Western European stream·Works of Goethe·Faust (Parts I and II)·Faust I (1808)·Scene XXV — Dungeon

Source context

Theme

Gretchen's madness, imprisonment, and refusal of rescue as karmic consequence and soul-sacrifice

Soul-faculty

Consciousness Soul

Steiner

• GA 282, 1924-09-08Steiner cites the Dungeon scene directly in the context of speech and drama, attending to the exchange between Faust and Mephistopheles over Gretchen's fate and the force of Mephistopheles' characterisation of divine vengeance, indicating the scene's importance as a moral-dramatic climax.

Cross-tradition

• Sophoclean tragedyGretchen's lucid refusal of freedom despite approaching death structurally parallels Antigone's acceptance of death as fidelity to a higher moral order, illustrating cross-tradition congruence between Germanic Romantic tragedy and Greek tragic conscience.
• Christian mystical theology (kenosis)Gretchen's final surrender — 'Heinrich! I shudder to think of thee' followed by the heavenly voice 'She is saved' — exhibits structural cross-tradition congruence with kenotic self-emptying as the precondition of redemption in Christian mystical anthropology.

Faust (with a bunch of keys and a lamp, before an iron door). SHUDDER, long unfelt, comes o'er me ;

™ Mankind's collected woe o'erwhelms me, here. She dwells within the dark, damp walls before me, And all her crime was a delusion dear! What! I delay to free her? I dread, once again to see her?

On! my shrinking only brings Death more near. (He grasps the lock: the sound of singing is heard inside.)

My mother, the harlot,%73 Who put me to death;

My father, the varlet, Who eaten me hath!

Little sister, so good,

Laid my bones in the wood, In the damp moss and clay:

Scene XXV. 293

Then was I a beautiful bird 0 the wood; Fly away! Fly away!

Faust (unlocking).

She does not dream her lover listens near;

That he the rattling chain, the rustling straw, can hear.

(He enters.)

Marcaret (hiding herself on the pallet).

Woe! woe! They come. O death of bitterness!

Faust (whispering).

Hush! hush! The hour is come that frees thee.

Marcaret (throwing herself before him).

Art thou a man, then pity my distress!

Faust. Thy cries will wake the guards, and they will seize thee!

(He takes hold of the fetters to unlock them.)

MarcaretT (on her knees).

Who, headsman! unto thee such power

Over me could give?

294faust.
Thou 'rt come for me at midnight-hour: Have mercy on me, let me live! Is *t not soon enough when morning chime has rung? (She rises.) And I am yet so young, so young ! And now Death comes, and ruin! I, too, was fair, and that was my undoing. My love was near, but now he's far; Torn lies the wreath, scattered the blossoms are. Seize me not thus so violently ! Spare me! What have I done to thee? Let me not vainly entreat thee! I never chanced, in all my days, to meet thee! Faust. Shall I outlive this misery ? MARGARET. Now am I wholly in thy might. But let me suckle, first, my baby! I blissed it all this livelong night ; They took 't away, to vex me, maybe, And now they say I killed the child outright. And never shall I be glad again. Scene XXV. 295 They sing songs about me! 't is bad of the folk to do it! There 's an old story has the same refrain ; Who bade them so construe it ? Faust ( falling upon his knees). Here lieth one who loves thee ever, The thraldom of thy woe to sever. Marecaret ( flinging herself beside him). O let us kneel, and call the Saints to hide us! Under the steps beside us, The threshold under, Hell heaves in thunder ! The Evil One With terrible wrath Seeketh a path His prey to discover ! Faust (aloud). Margaret! Margaret ! MarcaretT (attentively listening). That was the voice of my lover! (She springs to her feet: the fetters fall off.)

296Faust.
Where is he? I heard him call me. Iam free! No one shall enthrall me. To his neck will I fly, On his bosom lie! On the threshold he stood, and Margaret! calling, Midst of Hell's howling and noises appalling, Midst of the wrathful, infernal derision, I knew the sweet sound of the voice of the vision! Faust. °'T is I! MarGareT. 'T is thou! O, say it once again ! (Clasping him.) "T is he! 't is he! Where now is all my pain? The anguish of the dungeon, and the chain? 'T isthou! 'Thou comest to save me, And I am saved ! — Again the street I see Where first I looked on thee; And the garden, brightly blooming, Where I and Martha wait thy coming. Faust (struggling to leave). Come! Come with me! Scene XXV. 297 MARGARET. Delay, now! So fain I stay, when thou delayest ! (Caressing him.) Faust. Away, now ! If longer here thou stayest, We shall be made to dearly rue it. MARGARET. Kiss me!—canst no longer do it? My friend, so short a time thou 'rt missing, And hast unlearned thy kissing? Why is my heart so anxious, on thy breast? Where once a heaven thy glances did create me, A heaven thy loving words expressed, And thou didst kiss, as thou wouldst suffocate me — Kiss me! Or Ill kiss thee! (She embraces him.) Ah, woe! thy lips are chill, And still. How changed in fashion

298faust.
Thy passion! Who has done me this ill ? (She turns away from him.) Faust. Come, follow me! My darling, be more bold: Ill clasp thee, soon, with warmth a thousand-fold ; But follow now! "F is all I beg of thee. MarcareT (turning to him). And is it thou? Thou, surely, certainly ? | Faust. *T is I! Come on! MarGaRET. Thou wilt unloose my chain, And in thy lap wilt take me once again. How comes it that thou dost not shrink from me? — Say, dost thou know, my friend, whom thou mak'st free? Faust. Come! come! The night already vanisheth. MARGARET. My mother have I put to death; I've drowned the baby born to thee. Scene XXV. 299 Was it not given to thee and me? Thee, too!—'T is thou! It scarcely true doth seem — Give me thy hand! 'T is not a dream! Thy dear, dear hand ! — But, ah, 't is wet! Why, wipe it off! Methinks that yet There 's blood thereon. Ah, God! what hast thou done? Nay, sheathe thy sword at last! Do not affray me! Faust. O, let the past be past ! Thy words will slay me! MARGARET. No, no! Thou must outlive us. Now I 'll tell thee the graves to give us: Thou must begin to-morrow The work of sorrow! The best place give to my mother, Then close at her side my brother, And me a little away, | But not too very far, I pray! And here, on my right breast, my baby lay! Nobody else will lie beside me! —

300Faust.
Ah, within thine arms to hide me, © That was a sweet and a gracious bliss, But no more, no more can J attain it! I would force myself on thee and constrain it, And it seems thou repellest my kiss : And yet 't is thou, so good, so kind to see! Faust. If thou feel'st it is I, then come with me! MARGARET. Out yonder? ~ Faust. To freedom. MarGARET. If the grave is there, Death lying in wait, then come! From here to eternal rest : No further step — no, no! Thou goest away! O Henry, if I could go! Faust. Thou canst! Just will it! Open stands the door. MARGARET. I dare not go: there 's no hope any more. Scene XXV. 301 Why should I fy? They 'll still my steps waylay It is so wretched, forced to beg my living, And a bad conscience sharper misery giving! It is so wretched, to be strange, forsaken, And I'd still be followed and taken! Faust. Ill stay with thee. MarGarRE&T. Be quick! Be quick! Save thy perishing child! Away! Follow the ridge Up by the brook, Over the bridge, Into the wood, To the left, where the plank is placed In the pool! Seize it in haste! "T is trying to rise, : "T is struggling still ! Save it! Save it! Faust. Recall thy wandering will! One step, and thou art free at last !

302Faust.
MARGARET. If the mountain we had only passed ! There sits my mother upon a stone, — I feel an icy shiver ! There sits my mother upon a stone, And her head is wagging ever. She beckons, she nods not, her heavy head falls o'er ; She slept so long that she wakes no more. She slept, while we were caressing : Ah, those were the days of blessing! Faust. Here words and prayers are nothing worth ; I ll venture, then, to bear thee forth. MarcarbtT. No—let me go! Ill suffer no force! Grasp me not so murderously ! I 've done, else, all things for the love of thee. Faust. The day dawns: Dearest! Dearest ! MARGARET. Day? Yes, the day comes, — the last day breaks for me! Scene XXV. 303 My wedding-day it was to be! *74 Tell no one thou hast been with Margaret! Woe for my garland! The chances Are over — 't is all in vain! | We shall meet once again, But not at the dances! The crowd is thronging, no word is spoken: The square below And the streets overflow: The death-bell tolls, the wand is broken. I am seized, and bound, and delivered — Shoved to the block — they give the sign! Now over each neck has quivered The blade that is quivering over mine. Dumb lies the world like the grave! Faust. O had I ne'er been born! MEPHISTOPHELES (appears outside). Off! or you 're lost ere morn. Useless talking, delaying and praying! My horses are neighing : The morning twilight is near.

304faust.
MarRGARET. What rises up from the threshold here? He! he! suffer him not! What does he want in this holy spot ? - He seeks me! Faust. Thou shalt live. MARGARET. Judgment of God! myself to thee I give. MEPHISTOPHELES (fo Faust). Come! or II] leave her in the lurch, and thee! MarGARET. Thine am I, Father! rescue me! Ye angels, holy cohorts, guard me,'75 Camp around, and from evil ward me! Henry! I shudder to think of thee. MEPHISTOPHELES, She is judged ! 17 Scene XXV. 305 Voice (from above). She is saved! (MeEPpPHISTOPHELES ¢o Faust.) Hither to me! (He disappears with Faust.) Voice (from within, dying away). Henry! Henry! NOTES. Denn bei den alten lieben Todten Braucht man Erklarung, will man Noten; Die Neuen glaubt man blank zu verstehn, Doch ohne Dolmetsch wird's auch nicht gehn. GorTHE. Digitized by Google INTRODUCTION. N a work which has been the subject of such extensive and continual com- ment, the passages which seem to require elucidation have, for the most part, been already determined. At every point where the reader is supposed to be doubtful in regard to the true path, not one, but a score of tracks has been prepared for him. From the exhaustive and somewhat wearisome work of Dintzer to the latest critical essay which has issued from the German press, the references in the text to contemporary events or fashions of thought have been detected ; the words of old or new coinage have been tested and classified; and the obscure passages have received such a variety of interpretation, that they finally grow clear again by the force of contrast. My first intention was, to give the substance of German criticism concerning both parts of Faust; but the further I advanced, the more unprofitable appeared such a plan. The work itself grew in clearness and coherence in proportion as I withdrew from the cloudy atmosphere of its interpreters. I have examined every commentary of importance, from Schubarth (1820) and Hinrichs (1825) to Kreyssig (1866), with this advantage, at least, — that each and al] have led me back to find in the author of Faust his own best commentator. After making acquaintance, sometimes at the cost of much patience, with the theories of many sincere though self-asserting minds, and ascertaining what marvellous webs of meaning may be spun by the critic around a point of thought, simple enough in its poetical sense, I have always returned to Goethe's other works, to his corre- spondence (especially with Schiller and Zelter) and his conversations, sure of gaining new light and refreshment.* * Tam glad to find that this method, drawn from my own experience, is substantially confirmed by Mr. Lewes, who, in his' Life of Goethe (Book VI.), says: Critics usually devote their whole attention to an exposition of the Idea of Faust; and it seems to me that in this laborious search after a remote explanation they have overlooked the more obvious and natural explanation fur- nished by the work itself. The reader who has followed me thus far will be aware that I have little sympathy with that Philosophy of Art which consists in translating Art into Philosophy, and that I trouble myself, and him, very little with 'considerations on the Idea.' Experience tells 310° Faust. I should only confuse the reader by attempting to set forth all the forms of intellectual, ethical, or theological significance which have been attached to the characters of Faust. The intention of the work, reduced to its simplest element, is easily grasped; but if every true poet builds larger than he knows, this drama, completed by the slow accretion of sixty years of thought, may be as- sumed to have a vaster background of design, change, and reference than almost anything else in Literature. Like an old Gothic pile, its outline is sometimes obscured in a labyrinth of details, While, in the Notes which succeed, it will now and then be necessary for me to give the conflicting interpretations, I shall endeavor to wander from the text as little as possible, and, even when dealing with enigmas, to keep open a way past, if not through them. The embarrassing abundance of the material is somewhat diminished for me by the omission of all technical or philological criticism, and my chief task will be to distinguish be- tween those helps which all readers require and the points which are interesting only to special students of the work. In many instances, I have simply illustrated the text by parallel passages. Where I have discovered these, in Goethe's works or correspondence, they have often been of service in suggesting (in the absence of any direct evidence) the probable time when certain scenes were written, and thereby the interests or influences which may have then swayed the author's mind. The variation in tone between different parts of the work, though sometimes very delicate, is always perceptible; and the reader to whom the original is an unknown tongue needs all the side-lights which can be thrown upon its translated forms. The * Paralipomena" (Supplementary Fragments) to Faust have not hereto- fore been given by any English translator. Yet in a work of such importance we may also learn from what the author has omitted, not less than from what he has accepted. 'The variations made in his original design assist us to a clearer comprehension of the design itself. I consider, therefore, that the passages of the '' Paralipomena" have, properly, the character of explanatory notes; and for this reason I have inserted each, as nearly as possible, in its appropriate place, instead of giving them in a body, as in the standard German edition of Goethe. Perhaps the most satisfactory commentary on Faust would be a biography of Goethe, written with special reference to this one work. In the Chronology of Faust (Appendix II.) I have given such particulars as are necessary to the illustration of its interrupted yet life-long growth. It has not been found pos- me that the Artists themselves had quite other objects in view than that of developing an Idea; and experience further says that the Artist's public is by no means primarily anxious about the Idea, but leaves it entirely to the critics, — who cannot agree upon the point among them- selves." Notes. | 311 sible to combine the Notes and the Chronology without confusing the material ; yet the two should be taken as parallel explanations, which the reader needs to follow at the same time. In conclusion, Jet me beg him not to be discouraged, if, on the first reading, the meaning of some passages, and their significance as portions of an ** incommensurable " plan, — as Goethe himself characterized it, — should not be entirely clear. When he has become familiar with the history of the work, and is able to overlook it as a whole, the fitness — or the unfitness —of the multitude of parts becomes gradually evident; the compressed mean- ings expand into breadth and distinctness; and even those enigmas which seem to defy an ultimate analysis will charm him by dissolving into new ones, or by showing him forms of thought which fade and change as he seeks to retain them. | Digitized by Google NOTES.

1DepICcATION.
The Dedication was certainly not written earlier than the year 1797, when Goethe, encouraged by Schiller's hearty interest in the work, determined to complete the '* Fragment" of the First Part of Faust, published in 1790. Twenty-four years had _ therefore elapsed since the first scenes of the work were written: the poet was forty-eight years old, and the conceptions which had haunted him in his twenty-first year seemed already to belong to a dim and remote Past. The shadowy forms of the drama, which he again attempts to seize and hold, bring with them the phantoms of the friends to whom his earliest songs were sung. Of these friends, his sister Cornelia, Merck, Lenz, Basedow, and Gotter were dead ; Klopstock, Lavater, and the Stolbergs were estranged ; and Jacobi, Klinger, Kestner, and others were separated from him by the circumstances of their lives. , Gotter died in March, 1797, and, as it is evident from Goethe's letters to Schiller that he worked upon Faust only in the months of May and June, inthat year, the Dedication was probably then written. Nothing of Goethe has been more frequently translated than these four stanzas,—-and nothing, I may add, is more difficult to the translator. ' 2, PRELUDE ON THE STAGE. " I am unable to ascertain precisely when this was written: from Goethe's correspondence, some inferences, which point to the year 1798, may be drawn. It is unnecessary to follow the critics in their philosophical analyses of this pre- lude, which is sufficiently explained by calling it a '* poetic preface" to the work. Géschen's edition of Goethe's works, in 1790, had not been a success- ful venture: the '¢ Fragment " of Faust, although fully appreciated by the few, seemed to have made no impression upon the public, while it had been assailed and ridiculed by the author's many liter- ary enemies. Goethe always published his poctical works without a preface; but in the " Prelude on the Stage" he makes use of the characters to contrast the Poet's purest activity with the tastes and desires of'the Public, two classes of which are represented by the Manager and Merry-Andrew. The dialogue in- dicates, in advance, the various elements — imagination, fancy, shrewd experi- ence, folly, and '* dramatic nonsense " —which will be woven into the work. At the same time, it indirectly admits and accounts for the author's unpop- ularity, and the lack of recognition which he still anticipates.

3The posts are set, the booth of boards
completed. The ' booth of boards" purposely refers to the rude, transportable pup- pet theatres in which Goethe first saw Faust represented. There is already a foreshadowing of some of the qualities of Faust and Mephistopheles in the Poet and Manager.

4They come to look, and they prefer to
Stare. Goethe writes, in 1802 (* Weimari- scher Hoftheater"): 'One can show the public no greater respect than in forbearing to treat it as amob. The mob hurry unprepared to the theatre, demand that which may be immediate- ly enjoyed, desire to stare, be amazed, Jaugh, weep, and therefore compel the managers, who are dependent on them, to descend more or less to their level." 5- Who offers much, brings something unto many. 'One should give his works the greatest possible variety and excellence, so that each reader may be able to se- lect something for himself, and thus, in his own way, become a participant."— Goethe to Schiller (1798). Faust.

6This, aged Sirs, belongs to you.
It is the Poets whom the Merry-An- drew thus addresses. His assertion of the perpetual youth of Genius is not ironical, but (as appears from the Man- ager's remarks) is intended as a compli- ment. '*'To carry on the feelings of child- hood 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." —Co/e- ridge.

7From Heaven, across the World, to
Hell. Goethe saysto Eckermann (in 1827): '© People come and ask, what idea I have embodied in my Faust? As if I knew, myself, and could express it! 'From Heaven, across the World, to Hell' — that might answer, if need were; but it is not an idea, only the course of the action." The reference in this line, curiously enough, is to the course of action in the old Faust-Legend, not to the close of the Second Part, the scene of which is laid in Heaven, instead of Hell. Yet at the time when the line was written the project of the Second Part—in outline, at least—was completed. Did . Notes. Goethe simply intend to keep his secret from the reader ?

8Protocve 1n HEaven.
Some of Goethe's commentators sup- pose that this Prologue was added by him, from the circumstance that the de- sign of Faust was not understood, in the **Fragment" first published. It appears to have been written in June, 1797, before the 'Prelude on the Stage," and chiefly for the purpose of setting forth the moral and intellectual problem which underlies the drama. Although possibly suggested by the Prologue in Hell of two of the puppet- plays, its character is evidently drawn from the interviews of Satan with the Lord, in the first and second chapters of Job. Upon this point, Goethe (in 1825) said to Eckermann: ** My Me- phistopheles sings a song of Shakespeare ; and why should he not?) Why should I give myself the trouble to compose a new song, when Shakespeare's was just the right one, saying exactly what was necessary? If, therefore, the scheme of my Faust has some resemblance to that of Job, that is also quite right, and I should be praised rather than cen- sured on account of it." The earnest reader will require no explanation of the problem propound- ed in the Prologue. Goethe states it without obscurity, and solves it in noun- certain terms at the close of the Second Part. The mocking irreverence of Me- phistopheles, in the presence of the Lord, although it belongs to the char- acter which he plays throughout, seems to have given some difficulty to the early English translators. Lord Leve- son Gower terminates the Prologue with the Chant of the Archangels; Mr. Blackie omits it entirely, but adds it in an emasculated form, as an Ap- pendix; while Dr. Anster satisfies his spirit of reverence by printing Der Herr where the English text requires, «©The Lord." Coleridge's charge of «' blasphemy " evidently refers to this Prologue; but at the time when he made the charge, Coleridge was hardly capable of appreciating the spirit in which Faust was written. It is very clear, from hints which Goethe let fall, that he at one time con- templated the introduction into Faust of the doctrine ascribed to Origen, — that it was possible for Satan to repent and be restored to his former place as an angel of light. Falk reports Goethe as saying: * Yet even the clever Madame de Staél was greatly scandal- ized that I kept the devil in such good- humor. In the presence of God the Father, she insisted upon it, he ought to be more grim and spiteful. What will she say if she sees him promoted a step higher,—nay, perhaps, meets him in heaven?" On another occa- sion, he exclaimed (if we may trust Falk): 'At bottom, the most of us do not know how either to love or to hate. They 'don't like' me! An insipid phrase!—I don't like them either. Especially when, after my death, my Walpurgis-Sack comes to be opened, and all the tormenting Stygian spirits, imprisoned until then, shall be let loose to plague all even as they plagued me; or if, in the continuation of Faust, they should happen to come upon a passage where the Devil him- self receives Grace and Mercy from God, —that, I should say, they would not soon forgive!" g. CHANT oF THE ARCHANGELS. The three Archangels advance in the order of their dignity, as it is given in the «© Celestial Hierarchy" of Dionysius Areopagita ; who was also Dante's au- thority on this point (Paradiso, Canto XXVIII). Raphael, the inferior, com- mences, and Michael, the chief, closes the chant. Shelley speaks of this '¢ astonishing chorus," and very truly says: 'It is impossible to represént in another lan- guage the melody of the versification : even the volatile strength and delicacy of the ideas escape in the crucible of translation, and the reader is surprised to find a caput mortuum." I shall not, however, imitate Shelley in adding a literal translation. Here, more than in almost any other poem, the words acquire a new and indescriba- ble power from their rhythmical colloca- tion. The vast, wonderful atmosphere of space which envelops the lines could not be retained in prose, however ad- mirably literal. 'The movement of the original is as important as its meaning. Shelley's translation of the stanzas, how- ever, is preferable to Hayward's, which contains five inaccuracies. The magnificent word Donnergang — "* thunder-march " (first stanza, fourth Faust. line) —had already occurred in a fine line of one of Schiller's earliest poems, — ' Elysium" :— "Berge bebten unter dessen Donnergang."

10Pardon, this troop I cannot follow
after. Mephistopheles here refers to the Chant of the Archangels. His mock- ing spirit is at once manifested in these lines, and in his ironical repetition of "the earliest day."

11While Man's desires and aspira-
tions stir, He cannot choose but err. The original of this is the single, - well-known line: Es irr? der Mensch, so lang er strebt. It has seemed to me impossible to give the full meaning of these words—that error is a natural accompaniment of the struggles and as- pirations of Man—in a single line. Here, as in a few other places, I do not feel bound to confine myself to the ex- act measure and limit of the original. The reader may be interested in com- paring some other versions : — Haywarp.— Man is liable to error, while his struggle lasts. Anstrer.— Man's hour on Earth is weakness, error, strife. Brooxs.— Man errs and staggers from his birth. Swanwicx.— Man, while hestriveth, 1s prone to err. Biackie.— Man must still err, so long he strives. Martin. — Man, while his struggle lasts, is prone to stray. Notes. BeresForp.— Man errs as long as lasts his strife. Bircu. — Man's prone to err in ac- quisition. (!) Biaze. — L'homme s'égare, tant qu'il cherche son but.

124 good man, through obscurest as-
piration, Has still an instinct of the one true way. In these lines the direction of the plot is indicated. They suggest, in advance, its moral dénouement, at the close of the Second Part. Goethe, on one occasion, compared the * Prologue in Heaven" to the overture of Mo- zart's Don Giovanni, in which a certain musical phrase occurs which is not repeated until the fiza/e; and his com- parison had reference to the idea ex- pressed in these lines.

13But ye, God's sons in love and duty.
Here the Lord, turning away from Mephistopheles, suddenly addresses the Archangels and the Heavenly Hosts, The expression Das Werdende, in the third following line, which I have translated '* Creative Power," means, literally, ''that which is developing into being." Shelley, who was not, and did not pretend to be, a good Ger- man scholar, entirely misses the mean- ing of the closing quatrain, notwith- standing he avoids the rhymed transla- tion. His lines, "Let that which ever operates and lives Clasp you within the limits of its love; And seize with sweet and melancholy thought The floating phantoms of its loveliness," have nothing of the suggestive force and fulness of the original. Hayward quotes, apparently from a private letter, Carlyle's interpretation of the passage: ' There is, clearly, no translating of these lines, especially on the spur of the moment; yet It seems to me that 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; where- upon, 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, contradic- tory, wherein man toils imprisoned) : let Being (or Existence), which is every- where a glorious birth, into higher be- ing, as it forever works and lives, en- circle 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, mean no less than the universe (the visible universe) itself; and I para- phrase it by ' Existence, which is every- where a birth, into higher Existence,' and make a comfortable enough kind of sense out of that quatrain." The intention of the passage, we might suppose, is sufficiently clear. It was Goethe's habit, as an author, to quietly ignore the conventional the- ology of his day: yet Mr. Heraud in- sists that "* The Lord" of the Prologue is the Second Person of the Trinity, and that the four lines commencing with Das Werdende are simply another form of invoking 'the fellowship of the Holy Ghost!" these lines—the first half implying a benediction, and the second half a com- mand —has been retained in the trans- lation. The unusual construction of

14Faust's Monologue.
This scene, from its commencement to the close of Wagner's interview with Faust, was probably written as early as

1773In style, as well as in substance,
it suggests the puppet-play rather than the published Faust legend. In Wabr- heit und Dichtung, Goethe says, in de- scribing his intercourse with Herder, in Strasburg (1770): ' The puppet- play echoed and vibrated in many tones through my mind. I, also, had gone from one branch of knowledge to an- other, and was early enough convinced of the vanity of all. I had tried life in many forms, and the experience had left me only the more unsatisfied and worried. I now carried these thoughts about with me, and indulged myself in them, in lonely hours, but without committing anything to writing. Most of all, I concealed from Herder my mystic-cabalistic chemistry, and every- thing connected with it." _ The text of various puppet-plays, which has been recovered by Simrock, Von der Hagen, and other zealous Ger- man scholars, enables us to detect the source of Goethe's conception, — the original corner-stone whereupon he builded. In the play, as given in Ulm = Faust. and Strasburg, there is a brief Pro- logue in Hell, in which Pluto orders the temptation of Faust. Notwith- standing the variation of the action in the different plays, the opening scene possesses very much the same character in all of them. As performed by Schiitz, about the beginning of this century, Faust is represented as seated ata table, upon which lies an open book. His soliloquy commences thus: « With all my learning, I, Johannes Faust, have accomplished just so much, that I must blush with self-shame. I am ridiculed everywhere, no one reads my books, all despise me. How fain am I to be- come more perfect! Therefore I am rigidly resolved to instruct myself in necromancy." In Geisselbrecht's puppet-play, Faust also sits at a table and turns over the leaves of a book. He says: 'I seek for learning in this book and cannot find it. Though I study all books from end to end, I cannot discover the touchstone of wisdom. O, how un- fortunate art thou, Faust! I have all along thought that my luck must change, but in vain..... O Fatherland! thus thou rewardest my industry, my labor, the sleepless nights I have spent in fathoming the mysteries of Theology ! But, no! By Heaven, I will no longer delay, I will take upon myself all labor, so that I may penetrate into that which is concealed, and fathom the mysteries of nature!" In the Augsburg puppet-play, Faust exclaims: '*I, too, have long investi- gated, have gone through all arts and Notes. sciences. I became a Theologian, con- sulted authorities, weighed all, tested all, — polemics, exegesis, dogmatism. All was babble: nothing breathed of Divinity! I became a Jurist, endeav- ored to become acquainted with Justice, and learned how to distort justice. I found an idol, shaped by the hands of self-interest and self-conceit, a bastard of Justice, not herself. I becamea Phy- sician, intending to learn the human structure, and the methods of support- ing it when it gives way; but I found not what I sought, —I only found the art of methodically murdering men. I became a Philosopher, desiring to know the soul of man, to catch Truth by the wings and Wisdom by the forelock ; ' and I found shadows, vapors, follies, bound into a system!" The reader is referred to the ' Faust- Legend"? (Appendix I.) for further in- formation concerning these plays. I have given the above quotations, to in- dicate Goethe's starting-point — which is also his point of divergence — from the popular story. — I have also added the opening scene of Marlowe's ' Faustus"? (Appendix IIT.) for the sake of convenient com- parison.

15Fh! Up, and seck the broad, free
land ! «* Moreover, there are forces which Increase one's productiveness in rest and sleep; but they are also found in movement. 'There are such forces in water, and especially in the atmosphere. In the fresh air of the open fields is where we properly belong; it is as if the Spirit of God is there immedi- ately breathed upon man, and a divine power exercises its influence over him." — Goethe to Eckermann (1828). %

16From Nostradamus' very band,
The astrologer Nostradamus (whose real name was Michel de Notre-Dame) «was born at St. Remy, in Provence, in the year 1503. At first celebrated asa physician, he finally devoted himself to astrology, and published, in 1555, a collection of prophecies in rhymed quatrains, entitled Les Prophecies de Michel Nostradamus, which created an immediate sensation, and found many believers; especially as the death of Henry II. of France seemed to verify one of his mystical predictions. He was appointed physician to Charles IX. and continued the publication of his prophecies, asserting, however, that the study of the planetary aspects was not alone sufficient, but that the gift of second-sight, which God grants only to a few chosen persons, is also necessary. He died in the year 1566; and even as late as the year 1781 his prophecies were included in the Roman Index Ex- purgatorius, for the reason that they de- clare the downfall of the Papacy.

17The Sign of the Macrocosm.
The term '* Macrocosm" was used by Pico di Mirandola, Paracelsus, and other mystical writers, to denote the universe. They imagined a mysteri- ous correspondence between the Mac- rocosm (the world in large) and the Microcosm (the world in little), or Man; and most of the astrological theories were based on the influence of the former upon the latter. Fromsome of Goethe's notes, still in existence, we learn that during the time®when the conception of Faust first occupied his mind (1770-73), he read Welling's Opus Mago-Cabbalisticum, Paracelsus, Valentinus, the Aurea Catena Homeri, and even the Latin poet Manilius. Mr. Blackie, in his Notes, quotes a description of the Macrocosm from a Latin work of Robert Fludd, published at Oppenheim in 1619; but the theory had already been given inthe Heptap/us of Pico di Mirandola (about 1490). The universe, according to him, con- sists of three worlds, the earthly, the heavenly, and the super-heavenly. The first includes our planet and its envelop- ing space, as far as the orbit of the moon; the second, the sun and stars; the third, the governing Divine influ- ences. 'The same phenomena belong to each, but have different grades of manifestation. 'Thus the physical ele- ment of fire exists in the earthly sphere, the warmth of the sun in the heavenly, and a seraphic, spiritual fire in the em- pyrean; the first burns, the second quickens, the third loves. 'In addi- tion to these three worlds (the Macro- cosm),"" says Pico, '*there is a fourth (the Microcosm), containing all em- braced within them. This is Man, in whom are included a body formed of the elements, a heavenly spirit, reason, an angelic soul, and a resemblance to God." Faust. The work of Cornelius Agrippa, De Occulta Philosopbia, which was also known to Goethe, contains many refer- ences to these three divisions of the Macrocosm, and their reciprocal influ- ences. 'The latter are described in the passage commencing: '* How each the Whole its substance gives!" Hayward quotes, as explanatory of these lines, the following sentence from Herder's Ideen zur Philosophie der Ge- schichte der Menschbeit: «When, there- fore, I open the great book of Heaven, and see before me this measureless pal- ace, which alone, and everywhere, the Godhead only has power to fill, I con- clude, as undistractedly as I can, from the whole to the particular, and from the particular to the whole." The four lines which Faust appar- ently quotes ("What says the sage, now first I recognize'') are not from Nostradamus. They may possibly have been suggested by something in Jacob Boehme's first work, " Aurora, or the Rising Dawn," but it is not at all ne- cessary that they should be an actual quotation.

18The Sign of the Earth Spirit.
«©The Archzus of the Orphic doc- trine, the spirit of the elementary world, of the powerful, multiformed earthly universe, to which Faust feels himself nearer." — Diantzer. «The mighty and multiform uni- versality of the Earth itself." — Falk. *«<But few succeed in calling up, that is to say, grasping in inspired con- Notes. templation —the Earth-Spirit, the spirit of History, of the movement of the human race ; and still fewer is the num- ber of those who can endure the ' form of flame,?,—whose individuality is strong enough not to be swallowed up In 1t." — Kreyssig.

19Inthe tides of Life, in Action's storm.
This chant of the Earth-Spirit re- calls the '* Creative Power which eter- nally works and lives" in the Prologue in Heaven. 'The closing line may have been suggested by a passage in the work, De Sensue Rerum, of the Dominican monk, Campanella: "* Mundus ergo totus est sensus, vita, anima, corpus statua Det altissimi." The "living garment of the Deity," however, is a much finer expression, 'The Spirit's chant proba- bly lingered in Shelley's memory, when he wrote :— "© Nature's vast frame—the web of human things, Birth and the grave."

20O Death! — TI know it—'t is my
Famutlas } The Latin word famulus (servant) was applied, in the Middle Ages, to the shield-bearers of the knights, and also to persons owing the obligation of ser- vice to the feudal lords. The Famulus of Faust, however, is at the same time a student, an amanuensis, an assistant in his laboratory, and a servitor, in the academic sense. The term is still ap- plied, in the German Universities, to those poor students who fill various minor offices for the sake of eking out their means by the small salaries at- tached to them.

21WacGneR.
The name—and perhaps also the primal suggestion of the character — of Faust's Famulus is taken from the old legend, in which Christopher Wagner (see Appendix I.), after Faust's tragic end, succeeds to his knowledge and enters on a similar, if not so brilliant a career, It is an interesting coincidence that one of Goethe's early associates, during his residence in Strasburg and Frank- fort, was Heinrich Leopold Wagner (who died in 1779), and who was also an author. Goethe not only read to him the early scenes of Faust, but imparted to him, in confidence, the fate of Mar- garet, as he meant to develop it; and Wagner was faithless enough to make use of the material for a tragedy of his own — The Infanticide — which was published in 1776. Schiller's poem, with the same title (apparently suggested by Wagner's play), and Biirger's bal- Jad of ** The Pastor of Taubenheim's Daughter," in which the subject is very similar, were both written in the year According to Hinrichs, Faust rep- resents Philosophy, and Wagner Empi- ricism. Diintzer calls the latter * the representative of dead pedantry, of knowledge mechanically acquired "; while other critics consider that he symbolizes the Philistine element in German life,—the hopelessly material, prosaic, and commonplace. Deycks says of Wagner: '* His thoroughly pro- saic nature forms the sharpest contrast to Faust, and it is impossible for him to enter into any relation with Mephis- topheles, because he restricts himself to beaten tracks, and is repelled by all tricksy wantonness, even by all fresh, natural indulgence. He is the driest caricature of pure rational, formal knowledge, without living thought or poetry, and especially without religion." It was probably enough for Goethe that Wagner furnishes a dramatic con- trast of character, —a foil to the bound- less ideal cravings of Faust. He be- trays his nature in the very first words he utters, and is so admirably consistent throughout, that the reader is never at a loss how to interpret him.

22Where ye for men twist shredded
thought like paper. This line, which reads, literally, "In which ye twist (or curl) paper- shreds for mankind," has been curious- ly misunderstood by most translators. The article der before Menschheit was supposed by Hayward to be in the gea- itive instead of the dative case, and he gives the phrase thus: *¢in which ye crisp the shreds of humanity"?! Blackie even says **the shavings of mankind," and most of the other English versions repeat the mistake, in one or another form. In the French of Blaze and Stapfer, however, the reading is cor- rect. Goethe employs the word Schnitzel (shreds or clippings) as a contemptuous figure of speech for the manner in which thought is presented Faust. to mankind in the discourses described by Faust. Therefore, by using the ex- pression '* shredded thought" in Eng- lish, the exact sense of the original is preserved.

23Ab, God! but Art is long.
Goethe was very fond of using the 'ars longa, vita brevis"? of Hippocra- tes. It occurs again in Scene IV., where he puts it into the mouth of Mephistopheles. The American read- er is already familiar with the phrase, from Mr. Longfellow's beautiful appli- cation of it, in his ** Psalm of Life."

24Or, at the best, a Punch-and-Fudy
play. The German phrase, Haapt-und Staats-action, was applied, about the end of the seventeenth century, to the popular puppet-plays which repre- sented famous passages of history. It seems to have been, originally, a form of announcement invented by some proprietor of a wandering puppet- theatre, and may therefore be equiva- lently translated, as a ' First-Class Political Performance!" The phrase was afterwards applied to plays acted upon the stage, and Goethe even makes use of it to designate Shakespeare's his- torical dramas. In the puppet-plays the heroic figures (Alexander, Pom- pey, Charlemagne, etc.) were in the habit of uttering the most grandilo- quent, oracular sentences; they were as didactic in speech as they were reck- less and melodramatic in action. Notes. The word pragmatical, which I have adopted as it stands in the original, has a somewhat different signification in German. It indicates — here, at least —a pedantic assumption and ostenta- tion, in addition to the sense of med- dlesome interference which it possesses in English.

25Have evermore been crucified and
burned, «©There were need," said I, "of a second Redeemer coming, to deliver us from the austerity, the discomfort and the tremendous pressure of the circum- stances under which we live." "If he should come," Goethe an- swered, **the people would crucify him a second time." — Goethe to Ecker- mann, 1829.

26That so our learned talk might be
extended, In "« Faust: a Fragment," published in 1790, Wagner's conversation termi- nates with this line. The first four lines of Faust's following soliloquy are then added, and the scene suddenly ends. Then we abruptly break upon the conversation between Faust and Mephistopheles, in Scene IV., at the line, "¢ And all of life for all mankind created." The remainder of the Monologue, the scene before the city-gate, the first scene in Faust's study, and all of the second as far as the line just quoted, were first published in the completed edition of 1808. It is very certain, however, that portions of these omitted scenes were written before 1790, and were then withheld on account of their incompleteness.

274 thunder-word bath swept me
from my stand. Faust here refers to the reply of the Earth-Spirit : — "Thou rt like the spirit which thou compre- hendest, Not me!" The overwhelming impression pro- duced upon him by this phrase is only suspended during Wagner's visit, and now works with renewed force upon his morbid mood, until it swells to a natural climax.

28And here and there one happy man
sits lonely. In the conversations of Goethe, re- corded by Eckermann, Riemer, and Falk, he more than once, in referring to his early impressions of life, repeats the pessimistic idea contained in these lines. This was one of the causes which stirred in him the resolution to achieve, as far as possible, his own in- dependent development. The subjec- tive character of the early scenes of Faust is so clearly indicated that we should have recognized it without Goethe's admission. In 1826, he said to Eckermann: "In Werther and Faust, I was obliged to delve in my own breast; for the source of that which I communicated lay near at hand."

29Sought once the shining day, and
then in twilight dull. The two adjectives in this line are leicht (easy, buoyant) and schwer (heavy). Hartung thinks that the former is a misprint for /icht (shining, bright) ; but he is evidently mistaken, since the adjectives are chosen to ex- press opposite qualities, and the phrase lichten Tag occurs in the sixth line fol- lowing. I have chosen English words which are not precisely literal, but, by their antithetic character, convey a similar meaning.

30Earn it-anew, to really possess it !
It was a favorite maxim of Goethe that no man can really possess that which he has not personally acquired. He considered his own inherited wealth and the many opportunities of his life as means, the value of which must be measured by the results attained by their use. On one occasion he said: '© Every 402 mot which I have uttered, has cost me 2 purse of money; half a million of my private property has run through my hands, to enable me to Jearn what I know —not only the en- tire estate of my father, but also my salary and my considerable literary in- come for more than fifty years." At the close of the Second Part, he makes the aged Faust say : — ** He only earns his freedom and existence, Who daily conquers them anew." Faust.

31On Earth's fair sun I turn my back.
Here, again, Goethe recalls a phase of his own psychological experience, which he describes at some length in Wahrheit und Dichtung (Book XIII). Even before Jerusalem's suicide at Wetzlar had furnished him with the leading idea of Werther, he had been drawn, by what he calls the gloomy element in English literature, — es- pecially by Hamlet, Young's Night Thoughts, and the melancholy rhapso- dies of Ossian,—to study the phenom- ena of self-murder and apply them, In imagination, to himself. Among all the instances with which he was ac- quainted, none seemed to him nobler than that of the Emperor Otho, who, after a cheerful banquet with his friends, thrust a dagger into his heart. ' This was the only deed," he says (and in what follows, I suspect, there is as much Dichtung as Wabrheit), ** which seemed to me worthy of imitation, and I was convinced that one who could not act like Otho had no right to go voluntarily out of the world. Through this conviction I rescued myself both from the intention and the morbid fancy of suicide, which haunted an idle youth in those fair times of peace. I possessed a tolerable collection of weapons, wherein there was a valuable, keen-edged dagger. This I placed con- stantly beside my bed, and, before put- ting out the light, endeavored to try whether it was possible to pierce my breast, an inch or two deep, with the sharp point. Since, however, the ex- Notes. periment never succeeded, I finally laughed at myself, discarded all hypo- chondric distortions of fancy, and de- termined to live."

32CHorvus oF ANGELS.
In this first chorus I have been forced, by the prime necessity of pre- serving the meaning, to leave the sec- ond line unrhymed. The word sch/ei- chenden, in the fourth line, which I have endeavored to express by "clinging " (Hayward has * creeping," Blackie «© through his veins creeping," and Dr. Hedge " trailing''), is nearly equivalent to the English phrase '* dogging one's steps." The first of the three Angelic Choruses rejoices over Christ's release from Mortality, the second exalts him as the '* Loving One," and the third celebrates his restoration to the Divine creative activity. Goethe heard a similar chant sung by the common people in Rome, in the year 1788; but his immediate model was undoubtedly the German Easter- hymn of the Middle Ages, many va- riations of which are given in Wack- ernagel's work. One of these, dating from the thirteenth century, thus com- mences : — '¢ Christus ist erstanden gewaerliche von dem tot, von allen sinen Banden ist er erledigdt." [Christ is arisen verily from death; From all his bonds is he released. } The universal Easter greeting, at this day, among the Grecks, is Christos aneste! and the answer: alethos aneste! The same custom prevails throughout Russia, and in some parts of Catholic Germany. In 1772, Goethe, writing to Kest- ner on Christmas Day, says: '* The watchman on the tower trumpeted his hymn and awakened me: Praised be thou, Jesus Christ! 1 dearly love this time of the year, and the hymns that are sung."

33And prayer dissolved me in a fer-
vent bliss. Again Goethe recalls his own early memories. These lines describe the religious exaltation excited in his boy- ish nature by Fraulein von Klettenburg, whom he has introduced into Wilhelm Meister (Book VI.), in the '* Confes- sions of a Fair Spirit." The above line suggests a passage of this episode : «Once I prayed, out of the depth of my heart: 'now, Almighty One, give me faith!" I was then in the condition in which one must be, but seldom is, when one's prayers may be accepted by God. Who could paint what I then felt! A powerful impulse drew my soul to the Cross, on which Jesus per- ished. Thus my soul was near to Him who became Man and died on the Cross, and in that moment I knew what faith is. © This is faith!' I cried, and sprang up, almost as in terror. For sucn emotions as these, all words fail us."

34Is He, in glow of birth,
Rapture creative near ? These two lines, in the original, are a marvel of compressed expression. The closest literal translation is: ** Is He, in the bliss-of developing into (higher) being, near to the joy of cre- ating,' —that is, the bliss of being born into the higher life to which He has ascended is scarcely less than the joy of the Divine creative activity. The Disciples, left behind and still sharing the woes of Earth, bewail the beatitude which parts Him from them. The final Chorus of the Angels, which follows, is a stumbling-block to the translator, on account of its five- fold dactylic rhyme, The lines are, literally :— Actively praising him, Manifesting love, Brotherly giving food, Preaching, travelling, Promising blessedness, To you is the Master near, To you, He is here! In order to retain the rhyme, I have been obliged to express a little more prominently the idea of ** Inasmuch as ye have done it unto the least of one of these my brethren, ye have done it unto me," — which is implied in the original, only one who has hitherto endeavored to reproduce the difficult structure of this Chorus. He thus translates the five rhymes: — : "6 Active in charity Praise him in verity | Dr. Hedge, I believe, is the - Faust. His feast, prepare it ye! His message, bear it ye! His joy, declare it ye!" BeroreE THE City-Gare. 35° Goethe's landscapes, like those of an artist, were always drawn from real studies ;* and some of his commenta- tors, therefore, have tried to discover the original of this scene. Strasburg, Frankfurt, and even Weimar, have been suggested ; but the first of these places, on the level plain of the: Rhine, does not fit the description; while, judging from internal evidence, the opening of the scene must have been written be- fore Goethe's migration to Weimar. Such features as the river and vessels, the ferry, the suburban places of resort, and the view of the town from a neigh- boring height, indicate Frankfurt ; and the gay, motley life of the multitude is another point of resemblance.

36Tis true, she showed me, on Saint
Andrew's Night. St. Andrew's Night is the 29th of November. It is celebrated, in some parts of Germany, by forms of divina- tion very similar to those which are practised in Scotland on Hallow E'en (October 31st.) The maidens, as in Keats's Eov of St. Agnes, believe that * The scene of his Elective Affinities, for in- stance, has recently been discovered at Wil- helmsthal, near Eisenach. Not only the castle, park, and lake, but even the wood-paths and the minutest features of the surrounding land- scape, are described with almost topographical exactness, Notes. by calling upon St. Andrew, naked, be- fore getting into bed, the future sweet- heart will appear to them in a dream. Another plan is, to pour melted lead through the wards of a key wherein there is the form of a cross, into a basin of water fetched between eleven o'clock and midnight: the cooling lead will then take the form of tools which in- dicate the trade of the destined lover.

37She showed me mine, in crystal clear.
A magic crystal, sometimes in the form of a sphere, but frequently, no doubt, as a lens, was employed for the purpose of divination. The methods, in fact, were varied to suit the supersti- tion which employed them. In Pic- tor's ** Varieties of Ceremonial Magic" (given in Scheible's Ké/oster), twenty- seven forms of divination are described at length, but Crystallomancy is not among them. The ancients employed between forty and fifty different meth- ods.

38Released from ice are brook and
river. If this passage was not added, or at least re-written, between 1797 and 1808,—- as is possible, — it is interest- ing as one of the first evidences of Goethe's interest in Color, an interest which finally developed into a passion, and quite deceived him in regard to the importance of his observations. His Farbenlebre (Science of Colors) was commenced in 1790 and completed in 1805, the year of Schiller's death, al- though it was not published for four or five years afterwards. Either, there- fore, the allusions to color in this early scene harmonized with the author's later views, or they were afterwards changed for the sake of harmony.

39All for the dance the shepherd
dressed. There is a reference to this song of the shepherds in Wilbelm Meister (Ap- prenticeship), where Philine says: «©¢ Old man, dost thou know the mel- ody: 'All for the dance the shepherd dressed"??? © Qh, yes,' he replied, ¢ if you will sing and represent the song, I shall not fail in my part.' Philine arose and stood in readiness, 'The old man struck up the melody, and she sang a song which we cannot commu- nicate to our readers, because they per- haps might find it absurd or even im- proper." This portion of Wilhelm Meister was published in 1795, which is another evidence of the early origin of the scene. The graceful measure of the song, which nevertheless ex- presses the roughest realism of German peasant-life, can only be approximately given in another language. This episode, also, is suggested by Gocthe's earliest memories of the vari- ous popular festivals in Frankfurt. In Wabrbeit und Dichtung (Book I.), he says: ** On the right bank of the Main, below the city, there is a sulphur spring, neatly enclosed, and surrounded with immemorial linden-trees. Not far from it stands the 'Good People's Hall,' formerly an hospital, built on account of this spring. The cattle of the neighborhood were brought to- gether upon the adjoining commons, on a certain day of the year, and the herdsmen, with their maidens, had a rural festival, with dances and songs, with merriment and rough pranks.... The nurses and maids, who are always ready to treat themselves to a walk, never failed, from our earliest years, to take us with them to such places, so that these country diversions are among the very first impressions which I now recall,"

40Sir Doctor, it is good of you.
It is very rarely that the first and third lines of a quatrain are unrhymed in German. I have no doubt that Goethe intended to represent, by a less musical verse, the more prosaic nature and speech of the common people. The words he employs in the two addresses of the Old Peasant are the simplest and plainest; the tone of the verse is entirely that of prose.

41Then also you, though buta youth.
Diintzer conjectures that Goethe de- rived the idea of this helpful activity of Faust, upon which rests the episode with the peasants, from the history of Nostradamus. In the year 1525, when the latter was twenty-two years old, Provence was devastated by a pesti- lence. The young physician went boldly from house to house, through the villages, and saved the lives of many of the sick, himself escaping all infection. Faust. There was a Lion red, a wooer daring. The jargon of the medizval alche- mists, from Raymond Luily to Paracel- sus, is used in this description. The system taught that all substances, espe- cially metals, had either masculine or feminine qualities, as well as inherent affinities and antipathies. Campanella's doctrine, that all the elements of matter were endowed with sense and feeling, was very generally adopted by his suc- cessors in the art. Goethe drew his description of the preparation of the panacea partly from Paracelsus, and partly from Welling's Opuzs Mago. Cabbatisticum. The «Lion red" is cinnabar, called a '"*wooer daring" on account of the action of quicksilver in rushing to an intimate union (an amalgam) with all other metals. The Lily is a prepara- tion of antimony, which bore the name of Lilium Paracelsi. Red, moreover, is the masculine, and white the femi- nine color. The alembic containing these substances was first placed ina "tepid bath '—a vessel of warm water —and gradually heated; then "tor- mented by flame unsparing'"' (" open flame,"? in the original), the two were driven from one 'bridal chamber" to another, —that is, their wedded fumes were forced, by the heat, from the alembic into a glass retort. If then, the "young Queen," the sublimated compound of the two substances, ap- peared with a brilliant color — ruby or royal purple being most highly esteemed Notes. — jin the retort, 'this was the med- icine." The product reminds us of calomel, which is usually formed by the sublimated union of mercury and chlorine.

43If there be airy spirits near.
In his conversations, Goethe more than once speaks of his youthful be- lief in spirits, even relating circum- stances when he fancied their presence was manifested to him; and Riemer considers that this passage is simply an expression of such belief. Diintzer, on the other hand, insisted that Faust refers to the sylphs, or spirits of the air, as they were recognized in the theories of the alchemists. I think it much more probable that the following passage, from the Faust-legend in its oldest form (Frankfurt, 1587), lingered in Goethe's memory. Faust says to Mephistopheles: '* My servant, de- clare what spirit thou art!" The spirit answered and said: "J am a spirit, and a flying spirit, potently ruling under the beavens!"? Inthe four lines of the text, followed by the wish fora magic mantle (such as Mephistopheles afterwards furnishes), Faust uncon- sciously invokes the spirit which is already lying in wait for him, and which, thus invited, appears immedi- ately in the form of a black dog. Wagner, however, who comprehends nothing but the dry lore with which he is crammed, sees in Faust's words only a reference to the weather-spirits, and thereupon pompously airs his own knowledge of the latter. The expression, in the preceding couplet, that one part of Faust's dual spirit sweeps upwards "into the high ancestral spaces," suggests, equally, a passage in the Strasburg puppet-play. He is there made to exclaim: ' In- visible Spirits, receive me! I soar to your dominion. Yes, I will lift my- self out of this wretched atmosphere, which is only for common men!"

44Swift from the North the spirit-
fangs so sharp. | The belief in evil spirits inhabiting the nether regions of the atmosphere is very ancient. Paul calls Satan " the prince of the power of the air" (Ephe- sians ii. 2), and thus gives Christian currency to a much older superstition. In the poem Zodiacus Vite, of Marcel- lus Palingenius (written about the year 1527), the different atmospheric de- mons are minutely described. 'Their names are Typhurgus (Mist-bringer), Aplestus (the Insatiable), Philokreus (Lover of Flesh), and Miastor (the Befouler). Wagner's classification in- dicates the effects of the four winds upon the weather and the human frame. In Germany, the east wind is dry and keen, and the west wind brings rain. Hayward, in his Notes, quotes the following additional authorities : — «©The spirits of the aire will mix themselves with thunder and lightning, and so infest the clyme where they raise any tempest, that soudainely great mortality shall ensue to the inhabit- ants." — Pierce Pennilesse bis Suppli- cation, 1592 «The air is not so full of flies in summer, as it is at all times of invisible devils: this Paracelsus stiffly main- tains." — Burton, Anat., Part I.

45Seest thou the black dog coursing
there, through corn and stubble ? The appearance of Mephistopheles in the form of a dog is a part of the old legend. Manlius, in the report of his conversation with Melancthon, quotes the latter as having said: "' He (Faust) had a dog with him, which was the Devil." The theologian, Johann Gast, in his Sermones Convivi- ales, describes a dinner given by Faust at Basle, at which he was present, and remarks: '* He had also a dog and a horse with him, both of which I be- lieve were devils, for they were able to do everything. Some persons told me that the dog frequently took the shape of a servant and brought him food." In some of the early forms of the le- gend the name of the dog is given as Prestigiar: he is described in Wid- mann as large, shaggy, and black, but in other versions he is of a dark red color. The Wagner-legends all agree in giving the latter, as attendant, an evil spirit in the form of a monkey, whom he called Auerbabn (moor- cock). Burns, in Zam O'Shanter, says : — "© A winnock-bunker in the east, There sat auld Nick, in shape o' beast, A towzie tyke, black, grim, and large." Faust.

46°Tis written: "In the Begin-
ning was the Word," «I need hardly point out to the reader how artfully the poet has man- aged by making Faust, in his per- plexed state of mind, hit upon the most difficult passage in the whole Bible. The dissatisfaction which would thence arise would bring his mind into a fit state for listening to the sugges- tions of the tempter; and thus would this precipitate spirit of discontent wrest the words of truth to his own destruction. As to the interpretations he has given us of the AOFOS, they are as consistent and intelligible as the speculations of human reason, upon one of the most obscure subjects to which it can be directed, can be supposed to be."? — Blackie, Notes to his Transla- tion of Faust (London, 1834). This passage is not, as Blackie sup- poses, a fortunate inspiration of Goethe. It is directly suggested by the legend. In Widmann's " Veritable History of Dr. Faust ? (Hamburg, 1599) I find, in the fifteenth chapter, that Mephistoph- eles thus answers Faust's proposition to discuss with him certain questions of theology: 'In so far as it concerns the Bible, which thou again art of a mind to read, there shall be no more permitted to thee than, namely: the first, second and fifth books of Moses ; all the others, except Job, shalt thou let be; and likewise in the New Tes- tament thou mayst read the three Dis- ciples that write of the deeds of Christ, that is to say, the tax-gatherer, the Notes. painter and the doctor (meaning Mat- theum, Marcum and Lucam) ; dut Fobn shalt thou avoid, and I forbid also the chatterer Paul, and such others as wrote Epistles." This prohibition of the Fourth Gos- pel led Goethe, at once, to the opening verse, the attempt to translate which becomes not only a source of new per- plexity to Faust, but also serves to has- ten the poodle's transformation. The fragments of Faust's soliloquy, showing that his soul is turned towards "the love of God," disturb the evil spirit incorporated with the beast; but the words of John, to which the spirit has a special antipathy, compel him to be- tray his presence. The growth and terrible appearance of the poodle suggest a passage in Neu- mann's *¢ Curious Observations concern- ing the so-called Dr. Faust"? (1702). He says, on the authority of Wier, the pupil of Cornelius Agrippa: "A schoolmaster of Gosslar had learned from Faust, the magician, the formula by which certain verses may be used to imprison the Devil in a glass. In order that he might not risk being in- terrupted, he went one day into a forest; and while he was in the midst of his invocations, the Devil came unto him ina horrible form, with fiery eyes, a nose curved like a cow's horn, with wild and fearful boar's-tusks, a rough cat's back, and every way frightful." One of the illustrations in Wid- mann's book represents Mephistopheles appearing to Faust in front of she stove in the latter's study, and conversing with him over the top of a fire-screen. The text says that Faust first became aware of the spirit as a shadow moving around the stove.

47The Key of Solomon is good.
Solomon's fame as a magician is men- tioned by Josephus, and also by Origen, who was acquainted with a work on the manner of citing spirits to appear, ascribed to the Hebrew king. There seems to be no doubt that Solomon was a chief authority with the Jewish exor- cists, from whom his name and some of his supposed formule of invocation were transmitted, until we find them in the Cabbala of the Middle Ages. The Clavicula Salomonis is mentioned by Welling, Paracelsus, and other writers, and some copies have been preserved. It is claimed that the genuine original contained only instructions by which — good spirits might be invoked to assist in good works, but the variations give also the method of summoning evil spirits. In Faust's Dreifacher Hollen- zwang (copied in Scheible's K/oster), the Clavicula Salomonis is given as it was communicated to Pope Sylvester by Constantine, and translated in the Vat- ican, under Pope Julius II. It is called «©The Necromantic Key of Solomon, or the Key to the Magic Wisdom of Solomon, and to compel the Spirits to every Manner of Service," and com- mences: ** At first, pray (or sing) the following canticum bebraicum— Aba, zarka, maccaf, sofar, bolech, (segolta), pazergadol," etc. Then follow a num- ber of similar invocations, together with the "Seal of the highest wisdom of Solomon,"—a very complicated figure of hexagonal form, — which must be held in the hand. Faust, as the reader will remark, employs an entirely different method of exorcism.

48The Words of the Four be ad-
dressed, The universal belief in elementary spirits, during the Middle Ages, was a natural inheritance from the ancient faith. So much of their former half- divinity clung to them that they were assigned an intermcdiate place between men and genuine spirits. 'They were supposed to have positive and unchange- able forms, of a finer, more ethereal flesh and blood, and to be soulless, al- though the children born of their in- tercourse with human beings received human souls. They were classified, according to the element in which they lived, as Salamanders (in Fire), Un- dines (in Water), Sylphs (in Air), and Gnomes (in Earth). Of these, the two latter classes were supposed to be most familiar and friendly. Pope (Rape of the Lock), in his Dedicatory Letter to Mrs. Arabella Fermor, says, referring to the Rosi- crucians: ' The best account I know of them is in a French book called Le Comte de Gabalis, which, both in its title and size, is so like a novel, that many of the fair sex have read it for one by mistake. According to these gen- tlemen, the four elements are inhabited by spirits, which they call sylphs, gnomes, nymphs, and salamanders. The Faust. gnomes, or demons of the earth, delight in mischief; but the sylphs, whose habitation is in the air, are the best- conditioned creatures imaginable." In the first canto of the Rape of the Lock, the passage occurs : — '¢ For when the fair in all their pride expire, To their first elements their souls retire. The sprites of fiery termagants in flame Mount up, and take a salamander's name. Soft, yielding minds to water glide away, And sip, with nymphs, their elemental tea. The graver prude sinks downward toa gnome In search of mischief still on earth to roam. The light coquettes in sylphs aloft repair, Ana sport and flutter in the fields of air." In the Comte de Gabalis, to which Pope refers, the four classes of the ele- mentary spirits are very minutely de- scribed. It is there stated that they became invisible to the human race through the sin of Adam, that they are more perfect than men, * proud in ap- pearance, but docile in reality, great lovers of science, offcious towards sages, intolerant towards fools." Faust, it will be noticed, uses * the Words of the Four," but without effect. He then repeats the adjuration, in an- other and stronger form. Here, how- ever, the word Kodo/d (Gnome) is omitted, and Incubus, the dwarfish, tricksy, household spirit, is substituted. In German fairy-lore, there is a rela- tionship between the two, but they are not identical. There seems to be no reason for the change; and, as Goethe attached no great importance to the passage, the rhyme, alone, may have suggested it. Notes.

49Now, to undisguise thee,
Hear me exorcise thee! The original is: " Thou shalt hear me more strongly exorcise!" Suspect- ing that an infernal spirit dwells in the beast, Faust makes "the sign" of the cross, and the effect is immediately manifest. Diintzer says, '* He presents to him the name of Jesus," — which is certainly a misconception. Blackie quotes a passage from Cornelius Agrip- pa, declaring that evil spirits are af- frighted by the sign of the cross. Goethe, also, may have remembered the verse in the Epistle of James (ii. 19): ' Thou believest that there is one God; thou doest well: the devils also believe, and tremble."

50The One, unoriginate.
Here Christ is described, but not named. The four lines are, literally : The Unoriginated, Unuttered, Diffused through all the Heavens, Guiltily transpierced. The strong spell is now working upon the spirit; and the further threat of "'the threefold, dazzling glow"? — the emblem 'of the Divine Trinity — or its ancient mystic symbol, the rayed triangle, sufiices to complete the ex- orcism. Faust, in the old Hé/lenzwang, says: «« Again I command thee, Spirit, by the words of might: Jesus Christ is become fiesh — therewith I compel thee, and bind thee, and exorcise thee here, through Lucifer and Beelzebub and all the leaders of the hellish host, whatever may be your names."

51MEeEPpHISTOPHELES.
The original form of this name was Mephostophiles. There has been much discussion in regard to its meaning; but Diintzer's conjecture is probably correct, — that it was imperfectly formed by some one who knew little Greek, and was intended to signify not loving the light. 'The expressions which Mephistopheles uses, in explain- ing his nature to Faust, would seem to indicate that this was also Goethe's un- derstanding of the name. Although, in most of the popular Faust-stories, Mephistopheles is often referred to as ** the Devil," it was well understood that he was only @ devil. In «* Faust's Miraculous Art and Book of Marvels, or the Black Raven" (1469), the powers and potentates of the Infernal Kingdom are thus given: King, Lucifer; Viceroy, Belial; Gz- bernatores, Satan, Beelzebub, Astaroth, Pluto; Chief Princes, Azicl, Mephis- tophilis, Marbuel, Ariel, Aniguel, Ani- sel, and Barfael. Gocthe took only the name and a few circumstances connected with the first appearance of Mephistopheles from the legend: the character, from first to last, is his own creation. Al- though he sometimes slyly used it (though less frequently than Faust) as a mask through which to speak with his own voice, he evidently drew the germ of some characteristics from his early associate, Merck. His own strong instinct led him to avoid the danger of personifying abstract ideas, by seeking in life for all material which could give a dramatic reality to his characters; and he did not scruple to take that which was nearest and most intimate. s¢ Merck and I,"? said Goethe to Eckermann, in 1831, '* always went together, like Faust and Mephistoph- eles..... All his pranks and tricks sprang from the basis of a higher cul- ture; but, as he was not a productive nature, — on the contrary, he possessed a strongly marked negative tendency, — he was far more ready to blame than praise, and involuntarily sought out everything which might enable him to indulge his habit." In Wahrheit und Dichtung (Book XII.) Goethe gives a careful and doubt- less a correct picture of Merck's char- acter and temperament. '* This singu- lar man," he says, ** who exercised the greatest influence upon my life, was a native of Darmstadt.* When I first knew him, he was Military Paymaster there. Born with spirit and intelli- * He was born in 1741, and was therefore eight years older than Goethe. He travelled, as a young man, with a Baron von Bibra, mar- ried a French woman in Geneva, and then settled in his native town. were chiefly translations from the English (among them, Addison's Cato), and critical and wsthetic papers in the periodicals of the day; His literary works but his personal influence upon authors, espe- cially Herder, Goethe, and Lavater, was very His domestic life was not happy, his circumstances became embarrassed, and in 1791 he committed suicide. great. Faust. gence, he had acquired much admirable knowledge, especially of modern litera- ture, and had busied himself in all di- rections and with all the pnenomena of Man and History. He had the faculty of sharp and pointed judgment, and was esteemed both as an honest, energetic man of business, and a rapid arithmeti- cian. Thoroughly self-possessed, he appeared everywhere as a most agree- able companion for those to whom he had not made himself dreaded by his keen, satirical speech. He was long and lean of form ; his prominent, point- ed nose was a conspicuous feature ; keen blue, perhaps gray eyes, observ- antly moving to and fro, gave some- thing of the tiger to his look..... 'In his character there was a re- markable contradiction. Naturally an upright, noble, worthy man, he was imbittered against the world, and al- lowed such full sway to this moody peculiarity that he felt an invincible inclination to show himself wilfully as a waggish knave, — nay, even a rogue. Calm, reasonable, good, one moment, the next he would take a whim, like a snail thrusting out its horns, to do something which offended, aggrieved, or even positively injured another. Yet, as one is attracted to associate with something dangerous, when one ima- gines himself to be secure against its attack, my own inclination was all the greater to live in his company and en- joy his good qualities, since I felt the most confident presentiment that he would not turn his evil side towards me. As, on the one hand, he disturbed Notes. society by this morally restless spirit, this continual necessity to deal with men spitefully and maliciously, so, on the other hand, a different unrest, which he also carefully nourished with- in himself, undermined his own con- tentment.'""" In Widmann's Faust-book, Mephis- topheles appears in the character of a monk. Inthe Geisselbrecht puppet- play Faust commands him to put off his first terrible form, and says: '** Thou mayst come as jurist, as doctor, or as hunter, but it were better that thou appearest as a student." Inthe Ulm version, when Mephistopheles asks: «¢In what form shall I appear?" Faust answers: '* Like as aman." In the Strasburg play, Faust asks, after having chosen Mephistopheles: 'But why appearest thou tome under this mask ? I wished for a devil, and not one of my own race." Mephistopheles an- swers: '* Faust, perhaps we are then wholly devils, when we resemble you ; at least, no other mask suits us better." He thereafter next makes his appear ance as a postillion. Goethe's choice of the character of a travelling scholar —or, I should per- haps say, a vagabond scholar — was probably dictated by the succeeding scene (IV.), which was first written. Another projected scene, given in the Paralipomena (and added in a later note), furnishes additional reasons. The travelling scholars of the Middle Ages were a pretentious, adventurous class —the pedantic Bohemians of those days—-who wandered over Europe, ) maintaining theses, entering into private or public discussions with equal flip- pancy, and sponging upon the univer- sities and monasteries. 'The appear- ance of Mephistopheles in such a form® is an ironical reflection upon Faust's devotion to learning; yet the latter is unconscious of this, and his first sur- prise gives way to a contemptuous laugh.

52In names like Beelzebub, Destroyer,
Father of Lies. In the original, the first of these names is given as Filiegengott, Fly-god. For the sake of metre, I have substi- tuted our familiar Hebrew equivalent, Beelzebub — or, more correctly, Baal- sebub, Destroyer"? and Liar, or 'ce Father of Lies," are also familiar to us as Abaddon and Satan. Faust must be supposed to accept the orders of the infernal hierarchy, as given in the cab- alistic writings, whence his endeavor to identify the particular fiend whom he has invoked.

53Lam the Spirtt that Denies.
In declaring himself, first, to be part of that power * which always wills the Bad, and always works the Good," Mephistopheles is unexpectedly frank. His expression coincides exactly with the declaration of The Lord (see page 18), as to the service he is obliged to perform. 3 In the passage which follows, he is equally honest, and the above line clearly describes the part which he plays, from beginning to end. He is

336Faust.
the Spirit of Negation, and his being exists through opposition to the posi- tive Truth, and Order, and Beauty, which proceed from the never-ending -creative energy of the Deity. The masks which we find him assuming in the Second Part of Faust are all ex- plained by this necessity of Negation. His irreverence and irony are not only ' a part of his nature, but they are further increased by the impotence of his ef- forts — which he freely admits in the following passages—to disturb the Divine system. Mephistopheles draws his theory of the primeval darkness from the The- ogony of Hesiod, His reference to "' bodies"? shows that he understands the physical and spiritual identity of light and life. Since we have seen that, in Widmann's Faust-book, he prohibits to Faust the reading of the Gospel of John, we may surmise a con- nection between his hostility to light and these verses from the first chapter of that Gospel : — "'In him was life; and the life was the light of men. «© And the light shineth in darkness ; and the darkness comprehended it not."

54From Water, Earth, and Air un-
folding, A thousand germs break forth and grow. «« Let men continue to worship Him who gives the ox his pasture, and to man food and drink, according to his need. But I worship Him, who has filled the world with such a productive energy, that, if only the millionth part became embodied in living existences, the globe would so swarm with them that War, Pestilence, Flood and Fire would be powerless to diminish them. That is my God!" — Goethe to Ecker- mann, 1831. 55- The wizards-foot that om your threshold made is. In the original, Drudenfuss. Drud, from one root with Druid, was the old German word for " wizard." The wizard's-foot, or pentagram, was sup- posed to possess an especial potency against evil spirits. It is simply a five- rayed star, thus: — Its efficacy undoubtedly sprang from the circumstance that it resolves itself into three triangles, and is thus a triple symbol of the Trinity. Paracelsus ascribes a similar, though a leéser, de- gree of virtue to the bexagram. An- other peculiarity of the pentagram is, that it may be drawn complete from one point, without lifting the pencil, and therefore belongs to those izvo/un- tary hierogly phics which we sometimes make, in moments of abstraction. Thus Tennyson, in The Brook : — "But Katie snatched her eyes at once from mine, And sketching with her slender pointed foot Some figure like a wizard's pentagram | On garden gravel, let my query pass." --o — Notes.

56Sonc oF THE Spirits.
This remarkable chant is known in Germany (Goethe himself being, I be- lieve, the first to so designate it) as the Einschlaferungslied, or Lullaby. It is one of the few things in the work which have proved to be a little too much for the commentators, and they have generally let it alone. By drop- ping all philosophical theories, how- ever, and applying to it only the con- ditions of Poetic Art, we shall find it easily comprehensible. Faust is hardly aware (although Mephistopheles is) that a part of his almost despairing im- patience springs from the lack of all enjoyment of physical life; and the first business of these attendant spirits is to unfold before his enchanted eyes a series of dim, dissolving views — sweet, formless, fantastic, and thus all the more dangerously alluring — of sensuous delight. The pictures are blurred, as in a semi-dream: they pre- sent nothing positive, upon which Faust's mind could fix, or by which it might be startled: but they leave an impression behind, which gradually works itself into form. The echo of the wild, weird, interlinked melody remains in his soul, and he is not sup- posed to be conscious of its operation, even when, in the following scene, he exclaims to Mephistopheles : — "Let us the sensual deeps explore, To quench the fervors of glowing passion!" The rhythmical translation of this song— which, without the original rhythm and rhyme, would lose nearly all its value—is a head and heart breaking task. I can only say that, after returning to it again and again, during a period of six years, I can offer nothing better.

57Lcome,a squire of high degree.
The word Funker, which Mephis- topheles uses, corresponds exactly with "squire," as a term of chivalry. In the text of the puppet-play, when he makes his appearance the second time, he is described as wohlgckleidet — re- spectably dressed. His costume on the puppet-stage was a red tunic, un- der a long mantle of black silk, and a cock's-feather in his hat. Goethe pur- posely retains this costume, because it is sufficiently appropriate to his con- ception of the character, which he ex- pressly declares is too negative to be daimonic. One of the very few hints of his intention which he allowed to escape him occurs in his conversation with an English gentleman in 1825, as reported by Eckermann. " Really," said he, "I should not have advised you to read Faust, It's fantastic stuff, and transcends all ordinary sentiment. But, since you have begun of your own accord, without asking me, you may get through it the best way you can. Faust 1s so singular an individual that only a few persons can reproduce his spiritual conditions in their own minds, Then the character of Mephistopheles, through his irony, and as the living re- sult of a vast observation of the world, Is also something very difficult to com- prehend." Compare, also, the remarks of Me- phistopheles to the witch, in Scene VIL: —

6Culture, which smooth the whole world licks,
Also unto the Devil sticks."

58This life of earth, whatever my
attire, Would pain me in its wonted fashion. The first fragment of the Para/i- pomena possibly belongs here, although there is also a place for it towards the close of the scene. In the following lines, omitted alike in the editions of

1790and 1808, Mephistopheles con-
tinues to advise a change of costume : — MEeEpHISTOPHELES. When with externals thou art well endowed, All will around thee flock, and flatter ; A chap, who's not a little vain or proud, Had better hang, and end the matter. I have not been able to find any evi- dence concerning the date of these re- jected passages of Faust. ' Most of the German critics agree that the first part of the scene, withheld in the first edi- tion, was afterwards materially altered by Goethe; some of them even ven- ture to point out the portions remain- Ing from 1775, and those added in 1798, or later. Since, however, the slight difference of style perceptible in the text must disappear in the transla- tion, it is not necessary to repeat their views. There, also, comes no rest to me. 59: «¢ When I say, My bed shall comfort me, my couch shall ease my complaint ; Faust. «< Then thou scarest me with dreams, and terrifiest me through visions : ''So that my soul chooseth stran- gling, and death rather than my life," — Fob Vil. 13, 14, 15. Faust's curse, which includes even the sentiment of childish faich that overcame him on the Easter morning, places him, unconsciously, in the power of Mephistopheles. The Chorus of Spirits indicates, in a few powerful lines, his rupture with the order of life. The first words of Mephistopheles which follow, would lead the reader to suppose that the spirits were infer- nal, and thus a singular discrepancy between their character and their ex- pressions is implied. Diintzer says : "' Their cry of woe and their lament over the beauty of the world, which Faust has shattered, together with his designation as demigod, can only be accepted as a scoffing irony of the spirits, which, equally with Mephis- topheles, well know that they can give him no real compensation for the for- tune which he has criminally rejected." Deycks's comment is less logical: «* He (Faust) can only recover through his own act; in his resolute breast, by clear intelligence, he can create a soil wherefrom new songs will shoot. The spirits allure to a life of deeds and poetry, to the broad, great world. And Mephistopheles offers bimself as a guide." In Leutbecher's work, however, I find a hint of what I believe to be the Cuorvs oF Spirits. Notes. true intention of this Chorus. He says: 'The pure spirits who direct the harmonies of existence lament over his (Faust's) step, and encourage him to commence another and fairer career. But Mephistopheles calls these voices precociously shrewd, and proposes the conditions of his compact, promising delights which, in advance, appear worthless to Faust." The lament is certainly not ironical; on the contrary, the course of the drama, as it is after- wards developed, is here shadowed forth by the spirits, and Mephistopheles no more comprehends them .than Faust. He is deceived, as in the Fifth Act of the Second Part. In the Augsburg puppet-play, Faust is attended by a good Genius, who, when he has signed the compact with Mephistopheles, exclaims: '* Woe to thy miserable soul! " and disappears.

61A High and Low our souls awatt.
"Oh why must we, in order to speak of such things, use images which only represent external conditions! Where is there anything high or low, obscure or enlightened, in His sight ? We, only, have an Above and Below, a Day and a Night. And just therein did He (Christ) resemble us, because w should otherwise have no share in Him." — Wilhelm Meister (Confessions of a Fair Spirit). Goethe also places one of these phrases — "* And you he dowers with Day and Night !"*— in the mouth of Mephistopheles, after the compagt.

62Show me the fruits that, ere they're
gathered, rot. This passage has given rise to a great deal of discussion. The offer of Me- phistopheles, — '6 What no man ever saw, I'll give to thee, —' which provokes Faust's exclamation, is suggested by the puppet-play. In the Augsburg version, Mephistopheles says: «¢T will fill for thee the goblet of de- light, full and foaming, as it never yet has been filled to any mortal." Faust's reply seems to have puzzled many of the commentators, some of whom —as Deycks, Hartung, Rosen- cranz and Leutbecher — pass it over with slight notice, while others endeav- or to analyze the meaning. The fol- lowing quotations embrace the princi- pal varieties of interpretation : —

1**I know thy rotten gifts, says
Faust. Which of thy fine goods of the earth wilt thou offer me? How could the like of thee ever be capable of measuring the unquiet of man's breast ? Hast thou food to serve up which never satisfies? Or canst thou only show trees which daily bloom anew and bud again? I loathe'this foliage of yesterday, this tale which, ever the same, is told in the morning, and in the evening dies away again — ' show me the fruit that rots before it 1s gathered, and trees that daily renew their green!' — Falk. z. '* The promise of Mephistopheles appears to Faust but mockery. What can a devil give a man to satisfy him, when he is not capable of giving it to himself? The gifts of a devil, he says, are but delusions, and melt away in the same manner as his quicksilver-like gold; thus he can only bestow fruits which would not rot before the 'pluck- ing, but no ever-budding tree sprouts forth beneath his skill and fostering." — Schubarth.

3" The meaning plainly is: —I
know well thou, poor devil, hast riches and other fleeting pleasures, that excite our longing only that they may elude our grasp, that dazzle only to deceive, and whose substantial worth is always in the inverse ratio of their outward promise. Wouldst thou allure me, thou must hold out fruits that rot, not after, but before they are broken, and thus cannot, like the fruits of mere sensuality, deceive us by an external glow when tempting us on the tree, but rotting whenever the hand of en- joyment is stretched forth to pluck them. Show me no frail blossom of a fleeting spring, but 'trees which day by day their green repair.' "" — Blackie.

4The most probable supposition
is, that Faust's meaning is pretty near the same as in the subsequent speech, in which he expresses a wish to enjoy all that is parcelled out among man- kind, pain and pleasure, success and disappointment, indifferently. Taking this wish into consideration, we may well suppose him saying: § You can give nothing of any real value in the eyes of a man like me; but if you have the common perishable enjoyments of humanity to bestow, let me_ have them.' " — Hayward. Faust.

5"* Faust admits that the devil has
all the different kinds of Sodom-apples which he has enumerated, gold that melts away in the hand, glory that vanishes like a meteor, and pleasure that perishes in the possession. But all these torments are too insipid for Faust's morbid and mad hankering after the luxury of spiritual pain. Show me, he says, the fruit that rots defore one can pluck it, and (a still stronger expression of his diseased craving for agony) trees that fade so quickly as to be every day just putting forth new green, only.to tantalize one with per- petual promise and perpetual disap- pointment." — Brooks. A careful study of the structure of the passage does not permit me to accept any of these interpretations. Omitting the first three lines, the re- mainder is a single sentence, violently interrupted by a dash (—) at the end of the eighth lines The two lines which follow are contemptuous and scornful metaphors, summing up the catalogue of the deceitful gifts which Faust admits Mephistopheles can offer. They simply repeat, in another form, what he has declared in the preceding lines. He commences the enumera- tion of the pleasures whose worthless- ness he knows, — gold, love, honor, — then, breaking off impatiently, exclaims, referring to those pleasures : — "'Show me the fruits that, ere they're gather- ed, rot, And trees that daily with new leafage clothe them!" These images express the .cheating, Notes. disappointing, inadequate character of all the usual desires of men, to "a hu- man soul, in its supreme endeavor." The tone of the passage is keenly scorn- ful and incredulous. Faust seriously desires nothing from Mephistopheles, not even the morbid luxury of self- torment; and in the bet which he offers, immediately afterwards, his ref- erence to 'an idler's bed" seems to have been suggested by the words of Mephistopheles, rather than by the craving of his own nature for repose.

63When thus I hail the Moment
Sing: "Ah, still delay — thou art so fair!" Here Faust becomes earnest and definite. The one moment of supreme contentment is for him a symbol of endless capacity for happiness. 'The wager with Mephistopheles rests upon this couplet, which the reader must bear in his memory until he meets with it again, at the close of the Sec- ond Part. There is no condition of this nature in the Faust-legends. The compact there is, that Faust shall have whatever he desires for the term of twenty-four years, when he passes, body and soul, into the power of Mephistopheles. The only slight resemblance to this passage, in any of the various versions, may be found in the Augsburg play, where Mephistopheles says: * Faust, have I not said to thee, thou canst thy- self break the hour-glass of thy time ? Thou hast done it in this moment."

64Then at the Doctors'-banquet I,
to-day. Mephistopheles refers to the inau- guration feast, given on taking a degree.

65And all of life for all mankind
created, s¢ We are justly told," Goethe con- tinued, "that the cultivation in com- mon of human capacities is desirable, and also the most important of aims. But man was not born for that ; prop- erly each one must develop himself as a particular individual, but also endeay- or to attain an apprehension of what all are, collectively." — Eckermann, 1825. This scene commences with the above line, in the edition of 1790, and continues to the end in its present form, without the change of a word.

66And I shall have thee fast and
sure | — Goethe frequently makes use of a dash to denote both a change in the address and a movement of the speaker. The passage discussed in Note 62 is already an instance of this peculiarity. Here, Mephistopheles looks after Faust's retreating figure, and addresses him as if he were still present. At the end of the above line, he turns away and con- tinues his soliloquy, speaking of Faust in the third person.

67Encheiresin nature, this Chemis-
try names. With the introduction of the Student (whom we shall meet again, in the Sec- ond Part, as Baccalaureus), Mephis- topheles not only assumes the mantle of Faust, but Goethe also assumes the mask of Mephistopheles. The epi- sode, which is wholly his own inven- tion, was written during his intercourse with Merck, and while his experience of academic teaching was still fresh and far from edifying. He gives the fol- lowing account (in Wabrbeit und Dich- tung) of his study of logic, at the Uni- versity of Leipzig: "*I was at first diligent and faithful in attending the lectures, but I remained as much in the dark about philosophy as before. In logic, I found it altogether unaccount- able why those operations of the mind, which I had from my earliest years performed with the greatest ease, should first be anatomized, individualized, and torn from their natural union, before one could know how to use them. Of the subject-matter of God, the world and the soul, I thought I knew just as much as my master, and he seemed to me, on not a few points to be sadly nonplussed." The Spanish boots," of which Mephistopheles speaks, were instru- ments of torture used in the Middle Ages. They were cases of wood, into which wedges were driven until the calves of the victim's legs were com- pressed into the smallest possible space. From logic, Mephistopheles passes to the method of scientific investiga- tion, wherein Goethe seems to have remembered the couplet of Pope :— "' Like following life in creatures we dissect, - We lose it in the moment we detect." Faust. In a conversation with Falk (trans- lated by Mrs. Austin) he expresses cor- responding views: 'Our scientific men are rather too fond of details. They count out to us the whole consistency of earth in separate lots, and are so happy as to have a separate name for every lot. That is argillaceous earth ; that is quartz; 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 natur@ nennt's die Chemie, Bohrt sich selber Esel, und weiss nicht wie!" # «© What am I the better for these lots? what for their names? I want to know what it is that impels every several portion of the universe to seek out some other portion, —either to rule or to obey it, — and qualifies some for the one part and some for the other, according to a law innate in them all, and operating like a voluntary choice. But this is precisely the point upon which the most perfect and universal silence prevails." In a letter to Wackenroder, Profes- sor of Chemistry at Jena, written in January, 1832, Goethe says: ' Not- withstanding we willingly allow to Nature her secret Enxcheiresis, whereby * This was the original form of the couplet, as written. Tue meaning is the same as in its present form, and the expression ' Bohrt sich selber Esel" (which Diintzer says came from the trick of putting the hands to the sides of the head and wagging them, to represent ass's ears), was probably rejected, because it is pure slang. Notes. she creates and sustains life, and, al- though no mystics, we must finally admit the existence of an inscrutable something, —yet man cannot, if his aim be earnest, restrain himself from the attempt to drive the Inscrutable into such close quarters that he is at least satisfied and willing to confess himself defeated." The phrase encheiresin nature signi- fies, properly, '*a treatment of Nature." Here, however, Goethe seems rather to indicate the mysterious, elusive force by which Nature operates.

68As did the Holy Ghost dictate to
thee. The practice of taking notes of the discourses which they hear, is universal among the German students. Many of the Professors encourage it by adopting a very slow, measured style of delivery. The advice of Mephis- topheles is the keenest irony upon these formal methods of imparting knowledge.

69On words let your attention centre.
In the Witches' Kitchen (Scene VI.) Mephistopheles says :— "6 Man usually believes, if only words he hears, That also with them goes material for think- ing. Elsewhere, however, Goethe says: '' Unfortunately, words are usually mere expedients for man; he mostly thinks and knows a thing better than he expresses it." In the above pas- sage, Mephistopheles probably refers to "the letter that killeth," and exalts it, in consonance with his character.

70The little world, and then the great,
well see. The programme of both parts of Faust is given in this line. No refer- ence to the cabalistic Microcosm and Macrocosm is intended: 'the little world"? is here Faust's individual ex- perience of human desires and passions ; he issues from his seclusion to share in the ordinary history of men. This plan is developed, so far as necessary, in the First Part. '* The great world" is life on a broader stage of action: in- tellectual forces are substituted for sen- timents and passions: the narrow interests of the individual are merged in those of the race; and Government, War, activity on a grand scale and for universal, permanent ends, succeed, in order that Faust's knowledge of the life of man shal] be rounded into complete- ness. The Second Part of the work is devoted to this latter experience.

71J feel so small before others, and
thence Should always find embarrassments. The following passage is the second of the Paralipomena, and was undoubt- edly designed as an answer to the above lines. It seems to have been written at a later period, and we may conjec- ture that Goethe omitted the lines because they are not in accord with the manner of Mephistopheles through- out the scene : — MEeEPHISTOPHELES. Learn then from me to meet Society ! I come, both cheerful and collected, And every heart is well-affected ; I laugh, and each one laughs with me. Rely, like me, upon your own pretences; There's something to be dared, you must reflect : For even women easily forgive offences, If one respectfully forgets respect. Not in divining-rods nor mandrake tragic, But in good-humor lies the best of magic : If I'm in unison with all, I do not see how trouble could befall. Then to the work, and show no hesitation ! I only dread the preparation.

72JI gratulate thee on thy new career.
The ' Disputation," which Goethe projected, for the further and clearer presentation of the characters of Faust, Wagner, and Mephistopheles, was prob- ably intended to follow this scene. From the rough draught of his plan, re- tained in the Paralipomena, the reader may guess, not only the manner in which the rejected scene would have been developed, but also the considera- tions which compelled its rejection. I shall, therefore, give Gocthe's brief and not always (to any but himself) in- telligible prose outline, inserting the half-dozen rhythmical fragments in what appear to be their appropriate places. a DISPUTATION. First Semi-chorus, Second Semi-chorus, Tutti of the Students, expressing the situation. The crowd, the surging to and fro, the pressing in and out. STUDENTS (within). Just let us out! our dinners we are seeking. Faust. aa Who speaks, forgets both meat and drink in speaking ; But he who hears, grows faint at last. STUDENTS (without). Just let usin! our stomachs we've been testing ; At commons we have sought our cheer. Just let us in! we'll here do our digesting ; We had no wine, and spirit 's here! * He makes a com- pliment. The Rector to the beadle. The beadles command order. The Travertine ScHorar (Mephistopheles) enters. Chorus of stu- Abuses the respondent. WAGNER, as opponent. Separate voices. Abuses the assembly. dents, half, entire. The latter declines. THe TRAVELLING SCHOLAR. Go out! come in! Each keep his place in quiet ! Upon this threshold what a riot ! Make room, without! let those within retire, Then fill their seats as you desire! Faust accepts the challenge. Condemns his swaggering. Demands that he shall particular- ize. MEPpHISTOPHELES complies, but immediately begins a praise of vagabondage and the experi- ence which it gives. Semi-chorus. STUDENTS. He's of the wandering race, the wight; He swaggers, yet he's in the right. Faust. Unfavorable picture of the vagabond. SEMI-CHORUS. MepuisTorHELes. Forms of knowledge, lack- ing to the wisdom of the schools. * These are parts of either Semi-chorus. Goethe's reference to the commons is taken from the University of Leipzig, where, during his studies, a large number of the poorer students were gratuitously furnished with a common dinner, but without wine. Notes. MEPHISTOPHELES. Who speaks of doubts? Let me but hear! Who doubts, must never teach, 't is clear ; Who teaches, must be positive ! Fausr. Tva6e ceauréy, in the finer sense. Challenges the opponent to propose questions from experience, all of which Faust will answer, MepuisTopHEces. Glaciers. Bolognese Fire. Fata Morgana. Beast. Man. Faust. Opposing question: where is the creative mirror? MepuistorHeces. Compliment. swer another time. The an- Faust. Conclusion. Dismissal. Cuorus, as Majority and Minority of the hearers. Wacner's fear, that the Spirits may utter what Man supposes is whispered to himself. It is also possible that this Disputa- tion may have been designed as a sub- stitute for the conversation between - Mephistopheles and the Student, in which case it must have been projected at Rome, in the spring of 1788. On the rst of March, that year, Goethe writes: "It has been an abundant week, and in memory it seems like a month. First, I arranged the plan of Faust," etc. Géschen's edition of his works, in 1790, was meant to be com- plete, up to that year, and the publica- tion of Faust, as a '* Fragment," in the seventh volume, may have been due to that circumstance alone. 73- AveERBACH's CeLLarR 1N LeIpzic. The locality of this scene possesses a double interest, through its connection with the early Faust-legend and with the academic years of the young Goethe. If the stranger who visits Leipzig will seek the large, ancient house, No. 1, Grimmaische Strasse, near the Market- Place, the sign ** AveRBacHS Ke Lter," nearly on a level with the sidewalk, will guide him down into the two vaulted chambers which have echoed to the wit and song and revelry of four centuries 'of jolly companions. He may still take Faust's and Goethe's place, at the head of the table in the farther room, order his wine from the seventieth or eightieth successor of the original landlord, and, while awaiting the preparation of some old-fashioned dish, study the two curious paintings, which have filled semicircular spaces under the arches perhaps since the year Legends of Faust are as plentiful in Germany as those of kobolds or subter- ranean emperors ; but these pictures, I believe, are the only local records left to our day. Widmann's *« Veritable History " (1599) mentions the year

1525as the time when Faust began
publicly to practise his magic arts, and the same date upon the pictures may signify either the year when they were painted, or when the event occurred which they illustrate. On this point there is a difference of opinion among the antiquarians, since Faust's fate is mentioned in the inscriptions. Auer- bach's house was rebuilt in 1530, but the massive, vaulted cellars were evi- dently left from the earlier building. The pictures, which were painted by no mean artist, have not only grown very dingy, but they were partly re- painted in the years 1636, 1707, and

1759Under the present inscriptions,
which have also been renewed, there are marks of an older one, probably identi- cal, although this cannot now be estab- lished as a fact. The first picture (about ten feet in length by four in height) represents Faust, with a full beard, a ruff around his neck, mantle and fur cap, seated at the head of a table, with a chased gob- let in his hand. Next to him is a stu- dent who, with lifted arm, is pouring wine from a glass, apparently as a liba- tion. Seven others are seated at the table, two of them about to drink, while five are playing upon musical instruments, — a portable clavichord, a lyre, flute, violin, and bass-viol. At the left end of the picture there is a barrel of wine, with a Ganymede in trunk-hose waiting beside it. A small black dog, in the foreground, appears to be watching Faust. Under this picture is the incription: — VIVE. BIBE. OBGR/EGARE. MEMOR FAVSTI HVIVS. ET HVIVS POEN: ADERAT CLAVDO HEC AS- TERAT. AMPLA GRADV. 1525. Some of the German scholars read the distich thus : — Vive, bibe, obgrecare, memor Fausti hujus et hujus Penz: aderat claudo hxc, ast erat ampla gradu. (Live, drink, carouse, remembering Faust and his punishment: it came slowly, but was in ample measure.) The other picture shows Faust, astride of the wine-cask, which is flying Faust. through the door. His face is turned towards the company, and he lifts one hand as a parting salutation. The landlord, servants, and students gaze at him and at each other with gestures expressive of fear and astonishment. The six lines of German doggerel at the bottom of the picture also indicate a later date, since they refer to Faust's punishment. _Blackie's translation of this inscription is very good : — '¢ Doctor Faustus, on that tyde, From Auerbach's cellar away did ryde, Upon a wine-cask speedilie, As many a mother's son did see. By subtle crafte he did that deede, And he received the devil's meede."" Goethe thus followed the main le- gend in bringing Faust to Leipzig, after | the compact with Mephistopheles. There are some satirical touches in the scene, however, which show that some- thing of his own recollections was inter- woven with the tradition. The other - incidents taken from the legends receive a different coloring from the circum- stance that Mephistopheles is made the principal actor, Faust being a passive, and even an unwilling, spectator.

74A nasty song! Fie! a political song.
When this line was written, it prob- ably expressed no more than a covert contempt for the pretence of a 'holy Roman (German) Empire," which was still kept up in the coronation at Frank- furt, and in various Jegal and official forms. Nevertheless, the line has been frequently quoted by Goethe's literary enemies as an evidence that he would Notes. exclude all political aspiration from lit- erature. His silence during the great national movement of 1813 and 1814 has been charged toan absolute indifference to the fortunes of his country and race, and very arbitrary inferences have been drawn in regard to his own political sentiments. In a conversation with Soret, in 1830, Goethe, after confess- ing his hearty admiration of the politi- cal songs of Béranger, thus expresses his own views: — <A political poem is to be consid- ered, however, even in the most fortu- nate case, as the voice of a single nation, and in most cases as the voice of a cer- tain party; but, when it succeeds, it inspires the highest enthusiasm of the nation or the party. Moreover, a po- litical poem is also the product of a certain temporary phase of things, which, in passing away, deducts from the poem whatever value it may have derived directly from the subject." He further said, in answer to Soret's reference to the attacks of which he had been the object, in 1814 and after- wards: '* How could I have taken up arms without hate? and how could I have hated without youth? If those events had found me asa young man of twenty, I should certainly not have been the last, but I was already well over sixty years old, when they came..... National hatred is quite a peculiar thing, You will always find that it is strongest and fiercest, in the lowest stages of culture. But there is also a stage where it entirely disappears, where one stands to some extent above the nations, and sympathizes with the weal or woe of a neighbor people as with that of one's own. This latter stage of culture suited my nature, and I had confirmed myself in it long before reaching my sixtieth year," So little significance is given to the ~ expression which Brander uses, that shortly afterwards, in the same scene, Mephistopheles sings a song which is nothing but the keenest political satire.

75Soar up, soar up, Dame Nightingale.
The couplet which Frosch sings be- longs to several of the early songs of the people. The * Message of Love," written in 1639, commences : — "¢ Soar up, Dame Nightingale, speed high, And to my sweetheart's window fly!" Another song, of the same period, has these lines : — " Dame Nightingale, Dame Nightingale, Many thousand times my sweetheart hail!" The term " Dame Nightingale " was first used by the Minnesingers as early as the eleventh century, and has been perpetuated in the popular songs and ballads. The second fragment which Frosch sings, to annoy Siebel (who has been jilted and resents these strains of love), appears to be Goethe's. This song, which is entirely Goethe's own, was probably written in Septem- ber, 1775, during the height of his passion for " Lili." Ina letter to the Countess Augusta von Stolberg, written from Offenbach, he says: '* The day There was a rat in the cellar-nest. has gone by passably, yet rather heavily : when I got up in the morning, I felt well, and wrote a scene of my Faust." Then, after describing the incidents of the day, he adds: «I felt, all the time, like a rat that has eaten poison: it scampers into all holes, drinks all moist- ure, swallows everything eatable that comes in its way, and its entrails burn with unquenchable fire." In the song, it is not only Brander satirizing Siebel, but also Goethe satirizing himself, in order to escape the unrest of the strong- est attachment of his life. The introduction of Luther's burly figure as a comparison seems also in- tended to ridicule Siebel, who is after- wards described by Altmayer as * the bald-pate pot-belly," and is thus drawn by Cornelius, in his illustration of the scene. The line, nevertheless, gave great offence in certain quarters; and when Faust (under Tieck's direction) was prepared for representation on the stage, in Dresden, the opening quatrain of the song was changed in this wise :— There was a rat in the cellar-nest Who lived on butter and cheeses : He had a paunch beneath his vest, Like the wisest of the Chineses !

77Paris in miniature, bow it refines its
people. Leipzig, under the supreme rule of Gottsched, was a faint and not seldom a ridiculous reflection of Parisian taste, in art, literature, and society. Although Lessing, twenty years before Goethe, had dealt the first blow at the pedantry and affectation of the school, Gottsched Faust. was still living, and only partially shorn of his authority, when Goethe entered the University. In Wabrheit und Dichtung he gives a lively picture of the assumed refinements in dress, speech, and manners in Leipzig, and the annoy- ance which he endured from being compelled to imitate them. The rough, racy directness of the Rhine- German was prohibited to him, as be- ing vulgar; he was told to use the same expressions in speech as in writing, and even his gestures and movements were subjected to a continual censor- ship.

78No doubt't was late when you from
Rippach started ? Rippach is the last post-station before reaching Leipzig, on the road from Weissenfels, The remark of Frosch is a part of the '' chaff" with which the older Burschen were accustomed to en- tertain the Foxes, or Freshmen. «< Hans von Rippach " is a slang name, denoting a coarse, awkward, boorish fellow, —in fact, an equivalent for the Scotch Sazwney, as it is used in some lo- calities. By hinting that Faust and Mephistopheles have been supping with Hans von Rippach, Frosch takes a deli- cate way of saying that they are igno- rant country clowns, in comparison with the refined Parisians of Leipzig. In Wieland's correspondence, there is a Jetter to Merck, wherein he com- plains of the manner in which the world is governed by " children, dan- dies, night-caps, blockheads, Don Quixotes and Hans von Rippachs." Notes.

79There was a king once reigning.
The commentators are agreed that this song is the keenest and coarsest satire upon those court-favorites who make their way to place and power, provide for all the members of their family, and attack and annoy society with perfect impunity, so long as they possess the favor of the ruling prince. It is conjectured by some that Goethe had in view a particular favorite at the Court of Weimar. Falk says that the couplet at the close, repeated as chorus, expresses the freedom of the people from the restraints of the court-circles. The former are at liberty to suppress plagues and parasites whenever they become annoying.

80A German can't endure the French
to see or bear of. Brander's assertion, in this line, must not be understood ina political sense. The national German sentiment, in lit- erature, preceded by many years the political hostility, which first became general and permanent under the op- pressions of Napoleon. But at the time this scene was written, there was a strong reaction, bothagainst Gottsched and his school, and against the subser- viency to French literature and taste manifested by many of the reigning princes of Germany, Frederick the Great at their head. Lessing, and Klopstock in a still greater measure, had already laid the basis of a literary Deutschthum (Germanism), which Goethe and his contemporaries con- firmed for all time. The change of sentiment was first accepted by the younger generation, and especially by the students, of whom Brander is the shrewdest and most respectable repre- sentative present in Auerbach's Cellar.

81Now draw the stoppers, and drink
your fill! Goethe took this specimen of jugglery from the legend, where, however, it is not performed by Mephistopheles but by Faust. It is related as having taken place in Erfurt: '* Spake he (Faust), whether they would not like to try a foreign wine or two: answered they, Yes, whereupon he further asked, whether it should be Rephal, Malvasie, Spanish or French wine, and one of them laughing made answer, all those kinds were good. Then Faust demand- ed a gimlet, began to bore four holes, one after another, on the border of the leaf of the table, stuck in stoppers, even as people stick spigots in the heads of casks, called for several fresh glasses, 'and, when all this had been done, he drew out one stopper after another, and behold! out of each of the afore- said holes flowed unto each one the wine he had required, even as out of four casks, from the dry leaf of the ta- ble." By making Mephistopheles the active agent in these delusions, the scene in Auerbach's Cellar assumes a different character from that which it bears in the legend. Faust speaks but twice, once simply in greeting, and again to express his wish to leave. From this point, he has nothing in common with the traditional Faust.

82False word and form of air,
Change place, and sense ensnare! This last prank of Mephistopheles is also borrowed from the Faust-legend, although it appears to be derived from some older tradition. It is thus related in the work of Camerarius (1602) : «© Once, when he (Faust) was in com- pany with some of his acquaintances, who had heard much of his magic arts, they begged him to give them a speci- men of his powers. After refusing for a long while, he finally yielded to the tumultuous request of the not wholly sober company, and promised to give them whatever they desired. When they then unanimously asked for a vine full of ripe grapes, in the belief that he would not be able to furnish such a thing in that season (it being winter, namely), Faust promised that he would cause a vine to grow instantly forth from the table, under the condition, that, until he should allow them to cut off the grapes, they would observe the deepest silence and not stir in their seats, otherwise they would be in peril of death. When they had accepted this condition, he so deluded the eyes and senses of the carousing company that they fancied to see a very beautiful vine, with as many wonderfully great bunches of grapes on it as there were persons present. Enticed by the mar- vel of the thing, and thirsty from drink- ing, they took hold of their knives, awaiting the moment when they should faust. be allowed to cut off the bunches. Faust left them for a considerable time in their delusion, until finally the vine and grapes disappeared as a vapor, and they perceived that they had taken the noses of each other to be the bunches, and had set their knives thereto." The refrain, "* As 't were five hun- dred hogs," etc., which the students sing, after drinking the various wines, has the character of certain coarse Bacchanalian measures, still common to their class, Perhaps the resemblance in sound between sauf? (swill!) and sau (sow) originally suggested the use of the latter as a vulgar slang word. Even Goethe once speaks of himself, in a letter to Merck, as being sauwob/.

83Witches? Kitchen.
Neither this scene nor the Walpur- gis- Night (Scene XXI.) has any connec- tion with the Faust-legend. The chief motive of the Witches' Kitchen is, of course, the passional rejuvenation of Faust, as introductory to the episode of Margaret; but Goethe, with a wilful spirit, not unfrequently manifested in his life and writings, seems to have also designed burlesquing the machinery of witchcraft and its use in literature. He wrote the scene towards the close of March, 1788, in the gardens of the Villa Borghese, outside the wall of Rome, at a time when his mind was thoroughly possessed with the grace and beauty and irrecoverable symmetry of ancient art. Perhaps, therefore, the very contrast between his strong zsthet- ic passion and the character of his Notes. theme led him to give the latter the ugliest, coarsest, and absurdest expres- sion. The scene has been a puzzle to many commentators, because in the dialogues of Mephistopheles, the Witch, and the Animals, some occult meaning is often provokingly implied. Goethe was too admirable an artist not to have intended this very effect, and not to have accomplished it by the simplest method, — that of giving the jargon of witchcraft to his own definite ideas ; but, that there was no necessary cohe- rence between those ideas, no consistent allegory intended, is evident from his own words, reported by Falk: ** They have now been tormenting themselves for nearly thirty years with the broom- sticks of the Blocksberg and the cat-dia- logues of the Witches' Kitchen, but they have never yet rightly succeeded In interpreting and allegorizing that Really, one ought to play the joke oftener in his youth, and give them such morsels as the Brocken." [There is an un- translatable pun in the original — so/che Brocken wie den Brocken.] There has been a great deal of not very important discussion as to the dramatic-humoristic nonsense. meaning of the word Meerkatze.. It has been translated '* Monkey," ¢* Ba- ' boon," ** Cat-Ape," ** Cat," and « Lit- tle Ring-tailed Monkey." 1 follow Mephistopheles, himself, in using the word ** Ape," (Wie glicklich wurde sich der Affe schatzen !) which will answer as well as any other for those who in- Goethe probably took his Meerkatzen from the legend of sist on symbolism. Reineke Fuchs, wherein they are intro- duced.

84Full thirty years from my existence.
There is here an apparent contradic- tion between the age of Faust and that which is implied in the first scene. The deduction of thirty years, we must suppose, should leave him as a youth of twenty, to begin his new ex- perience of life; yet we can hardly imagine the man who has been teaching for only ten years, and has barely at- tained his Doctor's degree, to be more than thirty-five. Diintzer thinks this is an oversight of Goethe, arising from the long interval between the composi- tion of the two scenes.

85We're cooking watery soup for beg-
gars. Here we have a clew to some of the masked satire in the scene. In July, 1797, Goethe writes to Schiller con- cerning a volume which he sends at the same time: * Herewith goes the again murdered, or rather putrefied, Gustavus III. ; it is really just such a beggars' soup as the German public likes." Falk died before the correspondence was published, or he would not have given the following explanation of the line: «An ironical reference to the coarse superstitions which extend with a thick palpable shade among all nations throughout the history of the world." There seems to be no doubt that in this expression and in the disjointed rhymes uttered by the he-ape, Goethe meant to designate certain classes of - literary works, popular in Germany at the time.

86Wert thou the thief.
The art of divination by means of a sieve (koskinomancy) was known to the ancients: It is mentioned in the third idyl of Theocritus. In the life of Campanella—the Dominican monk, with whose work, De Sensu Rerum, Goethe appears to have been acquainted — the following story occurs: * Some boys had lost a mantle, and in order to find out whither it had taken its flight, they hung up a sieve by the middle on a peg, and then uttered the words ¢ In the name of St. Peter and in the name. of St. Paul, has not so and so stolen the mantle?' They went over a number of names in the same manner, but the sieve remained immovable, till they pronounced the name of Flavius, and then it began to wheel round about. Campanella, who saw it, was much as- tonished, and prayed with the boys that God would not suffer them to be blinded by the devil ; and, on making the trial again, as soon as the name of Flavius was pronounced, it began to wheel round about in a circle." — Adelung, Blackie's translation.

87What do I see? What heavenly
form revealed. Some of the commentators insist that the form which Faust sees in the magic mirror is that of Margaret, whom he meets in the following scene; others suppose it to be Helena, although when she appears in the Second Part (end of Faust. Act I.) he expressly declares that the vision in the mirror was but "a frothy phantom of such beauty."" A reference to Goethe's letters from Rome is all that is needed to satisfy us that it is not an individual, but the perfect beauty of the female form, which fascinates the eyes and brain of Faust. Indeed, his excla- mation, 'Is it possible, then, that woman is so beautiful?' indicates this, without any further evidence, For nearly a year Goethe occupied himself with the study of the human form, drawing from the antique and from lite, modelling in clay, and striving to develop a little technical ability in Art. At the commencement of this period of study he writes: '* Now at last I am possessed by the a/pha and omega of all known things, the human form, and I cry: *Lord, I will cling to thee until thou blessest me!' though I grow lame in the struggle." Eight or nine months later, just before his departure from Rome, he says: ** In such a presence [that of the antique sculptures] one be- comes more than one's ordinary self; one feels, that the noblest subject with which we can be occupied, 1s the human form." In other letters he speaks of the disinclination with which he returns to '* formless Ger- many." The image in the mirror is not a sensual but a purely zsthetic symbol, the significance of which is not further developed in the First Part of the work. The coarser element through which Mephistopheles achieves a tem- porary power over Faust is represented Notes. by the potion which the witch admin- isters to the latter.

88We hear and we rhyme.
These lines, with the preceding and following ones, have (perhaps purpose- ly) a mixed significance. The crown which the animals bring may be that of France, which, though glued or belimed with the sweat and blood of the people, was virtually broken at the time the passage was written; yet the line quot- ed above certainly refers again to the dreary jingle of an inferior class of poets, who now and then, by sheer good luck, get possession of a thought. The remark of Mephistopheles, just before the appearance of the witch, -must be understood in the same sense. The reader must not expect more than a half-interpretation of these passages, and that only by giving up the idea of a coherent design.

89It's long been written in the Book of
Fable. The conversation between Mephis- topheles and the witch is full of ironi- cal suggestions. It ridicules the popu- lar ideaeof the Devil, with his horns, hoofs, and the attendant ravens (bor- rowed from Odin); it slyly refers to the denial of a personal Spirit of Evil, promulgated by Kant in his philosophy and Schleiermacher in his theology ; it asserts that, although men may be rid of the Evil One, there is not therefore any the less evil in the world ; and, by implication, satirizes the aristocracy through the claim of Mephistopheles to the title of Baron. This is the witch's once-one's-one ! go. The common schoolboy term for the multiplication-table in Germany is Ein- maleins, from its commencement, Ein- mal eins ist eins—-once one is one! The jargon which the witch declaims from the book is nothing but a nonsen- sical parody of the cabalistic formula of the Middle Ages, wherein mystical properties are attributed to numbers. In the Paralipomena, there is a verse which is generally attributed to the omitted Disputation, yet which seems more appropriate in this place. Mephistopheles says (apparently to Faust) : — Now, once for all, mark this, I pray — A maxim weighty for thine actions ! No mystery the numbers here convey, Yet there 's a great one in the fractions, g1. A contradiction thus complete. The irreverent irony of Mephistoph- eles in this passage hardly needs expla- nation. Some of the commentators have shown great skill in avoiding the true interpretation. Hinrichs, for ex- ample, asserts that it refers to Hegel's system of philosophy! Diintzer says : "©One should properly attribute this irony to Mephistopheles alone, and entirely absolve the poet from it." Goethe, nevertheless, used the mask of Mephistopheles whenever it suited his convenience. In 1824, when speaking to Eckermann of his early life, he said: «*I believed in God, in Nature, and in the final triumph of Good over Evil; but that was not enough for the pious souls. JI was also required to believe that Three were One, and One was Three, against which the instinct of truth in my soul revolted: moreover, I could not perceive how I should be helped thereby, in the slightest degree." Although the witch bewilders Faust when she speaks again, she nevertheless expresses an article of Goethe's poetic creed — that the truest and deepest in- sight into things is not the result of conscious labor, but falls upon the mind as a free, pure, unsuspected gift. His distaste for metaphysics arose from the fact that it forced him to think about his thinking ; whereas his object always was to preserve the freedom, freshness, and spontaneous activity of his mind. | The lines declaimed by the witch sug- gest another of his aphoristic frag- ments : — Yes, that is the proper way, When one can't say What one thinks, If one thinks ; | But everything comes as if freely given |

92The noble indolence I?ll teach thee
then to treasure. Mephistopheles understands very well that an indolent, unregulated hab- it of life contributes to the growth of all forms of physical appetite. He shows, throughout, such familiarity with theological matters, that we may not unreasonably suspect him of having taken a hint from Dr. Watts : —

66For Satan finds some mischief still
For idle hands to do." Faust Perhaps Mephistopheles also recalled these lines, from Milton's Paradise Re- gained: — "For Solomon, he lived at-ease, and full Of honor, wealth, high fare, aim'd not beyond Higher design than to enjoy his state; Thence to the bait of women lay exposed." 93- Marcarer. We now take leave of the original Faust-legend, which will not again be encountered until the appearance of Helena, in the Second Part. The epi- sode of Margaret is Goethe's own crea- tion, from beginning to end, and here, even more than in the first monologue of Faust, he ** delved in his own breast " for the passion which he represents. Margaret is drawn partly from her namesake, whom Goethe, as a boy of sixteen, imagined he loved; and partly from his betrothed, Lili (Anna Eliza- beth Schénemann, the daughter of a banker in Frankfurt), for whom he felt probably the strongest love of his life, at the time these scenes of his Faust were written. Gretchen (Maggie), or Margaret, is one of the fairest and sweetest figures in the fifth book of Wahrheit und Dicb- tung. Goethe describes how his facil- ity in writing poems for occasions brought him accidentally into society very much below that into which he was born. Some of these chance com- panions were even disreputable, and his association with them was finally broken off by the legal investigations concerning a forgery which one of them committed. At a house where they —— oo Uc Notes. met, Margaret first appeared to wait upon them in the place of a maid-ser- vant. She was three or four years older than Goethe, who was then in his six- teenth year, and her quiet grace, beauty, and natural dignity made an instant and deep impression upon him. 'She was for the most part," he says, ** calm and quiet. Her habit was to sit with her arms crossed, leaning upon the table, a position which showed her to great ad- vantage; and she would thus sit fora long time together, with now and then a slight motion of her head, which, however, was never made without meaning. At times she threw in a word to help on the conversation, but when she had done this, she immediate- ly resumed her calm and quiet attitude of attention." The account he gives of her manner suggests Faust's first interview with Margaret: '* She gave no one her hand, not even me; she allowed no one to touch her: only, she often sat down beside me, especially when I wrote or read aloud, and then she placed her arm familiarly on my shoulder, looked into the book, or on my verses, but when I attempted to take the same free- dom with her she immediately drew back, and did not return so soon again. Yet she often repeated this position, and, indeed, there was a great uniformity in all her gestures and motions, though they were always graceful and beauti- ful." The last time Goethe saw her, just before the arrest of the forger, she kissed him on the forehead at parting; but both his love and self-love were bitterly wounded when, in the investi- gation which took place—and from which she came forth with a spotless character — she testified that she had looked upon him as a boy in whom she felt the interest of an elder sister, and had encouraged his innocent liking for her for the purpose of watching over and protecting him. She left Frankfurt soon afterwards, and Goethe never heard of her again. The engagement between Goethe and Lili, to whom he wrote some of his finest brief lyrics, was broken off by the opposition of their respective families. The uncertainty and unrest of his love is reflected in that of Faust. All the scenes in which Margaret ap- pears, up to that in the Cathedral (Scene XX.), with the exception of Faust'sencounter with Valentine (Scene XIX.), were written during the spring of 1775, and Goethe's relation to Lili was not finally broken off until August of that year. Margaret is one of the most pure and pathetic creations in literature. Ig- norant, uneducated (she uses none but the simplest words and sometimes speaks ungrammatically), artlessly vain, yield- ing to deceit, and finally led to infamy, crime, and madness, she is both real in her words and ways and ideal in her embodiment of the pure woman-nature, and of that alone. The German critics have made her typical of many things, but she will always remain what Goethe intended her to be — simply a woman. In her language, throughout, there are no references except to Goethe's own early experiences of love: the reader may study her character for himself, although an indescribable bloom and freshness is lost in transferring her story to another language.

94How short and sharp of speech was
she. Perhaps the word '* snappish " would best express the meaning of the Ger- man phrase kurz angebunden. Lord Leveson Gower, deceived by the form of the idiom, fell into a very amusing blunder. He translates the couplet :— s¢ As with her gown held up, she fled, That well-turned ankle well might turn one's head!" We are less surprised that a French translator should have made the same mistake, and given the first line thus: "* Comme elle avait des courtes jupes!" Even Blaze, whose translation in many other respects is so careful and intelli- gent, says: * Quel corsage bien pris!"

95Most Worthy Pedagogue, take beed!
The original, Mein Herr Magister Lobesan, is given in a different form by almost every translator. Goethe per- haps borrowed the expression from the title of a satirical poem by Neumeister, published in 1624 — ** The Crowned M., in German, Magister Lobesan." Diintzer says it is a nickname applied to a Magister who makes a pompous display of his dignity. Inasmuch as Faust ironically assumes that Mephis- topheles attempts to teach him morals, I have chosen the word " Pedagogue" Faust. as an equivalent. The following are some of the varieties of translation, and they may help the reader to a clearer comprehension of the phrase : — Brackig. — Sir Knight of Pedantry. Haywarp. — My good Mr. Sermonizer. Brooxs. — My worthy Master Gravity. Martin. — Master Graveairs. Lrvzson Gower. — Mr. Check-my-speed. ANSTER. — Most Reverend. Brresrorp. — Sir Laudable.

96As in Italian tales tis taught.
The word welsche (or walsche) may signify either French or Italian: in the Middle Ages it was often used in the sense of * foreign." Hartung supposes that by welsche Geschicht? Goethe sim- ply meant romances, of whatever coun- try ; but it seems more probable that he had in mind the amorous stories of Boccaccio, or the Heptameron.

97O welcome, twilight soft and sweet!
The reader will not fail to notice the entire change in Faust, since the pre- ceding scene, although only a few hours are supposed to have elapsed. The '© atmosphere " upon which Mephis- topheles has calculated in advance, ex- ercises an influence of which he seems to be ignorant, while Faust, after his first surrender to the new impression, hardly recognizes himself. At the meeting with Margaret, it is the witch's potion which speaks through him: here, the better though obscure aspiration (vide the ** Prologue in Heaven "') re- possesses him, under the new, blissful, yet disquieting form of love. Mephis- Notes. topheles is, naturally, incapable of un- derstanding the transformation in Faust's feelings, because the strongest nega- tion of his denying nature is that of love. Goethe was not only keenly sensitive to the operation of atmospheric influ- ences upon the mind, but he also be- lieved in the existence of a spiritual aura, through which impressions, inde- pendent of the external senses, might "be communicated. It is the atmosphere of peace, and order, and contentment, and chastity, which unconsciously touch- es Faust, in Margaret's chamber; and it is the sultry breath of evil, of impend- ing temptation and ruin, which oppress- es Margaret on her return.

98IL know not, should I do it?
Faust is so far redeemed by his awakening love that he hesitates to use the gift which he had commanded Mephistopheles to furnish. The latter purposely misunderstands his hesitation, and accuses him of wishing to keep the casket of jewels for himself. Neverthe- less, it is he, and not Faust, who places the casket in the press.

99There was a King in Thule.
According to Goethe's statement this ballad was written in July, 1774, when he repeated it to his friend Jacobi, It does not appear to have been originally intended for Faust, as were the songs in Auerbach's Cellar; yet it is most fitting that Margaret, in this crisis of her fate, should sing a ballad of love and death, wherein the word Bub/e (mistress or leman) has a prophetic character. The "King of Thule" was first published in 1782 in a collec- tion of ** Songs of the People," set to music by Baron von Seckendorff, with the announcement added: 'From Goethe's Dr. Faust." This was eight years before the publication of this scene, in the '* Fragment." It would seem impossible for any one to read the ballad and not be satis- fied with the story it so simply tells; yet one of Goethe's commentators, Hartung, insists on the following inter- pretation: " It is based, like the ballad of « The Fisher,' on a deeper meaning. For, while the dying King grants all else to his heirs, the elements, he gives only to the great ocean that which is most precious to him—his Self, his soul, which he desires shall be united to the world-soul, no matter whether it shall melt as a drop into the element of soul-ether, or, hardened into a pearl, continue its individual existence." As I have stated in the Preface, the feminine rhymes of the first and third lines of each verse have been omitted, in order to make the translation strictly literal. I have taken this liberty (the only one I have allowed myself, in the lyrical passages of the work) the more readily, because the redundant syllable partly atones to the ear for the absence of rhyme. In this instance I have considered it especially necessary to preserve the simplicity of the original, and (if that be possible) the weird, Mystic sweetness of its movement. To show how entirely these qualities may be lost, in a language further re- moved from German than ours, I quote Blaze's translation of the last two verses : —

66Puis, se levant, le vieux compére
Huma le dernier coup vital, Et jeta le sacré métal Dans les vagues de l'onde amére. "T] le vit tomber, s'engloutir ; Et quand il n'eut plus aucun doute, Sentit ses yeux s'appesantir, Puis jamais ne but une goutte." 100, With heavenly manna she'll repay tt. Margaret's mother seems to have quoted from Revelation ii. 17: "* To him that overcometh will I give to eat of the hidden manna," and the parson, in the line «* Who overcometh, winneth too," remembers verses 7, 11, and 26 in the same chapter.

101THe NercHsor's House.
This scene surely requires no further explanation than that contained in the two succeeding notes. The characters of Martha, Margaret, and Mephistoph- eles are placed before us, in the clearest manner, by a few simple, realistic touches. I need not repeat the conjec- tures of critics concerning Dame Mar- tha's age and personal appearance. Here, and in Scene XII. she is repre- sented with such distinctness that the reader cannot mistake the part which Goethe intended her to fill. If any- thing further were necessary, Mephis- topheles characterizes her sufficiently, in the following scene. Faust.

102In Padua buried, be is lying,
Beside the good Saint Antony. If this is anything more than a ran— dom statement of Mephistopheles, the irony is neither keen nor especially im- portant. The Saint is not the Antony of the Desert and the temptations and the Irish ballad, but Antonio of Padua, a relative of Godfrey of Bouillon. He was born in Lisbon in 1195, preached with such fervor that even the fishes rose to the surface of the sea to listen to him, and died in Padua in 1231. The splendid basilica in which his ashes rest was not completed until two centuries later. His chapel, with its alti rilievi by Lombardi, Sansovino, and others, still attracts the student of art. Interments within the walls of cathe- drals and churches in Italy were not prohibited until the year 1809.

103I want bis death in the weekly
paper stated, There is, in Germany, an official registration of all marriages, births, and deaths, which are published at stated intervals, The laws relating to mar- riage require both parties to furnish tes- timony that there are no legal impedi- ments to their union; hence the official- ly published death of Herr Schwerdtlein is necessary, before Dame Martha can properly be considered a widow and at liberty to accept a second spouse.

104For thou art right, especially since
I must. Faust, in this line, admits his de- pendence on the aid of Mephistopheles, Notes. and the necessity of giving false testi- mony in order to procure an interview with Margaret. No change in the character of his passion is implied. There is a passage in the Parali- pomena which 'seems naturally to belong here, although some of the German commentators have given it a different place. Mephistopheles says, apparent- ly after Faust's departure, when he has impatiently spoken the above line :— °T is hard, indeed, the younker's ways command- ing 5 Yet, as his tutor, I've no fear I shall not rule the madcap, notwithstanding, And nothing else concerns me here. His own desires I let him follow slowly, That mine, as well, may be accomplished wholly. Much do I talk, yet always leave him free; If what he does should quite too stupid be, My wisdom, then, must make a revelation, And I must drag him forth, as by the hair: Yet, while one strives the folly to repair, One gives for other folly fresh occasion.

105Tothink on you I bave all times
and places. These two lines are literally: «¢ Think but a little moment's space on me; I shall have time enough to think of you." I have been obliged, by the exigency of rhyme, to express the latter phrase in different words; yet this is one of those instances where zo English words, though they may perfectly con- vey the meaning, can possibly carry with them the fulness and tenderness of sentiment which we feel in the original. "' Ich werde Zeit genug an euch zu den- ken baben" suggests, in some mysterious way, a contrast betweeen Faust's place in lifeand Margaret's, between the love of man and that of woman, which the words do not seem to retain, when translated.

106She plucks a star-flower.
The original, sternb/ume, may mean either a china-aster, astar-of-Bethlehem, a variety of primrose or of jonquil. Various modes of amorous divination by means of flowers were known to the ancients (one of them is mentioned by Theocritus), and the Minnesinger, Walther von der Vogelweide, describes a very similar method of ascertaining whether a lover's affection is returned. The single daisy (Ganseblimchen in German) is sometimes used for the same purpose, but it isa garden-flower, of course, which Margaret plucks.

107It's as if nobody bad nothing to
fetch and carry. The effect of a double negative in German is precisely the same as in English, and it belongs equally to the vulgar dialect. Goethe introduces it intentionally here as well as in Scene XVI., where Margaret says, speaking of Mephistopheles: '« One sees that in nothing no interest he hath." I have not felt at liberty to correct these pur- posed inelegances, as most translators have done. They are trifling touches, it is true, but they belong to the au- thor's design.

108Forest anp CaveERN.
Most of the German critics unite in the opinion that this scene must have been written during Goethe's residence in Rome, or immediately after his re- turn to Weimar. There is a certain slight variation in tone which distin- guishes it from the earlier scenes, Mr. Lewes, in his * Life of Goethe," says: «¢ I do not understand the relation of this scene tothe whole." But, in his sketch of the growth of Faust, Mr. Lewes does not seem to be aware of the publi- cation of the '' Fragment" in 1790. The "Forest and Cavern" is there given, not in its present position, but immediately after the scene '* At the Fountain" (Scene XVII.), and conse- quently after Margaret's fall. Goethe's first design was, evidently, to drive Faust from Margaret's presence through the remorse following the deed, and his transfer of the scene to its present place substitutes a moral resistance in advance of the deed for the earlier motive. The character of Faust's love is not only ele- vated by this change, but the element of good in his nature is again actively, and not merely reactively, developed. Some commentators have found a contradiction between Faust's almost inspired enjoyment of Nature in this scene, and the character of his first monologue. Yet, if we read the latter carefully, we shall find it pervaded with a longing for ** the broad, free land," for release from the imprisonment of unsatisfying studies. His impatience is not with Nature, but with the inade- quacy of the physical sciences, which endeavor to wrench from her " with levers, screws, and hammers," the secrets '* which she doth not willingly display." ee ge Faust. Faust looks on Nature, now, with the eyes of a lover, and she is transformed to his senses. It is no longer a cold, amazed acquaintance; her bosom is open to him as that of a friend, and all living creatures become his brothers. The scoff of Mephistopheles does not move 'him, but he at last succumbs to the picture which the latter draws of Margaret's loneliness and sorrow. In Wabrbeit und Dichtung we find the original suggestion of the scene. After Goethe's separation from the Margaret of his boyhood, and the ill- ness which followed, the paternal gov- ernment was more rigidly enforced. He was furnished with a private tutor, a man of intelligence and of a kindly, sympathetic nature, who soon became a friend. Goethe, nevertheless, re- mained depressed and boyishly misan- thropic for atime. 'I drew my friend with me into the woods," he says. «* Leaving the monotonous fir-trees be- hind me, I sought those beautiful, leafy groves, which are, indeed, of no very great extent in that region, but are nev- ertheless of a size sufficient to furnish concealment for a poor wounded heart. I selected, in the deepest part of the wood, a sombre spot where the ancient oaks and beeches grandly overshadowed a broad space of soil. The ground sloped upwards, which added to the ef- fect of the massive old trunks. This clear space was surrounded with dense thickets, out of which rose the venera- ble forms of moss-grown rocks, and an abundant brook poured over them in a rapid cascade... .. Notes. «« What I then felt, is still present to my mind ; what I said, it would be im- possible for me to recall." Hartung, in his comment on this scene, says: "He (Faust) also thanks God that He has given to him the com- rade whom he can no longer do with- out," etc. The reader can judge for himself whether Faust does not sim- ply tolerate the presence of Mephis- topheles, through his conviction that ''nothing can be perfect unto man," and the new ecstasy he feels must there- fore be balanced by the degrading fel- lowship.

109One dares not that before chaste
ears declare. "Qui reprehendunt et irrident quod ea quz re turpia non sint, nominibus ac verbis flagitiosa ducamus, illa autem que turpia sint nominibus appellemus suis: latrocinare, fraudare, adulterare re turpe est, sed dicitur non obsccene ; liberis dare operam, re honestum est, nomine obsceenum." — Cicero, Of. I., 35. Enough of that! lonely yonder. 110, Thy love sits Mephistopheles is shrewd enough to perceive that Faust is thus far insensible to his mockery. He here suddenly changes his tactics, and draws such a picture of the forsaken Margaret that Faust, even in the exclamation '¢ Ser- pent! serpent!" betrays how much he is moved. In this exclamation, and the aside of Mephistopheles, I have omitted the rhyme of the original, which could not possibly be reproduced with- out losing the subtile suggestiveness of the words. Mr. Brooks nearly over- comes the difficulty by translating as follows : — Faust. Viper! Viper! Mepuistopneres (aside). Ay, and the prey grows riper ! 'sWere I a littl bird!" so runs ber song. 111, This is an old song of the people in Germany. Herder published it in his Volkslieder, in 17793 but it was 'no doubt already familiar to Goethe in his childhood. The original melody, to which it is still sung, is as simple and sweet as the words. I cannot do better than to borrow Mr. Brooks's translation, which is very literal : —

66Were I a little bird,
Had I two wings of mine, I °d fly to my dear 5 But that can never be, So I stay here. *¢ Though I am far from thee, Sleeping I'm near to thee, Talk with my dear ; | When I awake again, I am alone. '¢ Scarce there 's an hour in the night When sleep does not take its flight, And I think of thee, How many thousand times Thou gav'st thy heart to me." The expression "wept beyond her tears" is ausgeweint (outwept) in the original. Goethe probably remem- bered the line of Dante (Jaferno, Canto XXXIII.) :— Lo pianto stesso li pianger non lascia,

66Weeping itself there does not let them weep,
And grief that finds a barrier in the eyes Turns itself inward to increase the anguish." Long fellow's translation,

112Ox your twin-pair, that feed among
the roses. The Song of Solomon is one of those books of the Old Testament which Faust, in his contract with Mephistoph- eles, according to one form of the old legend, was permitted to read. We should not be surprised, therefore, to find the latter quoting from it, although not quite correctly. «¢ Thy two breasts are like two young roes that are twins, which feed among the Jilies."" — iv. 5. Mr. Hayward quotes from a private letter to himself the following singular. advice which Schlegel gives in regard to this couplet : — «* Je ne vous conseille pas de traduire cela littéralement. On jeterait les hauts cris."

113Marcaret (at the spinning-wheel,
alone). This and the foregoing scene may be considered as nearly identical in time. The lovers are separated: Faust strug- gles with all the force of his nobler in- stinct to resist his passion, while Mar- garet is wholly possessed by an intense, unreasoning yearning for his presence. In representing her as seated at the spinning-wheel, Goethe again remem- bers the Margaret of his boyhood. Visiting the house on one occasion, to Faust. meet, by appointment, the circle into which he had been drawn, he says: «¢ Only one of the young people was at home. Margaret sat at the window and span; the mother went back and forth... . . . She (Margaret) arose, left her spinning-wheel, and approaching the table where I sat gave me a severe lecture, yet with much good sense and kindness," Although some have fancied that in the opening line, Meine Rub? ist bin, the lulling sound of the spinning-wheel is indicated, the verses are meant to be a revery,not asong. They are, indeed, articulate sighs ; the lines are almost as short and simple as the first speech of a child, and the least deviation from either the meaning or the melody of the original (even the change of meize into my, in the first line) takes away some- thing of its indescribable sadness and strength of desire. In the first verse, which is twice repeated as a refrain, I have been obliged to choose between the repetition of the word peace in the third line and the use of a pronoun which cannot, as in the German, fix its antecedent by its gender. The reader who prefers the grammatical form to the more natural expression will at least understand that it is here impossible to give both. 'There are precedents for either alternative, in former transla- tions.

114Hear me not falsely, sweetest
countenance J When Faust says, * And as for Church and Faith, I leave to each his own," it Notes. is Goethe who speaks. His maxim through life was not only tolerance but a respectful recognition of all forms of . religious belief. Margaret here repre- sents a Class not peculiar to Germany. She insists on a categorical explanation of Faust's views, and when, in answer to her question: ' Believest thou in God ?" he hints at the impossibility of comprehending the Divine Essence, she misses the familiar phrases of her creed, and immediately infers : «* Then thou believest not!" The passage which follows has been the subject of a great deal of comment, from Madame de Staél (in her De I? Allemagne) to the latest writer on Faust. There is, however, sufficient evidence that Goethe meant to state his own — imperfect, as he admitted it to be —conception of the Deity. He read Spinoza at an early age, and fre- quently expressed his concurrence in the views of that philosopher, concern- ing the '*immanence" of God in all things. The sun, the stars, the earth, the human heart and all its emotions, are simply * invisible, visible " manifes- tations of His existence. Goethe's in- tention is to acknowledge Him in His Infinite aspects, not to define or describe Him. In 1829, he said to Eckermann: << The period of doubt is past: every one, now, would as soon think of doubting his own existence as that of God. Moreover, the nature of God, immortality, the being of the soul and its connection with the body are eter- nal problems, wherein the philosophers 363, are unable to give us any further knowl- edge." Two years later, Eckermann gives the following report of Goethe's views. The latter was theneighty-two years old. 'He is very far from supposing that he truly apprehends the Highest Being. All his oral and written utterances have inculcated the belief that God is an inscrutable Existence, whereof man has but approximate glimpses and presenti- ments. All Nature and we human be- ings are, nevertheless, so penetrated with the Divine element, that it sus- tains us, that in it we live, work and be ; that we sorrow and rejoice through the operation of eternal laws, which we fulfil and which are fulfilled in us, whether we perceive them ornot. He is firmly convinced that the Divine Power is everywhere manifested, and that the Divine Love is everywhere active." In 1823 Goethe said to Soret: «' With the people, and especially with the clergymen, who have Him daily upon their tongues, God becomes a phrase, a mere name, which they utter without any accompanying idea. But if they were penetrated with His great- ness, they would rather be dumb, and for very reverence would not dare to name Him." This passage in Faust has sometimes been designated ** Goethe's creed," — an expression which he would have re- pelled, since he considered all creeds as attempts to express something beyond the reach of human intelligence. In

1813he wrote to his friend Jacobi:
«For my part, with the manifold direc- tions in which my nature moves, I can- not be satisfied with a single mode of thought. As Poet and Artist I am a polytheist ; on the other hand, as a student of Nature I am a pantheist, — and both with equal positiveness, When I need a God for my personal nature, as a moral and spiritual man, He also exists forme. The heavenly and the earthly things are such an im- mense realm, that it can only be grasped by the collective intelligence of all beings." Whether Faust's explanation is pan- theism, in either a spiritual or a materi- alistic form; whether it is an usadoc- trinal view permitted to a Christian, or, as Margaret fears, there is 'no Christianity " in it,——are questions which the reader will decide for him- self. The terms Pantheism, Material- ism, and even Christianity, are so liable to random and partisan use, that I pre- fer to leave without comment a passage, of which Mr. Lewes says: ** Grander, deeper, holier thoughts are not to be found in poetry."

115At THE Fountain.
This is another of the scenes written in 1775. Its direct and occasionally coarse realism has been condemned by some critics, and one or two of the ex- pressions have generally been softened in translation. The vulgarity of Lis- beth, nevertheless, has a purpose. Mar- garet is made to feel her own situation, and the disgrace awaiting her, through the expressions applied to the unfortu- Faust. nate Barbara, and the reader's sympathy is secured, with his first knowledge of her fall. I have therefore translated the scene without change, on the same principle which the Germans have adopted in translating Shakespeare.

116And well scatter chaff before ber
door. The word hackersing signifies either chaff or chopped straw. The old German custom, which is still observed in some parts of the country, allowed the bridal wreath only to chaste maid- ens. If one of sullied reputation ven- tured to assume it, the wreath was torn from her head, and sometimes replaced with one of straw, while on the eve of the marriage chaff or chopped straw was scattered before herdoor. A wid- ow who marries again is allowed to wear a wreath, but not the myrtle of the maiden bride. Church-penance for unchastity was also formerly common in England. In Germany the guilty person was obliged to kneel before the altar, clad in a '¢sinner's shift," while the clergyman severely rated her conduct, and read her petition for pardon.

117Donjon.
The word Zwinger, which Goethe uses, corresponds to our 'stronghold " or *'donjon keep," but is also some- times applied to the open angular space between the wall of a town and one of the fortified gates. Goethe seems to use the word in the latter sense. The shrine of a saint was frequently placed Notes. in the re-entering angle, between which and the city-wall there would be a partly enclosed space. Mephistopheles represents Margaret as watching the . clouds *' over the old city-wall," from her window, whence her home must have been in the@street nearest to it, and the shrine of the Mater Dolorosa, being close at hand, would become her accustomed place of prayer. I have followed all other translators in using the word donjon, simply because we have no English word to describe the locality. The opening of Margaret's prayer suggests the well-known Latin hymn of Jacoponus, written towards the close of the thirteenth century : — Stabat mater dolorosa Juxta crucem lacrimosa, Dum pendebat filius ; Cujus animam gementem, Contristatum et dolentem, Pertransivit gladius. If the revery at the spinning-wheel be a sigh of longing, this is a cry for help, equally wonderful in words and metre; yet with a character equally elusive when we attempt to reproduce it in another language.

118VALENTINE, @ soldier, Margaret's
brother. This scene appears to have been written some time during the year 1800, and probably after the completion of the Walpurgis-Night (Scene XXI.). Goethe had been occupied, at inter- vals, for some time previous, with the Helena (Part Second, Act III.), which he finally laid aside, with the determina- tion to fill the gaps yet remaining in the First Part, before proceeding further. In the Royal Library at Berlin, there is an autograph manuscript of the scene, dated ** 1800." Diintzer insists that the unity of the plot is disturbed by the introduction of Valentine, whose death, he asserts, has no intimate connection with Margaret's fall. Goethe's design, nevertheless, may be easily conjectured, and the poets, we imagine, will take sides with him against the critic. The guilt of blood, which the action of Mephistoph- eles brings upon Faust, obliges the lat- ter to fly from the town, and he is thus prevented from learning the shame and misery which swiftly come upon Mar- garet. Without such a motive, his flight would be a heartless desertion, at variance with the expressions of his love in the preceding and following scenes. Moreover, while the conse- sequences of Margaret's fault succeed each other with terrible, cumulative retribution, her right to pity and sym- pathy increases with them. We could ill spare this picture of Valentine, the brave soldier, the honest man, whose death is another necessary link in the fatal chain of Margaret's destiny.

119Saw splendid lion-dollars in't.
The remark of Faust refers, appar- ently, to some buried treasure which Mephistopheles has promised to raise for him. ' Lion-dollars " are of Dutch coinage, and so called both from the city of Louvain (in German, Léwen — lion), in Brabant, where they were first struck, and from the figure of a lion on the obverse. They are also sometimes named ' Brabanters," A few specimens are still occasionally seen in Germany: their value is about eigh- ty-five cents, Hayward is mistaken in saying that the lion-dollar is a Bohemi- an coin. << It was a generally disseminated be- lief that the interior of the earth con- tains treasures, which must be raised by whoever would possess them. It was supposed that the treasure moved of itself, slowly seeking to approach the surface. At stated times, frequently once in seven years, but sometimes only once in a hundred, the treasure is above, and waits to be lifted. If this is not accomplished, because the necessary conditions are not fulfilled, it sinks back again. It is generally contained in a kettle, and its approach to the surface is indicated by a flame hovering over the spot." — Dantzer.

120What dost thou here?
The song of Mephistopheles is direct- ly suggested, as Goethe admitted (vide Note 8), by the song of Ophelia, in Hamlet (Act IV., Scene V.) : — "Good morrow, 't is Saint Valentine's day, All in the morning betime, And I a maid at your window, To be your Valentine. '¢ Then up he rose, and don'd his clothes, And dupped the chamber door; Let in the maid, that out a maid Never departed more." Faust. In Schlegel's translation, St. Char- ity (in the third verse) is rendered St. Kathrin, whence Goethe probably took the name " Kathrina dear." It also seems probable that the name given to Margaret's brother, Valentine, was sug- gested by ' your Vadentine" in Ophe- lia's song; and all the more so, since its Latin original, oa/ens, is specially ap- propriate to a soldier. »

121Rat-catching piper, thou!
Browning's poem of "The Pied Piper of Hamelin" is so well known that I need not give the old German legend to which Valentine's exclama- tion refers. Goethe's song, Der Rat- tenfanger, expresses still more clearly the meaning which he attaches to the phrase. The man who charms inno- cent maidens by his seductive arts, even as the piper by the notes of his magical pipe charmed the rats of Hameln, isa rat-catcher. In " Romeo and Juliet" (Act III. Scene I.) Mercutio says: —

6Tybalt, you rat-catcher, will you walk?"

122Out with your spit, without delay!
Flederwisch, the slang German word for **sword," which Mephistopheles uses, Means a goose's wing, such as is used by economical housewives for dusting furniture. Hayward translates "* toasting-iron," borrowing the expres- sion from Shakespeare; Mr. Brooks says ** whisk," and Mr. Martin '¢ dust- er," — both of which are literal ; yet, in this instance, I prefer to use a cant word which is equivalent tothe original. Notes.

123CATHEDRAL.
This is the closing scene of ' Faust : a Fragment," and the last but one in which Margaret appears. She returns to the Cathedral, before which Faust first met her in the street, as she was coming from confession, where, as even Mephistopheles admits : — '6 So innocent is she, indeed, That to confess she had no need," Without this contrast, the terrible power of the scene must be felt by every reader, The short, unrhymed lines express both the hoarse whispered threats of the Evi] Spirit, and the pant- ing agony of the sinner. The line: "Upon thy threshold whose the blood ?" fails in the edition of 1790, and was added on account of the fore- going scene, which was afterwards written. The confusion of Margaret's thoughts, presaging her later insanity, is indicated in the first words she ut- ters.

124Dies ire, dies illa.
Goethe has elsewhere acknowledged the powerful impression which this old Latin chant made upon himself. Some have attributed its authorship to Gregory the Great, and others to Bernhard of Clairvaux ; but the scholars seem now to be generally agreed that it is not of later origin than the thirteenth century, and that Thomas of Celano was proba- bly its author. It was accepted by the Roman Church, as one of the seguentia of the requiem, before the year 1385. The original text is engraved upon a marble tablet in the church of St. Fran- cesco in Mantua. The present form of the chant 1s supposed to have been given by Felix Hammerlin (in the early part of the fifteenth century), who omitted the former opening stanzas, and added some others at the close. In this form it has appeared in the Catho- lic missals, since the Council of Trent. The chant has been translated upwards of seventy times into German, and fif- teen times into English. One of the closest versions, of the few in which the feminine rhymes are retained, is that of Gen. John A. Dix, who thus renders the first stanza : —

66Day of wrath, without a morrow !
Earth shall end in flame and sorrow, As from saint and seer we borrow."

125Judex ergo cum sedebit.
We must suppose that the singing of the chant continues, and that there is a pause after the close of the first verse, before the Evil Spirit again speaks. His second address certainly points to the third verse, of which it is a para- phrase : — Tuba mirum spargens sonum Per sepulchra regionum Coget omnes ante thronum. Goethe passes over this and the two following verses until the sixth, which is now quoted. Margaret is overpow- ered by the declaration contained in it that all things hidden shall be brought to light, and no guilt shall remain un- punished.

126Quid sum miser tunc dicturus ?.
This, the seventh verse, Is most ap- propriately chosen for the climax of the effect produced on Margaret by the grand and terrible chant. If the just shall be saved with difficulty, what plea shall be uttered by this miserable sinner ? In the original, also, the threat of wrath and retribution culminates here, the remaining ten verses having the character of penitence and supplication. Diintzer censures Goethe for repeating the line: ' Quid sum miser tune dictu- rus?" for the reason that it is not re- peated in the Catholic service, and in- sists that he ought to have given the first line of the following verse — "* Rex tremenda@ majestatis," instead of it." But the poet, who prefers dramatic truth to the correctness of a minute de- tail which is of no importance, justifies himself.

127Neighbor ! your cordial!
The original word, Fiaschchen, means simply a phial ; but it is evident- ly the neighbor's pocket-flagon of smell- ing-salts for which Margaret asks. In most of the English versions we find "* smelling-bottle," but Mr. W. Taylor, of Norwich, in his ' Historic Survey of German Poetry " (London, 1830), says ** Your dram-bottle !"

128Watpurcis-NIGHT.
This scene was written in 1800, probably twenty-five years after its first conception. It is announced in the Witches' Kitchen (Scene VI.), in the Faust. words of Mephistopheles: '* Thy wish be on Walpurgis-Night expressed." Goethe was accustomed to carry his poetical designs about with him for a long time, from a sense of possession and private enjoyment which he lost after they had been written. Perhaps, also, his feeling for the repose and sym- metry of classic art, which was awak- ened during his Italian journey, and which manifests itself in Iphigenia in Tauris, Tasso, and even in Hermann and Dorothea, rendered it more diffi- cult for him to resumea theme so pure- ly Gothic. He once said to Ecker- mann: '*I employed myself but once with the devil and witch material; I was then glad to have consumed my Northern inheritance, and turned again to the banquets of the Greeks." The original manuscript of the Walpurgis- Night is in the Roya] Library of Ber- lin: it is dated November 5, 1800. The title and character of the Witches' Sabbath on the summit of the Brocken, on the night between April

30and May 1, spring equally from the
old and the new religion. Walpurgis (or Walpurga, which is the most usual form of the name) was the sister of Saints Willibald and Wunnibald, and emigrated with them from England to Germany, as followers of St. Boniface, in the eighth century. She died as ab- bess of a convent at Heidenheim, in Franconia, and after the extirpation of the old Teutonic faith became one of the most popular saints, not only in Germany, but also in Holland and England. The first of May, which Notes. a was given to her in the calendar, was the ancient festival-day of the Druids, when they made sacrifices upon their sacred mountains, and kindled their May-fires. Inasmuch as their gods be- came devils to their Christian descend- ants, the superstition of a conclave of wizards, witches, and fiends on the Brocken —or Blocksberg — naturally arose, and the name of the pious Wal- purgis thus became irrevocably at- tached to the diabolical anniversary. The superstition probably grew from the circumstance that the Druidic rites were celebrated by night, and secretly, as their followers became few. Goethe describes such a scene in his Cantata of "The First Walpurgis-Night " (written in 1799), wherein his Druid sentinel, on the lookout for suppressive Chris- tians, sings :— "6 Mit dem Teufel, den sie fabeln, Wollen wir sie selbst erschrecken." [ With the Devil, whom they fable, They themselves shall now be frightened. ] Mr. Lewes is mistaken when he says: «« The scene on the Blocksberg is part of the old Legend, and is to be found In many versions of the puppet play." There is no trace of it in any of the forms of the legend or play which I have ex- amined. The carnival of the witches on the Blocksberg is a much older tra- dition than that of Faust, and the two were never united in the popular stories. Johann Friedrich Léwen, a native of Clausthal, in the Hartz, published in

1756a comical epic, entitled ' The
Walpurgis-Night," wherein, apparent- ly for the first time in literature, Faust appears onthe Blocksberg. I quote the following lines as a specimen : — "© At Beelzebub's left hand there Doctor Faust was sitting ; He filled his glass and drank most bravely, as was fitting, And when the nectar made their spirits warm and strong, The spectres cried 'hurrah!' Faust sang a drinking-song." Goethe was no doubt acquainted with this poem ; but the Brocken itself, which can be seen in clear weather from the Ettersberg near Weimar, or the Kiickelhahn at I!menau, always pos- sessed a special attraction for him. In December, 1777, he first ascended the mountain, and thereafter wrote his cel- ebrated poem, ' Hartz-Journey in Winter." Before leaving for Italy, he again twice made the ascent, both through the region of Schierke and Elend, and on the northern side, up the valley of the Ilse. The Hartz Mountains are an isolated group, lying between the Elbe and Weser rivers, and their central and highest peak, the Brocken, has an ele- vation of three thousand eight hundred feet above the sea. It is a dark, wild region, with forests of fir and birch on the lower heights, traversed by foaming streams, one of which, the Bode, is shut in by perpendicular walls of trap rock, several hundred feet in height. On 'the loftier ridges huge masses of granite interrupt, and sometimes over- top, the forests, Climbing the Brock- en in 1845, I passed the Walpurgis- Night in the highest inhabited house below the summit, which I reached the next morning after wandering upwards for three hours through a terrible storm. The descent in the afternoon, through Schierke and Elend, under drifting masses of black cloud and a driving scud of hail, snow, and rain, suggested, at every step, the description of the scenery in Faust. Schierke, the highest village in the Hartz, is a collection of rude, weather-beaten wooden houses, surrounded by rocks of the most fantas- tic shapes. Elend is two or three miles distant, and much lower. The most spirited and picturesque descrip- tion of the Faust-scenery of the Hartz has been given by Heine, in his Reise- bilder — *« Pictures of Travel,'? which have been translated by Mr. Charles G. Leland. A fragment of two lines in the Pa- ralipomena was probably intended for the opening of this scene : — Faust. The further northward one may go, The plentier soot and witches grow.

129The moon's lone disk, with its be-
lated glow. «' The field of love, hate, hope, de- spair, and whatever other names may be given to the conditions and passions of the soul, is the poet's natural inher- itance, and he may use it successfully. But he has no inherited instinct of how a court of justice — for instance —is held, or how a parliament or an im- perial coronation is conducted; and in Faust. order not to violate truth the poet must make such subjects his own through ob- servation or acceptance from others. Thus, in Faust, I was easily able to possess, by instinctive perception, the gloomy mood of weariness of life in the hero, as well as Margaret's senti- ment of love; but, to say, for exam- ple: — ' How sadly rises, incomplete and ruddy, The moon's lone disk, with its belated glow,' — some previous observation of nature was necessary." — Goethe to Eckermann, The time being near midnight, the moon, then rising, would be approach- ing her last quarter. I cannot give a better illustration of the efforts made by a certain class of German critics to attach a symbolical meaning to every part of Faust, than the assertion of Leutbecher, that the two lines : — "The spring-time stirs within the fragrant birches, And even the fir-tree (fichte) feels it now," indicate the Jirching which Fichte gave to Nicolai, in his paper entitled; '«¢ Friedrich Nicolai, his Singular Opin- | ions," &c.! Unfortunately for Leut- becher, this paper was published a year after Goethe wrote the Walpurgis- Night. Hear them snoring, bear them blowing ! Some of the huge, rocky " snouts," near the village of Schierke, have long Notes. been called Die Schnarcher, The Snor- ers. Near one of these rocks the mag- net shows a great variation, whence the people of the neighborhood claim that it is the central-point of the world. Mephistopheles says, in the Classical Walpurgis-Night (Second Part of Faust) :— The Snorers snarl at Elend, snorting peers! And all is finished for a thousand years. Shelley translates the couplet with great spirit: — : "The giant-snouted crags, ho! ho! " How they snort and how they blow! His version of the Walpurgis-Night, although not very faithful, and contain- ing frequent lines of his own interpola- tion, nevertheless admirably reproduces the hurrying movement and the weird atmosphere of the original. This is the more remarkable since he disregards, for the most part, the German me- tres.

131How raves the tempest through
the air ! The word which I have translated "'tempest," is Windsbraut (wind's- bride) in the original. It is the word employed by Luther, in his translation of the Bible, for the italicized words in the following verse from Acts (xxvii. 14): 'But not long after there arose against It a tempestuous wind, called Eu- roclydon." A sudden and violent storm is still called Windsbraut by the com- mon people, in some parts of Ger- many. The witches ride to the Brocken's top. The same general explanation which has been applied to the Witches' Kitch- en (vide Note 83) is also valid here. In the separate voices and choruses which follow, a meaning is constantly suggested, because each is arbitrarily attached to a basis of satire or irony, without any necessary consistency be- tween them. Most of the German commentators suppose that the crowd- ing and pushing of the "boisterous guests"? towards the summit of the Blocksberg is symbolical of the Storm and Stress period of German Litera- — ture; but the argument could not be made clear to the English reader, with- out giving a comprehensive sketch of that period. I shall, therefore, only mention those references concerning which the critics are generally agreed. Sir Urian is a name which was for- merly used to designate an unknown person, or one whose name, even if known, it was not thought proper to mention. In this sense it was some- times applied to the Devil. In the Parzival of Wolfram von Eschenbach, the unprincipled Prince of Punturtois is called Urian. Hayward says of the omitted words in this verse: 'In Aristophanic lan- guage — the witch mepdera, the he-goat xivaBpa.""

133Alone, old Baubo's coming now.
Baubo, in the Grecian myths, was the old nurse of Demeter, or Ceres; who, when the latter was plunged in grief forthe lossof Persephone, endeav- ored to divert her by indecent stories and actions, and thus, finally, provoked her to Jaughter. Goethe, therefore, makes her symbolize the gross, shame- less sensuality, which, according to all popular traditions, characterized the congregations of the witches, wizards, and devils:

134Woman's a thousand steps abead,
Riemer relates that Goethe, in the year 1807, said to him: ' When a woman once deviates from the right path, she then walks blindly and regard- less of consequences towards evil ; and a man who walks the evil way cannot begin to keep pace with her, for he always retains a sort of conscience, while she allows nature to work un- checked."

135Yet we're eternally sterile still.
«« That is, they know all the rules by — which to avoid faults, but beyond this negative talent their powers do not reach, and the very care with which they wash and cleanse, hinders their productiveness, 'To be free from faults, is both the lowest and the high- est degree ; for it springs from either impotence or greatness.' "? — Hartung. "' It applies to the merely critical efforts of the day, which can never attain to a creative character."" — Deyceks. "«« These always washing, even bright and clean wizards, are without doubt the esthetic art-critics, to whom noth- Faust. ing is ever right, but who themselves are unable to produce the slightest thing." — Dantzer. '' The Blocksberg is the congrega- tion of the evil ones, the collection of the rabble who perversely follow mis- taken views of knowledge, will and power." — Rosenkranz.

136Drizzle, whistling through the
dark. Shelley gives the following transla- tion of this verse : — "The wind is still, the stars are fled, The melancholy moon is dead ; The magic notes, like spark on spark, Drizzle, whistling through the dark." The last couplet here so perfectly retains the character of Im Sausen spribt that I do not see how it could be otherwise rendered without loss ; and I therefore prefer to borrow from Shelley rather than offer a less satisfac- tory translation. I'm climbing now three hundred years. «¢ This can only mean Science (more than three hundred years had elapsed since the revival of the sciences), which cannot properly advance, because it is hindered by pedantry, by the restriction of the schools (the rocky cleft)."" — Dintzer. «'It means the cities and provinces of Germany, whereof there were many at that time, which remained behind the general development of the age." — Deycks. Notes. ' The «Half-Witch," who follows below, after the double chorus, is gen- erally accepted as indicating those half- talents, which, with al] their ambition, never rise above mediocrity, and are therefore bitterly jealous of the more gifted minds which easily distance them in the race.

138Makeroom! Squire Voland comes!
"In the poets of the twelfth and thirteenth centuries we frequently meet with the word Va/ant as a designation of the Devil. In Berthold's Diary we find the Evil One once named as Squire Volland—in the play of Frau Jutta as the Evil Volland. The word means either 'seducer' or 'the Wicked One.' " — Dintzer.

139MepuistorpHeces (who all at once
appears very old). Whether the four characters who have just been introduced are so many indi- vidual satires (Deycks, for instance, as- serts that the Author represents the Ro- mantic school, headed by Tieck and the Schlegels), is a point concerning which the critics are not agreed. But that the episode is a general satire on the con- ventional, and therefore reactionary, element in politics and literature is very evident. 'The words of Mephistophe- Jes and his assumption of age must be accepted as a burlesque imitation of the tone of the four speakers: he simply takes up the strain and exaggerates it to the point of absurdity. One of the German commentators, nevertheless, considers that Mephistopheles gravely expresses his ownviews, His explana- tion is: "And because the contradic- tions of life and thought have reached their highest pitch, but at the same time have found their end and solution, does Mephistopheles convince himself that he has ascended the Blocksberg for the last time." The remaining fragments (Para/ipo- mena) which belong to the Walpurgis- Night may properly be given here : — MEPHISTOPHELES. Though but a bagpipe, give us music! Haste! We have, like many noble fellows, Much appetite and little taste. MEPHISTOPHELES. The piper famous Of Hameln, also mine old friend, The dear rat-catcher who can tame us, How goes — Tur Rat-caTcuer or HAMELN. I'm very well indeed, I thank you 3 I am a hale and well-fed man, Of twelve Philanthropines the patron, And therewithal [a char/atan]. The Rat-catcher, here, is certainly Basedow, one of Goethe's early friends. He was a native of Hamburg, born in 1723, and was noted as a teacher, even before his adoption and advocacy of Rousseau's system of education gave him a wider and more important repu- tation. In 1774 he established a mod- el] school, under the name of The Phil- anthropin,at Dessau. After four years, he left the place, and until his death in

1790was engaged in trying to establish
similar institutions in other cities, The word in brackets is Hartung's suggestion for the completion of the Jine. Diintzer thinks it should be Grobian — * boor."

140Nodagger's bere, that set not blood
to flowing. Some commentators suppose that the «* Huckster-Witch"? (literally, a seller of al] kinds of old rubbish) was intend- ed for the famous Nuremburg antiqua- rian, Von Murr; others that the eccen- tric Hofrath Beireis, who had a remark- able collection of curiosities at Helm- stadt, was the original. This is not a matter of much importance : the Eng- lish reader will be more interested in the resemblance between the catalogue ' of the witch's wares, and that given by Burns in ** Tam O'Shanter." Goethe was probably acquainted with the . poems of Burns at the time the Wal- purgis-Night was written, ten years after the publication of «* Tam O'Shan- ter." In a conversation with Soret, in 1827, he spoke with great admiration of the Scottish poet, and gave evidence of an intimate knowledge of hissongs. For the sake of comparison, I quote the passage from **'Tam O'Shanter"" ; —= "* Coffins stood round like open presses, That shaw'd the dead in their last dresses 3 _ And by some devilish cantrip slight, Each in his cauld hand held a light, — By which heroic Tam was able To note upon the haly table, A murderer's banes in gibbit airns ; Twa span-lang, wee, unchristen'd bairns; A thief, new cutted frae a rape, Wr his last gasp his gab did gape; Five tomahawks wi' bluid red-rusted ; Five scymitars, wi' murder crusted ; faust. A garter, which a babe had strangled ; A knife, a father's throat had mangled, Whom his ain son o' life bereft, The gray hairs yet stack to the heft." Hayward is incorrect in stating that Goethe's poem of **The Dance of Death " clearly preceded " Tam O' Shanter." The correspondence with Knebel shows that the former poem was written in October, 1813. Its character, moreover, is quite distinct and original: not a line in it suggests either Burns or the Walpurgis-Night.

141Adam's first wife is she.
Burton, in his «* Anatomy of Melan- choly," says: "The Talmudists say that Adam had a wife called Lilis be- © fore he married Eve, and of her he begat nothing but devils." The name, from the Hebrew root Lil, darkness, signifies the Nocturnal. The word occurs in Isaiah (xxxiv. 14) ; in the Vulgate it is translated Lamia, in Luther's Bible Kodo/d, and in our Eng- lish version, screech-ow/, According to the Rabbinical writings, Lilith was created at the same time with Adam, in such a manner that he and she were joined together by the back, as it is written, '' male and female created He them and called their name Adam." In this condition they did not agree at all, but quarrelled and tore each other continually. Then the Lord repented that He had made them so, and separated them into two inde- pendent bodies; but even thus they would not live in peace, and when Lilith devoted herself to witchcraft and Notes. courted the society of Devils, Adam left her altogether. A new wife, Eve, was afterwards created, to compensate him for his domestic misfortune. Lilith is described as having beauti- ful hair, in the meshes of which lurk a multitude of evil spirits. She has such power over infants—for eight days after birth for boys, and twenty days for girls—that she is able to cause their death. It was therefore the cus- tom to hang an amulet, inscribed with the names of the angels Senoi, Sansenoi and Sanmangeloph, around the child's neck at birth; and from the Latin ex- orcism Lilla abi! sung by the mother, some have derived our word Lu/laby, although it has also a more obvious deri- vation. Lilith was equally a seductress of young men, using her golden hair as a lure to captivate them; but the youth who loved her always died, and after his death a single hair from her head was found twisted around his heart. Mr. Dante Gabriel Rossetti has embod- ied this tradition in a fine sonnet. A lovely dream once came to me. Byron, who read Shelley's translation of the Walpurgis-Night in manuscript, seems to have remembered the dance of Faust and the young witch, in writ- ing the sixth canto of ** Don Juan." In the two verses given to Mephis- topheles and the old witch, the omitted words are thus omitted in the original. The manuscript in the Royal Library at Berlin contains the completed lines as written by Goethe. They are nei- ther betternor worse than many passages in Shakespeare, having the coarseness, without the wit, of Rabelais; hence the reader gains rather than loses by the omission.

143PROKTOPHANTASMIST.
In Goethe's original manuscript and in the first edition of Faust this name is given as '* Broktophantasmist," as in Shelley's English and Stapfer's French version. The mistake was therefore Goethe's and not theirs, as later trans- Jators have charged. The word (from mpoxrés, the buttocks) points so directly to Friedrioh Nicolai, the Berlin author and publisher, that there is no difficulty in interpreting Goethe's satire. Nicolai, the son of a bookseller, was born in Berlin in 1733, and succeeded to his father's business at the age of twenty-five, after having already com- menced his career as an author. He was the literary associate of Lessing and Moses Mendelssohn, in the * Let- ters concerning Recent German Litera- ture " and the * Universal German Li- brary," published between 1759 and

1792He shared the hostility of the
former to-the romantic school, espe- cially in its «© Storm and Stress "' period, and soon after the appearance of Goethe's ** Sorrows of Werther"? pub- lished a malicious and rather stupid parody entitled ** The Joys of Wer- ther." After the death of his two great friends he seems to have consid- ered himself their literary successor, and his pretensions to be recognized as a critical authority were so arrogantly and impudently displayed, that he soon brought upon himself the enmity, not of Goethe: alone, but also of Herder, Schiller, Kant, Fichte, and many other distinguished men. His '* Account of a Journey through Germany and Switzerland," (1781) intwelve volumes, gives, perhaps, the completest expres- sion of his cold, restricted, yet dictato- rial nature. He has been called the Erz-Pbhilister — the arch-representative of the commonplace, conventional ele- ment in German literature. Carlyle says: '*To the very last Nicolai could never persuade himself that there was anything in heaven or earth that was not dreamt of in bis philosophy. He was animated with a fierce zeal against Jesuits; in this, most people thought him partly right; but when he wrote against Kant's philoso- phy without comprehending it, and judged of poetry as he judged of Bruns- wick mumme,®* by its utility, many peo- ple thought him wrong." Goethe, perhaps, might have forgiv- en the parody of ** Werther," but Nico- lai's declaration that he would 'soon finish Goethe," at a time when he stil] retained considerable influence with the public, while Géschen's edition of Goethe's works was neglected or as- sailed, was a more serious offence. Goethe was provoked into using the only weapon which he considered fit- ting — ridicule, and he was assisted by Nicolai's own indiscretion. The latter, whose literary materialism was his prominent quality,—who fought the * A thick, sweet beer, peculiar to Brunswick. Faust. spiritual element as Luther fought the Devil, — was visited, in 1791, with an avenging malady. He was troubled by apparitions of persons living and dead, who filled his room, and for several weeks continued to haunt and torment him although he knew them to be phantasms. He was finally relieved by the application of leeches about the end of the spine, whence Goethe's term Proktopbantasmist, which may be deli- cately translated as "* Rump-visionary." Nicolai published a very minute ac- count of his affliction and the manner of cure, and thus furnished his antago- nists with an effective source of ridicule. He died in 1811, after having seen himself pilloried in the Walpurgis- Night. His services, nevertheless, must not be wholly measured by the place which he here occupies. He was evidently honest, although vain and narrow-minded. For several years, his authority in Berlin was fully equal to that of Gottsched in Leipzig, a gen- eration before ; and his friendship with Lessing and Mendelssohn is an evidence both of his culture and character. But when, not recognizing the later giants, he attempted to stand in their way, he was crushed.

144Weare so wise, and yet is Tegel
haunted. Nicolai's arrogant manner is parodied in this passage. Since be does not be- lieve in the spirits, it is incredible that they will not vanish. His annoyance at their appearance in Tegel—a small castle, a few miles northwest of Berlin, Notes. originally built as a hunting-lodge by the Elector of Brandenburg, and more recently known as the home and burial place of Wilhelm and Alexander von Humboldt, — is explained by the cir- cumstance that in 1797 apparitions were declared to have visited the castle. So much excitement was created by the report, that an official visit to Tegel was made by the authorities, and at- tempts were instituted, but without success, to discover the cause of the ghostly sights and sounds. In Varnhagen von Ense's Tagebuch, published since his death, I find the following curious statement : — "'Tegel is haunted, as is known: this winter the Minister (Wilhelm) von Humboldt is said to have seen his double there. The servant entered, terrified to find him sitting at his writ- ing-desk, and confessed, in his confusion, that he had just left him lying in bed. The Minister followed the servant into his bedchamber, also saw himself lying in bed, observed the thing for a while, did not approach nearer, however, but went quietly away again. After half an hour the apparition had disap- peared."

145Yet something from a tour I always
sage. This is an allusion to Nicolai's in- terminable narrative of his journey through Germany and Switzerland. The parody of his manner is continued in his repetition of the same idea, as in one of the Xenien which Goethe and Schiller wrote in partnership in 1796: —

6What he thinks of his age he says; he gives
. s e \ his opinion, Says it again aloud, says he has said it, and | goes." The allusion of Mephistopheles to the leeches needs no further explana- tion.

146Ared mouse from ber mouth,
Goethe here refers to an old super- stition concerning one of the many forms of diabolical possession. Perhaps he also remembered the following story, quoted by Hayward from the Deutsche Sagen:— «<The following incident occurred at a nobleman's seat, in Thiiringia, about the beginning of the seventeenth cen- tury. The servants were paring fruit in the room, when a girl, becoming sleepy, left the others and laid herself down on a bench, at a little distance from the others. After she had lain still a short time a little red mouse crept out of her mouth, which was open. Most of the people saw it and showed it to one an- other. The mouse ran hastily to the open window, crept through, and re- mained a short space without. A for- ward waiting-maid, whose curiosity was excited by what she saw, in spite of the remonstrances of the rest went up to the inanimate maiden, shook her, moved her to another place a little fur- ther off, and then left her. Shortly afterwards the mouse returned, ran to the former familiar spot where it had crept out of the maiden's mouth, ran up and down as if it could not find its way, and was at a loss what to do, and then disappeared. The maiden, how- ever, was dead and remained dead. The forward waiting-maid repented of what she had done, but in vain. In the same establishment a lad had before then been often tormented by the sor- ceress, and could have no peace; this ceased on the maiden's death." Goethe probably intended the mouse as a symbol of the bestial element in the Witches' Sabbath, by which Faust is disgusted and repelled. The apparition of Margaret, which has alsoa prophetic character, is the external eidolon of his own love and longing.

147The Prater shows no livelier stir.
The Prater (from the Latin pratum, a meadow) is the famous public park of Vienna, which the Emperor Joseph II. dedicated ** To the Human Race." It is an island enclosed by arms of the Danube, covered with a fine forest which is intersected in all directions by magnificent drives and walks. On holi- days, Sunday afternoons, and pleasant summer evenings half the population of Vienna may be found in the Pra- ter, which is one of the liveliest and cheerfullest places of recreation in Eu- rope.

148SERVIBILIS.
This term corresponds to the "su- pernumerary " of our theatres. In1799, Goethe wrote an article upon * Dilet- tantism " in literature, of which the words spoken by the Servibilis are an echo. Diintzer says, referring to this passage: * The Dilettanti, to whom we Faust are now introduced, love an immensity of material, for which reason they con- tinually produce new pieces, and by scores together."

149OBERON AND TiTania's GoLDEN
WeppINc. This Intermezzo had no place in the original plan of Faust, and Schiller is chiefly responsible for its insertion. In the summer of 1796, Goethe, who had been reading the Xenia of Martial, wrote a few imitations in German di- rected against his literary antagonists. Schiller caught the idea at once; they met and worked together, sometimes independently, while sometimes one furnished the conception and another the words. The distiches grew so fast that'they proposed writing a thousand ; but the number published in the Musen- almanach of the following winter was four hundred and thirteen. (They are all given in the Nachtrage zu Goethe's Werken, by Eduard Boas: Berlin, 1859.) The effect was like disturbing a hornet's nest: the air of Germany was filled with sounds of pain, rage, and malicious laughter. Mr. Lewes says: '©The sensation produced by Pope's ¢ Dunciad,? and Byron's ' English Bards and Scotch Reviewers,' was mild compared with the sensation pro- duced by the Xeniez, although the wit and sarcasm of the latter is like milk and water compared with the vitriol of the 'Dunciad' and the 'English Bards.'"? Mr, Lewes, however, hard- ly appreciates the peculiar sting of the Xenien, which do not satirize the au- Notes. thors as individuals, so much as their intellectual peculiarities. During the following summer, Goethe wrote "Oberon and Titania's Golden Wedding " — not in its present form — and sent it to Schiller for the Musen- almanach of 1798, as a continuation of the aggressive movement. Schiller, writing to him on the 2d of October, says: 'You will not find ' Oberon's Golden Wedding' in the collection; I have omitted it, fortwo reasons. First, I thought it might be well to absolutely leave out of this number of the A/ma- nach ail stings, and assume a harmless air; and then I was not willing that the Golden Wedding, for the amplifi- cation of which there is so much mate- rial, should be limited to so few verses. It remains to us for next year, as a treas- ure which may be greatly increased." There is no reply to this in Goethe's letters until the zoth of December, when he writes to Schiller from Wei- mar, after his return from Switzerland : «¢ You have most considerately omitted Oberon's Golden Wedding. In the mean time it has increased to double the number of verses; and I am in- clined to think that the best place for it would be in Faust." There were probably many changes, made by ad- dition or omission, before it appeared as an Intermezzo in the edition of 1808. The " Walpurgis-Night's Dream "' is a suggestion from Shakespeare. Most of the allusions may still be detected ; yet something has undoubtedly been lost, through the transitory character of the reputations thus satirized. Considered in its relation to Faust, the piece can only be regarded as an excrescence. At the time it was added, however, Goethe designed following it with another scene of the Walpurgis- Night, the outline of which is given in Note 170, Eckermann relates that, in like manner, Goethe inserted a number of aphoristic passages and one or two poems, for which there was no special place elsewhere, in the concluding part of Wilbelm Meister, where their appear- ance was a puzzle to both critics and readers.

150Sons of Mieding, rest to-day.
Mieding was a theatre-decorator at Weimar, and a great favorite of Goethe and the Ducal Court. After his death, in 1782, Goethe celebrated him in the poem, '* Mieding's Death."

151Puck.
Some commentators suppose that the Herald's announcement of the Golden Wedding refers to the final reconcilia- tion of the conflicting elements in Ger- man literature. In that case, Oberon and Titania must be accepted as repre- senting the Classic and Romantic Schools, or perhaps Reason and Imagi- nation ; their quarrel, in the «* Midsum- mer-Night's Dream," may have suggest- ed to Goethe their use as ** properties " for the representation of his satirical fancies. Puck appears to stand for the whim- sical, perverse element which frequently appears to control the tastes of the mul- titude, rather than for an individual. The name (from the same root as the Swedish poika, a boy) and the tricksy nature of the imp in Shakespeare, har- monize with this interpretation.

152ARIEL.
Ariel is called from the ** Tempest " to join his fellow-elves. Here he evi- dently represents Poetry,—the pure element, above and untouched by the fashions of the day.

153ORCHESTRA.
Perhaps Goethe had in his memory the Frogs of Aristophanes. The Or- chestra must either be the crowd of lit- erary aspirants, who, like insects, keep up a continual piping and humming, which annoys the ear; or it represents the chorus of followers surrounding the various literary celebrities of the time, and repeating their several views with a shrill, persistent iteration.

154Soro.
Some pompous bagpipe-droner is here indicated, but nobody seems to know whom. Goethe invented the word Schnecke-schnicke-schnack to de- scribe the long-drawn, nasal snarl of the instrument.

155SPIRIT, JUST GROWING INTO Form.
The name might also be translated Embryo-Spirit. " Goethe undoubtedly herewith designates those botching poetasters, who, without the slightest idea that every living poem must flow spontaneously from within as an or- ganic whole, miserably tack and stitch Faust. rhymes together, and thus produce mal- formations which they attempt to pass off as creations of beauty." — Danizer. The following distich from the Xe- nien has a certain resemblance to the above : — "¢ Everything in this poem is perfect, thought and expression, Rhythm: but one thing it lacks: "t is not a poem at all."

156A Litrte Covupte.
Hartung thinks the Counts Stolberg are the couple; but this is improbable, since they are afterwards introduced as the Weathercock. Diintzer asserts that the verse represents the union of bad music and commonplace poetry. - 167. Inquisitive TRAVELLER. This is Nicolai, in another mask. The meaning of his reference to Obe- ron is not very clear, unless the latter represents the classic school. When he speaks the second time in this IJnter- mezzo the Inquisitive Traveller de- scribes himself much more distinctly.

158OrrHopox.
Here speaks the class of bigots who persecuted Lessing, assailed Klopstock and Goethe, and declared Schiller's splendid poem, ** The Godsof Greece," to be "a combination of the most out: rageous idolatry and the dreariest athe- ism." This phrase is from Count Friedrich Stolberg, who became one of the mouth-pieces of the sect. His at- tack is thus answered in the Xenien : — Notes.

66When thou the Gods of Greece blasphemed,
then cast thee Apollo Down from Parnassus; and now goest thou to Heaven instead." NorrTHern ARTIST. Some suppose this to be the Danish artist Carstens, who died in Rome, in 1798; others select Fernow, a writer on art, who spent some years in Rome with Carstens ; others again insist that it is Goethe himself. Inasmuch as the point made in the verse has become very obscure, and was probably not originally brilliant, the reader may take his choice of these conjectures.

160WEATHERCOCK.
Undoubtedly the Counts Stolberg. Goethe made a tour through Switzer- land with them, in 1775, when they were ardent neophytes of ** Storm and Stress," defying conventionalities, and adoring '' Nature" to such an extent that they attempted to bathe in public in the villages. 'Twenty years later they were narrowly orthodox, reaction- ary, and absurdly prudish, —a trans- formation by no means uncommon with semi-talents, and which may be studied in the United States as well as in Germany. 'Turned on one side, the Weathercock is enchanted with the nude witches, and looks upon them as lovely brides; on the other side, it ex- pects the earth to open and swallow them all. The * Purist " of the fourth preced- ing verse is said to be the philologist Campe, who is called in the Xenien a «¢ fearful washerwoman," cleansing the German language with lye and sand, The word signifies gifts, presented to a visitor. After their publication in the Musenalmanach, the storm which arose against them became so furious that they were denounced in some quarters as having been directly inspired by the Devil. Hence the allusion to *« Papa Satan." XENIES. HEwNINGS. The Danish Chamberlain Friedrich von Hennings, in his literary journal, the "Genius of the Age," attacked Goethe and Schiller in these words : "* They are faithless to their high call- ing; they have disgraced the Muse by their virulence, their coarseness, their dulness, their personal rancor, their poverty of ideas and their malignant de- light in injury." Probably on account of this abuse he is introduced by name, first; then in the following verse as «'Leader of the Muses" (from the Musaget, another journal which he con- ducted) ; and a third time as the '< Ci- devant Genius of the Age,"" — his jour- nal having died a natural death in 1803. The first verse parodies his abuse of Goethe and Schiller ; the second hints that he would be more at home among Blocksberg witches than as a leader of the Muses; and the third satirizes his practice of giving a place on the Ger- man Parnassus to such authors as flat- tered him by an obsequious respect for his critical views.

163CRANE,
«¢ Lavater was a thoroughly good man, but he was subjected to powerful illusions, and the severe and total truth was not his concern: he deceived him- self and others. .... His gait was like that of a crane, for which reason he appears as the Crane on the Blocks- berg." — Goeshe to Eckermann, 1829.

164Wortp.ine.
Weltkind, literally ** world-child," a term which Goethe applies to himself in his epigrammatic poem, * Dinner at Coblenz," where he sat between Lavater and Basedow : — '¢ Prophete rechts, Prophete links Das Weltkind in der Mitten." [Prophets right, and Prophets left, The World-child in the middle.] He here speaks in his own person, satirizing Lavater and his followers. The Dancers, who follow, are the philosophers, the sound of whose ap- proaching drums turns out to be only the bitterns booming their single mo- notonous note among the reeds.

165Goop FeEt.tow.
Hayward and most other English translators convert this name into * Fid- dler," either supposing that where there is dancing there must be fiddling, or mistaking Fideler for Fiedler. This verse and the foregoing (the " Dancing Master") were first inserted in the last complete edition of Goethe's works, which appeared just before his death. The Good Fellow is apparently intro- Faust. duced solely for the purpose of com- menting on the hate and mutual pug- nacity of the philosophic sects. The Dogmatist, who, if he is a par- ticular individual, cannot easily be iden- tified, suggests a passage in one of Goethe's letters to Schiller: «The Copenhagen clique and all the refined dwellers along the Baltic shore will de- rive from the Xeniex a new argument for the actual and incontrovertible exist- ence of the Devil ; and we have there- fore, after all, done them an important service," ) IDEALIST. It is generally admitted that this is Fichte, who, to borrow the words of a German commentator, " comprehended the Not-Me itself as a product of the self-determined Me, and not as some- thing existing externally to the Me." When Goethe heard that a company of riotous students had collected before Fichte's house and smashed his windows in with stones, he remarked that Fichte might now convince himself, in the most disagreeable way, that it was pos- sible ** for a Not-Me to exist, exfernally to the Me."

167SceEptic.
This verse, like the preceding, rep- resents a class, The Sceptic compares the Supernaturalists to treasure-seekers, who follow the appearance of flame and believe that they will soon grasp the reality of gold. Since Doubt (Zweifel) is the only rhyme—and, moreover, an imperfect one — for Devil Notes. (Teufel), in German, the Sceptic finds himself at home on the Blocks- berg.

168THe Aproir.
Here the verses take a political turn, and the reader must bear in mind the general break-up of the old order of things in Europe, at the beginning of this century. The Adroit are those who shift themselves according to polit- - ical changes, and walk on their heads or on their feet, as circumstances may exact. | The following verse represents the opposite class, who managed to sponge their way very well under the former régime, but cannot adapt themselves to the new order. They are the para- sites of a system, and with any change their occupation is gone. WILL-o'-THE- WIspPs. This and the next verse again indi- cate two exactly opposite classes. The former are the political parvenus who are thrown to the surface by a revolu- tion, and, in spite of their obscure ori- gin, rank at once with the highest; while the Shooting Star represents the titles and celebrities cast down from their high places by the same political movement, and looking for any form of help which may again set them upon their feet. In the second following verse, —the «© Heavy Ones," — some commentators see the ignorant, brutal, revolutionary masses; others the writers of the Ro- mantic schoo] and their exaggerated ' medizval traditions. manner. In Goethe's dithyrambic, «* German Parnassus," he thus describes the crush and onset of the masses of rude literary aspirants ; — «© Ah, the bushes down are trodden ! Ah, the blossoms crushed and sodden 'Neath the footsteps of the brood : Who shall brave their angry mood ?" The latter interpretation is the more probable, since Ariel, who is Poetry, addresses them in words appropriate to literary, not political masses. When Puck speaks of himself as << the stout one," Goethe seems to have remembered the words of the Fairy in the "* Midsummer-Night's Dream," in taking leave of Puck : — "¢ Farewell, thou lob of spirits! I "ll be gone."

170And all is dissipated.
The transition from this Intermezzo to the succeeding scene of Faust 1s too violent, and we cannot help wishing that the course of the drama had not been thus interrupted. Goethe, how- ever, not only projected but partly wrote an additional scene, devoted ex- clusively to the pure diabolism of the While we must admit that a correct instinct led him to withhold it, we still must feel that an intermediate scene is necessary. The gap which we recognize was felt by the author, whose work was produced at long intervals of time, and in frag- ments the character of which was de- termined by his moods of mind. But he always preferred an abrupt chasm to an unsatisfactory bridge.

384Faust.
The projected scene is generally styled «* The Brocken Scene" by the German commentators, although Har- tung takesthe liberty of calling it * The Court of Satan." I translate it (with the exception of one short passage) pre- cisely as it is given inthe Paralipomena, with its rapid short-hand outlines, its incomplete dialogues and omitted lines, and leave all comment to the reader : — THE HARTZ MOUNTAINS. A Hicurr Recion. After the Intermezzo: Solitude, Desert, blasts of trumpets. Lightning, thunder from above. Columns of fire, stifling smoke. Rock, projecting therefrom: 't is Satan. Much peo- ple around: delay: means of pressing through: injury: cries, Chant: they stand in the inner circle; the heat almost insupportable. Who stands next in the circle. Satan's address: pre- sentations: investitures. Sinking of the appa- rition, Volcano, Disorderly dissolution, break- ing and storming away. SuMMIT oF THE Brocxen. Satan on his Throne. A Crowd of People around. Faust and Mrpunisropneces in the nearest circle, SATAN (speaking from the throne). The goats to the left hand, The bucks to the right! The goats, they have scented The bucks with delight: And though in their nostrils The sense were increased, The goats would endure it, Nor shrink in the least. Cnoruvs. Fall down on your faces, Your Master adore | - He teaches the people, With pleasure, his lore. To his oracles hearken : He °ll show you the clews To the endless existence That Nature renews! SATAN (turning to the right). Two things are before you, Both splendid and grand: The glittering gold eS The one is purveyor, The other devours; Then blest, who possesses Together their powers | A Voice. What says then the Master ? Remote from his station, I catch not so clearly The precious oration. I cannot detect them, The beautiful clews, Nor see the existence That Nature renews ! SATAN (turning to the left). Two things are before you Of brilliancy clear: The glittering gold Then learn, all ye women, Through gold to enjoy Cnorvs. Fall down on your faces, Adoringly stirred ! O blest, who is nearest And heareth the word ! A Voicr. I stand at a distance And listen so steady, Yet many a word has Notes. Escaped me already. ' Who ll clearly repeat them ? Who ']] show me the clews To the endless existence That Nature renews ? MEPHISTOPHELES (to a young witch). Why weep'st thou, lovely little dear? °T is not the place to shed a tear. Hast thou been in the crowd too rudely pushed and penned? MAIDEN. Ah, no! The Master speaks so singular And all are so delighted, it appears ; Perhaps the great ones, only, comprehend ? MEPHISTOPHELES. But sweetheart, come now, dry thy tears! So that the Devil's meaning reach thine ears, SATAN. Ye young ones, before us To stand ye are bidden; I see that on broomsticks Ye hither have ridden : SepagATE AUDIENCES. xX. Let me attain to that — The power whereto thou knowest me aspirant, Then gratefully, though born a Democrat, 1°11 kiss thy hoofs no less, O Tyrant! MASTER oF CEREMONIES. The hoofs! but once may that befall: Thou must make up thy mind to go still further. x. What, then, requires the ritual ? ® e e e 6 SATAN. . Vassal, thou tested art! Now o'er a million souls thy freehold reaches: He whocan praise like thee the Devil's Shall never lack in sycophantic speeches. ANOTHER PART OF THE BROCKEN. » Lower ReEGion. Vision of Judgment. Crowd. They climb Remarks of the people. On burning soil. The Idol naked. The hands bound on the back. a tree. CHANT. Where hot and fresh flows human blood, For magic spells the reek is good. The brotherhood, both black and gray, Wins power for works that shun the day, What hints of blood, we most require ; What spills it, answers our desire. Round fire and blood a measure tread! For now in fire shall blood be shed. The wench she points, we know the sign ; The toper drinks, 't is blood, not wine. The look, the drink, end what 's begun; The dagger 's bare, the deed is done. Flows ne'er alone a fount of blood, But other streamlets join the flood : From place to place they gush and glide, And gather more to swell the tide. The head falls off: the blood leaps and ex- tinguishes the fire. Night. Tumult. Chat- tering of Devils' changelings. Thereby Faust learns. | Some of the German commentators suppose that the '* black and gray broth« erhood " of this concluding chant are the Franciscan and Dominican monas- tic orders, and therefore that the frag- ment refers directly to the Inquisition. Diintzer asserts that the heading '' An- other Part of the Brocken" indicates that this is a separate outline for the whole scene, intended as a substitute for the foregoing fragments, not as a continuation of them.

171Dreary Day.
Riemer states that Goethe dictated the whole of this scene to him, as it stands, without a pause. This must have occurred between 1803, when he first entered Goethe's service, and 1808, when the First Part was published. It does not therefore follow that the scene was then composed, as most of the critics seem to take for granted. The style of the original at once suggests the Werther period, and I cannot resist the impression that it was then first written, nearly in its present form. There are evidences in Goethe's correspondence that more than one scene of Faust exist- ed in prose, many years before the time of which Riemer speaks; and it is quite possible that other plans for bridging over the gap between the Walpurgis-Night and the Prison Scene have been Jost. It would be consistent with Goethe's habits as an author, to return to his first conception after the failure of later ones, and, inasmuch as the metrical form of his poetry depend- ed on temporary moods, or varieties of Inspiration, — that is, it was never me. chanically planned in advance, — it is not stretching conjecture too far to as- sume that, becoming weary of so many fruitless attempts, he finally dictated the scene from memory, as originally written, Faust. Another proof that this or a very similar scene was in existence before 1790, is the surprise expressed by Wie- land to Béttiger that the Faust " Frag- ment" of that year did not contain the passage wherein Faust becomes so furi- ous that even Mephistopheles is almost terrified at his violence. At this time, ten years had elapsed since Goethe read the manuscript scenes before the Court circle of Weimar. M. Stapfer insists that this scene was given in prose ''in order that it might not be said that any possible form of expression was wanting to Faust.' The whole question of em- ploying metre or prose for dramatic subjects had been thoroughly discussed by Schiller and Goethe, and the em- phatic expression of the latter, ** Every- thing poetical in character must be rhythmically treated," is sufficient evi- dence that he was here guided by neces. sity rather than choice. The remaining passages of the Para- lisomena belonging to the First Part may now be appropriately given. It would appear from the following verse that Goethe at one time intended taking Faust to Rome, as in the le- gend : — MEPRISTOPRELES, From soot and witch away to speed The pennon southward now must lead ; Yet there, instead, the Fates compel With priests and scorpions to dwell. The next quatrain was evidently in. tended for the mouth of Faust, on his southward journey :— Notes. Warmer breezes, hither blow, On our foreheads playing ! Ye were wont to cheer us so In our youthful straying. Then follows the commencement of a scene, which may have been designed as a substitute for that which suc- ceeds :—— Hicuway. Ai cross by the roadside; to the right an old castle on the hiliz in the distance a peasant's hut. Faust. What ist, Mephisto? Why such hurry? Why at the cross cast down thine eyes ? MEPHISTOPHELES. 4 I'm well aware it is a prejudice ; But, never mind, I find the thing a worry. The last fragment contains nothing from which its destination may be guessed ; — MepuisToPHELEs. Let none in earnest ask, or cavil ; I'm of my race ashamed, of late: They fancy, when they say The Devil, They 've uttered something great.

172Open Fiexp.
This brief, uncanny scene seems to have been inserted as a transition be- tween the different keys of those which precede and follow. The *" Raven- stone' is the old German word for a place of execution. Byron probably remembered the expression, from Shel- ley's oral translation, when he wrote, in a rejected chorus of the '* Deformed Transformed"? : — $* The raven sits On the raven-stone."

173My mother, the harlot.
The last line of Faust's soliloquy at the door: " Fort! Dein Zagen xogert den Tod heran!" is one of those para- doxical sentences, the meaning of which it is more easy to feel than to reproduce. Zogern, like its English equivalent, is an intransitive verb ; but Goethe's for- cible use of it seems more natural than Hayward's use of the English verb, — "On! Thy irresolution /:agers death hitherwards!"" This is strictly literal ; yet Mr. Brooks's translation — ** On! Thy shrinking slowly hastens the blow!" is preferable. The song which Margaret sings is a variation of one in the Low German dialect, in a story called the Machandel- Boom (The Juniper-Tree: the English translator, mistaking Machandel for Mandel, renders it '' almond tree'), included by the brothers Grimm in their well-known collection of popular fairy lore. I borrow Hayward's ab- breviation of the story : — "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 occa- sion expresses a wish to be buried un- der the juniper whendead. 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 ac- cording to her wish. The husband marries again, and hasa daughter. 'The second wife, becoming jealous of the boy, murders him, and serves him up at table for the unconscious father to eat. The father finishes the whole dish, and throws the bones under the table. The little girl, who is made the innocent assistant in her mother's villany, picks them up, ties them ina silk handkerchief, and buries them: un- der 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 :— 'Min Moder de mi slacht't, Min Vader de mi att, Min Swester de Marleenken _ Socht alle mine Beeniken, Un bindt sie in een syden Dook, Legts unner den Machandelboom 3; Kywitt! Kywitt! ach watt en schon Vagel bin ich !*"

174My wedding-day it was to be!
One of the commentators asserts that this line must be literally accepted, — that the day dawning was actually that fixed upon by Faust for his marriage with Margaret! The details of the execution, which Margaret describes, belong to the past centuries. The tolling of the bell; the breaking of a white wand by the judge after the reading of the sentence of death, as a symbol that the culprit's life is thus broken; the binding to the seat, and the flash of the executioner's sword, are all features which accompa- nied the act.

175Ye angels, holy coborts, guard me!
Wilhelm Meister gives evidence that Goethe made a carcful study of ** Ham- let," and the following lines, on the appearance of the Ghost in the Queen's Faust. chamber (Act IIT. Scene 4), may have lingered in his memory : — '6 Save me, and hover o'er me with your wings, Ye heavenly guards!"

176She is judged!
Goethe here employs, in a different sense, a phrase from the puppet-play. When the end of Faust's twenty-four years of enjoyment draws nigh, a voice calls from above: Prepara te ad mor- tem! Soon after, interrupted by Faust's prayers and words of remorse, the exclamation follows: Accusatus es ! —then Fudicatus es! and finally: Jz eternam damnatus es |! — whereupon Faust disappears from the eyes of the spectators. Some, forgetting that the terms of the compact have not yet been fulfilled, interpret the words of Mephistopheles '«¢ Hither to me!" as implying that he thenceforth takes full possession of Faust. The voice from above announces that Margaret is saved, and the scene instantly closes, as if the mist and vapor out of which the forms arose had again rolled over them. Goethe so concealed his plan for the Second Part of Faust that we must first become familiar with it before we can return and trace inthe First Part the threads which connect the two. The "little world" of individual passion, emotion, and aspiration here comes suddenly to anend ; but beyond it still lies the '* great world," where the interests and passions which shape Society, Government, and the develop- ment of the human race are set in motion to solve the problem of Faust's destiny. APPENDIX. | APPENDIX I. THE FAUST-LEGEND. O many references have been made, in the foregoing Notes, to the various forms of the old Faust-legend, that a brief account of its origin and the changes in its character introduced by successive narrators is all that need now be added. The reader who is specially interested in the subject will find no difficulty in prosecuting his re- searches further: * no legend of the Middle Ages has been so assiduously unearthed, dissected and expounded. The slow revival of science in Ger- many, France and Italy, furnished the ignorant multitude with many new names which passed with them for those of sorcerers, and gradually dis- placed the traditions of Virgilius, Mer- lin, and others who had figured in their lore for many centuries. Raymond Lully, Roger Bacon, Paracelsus, Cor- nelius Agrippa, the Abbot Tritheim (Trithemius), and many other sincere though confused workers, were believed by the people to be in league with evil spirits, and their names became nuclei, around which gathered all manner of * The collection of narratives given by Schei- ble in his K/oster, and the accounts in Diintzer's and Leutbecher's Commentaries on Faust, may still be easily procured. floating traditions. The fifteenth and sixteenth centuries, from the movements in human thought which they brought forth, were naturally rich in such sto- ries, for even the most advanced minds still retained a half-belief in occult spiritual forces. Melancthon, himself, is our chief evidence in relation to the person and character of the Faust of the legend. It is possible that there was another person of this name, and of some local reputation, in the fifteenth century. George Sabellicus, a noted charlatan, of whom the Abbot Tritheim writes in 1509, called himself Faustus minor. The name (signifying fortunate, of good omen) was not unusual: it was the baptismal name of the younger Socinus, who taught his Unitarian doctrines in Poland and Trénsylvania, and whom some have very absurdly attempted to connect with the legend; for he was not born until 1539. The Johann Faust of the popular stories was un- doubtedly an individual of that name, born towards the close of the fif- teenth century, in the little town of Knittlingen, near Maulbronn, in Wiir- temberg. His parents were poor, but he was enabled by the bequest of a rich uncle to study medicine. He at- tended the University of Cracow (where he probably received his Doctor's de- gree), studied magic, which was there taught as an accepted branch of knowl- edge, and appears to have afterwards trav- elled for many years through Europe. Manlius, the disciple of Melancthon, quotes the latter as having said : '* This fellow Faust escaped from our town of Wittenberg, after our Duke John had given the order to have him imprisoned. He also escaped from Nuremberg, un- der the like circumstances. 'This sor- cerer Faust, an abominable beast, a common sewer (¢/oaca) of many devils, boasted that he, by his magic arts, had enabled the Imperial armies to win their victories in Italy."' It was proba- bly the famous battle of Pavia (1525) of which Faust spoke, as the time of his visit to Wittenberg appears to have been about the year 1530. Another evidence of Faust is found in the Index Sanitatis of the physician, Philip Begardi, which was published at Worms in 1539. He therein says: '©Since several years he has gone through all regions, provinces and king- doms, made his name known to every- body, and is highly renowned for his great skill, not alone in medicine, but also in chiromancy, necromancy, physi- ognomy, visions in crystal, and the like other arts. And also not only renowned, but written down and known as an ex- perienced master. Himself admitted, nor denied that it was so, and that his name was Faustus, and called himself philosophum philosophorum. But how Faust. many have complained to me that they were deceived by him — verily a great number !"" The third witness is the theologian, Johann Gast, who in his Sermones Con- viviales describes a dinner given by Faust at Basle, at which he was present. After mentioning the two devils who attended Faust in the form of a dog and a horse, he says: ** The wretch came to an end in a terrible manner; for the Devil strangled him. His dead body lay constantly on its face on the bier, although it had been five times turned upwards." Gast probably makes this last statement on the strength of some popu- lar rumor. Faust seems to have gradu- ally passed out of notice, and we have no particulars of his death which pos- sess the least authenticity. Melanc- thon, in his discourses as Professor at Wittenberg, Luther in his ** table-talk," and the other Protestant theologians of that period, almost without exception, expressed their belief in a personal, visible Devil, then specially active in their part of the world. Luther even describes the annoyances to which the Devi] subjects him, with a candor which cannot now be imi- tated; and the same belief natu- rally took grosser and more positive forms among the common people. The wandering life of Johann Faust, as phy- siclan and necromancer, must have made his name well known throughout Germany ; his visit to Wittenberg and the reference to him in the three works already quoted, would distinguish him above others of his class, and every Appendix. floating rumor of diabolical compact, power, and final punishment would thenceforth gather around his name as iron filings around a magnet. The various books of magic entitled Faust's Héllenzwang (Infernal In- fluences) were al] published with false early dates, after Faust's name became generally known, and are therefore of no value as evidence. The attempt, also, to connect him with Fust, Gutten- berg's associate in printing, has no foundation whatever. The original form of the legend is the book published by Spiess, in Frank- furt, in 1587. Its title runs thus: «' History of Dr. Joh. Faust, the noto- rious sorcerer and black-artist: How he bound himself to the Devil for a cer- tain time: What singular adventures befell him therein, what he did and carried on until finally he received his well-deserved pay. Mostly from his own posthumous writings ; for all pre- sumptuous, rash and godless men, as a terrible example, abominable instance and well-meant warning, collected and put in print. James, IJII., Submit yoursclves therefore to God: resist the Devil, and he will flee from you." The book must have been instantly and widely popular, for a second edi- tion was published in 1588; a Low- German version in Liibeck and an Eng- lish ballad on the subject, the same year; an English translation in 1590, two Dutch translations in 1592, and one French in 1598. From the first of these Marlowe obtained the material for his tragedy of ** Dr. Faustus," which 5° appears to have been first acted in Lon- don in 1593, the year of his death. It was published in 1604, and no doubt formed part of the repertory of the companies of English strolling-players who were accustomed to visit Germany. In the Dutch translation dates are given, apparently for the purpose of making the story more credible. The year 1491 is mentioned as that of Faust's birth ; his first compact with the Devil, for seventeen years, was made on the 23d of October, 15 m4; his second, for seven years, on the 3d of August, 1531; and he was finally carried off by the Devil at midnight, on the 23d of October, 1538. The term of twenty-four years, which is not a mystical number, is thus obtained by adding the two mystical terms, 17 and

7In the English translation the vil-
lage of Kindling, in Silesia, is given as Faust's birthplace; another tradition, adopted in the original Frankfurt work, says Roda, near Weimar. This oldest book repeats Melancthon's statement of Faust's studies at Cracow, and his fame as a physician and sorcerer. It then describes the manner of his summoning the Devil at night, in a for- est near Wittenberg. Afterwards the evil spirit visits him in his dwelling, and three several * disputations " take place, at the third of which the spirit gives his name as Mephostophiles. 'The compact for the term of twenty-four years is thereupon concluded. When Faust pierces his hand with the point of a knife in order to sign the compact, the blood flows into the form of the words O Homo Fuge! signifying: «*O man, fly from him!" Mephostophiles first serves him in the form of a monk, supplying him with food and wine from the cellars of the Bishop of Salz- burg and other prelates, and with rich garments from Augsburg and Frankfurt, so that Faust and his Famulus, Christo- pher Wagner, are enabled to live in the utmost luxury. It was not long, however, before Faust desired to marry, but this was in no wise permitted, Mephostophiles saying that marriage was pleasing to God, and therefore a violation of the compact. This feature of the legend grew directly from the questions of the Reformation; and there was a special meaning in giving the evil spirit the form of a monk. Wagner, moreover, is said to have been the son of a Catholic priest, picked up by Faust as a boy of fifteen, and by him educated, Then follow many chapters wherein Faust questions Mephostophiles in re- gard to the creation of the world, the seasons, the planets, Hell and the in- fernal hierarchy, and is himself taken to the latter place in a chariot drawn by dragons. Afterwards, he wishes to visit the different parts of the earth: Mephostophiles changes himself into a horse, '¢ but with wings like a drome- _ dary," and flies with him through the air. They travel to all parts of Europe and finally come to Rome, where Faust lives three days in the Vatican, invisible. As often as the Pope makes the sign of the cross, he blows in his face: he also eats off the Faust. Pope's table and drinks the wine from his goblets, until His Holiness com- mands all the bells of Rome to be rung, to dispel the evil magic. Faust then goes to Constantinople, where he ap- pears in the Sultan's palace in the form of Mahomet, and lives in state. He next traverses Egypt, then Morocco, the Orkney Islands, Scythia, Arabia, and Persia, and finally, '*from the highest peak of the Island of Caucasus " has a distant view of the Garden of Eden. After his return to Germany he visits the Court of the Emperor Charles V. at Innsbruck, and at the de- sire of the latter calls up before him the shades of Alexander the Great and his wife. Many pranks are also related, which he plays upon the knights attend- ing the Emperor. - The remaining part of the book is principally taken up with an account of the tricks and magical illusions with which Faust diverted himself in Leip- zig, Erfurt, Gotha, and other parts of Northern Germany. He here resem- bles Till Eulenspiegel much more than the ambitious student of Cracow, who '* took to himself the wings of an eagle, and would explore all the secrets of heaven and earth." He swallows a span of horses and a load of hay; he cuts off heads and replaces them ; makes flowers bloom at Christmas, draws wine from a table, calls Helen of Troy from the shades at the request of a company of students; and shows him- self everywhere as a gay, jovial com- panion, full of pranks, but exercising his supernatural power quite as often Appendix. for good as for evil purposes. Finally, in the twenty-third year of his com- pact, Mephostophiles brings the Gre- cian Helena to him; he becomes in- fatuated with her beauty, lives with her, and by her has a son whom he names Justus Faustus. On the night when his term of years expires, we find him in company with some students in a tavern of the village of Rimlich, near Wittenberg. He is overcome with melancholy, and makes the students an address wherein he expresses his great penitence, and his willingness that the Devil should have his body, provided his soul may receive pardon. At mid- night a fearful storm arose: the next morning the walls and floor of the room were sprinkled with the bloody fragments of Faust, who had been so torn to pieces that no member was left whole. Helena and her child had dis- appeared. Wagner, by Faust's will, became heir to his property, part of which was a dwelling in the town of Wittenberg. The great popularity of the legend In this form led to the preparation of Widmann's larger and more ambitious work, which was published at Hamburg, in 1599. Itstitle is: '«* The Veritable History of the hideous and abominable sins and vices, also of many wonderful and strange adventures, which D. Jo- hannes Faustus, a notorious black-artist and arch-sorcerer, by means of . his black art, committed even until his ter- rible ending. Fitted out and expound- ed with necessary reminders and admir- able instances, for manifold instruction and warning." The story is substan- tially the same as in Spiess's book, but many additional anecdotes are in- serted, and all the details are amplified. Instead of three '* disputations" be- tween Faust and Mephostophiles, there are fen, and each is followed —as, in fact, every chapter in the work —by a long-winded theological discourse, called a Reminder (Erinnerung). These Reminders are pedantic and fiercely Protestant in character: no opportunity is let slip to illustrate the vices of Faust by references to the Roman Church and its Popes. The name of the Famulus is changed to Jo- hann Wayger, and two or three stories, taken from Luther's table-talk, are ar- bitzarily applied to Faust ; whence the work is not considered by scholars to be so fair a representation of the popu- lar traditions as that of Spiess, A new edition of Widmann's book, revised but not improved by Dr. Pfit- zer, was published in Nuremberg in 1674, and revived the somewhat faded popularity of the legend. The refer- ences to Faust in the Centurie of Ca- merarius (1602) and in Neumann's Disquisitio Historica, were known only to the scholars, and Pfitzer's reprint of Widmann was therefore welcomed by the people, several editions having been called for in a few years. By this time it was also represented as a puppet-play, and the knowledge of Faust and his history thus became universal in Ger- many. The only other work which requires notice is an abbreviation of the legend, with some variations, written in a lively narrative style, and published at Frank- furt and Leipzig in the year 1728. The title is as follows: '* The Com- pact concluded by the Devil with Dr. Johann Faust, notorious through the whole world as a sorcerer and arch- professor of the Black Art, together with his adventurous course of life and its terrifying end, all most minutely de- scribed. Now again newly revised, compressed into an agreeable brevity, and furnished in print as a hearty ad- monition and warning to all wilful sinners, by One with Christian Inten- tions." This quaint and curious nar- rative was certainly known to Goethe, as well as Widmann's work. It is the last appearance of the legend in a pop- ular form: thenceforth, through many channels, the latter found its way into literature. The original book of Spiess was fol- lowed in 1594 by an account of the | life of Christopher Wagner, whom the Devil accompanied in the form of an ape, under the name of Auerhabn (moor-cock). It is an evident imitation of the story of Faust; there is a simi- lar compact, there are magical tricks, adventures, and airy travels, with a like tragical conclusion. This book was translated into English the same year, and immediately afterwards into Dutch; but there appearsto have been no further German edition until 1712, when the | Faust. original, with some additions, was re- printed in Berlin. In 1742,a play en- titled «* The Vicious Life and Terrible End of Joh. Christoph Wagner," was acted in the Frankfurt theatre. The stamp of the sixteenth century — of its beliefs, its superstitions, its struggles and its antagonisms —jis un- mistakably impressed on the legend. The singular individual, half genius, half impostor, who bore the name of Faust, must have typified then, as now, the activity of blind, formless, unresting forces in the nature of the people; and through all the coarseness and absurdity of the stories which they have gathered around him, there are constant sugges- tions of the general craving for some withheld knowledge or right. In spite of Widmann's ** Reminders" and the ¢©One with Christian Intentions," it is very doubtful whether the moral of Faust's ending overcame the sympathy of the people with his courage or their admiration of his power. 'There are elements in the legend, the value of which even a purblind poet could not help seeing, yet which the loftiest genius may admit to be almost beyond his grasp. It is not the least of Goethe's deserts, that, although in his youth 'anew Faust was announced in every quarter of Germany," he took up the theme already hackneyed by small talents, and made it his own solely and for- ever. a Appendix. APPENDIX II. THE CHRONOLOGY OF FAUST. AUST is the only great work in the literature of any language which requiresa biography. The first child of Goethe's brain and the last which knew the touch of his hand, its growth runs parallel with his life and reflects all forms of his manifold study and experi- ence. While, therefore, its plan is simple, grand, and consistent from be- ginning to end, the performance em- braces so many varieties of style and such a multitude of not always homo- gencous elements, that a chronological arrangement of the parts becomes ne- cessary as a guide to the reader. During the illness which lasted for nearly a year after Goethe's return from Leipzig in 1768, while he was dis- cussing religious questions with Frau- Jein von Klettenberg, reading cabalistic works and making experiments in al- chemy, the subject of Faust, which was already familiar to him as a child, through the puppet-plays,took power- ful and permanent hold on his imagi- nation.* - He carried it about with him * The premonitions of the 'Storm and Stress" period, which were by this time felt throughout Germany, directed the attention of many authors towards Faust, as a subject for dramatic poetry. Lessing was the first to take in Strasburg, concealing it from Her- der during their intercourse in the winter of 1770—71, and postponing it to write his first great work, Gotz von Berlichingen. We passed the summer hold of it, but only fragments of three or four scenes of his tragedy have been preserved. The work was completed before his journey to Italy in 1775, and despatched from Dresden to Leip- zig in a box which was lost, and never after- wards came to light. Captain von Blanken-. burg, in 1784, gave the following testimony concerning the tragedy, the manuscript of which he had read: "He undertook his work at a time when in every quarter of Germany Fausts were announced as forthcoming; and I know that he completed it. I have been positively informed that he only delayed its publication, in order that the other Fausts might first ap- pear." Of these other Fausts one was published at Munich in 1775, another at Mannheim in 1776, that of the painter Miiller, Goethe's friend, in 1778, a fragment by Lenz in 1777, and a fifth in Salzburg, in 1782. of Goethe's * Fragment" in 1790 and that of the completed First Part in 1808, sine addition- Between the publication al Fausts, by various authors, made their appear- ance; and between the latter date and the pub- lication of the Second Part, in 1832, fourteen more! 'Therefore, including the work of Les- sing, the material of the Faust-legend was em- ployed by twenty-nine different authors, during the period which Goethe devoted to the elabo- © ration of his own original design ! of 1772 at Wetzlar, but did not begin the composition of Werther, which was the direct result of his residence there, until the following year. "Faust," he says to Eckermann, 'originated (in manuscript?) at the same time as Werther.' Thus the conception which he had grasped at the age of twenty had been shaping it- self in his brain for four years, before any part of it was put into words. Gotter, whose acquaintance he had made in Wetzlar, sends him in the summer of 1773 a poetical letter, in which he says: **Send me, in return, thy Doctor Faust, as soon as be bas "stormed out of thy bead." It is not probable that more than the opening monologue was written in 177 3. Perhaps one or two of the first scenes with Margaret were added the follow- ing year; for when Klopstock visited Frankfurt in September, 1774, Goethe read to him *'some scenes" of Faust, which the older poet then heartily praised, though he spoke slightingly of the same scenes after they were pub- lished. In January, 1775, Goethe read all that he had completed up to that time to his friend Jacobi, who wrote to him in 1791, alluding to the published 'Fragment': "I knew nearly the whole of Faust already, and precisely for that reason I was doubly and trebly impressed by it. I have the same feel- ing now, as I had sixteen years ago." Except the ** Cathedral" and * Dun- geon"' scenes, nearly aJ] the parts in which Margaret is introduced, as well as ** Auerbach's Cellar," and the con- Faust. versation of Mephistopheles with the Student, were written in the spring of

1775It is very evident that Merck
was also allowed to see the manuscript, and that Goethe's design was freely discussed among his friends. 'The pub- lisher Mylius, in Berlin, writes to Merck towards the end of 1774, that he will take the manuscript of Goethe's Stella for twenty thalers (!), although he fears that the author may expect «fifty thalers for his next work, and perhaps a hundred louis d'or for his Doctor Faust !" Goethe says: * I brought the work with me to Weimar in 1775. I had written it on foolscap, without any erasures ; for I was very careful not to write down a line which was not good and might not be allowed to stand." In this form he read it to the Court circle, which at that time included Wieland, Knebel, and Muszus. As nearly as can be ascertained, the manuscript com- prised the first half of Scene I., the latter half of Scene IV., and the follow- ing series of scenes to XVIII., with the exception of VI. and XIV. In addition to these, there were probably several scenes which were afterwards omitted before the publication of the work, and one (Scene XXIII., in prose) which was restored, many years later. It is also evident that the plan of the whole work was at least roughly outlined by this time. Its development, however, — except through that secret, unconscious growth which kept it alive under the production of so many other works, — was now arrested for a long Appendix. while. The conceptions of-a young poet are always in advance of his power ; but there is a good attendant genius who thwarts and delays the perform- ance until the auspicious season. In 1780, after the completion of Iphigenia in Tauris, and while his mind was still bathed in the Grecian atmos- phere, Goethe wrote portions of the Helena, for the Second Part of Faust. There seems to be no doubt that the manuscript was read to the Duke, Karl August, his mother, the Duchess Amalia, to Herder and Knebel; but the scenes must have been afterwards suppressed, for the existing He/ena is certainly of a later origin. This is, nevertheless, the only positive evidence that anything was added to the work between 1775 and 1788. Goethe's journey to Italy was not only the realization of an early desire, but it was also a necessary escape from the irksome duties of his position at Weimar. He broke away forcibly from affairs of state in order to recuper- ate himself for poetry, and his eager- ness and anxiety may be guessed from the circumstance that he kept his plan secret from every one except the Duke, fearing that he would never succeed if his intention should become known. It was the old superstition of keeping silence while lifting a buried treasure. The only manuscript he took with him was that of Faust, which he had brought from Frankfurt, and which was now so yellowand worn and frayed, that he says it might almost have passed for an an- cient codex. Nevertheless, he did not succeed in returning to the work until the spring of 1788, just before his final departure from Rome. He writes in March: 'It is a different thing, of course, to complete the work now, in- stead of fifteen years ago; but I think nothing is lost, since I feel sure of hav- ing regained the thread. In so far as regards the tone of the whole, also, I am comforted: I have already finished a new scene, and if the paper were only smoked, I think no one could pick it out from the old ones." This new scene is the ** Witches' Kitchen." It is doubtful whether the ** Cathedral " and "' Forest and Cavern" were also added in Rome, or after his return to Weimar. Finally, in 1790, in Géschen's Leip- zig edition of Goethe's works, Faust appeared as "*A Fragment." I have already mentioned, in the Notes, the scenes which it contains, from I. to XX. with the exception of a gap from the middle of Scene I. to the middle of Scene IV., and XIX. (Night: Valen- tine's Death). 'The impression which the publication produced was not en- couraging: the fragment was not gen- erally understood, and the power ex- hibited in the separate scenes was only partially appreciated.* Goethe, occu- * Heyne, in Gottingen, wrote: ' There are fine passages in it, but with them there are such things as only he could give to the world, who takes all other men to be blockheads." Wie- land expressed his regret that it was such a Schiller was then unsatisfied with the impression it pro- patchwork of earlicr and later labors. duced, and only Kérnerand August Schlegelseem to have had some presentiment of Goethe's design and the grandeur of his fragmentary performance. pied with Wilhelm Meister and Her- mann und Dorothea, banished it for a time from his thoughts; and the first instigation which led him to resume the work came from Schiller, who thus wrote to him on the zgth of November, 1794: 'But I have no less desire to read those fragments of your Faust which are not yet printed ; for I con- fess that what I have already read 'seems to me the torso of Hercules. In these scenes there is a power and ful- ness of genius which clearly reveals the highest master-hand, and I wish to fol- low as far as possible the bold and lofty nature which breathes through them." Goethe wrote in answer: '*I can at present communicate nothing of Faust ; I do not dare to untie the package in which he is imprisoned. I could not copy without continuing the work, and I have no courage for that, now. If any- thing can restore it to me in the future, it is surely your sympathy." It seems, however, that during the fol- lowing winter Goethe took the manu- script to Jena, and discussed the plan of the work with Schiller, for in the summer of 1795 Wilhelm von Humboldt writes to the latter, thanking him for his information concerning Faust. «'The plan," he says, 'is gigantic: what a pity, therefore, that it will never be anything else than a plan!" If Frau von Kalb's memory is to be trust- ed, Goethe wrote about this time the interview between Mephistopheles and the Baccalaureus (Part Second, Act IT.), which has generally been referred toa much later date. Faust. There is no evidence that the First Part of Faust was resumed before 1797, when the ** Dedication " and the " Pro- logue in Heaven "' were probably writ- ten, together with the Intermezzo (Oberon and Titania's Golden Wed- ding), which was afterwards inserted by accident rather than design. In

1798the ' Prelude on the Stage " and
perhaps the conclusion of Scene I., to- gether with Scenes IL. and III., appear to have been written. It is probable that the concluding scene of the First Part (the ** Dungeon "') was either pro- duced orrewritten atthistime. Goethe writes to Schiller that he is favored by «the lyrical mood of Spring," and in several letters announces the progress he is making in the work. During the year 1799 little, if anything, was ac- complished ; but in 1800 Goethe com- menced the composition of the Helena, which is frequently mentioned in his correspondence with Schiller during that year. He writes on one occasion: «¢ During these eight days, I have fortu- nately been able to hold fast the con- ception of the situations, of which you already know, and my Helena has actu- ally entered on the stage. But now the beauty in the ro/e of my heroine attracts meso much, that I shall be disconsolate if I must at last (since the whole can only be represented as a spectral appear- ance) transform her into a grinning mask." Schiller answers, apparently referring to former conversations: * It is a very important advantage, that you consciously advance from the (artis- tically) pure to the impure, instead of ' seeking a method of soaring from the impure to the pure, as is the case with the rest of us barbarians. In Faust, therefore, you must everywhere assert your right of force" (Faustrecbt, an untranslatable pun). In the autumn of 1800, Goethe laid the Helena aside, and devoted himself seriously to the completion of the First Part. He wrote the Walpurgis-Night and the scene of Valentine's death, and then endeavored to fill the gap remain- ing between the Intermezzo and the «* Dungeon' scene. In this he was un- successful, and all his remaining labor from that time until the publication of the First Part, complete, in 1808, was probably merely that of adjustment and revision. The depression which 'weighed upon him after Schiller's death in 1805 affected his interest in Faust more than in any other of his literary plans. When the First Part finally appeared, the following portions of the Second Part appear to have been already in ex- istence: Scene I., and possibly a part of Scene II., of Act I.; Scene I. of Act II.; nearly the first half of Act III. (Helena) ; and some fragments of Act V. There is no doubt that Goethe knew, as he wrote to Zelter nearly twenty years afterwards, 'what was still necessary to be written, but was ~ not yet decided in regard to the bow." It is not necessary to recapitulate here all the interruptions, the varying literary and scientific interests, which came between the plan and its fulfilment. Goethe was fifty-nine years old when Ly | Appendix. AOI the First Part was published, and the years passed by in other labors until he was seventy-five, before the impulse to complete the Second Part returned to him. In 1824 he gave to Eckermann a programme which he had prepared for the completion of Wahrheit und Dich- tung. It contained a prose outline of the continuation of Faust, and Ecker- mann wrote in reply: * Whether this plan of Faust should be communicated or held in reserve, is a doubt which can only be solved after the fragments already in existence have been carefully examined, and it is clear whether the hope of completing the work must be given up or not." This hint seems to have aroused Goethe: the plan was withheld, and the work was com- menced, certainly in the following year. The Helena, to which he felt most strongly attracted, received a new in- terest for him through the idea of rep- resenting Byron in the child Euphorion, and the Act was finished in 1826. It was published in 1827, in the fourth volume of ** Goethe's Works, with the Author's Final Revisions," under the title of «* Helena: a Classico-Romantic Phantasmagoria," and atonceexcited the greatest interest and curiosity. From Edinburgh to Moscow the European critics seem to have been both delighted and puzzled by it. Carlyle wrote an admirable paper upon it, in which he shows great shrewdness in unriddling its symbolism. The encouragement which such a reception of the single act gave to Goethe, stimulated him anew to complete the work, and for four years longer it became the leading motive of his life. In the beginning of 1828 the first three scenes of the First Act — Faust's Awakening, the Emperor's Court, and the Carnival Masquerade — were pub- lished in the twelfth volume of his works, and were received with an en- thusiasm equal to that which the Helena called forth. Goethe, now nearly eighty years old, worked slowly and with a laggard power of invention; but he held to his conceptions with the same tenacity as in his earliest literary youth, and suffered no favorable mood of body or mind to pass without adding some lines. 'The portions already com- pleted were fastened together, with blank sheets of adifferent color between, indicating the gaps yet to be filled; and he rejoiced from month to month as the unwritten gave place to the written color. During 18z9 and 1830 the First Act was completed, and the whole of the Secend Act, including the Clas- sical Walpurgis-Night, was written ; so that, at the beginning of 1831, there only remained the Fourth Act and the opening scenes of the Fifth. This was the most laborious part of the task, and has left upon it palpable traces of labor ; but by the end of July the work was done, and on his eighty-second birthday, August 28, 1831, Goethe sealed up the complete manuscript of the Second Part, to be opened and published after his death. 'From this time on,'' he said to Eckermann, "I look upon my life as a perfect gift, and it is really in- Faust. different what I may further do, or whether I shall do anything." Seven months afterwards, he was dead. Faust is, in the most comprehensive sense, a drama of the Life of Man. The course of its moral and intellectual plot, as first designed by the author, is now and then delayed by the material added to it during the different phases of his own development, but was never changed. This plot is chiefly unfolded to the reader through the medium of two elements, which, from first to last, are combined in it, yet may easily be separated. The difficulties in the way of its comprehension have been caused by the introduction of a third, acciden- tal,and unnecessary element, which is so interwoven with the others (especially in the Second Part), that the reader is often led away from the true path be- fore he is aware of it. The first of the elements, and the one which gives individual coloring and reality to the characters, Goethe drew from his own experience. All the earlier scenes, he declares, were sudject- ively written: Mephistopheles and Faust were the opposite poles of his own nature. His own ambition, disap- pointment, love, unrest, are all reflected throughout the First Part; and the poise of his riper nature, his zsthetic passion and his religious feeling, in the opening of the First Act, the Helena, and the Fifth Act of the Second Part. The second element, drawn from his objective study of men and his observa- tion of the world, is blended with the former, but especially manifests itself Appendix. in the aphoristic character of much of the Second Part, and in the symbolism which he so constantly employs for the sake of more compressed expression. I have endeavored to indicate, in the Notes, all that can be traced to his own personal experience, and thereby to furnish a guide which may direct the reader to that more intimate and satis- factory knowledge which will follow his own studies, What I have called the accidental element is illustrated by the Intermezzo, which was wilfully inserted; by the literary satire in the Witches' Kitchen and the Walpurgis-Night; and in the Second Part by the paper-money scene in the First Act, the controversy of the Neptunists and Plutonists in the Second and the Fourth, and the introduction of Byron in the Third. All these fea- tures must be eliminated from the moral and intellectual course of the action, with which they have not the slightest connection. Indeed, the whole of the Classical Walpurgis-Night, admirable and wonderful as it is, in parts, forms a a very roundabout mode of transition from the Emperor's Court to the alle- gory of Helena. Only by holding fast to the leading idea can we safely follow its labyrinthine windings. What Goethe himself said of Faust in his eightieth year, in speaking of Stapfer's French translation, may be quoted in conclusion, as an estimate equally modest and just: ** The com- mendation which the work has received, far and near, may perhaps be owing to this quality — that it permanently pre- serves the period of development of a human soul, which is tormented by all that afflicts mankind, shaken also by all that disturbs it, repelled by all that it finds repellent, and made happy by all that which it desires. The author is at present far removed from such condi- tions: the world, likewise, has to some extent other struggles to undergo: nev- ertheless, the state of men, in joy and sorrow, remains very much the same; and the latest-born will still find cause to acquaint himself with what has been enjoyed and suffered before him, in order to adapt himself to that which awaits him." _ APPENDIX III. MARLOWE'S "DR. FAUSTUS." R. DYCE'S recent edition of Marlowe renders it unnecessary that I should add an account of the manner in which the latter has treated the legend. His material, as I have already stated, was the English transla- tion of Spiess's book, published in Lon- don in 1590. I quote the first scene, because it offers both a resemblance and a contrast to the first scene of Goethe: — Enter Cuorus. Not marching in the fields of Tharsimen, Where Mars did mate the warlike Carthigen; Nor sporting in the dalliance of love, In courts of kings, where state is overturned 5 Nor in the pomp of proud, audacious deeds, Intends our muse to vaunt his heavenly verse Only this, gentles, we must now perform, The form of Faustus' fortunes, good or bad : And now to patient judgments we appeal, And speak for Faustus in his infancy : Now is he born of parents base of stock, In Germany, within a town called Rhodes ; At riper years to Wittenburg he went; So much he profits in divinity, That shortly he was graced with Doctor's name, Excelling all, and sweetly can dispute In th' heavenly matters of theology : Till, swoln with cunning and a self-conceit, His waxen wings did mount above his reach; And melting heavens conspired his overthrow ; For falling to a devilish exercise, And glutted now with learning's golden gifts, He surfeits on the cursed necromancy. Nothing so sweet as magic is to him, Which he prefers before his chiefest bliss, Whereas his kinsman chiefly brought him up. And this the man that in his study sits. Acr tHe First. — Scene I. Faustus in his study. Faust. Settle thy studies, Faustus, and begin, To sound the depth of that thou wilt profess ; Having commenced, be a divine in show, Yet level at the end of every art, And live and die in Aristotle's works. Sweet analytics, *t is thou hast ravished me. Bene disserere est fines logicis. Is, to dispute well, logic's chiefest end ? Affords this art no greater miracle ? Then read no more ; thou hast attained that end. A greater subject fitteth Faustus' wit : Bid economy farewell: and Galen come. Be a physician, Faustus; heap up gold, And be eternized for some wondrous cure 3 Summum bonum medicine sanitas 3 The end of physic is our bodies' health. Why, Faustus, hast thou not attained thatend? | Are not thy bills hung up as monuments, Whereby whole cities have escaped the plague, And thousand desperate maladies been cured ? Yet thou art still but Faustus and a man. Couldst thou make men to live eternally, | Or, being dead, raise them to life again, Then this profession were to be esteemed. Where is Justinian ? Si una eademque res legatur duobus, Physic, farewell ! Appendix. Alter rem, alter valorem rei, Ge. A petty case of paltry legacies. ° Exhereditari filium non potest pater nisi, Ge, Such is the subject of the institute, And universal body of the law. This study fits a mercenary drudge, Who aims at nothing but external trash, Too servile and illiberal for me. When all is done, divinity is best. Jerome's Bible, Faustus : view it well. Stipendium peccati mors est: ha! stipendium, Ge. The reward of sin is death: that's hard. Si peccdsse negamus, fallimur, et nulla est in nobis veritas § If we say we have no sin, we deceive ourselves, and there is no truth in us. Why then belike we must sin, And so consequently die, ° THE Ay, we must die an everlasting death. What doctrine call you this? Che sera, sera: What will be, shall be; divinity, adieu! These metaphysics of magicians, ; And necromantic books are heavenly! \ Lines, circles, letters, characters : Ay, these are those that Faustus most desires. Oh! what a world of profit and delight, Of power, of honor, and omnipotence, Is promised to the studious artisan ! All things that move between the quiet pole Shall be at my command. Emperors and kings Are but obeyed in their several provinces ; But his dominion that exceeds in this, Stretches as far as doth the mind of man: A sound magician is a demigod. Here tire my brains to get a deity. ee _ (Enter Wacne.) 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Faust, Part II (1832): The Court, the Classical Walpurgis Night, Helena, the Redemption of Faust

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