in the studies usually followed in connection 
with medicine. 

Page 143, n. 76. Eritis, &c. — This verse isfromtheVulgata, 
where, however, the word dii occurs instead of devs. — Ed. 

Page 145, n. Tl. We have hut to spread out this mantle. — 
This was the mode of travelling afforded by Asmodeus to Don 
Cleofas. 

Page 147, n. 78. Auerhach's Cellar in Leipzig.— AaexhajiVs 
Cellar is a place of public entertainment of the same class and 
character as the Cider Cellar in Maiden Lane, Covent Garden.* 
I supped there during my last visit to Germany, and took some 
pains to ascertain the traditions connected with it, which the 
waiter seemed to have a particular pleasure in communicating. 
He assured me that there was not the shadow of a doubt as to 
my being seated in the very vault in which both Faust and 
Goethe had caroused ; and producing an old copy of Widman, 
he avowed himself ready to make oath that it had been in the 
cellar, as a sort of heirloom, for 300 years at the least. It was 
really a very curious copy, but bore the date of MDCXCV. 
The principal curiosities of the vault are two very old paintings, 
shaped Uke the segment of a circle, painted, it is supposed, to 
commemorate Faust's presence and achievements there. The 
one represents him at the table drinking to the sound of music, 
with a party of students ; the other represents him in the act 
of passing out of the door upon a cask, whilst the spectators 
are holding up their hands in astonishment. The first-men- 

1 Birds renders WohUhat, Pfaye, "benefits torn into plagues."— Ed. 

2 AuerbacVs Keller, which exists to this very day, is in No. 1 of the Glim- 
maische Strasze. — Ed. 



408 FAtrsT. 

tioned bears a Latin inscription, which has proved a puzzler to 
the philologists ' : — 

""VIVE. BIBB. OBGRiEGAEE. MEMOE FAVSTI HVIVS ET HVIVS 
P(EN^ : ADEEAT CLAVDO HiEC ASTEEAT AMPLA GEADV.— 
1525." % 

A distinguished scholar, Dr. Maginn, proposes to read it 
thus : — 

" VIVE, BIBB, OBGE^CARE, MEMOE FAUSTI HUJUS ET HUJUS 
PCENiB ! ADEEAT OLAUDO HiEC, AST BEAT AMPLA GEADU."'— 

Over the other are inscribed the lines following : — 

" Doctor Faust zn dieser Frist 

Aus Auerbach's Keller geritten ist, 

Auf einem Fass mit Wein geschwind, 

Welches gesehen viel Mutterkind. 

Solches durch seine subtile Kraft hat gethan, 

Und des Teufel's Lohn empfangen davon. — 1525." 
It has been made a doubt whether this date (1525) refers to 
the time at which the pictures were painted, or to that at which 
the adventures took place. 

Page 149, n. 79. Lines 1746-47 form respectively the begin- 
ning and end of two popular songs. The former runs — 

Schwing' dich auf, Frau Nachtigall, 
and the latter — 

Griisz' mein Schdtzchen taitsendmal. 

Hayward quotes in full the second song, beginning, Nachti- 
gall, ich hor' dich singen, and occurring in "Des Knaben 
Wunderhorn," of Arnim and Brentano, but he does not seem 
to have known the former song. — Ed. 

Page 155, n. 80. Leipzig is the place, &c. — It appears from 
his Memoirs, that when Goethe commenced his college studies 
at Leipzig, a great affectation of politeness prevailed amongst 
the students.' 

1 See the " Leipzigei Tageblatt " for 1833, Nos. 22, 23, 25 ; and Stieglitz's 
'* Sage ■vom Doctor Faust." 

2 Messrs. Turner and Morshead, in a longer and very interesting note, in 
their edition of " Auerbach's Cellar," render the above : — 

*' Live, drink, revel, but think upon Faustus, and how a requital, 
Tho' with a lingering step, did on his sorcery fall." — El>. 

3 Leipzig was called a kluin Paris in a book published in 1768. — Ep, 



NOTES. 409 

Page 157, n. 81. You prohably started, &c. — Rippach is a vil- 
lage near Leipzig,^ and to ask for Hans von Rippach, a fictitious 
personage, was an old joke amongst the students. The ready 
reply of Mephistopheles indicating no surprise, shows Siebel and 
Altmayer that he is up to it. Hans is the German Jack, as 
Hans der Eiesentodter, Jack the Giant-Killer. 

Page 159, n. 82. Mephistopheles sings, — A favourite at the 
court of Weimar is said to he alluded to. "Bertuch, the 
father," says Falk, "who was treasurer to the Duke, used in 
after times to speak with great glee of a singular head in the 
accounts which he had to suhmit in those days. It consisted 
almost entirely of breeches, waistcoats, shoes and stockings for 
German literati, who were wandering within the gates of 
Weimar, slenderly provided with those articles." This song 
was set to music by Beethoven. 

Page 167, n. 83. — Hay ward and other translators, following 
some commentators, render the line — 

ifns ist ganz kannihalisch wohl — 

rather literally, " We are happy as cannibals," which does not 
seem to convey the right notion. The word kannihalisch is 
used in common language, figuratively, for "awfully," "in a 
high degree," &c. Cp. Sanders' " Worterbuch," suh voce 
"kannihalisch." 

Page 175, n. 84— The best commentary on this scene is to 
be found in Ketzsch's "Outlines." The monkeys are there 
represented as something between the monkey and the ba- 
boon; but he himself told me that Meerkatze is the common 
little long-tailed monkey. ^ The term is thus used in a German 
translation of " Lear "— " Eine unvergleichliche Ausflucht fiir 
einen Hurenjager, seinen Meerkatzen-Trieb den Sternen zur 
Last zu legen "—act i. sc. 2, in Edmund's speech on planetary 
influences. Madame de Stael considers it to mean something 
between a monkey and a cat. 

The following passage (in which Goethe is the speaker) may 

1 The village of Rippach used to serve as a bntt for ridicule to the people of 
Leipzig in particular j jnst as is the case with Schilda, Krah-winkel, &c., 
throughout Germany.— Ed. 

2 Apes were originally imported into Germany from Africa, and coming thus 
across the sea they were called, a male ape meerkater, and a female ape meer- 
katie.—Es. 



410 FAUST. 

save the reader a good deal of profitless puzzling : " Foi 
thirty years they (the Germans) have been sorely vexed and 
tormented in spirit by the broomstick on the Blocksberg and 
the cats' dialogue in the Witches' kitchen, which occur in 
'Faust,' and aU the interpreting and allegorizing of this dramar 
tie hum eristic extravaganza have never thoroughly prospered. 
Really people should learn when they are young to make and 
take a joke, and to throw away scraps as scraps." — Falk. 

Page 179, n. 85. At the feast, &c. — Falk observes, in allusion 
to the text of these three lines, that Faust and Mephistopheles 
are greeted in a tone which, through the diphthong au, bears a 
strong affinity to the language of monkeys. 

Page 179, n. 86. The poet applies here the term Bettel- 
suppen to the insipid and watery literaiy productions of his 
time. That this explanation is the correct one may be seen 
from a passage in a letter of Goethe's, written July, 1777. 
Falk's interpretation, quoted by Hayward, was written, as has 
been pointed out by Bayard Taylor, before the Goethe-Schiller 
correspondence had been published. — Ed. 

Page 183, n. 87. Take the brush here, &c. — Eetzsch repre- 
sents Mephistopheles as holding a light screen or fan in his 
hand. 

Page 185, n. 88. Oh! he so good as to glue the crown, &c. — 
"A wish which, profoundly considered, sounds so politically, 
that one would swear the monkey-spirits had read the history 
of both the old Romish and the new empire, chai^ter by chapter, 
with all its dethronings and assassinations, from the beginning 
of the first to the end of the last war." — Falk. 

Page 189, n. 89. The northern phantom is now no more to be 
seen. Where do you see horns, tails, and claws? — The old 
German catechisms, from Luther's time downwards, were gene- 
rally adorned with a frontispiece, representing the devil with 
all the above-mentioned appendages. 

Page 195, n. 90. That is the witch's (or witches') one-times-one, 
i.e. multiplication table. 

Page 195, n. 91. For a downright contradiction, &c. — Dr. 
Hinrich's note on this passage is: "A system of philosophy 
which, like that of Hegel, begins with such a contradiction, — 
for instance. Das Seyn ist iVicte,— has the advantage that it 



NOTES. 411 

frightens away those who have no call for it, both wise men 
and fools." 

Page 201, n. 92. Goethe's first love was called Margaret. 
She was a girl of inferior rank in life, apprenticed, during the 
love-affair, to a mUliner. He was about fifteen at the com- 
mencement of the acquaintance, and she two or three years 
older. Previously to the introduction he was in the habit of 
following her to church, but never ventured on accosting her.' 
—See the " Dichtung nnd Wahrheit," b. 5. 

Page 205, ra. 93. ^Z^iorfe, &c.— "Cespendardes-Ui, avecleur 
pommade, ont, je pense, envie de me miner. Je ne vols partout 
que blancs d'oeufs, lait virginal, et mille autres briviborions' 
que je ne connois point." — Les Precieuses Bidioules, act i. sc. 4. 

Page 209, ». 94. Besides, he would not, &c. — This is simply 
a hit against the assuming and overbearing conduct of aristo- 
cratic people towards people of inferior rank. — Ed. 

Page 211, n. 95. Am I in an enchanted atmosphere ? — 

" 'Tis her breathing that 
Perfumes the chamber thus." 

Cymbeline, act ii. sc. 2. 

There is some analogy between this scene and " La NouveUe 
Heloise," vol. i., lettre 54, though Faust's feelings in his mis- 
tress's chamber are very different from St. Preux's. 

Page 213, n. 96. It feels so dose, so sidtry here. — 

" Now, by my life, this day grows wondrous hot ; 
Some airy devil hovers in the sky. 
And pours down mischief." 

King John, act iii. sc. 2. 

Page 215, n. 97. There was a king in Thule.— Many of the 
songs in "Faust," this among others, were not originally 
written for it. Goethe mentions in his Memoirs that he sung 

1 Another remiaiscence from the poet's life occurs farther on (1. 2306, Ac), 
where Faust Bska for a token from his beloved— or rather **/or hia love's 
delight." Cp. Goethe's poem, " Lebendiges Angedenken." — Ed. 

2 •• Brimbormm," says SchrSer ("Faust," i. 1S9), "franzosisoh bnmhorwn. 
Goethe gebraucht es aber mcht im Sinne des franzfisischen Wortes (Bettel, 
tumperei), sondern fur leere Umschweife, wobei er vielleicht an ' praeambnlum ' 
Oder Ahnliebes denkt," Cp. also Diintzer's Commentary, p. 289, on the 
etymology of Brtmbonm, of which Brachet declares " origine inconnne." — Ed. 



412 FAUST. 

this song with considerable applause in a social meeting. [Cp. 
on this ballad my collection of Balladen und Bomanzen in the 
"Golden Treasury Series," p. 36 ra.— Ed.] 

Page 221, n. 98. Hay ward, and I believe most, if not all other 
translators, render Pfifferling wrongly "mushrooms," "toad- 
stools," &o. This is the primary meaning of the word, but its 
figurative meaning is " trifles," "worthless things," and in this 
signification it is here employed. — Ed. 

Page 237, n. 99. I wovld change rings mth you mysdf. — In 
some countries of Germany the bridegroom, instead of placing 
the ring on the finger of the bride, gives one to her and receives 
one in return. 

Page 239, w. 100. Two witnesses. — Alluding to the rule of the 
civil law, which forms the basis of all the German systems — 
Unius responsio testis omnino non audiatvr. — Cod. 4, 20, 9. 

Page 271, n. 101. Like a snow-flushed rivulet, &c. — " Like a 
rock in the mid-channel of a river swoln by a sudden rain-flush 
from the mountains," &c.— Colebidge's Aids to Reflection, p. 
79. 

Page 271, n. 102. Were I a hird, &c.— 

" Wenn ich ein Voglein war 
Und auch zwei Fluglein hatt', 
Flog' ich zu dir ; 
Weils aber nioht kann seyn, 
Bleib ich allhier. 

" Bin ich gleich weit von dir, 
Bin ich doch im Schlaf bei dir, 
Und red mit dir ; 
Wenn ich erwachen thu. 
Bin ich allein. 

" Es vergeht keine Stund in der Nacht, 
Da mein Herze nicht erwacht, 
Und an dich gedenkt 
Dasz du mir viel tausendmai 
Dein Herze geschenkt." 

Herdee's Volkslieder, i. p. 67. 
Wunderhom, part i. p. 259 [Hempel's edition]. 

Page 273, n. 103. I have often envied you, &c "Thy two 



NOTES. 413 

breasts are like two young ro3s that are twins, which feed 
among the lilies."— /Songr of Solomon, ch. iv., v. 5. " Je ne vous 
conseille pas de traduire cela littdralement. On jeterait les 
hauts cris. C'est k la responsibility du poete. L'esprit malin 
semble vouloir insinuer que les saints mdme, et les sages, tels 
que Solomon, n'^taient pas inseiisiWes aux attraits de la 

V0lupt6."— M. DE SCHLEGEL. 

Page 285, n 104. / have no name for it.—" The Persian p03t 
Saadi of Schiraz says, according to Herder : ' Who knows 
God, is silent.'" 

Page 285, n. 105. Name is sound and smoke. — In most of 
the editions preceding the collected edition of Goethe's Works 
commenced in 1828, it stands : Nature is sound and sm^ke. 

Page 285, n. 106. The man you have with you is hateful to 
me, &c. — Margaret's intuitive apprehension of Mephistopheles 
is copied from an incident mentioned in Goethe's Memoirs : 
" I could scarcely rest till I had introduced my friend Merck at 
Lotta's (the original of Werther's Charlotte), but his presence 
in this circle did me no good ; for, like Mephistopheles, go 
where he will, he will hardly bring a blesRing with him." 
Goethe always called this friend " Mephistopheles Merck," and 
gives a strange account of the mingled goodness and devilish- 
ness of his disposition. 

Sir Walter Scott had probably this passage in his mind when 
he wrote the following: "The innocent Alice, without being 
able to discover what was wrong either in the scenes of unusual 
luxury with which she was surrounded, or in the manners of 
her hostess, which, both from nature and policy, were kind 
and caressing, felt nevertheless an instinctive apprehension 
that all was not right, a feeling in the human mind allied, 
perhaps, to that sense of danger which animals exhibit when 
placed in the vicinity of the natural enemies of their race, and 
which makes birds cower when the hawk is in the air, and beasts 
tremble when the tiger is abroad in the desert. There was a 
heaviness at her heart which she could not dispel, and the few 
hours which she had already spent at Chiffinch's were like 
those passed in a prison by one unconscious of the cause or 
event of his captivity." — Peveril of the Peak. 

Page 295^ n. 107. We will strew chaff before her door. — 



414 FATJST. 

This alludes to a German custom something analogous to 
Skimmerton-riding in this country. It consists in strewing cut 
or chopped straw before the door of a bride whose virtue is sus- 
pected, the day before the wedding. The garland (Uke the 
snood) is a token of virginity, and a ruined maiden is said to 
have lost her garland. 

Page 297, n. 108. Zvdnger. — ZwingerTS untranslatable, and 
a good deal of doubt exists as to the meaning of the term. 
"Zwinger (says a learned correspondent) from Zwingen, to 
subdue, is a name given to castles found in some of the free 
towns, and formerly held by an imperial governor. They are 
often in the middle of the town, and have a passage wherein a 
devotional image with a lamp has occasionally been placed, not 
expressly for the sake of devotion, but to lighten up a dark 
passage ; Margaret wishes to be imobserved, and prefers this 
lonely spot to the chapel." This account was confirmed to me 
in conversation by Retzsch. In his Outline of the scene, Mar- 
garet is represented kneeling before an image of the Virgin 
placed in a niche close to a church.^ 

Page 297, n. 109. The second stanza of Gretchen's prayer is 
based on the first stanza of the hymn, " Stabat Mater Dolo- 
rosa," &c.— Ed. 

Page 303, n. 110. WUl in the meantime, &e. — This alludes 
to a superstitious belief that the presence of a treasure is 
indicated by a blue light or flame to the initiated. The 
same allusion occurs in the Intermezzo, and also in a little 
poem by Goethe, called " Der Schatzgraber " : — 

" Und ich sah ein Licht von weitem, 
Und es kam gleich einem Sterne." 

In the ' Antiquary," too, in the scene between Sir Arthur 
Wardour and Dousterswivel in the ruins of St. Ruth, it is said, 
" No supernatural light burst forth from below to indicate the 
subterranean treasury." [What Hay ward calls a "little 

I have left the above explanation of the word Zwinger — althongh it is wrong — 
jn account of the mention of Retzsch in it. Zviinger has several significations ; 
here it denotes the place between the town-wall and the moat, such as Goethe 
described in his " Dichtnng und Wahrheit " in speaking of Frankfurt when it 
still was a fortified town. In such town-walls there used to be niches with 
saints' images. That Oretchen lived near the town-wall will be seen from 
t 2964. Cp. Sanders, svit voce " Zwinger."— Ed. 



NOTES. 415 

poem," is in fa,ct one of the finest ballads of Goethe. Cp. my 
above-mentioned " Romanzen und Balladen " (Golden Treasury 
Series), p. 33 and Notes.— Ed.] 

Page 303, n. HI. There are, &c. — The Lowenthaler is a coin 
first struck by the Bohemian Count Schlick, from the mines of 
Joachims-Thai in Bohemia ; the finest in Hie years 1518-1529, 
under Ludovic, the first king of Hungary and Bohemia. The 
one side represents the fork-tailed lion, with the inscription — 
"Ludwig I. D. G. Rex Bohm." The reverse, the full-length 
image of St. John, with the arms of Schlick. — KOhlee's Miinz- 



Page 305, n. 112. What are you doing here, Catherine ? &c. 
— This song is obviously imitated from Ophelia's. — Hamlet, 
act iv. scene 5. 

Page 305, n. 113. Batcatcher. — 

"Tybalt, you ratcatcher, will you walk? " 

Romeo and Juliet, act iii. scene 1. 

The common people in Germany believe (or believed) that 
ratcatchers, by whistling or piping a peculiar note, could 
compel the rats to follow them wherever they chose. — Deutsche 
Sagen, No. 245. This accounts for the application of the term 
to a serenading seducer. [Goethe evidently alludes to the tra- 
ditional "Ratcatcher of Hameln," who allured by his play 
the children of that town into a mountain cavern. — Ed.] 

Page 307, n. 114. Out with your toasting-iron. — 
"Put up thy sword betime, 
Or I'U BO maul you and your toasting-iron. 
That you shall think the devil is come from hell." 

Kinff John, act iv. scene 3. 

Flederwisch, literally goosemng, is a cant term for a sword. 

Page 307, n. 115. lean manage very well the police, but very 
hadly the blood-ban.— Slutbann is an old name for criminal 
jurisdiction in the general sense. The distinction between 
PoKzei-Uebertretungen and Verbrechen, to which the above 
passage might otherwise be supposed to refer, was introduced 
into the German systems in imitation of the French code ; con- 
sequently not till long after the period at which this scene was 
written.— See Mitteemaiee's " Strafverfahren," pp. 10 and 



410 PAUST. 

16. To make matters sure, I referred both Bluthann and 
JBlutschuld to M. Mittermaier himself. 

Page 313, n: 116. And under thy heart, &c. — It is common 
in Germany to say, Sie tragt das Pfand der Liebe unter ihrem 
Herzen — "She bears the pledge of love under her heart." Thus 
Schiller in "Die Kindesmbrderin," — "Nicht das Knablein 
unter meinem Herzen ? " 

Page 315, n. 117. Dies irce, &c. — Goethe has here made use 
of the harrowing " Sequence " by Thomas of Celano, who lived 
in the thirteenth century; introducing the first, sixth, and 
seventh stanzas only, which wotdd in English run thus : — 

1. The day of wrath, that day. 
Shall dissolve the world in ashes, 

2. When the Judge shall be seated 
Everything hidden shall be brought to light, 
Clothing shall remain unpunished. 

3. What shall I, wretched one, then say ? 
What protector shall I supplicate 
When the just will scarcely be safe ?— Ed. 

Page 315, n. 118. I feel as if the organ, &c.— Mr. W. Taylor 
says that Sir Walter Scott borrowed a hint or two from this , 
scene for the " Lay of the Last MinstreL" I suppose he alludes 
to the thirtieth stanza of the last canto : — 

" And ever in the office close 
The hymn of intercession rose : 
And far the echoing aisles prolong 
The awful burthen of the song — 
Dies irse. Dies ilia, 
Solvet sseclum in favill4 — 
While the pealing organ rung." 

Page 319, n. 119. Walpurgis-Night— The, Walpurgis-Night 
is in German folk-lore the eve of the 1st of May, which day was 
dedicated to St. Walpwrga (a niece of St. Boniface, who went 
in the first half of the eighth century with her brothers to Ger- 
many in order to convert the Saxon heathens), probably in 
order to substitute a Christian holiday for the heathenish one 
which used to be celebrated on May 1st. The mite of St. 
Walpurga became very popular in the ninth century, and when 
the heathenish gorls were represented as devils, they were 



NOTES. 417 

described as celebrating. their "fantastic revels,"— as Heine 
expresses it in his "Harzreise,"— during the night from April 
30th to May 1st, on several mountains in Germany. The most 
notorious of these was, since the fifteenth century, the Brocken. 
This mountain, called in popular language Blocksherg, forms 
the highest point of the Harzgehirge, at the foot of which the 
small places Schierlce and Elend are situated. The Harz dis- 
trict itself is a broad range of mountains extending between 
the rivers Leine and Saale, on the boundary line between 
Upper and Lower Saxony, in Central Germany. 

The Faust-legend does not stand in any connection whatever 
with the Brocken, but it is probably owing to the present 
intermezzo and to Goethe's cantata, "Die erste Walpurgis- 
nacht" ("spiritedly translated," as Hayward remarks, "by 
Dr. Anster"), set to music by Mendelssohn, that that moun- 
tain was connected with it in folk-lore, and became so famous. 
Goethe's magnificent poem, "Harzreise im Winter," was written 
in 1777, after having visited the Harz district. He knew, there- 
fore, the locality well, when he wrote, twenty-three years later, 
the present intermezzo, which, by the bye, seems to have been 
uppermost in the mind of Heine when he visited the Brocken, 
and he too calls attention to Retzsch's exquisite illustrations 
of the "fantastic revels." Cp. my edition of his " Harzreise" 
(Clarendon Press Series), p. 46, 1. 19, &c., and Notes.' — Ed. 

Page 321, n. 120. Through the stones, through the turf, brook 
and brooklet hurry down. — " Here and there on rushes the 
water, silver-clear, trickles among the stones, and bathes the 
naked roots and fibres. . . . Again, in many places, the water 
spouts more freely from out of rocks and roots, and forms little 
cascades. . . . There is such a strange murmuring and rust- 
ling—the birds sing broken snatches of languishing songs — the 
trees whisper as with thousands of maidens' tongues ; as with 
thousands of maidens' eyes the rare mountain flowers gaze 
upon us, and stretch out towards us their singularly broad, 

1 Hayward, who translates the heading Walpwrgunacht " May.Day Night," 
quotes in a longer note, containing mneh irrelevant matter, a passage from 
Sir W. Scott's " Antiquary " (vol. i. p. 249), in which the well-known pheno- 
menon of the Brocken' Spectre, is described, and he adds a scientific explanation 
of it from Hibbert's ** On Apparitions " (p. 440, note), and from Brewster's 
" Natural Magic " (Letter 6). He also calls attention to the ** very interesting 
story," called "The First of May ; or, Walpurga's Night," contained in Mr. 
Gillies's collection of German stories. ~Ed. 

E C 



418 FAUST. 

oonically forked leaves," &c., &o. — Heine, Beisebilder, vol. L 
p. 173. See also his account of the rise of the Ilse, p. 223. 
[The passages here translated by Hayward, and likewise 
Heine's account of the rise of the Ilse, will bs found in the 
Grote'sohe " Kritische Gesammtausgabe von Heine's Werken," 
vol. iii. p. 44, &c., and in my own, above-mentioned edition of 
the "Harzreise," pp. 44, 45, &c. — Ed.] 

Page 323, w. 121. Tu-whit! Tu-whoo.— 

" 'Tis the middle of night by the castle clock. 
And the owls have awakened the crowing cock. 

Tu-whit ! — ^tu-whoo ! " Chnstahd. 

Page 323, n. 122. And the roots, like snakes, &c. — "In con- 
sequence of the rocky nature of the ground, the roots are in 
many places unable to penetrate it, and wind, snake-Uke, over 
the huge blocks of granite, which lie scattered everywhere 
about, like huge play -balls, for the unearthly revellers to throw 
at each other on May-day night." — BeisehUder. 

Page 325, n. 123. Shelley has translated vereinzelt sich — 
masses itself— prohahlj under the notion of making the con- 
trast more complete. But the next line— There sparks are 
sputt&ing near, &c.— shows clearly that the literal version is 
the proper one. [Some render vereinzelt sich, "isolates," or 
" detaches itself."— Ed.] 

Page 325, n. 124. The expression Windshraut for rasender 
vnnd, "raging," or "tempestuous wind," has a mythological 
basis. Hayward quotes Luther's version : " Nicht lang aber 
darnach erhob sich wider ihr Vomehmen eine Windshraut, die 
man nennete Nordost," which runs in the revised version of the 
Bible : " But after no long time there beat down from it a 
tempestuous wind which is called Euraquilo. ' (The old version, 
also quoted by Hayward, has " Euroclydon.")— Ed. 

Page 327, n. 125. Urian is one of the sicknames of the 
Devil.— Ed. 

Page 327, n. 126. The witch s, the he-goat stinks.— In 

Aristophanic language- the witch irepdErai, the he-goat Kiva^pa. 

Page 327, n. 127. Bauho is in Greek mythology the indeco- 
rous nurse of Demeter or Ceres. Here she is introduced as the 
symbol of shamelessness. — Bd. 



NOTES. 4ig 

Page 327, n. 128. The Ilsenstem is a colossal granite rock, 
and the most considerable among the Brockengebirge. Tra- 
dition relates that an enchanted princess of the name of Use 
guards there hidden treasures. The Felsensee mentioned (1. 3629) 
is also situated in that district. — Ed. 

Page 331, n. 129. Squire Voland. — The name of Voland or 
Volant was applied to Satan. Cp. Grimm's "Mythology," 
p. 943, &c.— Ed. 

Page 337, n. 130. Now that I ascend the witch-mountain for 
the last time. — "And because the contradictions of life and 
thought have reached their highest pitch, but at the same time 
have found their end and solution, does Mephistopheles con- 
vince himself that he has ascended the Blocksberg for the last 
time ?" — Ueber Goethe's Faust, Leipzig^ 

Page 339, n. 131. In accordance with a rabbinical tradition, 
the " female" created simultaneously with the " male" (Gen. i. 
27), was called LUith; but proving refractory. Eve was created 
from the rib of Adam (Gen. ii. 1-25) as his helpmate. Lilith, 
however, continued to exist as a spectral being, seducing men 
and injuring children. The name of LUith occurring in Isaiah 
(xxxiv. 14), is rendered in the Vulgata iamia, in Luther's Bible 
Kobold, in the old English version screech-owl, and in the re- 
vised one satyr, or he-goat. Later on, she was brought into 
connection with German sorceresses, and for this reason Goethe 
introduced her into the Walpurgis-Night.^— Ed. 

Page 341, n. 132. The word Proktophantasmist has been 
freely coined by Goethe in order to ridicule the once famous 
bookseller and publisher, Chr. Fr. Nicolai, a pedantical adver- 
sary of the poet. Though a pronounced champion of rationalism, 
he was occasionally subjected to visions, from which he got 
himself cured by applying leeches to that part of the body 
called in German " Steisz," and in Greek vprnicTde, which forms 
the first term of the above compound. Nicolai was imprudent 

1 I have left the above note as it stands ; but it seems to me that Mephis- 
topheles "who at once appears very old," simply adapts his speech to his 
assnmed'character, and mocks at the same time the tone of the four preceding 
sneakers. Cp. Bayard Taylor's note on this passage.-ED. 

2 Hayward seems to have taken considerable trouble to furnish a correct 
MDlanation of LUith, but his longer note does not convey a distinct notion of the 
subject The above explanation is based on the standard German commentaries. 



420 FAUST. 

enough to make his malady and cure the suhjeet of a disserta- 
tion, which he read before the Academy of Sciences at Berlin 
in 1799.'— Ed. 

Page 343, n. 133. The phrase, e,s spukt in Tegel, has sadly 
puzzled both translators and commentators. Tegel is a small 
place about eight or ten miles from Berlin. In the year 1797, 
the inhabitants of Berlin, who pride themselves very highly on 
their enlightenment, were fairly taken in by the story of a 
ghost, said to haunt the dwelling of a Mr. Schulz at Tegel. 
No less than two commissions of distinguished persons set 
forth to investigate the character of the apparition. The first 
betook themselves to the house on the 13th of September, 
1797, waited from eleven at night till one in the morning, heard 
a noise, and saw nothing. The second party were more for- 
tunate, for one of them rushed with such precipitation towards 
the place from whence the noise proceeded, that the ghost was 
under the necessity of decamping in a hurry, leaving the in- 
struments with which he made the noise (very clumsy con- 
trivances) as spolia opima to the conquerors. Thus began and 
ended the Tegel ghost's career, who however fully rivalled our 
Cock Lane ghost in celebrity, and gave rise to a good deal of 
controversy. This statement is taken from an account published 
in 1798, in 8vo, with the motto : " Parburiunt montes, nascetur 
ridioulus mus." Dr. Hitzig (to whom I am indebted for it) 
proposes the following interpretation : — 

" We Berlin folks (enlightened by me Nicolai) are so wise 
(so free from prejudice) and Tegel is haunted notwithstanding 
(we notwithstanding suffer our heads to be turned by a ghost 
story, so stupid as this of Tegel)." 

Shelley and M. Stapfer say Brocktophantasmist. This 
alteration destroys the etymology, which the allusion to the 
leeches shows to be TlpiiisToe.^ 

1 Hayward quotes in a very long note, chiefly relating to Nieolai's literary 
activity, a passage on the latter from Carlyle's " German Romance " (vol. iv. 
p. 15), and concludes with the following references : " An account of his malady, 
drawn up by the snflerer himself, is quoted by Dr. Hibbert (' Theory of Appa- 
ritions '), and may be seen in Nicholson's 'Philosophical Journal,' vol. vi. 
p. 161."— Ed. 

2 The real gist of the allusion to the fact that " Tegel was haunted " lies in 
the circumstance that Nicolai had alluded to it in the above-mentioned dis- 
sertation. The reproach to Shelley and M. Stapfer is unfounded. Goethe had 
attually first written "Brocktophantasmist," and subsequently altered it into 
'• Procktophaatasmist," — Ed. 



NOTES. 421 

Page 343, n. 134. A little red movse jumped out, &o. — In 
dterman folk-lore it is recorded that red mice escape from the 
mouths of sorceresses whilst they are asleep. Cp. Grimm's 
"Deutsche Mythologie," p. 1036.— Ed. 

Page 345, n. 135. The term Idol must be understood in the 
'sense of Eidolon. 

Page 347, n. 136. As merry as in the Prater.— T\As is an 
allusion to the famous public place of resort — consisting of a 
park — near Vienna, and called the Prater. 

Page 349, n. 137. The Intermezzo is a continuation of 
the preceding satirical interlude. The reminiscences from 
Shakespeare's "Midsummer Night's Dream" and Wieland's 
" Oberon " ■will be obvious to the readers of this volume. Both 
Oberon and Titania are represented as demoniac powers, and 
have therefore been suitably introduced into the Walpurgis 
Night's Dream. The Golden Wedding is celebrated, according 
to an ancient German custom, after fifty years of married 
life.— Ed. 

Page 349, n. 138. Mieding was a stage-decorator at Weimar, 
whom Goethe immortalized in a poem headed ' ' Mieding's Tod, " 
and the name " Mieding's sons " is here applied to the theatre- 
decorators. — Ed. 

Page 349, n. 139. The quarrel between Oberon and Titania 
arose about an "Indian boy," whom the latter had brought 
up. Cp. Shakespeare's "Midsummer Night's Dream," ii. 1. 
On the occasion of the Golden Wedding they got reconciled. 
—Ed. 

Page 349, n. 140. Ariel is a spirit of the air. Cp. Shake- 
speare's "Tempest." — Ed. 

Page 351, n. 141. The Inquisitive Traveller is Nicolai ; and 
the allusion to " the stiff man smelling after Jesuits " is to him. 
Cp. further on, p. 355, n. 144. Nicolai had written Travels 
fvdl of denunciations of popery. 

I have been told that the words put into the mouth of the 
northern artist are intended as a quiz on the style of expres- 
sion affected by the German artists of the day, but I rather 
think they allude to Goethe's own Italian Journey, which 
might be almost said to have revolutionized his mind. A 



422 FAUST. 

distinguished German critic thinks that Fernow is the person 
alluded to. 

Page 353, n. 142. The Purist is said to typify a school of 
critics who affected great zeal for purity of expression, and 
strict attention to costume, upon the stage. 

Page 355, n. 143. The "Xenien," as is well known, is the 
name given by Goethe and Schiller to verses, mostly satirical 
or epigrammatioal, which they published from time to time in 
co-partnership. These formed an important era in German 
literature. "A war of all the few good heads in the nation, 
with all the many bad ones (says Mr. Carlyle), began in 
Schiller's ' Musenalmanach ' for 1793. The ' Xenien ' (in another 
place he names the ' Horen ' along with them), a series of 
philosophic epigrams, jointly by Schiller and Goethe, de- 
scended there unexpectedly, like a -flood of ethereal fire, on the 
German literary world ; quickening all that was noble into 
new life, but visiting the ancient empire of dulness with 
astonishment and unknown pangs." The war might have been 
commenced in this manner, but the burden of maintaining it 
(as Mr. Carlyle himself half admits in another place ') certainly 
fell upon the Schlegels and Tieck, to whose admirable critical 
productions the " Xenien" bears about the same relation that 
the sharpshooters bear to the regular army. 

The " Genius of the Age " and " The Musaget " « were the 
names of literary journals edited by Hennings, who was at 
different times in controversy with the Schlegels, Schiller, and 
Goethe. Hennings is also attacked in the "Xenien." One of 
Goethe's minor poems is entitled "Die Musageten." 

Page 355, n. 144. The stiff man applies again, as has been 
pointed out above, to Nioolai. — Ed. 

Page 355, n. 145. The nickname Crane has been applied by 
Goethe to Lavater, on account of his curious walk.""— Ed. 

Page 357, w, 146. DUntzer interprets the word Fideler to 
denote a "joUy" or "good fellow," reading it Fideler, and 
Bayard Taylor follows him in his translation. Loeper takes 

1 "German Romance," Tol. ii. p. 8. 

3 "Musaget/' i.e., "leader of the muses;" "friend," or "patron of the 
mnses," was the title of a supplement, in the shape of a " Musenalmanach," to 
the "Genius der Zeit." — Ed. 



NOTES. 42S 

the word Fideler to mean "a fiddler;" Sohroer adopts the 
same meaning, but has the reading Fiedler.— 'SJi. 

Page 357, n. 147. The five philosophers here mentioned refer 
respectively to Wolf (Dogmatist), Fichte (Idealist), to Garye 
and others (Realist), to Jaoobi (Supematuralist), and to the di» 
ciples of Hume (Sceptic). — Ed. 

Page 359, n. 148. To the best of my information, Irrlichter 
raea,us parvemi,s : and Sternschnvppe a sort of poetical Icarus, 
■who mounts like a rocket, and comes down like the stick. 
Most of the other allusions refer to well-known classes in 
society, or to sects or schools in metaphysical philosophy. 

M. de Schlegel told me that the allusions in the Intermezzo 
were not present to his memory, and finding that it would cost 
him some trouble to recover the train, I did not press my 
request for an explanation of them, though his very interesting 
letter on Goethe's " Triumph der Empfindsamkeit, " addressed 
to M. de R^musat and published in the third volume of the 
" Theatre Allemand," was a powerful temptation. The first 
paragraph of this letter may help to explain why it is so diffi- 
cult to write notes upon Goethe : " J'ai vdcu quelques ann^es 
prfes de Goethe (says M. de Schlegel) lorsqu'il 6tait dans la force 
de rage et dans la maturity de son gdnie ; j'ai souvent passd 
des journ^es entiferes avec lui, et nous avons beauooup caus6 
sur ses ouvrages ; mais il n'aimait gufere k donner des explica- 
tions, comme aussi il n'a jamais voulu faii'e des prefaces." 

M. Vamhagen von Ense teUs me that many more verses 
were originally composed for the Intermezzo. 

Page 363, n. 149. I have altered Hayward's translation in 
accordance with the reading adopted by Loeper. The text 
which Hayward had before him, and which has also been 
adopted by Schroer, runs thus: "Erbarmlich auf der Erde 
lange verirrt und nun gefangen," and accordingly his transla- 
tion ran : " Long a wretched wanderer upon the earth, and 
now a prisoner." — Ed. 

Page 363, n. 150. To roll before the feet, &e.— This alludes 
to a prevalent superstition, that evil spirits will sometimes 
place themselves in the path of a foot passenger, in the shape 
of a dog or other animal, with the view of tripping him up and 
springing upon him when down. Thus Caliban, in allusion to 
the spirits set upon him by Prospero :— 



424 fAUST. 

" Some time like apes, that moe and chatter at me, 
And after, bite me ; then like hedgehogs, which 
Lie tumbling in my barefoot way." 

Tempest, act ii. isc. 2. 
Pagk 369, n. 151. The Rabenstein, "raven stone," was a 
raised sc[uare block on which the gallows used to be erected. 
That the ravens flocked to such a place is a matter of course. 

Page 371, re. \52.' Fly away ! fly away! &c. — The song is. 
founded on a popular German story, to be found in the 
" Kinder- und Haus-Marchen " of the diatinguished brothers 
Grimm, under the title of " Von dem Machandelboom " 
[Baum], and in the English selection from that work (entitled 
"German Popular Stories") under the title of "The Juniper 
Tree." — The wife of a rich man, whilst standing under a 
juniper tree, wishes for a little child as white as snow and as 
red as blood ; and on another occasion expresses a wish to be 
buried under the juniper when dead. Soon after, a little boy 
as white as snow and as red as blood is born : the mother dies 
of joy at beholding it, and is buried according to her wish. 
The husband marries again, and has a daughter. The second 
wife, becoming jealous of the boy, murders him and serves him 
up at - table for the unconscious father to eat. The father 
finishes the whole dish, and throws the bones under the table. 
The little /girl, who is made the innocent assistant in her 
ihother's villainy, picks them up, ties them in a silk handker- 
chief, and buries them under the juniper tree. The tree begins 
to move its branches mysteriously, and then a kind of cloud 
rises from it, a fire appears in the cloud, and out of the fire 
comes a beautiful bird, which flies about singing the following 
song : — 

" Mein' Mutter, die mich schlacht, 
Mein Vater, der mich asz, 
Mein' Schwester de Marlenichen 
Suoht alle meine Benichen, 
Bindt sie in ein seiden Tuch, 
Legt's unter den Machandelboom; 
Kywitt ! Kywitt ! 
Wat vor'n schon Vogel bin ich ! " 
The literal translation would be— 

" My mother who slew me, 
My father who ate me. 



NOTES. 425 

My sister Mary Anne 

Gathers all my bones 

And binds them up in a silk handkerchief, 

Lays them under the juniper tree. 

Kywitt ! Kywitt ! ah, what a beautiful bird am I !" 
It will be doing an acceptable service to those who love to 
trace poetical analogies, to remind thein of Wordsworth's 
exquisite little poem of " Ruth " :— 

" God help thee, Ruth ! Such pains she had 
That she in half a year was mad, 

And in a prison housed ; 
And there she sang tumultuous songs, 
By recollection of her wrongs 

Tp fearful passion roused." 

Page 385, n. 153. The wand is brohen.—The signal for the 
executioner to do his duty is given by the breaking of a wand 
or staff.' 

Page 385, n. 154. The blood-seat— "This alludes to the 
German custom of tying the unfortunate female that is to be 
beheaded on a wooden chair. Males on such melancholy occa- 
sions are kneeling on a little heap of sand. "— Boileau's Be- 
WMrlcs, p. 19. 

Page 385, n. 155. Ye Holy Hosts, range yourselves round 
about, to guard me. — 

" Save me, and hover o'er me with your wings, 
Ye heavenly guards ! "^Hamlet, act iii. sc. 4. 

Page 387, n. 156. She is judged. — Some difference of opinion 
prevails as to the concluding sentences of this scene. The 
more poetical interpretation is, that Margaret dies after pro- 
nouncing the last words assigned to her ; that the judgment of 
Heaven is pronounced upon her as her spirit parts; that 
Mephistopheles announces it in his usual sardonic and deceitful 
style ; that the voice from, above makes known its real purport ; 
and that the voice from within, dying away, is Margaret's spirit 

1 The staff is usnally broken when the sentence of death is prononnced ; bnt, 
according to an old German custom, a white staff was broken by the jndge before 
the ezecntion, after having read the sentence of death. He then threw the 
pieces at the feet of the exeontioner.— Ed. 



i26 FAUST. 

oallmg to her lover on its way to heaven, whilst her body lies 
dead upon the stage. This is the only mode in which the 
voice from within, dying away, can be accounted for. M. de 
Sohlegel, however, certainly the highest living authority on 
such matters, says : " Sie ist gerichtet, se rapporte h. la sentence 
de mort prononc6e par le juge ; les mots suivants, Sie ist 
gerettet, au salut de son ^me." It has been contended that 
Sie ist gerichtet refers both to the judgment in heaven and to 
the judgment upon earth. As to the translation of the pas- 
sage, no doubt can well exist, for richten is literally to judge, 
and is constantly used in the precise sense the above interpreta- 
tion attributes to it ; for instance, Die Lebendigen und die 
Todtenzu richten, to Judge the quick and the dead. 



APPENDIX. 
I. 

Abstract of the Second Paet of " Fatjst," and some 
Account of the Ciectjmstances under 

WHICH IT WAS composed. 

THE headiBg, or stage direction, of the first scene is — "A 
pleasant country — Faust bedded upon flowery turf, tired, 
restless, endeavouring to sleep — Twilight — a circle of spirits hover- 
ing round, graceful little forms." Ariel opens it with a song, 
accompanied by .ffiolian harps ; the other spirits form a chorus, and 
Faust gives voice to the emotions which the rising sun (very beauti- 
fully described) awakens in him. 

The next scene is laid in the emperor's court — what emperor, does 
not appear. He is seated in full pomp upon his throne, surrounded 
by all his officers of state, to whom he condescendingly addresses 
himself : " I greet my true, my loving subjects, congregated from 
far and near ; I see the sage Cmeaning the astrologer) at my side, 
but where tarries the fool ? " The fool, it seenw, has just been 
carried out drunk or in a, fit, most probably by the contrivance of 
Mephistopheles, who instantly steps forward in his place and pro- 
poses a riddle to his majesty. He puts it aside with the remark, 
that riddles are for his council, and only (it is to be inferred) 
simple, unadulterated folly for himself. The new fool, however, is 
regularly installed ; the emperor opens the conference, and all the 
high officers give their opinions upon the existing state of the realm, 
than which nothing can well be worse. The chancellor complains 
of the neglect of the laws, the commander-in-chief of the insubordi- 
nation of the army, the marshal of the household of the waste in the 
kitchen, and the first lord of the treasury expatiates on the empty 
state of his coffers, the grand source of all the other evils. The 
emperor, sorely puzzled, reflects a moment, and then turns to the 



428 FAtrsT. 

fool, or rather to Mephistopheles disguised as such : " Speak, fool, 
dost thou too know of no matter of complaint ? " Mephistopheles 
replies in the negative, and expresses his astonishment that any- 
thing should be wanting where so much glittering splendour was to 
be seen. This calls forth a murmur from the courtiers, and Mephis- 
topheles is made the subject of a fair share of insinuation and abuse ; 
but he proceeds notwithstanding and develops his plan, which is, " to 
begin digging for subterraneous treasures immediately"; as all such, 
he observes, belong of right to the emperor. This plan is generally 
approved by all but the chancellor, who does not think it in exact 
accordance with religion ; and the emperor himself declares his in- 
tention of laying aside bis sword and sceptre, and setting to work in 
his own proper person immediately. The astrologer, however, calls 
on them to mitigate their zeal, and first finish the celebration of the 
approaching carnival. The emperor assents, and gives the word for 
a general rejoicing accordingly ; the trumpets sound, and exeunt 
omnes but Mephistopheles, who concludes the scene with a sneer : 
" How desert and good fortune are linked together, this never occurs 
to fools J if they had the stone of the philosopher, they would want 
the philosopher for the stone." 

The subject of the next scene is a Mash [or " Carnival Masque- 
rade"] got up by Faust for the amusement of the emperor, 
irregular and extravagant in the extreme. Gardeners, flower-girls, 
olive-branches, rosebuds, fishermen, bird-catchers, wood-hewers, 
parasites, satirists, the Graces, the Parcse, the Furies, Fear, Hope, 
Prudence, Zoilo-Thersites, Pan, Plutus, Fauns, Gnomes, Satyrs, 
Nymphs, are amongst the things and persons which come forward 
in the course of the entertainment. The verses placed in their 
mouths are often very beautiful, but appear to have no reference fo 
a plot. There is also some clever general satire. The scene closes, 
like most of our melodrames, with a general blaze, which is also 
described with great spirit by the herald. 

The next scene is in one of the palace pleasure-gardens, where the 
court is found assembled as before, and the emperor is represented 
thanking Faust for the Mask and congratulating himself on having 
discovered such a treasure of a man. Their converse is suddenly 
interrupted by the entrance of the marshal of the household, the 
commander-in-chief and the lord treasurer, to announce that all 
theb distresses have been suddenly removed by the creation of an 
odd sort of paper-money, bills promising payment in the emperoi-'s 
name when the subterranean treasure before mentioned shall be dug 



APPENDIX. I. 429 

up. The circulation of this paper appears to have produced nearly 
the same eSfect in the emperor's dominions as the South Sea scheme 
in England or Law's project in France, which, we presume, it must 
be intended to ridicule. The people are represented as running 
absolutely wild at their fancied accession of wealth, and the 
emperor amuses himself by bestowing portions of it on the followers 
of his court, on condition of their declaring what use they intend to 
make of what they receive. The humour thus elicited does not rise 
beyond commonplace. One says that he will lead a merry life 
upon it, a second that he will buy chains and rings for his sweet- 
heart, a third has a fancy for good wine, and a fourth for sausages ; 
a fifth proposes to redeem his mortgages, and a sixth to add it to 
his hoard. The fool comes last, and might well have been expected 
to say something sharp, but he simply avows a wish to become a 
landholder, and yet is complimented by MepMstopheles on his wit. 
Faust and Mephistopheles are then represented walking in a dark 
gallery, whither Faust has withdrawn Mephistopheles to procure 
the means of exhibiting Helen and Paris before the emperor, to 
whom he has pledged -his word to that effect. Mephistopheles 
answers at first evasively : he has nothing (he says) to do with the 
heathen world, they live in a hell of their own ; there is one mode, 
however ; — Faust must repair to certain goddesses called, par emi- 
nence. The Mother!!,' dwelling in the deepest recesses of unearthly 
solitudes, through which he is to be guided by a key bestowed for 
that purpose by Mephistopheles. Faust shudders at the name, but 
undertakes the adventure and sets out. 

The following scene represents the assembling of the court ; Me- 
phistopheles cures a blonde beauty of freckles, and a brunette of 
lameness, and bestows a love-potion on a third ; after which exploits, 
we proceed to the grand hall, where the emperor and his suite are 
awaiting the arrival of Faust for the promised spectacle to begin. 
He appears at last, emerging as it were from the stage; he is 

1 1 have never yet met with anyone who conld tell me what Die Mutter 
means. [Since Hayward made this disconraging declaration, a good deal has 
been written on the mysterions mention of "The Mothers," which Bayard 
Taylor, in an interesting note, characterizes as "an enigma, a complete and 
satisfactory solution of which is not to be expected." All attempts at an 
acceptable explanation mnst, of conrse, be fonaded on mere conjectures, but the 
reader will find some very valuable information on the subject in Dtiatzer's 
great commentary on " Faust." In Appendix B to his excellent work, " The Spirit 
of Goethe's Faust," Dr. Coupland has a highly suggestive note, referring the 
reader to the results of recent research.— Ed.3 



430 FAUST. 

dressed in sacrificial robes, and a tripod accompanies him. By the 
aid of the Mothers, and the application of a charmed key which h^ 
has with him, he brings first Paris and then Helen upon the stage. 
For a time, all goes on well, and we are amused by the remarks of 
the courtiers, male and female, on the beauty and her lover, when 
on Paris behaving with something like rudeness to Helen, Faust 
gets jealous and interferes. An explosion is heard, the spirits 
ascend in vapour, and Faust, prostrated by the shock, is borne off 
senseless by Mephistopheles. 

So ends the first act. At the commencement of the second, we 
find Faust laid on an old-fashioned bed in his old study, with 
Mephistopheles attending him. " He whom Helen paralyzes (says 
the latter) comes not easily to his senses again." From a conversa- 
tion between Mephistopheles and an attendant, it appears that, ever 
since Faust's disappearance, Wagner has lived on in his house, and 
has now attained to almost as great a reputation as his master. At 
the opening of the scene, he has been long busied in his laboratory, 
endeavouring, like another Frankenstein, to discover the principle of 
life. To make the train of old associations complete, the Student, 
now a Bachelor, enters, and thus affords us an opportunity of seeing 
how far he has profited by Mephistopheles' advice. It seems that he 
is become a convert to Idealism, and he makes a speech in which 
Fichte's system is quizzed. 

After this dialogue we are conducted into Wagner's laboratory, 
who has just succeeded in manufacturing an Homunculus, a clever 
little imp, incarcerated in a bottle, bearing a strong resemblance to 
the Devil upon Two Sticks. He is introduced apparently to act 
as a guide to the Classical Walpurgis Night ; Mephistopheles, as has 
been already intimated, having no jurisdiction over the heathen 
world. Of this Classical Walpurgis Night itself, which occupies the 
next sixty or seventy pages, it is quite impossible to give anything 
like a regular description or analysis ; though the readers of the 
First Part of " Faust " may form some notion of it on being told, that 
it is formed upon pretty nearly the same plan as the wilder part of 
the scenes upon the Blocksberg, with the difference, that all the 
characters are classical. The number of these is prodigious. Be- 
sides monsters of various sorts, we find Erichtho, the Sphynx, the 
Sirens, the Pigmies, the Nymphs, Chiron, talking Dactyls, Lamise, 
Anaxagoras, Thales, Dryas, Phorkyas, Nereids, Tritons, Nereus, 
Proteus, and many other less familiar names which it would be 
wearisome to recapitulate, all scattering apophthegins or allusions at 



APPENDIX. I. 431 

random, with (we say it with all due humility) very little immediate 
fitness or point.' 

The Helena, which in some sense may be considered a part of the 
Classical Walpurgis Night, follows, and forms the third act of the 
continuation.' 

Helen enters upon the stage (before the palace of Menelaus at 
Sparta) accompanied by a chorus of captive Ti'ojau women. From 
her opening speech, it appears that she has just landed with her lord, 
who has sent her on before, and is expected to follow immediately. 
She has been directed to prepare all things for a sacrifice, but on 
entering the palace for this pm-pose, she encounters an apparition in 
the shape of a gigantic old woman, who, before Helen has well done 
relating what she had seen to the chorus, comes forth in proprid 
persond. This is Phorkyas, who begins by upbraiding Helen, and 
gets into a not very edifying squabble with her maids. But the 
main object is to frighten them away ; with this view Phorkyas 
plays on Helen's fears by suggesting that, amidst all the required 
preparations for the sacrifice, nothing had yet transpired as to the 
intended victim, and that the victim was most probably herself. It 
is further intunated that the chorus had nothing very pleasing to look 
forward to, and Menelaus' treatment of Deiphobus, whose nose and 
ears he cropped, is considerately alluded to in illustration of the 
Spartan chief's mode of dealing with his enemies. The plan suc- 
ceeds, and the Queen consents to fiy to a neighbouring country of 
barbarians, described in glowing colours by Phorkyas. Instantly 
clouds veil the scene, which shifts to the inner court of a town, sur- 
rounded by rich fantastic buildings of the middle ages. She is here 
received by Faust, the lord of the place, who appears dragging 
along one Lynceus, his watchman, in chains, for not giving due 
notice of the beauty's approach. Lynceus excuses himself in fine 
flowing verse, and receives his pardon as a matter of course. Faust 
makes good use of his time, and is rapidly growing into high favour 
with Helen, when Phorkyas rushes in with the tidings that Mene- 
laus, with all his army, is at hand. Faust starts up to encounter 
the enemy, but, instead of being turned into a battlefield, the scene 
changes into a beautiful Arcadian landscape, set round with leafy 
bowers, amongst which Faust and Helen contrive to lose themselves 
for a time. Whilst they are out of sight, Phorkyas converses with 

1 This remark is quite in harmony with the former Faust-eritieism.— Ed. 

2 See an article in the " Foreign Be\iew," vol. i. p. 429, by Mr. Carlyle, for 
a fnll account of the Helena. ['■ Miscellanies," vol. i.] 



432 FAUST. 

the chorus, and amongst other topics describes to them a beautiful 
cupid-like sort of boy, called Euphorion, who directly afterwards 
comes forward with Helen and Faust. This youngster, after ex- 
horting by turns all the party to merriment, and behsfving with 
some rudeness to one of the young ladies of the chorus, who out of 
sheer modesty vanishes into air, springs upon a high rock, talks 
wildly about battles and warlike fame, and finishes by bounding up 
into the air, through which he darts like a rocket, with a stream of 
brightness in his train, leaving his clothes and lyre upon the ground. 
The act now hurries to a conclusion ; Helen bids Faust farewell, and 
throws herself into his arms to give him a farewell kiss, but the 
corporeal part of her vanishes, and only her veil and vest remain in 
his embrace. These, however, also dissolve into clouds, which en- 
circle Faust, lift him up on high, and finally fly away with him. 
Phorkyas picks up Euphorion's clothes and lyre, and seats herself 
by a pillar in the front of the stage. The leader of the chorus, sup- 
posing her to be gone for good and all, exhorts the cltprus to avail 
themselves of the opportunity of returning to Hades, which they 
decline, saying, that as they have been given ba«k to the light of the 
day, they prefer remaining there, though at the same time well 
aware that they are no longer to be considered as persons. One part 
professes an intention of remaining as Hamadryads, living among 
' and having their being in trees ; a second proposes to exist as echoes j 
a third, to be the animating spirits of brooks ; and a fourth, to take 
up their abode in vineyards. After this declaration of their re- 
spective intentions, the curtain falls, and Phorkyas, laying aside the 
mask and veil, comes forward in his or her real character of Mephis- 
topheles, " to comment (this is the stage dbection) so far as might 
be necessary, in the way of epilogue, on the piece." 

The fourth act is conversant with more familiar matters, but its 
bearing on the main action is equally remote. The scene is a high 
mountain. A cloud cumes down and breaks apart : Faust steps 
forth and soliloquizes : a seven-mile boot walks up ; then another : 
then Mephistopheles, upon whose appearance the boots hurry off, 
and we see and hear no more of them. A dialogue takes place 
between Faust and Mephistopheles, in the course of which it appears 
that Faust has formed some new desire, which he tells Mephistopheles 
to guess. He guesses empire, pleasure, glory, but it is none of 
them ; Faust has grown jealous of the daily encroachments of the 
sea, and his wish is step by step to shut it out. Just as this wish is 
uttered, the sound of trumpets is heard ; the cause is explained by 



APPENDIX. I. 433 

Mephistoplieles. Our old friend, the emperor, is advancing to en- 
counter a rival, ■whom his ungrateful subjects have set up. Mephis- 
topheles proposes to Faust to aid him and gain from his gratitude 
the grant of a boundless extent of strand for their experiment, to 
which Faust appai'ently consents. Three spirits are called up by 
Mephistopheles, in the guise of armed men,' to assist. Faust joins 
the emperor's army and proffers him the aid of his men. The fight 
commences, and is won by the magical assistance of Faust. Some 
of the changes of the battle are sketched with great force and spirit, 
as seen from the rising ground, where the emperor, Faust, and 
Mephistopheles are witnessing it." The last scene of the act is laid 
in the rebel emperor's tent, where several plunderers are busily 
engaged until disturbed by the entrance of the victorious emperor 
with four of his chiefs, each of whom he rewards with some post of 
honour. Then enters an archbishop, who reproaches the emperor 
for leaguing himself with sorcerers, and succeeds in extorting a 
handsome endowment for the church. 

The first scene of the fifth and last act represents an aged couple 
(Baucis and Philemon by name) extending their hospitality to a 
stranger. From a few words which drop from them, it appears that 
their cottage stands in the way of Faust's improvements, and tlaat, 
Ahab-like, he has already manifested an undue eagerness to possess 
himself of it. The next scene represents a palace, with an extensive 
pleasure garden and a large canal. Faust appears in extreme old 
age, and plunged in thought. The subject of his meditations is the 
cottage of the old couple, which " comes him cramping in," and spoils 
the symmetry of his estate. A richly-laden vessel arrives, but the 
cargo fails to soothe him; the little property which he does not pos- 
sess would embitter, he says, the possession of a world. All is now 
deep night, and Lynceus the watchman is on his tower, when a fire 
breaks out in the cottage oftlie old couple. Mephistopheles, with 
three sailoiB belonging to the vessel, has set fire to the cottage, and 
the old couple perish in the conflagration. Without any immediate 
connection with the foregoing incidents, four grey old women are 
brought upon the stage— Guilt, Want, Care, and Misery-and hold 
an uninteresting (!) conversation with Faust. We have then Mephis- 

1 See Samnel, b. ii. oh. xxiii. v. 8-13. 

2 There is hardly a description of any sort in the poem which is not placed m 
the month of someone looking down from a commanding point of view npon the 
scene This was Sir Walter Scott's favourite mode of describing. Several 
instances are enumerated in Mr. L. Adolphns' "Letters on the Author of 
Waverley," p. 242. 



434 PAUST. 

topheles acting as overseer to a set of workmen (eartlily as well as 
unearthly, it would seem) employed in consummating Faust's wish 
of limiting the dominion of the waves. I shall give Faust's dying 
words literally :^- 

" Faust. A marsh extends along the mountain's foot, infecting all 
that is already won : to draw off the noisome pool — the last would 
be the crowning success ; I lay open a space for many millions to 
dwell upon, not safely it is true, but in free activity ; the plain, 
green, and fruitful ; men and flocks forthwith made happy on the 
newest soil, forthwith settled On the mound's firm base, which the 
eager industry of the people has thrown up. Here within, a land 
like Paradise; there without, the flood may rage up to the brim, 
and as it nibbles powerfully to shoot in, the community throngs to 
close up the openings. Yes, heart and soul am I devoted to this 
wish ; this is the last resolve of wisdoin. He only deserves freedom 
and life, who is daily compelled to conquer them for himself. And 
thus here, hemmed round by danger, childhood, manhood, and 
old age, vigorously pass their, years. I would fain see such a 
busy multitude, — stand upon free soil with free people. I might 
thgn say to the moment — ' Stay, thou art so fair ! ' The trace of my 
earthly days cannot perish in centuries. In the presentiment of 
such exalted bliss, I now enjoy the most exalted moment. 

[Faust sinis book; the Lbmuees take him up and place 
him upon the ground. 

Mephistopheles. No pleasure satisfies him, no happiness contents 
him; so is he ever in pursuit of changing forms: the last, the 
worst, the empty moment, the poor one wishes to hold it fast. He 
who withstood me so vigorously — Time has obtained the mastery ; 
here lies the old man in the dust! The clock stands still! 

Chorus. Stands still! It is as silent as midnight. The index 
hand falls. 

The angels descend, and a contest ensues between them and 
Mephistopheles, backed by his devils, for the soul of Faust. It is 
eventually won by the angels, who succeed by exciting the passions 
and so distracting the attention of Mephistopheles. They fly off, 
and he is left soliloquizing thus : — 

Mephistopheles (looking round). But how? whither are they 
gone ? Young as you are, you have over-reached me. They have 
flown heavenwards with the booty ; for^^his they have been nibbling 
at this grave <,4.greatjsingularly precious treasure has been wrested 
from me ; the exalted soul whi th Irad pledged i[t,elf to me, this have 



APPENDIX. I. 435 

they cunningly smuggled away from me. To whom must I now 
complain. Who will regain my fairly -won right for me ? Thou 
art cheated in thy old days ; thou hast deserved it ; matters turn 
out fearfully ill for thee. I have scandalously mismanaged matters ; 
a great outlay, to my shame, is thrown away ; common desire, ab- 
surd amorousness, take possession of the out-pitched devil. And if 
the old one, with all the wisdom of experience, has meddled in this 
childish, silly business, in truth, it is no small folly which possesses 
him at the close." 

The last scene is headed — "Mountain defiles — Forest— Rock- 
Desert." The characters introduced are Anchorites. Fathers, 
Angels, and a band of female Penitents, amongst whom we recog ■ 
nize Margaret rejoicing over the salvation of Faust. The verses 
placed in their mouths are often very beautiful, but have little con 
nection with each other and no reference to a plot. 

I will now add what has transpired as to the circumstances under 
which the continuation was composed. The first scene (down to 
p. 63 of the original) and the whole of the third act (the Helena) 
were published during Goethe's lifetime, in the last complete edition 
of his works. His views in publishing the H^ena were explained 
in the " Kunst und Alterthxim " by himself. The following extract 
applies to the general plan of the continuation : " I could not but 
wonder that none of those who undertook a continuation and com- 
pletion of my 'Fragments' (the First Part) had lighted upon the 
thought seemingly so obvious, that the composition of a Second Part 
must necessarily elevate itself altogether away from the hampered 
sphere of the First, and conduct a man of such a nature into higher 
regions, under worthier circumstances. How I, for my part, had 
determined to essay this, lay silently before my own mind from 
time to time, exciting me to some progress ; while from all and each 
I carefully guarded my secret, still in hope of bringing the work to 
the wished-for issue." 

I am also enabled to state in his own words the manner in which 
this wished-for issue was brought about : — 

" I have now arranged the Second Part of ' Faust,' which, during 
the last four years, I have taken up again in earnest, filled up chasms 
and connected toCfthPr th° ""■»>"■• T had ready by me , from be- 
ginning to end. 

" I hope I have succeeded in obliterating all difference between 
Earlier and Later. 

" I have known for a long time what I wanted, and even how I 



436 fA.vs>f. 

wanted it, and have borne it about within me for so many years as 
an inward tale of wonder — but 1 only executed portions which from 
time to time peculiarly attracted me. The Second Part, then, must 
not and could not be so fragmentary as the First. The reason has 
more claim upon it, as has been seen in the part already printed. 
It has indeed at last required a most vigorous determination to work 
up the whole together in such a manner that it could stand before a 
cultivated mind. I, therefore, made a firm resolution that it should 
be finished before my birthday. And so it was; the whole lies 
before me, and I have only trifles to alter. And thus I seal it up ; 
and then it may increase the specific gravity of my succeeding 
volumes, be they what they may. 

" If it contains problems enough (inasmuch as, like the history of 
man, the last-solved problem ever produces a new one to solve), it 
will nevertheless please those who understand by a gesture, a wink, 
a slight indication. They will find in it more than I could gire. 

" And thus is a heavy stone now rolled over the summit of the 
mountain, and down on the other side. Others, however, still lie 
behind me, which must be pushed onwards, that it may be fulfilled 
which was written, ' Such labour hath God appointed to man,' " — 
Letter to Meyer, dated Weimar, July 20th, 1831. 

I copy this from Mrs, Austin's " Characteristics," in which two 
other interesting passages relating to the same subject occur. The fol- 
lowingis translated from the "BibliothequeXJuiverselle" of Geneva: — 

"Having once secured complete tranquillity on this head (his 
will), Goethe resumed his usual habits, and hastened to put the last 
hand to his unpublished works ; either to pubhsh them hiifaself, if 
Heaven should grant him two or three years more of life, or to put 
them in a condition to be intrusted to an editor without burdening 
him with the responsibility of the corrections. He began with the 
most pressing. The Second Part of 'Faust' was not finished; 
Helena, which forms the third act, had been composed more than 
thirty years before, with the exception of the end, which is much 
more recent, and which certainly does not go back further than 
1825. The two preceding acts had just been finished^there re- 
mained the two last. Goethe composed the fifth act first: then, 
but a few weeks before his death, he crowned his w(irk by the 
fourth. This broken manner of working was, perhaps, not always 
his ; but it is explamed in this case by the care he took to conceive 
his plan entn-e before he began to execute it; to reflect upon it, 
sometimes for a long series of years, and to work out sometimes one 



APPENDIX. I. 437 

part, sometimes another, according to the inspiration of the moment. ) 
He reserved to himself the power of binding together these separate ' 
members in a final redaction — of bringing them together by the 
necessary transitions, and of throwing ont all th»,t might injure the 
integrity of the poem. Thus it happens that iii the manuscripts 
relating to 'Faust,' there are found a great number of poems written 
at different periods, which could not find place in the drama, but 
which we hope may be published in the miscellaneous works."— 
Characteristics of Goethe, vol. iii. pp. 87, 88.' 

The ChanceUor von Miiller, in his excellent little work entitled 
" Goethe in seiner Praktischen Wirksamkeit," thus describes the con- 
clusion of" Faust," and (what is not less interesting) the events im- 
mediately preceding it : — 

" When Goethe had to bear the death of his only son, he wrote to 
Zelter thus : 'Here, then, can the mighty conception of duty alone 
hold us erect. I have no other care than to keep myself in equi- 
poise. The body must, the spirit will;— and he who sees a neces- 
sary path prescribed to his will, has no need to ponder much.' 

" Thus did he shut up the deepest grief within his breast, and 
hastily seized upon a long-postponed labour, ' in order entu-ely to 
lose himself in it.' In a fortnight he had nearly completed the 
fourth volume of his life, when nature avenged herself for the 
violence he had done her ; the bm-sting of a blood-vessel brought 
him to the brink of the grave. 

"He recovered surprisingly, and immediately made use of his 
restored health to put his house most carefully in order ; made all 
his testamentary dispositions as to his works and manuscripts with 
perfect cheerfulness, and earnestly employed himself in fully making 
up his account with the world. 

" But in looking over his manuscripts it vexed him to leave his 
' Faust ' unfinished ; the greater part of the fourth act of the Second 
Part was wanting 5 he laid it down as a law to himself to complete 

1 This acconut is confirmed by Falk's story of the " Walpurgissaek ; " and 
also by the following anecdote (.■ommnnicated to me in a private letter by M. de 
Schlegel : " Ce pdemej dds son orxgine, £tait condamne a ne Tester qn'nn frag- 
ment. Mais qnoiqa'on juge de 1 'ensemble, les details sont admirables, Ceci me 
rappelle nne anecdote qne je tiecs du c^lebre medecin Zimmermann, fort 116 avec 
Goethe dans sa jennesse : Faust avait 6te annonce de bonne heare, et Ton 
s'attendait alors A. le voir paraitre prochainement. Zimmermann, se tronvant a 
Weimar, demanda d son ami des nonTelles de cette composition. Goethe apporta 
nn sac rempli de petits chiffons de papier. II le vidia sur la table et dit : ' Yoil^ 
mon Fauste '." 



438 TAVsr. 

it worthily, and, on the day before his last birthday, he was enabled 
to announce that the highest task of his life was completed. He 
sealed it under a tenfold seal, escaped from the congratulations of 
friends, and hastened to revisit, after many many years, the scene 
of his earliest cares and endeavours, as well as of the happiest and 
richest hours of his life." 

Referring to my article on the Second Part of " Faust " in the 
"Foreign Quarterly Eeview" (in which most of the foregoing abstract, 
interspersed with translated specimens, appeared), some of my 
German friends blamed me for not putting in the plea of age for the 
author. I have done this most effectually now ; and the pleas of 
sickness and sorrow might also be supported if necessary. Indeed, 
after reading the above extracts, the wonder is, not that symptoms 
of decaying power are here and there discernible, but that the 
poem, under such circumstances, should have been completed at all ; 
and we may well say of " Faust " and its author (as Longinus said of 
Homer and the " Odyssey "), though the work of an old man, it is 
yet the work of an old Goethe.'- 

Another set have censured me for my sceptical and superficial 
notions of the plot, which is said to hide a host of meanings. My only 
answer is that I cannot see them and have never yet met with anyone 
who could, though I studied the poem under circumstances peculiarly 
favourable to the discovery. None of the German critics, to the 
.best of my information, have yet dived deeper than myself; the 
boldest merely venture to suggest that Faust's salvation or justifica- 
tion, without any apparent merit of his own, is in strict accordance 
with the purest doctrines of our faith ; and that, though he suffered 
liimself to be seduced into wickedness, his mind and heart remained 
untainted by the Mephistophelian philosophy to the last. This 
view of the poetical justice of the catastrophe was eloquently ex- 
pounded by Dr. Franz Horn in a long conversation which I had 
with him on this subject in August last (1833). 

1 The above verdict on Part 11. is one of the instances -which confirm Professor 
J, M. Hart's dietnm — in the thonghtfnl introduction to his edition of Qoethe's 
" Fanst" — to the effect that one of the principal merits of Hayward's notes con- 
sists in the fact that they aiiord an mteresting glimpse at the then state of Goethe 
criticism in England. Since the above was written much new light has been 
thrown on the Second Part, and if Hayward had only made later on the acquain- 
tance of, say, Diintzer's " Erlauterungen," he would certainly have reversed his 
judgment, both as regards the poem and its commentators. Even Mr. G. H. Lewes's 
estimate of Fart II. may now be considered antiquated. Cp. Bayard Taylor's 
excellent preface and notes to the latter.— Ep. 



APPENDIX. I. 439 

Tasso tells us in a letter to a friend on the " Jerusalem Delivered," 
that when he was beyond the middle of the poem and began to con- 
sider the strictness of the times, he began also to think of an 
allegory as a thing which ought to smooth every difficulty. The 
allegory which he thought of, and subsequently gave out as the key 
to the more recondite beauties of the poem, was this : " The Chris- 
tian army, composed of various princes and soldiers, signified the 
natural man, consisting of soul and body, and of a soul not simple, 
but divided into many and various faculties, Jerusalem, a strong 
city, placed on a rough and mountainous tract, and to which the 
chief aim of the army is directed, figures civil or public felicity, 
while Godfrey himself represents the ruling intellect; Binaldo, 
Tancred, and others being the inferior powers of the mind, and the 
soldiers, or bulk of the army, the body. The conquest, again, with 
which the poem concludes, is an emblem of political felicity; but as 
this ought not to be the final object of a Christian man, the poem 
ends with the adoration of Godfrey, it being thereby signified that 
the intellect, fatigued in public exertions, should finally seek repose 
in prayer, and in contemplating the blessings of a happy and eternal 
Ufe." 

What Tasso did for the " Jerusalem Delivered " in this matter, I 
can conceive it quite possible the commentators may do for the Second 
Part of'Faust;" but that they will thereby greatly elevate its poetical 
character, connect it with the First Part, or prove it an apt solution 
of the problem, I doubt. As the Prologue in Heaven was not added 
until 1807 or 1808, my own opinion is that Goethe's plot had no 
more original existence than Tasso's allegory. 
Mr. Coleridge is reported to have expressed himself as follows !— 
" The intended theme of the ' Faust ' is the consequences of a 
misology, or hatred and depreciation of knowledge, caused by an 
originally intense thirst for knowledge baffled. But a love of know- 
ledge for itself, and for pure ends, would never produce such a 
misology, but only a love of it for base and unworthy purposes. 
There is neither causation nor progression in the ' Faust ; ' he is a 
ready-made conjuror from the very beginning ; the increduliis odi is 
felt from the first line. The sensuality and the thirst after know- 
ledge are unconnected with each other. Mephistopheles and Margaret 
are excellent ; but Faust himself is dull and meaningless. The scene 
in Auerbach's cellar is one of the best, perhaps the very best; that 
on the Brocken is also fine ; and all the songs are beautiful. But 
there is no whole in the poem; the scenes are mere magic-lantern 



440 FAUST. 

pictures, and a large part of the work is to me very flat. The 
German is very pure and fine."' — Table Talk, vol. ii. p. 114. 

1 The Bmteoableness, not to say unfairness, of the above " subjective " criti- 
cism of *' Faust,'* as a whole, has been fnlly proved by Mr. G, H, Lewes in his 
" Life and Works of Goethe," p. 483, etc.— Ed. 



APPENDIX. 
II. 

Being an Histoeical Notice of the Stoet of "Faust," 

AND THE VAEIOUS PeODUCTIONS IN AeT AND 

liteeatueb that hate geown 
odt of it.' 

DUEING a late visit to Germany (1833), it was one of my 
amusements to inquire at aU the libraries to which I could 
procure access, for books relating to Faust or Faustus ; and though 
the number was far from trifling, it cost me no great labour to acquire 
a general notion of the contents of most of them, and write down what 
bore upon my own peculiar study or seemed any way striking or new. 
I had made considerable progress in the arrangement of the materials 
thus collected, when Brockhaus' " Historisches Taschenbuch " (His- 
torical Pocket-book) ^ for 1834 arrived, containing an article entitled 
" Die Sage vom Doctor Faust," by Dr. Stieglitz (already known for 
an instructive article on the same subject '), in which, after a brief his- 

1 I considered it right to reprint the present Appendix, ike the preceding one, 
sneh as Hayward wrote it ; more especially because his views and those of the 
authorities qaoted by him, furnish an excellent view of the state of criticism of 
the drama in general and of the Faust-legend in particular, as it was current 
sixty years ago. It has, as I said in the Preface to the present volume, a 
litterar-historisches Jnteresse. A corrective of the most glaring antiquated 
views will be found in my introduction on the Faust-legend, in the principal 
writings on Goethe's poem, of which I give a special list, and, finally, in some 
of the notes I append to the present sketch Ed. 

3 The above is the exact hteral rendering of " Taschenbuch," which in a lite- 
rary sense was applied to annuals, somewhat corresponding to the *' Musenal- 
manache,'* containing articles written in popular style. The then editor of the 
" Historisches Taschenbuch " was the distinguished historian, Friedrich von 
Raumer.— Ed. 

3 The article in F. Schlegel's " Deutsches Museum ' referred to in my first 
edition. 



442 FAUST. 

tory of the hero himself, all the compositions of every sort, that (to the 
writer's knowledge) have grown out of the fable, are enumerated. The 
narrow limits of a Taschenbuoh restricted Dr. Stieglitz to giving liitle 
more than a bare list of title-pages ; but this list has proved so ex- 
tremely useful in indicating where almost every sort of information 
was to be had, that I think it right to avow beforehand the extent of 
obligation he has laid mo under. 

Before beginning the life of Faust, some of his biographers have 
thought it necessary to determine whether he ever lived at all ; and, 
were we to adopt the mode of reasoning so admirably illustrated in 
Dr. Whately's " Historic Doubts concerning the existence of 
Napoleon," we must unavoidably believe that there never was such a 
person, but that the fable was invented by the monks to revenge 
themselves on the memory of Faust the printer, who had destroyed 
their trade in manuscripts,^ But if we are content with that sort of 
evidence by which the vast majority of historical incidents are estab- 
lished, we shall arrive at a much more satisfactory conclusion con- 
cerning him. Melancthon knew him personally ; ' and he is spoken 
of by other immediate cotemporaries. 

Johann (or John) Faust (or Fahstus), then, according to the better 
opinion, was born at Kundlingen,' within the territory of Wurttem- 
berg,* of parents low of stock (as Marlowe expresses it), some time 
towards the end of the fifteenth century. He must not be confounded 
with Faust (or Fust) the printer, who flourished more than half a 
century before." He waa bred a physician, and graduated in medi- 
cine, but soon betook himself to magic. In this pursuit he is said to 
have spent a rich inheritance left him by an uncle. The study of 
magic naturally led to an acquaintance with the devil, with whom he 
entered into a compact substantially the same as that cited by Wid- 
mann {ante, p. 182) in a note." In company with an imp or spirit, given 
him by his friend Satan and attending on him in the guise of a black 
dog, he ranged freely through the world, playing off many singular 

1 It has been contended that the very name ia an invented one ; the notion 
being that it was given to a mpgician — ob faustum in rebus peractu difficiUimis 
successum, 

2 So says the " Gonyersations-Lexicon ; " but Dr. Stieglitz is silent on the point. 
8 The correct name is Enittllngen. — En. 

4 Anhalt and Brandenbnrg also claim the honour of his birth. 

5 A distinct title is assigned to each in the "Conversations- Lexicon." The 
printer is supposed to have died of the plague in 1466. 

6 Id order not to swell unnecessarily the bulk of the notes, it has been con- 
sidered advisable to transfer the note in question (referring to the toj line of p. 



APPENDIX. II. 443 

pranks upon the way. No doubt, however, he enjoys the credit of a 
great deal of mischief he had no hand in, just as wits like Jekyl 
or Sheridan have all the puns of their contemporaries to answer for. 
" Shortly (says Gorres) Faustus appeared conspicuous in history as 
the common representative of mischievous magicians, guilty of all 
kind of diablerie. Their sins, throughout centuries, were all laid at 
his door ; and when the general faith, falling as it were to pieces, 
divided into ferocious schisms, it found a common point of approach 
in a man who, during his frequent tours, and his intercourse with all 
ranks of people, had boasted of his infernal connections and influence 
in the nether lands." ' 

Faust appears to have travelled mostly in a magic mantle, present- 
ing himself in the cities he lighted on as a travelling scholar (Fahrm- 
der Scholast), a very common sort of vagabond in the middle ages. 
We trace him through Ingolstadt (where he is said to have studied), 
Prague, Erfurt, Leipsic, and Wittenberg, but cannot say with cer- 
tainty what other places he visited in his tours. " About 1560 (says 
Mi\ Carlyle in a short note about him in the ' Foreign Quarterly 
Review,' No. XVI.) his term of thaumaturgy being over, he disap- 
117 in this edition } to this place, where it seems, besides, to come in more appro- 
priately. — Ed. 

"And what am I to do for you in return? — The actual or traditional compact 
was to the following e£fect : — 

' Puis le B. Fauste revolt son sang sur nne tuile. et y met des charbons tout 
chauds, et 6crit comme s'ensuit ci aprfis : 

' '* Jean Fauste, Docteur, reconnois de ma propre main maniiestement pour 
une chose ratiiifie, et ce en vertu de cet 6crit : qu'aprSs que ]"e me suis mis a 
sp^culer les 616mens, et apr&s les dons qui m'ont 6t6 distribuez et d^partis deU- 
haut : lesquels n'ont point trouv6 d'habitude dans mon entendement. Et de ce 
que je n'ai peu Stre enseignfi autrement des hommes, lors je me suis pr^sente- 
ment adonni & un Esprit, qui s'appelle M6phistophil6s, qui est valet du prince 
infernal en Orient, par paction entre lui et moi, qu'il m'adresseroit et m'appren- 
droit. comme 11 m'6toit pr^destin^, qui aussi r^ciproquement m'a promis de 
m'6tre sujet en toutes choses. Partant et a I'opposite, je lui ai promis et lui cer- 
tifie, que d'ici a vingt-quatre ans de la date de ces pr^sentea, vivant jusques-ia 
completement, comme il m'enseignera en son art et science, et en ses inventions 
me maintiendra, gouvernera, conduira, et me fera tout bien, avee toutes chosts 
n^cessaires a mon corps, i, mon ame, a ma chair, h mon sang, et a ma sant6 : 
que je suis et serai sien a jamais. Partant, je renonce a tout ce qui est pour la 
vie du maltre cfleste et de tons les hommes, et que je sois en tout sien. Pour 
plus grande certitude, et plus grande confirmation, j'ai &rit lapr&ente promesse 
de ma propre main, et I'ai sons-^crit de mon propre sang que je me suistir^ ex- 
press^ment pour ce f aire, de mon sens et de mon jugement, de ma pens^e et 
volout^, et I'ai arrSt^, scell« et testifl^, &c." '— Cayet's ' Widmann,' Part I. 

" In karlowe's ' Faustus ' the instrument is formally set out." 

1 " Volksbiicher," as translated by Mr. Eoscoe. 



4i4 FAUST. 

peared ; whether under a feigned name, by the rope of some hangman, 
or frightfully torn in pieces by the devil near the village of Eimlioh, 
between twelve and one in the morning, let every reader judge for 
himself." There is no authority for the above very injurious insinua- 
tion, nor has Mr. Carlyle followed the best a» to the date of Faust's 
disappearance. Nothing authentic was beard of him for nearly 
thirty years before. One anecdote, corroborative of the commonly 
received notion of his death, is worth recording. Neumann * relates, 
that when, during the Thirty Years' "War, the enemy broke into 
Saxony, a detachment was quartered at a village called Breda, on the 
Elbe. The magistrate of the village sought out the commander, and 
informed him that his house had obtained a high celebrity through 
Faust's horrible death in it, as the blood-besprinkled walls still testi- 
fied. At this information the conquerors stood astounded, and soon 
taking the alarm, endeavoured to save themselves by flight. 

Faust had a disciple named Wagner, the son of a clergyman 
at Wasserburg. The name of Wagner also figures, as editor, on the 
title-pages of some works on magic attributed to Faust. 

The most remarkable thing about this fable is its almost universal 
diCfusion. It spread rapidly through France, Italy, Spain, England, 
Holland, and Poland, giving, burth to numerous fictions, some of 
a high order of poetical merit. Amongst others, Calderon's "El 
Magico Frodigioso" has been attributed to it. St. Cyprian of 
Antioch was the model which Calderon really worked lipon, but 
Goethe has been so unequivocally accused of plagiarism from this 
play, that I shall make a short digression for the purpose of convey- 
ing a general notion of the plot. Three scenes have been translated 
by Shelley. 

The first scene is the neighbourhood of Antioch, where a solemnity 
in honour of Jupiter is in the act of celebration. Cyprian, who has 
begun to see the errors of polytheism, appears attended by two of his 
disciples carrying books. As he is meditating over a passage in Fliny 
relating to the nature and existence of God, the Evil, One presents 
himself in the guise of a travelling gentleman who has lost his way. 
They have a dispute of some length, the devil defending the old 
superstition, and Cyprian attacking it. The devil has the worst of 
the argument, and makes a pretence for withdrawing himself, resolv- 
ing to seduce Cyprian by means of a woman. For this purpose he 

1 "Disqnisitio de FauBto," Sc. [The full title of the cnrions work in qnes- 
tion is, Neumann, .T. G., et C. Chr. Kirchner, " Disquisitio historica de Fauato 
pr»stigitttore, vnlgo voa Doctor Faust," Wittabergse, 1693,— En.] 



APPENBlX. II. 445 

selects Justine, one of the new conyerts to Christianity, who is living 
in Antioch under the care of her adopted father, Lysando^ She is 
beloved by Floro and Lselio, who are about to fight a duel, when they 
are interrupted by the accidental presence of Cyprian, who under- 
takes to see the lady, and ascertain which of them is favoured by her 
preference. He visits and falls in love with her himself, but is not 
more successful than the two young rivals have been ; and his desires 
are at length worked up to such a pitch, that he resolves on making 
every sacrifice to attain the object of them. Whilst in this mood he 
witnesses a shipwreck, and offers the solitary survivor an asylum in 
his house. It is the demon, who professes himself able to procure 
Cyprian the possession of Justine, and, in testimony of his power, 
splits a rook {paiasco) asunder, and discovers her asleep in the centre 
of it. Cyprian is thereby induced to sign with his blood a contract 
for the eventual surrender of his soul, upon condition that Justine be 
secured to him ; which the devil contracts for in his turn. For the 
furtherance of his views, he studies magic, under the devil's instruc- 
tion, until he has made himself a master of the art. Whilst Cyprian 
is thus accomplishing himself, Justine is beginning to relent, and, 
tempted by the devil, suffers amatory emotions to influence her 
to such a degree, that she is on the point of falhng, but resists, and 
saves herself by faith. I am tempted to give an extract from Shelley's 
beautiful version of this scene, where the evil spirit is tempting the 
heroine : — 

Justine. 'Tis that enamoured nightingale 

Who gives me the reply ; 

Who ever tells the same soft tale 

Of passion and of constancy 

To his mate, who rapt and fond, 

Listeumg sits, a bough beyond. 

Be silent. Nightingale I— no more 

Make me think, in hearing thee 

Thus tenderly thy love deplore, 

If a bird can feel his so. 

What a man would feel for me. 

And, voluptuous vine, O thou 

Who seekest most when least pursuing,— 

To the trunk thou interlacest, 

Art the verdure which embracest. 

And the weight which is its ruin,— 

No more, with green embraces, vine. 

Make me think on what thou lovest,- 

1 This may rmind the reader of Kecha in •• Nathan the Wise." 



446 FAUsf. 

For whilst thou thns thy boughs entwine, 
1 fear lest thou shouldst teach me, sophist, 
How arms might be entangled too. 

Light-enchanted sunflower, thou 
Who gazest ever true and tender. 
On the sun's revolving splendour 1 
Follow not his faithless glance 
With thy faded countenance. 
Nor touch my beating heart to fear. 
If leaves can mourn without a tear. 
How eyes must weep I O, nightingale. 
Cease from thy enamoured tale. 
Leafy vine, unwreathe thy bower. 
Restless sunflower, cease to move. 
Or tell me all, what poisonous power 
Ye use against me — 
All. Love ! love 1 love ! 

The devil, thus foiled in his expectations, can only bring Cyprian 
a phantom resembling her, and maintains that he has thereby 
fulfilled his contract, but in the end is obliged to own that he has 
not; that God — one God — the God of Christianity, prevents him 
from harming the maiden, herself a Christian. Cyprian draws his 
sword upon the devil, who is compelled to depart, leaving his intended 
victim to make his peace with God. This he does by becoming on the 
instant a complete convert to Christianity, the immediate result of 
which is that he is apprehended and condemned to die as a heretic in 
Antioch. Justine, in the mean time, has been exposed to a series of 
trials through the rivalry of Floro and Lselio, whose jealousy has been 
exasperated by various deceits put upon them by the devil ; and at the 
period of Cyprian's condemnation she also is condemned as a heretic. 
They suffer together after an affecting interview, in which their con- 
stancy is put to a severe trial, and the piece closes (if we except a few 
expressions of astonishment by the bystanders) with the appearance 
of the demon, mounted on a serpent, on high, who declares himself 
commanded by God to declare Justine's entire innocence. 

There is a comic by-plot between the inferior characters of 
the piece, with several bustling scenes between Floro, Lselio, 
Lysando, and Justine. The grand aim of the piece is obviously to 
exalt Christianity. 

We may also refer t9 the histories of Virgilius, a magiciaii who 
long preceded Faust,' in proof that we are not loosely to attribute all 

1 See Eosooe'8 " German Novelists," vol. i. p. 357. Paracelsus, Cornelius 
Agrippa, Cardanus, Thomas Oampanella, Albertus Magnus, are enumerated by 



APPENDIX. II. 447 

traditions and fictions which have a necromantic doctor for their hero, 
to the latter. The works directly founded on or relating to Faust's 
history are numerous enough to satisfy the most ardent supporter of 
his dignity. Dr. Stieglitz makes the books alone amount to 106, and 
his catalogue is incomplete. For instance, he does not mention 
a modern French prose epopee of some note (I forget the precise 
title) in three volumes, published within the last six years ; nor the 
old English work of 1 594 mentioned by Mr. Roscoe ' as lent to him 
by Mr. Douce ; nor Mr. Roscoe "s own volume ; nor four out of six of 
the English dramatic adaptations. The Second Part of " Faust" had 
not appeared when Dr. Stieglitz wrote, nor could my own book have 
reached Germany early enough to be counted in his list. I also miss 
Dr. Franz Horn, who has given a detailed and very interesting 
account of the old puppet-show play." 

I proceed to mention the most remarkable of these productions. 

First amongst those of the dramatic order stand the old puppet- 
plays. Dr. Stieglitz mentions several of these as popular in the last 
century, but gives only a general account of them. I therefore 
follow Dr. Franz Horn, who is speaking of a representation which he 
witnessed himself about the year 1807, 

The first scene represents Faust sitting in his study, with a large 
book before him, in much the same attitude in which he is represented 
by Marlowe and Goethe. After some reflections on the vanity of 
knowledge, he steps into the magic circle and conjures up the devils, 
for the purpose, it would seem, of selecting one of them for his slave. 
He questions each in turn as to his comparative swiftness, and after 
rejecting one by one those who merely profess to be as swift as air, 
arrows, plagues, &c., he chooses the one who says he is as swift as the 
thoughts of men. " In later versions," says Dr. Horn, « Faust is 
made to choose the devil who is as swift as the transition from good to 

Dr. Stieglitz as early renowned for mysterions pursaite which went by the name 
of magical ; and we might match onr own Eoger Bacon against any of them. 
Bee "The Famona Historie of Fryer Bacon, with the Lives and Deaths of the 
Two Conjnrors Bnngye and Vandermast," reprinted in 1816. 

1 " The Second Report of Doctor John Faustns, containing his Appearances, 
and the Deedes of Wagner, written by an English Gentleman Stndent m 
Wittenberg, an University of Germany, in Saxony. Pnblished for the delight of 
all those which desire Novelties, by a Friend of the same Gentleman London 
printed by Abell Jeffes, for Cuthbert Burby, and are to be sold at the middle 
shop, at Saint MilfredChnrch by the Stockes, 1594." 

2 In his " Frenndliche Schriften" (Th. 3), and also in his "Poesie nnd Bered- 
samkeit &c ," vol. ii. p. 263. At p. 268, he gives a short acconnt of the old 
pnppet-play of Don Juan, whom he calls, in another work, the antithesis of Fanst, 



448 FA-ffsT. 

evil." Faust is interrupted by the entrance of Wagner, who is repre- 
sented as a lively sort of person apeing his master. Then enters 
Kasperl, the Mr. Merryman of the piece, who soon throws Wagner 
into the shade. Indeed, on the hiring of Kasperl as Faust's servant 
by Wagner, which takes place after a humorous dialogue between the 
two, Wagner drops out of view and Kasperl figures as the only atten- 
dant upon Faust. So soon as Kasperl is left alone, he is driven by 
curiosity to peep into Faust's book of magic, and succeeds with much 
difficulty in spelling out two words : Berlik, a spell to call up devils, 
and BerloJe, spell to send them away. He forthwith puts his new 
knowledge to the test, and amuses himself by repeating the words so 
rapidly one after the other, that it is only by the utmost exertion of 
their activity that the devils can keep pace with him and obey 
the word of command. In the end, however, he gets a knockdown 
blow or rebuff which closes the scene. 

Faust is next represented as anxious to enter into a compact with 
the devil, with the view of adding to his own influence upon earth. 
The compact is ready, and Faust is bringing ink to subscribe it, when 
the devil with a laugh explains to him that his own blood will be re- 
quired. He complies, and opens a vein in his hand ; the blood 
forms itself into the letters H. F. {Homo, fuge), and the warning 
is followed up by the appearance of a guardian-angel, but in vain. 
Mephistopheles, who had retreated before the angel, reappears ; and 
a raven flies off with the paper, now subscribed by Faust, in its beak. 
The only use Faust makes of his newly-acquired power is to 
wander from place to place playing tricks. The palace of an 
Itahan duke is the scene of all those which are represented in this 
show ; where he calls up Samson, Goliah, Solomon, Judith, &c., &c., 
for the amusement of the duchess. He is thus growing into high 
favour with her, when the duke, whether from jealousy or from 
some other cause which does not appear, makes an attempt to poison 
him, and Faust prudently moves off. I must not forget to mention 
that Kasperl is as facetious as usual during their sojourn in Italy, 
but on his master's sudden flight he appears reduced to the most 
melancholy condition by solitude. For company's sake, he invokes 
a devil, and embraces it with the utmost warmth of affection when it 
appears. This devil is touched by his situation, promises to convey 
him back to Germany, and advises him to apply for the place of 
watchman when there. Kaspar ^ thanks him heartily for his flatter- 

1 Dr. Horn spells the name sometimes Kasperl, and sometimes Kaspar, 
[Rhsperl is the Austrian popular diminutive form for Kaspar. — En.] 



APPENDIX, ir. 449 

ing advice, but modestly declares that he cannot sing; to which the 
devil replies that the watchmen in Germany are not required to sing 
better than they can. 

Faust is now again in his Fatherland, but his term is nearly ex- 
pired, and he whiningly asks the devil, who by the conti-aot is always 
to speak the truth, whether it be yet possible for him to come to 
God. The devil stammers out a soft " I know not," and flies trem- 
bling away. Faust kneels down to pray, but his devotions are in- 
terrupted by the vision of Helen, sent by the Evil One to prevent 
him from relapsing into faith. He yields to the temptation, and all 
hope is at an end. 

It is now the night of the catastrophe. As the clock strikes nine, 
a voice from above calls to Faust : Sereiie dich,— Prepare thyidf ; 
and shortly afterwards the same voice exclaims : Du bist angeklagt, 
—Thm art arraigned. It strikes ten, and as Kasperl (in his capa- 
city of watchman) calls the hour, the voice exclaims : Du bist 
gerichtet,—Thm art judged. " Thus then," says Franz Horn, " no 
retreat is any longer possible, for the judgment ( Vrtheil not Ferur' 
theUung) is passed, and though not yet pronounced, still quite clear to 
the foreboding spirit." On the stroke of midnight, the voice calls 
for the last time : Du bist aufewig verdammt, — Tkim art damned to 
all eternity ; and after a short monologue, Faust falls into the power 
of the Evil One. The piece concludes with another exhibition of 
buffoonery by Kaspar, who comes upon the stage just as his master 
is borne off. 

None of the other puppet-show plays of which we have any accu- 
rate account, differ materially from the above. 

The pantomimes founded on Faust are numerous, but I have found 
it impossible to acquire more than a vague and hearsay knowledge 
of them, nor perhaps is a more particular knowledge desirable. 
Only two produced at Leipzig in 1770 and 1809, and one produced 
at Vienna in 1779, are recorded by Dr. Btieglitz ; but Mr. Winston, 
the secretary to the Garrick Club, a gentleman remarkably well 
versed in dramatic history, has obligingly supplied me with a copy 
of the following three entries in his own private catalogue of per- 
formances : — 

" Harlequin Dr. Faustus, with the Masques of the Deities, pro- 
duced at Drury Lane in 1724. Published in Oct., 1724. By Thur- 
mond, a dancing-master. Pantomime. 

" Harlequin Dr. Faustus, 1766 ; a revival of the last, with altera- 
tions by Woodward. 



450 FAUST. 

" Harlequin Dr. Faustus, or the Deyil will have his Own. Panto- 
mime. 1793." 

Marlowe's play- seems to be the earliest regular drama founded on 
the fable ; one by Mountfort, also an Englishman, the next.' A 
play extemponized by a company of actors at Mainz in 1746, is the 
first of which anything certain is recorded in Germany.' Since 
Marlowe's time, between thirty and forty dramatic fictions have been 
founded on it. The great majority of these have been elicited by 
Goethe's. Maler Miiller, and two or three others, undoubtedly pre- 
ceded him, so far at least as publication is concerned ; * but the de- 
signs differ widely, and no one, after reading Miiller 's, will suspect 
Goethe of borrowing much from it. There is considerable power 
in the soliloquies, and the scene in which the emblems of 
Wealth, Power, Pleasure, and Glory, are in turns exhibited to 
Faust, is very finely conceived ; but the greater part is occupied 
by tedious colloquies between subordinate characters, and the 
plot has not time to develop itself before the Fragment con- 
cludes. There are two or three points of imperfect analogy, which 
I will name, 

The first scene, instead of representing the Lord wagering with 
Mephistopheles that he cannot seduce Faust, represents Lucifer 
wagering with Mephistopheles that no truly great (that is, firm and 
steadfast) man is to be found upon earth. Mephistopheles undertakes 
to prove that Faust is such a man ; so that in Goethe's drama we 
have Mephistopheles depreciating, and in Mailer's exalting, the 
character of Faust. Again— Wagner makes his first entrance 
during one of Faust's soliloquies, which he breaks off; and Margaret 

1 It was acted in 1594 by the Lord Admiral's servants. From Mr. Collier's 
" Annals of the Stage " (vol. iii. p. 126), it appears that a considerable portion 
of Marlowe's play, as it has come down to ns, is the work of other hands. The 
earliest known edition is that of 1604 ; bnt it mnst have been written.some time 
before, as it is supposed to have suggested '• The Hononrable History of Friar 
Bacon and Friar Bungay," published in 1594, by Greene. See Collier, vol. iii. 
p. 159, and Uyce's edition of Greene's Works. Marlowe's " Fanstns" has been 
translated into German by Wilhelm Miiller, with a Preface by Von Arnim, one 
of the editors of the " Wnnderhorn." [Professor Selss has two interesting notes 
on Marlowe's " Fanstns " in his edition of Goethe's " Faust." En.] 

2 " Life and Death of Dr. Fanstns," byW. Mountfort, brought out at Queen's 
Theatre, Dorset Gardens ; published in 4to. 1697. 

3 Neumann, " Disquis. de Fausto," says generally that it was dramatized in the 
seventeenth century. 

4 " Johann Faust, an allegorical Drama in five Acts," was published at Mnnich 
in 1775. " Faust. Ein Fragment," by Goethe, was published in 1790, 



APPJJKDIX. II. iol 

is represented as conversing with her lover from her window in this 
manner : — 

"Kolbel. Margaret, my charmer, my angel! Oh, that I were 
above there, in thy arms ! 

" Margaret. Hush 1 I hear my sister ; my uncle coughs. Come 
round to the other window, and I have something more to say to you. 
" K'olbel. With all my heart, love." 

There is no want of charity in supposing that this love-adventure 
ended much in the same manner as that recorded by Goethe- 
and the expressions strongly resemble those.^ Some similarity 
in the soliloquies was to be anticipated, as they necessarily tm-n 
upon the same topics of discontent, but there is one reply made 
by Miiller's Faust to the devil, which bears so close a lilceness to 
one placed by Goethe in his mouth,' that I shall quote it also as it 
stands : — 
" Faiisi. Know'st thou then all my wishes ? 
" Sixth Devil, — And will leave them in the consummation far 
behind. 

" Fatist. How ! if I required it, and thou wert to bear me to the 
uppermost stars, — to the uppermost part of the uppermost, shall I 
not bring a human heart along with me, which in its wanton wishes 
will nine times surpass thy flight ? Learn from me that man requires 
more than God and Devil can give." 

Previously to the publication of " Faust's Leben dramatisirt " (the 
piece I quote from), Miiller had published (in 1776) a fragment 
entitled, "A Situation out of Faust's Life." It presents nothing 
remai'kable. 

Among the writers who have followed Goethe in writing poems, 
dramas, or dramatic scenes about Faust, are Lenz, Schreiber, 
Klinger, Von Soden, Schick, Von Chamisso, Voigt, Schone, Ber- 
kowitz, Klingemann, Grabbe, Holtei, Harro Barring, Rosenkranz, 
Hofmann, Bechstein, and Pfizer; besides those who have published 
anonymously.^ 

Lessing, it is well known, had drawn up two plans for a drama 
upon Faust ; he has only left us one fragment of a scene. This has 
been translated by Lord F. L. Egerton (now Lord EUesmere), and 
appended to his translation of Goethe's " Faust." Madame de Stael 
suggests that Goethe's plan was borrowed from it, and she is pro- 

1 In the present edition, pp. 287 and 117 respectively.— En. 

2 Besides the above authors should be mentioned Lenau, Braun von 
Braunthal, Heine, Stolte, &c.— En. 



452 FAUST, 

bably right as regards the Prologue in Heaven. The only difference 
is that Lessing's is a Prologue in Hell, where one of the attendant 
spirits proposes to Satan the seduction of Faust, who assents and de- 
clares the plan a feasible one, on being informed that Faust has an 
overweening desire of knowledge. The whole of this fragment would 
not more than fill two of my pages. See, as to Lessing's plans, his 
" Briefe die neueste Literatur betreffend," Part i., p. 103 ; the " Ana- 
lecten fiir die Literatur," Part i., p. 110; and the Second Part of 
his Theatrical Legacy (" Nachlass ")} 

Dr. Stieglitz has no less than four Operas upon his list. Of those 
by Bauerle and Von Voss, I know nothing. That by Bernard and 
Spohr has been received with considerable applause in Germany, but 
the plot 1b mostly made up out of the old traditionary stories, and 
the composer seems very rarely to have had Goethe's drama in his 
mind. An Opera Sena, entitled " Fausto," was also produced at 
Paris in March, 1831, the music by Mademoiselle Louise Berlin ; 
this I never saw, nor do I know whether it succeeded or not. The 
Ballet of " Faust," imported last year (1832), must be fresh in every- 
body's recollection ; the descent scene had a fine effect in Paris, but 
it was completely spoiled at our Italian Opera House by the shallow- 
ness of the stage. The devils were brought so near to the spectators, 
that the very materials of their infernal panoply were clearly dis- 
tinguishable. 

A " Bomantic Musical Drama," called first " Faustus," and after- 
wards " The Devil and Dr. Faustus," the joint production of Messrs. 
Soane and Terry, was brought out at Drury Lane in May, 1825 ; 
and by the aid of Stansfield's scenery and Terry's excellent acting in 
Mephistopheles, it had a considerable run. It was afterwards pub- 
lished by Simpkin and Marshall. 

The most successful attempt to set " Faust " to music is that of the 
late Prince Radzivil. His composition is spoken of in the highest 
terms of approbation, and I understand that the Princess (his widow) 

^ A great deal has been -written on the relation of Goethe's " Faust " to the 
two extant diminutive Faust-fragments of Leasing, of -which one only is qnite 
authentic ; but anything like a learned discussion on the subject, in order to 
Bho-w that both Madame de Stael and Mr. Hayward -were -wrong in their judg- 
ment, -would be out of place in a volume lilce the present, I cannot help pointing 
out, ho-wever, that Hay-ward seems to have mixed up the t-wo short fragments, 
and that he has -wrongly described the one communicated by J. J. Engel to the 
editor of Lessing's " Theatralischer Nachlass," -which, by the bye, -we should 
no-w call in English " Dramatic " or " Theatrical Eemains," I believe, and not 
" Theatrical Le0ai^,"—ED, 



APPENDIX. II. 453 

has printed, or is about to print, the whole for cu'culation among her 
friends. Goethe's approval of the attempt has been unequivocally 
expressed (" Works," vol. xxx. p. 89).^ 

It appears from the correspondence between Goethe and Zelter 
(vol. ii. pp. 424, 429), that Zelter^ once undertook to write music for 
" Faust " by the desire of the author ; nor mast I forget to mention 
that Goethe's " Faust " has been adapted to the stage by Tieck. It was 
first acted in its altered state at Leipzig and Dresden on the 28th of 
August, 1829, the anniversary of Goethe's eightieth birthday, and is 
how a stock-piece at the principal theatres. A good deal of discus- 
sion took place at the time as to the fitness of the poem for theatrical 
representation at all ; ' though Schlegel, who considers the question 
in his "Lectures on the Drama" (Leot. 15) and decides in the negative, 
appears to have set the question at rest.* 

To make this appendix complete, I shall here recapitulate the 
whole of the commentaries with which I am acquainted. 

" Ueber Goethe's Faust : Vorlesungen von Dr. Schubarth," Berlin, 
1830. 

" Ueber Goethe's Faust und dessen Fortsetzung, nebst einem An- 
hange von dem ewigen Juden," Leipzig, 1824. 

" Aesthetische Vorlesungen iiber Goethe's Faust, &c., von Dr. 
Hinrichs," Halle, 1825. 

" Ueber Calderon's Tragoedie vom Wunderthatigen Magus ; Ein 
Beitrag zum Verstandniss der Faustischen Fabel, von Karl Eosen- 
kranz," Halle und Leipzig, 1829. 

"Ueber Erklarung undFortsetzung desFaust im Al]gemeinen,&c,, 
von K. Rosenkranz," Leipzig, 1831. 

"Doctor Faustus, Tragodie von Marlowe, &c.; aus dem Englischen 
iibersetzt von "W. Miiller. Mit einer Vorrede von Ludwig von 
Arnim," Berlin, 1808. [The translation is by the poet Wilhelm 
Miiller, father of Professor Max Miiller. The preface was written 
by Achim, and not by Ludwig von Arnim.— Ed.] 

1 Musical compositions in connection with "Faust " have been written, besides, 
by Schumann, Beriioz, Liszt, Wagner, Gounod, 4c.— Ed. 

2 Cp. "Goethe's Letters to Zelter," translated by Mr. A. D. Coleridge 
(Bell's), p. 74.— Ed. 

3 See Beohstein's pamphlet, published at Stnttgardt, 1831. 

4 The above remark is sure to raise a smile in the reader, there being few 
pieces more effective on the stage than Part I. o£ "Taust "— ol course, if properly 
represented— and even Part II. has been successfully performed. Some highly 
interesting remarks on ranst-performanoes will be found in Mr. H. Schiitz 
Wilson's " Tacts and Tancies about Tauat," in his volume of essays entitled 
■■ Studies in History, Legend, and Literature."— Ed. 



464 FAUST. 

"Herold's Stimme zu Goethe's Faust, von C. F. G 1," Leipzig," 

' 1831. 

" Zur BeurtheilungGoethe's, mitBeziehungauf verwandte Literatur 
und Kunst, vou Dr. Soliubarth," 1820 ; a work in two volumes, of 
which a large part is occupied with " Faust." 

" Goethe aus personlichem Umgange dargestellt, von Falk ; " the 
last 110 pages of which consist of a Commentary on "Faust." 

" Vorlesnngen iiber Goethe's Faust, von Dr. Ranch," 1830. 

M. von Arnim's Preface to the German translation of Marlowe's 
" Faust." 

In Schlegel's "Lectures on Dramatic Literature," Lect. 15, there 
are a few remarks. " Faust " also forms the subject of some letters in 
the "Briefwechsel" between Schiller and Goethe, vol. iii. pp. 129- 
186." 

It only remains to mention the artists who have taken the old 
tradition or the modern drama of "Faust" for their subject-matter. Of 
the former class, I know but two worth mentioning : one is Rem- 
brandt, who has left a head of Faust, and a sketch of him in his study, 
sitting just as Goethe has described him, in the midst of boolcs and 
instruments, with a magic circle ready drawn and a skeleton half- 
hidden by a curtain in the room. The other is Van Sichem, a Dutch 
artist, born about 1580. He has left two sketches : a scene between 
Faust and Mephistopheles, and a scene between Wagner and an 
attendant spirit, Auerhain by name. These are minutely described 
by Dr. Stieglitz, and I have seen a copy of the sketch by Rembrandt. 
The pictures in Auerbach's cellar are described, ante, p. 186.' 

The illustrators of " Faust" mentioned by Dr. Stieglitz (and I know 
of no others) are : Retzsch, with his English imitator Moses, and a 
French imitator who modestly conceals liis name ; Nauwerk, Nehr- 
lich,' Kake, Ramberg, Lacroix (for Stapfer's translation),* and Cor- 
nelius, whose designs were engraved by Ruschweyh in Rome. Of 
these, the most celebrated are Retzsch and Cornelius. It is quite 
unnecessary to speak of Retzsch, whose fame is now unlversaljy 
diffused. Cornelius was formerly at the head of the school of paint- 

1 A list of more recent commentators, &c., will be found at the beginning of 
this volume. — En. 

2 In the present edition, p. 147, n. 78.— En. 

3 Cp. G. Nehrlich's " Zeichnungen nach Goethe's Faust, mit erlautemden 
Worten von H. Duntzer." Stapfer's translation of " Faust " has been illustrated 
by F. V. E. Delacroix.— Ed. 

i See Goethe's " Post. Works," vol. vi. p. 169. 



APPENDIX. II. 455 

ing at DUsseldorf, and is now (1834) President of tlie Academy of 
Design at Munich. He enjoys the reputation of being the first 
historical painter in Germany, and his illustrations of " Faust " have 
great merit ; but being in the largest folio, and three or four pounds 
in price, they are comparatively little known."^ 

1 Besides the above-stated illnstrations of ** Fonst." there shonld be mentioned 
those by Kaalbach, Kreling. Liezen-Mayer, Seibertz, etc. The " Faust " illusi 
trations of Cornelius are now issued in smaller size at a moderate price, and have 
in recent years been rendered more popular by photography,— Ed. 



TRANSLATOR'S PREFACES. 
I. 

TO THE EDITION FEINTED FOE PEIVATE 
CIECIJLATION. 

THE outline of Faust's story is already familiar 
enough, and I have given all that I think neces- 
sary in the way of illustration or commentary in the 
notes. In this place, therefore, I have principally 
to explain the motives -which led to the following 
hazardous and, some may think, presumptuous under- 
taking. 

It was first suggested to me by a remark made by 
Mr. Charles Lamb to an honoured friend of mine : ' 
that he had derived more pleasure from the meagre 
Latin versions of the G-reek tragedians, than from any 
other versions of them he was acquaiuted with. The 
following remarks by Goethe himself confirmed me in 
it:— 

" We G-ermans had the advantage that several signi- 
ficant works of foreign nations were first translated in 
an easy and clear manner. Shakespeare translated into 
prose, first by Wieland, then by Eschenburg, being a 
reading generally intelligible and adapted to every 

' [The Kev. H. F. Gary, translator of Dante and Pindar.]— 
" I have read of a man who being, by his ignorance of Greek, 
compelled to gratify his curiosity with the Latin printed on the 
o_pposite page, declared that, from the rude simplicity of the 
lines, literally rendered, he formed nobler ideas of the Homeric 
majesty than from the laboured elegance of polished versions " 
— JOHKSON's Life of Pope. 



translator's prefaces. 457 

reader, was enabled to spread rapidly, and produce a 
great effect. I honour botli rhythm and rhyme, hy 
Which poetry first becomes poetry; but the properly 
deep and radically operative, — the truly developing and 
quickening, is that which remains of the poet, when he 
is translated into prose. The inward substance then 
remains in its purity and fulness: which, when it is 
absent, a dazzling exterior often deludes us with the 
semblance of, and, when it is present, conceals." ' 

This will be admitted to be very high authority in 
favour of prose translations of poetry ; and no one who 
knows " Faust " will deny, that it is the poem of all 
others of which a prose translation is most impera- 
tively required, — for the simple reason, that it teems 
with thought, and has long exercised a widely-spread 
influence by qualities independent of metre and rhyme. 
I am not aware that I can illustrate my meaning better 
than by the following extract from a G-erman Eeview.* 
It forms part of a critical notice of a work by M. 
Eosenkranz, and (with aU its exaggeration and enthu- 
siasm) may be taken as a fair sample of the light in 
which " Faust " is considered in Germany : — 

" The various attempts to continue the infinite matter 
of ' Faust ' where G-oethe drops it, although in them- 
selves fruitless and unsuccessful, at least show in what 
manifold ways this great poem may be conceived, and 
how it presents a different side to every individuality. 
As the sunbeam breaks itself differently in every eye, 
and the starred heaven and nature are different for 
every soul-mirror, so it is with this immeasurable and 
exhaustless poem. We have illustrators and continuers 

' "Aus meinem Leben: Dichtnng und Wahrheit," Th. iii. 
b. 11. Hardly a single sentence of the English version, pub- 
lished under the title of " Memoirs of Goethe, is to be depended 
upon. The translation of Shakespeare mentioned by Goethe 
was originally undertaken by Wieland, who, according to 
Griiber, was paid at the rate of two Thalers (six shillings) per 
sheet. He completed twenty -two of the plays; which were 
afterwards republished by Eschenburg with the rest translated 
by himself. 

* "Blatter fiir Literarische Unterhaltung," Leipzig. 



458 translator's prefaces. 

of 'Faust,' who, captivated by the practical -wisdom 
which pervades it, considered the whole poem as one 
great collection of maxims of life ; we have met with 
others who saw nothing else in it but a pantheistical 
solution of the enigma of existence ; others again, more 
alive to the genius of poetry, admired only the poetical 
clothing of the ideas, which otherwise seemed to them 
to have little significance; and others again saw no- 
thing peculiar but the felicitous exposition of a philo- 
sopMcal theory, and the specification of certain errors 
of practical life. All these are right ; for from all 
these points of view ' Faust ' is great and significant ; 
but whilst it appears to follow these several directions 
as radiations from a focus, at the same time it contains 
(but for the most part concealed) its peculiar, truly 
great, and principal direction; and this is the reconf 
cilement of the great contradiction of the world, the 
establishment of peace between the Eeal and the Ideal. 
No one who loses sight of this, the great foundation of 
'Faust,' will find himself in a condition — we do not 
say to explain or continue, but even to read and com- 
prehend the poem. This principal basis underlies all 
its particular tendencies — the religious, the philo- 
sophical, the scientific, the practical ; and for this very 
reason is it, that the theologian, the scholar, the soldier, 
the man of the world, and the student of philosophy, 
to whatever school he may belong, are all sure of 
finding something to interest them in this all-embracing 
production." 

Surely a work of which this, or anything like it, can 
be said, deserves to be translated as literally as the 
genius of our language will admit ; with an almost 
exclusive reference to the strict meaning of the words, 
and a comparative disregard of the beauties which are 
commonly thought peculiar to poetry, should they 
prove irreconcilable with the sense. I am not saying 
that they will prove so, for the noblest conceptions and 
most beautiful descriptions in " Faust " would be noble 
and beautiful in any language capable of containing 
them, be it as unmusical and harsh as it would, — 



translator's prefaces. 459 

"As sunshine broken on a rill, 

Though turned astray, is sunshine still." 

Still less am I saying that such a translation would be 
the best, or should be the only one. But I venture to 
think that it may possess some interest and utility 
now ; when, at the distance of nearly half a century 
from the first appearance of the work, nothing at all 
approximating to an accurate version of it exists. With 
one or two exceptions, all attempts by foreigners 
(foreigners as regards Germany, I mean), to translate 
even solitary scenes.or detached passages from " Faust," 
are crowded with the most extraordinary mistakes, not 
of words merely, but of spirit and tone ; and the 
author's fame has suffered accordingly. Tor no warn- 
ings on the part of those who know and would fain 
manifest the truth, can entirely obviate the deterio- 
rating influence of such versions on the mind. "I 
dare say," the reader replies, " that what you tell me 
about this translation may be right, but the author's 
meaning can hardly be so obscured or perverted as to 
prevent my forming some notion of his powers." 

Now I print this translation with the view of proving 
to a certain number of my literary friends, and through 
them perhaps to the public at large, that they have 
hitherto had nothing from which they can form a just 
estimate of " Faust ; " and with this view, and this 
view only, I shall prefix a few remarks on the English 
and French translators who have preceded me. 

[Here followed remarks on Lord Francis Egerton 
(now Lord Ellesmere), Shelley, the author of the 
translation published with the English edition of 
Eetzsch's " Outlines," the author of the translated pas- 
sages in "Blackwood's Magazine," No. 39 (Dr. Anster), 
Madame de Stael, and MM. de Sainte-Aulaire, Stapfer, 
and Gerard. These remarks are omitted because their 
original purpose has been fulfilled. — ^Haywaed.] 

My main object in these criticisms is to shake, if 
not remove, the very disadvantageous impressions that 
have hitherto been prevalent of " Faust," and keep 



460 translator's prefaces. 

public opinion suspended concerning Goethe till some 
poet of congenial spirit shall arise, capable of doing 
justice to this, the most splendid and interesting of his 
works. By my translation, also, I shall be able to 
show what he is not, though it will be quite impossible 
for me to show what he is. "II me reste (says M. 
Stapfer), a protester contre ceux qui, apres la lecture 
de cette traduction, s'imagineraient avoir acquis une 
id^e complete de I'original. Port^ sur tel ouvrage 
traduit que ce soit, le jugement serait errone ; il le 
serait surtout a IMgard de celui-ci, a cause de la per- 
fection continue du style. Qu'on se figure tout le 
charme de 1' Amphitryon de Moliere joint a ce que les 
poesies de Pamy ofErent -de plus gracieux, alors seule- 
ment on pourra se croire dispense de le lire." 

If I do not say something of the sort, it is only be- 
cause I cannot decide with what English na,mes Moliere 
and Pamy would be most aptly replaced. The merely 
English reader, however, will perhaps take my simple 
assurance, that, from the admitted beauty of Goethe's 
versification, no writer loses more by being submitted 
to the crucible of prose; though, at the same time, 
very few writers can afford to lose so much ; as Dryden 
said of Shakespeare, if his embroideries were burnt 
down, there would still be silver at the bottom of the 

. melting-pot. The bloom-like beauty of the songs, in 
particular, vanishes at the bare touch of a translator ; 
as regards these, therefore, I may as well own at once 
that I am inviting my friends to a sort of Barmecide 
entertainment, where fancy must supply all the mate- 
rials for banqueting. I have one comfort, however : 
the poets have hitherto tried their hands at them in 
vain ; and I am backed by very high authority in de- 
claring the most beautiful — Meine Buh' ist hin — to be 
utterly untranslatable. Indeed, it is only by a lucky 
chance that a succession of simple heartfelt expressions 
or idiomatic felicities in one language, are ever capable 
of exact representation in another. Two passages 
already quoted • appear well adapted to exemplify what 

I mean. When Margaret exclaims : — 



translator's prefaces. 4C1 

" Sag Niemand dass du schon bei Gretohen warst," 

it is quite impossible to render in English the finely 
shaded meaning of hei. Here, therefore, Germany has 
the test of it, but when we translate — 

"Schon War ich auch, und das war mein Verderien," 

" I was fair too, and that was my undoing " — ^we greatly 
improve upon the original, and add a delicacy which I 
defy any German to imitate.^ 

My only object in giving a sort of rhythmical ar- 
rangement to the lyrical parts, was to convey some 
notion of the variety of versification which forms one 
great charm of the poem. The idea was first suggested 
to me by Milton's translation of the " Ode to i^rrha," 
entitled : " Quis multa gracihs te puer in rosa. Eendered 
almost word for word without rime, according to the 
Latin measure, as near as the language will admit.'" 
But I have seldom, if ever, made any sacrifice of sense 
for the purpose of rounding a line in the lyrics or a 
period ia the regular prose ; proceeding throughout on 
the rooted conviction, that, if a translation such as 
mine be not literal, it is valueless. By literal, how- 
ever, must be understood merely that I have endea- 
voured to convey the precise meaning of Goethe: an 
object often best attainable by preserving the exact 
form of expression employed by him, unless, indeed, 
it be an exclusively national one. Even then I have 
not always rejected it : for one great advantage to be 
anticipated from such translations is the naturalization 
of some of those pregnant modes of expression in which 
the German language is so remarkably rich. Idioms, 

1 No doubt the word "undoing" conveyed to the translator's 
ears a delicacy not to be found in the German original, but 
here it was above all requisite' to use an expressive term, and for 
this purpose no more pathetic expression could be chosen than 
the word Verderbem^-El). 

^ The above is the well-known 5th Ode of Book I., super- 
scribed "Ad Pyrrham." Milton wrote "permit," and not 
"admit."— Ed. 



462 translator's prefaces. 

of course, belong to a wholly different category. My 
remarks apply only to those phrases and compounds 
where nothing is wanting to mate an Englishman per- 
fectly aufait of them, but to think out the full meaning 
of the words. In all such cases I translate literally, in 
direct defiance to those sagacious critics.'who expect to 
catch the spirit of a work of genius as dogs lap water 
from the Nile, and vote a German author unreadable 
unless all his own and his country's peculiarities are 
planed away. In short, my theory is, that if the 
English reader, not knowing German, be made to stand 
in the same relation to " Faust" as the English reader, 
thoroughly acquainted with German, stands in towards 
it — i.e., if the same impressions be conveyed through 
the same sort of medium, whether bright or dusky, 
coarse or fine — the very extreme poiat of a translator's 
duty has been attained. 

But though pretty confident of the correctness of this 
theory, I am far from certain that my practice uni- 
formly accords with it. As the translation, however, 
has been executed at leisure moments, was finished 
many months ago, and has undergone the careful re- 
yisal of friends, I think I can answer for its general 
accuracy ; but in a work so crowded with elliptical and 
idiomatic, nay even provincial, modes of expression, 
and containing so many doubtful allusions, as " Faust," 
it is morally impossible to guard against individual 
errors, or what, at any rate, may be represented as 
such by those who will not give the translator credit 
for having weighed and rejected the constructions they 
may chance to prefer. In the course of my inquiries, 
I have not unfrequently had three or four different 
interpretations suggested to me by as many accom- 
plished German scholars, each ready to do battle for 
his own against the world. There are also some few 
meanings which all reasonable people confess them- 
selves unable to unearth, — or rather, unheaven ; for it 
is by rising, not sinking, that Goethe leaves his readers 
behind, and in nearly all such instances, we respect, 
despite of our embarrassment, the aspirations of a 



translator's rREFACE?. 4G3 

master-mind, soaring proudly up into the infinite un- 
known, and though failing possibly in the full extent 
of its aim, yet bringing back rich tokens of its flight. 

" Faust " has never yet been published with notes, 
with the exception of a very few added to the French 
translations, in which none of the real difficulties are 
removed. I have endeavoured to supply this deficiency 
by bringing together all the information I could collect 
among an extensive circle of German acquaintance. I 
have also ransacked all the commentaries I could get, 
though nothing can be more unsatisfactory than the 
result. They are almost exclusively fiUed with trashy 
ampUfications of the text, not unfrequently dilating 
into chapters what Goethe had condensed in a line. I 
have named the whole of them in an Appendix. That 
of Dr Schubart is said to be the only one which ever 
received any token of approbation from Goethe. A few 
parallel passages from English poets will also be found 
in the notes. They are merely such as incidentally 
suggested themselves ; except, indeed, that I re-read 
the greater part of Wordsworth, Coleridge, and Shelley, 
during the progress of the undertaking. 

I fear it will be quite impossible for me to acknow- 
ledge all the assistance I have received, but there are a 
few kind co-operators whom I think it a duty to name, 
though without their knowledge and perhaps contrary 
to their wish. 

I certainly owe most to my old master and friend 
Mr. Heilner, whose consummate critical knowledge of 
both languages enabled him to afford the most effective 
aid in disentangling the perplexities of the work ; and 
to my friend Mr. ifiUs, one of the best German scholars 
I know, in whose richly-stored mind and fine taste I 
found a perfect treasure-house of all that is most beau- 
tiful in the most beautiful creations of genius, and an 
almost infallible criterion of propriety. But it is also 
with pride and pleasure that I offer my best acknow- 
ledgments for very valuable aid to — Mrs. John Austin, 
the elegant translator of " The German Prince's Tour :" 
Pr, Bernays, Professor of the German Language and 



4G4 TnANSLATOn'S PREFACES. 

Literature at King's College, and one of those who have 
reflected most honour on that Institution by their 
works : my clever and warm-hearted friend, Mr. Heller, 
Attache to the Prussian Embassy : Mr. A. Troppaneger, 
a German gentleman of learning and taste now residing 
in London : Dr. Jacob Grimm, the first philologist of 
this or perhaps of any age, and an eminently successful 
cultivator of the most interesting department of German 
literature besides : and last not least, A. W. von Schlegel, 
whose enduring claims to general admiration are at 
once too various to be easily enumerated and too well 
known to need enumerating. There is yet another 
highly distinguished friend, whose name I should have 
been enabled to add, had not his regretted absence in a 
foreign country deprived me of it. When I reflect how 
much I owed to him on a former occasion of the kind, 
I cannot contemplate the omission without a pang.' 

Li conclusion I have only to say, that, as I followed 
no one implicitly, my friends are not answerable for my 
mistakes ; and that I shall be much obliged to anyone 
who will suggest any amendment in the translation or 
any addition to the notes, as at some future time I may 
reprint or publish the work. 

' I alluded to "Mr. G. C. Lewis, translator of Boekh's 
"Domestic Policy of the Athenians" and (with Mr. H. Tuflhell) 
Muller's ' ' History of the Dorians. " He looked over my trans- 
lation from Savigny for me.* 

Temple, January 5th, 1833. 



* The correct titles of the above works are : (1) Boeckh's 
" Public Economy of Athens," translated by Q. C. Lewis (sub- 
sequently " Sir George Comewall Lewis"), 1830 ; (2) K. O. Mul- 
ler s " History and Antiquities of the Doric Race," translated 
by H. Tufnell and G. C. Lewis, 1830.— Ed. 



ADVERTISEMENT 

PEEFIXED TO 

THE FIRST PUBLISHED EDITION. 

T COMMENCED this translatiop without the slightest 
■A- idea of publishing it, and even when, by aid of pre- 
face and notes, I thought I had produced a book which 
might contribute something towards the promotion of 
German literature in this country, I still felt unwilling 
to cast it from me beyond the power of alteration or 
recall. I therefore circulated the whole of the first 
impression amongst my acquaintance, and made up my 
mind to be guided by the general tenor of the opinions 
I might receive from them. I also wished the accuracy 
of my version to be verified by as many examinations as 
possible, and I hoped to get some additional matter for 
the notes. " The complete explanation of an author 
(says Dr. Johnson) not systematic and consequential, 
but desultory and vagrant, abounding in casual allu- 
sions and light hints, is not to be expected from any 
single scholiast. What can be known wiU be collected 
by chance from the recesses of obscure and obsolete 
papers (or from rare and curious books), perused 
commonly with some other view. Of this knowledge 
every man has some, and none has much ; but when an 
author has engaged the public attention, those who can 
add anything to his illustration, communicate their dis- 
coveries, and time produces what had eluded diligence." 
The result of the experiment has been so far satis- 

H H 



■4C6 tra.ns1a.tor's i»repaces. 

factory, that I am now emboldened to lay the work 
before the public, with some not unimportant altera- 
tions and additions suggested by subsequent inquiry or 
by friends. 

Temple, Fibruary ^&th, 1833 



III. 
PREFACE 

TO THE 

SECOND EDITION OF THE TEANSLATION. 

IN this Edition much of the matter has been re- 
arranged, the Notes are augmented hy about a 
tliird, and an Appendix of some length has been 
annexed. The translation itself was found to require 
only a few verbal corrections ; yet even as regards the 
translation, I lay the work before the public with much 
more confidence than formerly, both on account of the 
trying ordeal it has passed through, and the many 
advantages I have enjoyed in revising it. 

"It is singular (and to the student of Grerman litera- 
ture at once cheering and delightful) to see the interest 
which Germane of the cultivated class take in the fame 
of their great authors, and most particularly of Goethe. 
They seem willing to undergo every sort of labour to 
convey to foreigners a just impression of his excellence ; 
and many German gentlemen have voluntarily under- 
taken the irksome task of verifying my translation 
word for word by the original. The amateurs of 
German literature in this country, also, partake of the 
same spirit of enthusiasm, and I have received many 
valuable suggestions in consequence. My German 
friends will find that I have retained a few expressions 
objected to by them, but they must do me the justice 
to remember that they are as likely to err from not 
knowing the full force of an English idiom, as I am 



468 translator's prefaces. 

from not knowing the full force of a G-erman one. 
Another fertile source of improvement has been afforded 
me by the numerous critical notices of my work. 

Besides these advantages, I have recently (1833) paid 
another visit to Germany, during which I had the 
pleasure of talking, over the puzzling parts of the poem 
with many of the most eminent living writers and 
artists, and some of Goethe's intimate friends and con- 
nections. Among those, for instance, whom I have to 
thank for the kindest and most flattering reception, are 
Tieck, Von Chamisso,^ Franz Horn, the Baron de la 
Motte Fouque, Dr. Hitzig," Eetzsch, and Madame de 
Goethe. M. Vamhagen von Ense, and Dr. Eckermann 
of Weimar (names associated by more than one rela- 
tion with Goethe's), whom I unfortunately missed 
seeing, have each favoured me with suggestions or 
notes. I think, therefore, I may now venture to say, 
that the notes to this edition contain the sum of all 
that can be asserted with confidence as to the allusions 
and passages which have been made the subject of 
controversy. 

I have no desire to prolong the discussion as to the 
comparative merit of prose and metrical translations ; 
but, to prevent renewed misconstruction, I take this 
opportunity of briefly restating my views. 

Here (it may be said) is a poem, which, in addition 
to the exquisite charm of its versification, is supposed 
to abound in philosophical notions and practical maxims 
of life, and to have a great moral object in view. It 
is written in a language comparatively unfettered by 
rule, presenting great facilities for the composition of 
words, and, by reason of its ductile qualities, naturally, 
as it were, and idiomatically adapting itself to every 
variety of versification. The author is a man whose 
genius inclined (as his proud position authorized) him 
t/O employ the licence thus enjoyed by the writers of 
his country to the full, and in the compass of this 

' The real author of " Peter Schlemihl," most unaccountably 
attributed by the English translator to De la Motte Fouqu& 
- President of the Literary Society of Berlin, 



translator's prefaces. 469 

single production lie tas managed to introduce almost 
every conceivable description of metre and rhythm. 
The translator of such a work into English, a language 
strictly subjected to that " literary legislation," ^ from 
which it is the present (perhaps idle) boast of Germany 
to be free, is obviously in this dilemma : he must sacri- 
fice either metre or meaning ; and in a poem which it 
is not uncommon to hear referred to in evidence of the 
moral, metaphysical, or theological views of the author, 
— which, as already intimated, has exercised a great 
part of its widely-spread influence by qualities that 
have no more necessary connection with verse than 
prose, it is surely best to sacrifice metre. 

The dilemma was fairly stated in the "Edinburgh 
Eeview " : — " When people are once aware how very 
rare a thing a successful translation must ever be, from 
the nature of the case, they will be more disposed to 
admit the prudence of lessening the obstacles as much 
as possible. There will be no lack of difSculties to 
surmount (of that the French school may rest assured), 
after removing out of the way every restraint that can 
be spared. If the very measure of the original can 
be preserved, the delight with which our ear and ima- 
gination recognize its return, add incomparably to the 
triumph and the effect. Many persons, however, are 
prepared to dispense with this condition, who, never- 
theless, shrink from extending their indulgence to a 
dispensation from metre altogether. But it is really 
the same question which a writer and his critics have 
to determine in both cases. If the difficulty of the par- 
ticular metre, or of metre generally, can be mastered 
without sacrificing more on their account than they 
are worth, they ought undoubtedly to be preserved. 
What, however, in any given case, is a nation to do, 
until a genius shall arise who can reconcile contra- 
dictions which are too strong for ordinary hands ? In 

1 Miihlenfel's " Lecture." [Hay ward alludes here to the 
"Introductory Lecture" on "German Literature," delivered 
by Prof. L. von MiiWenfels (not " Muhlenfel") in 1828, at the 
then University of London.— Ed.] 



470 translator's fkefaces. 

the meanwhile, is it not the wisest course to mate the 
most favourable bargain that the nature of the dilemma 
offers ? Unless the public is absurd enough to abjure 
the Literature of aU languages which are not universally 
understood, there can be no member of the public who 
is not dependent, in one case or another, upon transla- 
tions. The necessity of this refuge for the destitute 
being once admitted, it follows that they are entitled 
to the best that can be got. What is the best? 
Surely that in which the least of the original is lost — 
least lost in those qualities which are the most impor- 
tant. The native air and real meaning of a work are 
more essential qualities than the charm of its numbers, 
or the embelhshments and the passion of its poetic 
style. The first is the metal and the weight; the 
second is the plating and the fashion." — No. 115, 
pp. 112, 113.' 

A writer in the " Examiner " speaks still more de- 
cidedly, and claims for prose translators a distinction 
which we should hardly have ventured to claim for 
ourselves : — 

"Everyone knows the magnificent translation left 
by Shelley of the 'Prologue in Heaven' and the 
'May-Day Night- Scene ; ' fragments which, of them- 
selves, have won many a young mind to the arduous 
study of the Grerman language. By the industry ef 
the present translator we learn, that many passages we 
have been in the habit of admiring in those transla- 
tions are not only perversions but direct contradictions 
of the corresponding passages in Goethe, and that 
Shelley wanted a few months' study of German to make 
him equal to a translation of 'Faust.' We do not 
think the translator need have troubled himself with 
any dissertation of this sort, in order to justify the 
design of a prose translation of ' Faust.' ' My main 
object,' he says, ' in these criticisms is to shake, if not 
remove, the very disadvantageous impressions that have 
hitherto been prevalent of "Faust," and keep public 

^ This article has been translated into French and republished 
in the " K^vue Britannique." 



translator's prefaces. 471 

opinion suspended concerning Goethe, till some poet of 
congenial spirit shall arise capable of doing justice to 
this the most splendid and interesting of his works.' 
Why not go further than this, and contend that a mind 
strongly imbued -with poetical feeling, and rightly 
covetous of an acquaintance with the poet, will not rest 
satisfied with anything short of as exact a rendering 
of his words as the different phraseology of the two 
languages will admit? In such a translation, be it 
never so well executed, we know that much is lost ; but 
nothing that is lost can be enjoyed without studying 
the language. No poetical translation can give the 
rhythm and rhyme of the original ; it can only sub- 
stitute the rhythm and rhyme of the translator ; and 
Jor the sake of this substitute we must renounce some por- 
tion of the original sense, and nearly all the expressions ; 
whereas, hy a prose translation, we can arrive perfectly at 
the thoughts, and very nearly at the words of the anginal. 
When these (as in 'Faust') have sprung from the 
brain of an inspired master, have been brooded over, 
matured, and elaborated during a great portion of a 
life, and finally issue forth, bearing upon them the 
stamp of a creative authority, to what are we to sacri- 
fice any part or particle which can be made to survive 
in a literal transcript or paraphrase of prose ? To the 
pleasure of being simultaneously tickled by the metres 
of a native poetaster, which, if capable of giving any 
enjoyment at all, will find themselves better wedded to 
his own original thoughts, and which, were they the 
happiest and most musical in the world, can never ring 
out natural and concording music to aspirations bom 
in another time, clime, and place, nor harmonize, like 
the original metres, with that tone of mind to which 
they should form a kind of orchestral accompaniment 
in its creative mood. The sacred and mysterious union of 
thought with verse, twin born and immortally wedded from 
the moment of their common birth, can never he understood 
hv those who desire verse translations of good poetry. 

"Nevertheless, the translator of poetry must be a 
poet although he translates in prose. Such only can 



472 translator's prefaces. 

have sufficient feeling to taste the original to the core, 
coinbined with a sufficient mastery of language to give 
burning word for burning word, idiom for idiom, and 
the form of expression which comes most home in 
English for that which comes most home in German. 
Such a task, in fact, is one requiring a great proportion 
of fire, as well as delicacy and judgment, and by no 
means what Dr. Johnson thought it — a task to be exe- 
cuted by anyone who can read and understand the 
original"— March 24, 1833. 

Another influential journal followed nearly the same 
line of argument : — 

" To the combination — unhappily too rare — of genius 
and energy, few things are impossible ; and we further 
venture to assert that, of the two undertakings, such a 
prose translation as the present is far more difficult 
than a metrical version could be, always supposing the 
possession of an eminent power of language, and a pure' 
poetical taste, to be equal in the one attempt and the 
other."— r^e Athencemn for April 27th, 1833. 

Some critics have compared a prose translation to a 
skeleton. The fairer comparison would be to an en- 
graving from a picture; where we lose, indeed, the 
charm of colouring, but the design, invention, composi- 
tion, expression, nay the very light and shade of the 
original, may be preserved. 

It may not be deemed wholly inapplicable to remark, 
that unrhymed verse had to encounter, on its introduc- 
tion in most countries, a much larger share of preju- 
diced opposition than prose translations of poetry seem 
destined to encounter among us. Milton found it neces- 
sary to enter on an elaborate and, it must be owned, 
rather dogmatical defence ; and so strong was the feel- 
ing against Elopstock, that Goethe's father refused to 
admit the " Messiah " into his house on account of its 
not being in rhyme, and it was read by his wife an^ 
children by stealth.' 

1 "Dichtung und Wahrheit," b. 3. The "Messiah" is in 
hexameter verse, distinguished from the Greek and Latin hexai 
meters by the frequent substitution of trochees for spondees. 



translator's prefaces. 473 

Two weighty authorities bearing on the subject have 
appeared very recently : — 

" Verse (says the student in Mr. Bulwer's ' Pilgrims 
of the Ehine ') cannot contain the refining subtle 
thoughts which a great prose writer embodies ; the 
rhyme eternally cripples it ; it properly deals with the 
common problems of human nature which are now 
hackneyed, and not with the nice and philosophizing 
corollaries which may be drawn from them. Thus, 
though it would seem at first a paradox, commonplace 
is more the element of poetry than of prose. And, 
sensible of this, even Schiller wrote the deepest of 
modem tragedies, his ' Piesco,' in prose." — p. 317. 

This is not quoted as precisely in point, and it is 
only fair to add that Mr. Coleridge (indeed what else 
could be expected from the translator of " Wallen- 
stein"':') was for verse: — 

" I have read a good deal of Mr. Hayward's version, 
and I think it done in a very manly style ; but I do not 
admit the argument for prose translations. I would in 
general rather see verse attempted in so capable a 
language as ours. The French cannot help themselves, 
of course, with such a language as theirs." — TMe Talk, 
vol. ii., p. 118. 

Mr. Coleridge is here confounding general capability ' 
with capability for the purposes of translation, in which 
the English language is confessedly far inferior to the 
German, though, considering the causes of this in- 
feriority, many may be induced to regard it more as a 
merit than a defect. Still the fact is undoubted, that 
the pliancy and elasticity of the instrument with which 
they work, enable the Germans to transfer the best 
works of other nations almost verbatim to their litera- 
ture, — ^witness their translations of Shakespeare, in 
which the very puns are inimitably hit off ; whilst our 
best translations are good only on a principle of com- 
pensation: the authors omit a great many of the 
beauties of their original, and, by way of set-off, insert 
a great many of their own. In Mr. Coleridge's " Wal- 
lenstein " for exaniple : — 



4.74 translator's prefaces. 

"The intelligible forms of ancient poets, 

The fair humanities of old religion, 

The Power, the Beauty, and the Majesty ; 

That had their haunts in dale, or piny mountain, 

Or forest hy slow stream, or pebbly spring, _ 

Or chasms and wat'ry depths ; all these have vanished, 

They live no longer in the faith of reason." 

These seven lines are a beautiful amplification of 
two: — 

" Die alten Fabelwesen sind nicht mehr. 
Das reizende Geschlecht ist ausgewandert." 

Literally : — 

" The old fable-existences are no more. 
The fascinating race has emigrated." 

With regard to the dispute about free and literal 
translation, however, Mrs. Austin, by one happy refe- 
rence, has satisfactorily determined the principle, and 
left nothing but the application in each individual case 
to dispute about : — 

" It appears to me that Goethe alone (so far as I 
have seen) has solved the problem. In his usual manner 
he turned the subject on all sides, and saw that there 
are two aims of translation, perfectly distinct, nay, 
opposed ; and that the merit of a work of this kind is 
to be judged of entirely with reference to its aim. 

" ' There are two maxims of translation,' says he ; ' the 
one requires that the author of a foreign nation be 
brought to us in such a manner that we may regard 
him as our own ; the other, on the contrary, demands 
of us that we transport ourselves over to him, and adopt 
his situation, his mode of speaking, his peculiarities. 
The advantages of both are sufSciently known to all in- 
structed persons from masterly examples.' 

"Here, then, 'the battle between free and literal 
translation,' as the accomplished writer of an article ir) 
the last ' Edinburgh Eeview ' calls it, is set at rest for 
ever, by simply showing that there is nothing to fight. 



TRANSLATOfi's PREFACES. 475 

about ; that each is good with relation to its end — the 
one when matter alone is to be transferred, the other 
when matter and iorm."— Characteristics of Goethe, &c., 
vol. i., pp. 32 to 34. 

Few will deny that both matter and form are impor- 
tant in Goethe's " Faust ; " in such a case we want to 
tnow, not what may be said for the author, or how his 
thoughts and style may be improved upon, but what he 
himself has said, and how he has said it. This brings 
me to another notion of mine, which has been rather 
hastily condemned. At page Ixxxix of my original 
Preface I had said: "Acting on his theory, he 
(M. Sainte-Aulaire) has given a clear and spirited, but 
vague and loose, paraphrase of the poem, instead of 
a translation of it ; invariably shunning the difficulties 
which various meanings present, by boldly deciding 
upon one, instead of trying to shadow out all of them 
— which I regard as one of the highest triumphs a 
translator can achieve — and avoiding the charge of in- 
correctness by making it almost impossible to say 
whether the best construction has suggested itself or 
not." On this the able critic in the "Edinburgh 
Review " remarks : " Mr. Hay ward says, that one of 
the highest triumphs of a translator, in a passage capable 
of various meanings, is to shadow out them all. In 
reply to this, our first remark is, that his own practice, 
according to his own account of it, is inconsistent with 
his rule. In the course of his inquiries he says, that 
' he has not unfrequently had three or four different 
interpretations suggested to him by as many accom- 
plished German scholars, each ready to do battle for 
his own against the world.' What then? Does he 
say that he has attempted to shadow out them all ? 
So far from it, he insists— we dare say with justice— 
that readers who may miss their favourite interpreta- 
tion in his version of any passage, are bound to give 
him the credit of having wilfully' rejected it.' "—No. 

115. P- 133. ■ • . . , 

The writer contrasts, as mconsistent, passages refer- 
ring to different descriptions of difficulties. The follow- 



476 translator's prefaces. 

ing is an example of my theory. At the beginning of 
the prison scene (1. 4064) occurs this puzzling line : 

" Fort ! dein Zagen zBgert den Tod heran.'' 

Two interpretations, neither quite satisfactory, are 
suggested to me: it may mean either that death is 
advancing whilst Taust remains irresolute, or that 
death is accelerated by his irresolution. Having, there- 
fore, first ascertained that the G-erman word zogem cor- 
responds with the English word linger, and that, in 
strictness, neither could be used as an active verb, I 
translated the passage literally : " On ! thy irresolution 
lingers death hitherwards ; " and thus shadowed out 
the same meanings, and gave the same scope to com- 
mentary, as the original.^ Of course, this is only prac- 
ticable where exactly corresponding expressions can be 
had ; for instance, in the passage to which the note at 
p. 391 relates, we have no corresponding expression for 
Bas Werdende, and must therefore be content with a 
paraphrase ; but, in the latter part of the same passage, 
I see no reason for Shelley's changing enduring (the 
plain translation of dauernden) into sweet and melan- 
choly, nor for M. Sainte-Aulaire's rendering the two 
last lines of the speech by — et soumettez a I'epreuve de 
la sageese les fa/ntdmes que de vagues desirs vous pre- 
sentent, thereby gaining nothing in point of perspicuity, 
when he had corresponding French expressions at his 
command. Not unfrequently the literal meaning of a 
word (as in ein dunkler Bhrenman), or the grammatical 
construction of a passage (as in Boch hast Bu Speise, 
&c.), is disputed ; and as it is impossible to construe two 
ways at once, in such instances rejection is unavoidable. 

'■ The verb zogem may be used in poetry as an "active" or 
transitive verb. The meaning of the above literally untrans- 
latable line is therefore simply, " Thy delay will cause her 
death ; " which translation has been adopted in the present 
edition, more especially as it has been found that Hayward's 
otherwise ingenious rendering, " lingers . . . hithenvards," by 
which he intended to shadow out the meaning of zogert - . . 
heran, was not generally understood. — Ed. 



translator's prefaces. 477 

This may suffice to show the practicability of my 
theory in the only cases I meant it to emhrace. It may 
be useful to show by an instance how much mischief 
may result from the neglect of it. The alchymical 
description, as explained by Mr. Griffiths (p. 397, n. 38) 
has been generally regarded as a valuable illustration of 
the literary peculiarities of Goethe. Now all preceding 
translators, considering it as rubbish, had skipped, or 
paraphrased, or mistranslated it ; so that the French or 
Enghsh reader, however well acquainted with alchy- 
mical terms, could make nothing of it. I was as much 
in the dark as my predecessors ; but I thought that 
there might be something in it, though I could see 
nothing ; I therefore translated the passage word for 
word, and then sent it to Mr. Griffiths. His very in- 
teresting explanation was the consequence. This may 
be called an extreme case, but it shows the folly of ex- 
cluding or altering plain words because we ourselves are 
unable at the moment to interpret them ; and as a fact 
within my own immediate experience, I may add, that 
expressions seemingly indifferent in their proper places, 
so frequently supply the key to subsequent allusions, 
that a translator always incurs the risk of breaking 
some link in the chain of association by a change. For 
instance, in my first edition I followed Shelley in trans- 
lating vereinzelt sich, — masses ifeeZ/, under an idle notion 
that the context required it ; and everybody thought 
me right, until Mr. Heraud (author of " The Descent 
into Hell," &c., &c.) proved to me that the most obvious 
signification {scatters itself) was the best, and that I 
had disconnected the following line and marred the 
continuity of the whole description by the change. 

" I was wont boldly to affirm," says Mr. Coleridge, 
" that it would be scarcely more difficult to push a stone 
out from the pyramids with the bare hand, than to 
alter a word, or the position of a word, in Shakespeare or 
Milton (in their most important works at least), with- 
out making the author say something else, or something 
worse than he does say." This observation is strictly 
applicable to the First Part of " Faust." 



478 translator's prefaces. 

Again, the most beautiful expressions in poetry (sucli 
expressions as Dante is celebrated for) are often in 
direct defiance of rule and authority, and afford ample 
scope for cavilling. Is the translator to dilute or filter 
them, for fear of startling the reader by novelty or in- 
volving him in momentary doubt ? I am sorry to say 
that Mr. Coleridge has given some sanction to those 
who might be inclined to answer this question affirma- 
tively. After making Wallenstein exclaim : — 

" This anguish will be wearied down, I know ; 
What pang is permanent with man ? " 

he adds in a note : "A very inadequate translation of 
the original" : — 

" Verschmerzen werd' ich diesen Sohlag, das weiss ich, 
Denn was verschmerzte nicht der Mensoh ? " 

Literally : — 

" I shall grieve down this blow, of that I'm conscious ; 
What does not man grieve down ? " 

I trust my very high and constantly expressed admi- 
ration of Mr. Coleridge will be held some apology for 
the presumption of the remark^but I really see no 
reason for excluding the literal translation from the 
text.^ One of our most distinguished men of letters, 
who knew the German poets only through translations, 
once complained to me that he seldom found them 
painting, or conveying a fine image, by a word ; as in 
the line — 

" How sweet the moonlight sleeps upon that bank." 

How should he, unless that mode of translation which 
I have thus ventured on vindicating, be pursued ? 

In Appendix, No. 1, I have added an analysis of the 
second and concluding part of " Faust," just full enough 
to give a general notion of the plot, if plot it can be 
called, where plot is none. I have been recommended 

' Since this wag wiitten, the literal translation has been 
adopted. See the last edition of Coleridge's Works. 



translator's prefaces. 479 

to translate the whole, but it struck me that the scenes 
were too disconnected to excite much interest, and that 
the poetry had not substance enough to support a ver- 
sion into prose. As I have said already in another 
place,' the Second Part presents few of those fine trains 
of philosophic thinking, or those exquisite touches of 
natural feeling, which form the great attraction of the 
First. The principal charm will be found to consist in 
the idiomatic ease of the language, the spirit with which 
the lighter measures are struck off, and the unrivalled 
beauty of the descriptive passages ; which last are to be 
found in equal number in both parts, but are the only 
passages of the continuation which would bear trans- 
planting without a ruinous diminution of effect. Be- 
sides, my own opinion is, that the First Part will hence- 
forth be read, as formerly, by and for itself ; nor would 
I advise those who wish to enjoy it thoroughly and 
retain the most favourable impression of it, to look at the 
Second Part at all. " Gro ethe's ' Faust ' should have re- 
mained a fragment. The heart-thrilling last scene of the 
First Part, Margaret's heavenly salvation, which works 
so powerfully upon the mind, should have remained 
the last ; as indeed, for subhmity and impressiveness, 
it perhaps stands alone in the whole circle of literature. 
It had a fine efEect,— how Faust, in the manner of 
the spirits that fiitted round him, disappeared,— how 
mists veiled him from our sight, given over to inexor- 
able Destiny, on whom, hidden from us, the duty of 
condemning or acquitting him devolved. The spell is 
now broken." ' , 

In Appendix, No. 2, will be found an account ot the 
story of " Faust," and the various productions m art 
and literature that have grown out of it. 

1 " The Foreign Quarterly Review," No, 23, Art. 4. 
' Stieglitz, "Sage vom Doctor Faust.' 

Temple, January, 1834 



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f#!-"' ^^% 





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