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UNIVERSITY OF TORONTO
by

MRS. J. HOME CAMERON

Digitized by the Internet Archive
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2010 with funding from
University of Toronto

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GOETHE'S FAUST
PART
I.

BOOKS BY THE SAME AUTHOR
GOETHE'S MINOR POEMS,
SELECTED, ANNOTATED,

AND RE-ARRANGED.
1875.

London: Trubner and Co.

Dublin: Hodges, Foster and Co.
Price. 3s.
6d.

DEUTSCHE STYL- UND REDE UEBUNGEN
-

;

OR,

RULES AND SENTENCES FOR GERMAN COMPOSITION

AND VIVA VOCE.
Dublin: "William Magee.
Price
Is.

1875.

A CRITICAL OUTLINE OF THE LITERATURE

OF GERMANY,
SECOND EDITION, REVISED AND ENLARGED.
London: Longmans, Green and Co.
Price
4s. 6d.

1880.

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1

1

GOETHE'S FAUST"
PART
I.

THE GERMAN TEXT, WITH ENGLISH NOTES AND INTRODUCTORY REMARKS.

FOR THE USE OF STUDENTS OF MODERN LITERATURE.

BY

ALBERT
M. A.,

M. SELSS, Ph.D.;
IN

AND PROFESSOR OF GERMAN

THE UNIVERSITY OF DUBLIN.

LONDON:

LONGMANS, GREEN,
1880.

& CO.

MAY ! 1 1 1967 tO ITY OF TO^ .DUBLIN I PRINTED AT THE UNIVERSITY PRESS.

and on the other. incumbent on any editor worthy of his task. call for a solution. therefore. to render the nature telligible to the tical. or exege- portion of his work. on the one hand. work of Art. structure and design of the drama have given if Neither of these two objects could be overlooked the book were to be of use to the student of Literature.PREFACE. an accurate exposition of all the difficult points of exegesis which occur throughout the poem. and purpose In the of the poem in- English reader. and Its occupies a foremost place in Modern Literature. This edition of Goethe's Faust has been prepared with the twofold intention of giving. the Editor has difficulties had to contend with greater than might at first sight be . other. form and aim are problems which It is. a clear account of the literary questions to which the rise. is Goethe's Faust of complicated something more than some 180 pages It is a great German.

Their desire to retain both the rhyme and metre literal. Some little of these seem have forgotten the German they once knew. The effect of these efforts has been to obscure both the sense and the poetry translators of the to German tragedy. method by which accuracy was wholly sacrificed to sound. the tragedy of Faust more frequently misunderstood and misinterpreted than perhaps any other modern poem. with but one exception. From translations of this class the prose. methods of explanation such as these are highly objectionable. but also to the fact that English translators have. Hay- ward must always be excepted. This is due not only to the idio- matic turns and abstruse reflections occurring in the poem. and others never to have known the language at all. In spite of the many elaborate commentaries is which exist. of the original would not allow them to be but betrayed them into a loose and fanciful of translating. It may be that for purposes of literary dilettantism a pointed rendering is preferable to an accurate one . will be seen in the . and the strictest correctness alone is required. where the others fail.iv expected. but for educational ends. It it is often accurate However.version of Mr. Goethe' s Faust. hazarded the difficult feat of rendering the meaning of Goethe in verse.

S. the modern languages and their literature have partly suc- ceeded in dethroning the ancient Classics from the supreme position they once held in our educational system. has long been out of print. July. accordingly. . A. and might have been written specially for the benefit of University students. so teeming with thought its Faust of Groethe. ought not any longer to be left unedited. which has a scholar for hero. Meanwhile.Preface. published in 1853. as the A book. his work to the public with the is as no annotated edition of Faust now The edition of Dr. Dublin. Trinity College. M. The author submits more confidence to be procured. Falck-Lebahn. against which the English student. v following pages that even this prose-rendering contains many imperfections. should be cautioned. 1880. as well as the future translator of Faust. besides being unsuited to College purposes.

.

at founding a drama on the story of Faust. Spiess. —The Faust-legend published Frankfort by 1485. — Goethe reads. the first two scenes of Part I. Boie. I. 1774.— CHRONOLOGICAL TABLE. or shows. containing the earliest account of the 1591. —Marlowe writes his Doctor Faustus. composes the first scene of his tragedy. 1771. — Goethe. . — Goethe. to Klop- stock. conceives the idea of 1749. SHOWING THE GROWTH OF THE DRAMA. on the 28th of August. whence is derived the Faust -Puppenspiel of Germany. Johann Faust born approximate 1550. at J. —Dr. op Goethe. when making holiday at Frankfort. . — Dr. — Goethe born Frankfort-on-Main. Johann Faust died 1587. 1769. do. Histokic and Biographic Facts bearing on the Origin op the Drama . and other friends passing through Frankfort. life of Johann Faust. date. when a Law student at Strasburg.

Faust meditates suicide. Garden-scene 13. Scene 17.. partly in verse. 7. — Goethe leaves Frankfort for 5 th. —Gradual progress work. . First 10. Walk. partly in prose. his drinking the poison. Scene 4. in prose. sketch of th. posed. Second Garden-scene. k. —A sketch —A pheles of Faust's .in the study. viz. Frau Martha's House. written in prose. —A scene in — The verse. or Third Garden-scene. —Faust's Confession his Faith. subsequently enlarged and transat of . ^tfofo^te. mostly in verse. written by of the Goethe. — In the Cathedral. 9. —Margaret the Spinning-wheel. The Earth-spirit prevents by promising to delegate to Mephistopheles. travellers. followed by the scene of the Freshman. 5J3ataIivomenci ju Sauft. Eoom . and completion of about twenty scenes. 1774 to September 1775. where Mephisto- makes his appearance. II. in the MS. The Frankfort MS. it is scene in Auerbach's cellar. certain.] 1775. —At the Well date not —In Forest and Cave. referring to Faust and Margaret. precisely as now. Scene 25. Scene 16. 1774. describing an agreement between Faust and Mephistopheles. written in prose Scene 3. Margaret's 11. k. scene. where he arrives on No- vember . [Besides the scenes before enumerated. there were a few shorter passages. and small portions of scenes. Scene 14. to have existed acty! : —Faust in his Study: §abt nun. among The of which the following are supposed Scene 1. beginning —The Dungeon-scene. Scenes 7-13. First meeting . The second monologue Frequent appearances of the Earth. him a ministering Scene 2. and the departure of the two written on April 17th. "Walk. Dialogue with "Wagner. 8. how.spirit. walk with Wagner on Easter-day. Scene 5. Scene 20. spirit. viz. : 2Bie anterS tvav fctt'S. 12. Scene 15. on which see ©oet^e'g 2Bcvfe. Faust. Weimar. and when.— — — viii Goethe s Faust.

" k. viii.. ending with the exit of Wagner. he inserts. tcv gonjen ift. — at Stahel and Goschen's. Scene 4. COMPLETED BY GOETHE. . ix — " Eaust. VEESES Faust. in In connexion with the last -mentioned Scene 1. 11. 1790.— Goethe's tour 1788. Then came unb tocig a hiatus of 22 printed pages. III. 18. beginning abruptly with Sftenfcfytyeit jugetfjeitt : .spirit. : vol. of his Complete Works. Rome. 17. Vienna and Leipzig. inserts. and the words fvol) tft tt>enn ev : Unb StegeiUDUvmer ftnfcet. 1786-1788. . . — Goethe. AND WHEN. 20." containing in all 2133 HOW." which anciently stood after scene 17. 7. je. — The Easter-hymn. 13. in Italy. scene 6. COMPLETED BY GOETHE. 9. . 10. scene of the 1789. —He writes —He in the Borghese Park. 1797. — " Faust. [The last line of „8aufi. 6. 15. 16. 8. according to Diintzer. or shortly after: for the Theatre . after 1797-1798. — Goethe publishes. „ 9tacfyt>avtn. he pre- monologue : „(sh-ljaBnev ®eijl. Well" and "At fixes the the Z winger. occurring in the MS. but several portions of the second monologue of Faust. VEESES — Ein Eeagment." and before the scene "At the "In Forest and Cave." containing in all 4605 HOW. Scenes 5. change. scenes 17 and 18. some consultation with Schiller. (5tu a portion of the It MS. 12.— — Chronological Table. Dedication The Prelude (c) logue in Heaven. . Eine Teagoedie. „5aufl. are taken over. The part of this spirit is greatly cut down. viz. substituted for the second and third appearance of the Earth.* comprised 17 scenes and Scene 1 . re-casts his (a) The The Pro- by prefixing (b) in June. as fragment" —being only 2133 verses. 14. which was contained in the MS. AND WHEN. (Sin fragment" is euev 3tafd>c$en!"] IV. verses 252-1416 being omitted.

it now occupies. composed between 1797 and 1799. One is scene. and Scene 4. is have partly pre-existed since 1778. — Goethe finishes his Faust. — Goethe transposes the scene " In Forest and Cavern. from the old prose account." from its former place after the scene " At the Well. the Compact-scene. Scene 24. composed in Goethe's Old Age.. Sine £ragobte/' Part viii. — Scene the Death of Valentine. of Goethe's V. I. Works. — Scene Walpurgis-night-scene. in vol. founded on the prose sketch con—The Dungeon -scene. 19. composed and 1800-1801. and Riemer publishes Part II. of — Goethe composed the Second Part of his Faust. partly taken from the as to fill MS. the prose-scene in which Faust demands the rescue of Margaret.. dictated by Goethe to his secretary. of 4605 verses.. —The Walk on Easter-day. or Intermezzo. as March 22nd. contained in the MS." to the 14th place. 20. that between Me- phistopheles and the Bachelor. in 25 scenes. up the Scene 3. Goethe contin tied. and inserted so hiatus between verse 252 and verse 1416. enlarged and turned into verse. Part II. 1832. which 1800. s Faust.—— x 1797-179 8 Scene 2. Scene 25. —The Ride past the Eavenstone. newly invented. five acts.. 1799. 1807. at Stuttgart. 1826-1831. containing a number of Xenia. —The Dream. Faust. to which is attached Scene 21.. composed. tained in the MS. — Completion and publication of „5auft. — Scene 23. His secretary a posthumous work of Goethe. dies . inserted. in or Helena— which only one—Act supposed to III. 1808. partly new. believed to date from 1795.

§ § — . Faust's wanderings and acquaintance with Me^ style." 1 § § 2.TABLE OF CONTENTS. . 19 . 3.— Faust's Death.— Scenes 7.. 25 first § 13.— The 5. 8 11 15 phistopheles. §11. —The Faust of Goethe compared with the Faust of the legend —Dr. 4 4 6 7 Part L. — — —Brief analysis of Marlowe's Br.. 9. § § § § 8. 10. — Criticism of Goethe's — Goethe's Faust compared with Dante's Commedia.. Faustus the 23 12. Joh. Faustus. Page Preface. —A brief sketch of the subject—suggested by Goethe's "Dedication. iii Chronological Table showing the Growth of the Drama. § 14. plot. § —Faust's intimacy with Helen. Faust-drama 27 28 . Marlowe's Br. —Was Goethe right in calling his Faust a "Tragedy in the structure of the tragedy may be — How the irregularities for. scenes 1-6. § 1 . 2 accounted § 4. . 6. 7-25. vii INTRODUCTION.

. 31. 56. J)oten. 14.. 61. 62. 48. . 17. for Theatre" SQBag :— SMtt ein S&efjen . 64.. (SMeber. .. . — 3)tt barfft aud. 18-24. : frafc' ben tfotf.38 the other changes introduced 3t> . 60. 54. p.. p. $>a toart tin'* nun. § —The three principal characters of the tragedy. 58. id. fatten njevfen. Mx iua§ btetn gef)t SEBotyttfiat.49. 59. Scene 12:— <§d. 60.31 33 35 § § § 16. 56. bet SScgtafcene. 42 45 1-5. — SPftffcrttnge. p. n . From ''Prologue in Heaven": £>a§ 2Betbenbe. p. Page § —Marlowe's Faustus compared with Goethe's treatment of the subject. p. £erreit. Scene 11 :— 3lu8geretfte p. Scene 4: t^etlt ift. —Passages hitherto misinterpreted. 8 13. xii 15. p. p. 18. 29.ont. 34.afft mtr etn baUtuty. Jpat p.—The Fragment of 1790. 53.. ftatfd. 57. 6-7. 52. Scene 7 p. 50. 46. £er faubertt p.. 47. 21. IjdU.ntfcel fraufelt. @d. p. Scene 2 Scene p. Sitget . From " Prelude Jperten. @ee(enfraft p. . 3urucfe fd. 20. ©efrtfb. 59. 62. 60. - • . Scene 5: p. —Jlann p. p. p. 28. 17. 15. 3 it tyanbeht. . Scene 6 :— 3u'§ SaMfrud. p. 35. 48. Goethe s Faust. p. — p. 55.. 33. p. 23et eud. p.—The Frankfort MS. The Prologue in Heaven and — in. 2£er fidjert... tfyr Steunbltd. 3tt btefem @htne.ttngt. 30. 61. p. — German Commentaries. 3 : 16. jc. . § § and after. (£rttnrfr eS. 51. 36. p. 1797. mcicfyt »ofte3 JjjauS. 3uge> 3)aS ia$t fid.. . 3luf ben ®tunb $u $i>ten. SSerbttefjen. — : QSittuoS. 63. 63. JDaS SGBtbttge. Scene 1 :— £>afiir. p. 32. p. • . Scene 8 Scene 9 :— 3d. 19. : — — ©tit bunHet (SJjtenntann . 25-27. ba. ©d.. gefd>ttefren.

115 : Scene Scene 4. Scene 21 — 93erein$ett 5al)re jur <£i3tle. p. Scene Scene 8. . . 2ftit tmberftefjt bag : totte. Dedication : 3tyr nafyt eud. tuieber.. : 73 ifjr Prelude for the Theatre 3Me @onne Prologue in Heaven : 3fjr bcibeu. 3d. $tunn\ berb. 67. nun. Martha : : : ®ott 179 S l forbern ? 186 ftofjt. 158 — Faust's meeting with Margaret Srdutein. : p. 9. ^efcetjTor.en meiuem 9flann.— The 7. 201 .. bap mid... fufjf eg 188 194 196 fommt . : at 9Jieine 9tufy' ift fjin.. 23egruj)en. id. 46-50. £)er (SJott. Srafcen . Love-making tjl's ? . 70. 5. aufgcriefcen.. . 42-45. bie mir fo oft.en f$uf. 41. Sftein toertfjeS 169 172 ill 3d. Scene 12. Scene 15. p. Scene 19 :— Saftrung. p. ! 3d. p. —Mephistopheles serjeity'S secures the services of tier.. Scene 22 :— $a3 gotben. 66. Scene Scene 2. Scene 11. bid) fange . Scene 1. . a walk with Faust.. THE GERMAN TEXT. 37-40. : Scene 13. —Margaret's Boom —Mephistopheles. 68. bap s : l\\ guteit JCag. 64.— — ? ! Table of Contents. ber 33ut> unb 9ftabd. Sibeter . neljme immer mit. 75 timt nacfy alter SOQctfe. — Second Garden-scene — Scene in Forest and Cavern —Margaret the Spinning-wheel (£r : . ! 82 . 65. — Faust in his Study ^Uofb^te. .. 69. ber £err nur fctyont. —The Compact and the Wager —Auerbach's Cellar: Witches' Kitchen first : ©3 ftofcft? herein ! 127 145 SGBitt fciner trinfen Scene Scene 6. ad. Scene 14. 68. —Faust accepts the plan made by Mephistopheles WW — First Garden-scene. in : . p. Scene 14 ©clt.. 3. arum benn — The Easter-day Walk — Faust meets Mephistopheles in his Study : <§a6e 87 102 : SOB bort fjinaug ? : SSertaffen tjao' id.. ?lbgctricoeu. reports his success : 33 ei alter verfdjmd^ten Siefee 177 Scene 10.. § xiii p 21 continued. p. p. (Srljalmer ©eift. gab' t»a8 brum..

.— The Scene in the Cathedral SOBie anber*. £eute tuljen mx ctnmal. . : 2lcfy netge. Scene 19. ®retc$en. . May-day Eve Dream . Summary of the Second Part of Faust. —The Ride past the Ravenstone ten Stafcenftetn ? : : ttefcen bie ioxt urn 246 9JH<$ fafjt Scene 25. Scene 17. Scene 20. Dungeon-scene em Itfngft entnwljnter @c$auer. Goethe's Faust. 323 . Scene 23. —Faust — The demands the rescue of Margaret 2BaS : 3m (Stent aSerjtvetfernb Scene 24. Scene 21. . 218 220 237 244 — : . 203 208 210 211 £afi ntc^ts at ? . May-day Eve on the Brocken SScrtangfl bu ntctyt. Scene 22. APPENDIX. — : .— The Death of Valentine : 2Bemt : tc$ fo faf. ! . Page £eiimc$ —Faust's Declaration of Faith —At the Well: »«m 33arMc$en geprt —Margaret's Prayer the Zwinger : SSerfyrtcty miv. Scene 18.! ! xiv Scene 16. . 247 255 Notes. .

as regards its structure. two useful indica- tions regarding the theme and plan of the book.— GOETHE'S FAUST. than an ordinary drama or romance. as viewed by him in 1797. and in a pre- ceding verse an exclamation occurs which B may well be . origin." modern times. A brief sketch of the subject —suggested by Goethe's "Dedication. when he had completed the greater portion of his task. as Faust has been styled by Lewes. greatest The poem of therefore. " Dedication" to the spirits" In the last verse of this we are told that the story of Faust belongs of domain of the " mutely pensive dreamland —jenes stille ernste Greisterreich . It is our purpose. INTBODUCTION. demands a more careful examination. and contents. § 1. on its literary The short "Dedicatory fixed to his Poem" which Groethe has prework furnishes. we think. to enter into a brief discussion character.

he was not acting in strict accordance with either custom. the plaint reiterates These two statements the wail over life's mazy course. does not furnish a similar anomaly. life. part i. regarded as expressing the sentiment which runs through the entire poem." and the part. to be read. was not styled a tragedy. not in 1808.2 Goethe' s Faust. is in- scribed " der Tragodie erster Theil. when Faust. viz. under the guise of a popular legend. The omission of dramatis persona? is remarkable. in giving that title to his poem. ancient and modern. by reason of the extraor- Had such a list been given. a fable being employed to inculcate the philo- sophy of § 2.. published in 1790. precedent or theory. which was only adopted on second thought. appeared in its preThe earlier and incomplete edition of the in it work. Es wiederholt die Klage des Lebens labyrinthisch irren Lauf. The whole range of a list of dramatic literature. series of dramatic scenes. bolder course of calling his work a drama. however. dates from the year 1808. he must have known that.. nor is there a word to show that the author aimed at more than a acted." This appellation. taken together may serve Groethe's as a preliminary sketch of the is whole work. Faust a poetic description of man's earthly pilgrimage. it would have extended far beyond the customary length. — Was Goethe right in calling his Faust a Tragedy ^itle ? The poem first bears the " eine Tragodie. The absence . sent form. closing with the death of Margaret. dinary number of characters introduced. Goethe adopted the When.

The action of the drama changes from heaven to earth. The hero of the tra- gedy derives at his name from one Doctor Faust. streets. In scenes name of 21 and 22 we ascend But the the Brocken. whilst the allusions to hills. But the most serious irregularity the absence of any note with regard to time and place. Neither town. 3 and 4 we may imagine oursented selves at Wittenberg. if possible. and cafes. who is lived Wittenberg in the sixteenth century. ramparts. is still 3 more notice- we find twenty-five scenes loosely is strung together. however. how- nor do we find a distinct reference to any specific place. 14. contained in the Easter morning walk of scene 2.Introduction. and walks the town is here Margaret resides. are Scene 6 takes us under ground to scenes. and no clue is given by which we can possibly discover his date or local habitation. yet he repre- by Groethe as versed in all the arts of modern society. ever. river. 23 and 24. Three other laid in the country. It b 2 is. mind — a town with wide . divided . Of the fortified last nineteen scenes fifteen are laid in an old town — Erfurt may have been in Groethe's a cathedral. remind us of Frankfort. A third singularity the unusual length. of the customary division into acts able. the cave of a witch. and from earth to heaven. arrangements of time and place. is directly mentioned. which is laid in the wine-cellar of Auerbach at Leipzig. in regard to the heaven. and the prologue introduces us to The second part of the tragedy is. In scenes 1. Instead of these. even more fantastic than the first. as well as the excessive number is of the soliloquies. not given. until we come to scene 5.

1 and in so far exhibits greater regularity Clearly. it. the irregular form as unintentional. it of the poem be regarded to may fairly be attributed the successive modifications which Groethe introduced. — How the irregularities in the structure of the tragedy may be accounted for. its plot. or to the frequent revisions. . Goethe s Faust. and not from its accepted rules of dramatic composition.— The Plot. interpolations. there remains sufficient unity of action in Faust to allow us to speak of in part i. therefore. and other additions as intentional. of form. If. § 4. Goethe's work can only be styled a conformity to any of the It is a tragedy on the ground of its being actually represented on the stage. which in only two instances seems to be lost sight of by the poet. in order to represent in a more appropriate manner the weird shapes and to pourtray. work resembling the old miracle-plays rather than the regular drama. Notwithstanding the incongruous form of the poem. § 3. sui generis. actions which he wished on the other hand. emendations. The poet might well adopt an abnormal arrangement.4 into five acts. The anomalous the nature of struct are of the poem is due either to to its subject. which the author subjected unities of place If the violation of the it and time be regarded may be accounted for by the semispectral character of the story.

he hopes to find pleasure in bowed down with farming and engineeris At the moment when he believes happiness to be within his grasp. . age. and the wonders of ancient art and mythology delight by turns the him . no great cun- ning was needed on the part of his crafty counsellor to lead him into crime. The gaieties of court-life. In part wine and 1.Introduction. and ultimately plunge him. His brain being intoxicated and his will enfeebled. and the successive endeavours of the hero to realize this object form the skeleton of the plot. The former he rejects as too gross and sensual. art. and the once innocent object of his love. The search for supreme happiness link which connects the several parts of Faust. but none enchants him more than Helen. pleasure woos the scholar in the forms of love. 5 The main idea of the play all is the pursuit of earthly- joy and happiness in their manifold forms Grerman scholar who quits his seeks to attain his object by a graver occupation and is by an unholy compact with a the one demon. In part different 11. the latter he passionately embraces. the type of Grecian who . death seizes him. philosophic speculations. the scholar is introduced to pleasures of a order. is summoned from shades to be his bride. in the lowest depths of despair. After her departure he seeks at length. and wins military renown ing. and his soul con- veyed to heaven. schemes connected with finance.

as trespassing beyond the legitimate domain of poetry. in which the Divine Being sits enthroned amidst the angelic hosts. Scene 1 to 6. the relation of the Divine. the spirit.6 § Goethe's Faust. as well as the earlier and futile efforts to gratify the scholar's desires. no doubt. but the manner is not inappropriate to the theme. After the sublime topics of this proDeity. his fretful religious scepticism. Perhaps nothing has ever been written to equal the speculative boldness and depth of meaning In a prologue displayed in this portion of the poem. taken offence at this scene. his unsatisfied thirst for knowledge. his retired life in his college-chamber.. There is. The and scene of the witches' cave divides part into dis- tinct portions. the prospects of the logue —the majesty of the human race. former of which is philosophic in tone Therein the motives which cement the alliance of the demon and the scholar are detailed. I. and his yearning for a more real and complete state of happiness. asking leave to start on the errand set forth in the tragedy. The diction and imagery of this scene are chiefly borrowed from the Bible. of extraordinary grandeur and sublimity a levee in heaven is described. and Mephistofeles appears before Him.— Part I. are depicted with a . Scenes 1 to 6 describe the scholar's condition of before mind and during his compact with the demon. great mediaeval freedom in this method of putting heaven itself on the stage. remindEarlier critics have ing us forcibly of the book of Job. 5. and the nature of Evil — mind of man we descend to to the earth. Faust's titanic pride of intellect.

and its sad result lead to a series of life-sketches remark- able for their deep feeling. ^ . Scenes 7 to 25. The poet pictures first a romantic intrigue. In the last scene of part 1. its naive beginning. composition its philosophic tone disappears. the scene darkens. many lect To pourtray the man of intel- both in his relation to the Infinite. the curtain drops at the moment when Faust's dream of happiness that his object. § 6. The successive stages of her acquaintance with garet the scholar. and then a seduction. force 7 secrets of and truth which reveal the innermost a scholar's breast. It would be beside our present purpose to treat more fully of the second part of Faust. and in his tem- poral prospects and expectations —such briefly stated is the subject of this philosophic portion of Goethe's work.— Introduction. and he awakes to the discovery love has merely ruined its mad charming and removed the goal of his wishes further into the distance. and with the headlong giddiness of the love-intoxicated scholar. The is spectacle of innocence vainly contending with vice us. With the 7th of the scene a change comes over the spirit . and the better instincts of Faust die out. in which Mar- commands our interest by the pathos of her simple story. in contrast painfully brought before with the heartless machinations of the sardonic fiend. In proportion as the counsels of Mephistofeles prevail. is at an end. In place plation ful of the scholar engaged in solitary self-contem- we have the lover seeking happiness with youthevil ardour. its trustful progress.

the Brocken-scene indelicacy have been alleged against scene 6. Irrelevancy and occasional scene 21. its taking the work of Goethe as a whole. and It is also adorning a plot which rapidly progresses through a series of surprises to a tragic catastrophe. fairly tical and a few passages are open to criticism. and obscurity in the language. and stating the nature of the objections urged. the kitchen of the witch . Few will be found to challenge the statement that. there amount of truth. As. to the very highest class.— 8 Goethe s Faust. is a certain more especially in the two former. contain close on five thousand lines. § 7. Criticism of Goethe's style. It cannot be denied that in each of these three charges. for the twenty-five scenes of part I. viz. coarseness in the diction and plot. told in bound together in a story terse. and its . in so long a poem there must be some portions of the latter class also. bursts ness and sallies of withering sarcasm. and not four hundred of these can be found which are in any sense either uninteresting or weak. remarkable that this high tone of poetry has been sus- tained for an unusually long time.: diffuseness in the story. naive confessions and brutal sneers. we shall best discharge our cri- duty by adducing these. . of tender- alternating with traits of gay humour. poetry belongs The choicest flowers of Poesy are here found united — touches all are of profound wisdom. In general three grounds of complaint have been urged against Faust. however. and full of fascination. homely Grerman.

method of interpretation it not more fortunate in Faust than has been in the poem of Dante . and run out into a length intrinsic out of proportion to their importance. The scenes alluded to are in fact episodes. it ought. only temptations. g appendage.Introduction. who see in gibberish uttered by the witch. in her and rolling ball. to be restricted it to the second part of Faust. introduced to cast an air of deeper spectral mystery on this essentially is poem. However. we how these views are elucidated either by the mysteries and love-philter of the witch. ritual emblems of low and lustful Similarly the Brocken visions of the spi- world in scene 21 are supposed by some to picture the prospects of worldly ambition and grandeur. the main purpose all of and perhaps digressions from the work. in our opinion. the Intermezzo. or the weird apparitions of the Brocken. which Groethe could only in this episodical for. called the Walpurgis-night-dream. or Intermezzo. manner find room is amongst the varied attractions offered this allegorical to the scholar. above alluded to are better explained as poetic extravaganzas. as described in the scene of the cave. The two scenes of part I. is Assuming fail to see that the object of the whole composition to set forth Goethe's views on the theory of happiness. The effect of this explanation to leave the charge of diffuseness uncontroverted. scene 22. The same the 25th reproach is more particularly applicable to scene. An allegorical explanation has been attempted the arithmetical boiling cauldron by some Grerman critics. in the first seems to us misplaced. This satirical interlude is wholly irrelevant to the sub- .

availed himself of his Faust to publish some thirty place. What shall we say of the story of Margaret? In an any other case but the present the introduction of episode of the nature of Margaret's history would have been fatal to the success of any tragedy for instances of . Goethe's Faust. while in 1797 engaged in the war still Xenien.Sturm. and confront editors and translators with the better to alternative of either deserting their otherwise agreeable duty. this. who. the indelicacy of the occurrences related seems to be generally either pardoned or overlooked. as inappropriate in poetry.io ject of the tragedy. unprinted epigrams on several of his literary adversaries. If. stage. for the licentiousness of the language of MephisIt is true. for which he could find no other Objection is also taken to several passages in the 6th and 21st scenes. and so on notwithstanding — have and long been proespecially scribed. or rendering plain what Goethe thought keep reserved. but it doos not follow that these propen- required to be indicated so broadly as they some- times are. the fall of female innocence — stories of Lucretias. as well as to some others in scenes 4 and 14. Maryon the Magdalens. two essential features in Goethe's wonderful conception of his sities demon. Olivias. of the of the and due to a transient freak author. Goethe's too suggestive blanks and asterisks. really emphasize the jests suppressed. the only plea on which the episode can be excused is the pure and lofty philosophic intention . that ribaldry and irreverence are tofeles. while seemingly withholding.

— Goethe's Faust compared ivith Dante's Commedia. In its highest nights poetry may what relax the It fetters which bind it in its meaner may then borrow something of the sublime uncon- cern with which the sacred writings touch on the most delicate subjects. story is told. which occur in Faust.1 Introditction. recommended not to bestow much time or is labour on this composition. 1 and the sublime lyric strain in which the someefforts. But we cannot excuse and mystic riddles to be found in part n. The student of Grerman literature is. No Dante poem. who. with allusion to the poet's social status. and objected to even by German scholars. so well admits of com- parison with Goethe's Faust as the mediaeval epic of —a poem which was Goethe's Faust to the fourteenth century is much what to our own. which serving to show only interesting as how Groethe at the age of seventy-five or eighty regarded the work of his better years. have labelled it the Geheim- raths-Sprache. ancient or modern. The chosen idiom of this part of Faust is peculiar. especially in scenes and 21. 6. With regard be to certain obscurities 1. of the author. and we do not remember that any importance has taken him to task for his freedom. Parallels . Thus Goethe here has trodden on critic of ground on which no ordinary poet could have ventured. The utterances of both must be some- what Delphic and obscurities sibylline. § 8. allowance must made for the arcana of metaphysics and the jargon the of witchcraft. consequently.

Byron's Manfred bears no real resemblance to it. innumerable have been proposed. Calderon's El Magico Prodigioso. whose eccentricities he * life. Marlowe's Faustus. The first of these will be discussed later. Muller (1778). epics a like It holds among anomalous position to that is which Goethe's Faust holds among tragedies. In it Dante represents himself as visiting hell. Byron's Manfred. although like these religious it employs popular beliefs and symbols as vehicles for poetry.d. and F. which probably arose out of the Faust-story about 1640. .* The only poem which approaches it in point of merit.!2 Goethe's Faust. Marlow of Dresden (1839). and Grabbe's nonsensical drama Faust and Don Juan (1829). g. is scarcely known out of Spain. The German imitations of Goethe. e. consists of dialogues between Faust and the ghosts of Hamlet and others. e. "Wolfram. and para- of The true name of this poet was F. It not a regular epic of being as unlike the heroic poems of Ariosto and Tasso as the religious epics of Milton and Klopstock. both in his diction and in his His "Faust. He took the name Marlow from admiration of the English bard. whom Faust is made to conjure up from the lower regions. is the spectral epic La Divina Commedia. 1300 by Dante Alighieri. and Calderon's Prodigious Magician. Klinger's romantic novel (1791). This work affords in many respects a striking parallel to that of Groethe. g. and also resembles it in style. purgatory. composed at Florence about a. are no more worthy to be placed side by side with Goethe's masterpiece than the so-called Fausts of F. imitated and surpassed. any sort." now long since forgotten. Lenau's wild epic Faust (1836).

his main truth being the difficulty of attaining perfect happiness in this world. however vague and incapable of : translation. and execution. strongly resemble the last two lines of : Dante's Paradise stelle. to depict the earth. only the outward dress. under the protection of Yirgil. and These words have often been occult understood as conveying an intimation that Goethe deliberately proposed to vie with Dante. this fable vehicle.3 Introdtcdio7t. is a mortal with supernatural companions. his beloved Beatrice. viz. of Faust. and are. or poetic resides in the The real meaning moral truths inculcated. They display a striking identity of spirit. L'amor che muove is il Sole e l'altre Whether or these parallelisms are the effect of accident intention not very material. What these truths are in the poem of Goethe has already been Dante's aim stated. 1 dise. design. sings hinan —verses Das Ewig-Weibliche zieht uns which. earth. accomplished by In both cases. Bernard. is more directly moral.. triumph are the ever-recurring theme of all his visions Good and Evil upon . The three worlds described by Dante with a slight variation in the name of the inter- mediate one. still for the similarity of the two poems admits of better proofs. where the " mystic chorus. described also by Goethe. St. however. struggle between and the This struggle and this ultimate triumph of Good. as we might infer also from the two concluding lines of part 11. ostensible Both Dante and Groethe select as their theme a marvellous journey. heaven. who in the stageprelude declares it to be his intention to tell of visits to hell." which welcomes Faust to heaven.

and the Reformed Church. his Mephistofeles scoffs at the Roman Catholic sacrament of the mass. probably appeared to him a worthy public body of too of notice in his shadowy a description to be poem. their audacity in expanding popular beliefs into Thus Dante.14 Goethe''s Faust. and by myths. while the Italian. fearlessness is foretold with a which must have shocked the feelings of Goethe. resemble each other in the boldness with they have handled the legendary portions of their poems. As a German Protestant. but positively admitted a number of pagans to paradise.. whether princes or prelates. he could have no possible motive for casting reflections on the Church of Rome . German attacks Thus. who lived at a period social when the power. For. in scene 6. the doctrine . and relegated a number of Christians. to hell. fact that he many a devout Catholic of Dante's time. where the approaching arrival in hell of the then reigning pope. displayed no such animus as this. all his reflections. and The Italian and the German. The most remarkable instance of his daring in respect is this latter that which occurs in the 19th canto of his Inferno. His boldness. howwhich ever. to which he belonged. not less in touching on ecclesiastical affairs is certainly it than Dante's — only takes a different turn. attacks persons. owing to the was very differently circum- stanced. Church possessed boundless Aquinas and Aristotle on a and political not only ventured to place the writings of level with Thomas works sanctioned by ecclesiastical authority. however. Boniface VIII. the doctrines. who was on the whole an orthodox son of his Church.

the oft-debated problems of and philosophy. it suggested to Goethe the idea of his tragedy. However freely handled. and the condition of the great The skill and wit of learning in Germany. Goethe his hero as inclined to scepticism. — The Faust of Goethe compared with the Faust of the Legend. one of the most remarkable popular traditions in all Europe. § 9.Introduction. In of reflections on popes and bishops. as well as most of the incidents of . plays in the poem only dary part —being only the mask through which the poet which he has chosen for less. although this scepti- cism lieu and by no means offensive species. men of academic culture and even beyond the land for which his Faust originally was written. of 15 the personal existence of Satan. or the marvellous frame his picture of life—it is. the German is of a mild poet introduced a subject better calculated to public science seats command attention. The student who desires to understand the nature of Goethe's composition should on no account omit to make himself acquainted with the wonderful legend out of which Goethe's work sprang. and in another also represents passage at that of the Trinity. speaks.. viz. poetic reflections with which he has drawn these topics within the scope of his have made his Faust the favourite text-book of all artistic taste. none the a very essential and highly interesting element of the composition. Although the a secon- Faust-legend.

the plot. v. Taschenbuch. to transfer it to another age. Creizenach''s Geschichte des Volks-Schauspiels von Dr. 1834.. in another to enlarge. — Simroclcs Deutsche Volksbiicher.* we shall first allude to the historical portion of the tradition. so as to adapt it to his philosophic purpose — deserve the student's careful attention. vol. concerning Johann Faust. whether laymen or monks. but none fame and consistency as one which arose about the year 1578 at ever attained to that same degree of Wittenberg in Saxony. Die Sage vom Doctor Faust. who told entered into compact with Satan.6 1 Goethe's Faust. in Kaumer's Histor. and then endeavour to show how life. 1854. vol. The motives which determined the poet to modify the legend — in one place to curtail. the contemporary Melanchthon. — W. Cyprian of Antioch in the fifth century. iv. Luther and the countryman of According to the most probable account. fuller Referring the reader for information to one of the three publications men- tioned below.. Faust. of the individual aforesaid was a Swabian. . "We shall not in the follow- ing pages enter into shall consistently all the details of the legend. born between the years 1480 and 1490 at Kundlingen near Stutt- * Compare : Stieglitz. 1878. the superstitious spirit prevalent in the sixteenth century may have fastened on the simple facts of them devil. were plentiful enough all over Christendom subsequently to the first by St. Halle. and. and is omit whatever unnecessary to the elucidation of the subject. moreover. Faust's so as to convert into the belief of a compact between him and the Stories of scholars.

and alchemist. lost his life. at Basle as a magician. The thirty-fifth of these had by which theking's father. He was born in 1503. entitled —The Centuries of the foretold the accident World.. or. for herein lies the key to the story of his compact. This point. but the way in which they prosecuted their . little later who by practising similar arts at Yet another was the soothsayer Michel Notredame. however. acquired fame Another kindred spirit was a the Cologne Professor Agrippa von Nettesheim. but Khoda near Weimar . to give his correct name. who about the year 1520 was established charlatan. Nearly all these men moved within the sphere of university life. spoken of by Groethe as a great authority on conjuration. by displacing the barren scholasticism then in vogue. Henry II. gart 1 . to the dignity of court-physician. our chief concern comwith paratively of no importance the character and occupation of the man. and lived at Salon. They were enthusiastic heralds of natural philosophy . and substituting for it the study of the physical sciences. also claims the honour is is of being his birthplace. and with his purpose in life . necromancer.7 Introduction. which he had won by some four hun- dred rhymed quatrains. in consequence of his fame as a prophet. Theo- phrastus von Hohenheim. raised him Metz. and their aim was to reform the learning of their age. and his native city. If analogy affords us safe guidance. Paris. until Charles IX. Among Englishmen the famous Franciscan friar Roger Bacon of Oxford (died 1290) was a man of a very similar type. his career resembled in some respects that of the Swiss Doctor Paracelsus.

who in course of time bequeathed tell. They were also suspected of heresy. Shortly afterwards he settled at Maulbronn near Stuttgart. or because he had there a rich uncle. shown at Maul- The upper part formed his observatory. and graduated as Doctor of Medicine. Whilst residing here as a Faust is said to have inhabited the Faust-tower bronn. and consequently they were looked upon in most cases with horror. About the year 1510 he returned to Grermany. great theologians of the But The town did not approve of Faust's pursuits. one day solemnly admonished him to forsake magic. and caused Faust companion of the devil. magic. The new studies were pursued with especial ardour at Cracow in Poland. and necromancy. we cannot henceforth he looked on Wittenberg as his home. to be popularly regarded as the It was this which brought Giordano Bruno to the stake. probably at Heidelberg. him on his removal to and this reputation followed Wittenberg in 1524. where one of his friends. it being the work of the devil an inci- — . while the basement storey served as a laboratory in which he used to prepare his drugs. Their experiments in alchemy. generally favourite study practised in great secrecy.8 1 Goethe! s Faust. who came from the same part of Grermany. and Melanchthon. him his house and furniture. look on The people soon began to him as a sorcerer. Whether he went to the headquarters of the Reformation to seek a more congenial sphere for his activity. Johann Entenfuss. gave rise to the suspicion that they were in league with Satan. still abbot. was friar. was extremely fanciful. where probably Faust was educated.

— Dr. Faust thought it at least for a time. Faust had two remarkable companions. that on the subject we have of of Demon- ology the great reformers were as superstitious as the of their contemporaries. it At last the Elector of Saxony thought prisonment. and a perfectly historical character. 1 dent which shows. Joh. in order to furnish a striking contrast to the large-hearted and deep-thinking Faust . Doctor's other companion excited still greater curiosity. One of them was his amanuensis Wagner. so inseparable were they. like every other account Luther and rest his friends. Alarmed at this message. who has left us a record of his master's teaching on magic. During his expeditions to the chief cities of southern Germany and northern Italy. the son of a Saxon clergyman. and so adopted a wandering life. Like the famous dog of the Frankfort misanthropist A. but the traditions of the time speak of Wagner The by only as the docile and active disciple of Faust. he persisted in practising magic. the dog of Faust seemed almost a part and parcel of his master's being. owing to the superfeeling with which he was regarded. if his duty to threaten Faust with imprudent to withdraw. his master stitious sometimes Praestigiarius. Groethe represents Wagner as the very embodiment of pedantry. Schopenhauer. and the animal executed any orders he received with that c 2 . Faasfs wanderings and acquaintance with Mephistofeles.9 Introduction. § 10. called He was no other than a mysterious black dog.

for he was well acquainted with the Basle ma- gician. Achilles.— 20 Goethe's Faust. but personally. His subject attractive was the Iliad and the Odyssey. where. But the feature of his discourses did not consist in their literary or exegetical character. fahrender Scholast. From the two extant pictures of Faust and his dog at Leipzig we may conclude that Mephostofiles was a small dog. but in the dark seances which accompanied them. after the manner of the time. Faust's first journey was to the university of Erfurt. and whom Dr. first perhaps in joke. not to love it with Mephitis. Faust . To give his audience a lively idea Agamemnon. not only by his writings. spirits in general. of Helen. This. Faust probably derived this strange appellation for dog . from his and in Suckling. tion of four this word is a corrup- the light — though others connect Wivss Greek words. the spelt god of smells. when well was the reason why some disguise. o in the The name was formerly always second syllable. with an may be so found in Shakspeare's It was a mediaeval term for evil was used among others by Paracelsus. jui) to <pug <pi\uv. and Hector. but soon in earnest. probably. said the dog was no other than Beelzebub in and thus the name of Mephostofiles was during lifetime Faust's applied to this illustrious animal. According to the best etymology. punctuality and intelligence for which dogs trained are proverbial. he presented himself as a so-called itinerant scholar He gave public lectures in return for a fee or gratuity collected at the door of his lecture-room. something akin to a poodle. people. and of Windsor.

is remarkable. which ensued led to an investigation. not merely to have provided actors playing their part of Faust. hand. a kind of grand tableau of Greek gods and heroes. Goethe has made an extensive use of such exhibitions. one-eyed giant. as well as with a detailed It is related prophecy on the battle of Pavia. It vivants. however. At length these exhibitions involved the luckless Doctor in trouble. when he was engaged in and had called up from Orcus the ghost of Polyphemus. the audience rushed out into the street in confusion. In the second and in. Faust is credited with the performance of a large number of juggling tricks.Introduction. . 2 1 introduced representations of these heroes in tableaux Such shows were quite in harmony with the customs of the age. The tumult screamed for fear.. and when Polyphemus supported him by giving some heavy raps on the wooden floor. parts. and a spit in his illustrating the Odyssey. a red-haired. with a raw bone between his teeth. or an application of the principle of the mediaeval stage-art to the myths of ancient Greece. and in the end Faust was expelled from the city. two members of the The Doctor's calls for order proved unavailing. The street in which he is said to have resided at Erfurt is pointed out to this day. on which he roasted the still quivering limbs of class one of Ulysses' companions. especially in the long scene which he has entitled the Classical Walpurgisnight. One day. that Faust professed to have conjured up the Greek heroes themselves. they were a species of pagan miracle -play. acts 11. 1525.

according to general suppoto . the following note : " In the present day no one regards it is Faust's trick as marvellous. Mephistofeles only assists. used grapes in the manufacture of his wine. and elsewhere. But in the earlier versions. either invisibly. because that the well known German wine-trade are required by a chemical process able to supply any wine utterly independent of the use of grapes. though the exact manner in which it was done remains The Heidelberg professor Kuno Fischer has a secret." Faust. when Faust was there. as the performer of experiments in magic. showing the Doctor engaged in his grape-trick before students drinking and singing around.22 that lie Goethe* s Faust. usually is at ban- Groethe. probably refers some authentic event of the year 1525. described by Groethe in act of as a manufacturer and issuer of bank-notes with- out any rational security. the Faust-legend represents the famous friar as the original producer of counterfeit wines. It was drawn. recording Faust's visit to the at wine-cellar Auerbach Leipzig. who throughout substituted for Faust. This is one of his best-attested feats. or standing by in the shape of an ordinary is dog. The trick is said to have been performed in the castle of Heidelberg. is In like manner i. more honest than these men. This picture. attributes the act to Mephistofeles. which in the course Mephistofeles part ii. used to pay his hotel bills with counterfeit money. or into pieces of white leather. in his account of the event. Thus the occurrence of represented in one of the pictures of the times. Moreover. also at Leipzig quets. of thirty-six hours shrank into tin.

23 but a few years after the event. named Justus. sition. The year marked on both tablets as the date of and two inscriptions. punishment for his devil's § 11. 1525 distinctly the occurrence. formances which he was in the habit of giving. the one in Latin. as if paw is raised. Johann Faust had as a paramour an actress who had played the part of Helen at the classical perdemi-goddess. or This more correctly speaking. and that on the . One story is of the most inexplicable features of the Faust his alleged intimacy with Helen. conjecture. and has been renovated four or five times since (see Stieglitz) Groethe . viz. real person of flesh that his Helen was some and blood. he is said to have called up from the shades of the lower world.. would explain how this part of the . and looking towards "Wagner is anxious to help him. the Grecian whom. by the aid of Mephistofeles. legend obtained such extensive currency for it is even asserted that Faust had a son by her. record the terrible fate which finally bef el the sorcerer as a tricks. absent. the other in Grerman. saw it it a century ago. Unless this be classed among the silly ghoststories often found in legends. now There is another picture beside which shows Faust riding on a wine- cask out of the cellar. supposition.Introduction. — Faustfs intimacy with Helen. we must assume that Dr. his In both the dog appears with his master. it. and any visitor to Leipzig can see in the Grrimmaische Strasse.

which residence at Maulbronn must have obliged him. 24 Goethe' s Faust.friar. like a true German loves antiquity and art. entirely different from that for which she appears in the combination of imsupposed to have legend. For. Doctor's decease both Helen and her son disappeared.. until she too. But the purpose.. easily accounted for from the time of his by Faust's monastic vows. illustrates the by the morality and witchcraft. like all his previous dreams. contained in the part of Goethe's tragedy. The is secrecy of the alliance. while in the latter the mistress. procured arts of hell. in by this union that supreme blending of the Teutonic mind with the Grecian. All the reports of the time describe him as leading a sensual life. vanishes into air. The celebrated first episode of Faust and Margaret. which he has long dreamed of as the noblest object of the scholar's desire. as an ex. the marriage with Helen is common Goethe and the Faust-legend. to live in a state of celibacy. for which Goethe introis duces her union with Faust in part n. On to the other hand. he weds Helen symbolically. if we accept this explanation. and loftier meaning in the His Helen is the type of the most perfect Grecian beauty — the realization of ancient art scholar.. passionately and as Faust. Thus Helen by her loveliness cheers the declining years order to attain of Faust. though of retiring habits. act in. . has not a shadow of foundation in either history or tradition. which is marked the received an life of the wicked sorcerer. the incident has allegorical tragedy of Goethe.

. for After in- numerable journeys and the particulars of which the reader in retirement. on consideration of twenty-four This report. once esta- years of unbroken happiness. Kundlingen. Faust is stated to have entered into an agreement with the demon Mephostofiles. opened the door to a number of other inventions. dog. the famous Doctor spent the rest of his days The circumstances of his death are less of variously described —the at. state that The older narratives Faust died or near. place. All the narratives close with the tale of the tragic fate which befel this reckless necromancer. 25 § 12. According to the version which obtained most credence. Faust was torn in pieces by the devil at Eimlich. The books which give this version also contain the story of the compact between the Doctor and his strange companion. at the witching day his and on the following mangled remains were discovered on a dunghour of night story goes on to say that he heap. tricks. Some time after his arrival at Wittenberg.— Introduction. his birthdevil seized him. The had previously all his friends repented of his evil deeds. and soul blished. Faustfs Death. . earlier accounts having the marvellous than the later. is referred to the three books before mentioned. near Wittenberg. who visited him at night in the shape of his The terms were that he should surrender his body to the evil one. and do but hint that the In subsequent accounts the horrors thicken. and warned against following his sinful course.

setting forth the wicked course. 1720). cromancer and companion of Satan. viz. . when a boy. foles. Within the space of some thirty years from his death. Pfizer (Niirnberg. no other than the and went by the now historic name of MephistoFaust the word being spelt in various ways. 1614). Spiess the author's name is not given. and awful punishment of a ne- himself became the hero of a sensational story. The publisher was Joh. and almost every itinerant preacher. beyond the fact that a vagrant with his dog. An abridgment of the . and that of Dr. as The dog was generally looked upon devil. latter by a " Christianlydisposed Author" (Cologne. there were two which attained great fame. strolling player. The first printed version of the story. Faust hecame the favourite subject of popular fiction and legendary biography. appeared in 1587 at Frankfort-on-the-Main. the life of Dr. had for some time given theatrical exhibitions of Grecian heroes. that published by Widmann Hamburg in 1593. was read by Groethe. known to us.26 Goethe's Faust. with experiments in magic and jugglery. although in reality there had been nothing unusual friar. travelling in it. Of the subsequent at versions. every enterprising hawker. could give an account of and every his life and cal- death with such embellishments as he thought best culated to astonish the vulgar and further his own ends.

ing to the almost unanimous opinion of Grerman formed the text of the Faust-Puppenspiel." printed in 1604. it being not uncommon in the seven- . shows that in 1628 English comedians acted Marlowe's Faustus at Dresden. Creizenach. Eomeo and Juliet. How it came exhibited in it Grermany may at first sight seem hard to understand gainsayed. and. An and death of Faust. by some students who had visited the university of Wittenberg. in his recent publication. inasmuch as Marlowe's work. the spectral character common to so many Teutonic legends. setting forth the adventures of Faustus with his companion the about that strolling players scenes from an English tragedy. Marlowe's Doctor Faustus — the first Faust-drama. above — all. e. a sort of Punch and Judy show. drama. drew the attention The result was of Christopher Marlowe to the story. Hamlet. accordcritics. clearly show first —an English life dramatist was the it to turn it into verse and adapt to the stage. 27 § 13. English version of the that. as introduced to the Grerman came from an English source. g. its geographical allusions. but the fact can scarcely be W. written.— Introduction . first he resolved to make it the subject of a " His Tragical History of Doctor Faustus. and that the subject. in 1591. and stage. devil. . it is supposed. forms an important link in the Faust-literature. By the same means the Grermans became acquainted with many other English plays. Although the legend of Faust is indisputably German as its name.

and to turn that the wages of sin death. teenth century for bands of English players to courts of Grerman princes. Brief Analysis of Marlowe's Doctor Faustus. species of marionettes. Marlowe's tragedy opens. In course stage. § 14. bear a likeness to Marlowe's work which cannot possibly be accidental. visit the We in Grrimmelshausen's novel learn from a passage " Simplicissimus " that during the thirty-years'-war the story of Faust and the devil was acted in Grerman camps. because has no power to ward to death Law because its maxims seem it him all worthless trash Divinity because teaches that is have sinned. way as with the scholar's complaints of the un- satisfying character of scholastic lore. with manifold tones ever cause which led humming in his ears.— 28 Goethe''s Faust. The extant copies of the Grer- man Volks . He hopes to make invisible agents do his bidding. was the chief him to write his tragedy. a survives. . and he proposes with their aid to for himself the treasures of both land and sea. it He off abjures Medicine. or what text the actors made use of. to enjoy . though it is not added whether the players were English. but of time this it however. and he resolves from these unprofitable studies to the practice of magic collect and necromancy.Schauspiel. in As such it influenced the work of Groethe for we are its told in his autobiography that the Puppenspiel. much in the same Groethe's Faust. comedy disappeared from the which form it still . . continued to be acted as a Puppenspiel.

Mephistofilis. he snatches a dish from a banqueting table. his hook on witchcraft. In vain a good damned hook. Tempted by the hope of wealth and honour. to Lucifer. in Grermany. surrendering himself. before whom he conjures up the spirits of Alexander of Macedon and his queen he meets with the duke and Roxana." i. Soon after this he resolves to travel. 29 the delicious fruits of the newly-discovered continent and to do other extraordinary things. Morley says. Faustus' next visit is to the Emperor. In the twenty-second year . and dashes the wine-cup from the pontiff's hand. on condition that for the space of four-and-twenty years he should be allowed "to bidding. After this duchess of Yanholt. hand to do his The agreement having been drawn up with at Faustus enters on a first life of reckless dissi- His wish was to take to wife the fairest maid Pope.— Introduction. Faustus administers is him a sound box on the ear. is soon beside him. They meet afterwards in the Doctor's study. he pays a Mephistofilis having visit to his holiness the made him invisible. This somewhat churlish scene shows." and have Mephistofilis constantly extreme pation. before whom he performs his of his famous grape-trick. he begins one fatal night to practise in- cantations. held out to him by angel warns him to lay aside his " an evil angel. Marlowe's desire to gratify the combatant Protestantism of the time. live in all voluptuousness. Arrived at Home. care. e. as Mr. body and soul. and as the pope in the act of crossing himself. and there Faust signs a contract. and read the Scriptures. a servant of the arch-fiend Lucifer.

Lucifer. Goethe! s Faust. "Whose deepness doth entice such forward wits To practise more than heavenly power permits. Faustus marries Helen. than h3 comes 'mid thunder and light- ning. the When all is over. some students burst into room and give the moral of the tragedy in the fol- lowing verses Cut is the branch that might have is grown full straight. or soften Lucifer . But all this is unavailing to delay the fatal hour. for. gape not. no sooner has the term mentioned in the contract expired. man. And burned Faustus is Apollo's laurel bough. this learned That sometime grew within gone. is now taken down from the shelf. loathes every evil delight. wretch full of remorse and abject The mental agonies of Faustus are described most powerfully. . and terror-stricken exclaims not." The Bible. "Whose fiendful fortune may exhort the wise Only to wonder at unlawful things. burn my books. which had so long despised. I'll : "Ugly hell. He Come he renounces every pleasure.: 30 jovial life. Regard his hellish fall. and in his is last year the gay voluptuary and hraggart transformed into a fear. and the book on magic thrown into the fire. and commands his attendants to seize the soul of Faustus.

all his predecessors he has viz. in the nineteenth all such superstitious beliefs away. Symbolism was as necessary to Goethe as the literary reproduction of the legend was to Mar- lowe . him as a mortal. whilst in the sixteenth century men believed in had died witchcraft and the possibility of compacts with devils.. whether English or man will German. is both the letter and the spirit of With the exception of the part of the dog.— Introduction. The closing passage of Marlowe shows that he followed the legend. Marlowe has given a and in common with faithful reproduction of the fable. that hell. but as a grim and dread- ful reality. be content with the power which and have nothing to belongs to Lucifer. viz. Marlowe 9 s Faustus compared with Goethe's treat- ment of the subject. 3 1 § 15. and which was forced on him by the spirit of his age. Marlowe's realism forms a striking con- trast to the symbolic and philosophic treatment which Goethe adopted. scurrilous. drawn should the usual lesson from the storj. do with No other moral was to be expected in an age true.. A further difference is that drawn is Goethe has idealised low. men beware of making any compact with The moral which he points that a wise is precisely the same as that arrived at in the Faust-books. The picture the latter has and . Faust quite as much as Marlowe has vulgarised him. for. which omitted. which believed the Faust-story to be substantially and which regarded such companions tofilis as Faust's Mephis- not as a poetic fiction.

But. course. a coward at the approach of danger.} 32 Goethe' s Faust. of His hero is a braggart in the hour good fortune. absolutely disgusting. Groethe has judiciously adopted the opposite rature is The Grerman poet. rank. above his true historic level. whilst intellectually Faust rose to the highest degree of the ladder. and. he stood in point of moral force only on a low. Thereby Faust was made worthy of being the hero of a tragedy. no doubt. . The sorcerer of Wit- tenberg probably was no saint. setting forth the relation of intellect to happiness. his failings. Groethe's philoso- phic scholar combines the highest measure of mental power with moral weakness and a touch of sensuality. or certainly an average. into the height of a type of human intelli- gence. Thus combination of the old wizard was raised. personified the quality which Groethe most excelled in depicting. but Marlowe's portrait of him exaggerates and renders him con- temptible. his sensuality unduly magnified. who in the history of litelooked upon as pre-eminently the type of the scientific and poetic genius. at the same time. The intellectual qualities of Faust are quite obscured. sought a hero in whom he might embody mental capacity and intellectual vigour. and his choice fell on Faust.

the Puppenspiel on Faust's ad- ventures with the devil. and chemistry. which happened to fall in his way. and made numerous experiments. Suffice it to say that Groethe felt from the that the old legend could D . It which refer to the same the subject. The bulk of the would be tedious to inquire into the psychological process of which the It earliest ms. According to the express statement of Groethe. at Frankfort between the Faust was the first result. of whom he had read an aunt. Growing interested in these subjects. the first conception of his drama dates from the twentieth life. year of his L e. He had been obliged to come ill- home from health. the magician of Wittenberg. for not a line of it after his arrival at Strasburg. trodudion. his He did not begin work at once. Faust. he set up a small chemical laboratory. the University of Leipzic on account of and during the period of his recovery he took up for pastime several old books on alchemy. Frankfort MS. nor had he forgotten the two pictures at Auerbach's. — The 1769. was written until In 1774 he read two scenes to Klopstock first and other friends.. in an old Faust-book. fair. was under the joint effect of these impressions and of reminiscenses that he determined to make life Dr. Faust the subject of a drama. of was written at home summers of 1774 and 1775. magic. One of the books on magic brought to his mind Dr./. a birthday present from also He remembered seeing at the Leipzic or at Frankfort. ms. 33 § 16.

Out of the old-fashioned Satan of the legend grew the philosophical and humorous devil of Groethe cess and a good many of the traits ascribed to him were borrowed from one of the poet's friends. from the materials by omitting the and composing an historical drama But to do this at his command. of a simple- minded girl. and his inclina- He tion leaned rather towards the delineation of living men than towards the analysis of history or legend. whom he had known and with of in his fifteenth or sixteenth year at Frankfort. gradually Out grew into shape. The same prowas adopted in remodelling the part of Mephistopheles. this difficulty was equally foreign to his nature.. server of the world in was a keen obwhich he moved. have obviated legendary portions. it true. Thus Johann Faust of Wittenberg became the Heinrich Faust of Groethe's drama. He therefore determined to substitute a scholar of his own time for the magician of the sixteenth century. these elements the ms. and to make him the embodiment of the thoughts and opinions which prevailed among learned men of Groethe's own day. Merck of Darmstadt. 34 not be reproduced Goethe literally. this instance Groethe availed himself of the name. He might. It . s Faust. It was of too superstitious a character. A third important In if change was the invention of the part of Margaret. to satisfy either his own is taste or that of his contemporaries. and too deeply imbued with the ecclesiastical spirit of the sixteenth century. flirted he did not actually reproduce the character. whose jests and sarcasms contributed not a little to the filling in of the picture.

November 5th.Introduction." etc. e." and ended with the prison-scene. The ms." anciently occupying the 18th the spirit of the where he has inserted the magnificent address " Erhabner Gleist. 1788. with the death of Margaret.. not a happy production. his story. A more successful change was that made in scene 14 (or the scene in " Wald und Hohle. : years after his return from Italy. he at length sent to press such portions of his ms. But on setting out on his great Italian tour in 1786 he determined to prepare the work for publication. dated March 1st. two to the Erdgeist place). unless it G-oethe never took were to read a few pages to up his a friend. than in later versions. he composed one day in the Borghese Park a new It is scene. first A leading feature of the to was the prominent part assigned the Erdgeist. 35 had extended verse. with him to Rome.— The Fragment of 1790. or Hexenkiiche. § 17. Groethe seems to have lost the thread of to have and been no longer able to enter into poem which he had conceived fourteen years before. as he had turned into i)2 . and while there. this With view he took the ms. to about twenty scenes — a few : being in but the majority as yet in a prose form —when Weimar. Philosophie. the fifth. For nearly fourteen years ms. 1775. In 1790. who appeared much more frequently in three scenes the ms. which he took with him began with " Habe nun ach. He almost confesses as much in a passage of his diary. Groethe left Frankfurt for *.

Goethe s Faust." his friend Schiller. the whole of scenes 2 and 3.— 36 verse. for it placed the whole plot of Faust on a new foundation. No such design as his moral improvement or purification The Erdgeist. by making the idea of a Temptation the pivot on which the whole story turns. notably the end of scene 1. Earth. him the dreams of his were The alterations then introduced extensive. The most important was the new scene. He called it " Faust. the form of a tragedy. as far as possible. It began with "Habe nun ach." because large portions of the Frankfort sketch. the loose collection of scenes hitherto published not having deserved that name. Euer Flaschchen. ein Fragment." Groethe determined to finish and partly revise his work. and will be found detailed in the chronological list prefixed to this edition." § 18." and ended with the exclamation of Margaret when fainting in the Cathedral (scene 20) " Nachbarin. part of scene 4. with a view to give it. The Prologue in Heaven and the other changes introduced in or after 1797. Seven years after ihe publication of " Faust. and scene 25 (the prison-scene) were not in it. called the Prologue in Heaven. Philosophic. He conferred with asking him " to interpret to earlier years. ein Fragment. or Spirit of the was there hinted at. had deputed Mephistopheles to attend upon Faust . and afterwards wrote. In the earlier version of the poem the friendship of Faust and Mephistopheles had sprung out of Faust's desire to hold intercourse with spirits.

and 4 filled up scene 18. throughout the obedient servant of the Lord makes no is serious endeavour to struggle against evil. The part of the much cut down. But in 1797 a new design was formed. was turned into verse. The was idea was taken from the book of Job. and finally overcomes Satan's tempta- No analogy to the case of Job can possibly be desires. is imperfect. In both these its full scenes the genius of Goethe has risen to height. discerned in a story which treats simply of the gratification of human We doubt. and the poetry in which conveyed will always rank amongst Goethe's noblest efforts. it is The idea ingenious. while Job patiently endures tions." while Job remains . yet this scene ill accords with the main features of the plot. 37 wish for communion with the upper world.In traduction and to gratify his . already existing in prose. . whether the prologue. and the last. and the gap between . in Forest and Cavern. to enter The is scholar on his subsequent course under the influence and direction of heaven. was transposed to the 14th place. grand and poetic as should be accepted as a true Faust. programme of the subject of Goethe's Some eight or ten additional scenes were composed between 1797 and 1808. the Valentine scene was inserted. Erdgeist was scenes 1 In most of these changes G-oethe referred to the Frankfort ms. therefore. and the willing companion of Mephistopheles. or prison-scene. right Faust Faust strays from " the path. it is. The parallel between Job and Faust pleasure. Faust is tested by Job by sorrow and pain.

" was given to the world. a. has never yet been The two chief thirst for characteristics of Faust. the legitimate object of all human desires. and the claims of the body. stand in an intimate and necessary His eminence in science and literature connexion. 1808. that. notwithstanding all the privations gone in pursuit of learning. who.d. 3u Jung urn cljne 2Bunfd) ju fctn. in mei- ner Brust. strove to assert their This picture of the scholar is who finds himself prematurely old life. scene 2) . eine Tragddie. {a entfceljren. in strict accordance with the facts of of all his actions is contained in The mainspring the verses (Srntbeljren foUft fcu.—— 38 Goethe 1 s Faust. " Faust. awakes to a consciousness he has underhis. . naturally power. happiness. ach. Thus enlarged. Faust. <Da3 ift t>er ettnge ©efang jc. 35er jetem an bte DJjrert fttngt and in 3d> fctn ju alt urn nut ju ftriekn. 19. § — The principal Characters of Tragedy. could not have been purchased except at the cost of great sacrifices of worldly pleasure and physical enjoy- ment. having been too long and deliberately ignored. after some forty years study and research. — To the unprejudiced reader there cannot be three the a grander or a truer life-picture than that of the scholar. sensuality and the knowledge (Zwei Seelen wohnen. The two Brocken to scenes are the least successful of all the innovations introduced. and perhaps some extent impaired. as pourtrayed spent in by Goethe.

far the picture is coherent. him no we come to the line 2)rum ber Sftagte crgefeen. Faust's devotion to magic rendered the appearance of Mephisto23heles possible.— Introduction. until f)ab' id) mttf. 39 bashful. of little He is poor. this anomaly by a reference but this does not to Goethe's It is true that the poet in his twentieth . We likeness to Joh. The warmth and with which Goethe has described his hero's religious views. Faust of Wittenberg. though worshipped by a small circle of his college friends. Mephistopheles. So gible. year studied chemistry and magic warrant us in assuming that he attributed to his hero in this instance the transient whimsicalities of his youth. rits — It is a singular fact in the history of literature that representatives of angels or good spi- have generally been as poor and dull as those of or evil spirits have been demons grand and effective. as . to his colleagues. It seems more reasonable to look for some better explaThis nation of these magical proclivities in Faust. have made him obnoxious poetic lire. leads us to surmise that he has attributed to Faust the opinions which he held himself. retiring. we can only discover in the exigencies of the plot. and intelli- This Doctor Heinrich Faust is a representative find in of the savant of Goethe's time. His unecclesiastical turn of mind. Some have explained life. life-like. account in the world. This line seems to carry us back to the sixteenth century. unmarried. accompanied by great boldness of thought and speech.

tie ottc 2Bett Mecft. and offers every incentive and opportunity for gratifying his evil desires. The main idea of Groethe's Mephistopheles is taken from the Bible. devilish of all devils. The moment that the scholar grows weary of his student's life. he civilizes : his Satan. <§at ouf fcen Seufel His Mephistopheles has neither cloven claws. the effect would have been fatal to the interest of his tra- gedy. tempter given in the book of If Groethe had stopped here. nor silk He is dressed like a cavalier. is The idea thus expressed identical with the account of the Grenesis. foot. at that moment the demon makes his appearance. fid. But he has ingeniously contrived to add a second quality. which earlier poets had clothed and that a man of Faust's culture would never have borne with the company of one so absolutely loathsome. and longs for pleasures. simply holding up Mephistopheles to our reprobation as a fallen angel. We are almost inclined to regard him as the personification of the darker side of Faust's character. erftrecft.4<D Goethe s Faust. and makes him a gentleman 9lu$ fcic Guttur. true of Groethe as of This remark is as Dante or Milton. horns. from which he has been hitherto debarred. Knowing that in civilized life Evil itself in never presents in that coarse and undisguised form their devils. with plumed . In no instance does his genius shine forth with greater lustre than in the character of his Mephistopheles. though the spectacle of depravity afforded greater delight than delineations of purity. he is Although the most same time intensely at the human.

so In encountering In Dante's : profound a scholar he was obliged to resort to meta- physics. At the first meeting in " a part of the studio he defines himself in enigmatic terms." These definitions are interesting as proving that Groethe was an is optimist. and that the Grood destined to overcome it. The meant philosophical terms employed in describing Meis phistopheles throw no light whatever on the part he to fill in the tragedy. ." and " der Greselle der reizt und wirkt und muss. als Teufel. acting as second in a duel. mantle. But the dramatic role of Mephistopheles can not be gathered from these passages. the devil employs a similar artifice " Tu non pensavi ch'io loico fossi. and gloves. He is not only a coxcomb in appearence." The devil always uses logic as a bait for catching scholars." Similarly in the prologue he is spoken of as " der Schalk. Inferno. but is capable of flirting with a widow. which he afterwards explains by saying that he is the power which ever wills the Bad. paying pretty compliments to a girl. canto 26. and insists on being "Herr Baron." The wit and humour thus imparted to this character powerfully contribute to heighten the interest of the poem. is He thought that the Evil which exists on this earth but a transient phase. These performances alternate with acts of heartless cruelty. exchanging banter with students. short sword. in order to win his good opinion.Introduction. schaffen. and violent out- bursts of irreverence and obscenity. objection to the 41 He has a decided addressed as name of Satan. and for the nonce singing a serenade. but works the Good.

is Of all the women drawn by is Goethe. an abridgment of which has lately The most use1850 2nd ed. As these publications are almost exclusively works of and deal and criticism not of exegesis mainly with what is called the idea of the poem. her guilt and brings about her ruin. There to exists in Germany an extensive array of com- mentaries on Faust. stitutes Her simplicity and good nature which con- are carried to the point of moral weakness. they are of little advantage to the non. and analysis — — that in an abstruse and learned style. of Margaret. She essentially an imperfect character. most esteemed among the barth. 1st ed. G.— 42 Goethe s Faust. Kreyssig. works of Schu- H. Goethe Berlin. C. Weisse. von Loper. and every year additions are it made by the leading scholars of the several universities. Rotscher. Hermann Grimm (in : iiber . Wagner. seine Kritiker und Ausleger Yorlesungen . In point of intellectual calibre she is the direct contrary of Faust. The part assigned to her in the drama is but secondary. The . not extending beyond a single episode.German student. — The character serves to Margaret presents no the She illustrate power and attractions of female love. 1860). Sauppe. rest are the J. Tubingen. ful is that of Heinrich Duntzer. . German Commentaries. A matrimonial alliance would not have erratic propensities of the philo- been in unison with the sophical adventurer. 1857. § 20. difficulty. J. appeared. Karl Kostlin (Goethe's Faust. Margaret the most popular. Hartung.

his explanation of the idea of Faust Besides. entitled " Neue Beitrage zur subject.* * ftaufi." etc. g. We can find no trace of moral self-im- provement in Faust. designed to illustrate the self-improving or progressive tendency of mankind. Vischer. : Kritik. He has a keen relish for the pleasures of art. and Kuno 1877). in brei Qlcten.. it is is open to the charge of vagueness. the definition of Vischer seems scarcely appropriate.Introduction. Julian Schmidt. The is generally treu im ©etfle beS jtveiten 2Ittegortcnntfcty $JjetIe8 beS ©oetlje'fctyen ftauft gebtdjtet. and for scientific research. Stuttgart 1875. von 3)eutofcolb ©tymfrofyettt a^fttftctnSfty. 1862. Gwinner. Sfi&tngen. ber £ragoebte brittcr £fjeil. " Es irrt der Mensch. and " Ihn treibt die Like many other remarks of this philosophic author. so lang er strebt". Faust is — " das Bild According to der strebenden Mensch- heit" — a definition based mainly on the terms in which Gahrung in die Ferae. not fully in keeping with the substance of the tragedy. . Fischer. Vischer. 43 W. has made the most valuable contributions to the literature of the His last essay. F. describes Faust as a sym- bolical work. but since in these respects he depends mainly on the guidance of Mephistopheles. He calls it conglomeration of abstruseness and bad taste — "eine a Welt von abstrusem Dunkel und TTngeschmack." the Prologue in Heaven speaks of his character. Friedrich Vischer. a famous writer on Aesthetics." parody entitled " the Third part of Faust " attributed to Vischer. e. Vischer has severely criticized the style and merits of the second part of Faust.

The lowest stratum represents what may be called The second represents Goethe's earlier years at Weimar. in his " Versuch iiber Goethe's Faust. leans to and poorest stratum Goethe. Schmidt seeks the key to thinks he can discern three . sorrows. vol. these he com- pares to "Schichten. it scenes. and describes as corresponding to the successive stages of Goethe's life.. thought in the drama i. Fischer earlier shows that. in 1797.44 Goethe s Faust. that his works are a sort of " General-Beichte. the famous expounder of Kant. personal failings." Preussische Jahrbucher. orientalism. "Sturm und Drang" duced in Faust between 1788 and 1798 are traced to this period. to He endeavours throw light on Goethe's work by references to the Starting from the avowal of author's biography. His essay " Ueber die Entstehung und Composition des Faust. 1878. is remarkable for the acumen with which the edition of 1808 is compared with that of 1790. Goethe entirely changed the plan of his work. xxxix. Faust in the poet's distinct trains of He e. of Berlin. has adopted a different course. as shown in the of the second part Brocken Faust. Goethe. The main purpose of the final version . Julian Schmidt. The changes introthe poet's period." Stuttgart. 1877. and experiences. but does not sufficiently take into account the many con- necting links discernible in the poem. tastes. life. In the last imitating Hafis." or full confession of his J. and in much of There may be great truth in this critique." geological strata. and his enthusiasm for art and science. The latest writer on the subject is Kuno Fischer.

some dering than Mr. has been thought expedient to draw special attention to which have been frequently misunderstood. . and which admit of a more faithful renfifty passages. We cannot. Faust's progress to heaven is the result of a succession of super- natural interpositions. Th. Passages hitherto misinterpreted. in which he simply acquiesces.. 1874) .. but far the larger part of by them have escaped notice hitherto." describing the fall and purifica- work. we should be inclined to describe or. Professor Hon. . 45 it He defines as " eine Ver- suchungs-Geschichte. . struggle against Evil is But as it is. Hayward the . Webb (1880) and the other . translators of Faust have given. (9th ed. therefore. and he compares it to Dante's view there would be no objection. If asked to give a definition of the poem. Martin (1865) Bayard Taylor (1871) Miss A. § 21.— In troduction he finds in the Prologue. tion of the typical . nowhere apparent. 1839). Blackie (1834) . To this man. Talbot (2nd ed. if the alleged purification of the hero were accompanied by the corresponding exertions on his part. other words. accept Fischer's theory. Several of these in- accuracies have been previously pointed out. Swanwick (1879) Dr. in it as a poetic exposition of Eudaemonology. E. as unfolding Goethe's views of the chief sources of human happiness. As one it of the main objects of the present edition is to contribute to a correct interpretation of Goethe's text.

fcfyon t>et eucfy aftartme. The infi(see earlier translators mistook it for the infinitive of wehen wave —an obvious error. — Goethe s — Faust. Mr. be A verbal translation of these lines would be misleading. 1874) is undulations is Professor Blackie's figure The noun Wehen contains a taken from childbirth. incom- The ordinary English are not to the point. is used ironically . to signify that a the reverse of clean. dishonest. lit. And with Forces powerfully repeated throes itself through the narrow porch of grace. I observe. The bungling of these incompetent gentlemen to Already passes with you.— 46 1. is sufficiently explicit. i. as the adjective sauber. clean. or Kerl. and the literal rendering of Maxime —maxim ' or is axiom would not be person petent. Mensch. translations of this passage . Hayward's rendering . It is used here to express the physical sufferings of a crowd of persons struggling to get into the theatre through a narrow passage. waving impulse. merf tcfy. and means throes. Kunde. his last edition. Ibidem: 3)et fentfcern >§erren $fufdjeret 3ft. as a thing never called in question. Sauber often used before Herr. e. : Prologue for the Theatre Unb mtt getoatttg hneberfjoften SGBe^en @tcfy burd) bie cnge ®nat>en£forte brangt. 2. pangs. Wehen = to is the dative plural of das Weh = woe. seeing that Grerman nitives have no plural.

others could confuse this word with and translate "suck back again the world into his heart. It is inconceivable. and is explained by the noun Einklang. the unison following lines. Why is it a crowded house ye so delights ? Was cannot mean "why. Hayward's rendering of this line is correct : —What : makes a full house merry ? The Hon. proceeding from his breast. Talbot is quite wrong in interpreting the line differently. 4. Mr." Moreover. to bind in its original order.— Introduction. — 47 Ibidem :- 2BaS macfyt etn wttcg ^auS eucty frolj ? What makes a crowded house [for you] pleased ? Mr. The compound word zurucke schlingen. Hayward and schlingen. viz. to devour. to reunite. Ibidem fcer : 3ft t8 (Srinflang nicfyt ber au3 bem 33ufen bringt. in which " of chords. Unb Is it in fetn £erj bie SSMt juritcf e fcfylingt ? not the harmony. how Mr. to tie together what is loose or disorfigure contained in the last dered. as well as by the and " aller Wesen unharmon'sche Menge" are a commentary on Faden" (thread) zurucke schlingt. contains a reference to the loose reins held to- gether in the driver's hand. that expression would have been quite unsuited to the occasion. 3." . therefore. reunites the (discordant strings of this) world in his heart ? Which The few words has been misunderstood by most English translators.

. the gods by means who were 6. e. — Goethe s — Faust. be one with (i. im- for " even then " . that of interpreting " frei erscheinen " by "to act with freedom. it is a mere pleonasm. makes the gods to be at one is The first part of this line universally understood to : express the idea of Horace's — " Coelo musa beat " The second it poetry bestows immortality. In a line attributed to the 3)u barfft audj bo nitr fret erfcfyetnen." and this error has led to another. however. Hayward. at variance. Mr. into Gottern. : thing as the former clause." The line has been thus rendered by Mr. viz. is quite inad- is " auch The German dann. part is less Diintzer's explanation that viz. — means the same Who makes men to ? is received among) the gods is forced and improbable." To anyone acquainted with German colloquial expressions it must be clear that da means here. that it contains an where Apollo and the Muses of their songs. Prologue in Heaven. reconcile or reunite. others. Lord Thou mayest freely appear here the two words auch da have needlessly embarrassed translators. seremet ®i)tter? ? Who ensures Olympus. clear. Taylor. is The simplest explanation cf vereinet allusion to Iliad I. As to auch. 602-4. authority. — Ibidem 2Ber : ficfiert ben DItymp. for It necessitates the change of Gotter which there no ms.— 48 5. and missible. This." not "auch da. They have been supposed to mean " even then.

" as opposed to the element of Decay. as the devils over the latter. limfaff eucfy mtt ber SteBc fjotben ©cfyranfen. must be clear to any one who will compare them with the office in language of Mephistopheles when defining his scene 3. In this scene. levees. Sin. while writing the above four lines. Unb tva$ in fcijfaanfenber (Jrfcfyeinung fdjtvcbt Sefefttget mtt bauetnben ®ebanfen.— /. possibly " Frei erscheinen" cannot mean — "to have freedom of action. or Evil E . i. Das Werdende signifies the nascent. Ibidem : S)a§ SBetbenbe. — 49 also present plying that Mephistopheles may himself along with the rest. e. which was written about the same time element is as the Prologue in Heaven. That this was che idea in Groethe's mind. The somewhat enigmatical of Juvenescence in the term. which forms its counterpart. lives And whatever floats in wavering appearance Fix with enduring thought. he says that his Contradiction./ troduction . together with the angels. bag enng nnrit unb tebt. that which rises or grows — —the element "mighty Pan." that the The whole burden of the line is Lord will permit Mephistopheles in future to appear at his 7. Destruction. Throughout the tragedy of Faust we are told that Growth and Destruction are the two forces which rule the world. and that the angels preside over the former. Let that which grows and ever works and Clasp you in the fond embrace of love.

when and collective sense e. the incarnation. All his successors. Hay ward. The and Dr. creative Essence. das Lebende. the 17th line mir aufy atte : <5)afur tft 3reub' entviffen. On the other hand all joy is torn from me. das Bliihende Das Werdende cannot and used in an possibly attributive — mean a Power. feli- Creative Power. and misrender the poet's idea. Energy. as regards the superna- . In scene 1. almost synonymous terms in Groethe's mind the li —and that — opposed to blood." and that in this passage all thought of causation is foreign to the sequence of ideas. except Professor his mistake." in spite of the fact that " dafiir " can never have the causal sense of " darum. or the aggregate of vital germs in the world.— — 50 Goethe s Faust. Hay ward has. or an mean the sum total of growing Essence.. " for this very reason is all joy torn from me. Blackie. The first word. 8. viz. have repeated The meaning of the knowledge and line is that the advantages of superior of fearlessness. It can only or rising things. Mr. g." the "thousand germs ever springing up of this world " definiever freshly circulating tions of new Das Werdende — are diametrically is the evil principle of which he equivalents which Mr. the rule for German Participles. According to in the neuter. Taylor. Blackie and Dr. are not citous." is persistently misrendered by nearly all English translators. " dafiir. Webb. B. Professor Webb have given for this word.

" Dafiir " never has any other sense than that of substitution or compensation. soul has of over. Yes. your discourses which are so sparkling. 10.. bie fo Bftnfenb ftnb. Ibidem : 3)ann 2Bic geljt bte ©eetcnfraft bit auf. Ibidem 3n : 3a." and " wie" is trans- The noun lated " Seelenkraft by "as. But to a discerning reader of the text it must be clear that " die Seelenkraft wie spricht " ad- — mits of only one meaning. "the power which the knowing how spirit speaks to spirit. Then the power [To tell] of the soul rises in thee. " in this passage is generally " misrendered essence of the soul." and the sense is completely confused in consequence. although they have no natural connexion other words. spirit how one speaks to another. viz. benen t^r ber 2D>ienfd)ljett @dfmt£el frdufelt jc." More" Kraft" cannot mean " essence." nor can " wie " be used in the sense of " da " or " wahrend. In which ye curl little shavings for mankind. are 51 counterbalanced by the disadvantage of a joy- less existence.— — Introduction. fyrtctyt ein @etft jum anbern @eift. Learned subtleties are here compared to the twisted e2 . Faust describes the loss of set-off against the possession of therewith —in worldly pleasure as a knowledge." as the ordinary translations of this passage would lead us to suppose. eure Jfteben. 9. tural. etc.

" etc. ©rtotrfc eg um What Earn thou hast inherited from thy it sires." used for smoothing paper or any other soft substance on which there is some roughness." said. chips of wood. f)aft. of mankind " (Professor Blackie). Mr. meaning has been missed by every English translator down to B.— " 52 Goethe s Faust. is slightly obscure. The adverb " freilich. Ye instruments." is " speaking frankly. Taylor. who alone gives an accurate version. kuai)' unb 33uget." Hayward). " Biigel. anew. " erwirb. The last line. " Forsooth " comes nearer the meaning." nine lines lower down (not "roll. me With wheel and with cylinder and smoothing-iron. but in the dative case. 12. which the carpenter shaves off with his plane. to make it truly thine. Scene 1 : 2Ba3 bu ererbt wn eg 311 beiiten SSatern fcefi^en. 11. means the "roller " or "pulley" by which Faust's college-lamp was pulled up and down. " Rolle." rendered "collars" by most The noun translators.. Scene 1 3I)r 9J2tt : Snftrumente fretltd) fyottet mctn Utai unb J?ammen. But . I know. means a hot iron or " Biigeleisen. There is nothing in Groethe about the " shavings " Der Menschheit The true is not in the genitive. Hay ward's is rendering : " Ye crisp the shreds of humanity " unintelligible. are mocking cogs." " honestly not well rendered by "surely" (Hayward).

Mr. beginning at " ach. Hayward took the it sen- tence for an affirmation." likewise contains of " while. is neither affirmative." The true mean"Erwerben" cannot mean ing is given by the Hon. difficulties which his predecessors have Know- ledge. as is usual in Grerman. nor interroga- but hypothetical.." two clauses. unless he has earned for himself. " knowledge " it can well be said is useless to the possessor. and rendered accordingly. . Dr. Talbot.Introduction. although to that effect. Falk-Lebahn has construed this passage correctly." has been by all English translators. End of scene 1. and the consequence. as it often has. of the lines Begrabene. S3 it Mr. is Taylor understood Groethe has put no it as an interrogation. and not taken on trust. mark The truth that the sentence tive." Of t. which it it cannot his translation being " enjoy to possess it. to be vital. has here." rather than to worldly goods. Hayward puts a sense upon bear ." Mr. The construction etc. the sense The hypothesis consists of two clauses ending with"nah". worked out afresh the problems and solved. The line refers to accumulated treasures of " knowledge. Chorus of Disciples on Easter beginning " Hat der misunderstood morning. Mr. that it it to " enjoy. which are. must be self-acquired. e. and the conjunction " wenn. inverted like the two preceding hypotheses. 13." is which understood. without accounting for the transposition of " er.


54

!

;


.

Goethe
is

s

Faust.
:

The following
£at bet

a faithful rendering

iBegrafcene

@d;on

fid)

nad) oben,

Sefcenb ©rl;a6ene,
-§errttd) erfioben,

3ft er in SOBerbetuft

©djaffenber 5reube nafj

21$

!

an ber ©rbe ©tuft,
Seibe ba.

@inb nnr utm
Siejj er tie

©eincn
fyier jurucf,

@d;mad)tenb im§
2ld)
!

nrir

benmnen,

SJJciftcr,

bein ®tucf

"While the buried one

Already on high Gloriously has raised himself,
Living, sublime
;

"While he in joyful transformation

Approaches the raptures of creative existence, "We, alas on the bosom of the earth Must remain to our sorrow Us, his own, has he left
!

;

To languish here Alas, we weep for Thy happy lot, Master.
;

14.

Scene

2,

Easter "Walk

:

9J£ein SSater tt>ar ein bunfier

©tyrenmann.

My father was an honourable man

living in obscurity.

The adjective "dunkler" here is mistranslated by " sombre" (Hay ward), and other erroneous words,
15.

Ibidem

:

Unb

nad; unenbtidjen 9tece£ten

2)ag SBibrige jufammengof

And who,
Mixed

after numberless prescriptions,

the unpalatable medicine.


Introduction.
"

55

Das Widrige," " the bitter physic," is misunderstood by English translators. They mistake it for a chemical
term
But, however well this might " suit the passage, widrig " has no such meaning in
:

the contraries.

German.
16.

Scene 3

:

9ld),

iuenn in unfrer cngen 3ette
freuntltrf) nnebet fcrennt,
s

£ie Sampe

!Dann nnrb'3 in unferm -8ufen

fjette,

3m

Ǥer$en, bag

ficfy

felbcr fennt.

Ah, when within our narrow chamber The lamp cheerfully burns again, Then it becomes daylight in our bosom, In the heart which knows itself.

The two
be more
hitherto

adjectives " freundlich "

and "

helle "

might

accurately rendered than
translators.

they have been

by English

The former has been

generally misunderstood as an equivalent for " freundschaftlich," and translated by " friendly " (B. Taylor),
or

by "friendily" (Hayward).
generally

But "freundlich,"

"cheerful," connected with "freuen," "to cheer," does

not

It is the

mean "amicably," but "pleasantly." epithet commonly applied to houses, gardens,
as

rooms,

etc.,

"riant" in French, and

it

is

therefore

appropriately used to describe the scholar's midnight lamp. " Helle werden " has a more special meaning

than that generally assigned to
to

it.

It refers exclusively

the break

of

day.

Therefore,

Mr.

Hayward's
is

version, " All becomes clear in our
cise, since it

bosom,"

not pre-

ignores the figure of the sunrise contained

in the

German.


56
17.

Goethe

s

Faust.

Ibidem
33et

:

eucfy, tljr

£etrn, fann

man

bag SBefett

©etoofrnticf;

ang bem Stamen
aftjubeutltcf; faeift,
eucty

lefen,

2Co

eg

ftc^j

2Benn man

Sltegengott, 33erberber, Sitgner

fyetpt.

With such gentlemen as you One may generally read your
In your name, in which
it

character

but too plainly appears,

When

one

calls

you

fly-god, seducer, liar.

Here " wo," " in which," referring to Namen, ought not to be translated by " since" (Hayward) "es" " wenn" has the force of "when" refers to Wesen, and in English. Most of the existing versions are slightly inaccurate. Mr. Hayward has, " since it appears but
;

too plainly

if

your name be,"

etc.,

which

is

not

literal,

and

less clear

than the Grerman.

Mr. Theodore Martin

translates this passage accurately.
18. Scene 4
.ftann
tcfj
:

mid) nft son btefen

fctyeiben,

2)ann mag toag fann unb

totfl gefcfyeljn.

If

some day
let

I

may
will

divorce myself from these (sun and moon),

Then

what

and can come

to pass.

Here the first word, "kann," should not be translated by " can," as this would imply that Faust was watching his opportunity to commit suicide, and only doubted his power of doing so. In reality the auxiliary "kann"
here only expresses a supposition of a future contin-

gency.

It often has that sense

when used hypotheis
:

tical^ with " erst."
part with sun

The

sense

" as soon as I
care for

may
what

and moon, I

shall not

— —
Introduction.
follows."

57

The usual English

version of the passage

erroneously attributes to Faust a renewed intention of
self-destruction.

19.

Ibidem

:

3n

biefem

@tnnc

fannft

fcu'g

toagen.
it.

In this sense thou can'st venture

The

received English translation

:

"in

does not express the Grerman " Sinn."
that Faust
if

mood," The meaning is
this

may

risk the consequences of the bargain,

he adheres to the interpretation (Sinn) he has just
viz., his

given of the terms of the bond,
as to his future state. 20.

being indifferent

Ibidem:—
Uttb
tociS

bet gcm$en

9)Jenftf;!)eit jugetljetit

tft,

SBttt id; in

metnem innern @e(bft
is

geniepen.

And what

allotted to all

mankind,
self.

I wish to enjoy in

my

inner

There
done.

is

no reason for translating " zugetheilt " by

" parcelled out

among " mankind,
The

as

Mr.

Hay ward

has

All mankind collectively are meant, as Mr.
latter,

Taylor justly remarks.
lates
:

therefore, transis all

" created for all" mankind, which
" Yertheilt unter "

that the

Grerman expresses.

would be the

Grerman for "parcelled out among."
21.

Ibidem

:

<Sa3

tajjt fid) fyoren.

That

is

worth hearing.
is

The meaning of

this

exclamation

that the reply given


58
Goethe
s

Faust.

just before (allein ich will!)

was a good

one,

and de-

served to be taken into account.

English translators

commonly
"

You

misinterpret the words, rendering them by may say so " (Hon. Mr. Talbot) " That is well
;

enough to say " (Mr.
implying a
viously
;

Hay ward)

;

or

by

similar phrases,
said pre-

tacit disapproval of

what has been

whereas the German words have the force of

unqualified approbation.
22.

Ibidem
8ur

:—
bretn
geljt

tt>ag

unb
311

ntcfyt

brcin

geftt

(£in prctcfyttg 2Boct

fDtenftctt

ftcl)t.

A
These
lines,

fine

word

will be at your

command
not.

For

[telling]

what

enters,

and what enters

which are intended to

satirize the

ordinary

philosophic teaching about the boundaries of the

human

understandings, are not clearly rendered
translators.

They

interpret

by English " zu Diensten stehen " by
of."

"to stand in the place of"; "to be used instead

But

this is not the signification of that phrase.
:

Mr.

Taylor gives a better rendering
"

A

splendid

word

to serve,

you'll find,
in,

For ivhat goes

in, or

won't go

your mind."

23.

Ibidem:—
SSermmft
nrirb

Unfutn, 2Bo^tt;at $tage.

Reason becomes nonsense, benefit annoyance.

Most English translators put too far-fetched a meaning on "Wohlthat." It does not mean goodness, beneThat would ficence, charity, or anything of the kind.

— —
Introduction
be expressed in
is
.

59

German by

" Wohlthatigkeit."
if it benefits,
i.

A thing
it is

called " eine Woklthat,"

e. if

of

advantage to the community.
21.

Ibidem
JDurft'
###BOT_TEXT###lt;$)

:

(5'ud) voafy ein

anbermcit

fcefdjtoeren,

SSon (5urcr 2Bei^ett auf ben

®runb

ju fyoren ?

Might

I perhaps trouble of

you another time
its

To hear

your wisdom unto

very foundation

?

The

last

few words have been misunderstood by Mr.
others, as referring to the

Hayward and

grounds or

ul-

timate principles of the professor's wisdom; for they " to hear your wisdom speak upon the translate them
:

grounds. "

But the
is

preposition " auf " cannot have the

sense of "concerning";

nor "Grrund" the sense of
very

"grounds." It
foundation.
25. Scene 5
:

a figure of speech, signifying a diving

to the bottom, or a

fathoming of wisdom to

its

Sfjr feib tooljl gar ein 23trtuo3 ?

Perhaps you are a virtuoso

?

The
This

last

word, which means a

first-rate

performer,

is

translated
is

by " dilettante "

in

Mr. Hayward's book.

obviously an error, for whereas "dilettante" means an amateur, " ein Yirtuos " is one who possesses

a high degree of
26.

skill.

Ibidem

:

35a£ bie £ofen feine Salten toetfen.

That the trousers may have no

creases.

— —
60
This
is

Goethe's Faust.
freely translated

by "to make tlie breeehes sit smoothly" (Hayward), and similar phrases. Dr. Webb
suggests
for

"wrinkles," as the only appropriate

word

" Fatten."

27.

Ibidem

:

galfd)

@ehlt unt

©m

SSecfinbecn

Sinn unt Crt.

2eit ruer unt ten.

Visionary shape and mag:

Change sense and

place.

Be ye 28.

here,

and he ye there.

Scene 6

:—
oecBttt'

Ten
@r

fflamen, SBet6

i* mir.
1

ift

ftyon lang in'? tfabelbud geftfneben.

That name
It has. this

[viz., Satan],

woman,

I forhid.

long time, been consigned to the hook of fables.

The majority
this

of

English translators miss the point of
"it has been long written in story

indignant protest of Mephistopheles by translating

with XLr.

Hayward

:

books." or:

"it has long been seen in fable books"
Still

(Hon. E. Talbot).
lation

more

pointless

is

the trans-

by

XLrs.

8wanwick: " To

fable

it

hath too long

appertained."

What

XLephistopheles means, and the
is

reason

why
book

he objects to be called " Satan,"

that the

personal existence of Satan has been consigned by
to the of fables,
:

many

/'.

e.

is

regarded as a myth.

29.

Scene 7

Xctfi bur' t*, (affi

eud

1

mdu

rcrtrieKcn.

I

beg you, do not give

in for wear::

my head ? . whereas the Grerman means : "do not flinch from the work which you have taken in hand. A garter for my loving ardour." of as if the words expressed a complaint on the part Mephisto- pheles that his services to Faust were too onerous.— Introduction." 31." as if else it were a pleonasm signifying Margaret." 30. 61 The last few words are quite misunderstood by most English translators. Ibidem : &<b afft mtr ein ^aleru* »oti tfrrer Srufl. Get me a kerchief from her hosom. should viz. for "I work you with head and hand. It is strange that the Hon. and others. have interpreted the line quite differently. as Faust was disconsolate or sad on account of the rebuff which he had received from Margaret . R.. the " don't fret about it common if rendering being : " . or it mistake for the Grenitive. These gestures of Mephistopheles sarcastically express his joy at seeing Faust cast from him the last remnant of scruple as the box of jewels is slipped into Margaret's wardrobe. Scene 8:— 3d) hat' ten tferf. @tn Strumrfbant metnet gteBeddtfl. It is in the Dative case depending on the verb " schafft. Did anybody ever complain I scratch of excess of work by saying. Talbot. my head. All English translators either omit " meiner Liebeslust. reib' an ten I scratch J? ant en. I rub my hands.

" or " toadstools". brauf ein ©pange. . Tlien lie pocketed clasp.62 32. penny. is an epithet applied to to " creve " in dead cats and dogs. " Pfifferling " (a the diminutive of " Pfennig. and rings." to give the last gasp or kick of agony. The English in translators —the word not being contained altogether at sea. chain. Scene 9 Goethe s Faust. " Verreckt" or " ausgereckt. unb 9itng'." from " verrecken." first and the irregular form would occur is of its two of syllables is due to the necessity of avoiding the repetition of sound which if the diminutive " Pfennig " were formed regularly. :— Jtett' @trtd. any dictionary — are The Hon. Mephistopheles uses this low and contemptuous term to express his scorn for Martha's deceased husband. 2116 ftaren'3 efcen ^pftffcrttng'. but Goethe would not use the word in that sense with reference to jewellery. It corresponds French." 33. As if they were so trifle) is many halfpence." meaning not worth a not worth a is true that the word is also applied by botanists to " certainly mushrooms. Scene 11 :— (Mebev $afcua an tyeifger ©tcitte tiu)n. !Dafj tf)re3 (£l)f)errn ait6acrerftc 3n That her wedded lord's carrion limbs Eest at Padua in consecrated ground. It Germans commonly say that a thing " Pfifferling. Yet all the English translators have been misled by the secondary or botanical meaning of " Pfifferling.

and all his condescension has but the effect of making her feel more than ever ashamed of herself. it explains what Mephistopheles means by "heilig. ju fcefcfydmen.— /. These lines signify that Margaret thinks is it is out of courtesy alone that Faust so lenient to her ignorance. •§erafc fid. to make me ashamed of myself. I am conscious that the gentleman only spares my modesty. sir. 63 E. baft mid." : Professor Blackie's rendering " stiff and stark " is more nearly correct. Scene 12. mid. 34. 35. " and some have added the word " pallid. that with me — letting yourself down to you are only shame me" . pression which occurs ance with the original. Hay- sure. But " carrion limbs " in Shakspere — —an ex- is most in accord- Ibidem : 3D {jetf'ger 9ftann ! 25a toart ifyr'S nun holy man ! There you would be such indeed. ward's rendering trifling : — " I am Mr. an Hay ward and " there's for you now " is error. The exclamation " da wart ihr's nun " is simply a com- mentary on the preceding clause: "0 holy man"./ trod ! — ! udion . bet -§crr nur fcfyont. fii^t' e§ tooljt." Faust's sanctity is shown by others his scruple to give false of this passage evidence in court. 3d. The rendering : by ! Mr. Talbot has Most " her sainted husband's dear remains " of the others have either " stretched " or " out: stretched. tajjt. And is thus condescending.

has.— — 64 is Goethe* s Faust. Ibidem @g : fdjten tfyn gtetd. tuciljrt e6 Thou art again jaded. Unb. ttioUt' :— Ijatteft bu metyr ju tljun. " Am guten my Tag " refers to the hours of sunshine —the time for work and useful occupation." taken from a hack driven beyond its . happier hour " : —which is 38. And worn out. Ibidem £)u fcijl frf." "without translate much ado." 36. nur anjirrocmbeln. Hayward not to the point." translating ." the sense of " to act " him I need They evidently it mistook the meaning of " handeln. "trifling" is not at all the signification of " schonen. 2U3 mid.on tmeber afcgetrieben langer." Mr. should this continue. fyin 3Ttit biefcr £)irnc grabe ju fjanbeln. I am guten Sag ju ^lagen. Scene 14 3d. aufgeriefcen. "gerade hin " signifies : " forthwith. The figure. which occurs in both " abgetrieben " and is " aufgerieben. for " einen Handel schliessen ". " in Mr. wish you had something else to do Than to plague me in the brightest hours of the day. : Hay ward seemed as and others if the lines thus : "It the thought suddenly struck stand on no ceremony with this girl. in whereas " handeln " here is a technical term for negotiating an intrigue. The verb " handeln " is used here in its commercial signification. quite wrong . 37. The desire seemed at once to enter his mind. To strike a bargain with this girl forthwith.

Ibidem: ©ctyon ! 3^r fcfyimpft. The God who made lad and lass ! Foresaw [i." ! and they render " dass ich dich fange " "if I " catch you " (Mr. 65 All English translators attribute a wrong to both these participles." " yes. But there is nothing hypothetical in the German on . . Hon.— — !! ! ! ! ! Introduction strength. E. etc. unb id) <Der ®ott. Ibidem Saufl: : ©change ! ©change : 2fte^tftopljeUg (fur ftc$) ! ®dt. Hayward." the imof " es being an abbreviation : gelte" let . it ! originally signified let there be a wager us bet but has now come to mean " nicht wahr. Hayward)." some similar expression of assurance. 39. Talbot). R. translating the " driven back into your old course. baf id) bic$ fange Faust : Serpent Serpent : Mephistopheles (aside) I'll bet that I catch you his The words spoken aside by Mephistopheles express " Grelt " is confident hope of ensnaring Faust. : it expresses the most con- fident assurance of success A wager.). ©tfannte gtetcty %ud) fetBft ©etegenfjeit Good you rail. F . and I cannot help laughing. All English translators go astray in their interpretation of this or passage. etc. Talbot. e. or " so I may snare you (Hon. perative of "gelten. . ftyuf. 40. ber Sub' unb 2JMbd)en ben ebetften SSeruf." and the meaning former latter : : " fretted" (Mr. ju mactyen. the contrary. instituted] at the selfsame time the most office honourable Of procuring opportunity too. They take " gelt " to mean : " good. that I'll catch you mup lad)tn.

translators. as Diintzer seems to have taken " selbst " as equivalent to but the word " selbst " is also used the Latin " ipse " in the sense of " even." or "performed well." and " auch selbst " is merely a stronger form for " auch. is a witty and pertinent reAvaunt." but meaning "understood well. not suited to this Valentine having just mentioned the name .: 66 Goethe s Faust. of the action of the Deity. itself concerned in such acts. taben ? ? Will you even heap [the sin of] blasphemy on your soul There is no possible reason for taking " is Lasterung " in the rare sense of " slander. is also unsuited to the context for the example of the Deity would be a weak argument in the mouth of the spirit of Evil. apart from . its excessive im- piety. is The object of this jest of Mephistopheles to repre- sent the occupation of a panderer as the result. thou pander tort to Faust's exclamation : ! 41." The idea that the Deity is . assume that Mephistopheles in this speech charges Grod with being the direct author of immorality. indirectly at least. they construe "selbst" "himself." The Grerman word " erkannte " has no such meaning." and take "erkannte gleich" not in the sense of " recognized or legalized at once. Mephisto- pheles' assertion. sondern der liebe Grott selbst). that he had been authorised by the Lord to perform such acts. Scene 19 SQBoftt 3§r nod) Saftrung auf ©urf." which passage. On the other hand. dass nicht er der Grelegen- heitsmacher sei. following All the English probably an unfortunate remark of Diintzer (Er deutet an.

. The meaning is that the glowing metal inside the is less Brocken. Ibidem 25efottberi? : toenn if il)r iljtt tarum Scgriigen fotttet." It really means the 43. it. and some recesses of the rock than in Mr." It should not be translated " drive. satisfied with any dancing performance resembling his own tread-mill and willing to signify his approval of it if he re- f2 ." etc. which has become visible to the eye of Faust." as Mr. of 67 obvious that the word used by Martha in her rejoinder means " Grottes-Lastrung. contracted. it is 42. therefore thinner in others.— ! Introduction." Ibidem dafytt jur -frolic ! Go to hell by one witch to another." God. The Proktophantasmist Nicolai action. reverse. Hayward and other translators render " scatters. Especially you should compliment him on account is of it. "fahren" is the ordinary word for "to proceed. uttered others have rendered 44. Hayward and In this exclamation. " vereinzelt. viz. on his Mayday-eve ascent." " spreads. thickly stratified. Scene 21 :— fjtet Uni in bcr getrdngten @cfe fie 9Setein$ett [®lut] fic^> auf einmal. : "to be narrowed. And here in the compressed corner It [the glow] isolates itself at once.

" friend". But I shall in all cases avail myself of the opportunity for a journey. this passage." "gladly. (Hay ward)." as is Diintzer correctly points out. Fifty years must be past To make a golden wedding. as ex- pressing the herald's love of gold." of. compliments from the performers. tft 1>ag golben mtr tteber. But the emphasis is on "das." In rendering Mr." events." " to greet as a " to compliment. Scene 2)afj 22:— fcte £od)$ett gotten fet @oll'n funf$tg 3af)r' fetn Ulber ift ttoriiber. or an anxiety to enrich himself.— 68 ceives Goethe s Faust. The last line has been generally misunderstood. But when the strife is over That golden event will be more pleasant to me. " I am always ready for a journey." " at "Mitnehmen" signifies "to take " to pick up en passant " "to avail oneself along with. and the meaning that the cessation of the quarrel betweon Oberon and Titania is the most agreeable circumstance of the present fes- tivity. " Begriissen. ." Hay ward has approached the true meaning." " to bid good day. not "to consult" 45. 46. ber <Strett sorbet. all " Immer " has here the sense of " immerhin. Ibidem : 1)oc$ erne Steife nel)m' td> immer mit.

its the reverse of " Schone".— — Introduction." the latter "stout. to be as Professor Blackie Mr. 69 Ibidem : 93tete Srafcen tocft fctn JUang £>od) tocft er and) tie (Sdjimen." with a long e in the middle syllable. this rendering is quite unaccountable. plump" and " derb " are constantly mistranslated by Mr. lish means exact equivalent in Eng- " Fratze " would be "a horrid. Hayward and others seem wrong in taking the word to mean " a fiddler. lures the fair also. is a merry wag. And the most unwieldy [dancer] on this day Should be the stout Puck himself. Hayward and others have mistaken the meaning of "Fratzen. The former means "awkward. or a gay companion. 47." 49." which they translate "trifles". correctly points out. Ibidem : "Fideler. Many frights But he his music lures. Ibidem Unb @ety : ter plumpft' an biefem 5J3ucf fccr Sag berbe felber." "plump. Hayward and others." The two adjectives " . Mr. ugly mask." 48.

" and in this he has been followed by subsequent translators. Goethe s Faust." The noun " Flor " in this connexion does not mean a "wreath." " misty gauze " or " crape. Mr. . Ibidem : " Nebelflor. it is but only " crape. Hay- ward translates it : " wreathed mists." or anything flowering.— 70 50." "gauze": its joined to " Nebel " (mist) from natural resem- blance to the light transparent haze of fog.

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.

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e3 milb unb roeiten. benen fang Berftoben ift ba$ freunblidje @ebrange. 2Benn e$ nod) UU. 2Ba$ ic^ beft£e.. . . ic§ bie erften £>ic ©celen. 2Rein $ieb ertimt ber unbefannten 2Renge. ad) bcr erftc 2Bieberf(ang. @elmen jenem emften ©eifterrcid) (£$ fdjroebet 2ftein nun in unbeftimmten Gotten 2leoI^arfe gleid) KSpelnb fteb. 3l)r SSeifaH felbft madjt meinem £er$en bang Unb roaS ftcl) fonft an meinem £ieb ivxt in erfreuet. 74 <&k Goethe* s Faust. ttetd) 2)a3 ftrenge $erj. t)oren nidjt bic folgcnbcn ©efcinge. £I)rane folgt ben fiit.tt ftd) Smarten. ! 33erffangen.. . Unb mid) 2todj ergreift cin Icingft enttt>oljnte$ ftillen. roirb mir ju SBitfttdjfeiten. . ber 2BcIt jerfrreuet. ber din ©djauer fafjt mid). fety' id) ttie im Unb \va$ »erfd}tt>cmb.

Suftige SJJerfon. bag alle£ frifd) unb ncn feljen. toaS ifyr toofyl in beutfdjcn Sanben $on nnfrer Untemeljmung fefyr. . tone man ben ®eift be$ $clt# 35efte tterfoljnt 2)odj fo oertejen bin i^ nie getoefen Bttar ftnb fie an ba# md)t getooljnt. @agt. Unb mit 23ebeutung 3)enn 2Benn freitid) ftd) aud) gefaltig fey ? bte ber mag id) gem 0trom nad) fcnge 2Bel)en unfrcr 23ube brangt. tnit Ijofyen 2lugenbraunen. 23efonber3 toeil fie lebt unb leben lag t. fd)on oor SSieren. Villein fte fyaben fdjrecflid) oiet getefen. TO Unb (Stogen tote £age. : VorspieL 75 director. $f. (Maffen ba unb molten gem erftaunen. 3d) twig. ftcfy in $unger3notI) urn 25rot an 23acfevtlu'tvcn/ m wv^^ Urn ein Mkt fid) faft bte Wife fofflt. director* 3fyt beiben.caterfctcfytct. bie tljr mir fo oft 3n %loti) unb ^-riifcfal beigeftanbcn. 28ie madden ttir^. Unb mit getoaltig tmeberljoften bie enge @idj burd) 25et Ijellem ©nabenpfortc Jtocmgt. an bie ftafle ftd)t. 2>ie $Pfoften ftnb.. bie 23rettet aufgefd)Iageu. Unb jebermann ertoartet fid) ein gefl* <Ste ft^en fdjon. tyofft ? 3d) nmnfd)te bcr 2Renge jn Bc^agcn.

2Ber mad)te benn ber 2Rtttr>elt @»aj} ? Den roill fte bod) unb foil il)n tyaben. ! 76 Goethe s Faust.! . fiiljre mid) pr ftillen £immet$engc. Seibenfdjaft. ! . erft burdj 3al)re burdjgebrungen. Dief? SSunber totrft cmf fo ^erfd^iebne £eute Der Did)ter nur . Den dv Urn ttirb beg 23otfe3 fid) $aune nidjt eroittern nntnfd)t etnen grogen fci$. 2Bo nur bent Didjter reine greube f>iiil)t. (£mpftnbung. Dofy merft euc^ rool)l ! ntdjt ofyne 2?arrl)eit fybren ! . DaS roiber 2Btllen un$ $um (Strubel $iel)t 2Jetn. ^ernunft/ SSerftanb. ntctn $reunb/ o tlju' eS Ijcute Dieter* O 23ei beren 2lnWi(f oon jener fcunten 2Renge/ un$ ber @eift entfliefyt $erl)iille mir bc$ toogenbe ©ebtange.DaS 2led)te WiU ber fur ben 2XugenHi(f gefcoren Kadjtoelt unoerloren. Drum fe^b nur brao unb $eigt eud) mufrerl)aft %a$t $l)anta|te ntit alien ifren (Sljoren. 3Ber jttt) fceljaglid) mthugeiiett tteif. 1 2Bo SieB nnb gmmbfdjaft unfre3 |)ergen$ ©egen Wit ©otterl)ctnb erfc^affen nnb ej#flegem fpric^ mix indjt 2ldj ! ttaS in tiefer 33ruft ftdj unS ba entforungeit/ getungeu/ 2Ba3 bie £type fcpdjtern oorgelallt/ !2KifjratI)en jefct nnb jefct oielleidjt $erfd)tingt be£ rotlben 2lugenotid3 ©etoalt Oft. (Srfdjeint eS in oollenbeter ©eflatt. Die ©egentoart oon einem fcraoen f nafcen ify ©efefct. £uftige ^3erfon. roenn e$ '2Ba3 glan&t. 1 3ftr bactyt tdj. ift . intmer aud) fdjon ttaS. il)n gettiffer $u erfdjiittern. 2Benn nur nidjt3 oon 2tad)tt>ett Ijoren follte baf ic^ oon 2tadjn>ett reben ftoEte. .

3fyr fiit)tet nid)t. man foul am licbfien felm. tote fdjtedjt ein foldjeS £anbn?erf feg ! ^ 2Sie toenig ba3 bem adjtett Mnfttcr jicme 3ft. 2Rug anf baS oefte SBerfjeug fatten.0iele3 oor ben 2Utgen aBgefponnen. Vorspiel. I)aBt il)r in ber 23reite glctd) getoonncn. fo gefct e$ gletcf) in ©tiitfen @oWj Seidjt etn IKagout. £)trector* ©in folder 23orU)urf tcift mid) ungefrgnft din 2Kamt. ftirb Unb jeber get)t ©eht \)x etn ©tiirf/ mcmdjem ^nfrteben au3 bem $a\i#. iljr Unb fel)t nnr fur loen fdjretM 2Benn biefen Sangetoetle ireibf. 2ftaffe jtoingen. felfcft S)ie 2Kaffe fount mtt burdj (£m 2Ber jeber fud)t ttieteg ftcfy enblidj toaS au$. roaS ba3 2ll(erfd)timmfte Weifct @ar manner fommt 00m 2ttan ettt ^erftreut £efen ber 3ournale. ! ! !. fdjon bei end) 2Raxintc. U» 3>Ijr fet?b ein oietgcliebter tfyr 2Rann. 2)a^ publicum totrb e3 endj bod) jerftittfcn. ^~~""" . e3 mufjl enc^ gu'itf en ift e3 oorgelegt. toenn if)t ein ©an^eS bargekac^t . 2Btr£. Mi &U fpaltcn. fommt jener fatt 00m u6ertifd)ten 2Ral)Ie. @o £)a ba£ bie 2Kenge ftaunenb gaffcn farm. toie $u un$. @cfyritt 5Ju{$ % ° Unb ^engier nnr fcefrtebtgt jeben £)ie £)amen geBen fid) unb il)ren Unb fptelen ofjne ©age mtt ^ v §um 23eften. ber redjt £u toirfen benft. Unb. . ?t\va$ fcringen Bringt. 2)er faufcem £erren ^fufc|erei merf id). % Ijafcet toeidje* I)in. 77 director* 23efonber6 afier la$t genug gcfcfyclm 2Kan fommt §u fcfjann. SSebenft. fo Ieid)t ate auSgcbacfyt 2Ba3 r?i£ft* $.! ! . . ju ben 2Ra3fenfeften.

©letdjgiiftig brefyenb. bag iljm Katur fcergonnt. gefct @o fount tl)r eud) fcom Biele nie fcerirren.e. 2Bo e3 in ^errlict)en fcorben fdjlagt ? toittljen ? 2Ber laf t ben (Sturm $u £cibenfd)aften ©a$ 2lBenbrotI) int ernften @tnne gluljn ? 2Ber fcpttet alle fdjimen gritljlingS&lutljen 2tuf ber ©eliebten ?>fabe $fo ? 3Ber flidjt bie unkbeutenb griincn flatter . Ijofft ein $artenfpief. unb tmmer jn oerroirren. fciel 2Ba6 plagt armen £I)oren 3tt foldjem Sroecf bie tjolben meljiv 3d) fag* end). anf bie (opmbel 5tt)tngt/ UwL SBetttt aller SBefeft unfyarmon'fdje 2Rengc $erbrie£lid) bnrd) einanber flingt. £>er £>id)ter bag SDaS 2Renfd)enred)t. ber au# bent SSufen bringt. 2Kufen ? nur meljr.r>tr)mifct) regt ? 2Ber mft baS ©inline pr allgemeinen SBeiljc. ? 2BaS traumet tl)r auf eurer 2)idjter*§oIje 2Ba0 mad)t ein oolleS £au3 eu$ fro^ ? $5efcl)t tie ©omter in ber 2la^e ftnb fte rol). ©udjt nnr bie 2Kenfdjen ift @ie ju 2Ba3 fcefriebigen fdjtter ? fa'Ut end) an ? ©ntjiitfung ober (Sdjmerjen @el) l)in nnb fud)* bir einen follte n>o^l anbern ®ned)t Ijodjfle 3ted)t. Sffier tl|ei(t bie fliejjenb tmmer gletdje IRetljc Selefcnb afc. §at& ftnb fte fait Ijalfc 2)er. Urn beinethnllen freoentlid) fcerfdjerjen ! 2Boburdj fcetoegt er alle £cr$en ? 2Boburd) feeftegt er jebeS Element ? 3ft c3 ber (Sinfccmg nid)t. 2)er erne tioilbe tl)r 2lac^t an einer 2)irne 23ufcn. nad) tern @d)aufpiet.! ! 78 Goethe s Faust. baf fte fid) rl. ttnb in fein $er$ bie SGBelt ^urudefcpngt ? SBenn bie 2latnr beS $aben3 err>*cje £ana.

3um ©jrenfrcmj JBetbienften jeber 2lrt ? Ber Pert ben Ofymp. 2)ann fammett fid) ber Hugenb fd)b'nfte SSlutlje SSor eurem (Spiel. fcalb jetted aufgeregt. ben <Sd|roung. Man Unb Saflt ift entjiitft. unb laujdjt ber Dffenfcarung. ttirb e3 angefodjten. $tet Srrtlmm unb ein gitufdjen SBaljrljeit. el) nun fommt @d)mer$ ein fyeran. man toirb man oerflodjten bann ber T6Iei5tr (£3 toadjft ba3 ©litcf. fteljt. man f\fy$ »erftel)t. Vorspiel. treibt bie bidjfrifdjen ©efdjafte. . unb &u tadjen. man ein SiefceSa&enteuet treifct Bnfdlltg nal)t man nadj fid). Unb roo fljr'S Jpacftr ba iff 3 intereffant 3n fcunten SSilbetn roenia. . Unb ttadj ttnb man fxt^It. (So ftirb ber fcefte Dann Dann fauget jebeS ^drtltdje ©enuitlje ftd) 2ln3 eurem 2Ber! melandjof fdje 2lal)rung. ! unS and) fo ein ©djaufpiel gefcen ©reift nun Ijinem tn$ oolle 2Renfdjenlefcen @m jeber UU% nid)t soielen iff 3 fcetannt. / Da Da ify nod) fettft ein ftdj im SBerben ttar. aeretnet ©otter ? 2)e£ 2Renfd)en traft. Ununterfood)en neu . &in SGBerbenber imrb immer banlbar Dtd^ter* (So gieB mir audj bie 3eiten roieber.ren nodj fertig ift. bie fdjonen trafte. §u tteinen ©ie 2Ber el. ®tarl)eit. 2)er atte SBett erquitft unb auferBaut. tot 79 Dicker offenkrt £ufttge ^erfon. ftirb fcatb biefj . erfreuen ftd> am <Sdjein bent ift nut)B red)t £u madjen femt. £ranf gefcraut. Ouett gebrangter Sieber gefcar. tft'S efcen Soman.! ! . @o Unb 2Bte fcraudjt fte benn. (Sin jeber tta3 er im §er$en tragi 2todj ftnb fte gteid) fcereit.

*>ict @timmung reben ? wvt/Jv ©em Baubemben erfd)eint fte me. ®cU il)r end) einmal fur ^oeten. %lcM mix td) bie SBelt toerpllten. I. CufHge gjerfom 2Benn 2Benn SBemt 2>er 3«scnt»/ guter greunb. ^Jc *. -2cadj einem felBftgejtedten 3iei X^<^A ' Wit fyolbem Srren Ijmjufdjtoeifcn. 3>n ©rang £)a3 ttefe nacr] unb bod) genug 2M)rl)eit unb ! bie Sufi am £rug. 2Benn nad) bent tyeft'gcn SBirMtanj $om ©ie S^ac^te fdjmaufenb man oertrinfet ©od) in* Manure (Saitenfriel . aire S>errn. \A^ J . £>er 2Borte ftnb genug gerocdjfelt. . £)ie SfrtoStoe 2Bunber nod) oerfprad). iff eure $flid)t. S)a 3d) bie taufenb 23iumen Brad). director. fiebarfft bu alienfatl'S. £)e3 §affe* toft. &# ftnbct unS nur nod) a(3 roat}re tinber. bid) in ©d)iad)tcn gcinbe brdngen.atte nid)t3. « 2Kit 2Rutl) unb 2inmutt) ein^ugreifen. mad)t nidt}t ftnbifd).®ann 2Ba$ etrt>a^ 2hi|tid)eS gefdjeljm Z)ilft e$. bie 2Rac^t ber SicBe. rote man f»rid)t.! 80 £)ct Goethe' s Faust. fern beS fdjneften SaufeS ®ran$ fitter erreidjten 3iete ttinfet. ©a3. ©iefi ungefcanbigt jene STrigbe. Saf t mid) aud) enbttct} £t)aten feljn (^ k Snbef il)r domplimente toon bredtfelr. Unb mir oereljren eudj barum nid)t 5Da3 SXIter -^-<^^ minber. fdjmer&enS&ofle ©litcf. @iefc meine 3ugenb mir jnriitf. ntit ©croaft an bcuten £al$ (Sid) allerlieBfte 2Rabd)en tyangen. £)ie atte Scaler reid^Xic^ fullten.

! :! . tt>a$ er ^roBirt em mag mtr an biefem £ag ^rofpecte ntc^t unb ttidjt 2ttafdnnen ©efcraudjt baS grojT unb fleine £immel$licfjt/ 2)ie @terne biirfet tljr serfcfyttenben £>rnm fdjonet 2ln 2Baffer. muf. 2tn £I)ier unb SSogetn fel)tt e3 nicfjt intern engen 23retterl. ttetl cr roifyt. (£u&) ift 8 beramtr. nut kbac^t'ger ©djnetle. 2$om £immet burdj bie 2Mt ^ur $otle ©o fdjrettei G . <So commanbirt bic ^oejte. 2Bir n?otlen ftarf ©etra'nfe fdjturfen 5Run fcraut mtr untjersitgltdj bran /u^ nidjt getljan. gelfentoanben. ! 1 Vorspiel.au$ £>en gan^en fretS ber ©djityfung auS. (£r toil! eg bann ntcfyt faljren lajfen. geuer. ift morgen Unb S)a3 feinen £ag foil man toer^affeu 21Zogttd)e foU ber (£ntfcf)lu£ 25e!er$t foglcic^ foim ©cfycife faffen. auf nnfern beutfd)en 25iU)nen jeber. tta$ fotr fceburfcu/ .. 2Ba3 I)cute rticfet gcfc^tel. Unb ttanbett.t. ^ Unb Sfyr roirfet totitex.

iprolag im inmmrl. biften iriitbeitf> rate Pierre tiefften SEBirfimg ringfl umber. tint) ©titrate braufen ilteer um bte ir?erte. n[« _^ Sonne tout xivicB alter SBetfe on ^rumfpbaren ^ettaefang. JDet §txx.82 Goethe s Faust._ 3ett tmi ZReer iriit fortgertffen ©runt 3n etoig fdmeUem 3pbarentauf. 3br ShiMtcf gfe&t ten Cracjcl'n ©tarfe.Hieer. S)ie mrtegreiffidj beben £>erfe 3inr bcrrlia\ line vim erften -lag. (gg ire* felt Varartefec-betfe VUit tiefer fdvtuerrcller llafrt. iSemt fetner fte eranntren maa. £te f>tmmttf*en -^ccrfdjaarcn. . . (X* fdjatttnt ba3 Jllccv in bretten Stnffen 2lm lint* tiefen bet [uifen auf. ^em Hub SDet anfo lam\ rem Sarib «tp . nacMer Tic tret (ft^engel tretenj:er. SDie Uttb tbvc ronjefdu-tebne Nciic SSoUenbet fie mit Stotmergcmg. ©abrteL lint febnctl anfc unbcaraflicb fdmelle Trcbr ft* umber Kr fee ^radu.

. (£r fd)eint mtr. Unb ift fo rounberltd). btdfj einmal roteber nal)|t. Unb bu midj fonft gerobT)itlid) gerne fal)ft. al$ roie am erften £ag. n>ie aEeS ftd) Bet unS fcefhtbe. Unb fragft. £>err. $er£eit). £)ie immer flicgt unb fliegenb fpringt Unb gleidj im @ra3 tljr alteS £iebd)en fingt Unb iag^er nur nodj immer in bem @rafe 3n jeben Duarf fcegrafct er feine Kafe. > t w £)er £ajt bu mtr foeiter ntdjrS £m\ g2 ^u fagen ? .! . 83 /£)a flamntt etn WifccnbeS ^erK^ecxeu . 3u 3>r 2Xn61icf giebt 2)ret\ ben (£ngeln ©tarfe. . Sateen. £>od) beine 23ofen. nur tote jtd^bie 2Kcttfd)en ^jflggn* ' 2)er fleine @ott ber SOBctt blei^t (lets fcon gleidjem ©djtag. 25ie etne ber langfcttttgen ©cabett. ^^^ f ^ 2htr tl)ierifd)er al3 jebeS £l)ier $u feijn. £>a fciner bid) ergritttben J)ol)cn mag. vv ©0 ffetyft bu mtdij audj uttter bcm @e{tobe. Unb citle beine @inb fyerrlid). Unb roenn mid) £att|t bu bir aud) ber gan^e $ret3 oerljoljnt bidj geroifji 2Kein ^atl)03 brac^te ntcf)t $um Son @onn' 3d) felje baS Sadden aBgeftbT)irt unb 2Belten roeig id) ntd)tS ^u fagen. mit $er!aufc oon (£ro. ©in roentg fceffer ttihV er lefcen. $att\t bu iljm nid)t ben ©djeitt bcS £immeMidjt3 gegckn (£r nennt'S SSermmft unb oraud)f3 aEcjtt. -—Y 3>nn ^fatc »or bc$ £>onnerfd)tag$ £env tocrcljren £>aS fanfte SBanbrtn beineg £ag3. id) - /< * uV ' fcmn nid)t l)oI)e 2Borre madden. SBerfe crftcn true am S)a bu. ©naben. £ag. a. Prolog im Himmcl.

Set £etr 2Benn •J + er 1 mir jefst aucf) nur oerttorren btent. . ^ I Sftic^t irbifc^ ift be$ £I)oren £ranTnod) . Ijodjfte Unb »on Unb alte ber (£rbe jebe 2cat)' Sug/ unb atte gerne 23efriebigt nidjt bie tieffcettegte 25ru|f. auf fcefonbre 2Beife. 2Beif bod) ber (Partner. _. 3d) mag fogar bie Wrmen feftft nid)t plagen. 2Ba3 twttet il)r ? ben follf it)r nod) 2Benn tf)r mir bie (Sriaufiuijj geftt. 3l)n meine (Strafe fadjt §n fuljrem oerliereu G^ + 2)er (So lang er auf ber (£rbe leH <©o lange fej) btr'3 nidjt oerfcotem ^(£3 irrt ber 1 £err 2Renfd) fo tang' er ftrefct . 5Daf 23tutI) unb grud)t bie fiinf gen 3al)re ^ieren.: ! ! 84 Goethe s Faust. tone immer/ I^er^ttd) fdjtedjt SDie 2Renfdjen battern mid) in tljren ^ammertagen. ? $ommft bu nur immer cmjuffegen 3ft cmf ber (5rbe etoig bir nidjts redjt ? 2?citt/ §err ! idj ftnb* e3 bort. j^^ a ^ treifct bie @aT)rung in bie gerne ift ftd) fciner £olfljett l)att> fcettmfjt SBom £>immel forbert er bie fdjimften @terne.. ttemt baS SSaumdjen grunt. (Speife. ^ tonftbubengauft? £)er £err* £)en doctor ? £)er £err2Reinen ®nedjt prtoaljt 3I)n G?r ! er btent eucb. ^ \ ©o tterb tdj tljn Mb in bie ®(arT)eit fiiljren.

85 benn mit ben £obten . / ©in i3ft **f^ ftdj be$ redjten 2Bege£ tt>o$l tetougt @d)on gut 2Rir ift ! nur bauert eS nid)t lange. im meiftcn iieb* id) mjr bie pollen. i^ &u meinem 3tt>ed: gelange.. bie adjten ©otterfolme. beineg @leid)en nie gel^af t. ^^ tlmfaff end) mit ber Siek fyolben @d)rcmren. atS £eufel.perr- on 3d) barfft aut^ Ijafce ba nur frei erfc^einen . niemals gern fcefangen. : Prolog im Himmel. frifdjen 2Bangen. mir £riuntpl) an$ unb mit roller 25rufi £uft. Unb beinem 2Bege mtt fyerafc. unb unb mug. **& erfdjfaffett. cv^. bie beriil)mte (flange. K • j (Jrfreut end) ber lefcenbig retdjen <Sd)one £)a3 2Berbenbe. tannft bu ilm erfaffen. . ftet) kfdjamt. $on 3ft alien (55eiftern. £)er . ! . mir ber ©c^alf lieBt ftjfi am roenigften gur Saji ©eS @r 2Renfd^cn £l)atigfeit !ann a%tletd)t \£^ ^ kfb tdj bie unfcebingte 3htl) il)tn ©rum ©er £>odj getr gem roirft. roie ber ta£e mit bet 2Kau3. toenn bu Mennen guter 2ttenfd) in feinem bunfefa mug t Grange . fdjaffen. 2Bie meine 2Rul?me. ben ©efellen gu. reigt tljr. 2Benn ©taufc fur meine 2Bette gar nic^t fcange. bie aernetnen. ba3 eroig toixft unb leBt. f^tir einen Seidjnam Un tcf nidjt $u t>au3 Mix ge^t e$. idj ©a banf end) $aV tdj mict) £)er £err* 2htn gut ! e$ fe^ bir iiBertaffen ! 3iel) biefen ©etft »on feiuem Urquell ah Unb fu^r >2luf 1 ilm. ^ JUo-tX. tljr Srlau&t foil er freffen.

(£3 ift gar Ijiifcfdj »on einem grofen £errm <2o menfdjtitf) mit bem £enfet felfcft jn fyredjem . roa$ in fd)tx>anfenber (Srfdjeimmg fdjtoeK 23efeftiget mit bcwewben ©ebanfem (5)er <§tmmel fcfyttept.86 Unb Goethe s Faust. bte ©rjenget ttert^etten ficfy. SSon 3ett ju 3eit fel^ idj ben 2ttten germ Unb Ijiite mid).tftopf>eIe3 (aftein). mit tfjm §n faedjen.) 9ttepr.

£>a fte!)' tdj nnn. fyerafc nnb qner nnb frnntm. £>octoren. nnb ! 5?Ilebictn. td) armer SHjor Unb Un fo flna. an bte $el)en 3al)r. £>te 2Renfd)en jn fceffern 2lnd) IjaV ic^ \§ fimnte roaS leljren. £eife ^aaifter.efd)etbter att afle bie £gffen. engcn. gotfyifctyen 3tmmer. 87 SCENE $%mt in &cr l. ad) ^nrifterct ! ^tlofopfyie. mit Ijeifem 23emnl)n. l] Faust in dcr Studirstube. .. tvrbcr ®ut nod) ®elb. mir mir ntdjt etn. ! Sc. roaS dttd)t$ ju ttiffen. Sauft unruljtg auf fetnem $ulte. 2ftetne @cpler an ber 2cafe Ijewm Unb fel)e. ^tuhminbt.. 2Kid) ptagen f^iirc^te toe ©djreikr nnb ^faffen ©crupet nod) Btoeifel. 9latyt. . $renb' entriffen. 3n etnem Ijoctygetootbtei'. Unb §ie^e°yc^on — ! Btoar Bin id) a. Unb.ifter. lejber and) geologic 5Dnrd)au3 ftnbirt. nnb $a bereljren. alS ttie $m>or w l)ei£e doctor gar. afte mid) roeber sor £olte nod) Stcufet ift — i Sjaffir 35ilbe 25i(be mtr and) ttidjt ein. £eranf. @effel am ^auft£afce nnn. 2Raa. bag roir ntd)tS tttffen ronnen £)a3 ttift mir ftfjiir ba3 £er^ oerfcrennen.

ntit faurem &d)Voti$.! ! 88 2todj Goethe s Faust. roller 2Ronbcnfdjetn. ©en 2Burme nagen. manege 2Ritternatf)t 2ln biefem $utt l)crangeh>ad)t £)ann. £)a# id) nid)t mel)r. 2)af erfenne. n)a3 bie SBelt 3m Unb $ufammenl)aU ®d)au' 2Biaen3fraft unb @amen. ! . O fcHjjt bu. OB tntr but$ ©etffe* Graft unb 2Itab S^ic^t mandj ©eljeintntjj hntrbe tab. (£$ mod)te W idj 3u fagen braudje. @tauB ocbetft. 2luf SBtefen in betnem hammer toej&en. oiS anS I)ol)e ©ettiJiV Ijtnauf. 2Rtt Snftrumenten ooftgepfropft. ttaS 3»nnerften atte id) ntdjt tteif. 1. erfc^tenft bu tntr lefctenmcrt id) fo 21$ ! fount' icfy bod) auf 23erge3l)ol)n 3n betnem Urn tiefcen Stdjte gelm. Bum £>en auf meine $ein. 35ef$ran!t mit biefem SSuiJjerljauf. «nb §errlidjfeit bet SSBcft Jem §unb fo Icinger teBen ! ©rum lja&' i^ micfy ber 2Ragte etgeBen. mit ©eiftern fdjfoefcen. SSon aflem 2Biffen3qualm entlaben.r in Shorten rramen. . [Sc. 35ii$fen tinge umftetlt. ©en. 3n betnem £fyau gefunb mid) fcaben 25erge3t)b'I)Ie mi) 2Bo ! jle<f id) in bem Verier no$ ? SScrftu^tc^ bumpfeS 2RauerIod) fetfcft STritB burdj ba$ ttebe §immeMi$t gemalte ©djetfcen fcridjt. S^rii^fel'ger greunb. iiber 35ud)ern unb papier. tl)u* nidjt meZ.: . @in angeraudjt ^apter umftetft 2Rtt ©idfern.

1 gtiel) ! 2Xuf ! £inau$ tn$ mite 23ndj. Unb roenn S)ann gejt °^ 2Bte fpttdjt ein @eift £um anbern ©eift. fyeiPgeg SefcenSgliid: 2frnglnl)enb mir burd) fcV-unb 2lbern rumen. l. 2)ie trdfte ber 2catur rings nnt mid) ein fyer entpflen ? ©ott ? >IKir toirb fo Kdjt . 2Bar e3 ein ©ott. £)a3 arme £er$ mit grcube fuHen. nefcen il)r mir Ijort 2lnth)ortet mir. roarnm bein £er$ @idj fcang in beinem SSitfen tatmt ? 2Bamm ein nnerttarter ©djmcr$ S5tr afle SefcenSrcgungBemmt ? ©tatt ber teBenbtgen 2£atnr. ber biefe 3eidjen 2)ie mir baS innre Zobzn ftitlen. 25a ©ott bie 2Renfdjen fdjuf l)inein. 3ft bir e3 nid)t ©eleit (Srfenneft genng ? bann ber ©terne £auf. UmgteBt in IRaudj nnb SHlober nnr Qi&l ^^iergeri^ nnb £obtenfcein.: !. tob ! Unb biefl geljetmnijfyotte $on 2toftrabamn# etgner £anb. brein geftopft ! 89 Ureter £au$ratfj 2)a3 ift — beine 2Bcft ba$ ^etgt cine 2Belt Unb fragft bu nod).] Faust in der Studirstube. mit gcijeimnifj&ottem £rict>. Umfonft. unb etMttft bag 3etd?en bc8 2ftafrofo8muS. bag trodneS ©innen £)ie fyeirgen Setdjen bir erftdrt 31)r I)ier fd)tteH il)r @cifter. . Unb. bie ©eelenjraft bir anf. h)cnn mid) (@r £>a fctylagt bag SSucfy auf.) ! ttetdje 2Bonne fliejjt in biefem 251itf ! 2tnf einmat mir burd) afte meine (Sinnen 3dj fnT)Ie JnngeS. 2catur btc^ nnterfoeift. 33in i&) fdjriefc. ! ! Sc.

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. ftie — farmer. £)a£ £)a£ 2Ba3 ufceratl bie Sftenfdjen (to) gequalt. . am listen £ag. jammerlid) geirret freitjd) fpottet %)x 3nftrumente 2Rit ^Rab unb mein. 3n biefer 2Kottenn>eft mid) branget ? ©ier foH ty ftnben. Ine grinfeft unb ba ein ©lutflidjer getoefen ? bu mir. St^or. ftaS mir fel)lt ? @otl tdj fcieUeidjt in taufenb iiidjern lefen. ba3 muf t bu ffrtg fretoeincn. sc. @o £)ie ift ein fteiner 2Benn ©littf auf ©Uitf niftct fte @orge 3taum ifyr nun genug. ift 2BaIj' unb SSggcL <Sd)luffet feyn l)efct iljx 3d) ftanb am il)r follrtt /3n)ar euer 35art ©efyeimnijwofi frauS. bicfe fyofye 2Banb. Ijofyter ©djabei.. im Seitenftrubef fdjeitert. i.] Faust in der Studirstube. TO baf bein £>en leic^ten meineS. einft oertoirret/ £ag gefudjt unb in ber £)ammrung ffltit Sufi nad) 2Bal)r^ett. 3frtfy . ber ben ©taufc ftdj im ©taufce nafyrenb tebt/ 5DeS SBanbrerS %x\tt tternidjtet unb oegrabt. ! . crfdjctuen. <U1 tammen. «t<r * gtcic^ im tiefen $er$en. 3ft e$ ntdjt @taub. 2>oW> unb ®ift bcbfl &or allem. SBaffer. roa3 . Ijer ? £irn. ©djmer^en. SDort toirfet gefyetme Unrulug tt>iegt fte ftd) ftetS ji$ unb ftcrct Sufi unb @tc becft @te mag TO 9Du mit neuen 2Ra$fen ju. al$ $au# unb ©of/ als 2Beifc unb ttnb geuer.lnir oerenget/ Der £ri>bef. bod) md)t bte IRicgcI. Unb toa# bu nte loerlierft. ttie er gletd)' ic^. £)eu ©ottern gleidy id) nidjt ! 3u tief ift e3 gefuljlt burd)ttntfylt- £)em 28urme 5Den. roa3 utdjt trtfft. 97 2Benn ^antafte ftd) fonft mit fuljnem $lug Unb IjofmmgS&ott \m feuigen errceitert. ber mit taufenbfacfyem £anb. 2iu$ Ijunbert gad)ern. 11 .

tft eine fdjtoere £aft 2tor n)a3 ber ^ugenbticf erfdjafft. 2) u alt ©eratfjC/ ba$ id) nidjt gebraucljt. urn e3 $u beft|em 2Ba3 man 1 nid)t nii£t. l)ier &u fd)tt>i|en /'2Ba6 bu ererbt loon betnen $atern t)aft. 2)u ^lu^ug alter tobttid) feinen traftc. W$t Unb SDaS 2latur beS (SdjteierS ntc^t Berauben. ^^^^^a^ TO. e$ frirb ber @djmer$ gelinbert.! ! . wdjt ab mit |)ebetn unb mit <2cijrauben. bag fann er nit^en. [Sc. 1. 3n 3n3 l)oI)e 2Kcer tterb' id) l)inau3gen?iefen. nad)t'gen 2Batb unS 2ttonbengtan£ umfteljt ? 3dj £)ie griifi e bid). ba3 ©treben ttirb geminbcrt. roaS ^toingft ^ u ^) r I ©rroirb e3. (Srmeife bcinem 2Reifter beine ©unft 3d) fcl)e bid). @o tang/ an biefem ^ult bte triibe £am'pe fdjmaudjte. mit bem 2Benigen betaftet. £)u alte 3Me. 2)ie @r>iege(f(utl) ergtat^t ^u meinen ^ttfen. 3d) faffe bid). 3u neuen Ufern lodt ein neuer £ag. £>od) roarum fyeftet ftd) mein 25(icf auf jene (Stelle ? 3ft jeneg $(dfd)d)en bort ben 2Iugen tin 2ftagnet ? 2Barum roirb TO roenn im mir auf einmat Ikbtidj t)ette. bu tx>irft angeraucfyt. 2Beit beffer IjatV id) bod) mein 2$enige3 oer^raft. mit 2CnbacT)t nun I)erunterI)ote bir aereljr' id) 2Kenfd)enn)i| unb tunjl i)u Snnbegriff ber l)ofren @d)(ummcrfafte. 2)e3 @eifte3 gfatljftrom efcbet nad) unb nad). (£in $euerft>agen fd)tr>ebt auf leid)ten ©cfyttingen 2ln mid) Ijeran I^dj fitl)te mid) bereit. td^ bu ein^ige ^Ijiole. fte beinem ©eift nidjt offenbaren mag. £)u ftefyft nur I)ier/ roeit bid) mein $ater braud)te. ! 98 isO Goethe jtdj s Faust. .

bent 2Korgen sufleftrocfyt (@r fefct fcte ©djale an ten 90hmb. 2frtdj jenem £)nrd)gang ^ttt^uftreben. 3dj roerbe meinen 2Bi| an beiner Sfttnft nidtjt ^eigen 2luf (£inen T)c# ^rinferS 3ng bie £ol)lnng Sier ift ein @aft/ ber eiltg trnnfen mad)t. 3a. W £)er le^te £run!: feftlidj Ijofyer ©ruf. l)ol)e £>tep £e£cn. an^nleeren. 2Senn einer bid) bent anbern jna^ejrad)!.! ! !. . emften ©cifte. (£rl)eiterreft bie £er oielen 35i(ber runjflid) reid)e ^rad)!. ^flid)i. bie $or benen jeber gent i?oriibcrfd)teicr)t §icr t(t c3 Beit. biefe (Sottcrroonnc ? SDu. nnb bie oerbieneft bu nnr ber fyolben ©rbenfonne ^forten auftureifett. ©ntfdjlojfen betnen Kitcfen jn IBermeffe bidj. (£rinnert mid) an mand)e 3ngenbnad)t 3d) roerbe je|t bid) feinem 2lad)6ar reicr)en. 99 2lnf ncuer 23atm ben 2lerl)er ju bnrdjbringen. crft r>l)re nod) 2Bnrm. £eroor an3 beinem alien ^utterale. s ttnb roaV eS mit ©efaljr. i] Faust in der Studirstube.\ 2htn fomm Ijeracv fri)ftattne retne dSd)ate. 3)en id) Bereiter. Sc. $or jener bnnfetn £ol)le nicr/t 511 beoen.) H 2 . in$ 2ftd)t$ bal)in ju flief en. 3n ber fid) ^fyanrajtc ju etgrter Dual oerbantmr. erfiillt er 2Bit brainier gtutlj beine £ol)te. mit ganger @eele. 2)ag 2Rcmtte$totirbe ntdjt ber @orterI)ol)e roetdjt. ben fei) id) roal)le. bnrd) £I)aren gu oeroeifen. %\ bie id) oiele 3al)re nid)t gebad)t £>u glan$teft ki ber $ater greubenfefte. nnn. lint beffen engen 21frmb bie gan$e £olTe flammt 3n biefent ©djritt ftdt) fetter ^u entfdt)Iteg en.! . 3u rteuen ©pljciren renter ^fyatigfeit. jte reinjrocis ju erflaren.

cjelinb. 2Rit ©pejereien fatten toir ilm gepflegt. 3Btr. mid) am 2)ie 23otfdjaft I)bY id) foot)!.©eftijjljeit einem nenen $nnbe ? @f>or ber SBetber. Sauft L{ I 2BaS fndjt ifyr. 2)er einft urn @rabe3nad)t oon (£ngel3Iippen Hang. 2lcfy ! nnb foir pnben d^rtfl nidjt mel)r \tx. ©fotfenHang unb dljor ber (^ttgeL Gtfyrift ift crftcmben \ e ^renbe bem ©terMidjen/ 2)en bie oerberolidjen.!! . (Sljorgefang. 2)er bie fcetriiftenbe. (Sdjteidjenbett. £ei(fam' nnb lifcenbe ^riifung feeftanben. ioo Goethe s Faust. . [Sc. matfjtia. erblic^en „ >JRangeI nntmanben. feine ^treuen. (J^or ber (£§rift ift ^ngeL wl( erftanben *Y o r @etig ber $ieknbe. nnb 3ffr $immcl£tone. aflein mir feljlt ber ©lanBe . two foeidje 2Renfdjen ftnb. ftnqt geterftunbe ? ttyr fcfjon ben troftlic^cn @efan#. fatten il)n Ijingelegt V <r d Zixfyev nnb 25inben 3fteintid^ nmtoanben toir. fetanfie ? ttingt bort nmljer. 2Beldj ttefeS ©nnttnenr toeld) ein Ijellet £on 3 4 Biel)t tnit (S5eix>att $erfiinbiget ifyr baS @laS oon tneinem 2Rnnbe ? bumpfen ©locfen fdjon erfte 2)e$ Ofterfefte^ 3fyr @ljore. 1.

£>immet3lieber $om le^ten. bein ®IM. 101 (©a* timber ift bcS ©laufcen* Xie^fte^ tint). ernften @d)ritt junttf. . .' ic^ nic^t ju fireben. 2Bo§er bie Ijolbe 2frtd)rid)t tout Hub bod).enb auf getoitynt. 2)er gruIjlmgSfeier frete3 (Srinnrung. 3ft er in Ber&luft 23ruft. cmbiefen ftana. i. 9?nft er audj je|t juriitf mid) in baS Sefcen. — betteinen. il)r fitf en © timet fort.. £)ie £l)rane quiltt.] Faust in der Studirstube. Hub Sin ein ©efcet toar brunftiger unbegreifltdj IjolbeS ©enuf ©clmen Xxicb mid). mid) nun/ mit fmblidjem ®efiil)le. @onft 9 ftur^te ftdj ber $immeMiebe fug 2luf mid) fyerab in ewftcr ©afcfcatljfritle 2)a Hang fo almungSooU beg @fotfentone$ guile. @j>or ber (£ngeL C£t>rift ift erftanben 2(u^ ber $ern?efung ©djooj?. Bu jencn ©platen roaa. (Sd)mad)tenb un$ 2ld). burd) 2Mb unb 2Biefen Ijm$ugeljn. £at ber 23egrabene (Sdjon jtdj &»* nad) oben. roir ilftetfter. ^ Hub unter taufenb ^etgen £ljrcmen 1 jgifljft idj mir eine SBett 2)ieg Sieb oerftinbete ber 3ugenb muntre ©piele. $errlid) erljoben. £ebenb (Jrljabene. bie @rbe Ijat mid) roieber ! Qffjor ber hunger. !. sc. . oon 3ua. I)citt ®IM . (Sdjaffenber greube nal) Kd) ! an ber @rbe <Sinb roir Siefj er bie jum Seibe bcu @eincn J)ter juriirf. entftel)m.

ttadj bem SBaffcrljof §u geljn. 2Bonne @udj @udj ift ift oerfyeifertben. gcr^ig bort fnbet iljv £)te fdjimften 2Rabdjen unb ba3 befte $ier. 2Bir gel)n I)tnaug auf$ 3agerl)au3. Unb £>anbet fcon ber erften @orte. 23riiberlid) fpeifenbett/ ^Jrebigenb retfenben. gitnfter. SSterter* Kacfy 23ttra. 3d) 1 rati. Denn bu ? Qrtn ©niter* 3d) gel)c mit ben onbern.borf fommt fyerauf . alter 2lrt jie^en bem 23) or. ba SCENE2 ^p^rpiwf SScr >v - -^ wW fyinauS. . £iefce betocifenbert. 2)it tiberUiftiger ©efell. »on 23cmben greubig. 2. (£tn £anbtt)erf£burfcf). — ©pajterganger (£tntge £anbtt>erf3burf$e* 2Barum benn bort IjinauS ? Slnbre. £)te 2Ba3 tfyuft 3wetten. eucf). '^ • writ Mftpw. eudypS itjn ! 0/ £I)atig prcifenben. ber 2fteifter er rial). 3tt)etter. 2)er 2Beg bafytn ift gar nid)t fdjim. 2Bir aber ttollen nadj ber 2Kii()Ie roanbern. dieifct [Sc. 2)te <£rfkn.! 102 Goethe! s Faust.

5lnbre» ( 2Bir ftnben tlm gettig bet jenen $appei n fleljen.. toir miiffen fte begletten. : $err 35rufcer.] Spaziergang mit Wagner. em beijenber £obaf. £)tertftmab$en. 23li£ ! n>ie bie ttatfern ! £>irnen fdjreiten ! £err 25rubcr. 2. bag nun mein ©efdmtatf. ift llnb etne 2ftagb im ^u|. 5Rein/ nein ! idj gelje nad) ber @tabt juriirf. Ki - 3dj bin meine 2cad)Farin babei bem 2ftabd)en fefyr geftogem @ie geljen iljren ftitlen ©djritt llnb nefymen ung bod) aud) am @nbe mit. fergt' er. fomm (£in ftarfeg 23ier. ! ! 1 sc. ©duller. rcitrbe £)er $raugfopf. 3 urn 103 3ucft bicfy brittcnmal bag gelt ? 3dj mag nicfyt I)in. . ^ ? ° an beiner <Sette geljen. £eut ijt er ftdjer nid)t allein. bet il)tn fe^n. 25urgermdt>$em £)a (£$ ftel) mir nur bie fdjimen Snaben ift toaljrljaftig etne fte <2djmad) bie afterbefte Ijaben. . 2Kit bir nur tan^t cr auf bem $|an. mir graut eg ttor t>em Orte. oie fmb gar 'g ift nieblidt) ange^ogen. QErjier. ©efdjhmtD ! !! ! . £)ag ijt fiir mid) fetn grog eg ®IM ! . gefd)hnnb ! bort l)inten frmtmen jttct. ©efeflfdjaft tonnten llnb laufen biefen 2Kagben nad) 3wetter ©fitter (jum %li&lt fo erftcn). 2Bag gefyn mid) beine greubcn an n>trb dv la*** 2lnt>re. nein 3d) bin nid)t gern genjrt bag ton: bag 2Bilbpret nidjt serlieven.

[Sc. toeijjj td^ mir an @onn^ nnb $eiertagen. Kciit/ er gefallt mir nid^t/ ber nene Snrgemeifter taglidj brciger. ba er'S tft. 2Kan ftefyt am genfter. 2Benn Innten. Settler (fingt). (So nnb 23elieD' e3 eufy mid) angufcfyanen. (ii I \m gepn^t ! baS fdjonc jmtge 25Jut . @r fe:? fib mid) em Gtrntetag. tie @am3tag# ifyren 23efen fitfyrt. kl$ ein ©efrradj tton frieg nnb $rieg3gcfd)rei. 2. 2tot!j ! Unb %a$t fel)t nnb milbert meine ift frolj. @onntag$ bic^ am fceften carefftren. Unb fxir bie @tabt @efyord)en foil toirb er nnr ttaS tlmt benn er? 2GBirb er nidjt alle Stage fcfytimmer ? man mefyr aU immer. txintt fein ©laSdjen an# Unb fteljt ben $ln£ Ijinafc bie fcnnten (Sdjiffe gleiten 2)ann fe^rt man &fcenb$ frolj nadj $au$. if oI)lgepn£t il)r fd)onen Srcmett.. 3fyr gnten £errn. ! ^ 2hm. S)ie 35olfer anf einanber fd)lagen. in ber Zuxtci. ja <3ie ! 23iircjei\ : fo lag ify# and) gefdjelm foalten. 2lnberer 33iirger. Unb fegnet f^rieb* nnb griebenSgeiten. - fr* Unb $al)len meljr al3 je $noor. 2Birb burger. (£m £ag. 104 £>ie Goethe' s Faust. %tte (ju ben SSutcjermabcfycn). S^td^t^ 23effer3 fritter r/:" $err 2tadjoar. ttett. fcatfenrotl). ben alle Sftenfdjen fetern. $cmb. ! . Ijier mtd) nid^t sergefcenS leiern ber gefcen ! 2tnr ber mag. mogen fx§ bie $b>fe 2Rag alleS bnrdjeinanbergeljn 35odj nnr gn £cwfe Metfe'S fceim $lten.

©olbatetu 23urgen mit SKauern unb Burnett. bag roiigt' tdj rooljt %\x fdjaffett. Wix seigte fte {$» imJrjrfM. 2. ! ! Sc. 1 ©olbatenljaft.] Spaziergang mit Wagner. r^JJ 2Kabd)en mit ftol^en. fort s ! tdj neljme mid) in 2Wjt. ' Wen \ £cl)nenben @innen rj 2Rod^t' i&) gettittnen M)n ift baS 2Riu)en. 33urgermat>d)em %£ilje. 2)a3 ift ein ©titrmen 2)a$ ift ein Sefren 2Rabd)en unb 35urgen Stiffen Stitytt ift ftd) geben. @o jum $erberfcen. ^ r@k iKtt fotc^en £exen ojfenttid) $u geljen fop midj ^roctt in @cmct 2Inbreag £)en tunft'gen $te6ften leiBlid) feljen. . 105 Tto SBer felf fic$ ntdjt txeu^jma&E? — 2htr nic^t fo (blj ! (£* ift f$oii gut Unb roaS u)r roiinfdjt. 2Bie $u ber Sreube. mit meljreren ^erroejnen 3d) fe^* mid) urn. 2J:ad)t £)te Unbre. Stttein ic^ fud) tljn iiberall/ mir roill er nid)t begegnen.! . !! . bag 21W)ctt. |>errtid) ber £cl)n ttnb bie £rompete Saffen toir roerfcn. Sperrtid) ber Sotyn Unb bie ©olbaten Steven ba*>on.

(Selbft »on be3 Sergei fernen ^fabeit . 2ln3 bem I)ol)Icn ftnftern £l)or £)ringt ein famteS ©etotmmel I)eroot\ 3eber fonttt ftd) Ijeute fo gent @te feiern fte ^k 2lnferftel)tmg bc3 £errn : 3)enn ftnb felber anferftanben. " . Unb/ bi3 §nm <5iitfen iiberlaben. 106 Goethe s Faust. 2Ju^ bem £)rud fcon ©iebeln nnb £)dd)ern. v . in @o & 23rcit' nnb £dnge. . [Sc. mit garben Meben tinmen feat's tot toier. . ^ JU- » Jv 1 ^ * v 4 ^. ber @tra£en qnetfc§enber (Singe. 2. (Sntfernt fid) biefer lefcte M)tt. gaufh 0. roie fceljenb fid) bie 2Rettge 2)urdj bie ©arten nnb gelbcr $crf$ldgt.. <Stnb (Sicl) aUe anS ftel) ! M)t gebracfyt. ftaufl unt SBagnft. . in fetner @djttdcl)e.~ti $om (£ife befreit ftnb ©trorn imb 33dd)e fyolfeen. a Mjre bid) urn. ftiefyenb. mand)cn luftigen 2fod)en fcc&jjgt . rtur 2)er alte 2Binter. tx. <Sie nimmt geon^te 2Renfd)en bafiir. son biefen £ol)en Side* roill fie £)od) an ^" J 2Za^ ber (Stabt guriid $n 1 feljen. s ^ /l v ^fc nnr. £)nrdj be$ gritljltngS bclefcenben 33itcf 3m Bog £l)ale gritnet £offnung6glncf in ranljc 23erge \\xM. llcberatf regt 23ilbmtg nnb ©treben. ber ftirdjen ctyrroitrbigcr 2todjt fte j- . ftd) s±-C $on border fenbct Dljnmadjtige (©djaucr rornigen (£ife$ 3n ©trejfen itber bie grimenbe $(nr 2lfor bie ^ ! (Sonne bnlbct ftd) fete "©ei$eS . 2lu3 nicbriger t)dnfer bnmjrfen @emdd)ern. 2Bte ber gfaf. 3^***^ ^ ' to ©attbtoetft* to to / nnb ®eroerbe^23cmben.

] Spaziergang mit Wagner. S)er @d)cifer pufcte 21Ztt ftdt) $um £an$. Don altem 3lol)cn Hn. coll. $egetfd)ieken 3ft mix ein gar Jjerljafjter &(ang . Inmtcr 3acfe. 2Beti id) ein getnb @ie tobeitr tt>ie 00m bofen ©eift gerrteBen. ©a Unb y ftiefj er an ein 2Habd)en an Mit feincm fagte : Grdettoogen fefjrt' ftd) £)ie frtfdje ©trite 2ta. : ±~$kv A be3 $o(fc3 toaljrer §tmmel. mx€ farlnge Sitetber on. Sufrteben jaud^et ©rof* wife Stein £ier bin ty 2ttenfd). 107 351tnfen 3dj '£ pre tft fdjon beS <£)orf$ ©ettimmel. (£r briitfte Ijaftig ftd) Ijeran. ©djmutf £>>--« <©djon unt bie Stnbc roar c3 Unb afteS tangte fdjon tote toll. ba3 £>eifa ! fhib' id) nm bumm gud)I)e! 3udj(je! ! 4 - j ^ucpeifa £e ! <Sei)b nidjt fo ungejogen . ^ier barf icp fei)tt/ ^ SSagner.. 3nrf)I)e! 3udj()e! 3nd)t)cifa! £eifa ! §e @o ging ber giebetbogcn. 2Rit end). £)a$ Siebettt/ ©djrcten. "? rllnb nennen'3 greube. : ! So. 3ft efyrenooll -*fd £)odj toiirb^ 511 fpa^tcren imb td) tft ©ettttm nid)t allein midj I)er tterlteren. ! !. nennen'S ©efang. Sanj unb ©efang. 33 auer n unter bet Sinbe. 23anb unb ®ran$ roar er ange^ogen. §err doctor. 2.

fid) 2)aS 35olf fammett im Jlvcis umljev. : 108 Goethe's Faust. f 3ndjl)e ! 1 Ou^I)eifa ©eifa ! ©e j ocrtrant!^ 33raut Unb ©lift on ©tlenbogen. @e^ euren £agen Sauft 3d) nel)me ben @rqut(fnng^£ranl. gel)t. filter 23auet\ ©err Doctor. Die 3al)l ber £ropfen. baS ift fdjon ton end). @ie hntrben rotl). 3nd)l)e ! [Sc. Unb rnl)ten atl)tnenb 2lrm in fat. @ie tattjtett redjt$. gefiilit. filter 33auer. fte tan^ten \x\U Unb olle 9totfe ffogen. 6 3 ^ Unb nnter biefeS 23olf3gebrang\ TO ©o Den ein fo ©od)gelaI)rter. fte ttmrben tDarm. ©mnbr' eufy alien ©eif nnb Dan!. . 2)a$ il)r un3 Ijeute nid)t oerfdjmal)r.! ! !! !. 6 Vo Unb SOSie tfyn' mir bod) nid)t fo manner l)at nit^t feine 23elogen nnb betrogen dx fd)meid)elte fte bod) bet ©eit\ Unb oon ber £mbe fc^oll e$ fteit fa I r3nd$e ! 3nct)l)e ! ©e 3nd$etfa! ©eifa @efd)rei nnb ^iebelbogen. nel)tnet and) ben fd)i>nften tog. t uo giirftaljr ! c$ ift fel)r ttofylgetfyan. bie er l)egt. nur ben Dnrft end) ftttlt gngefegt. Dod) Ijnrtig in bent $reife ging'3. hnr ntit frifd)em il)n irnnf: 3d) bring' 2)af er nidjt §n nnb toimfdje laut.

3fyr after famt gefnnb tjeranS. 3iel bamal3 %. * 2116 er ber ©eudje. 23eftanbet manege Ijarte ^rofcen ( £)em £>elfer tyatf ber $etfer broken. frozen 109 Stojj % am 4r e3 £ag erfd^eint §afct oormalS bod) mit nn$ iln oofen £agen gnt gemeint ©ar manner £ 1/ 2)er 2ludj tyeif en fteljt fefcenbig Ijier.) Wagner. »». 35ei ber 3Serefyrnng biefcr IJKenge I)aben O gliidlid).r gingt in (ebe£ tranfenljanS. fam' bag SSenerabilc. 'ttofj er nod) Tange fyelfen fann ! i^ $or jenem broben £)er fyelfen (el)rt fteljt gebiicJt.! . nnb £iitfe (@r ge!)t fdjitft. . tter ton feincn @aben I (Sold) einen SSortljeil $iefyen fann 2)er $ater $eigt btd^ feinem $naben. <$ar mandje Seiche trug man fort. ©efimb^eit bem bercafyrten 2ttann. gait ft 2lur ttenig ©d^rttte nod) Ijinanf jn jenem (Stein ! friofykx Pollen n?ir toon nnfrer 2Banbrnng raff en. ftojft. jo bengten bie tnie. gefefct. 3I. @in jeber fragt SMe S)u 3)te $tebet gefjft. mit SOBagnetn roeiter. ber £an$er tocitt fWjen ftc. nnb brangt nnb eilt. 2BeIdj etn ©efityl mnft t>u f grower 2Rann. i'2)en euer 23ater nodj julcfct gicberhjut^ entrif. em jnngcr !JRann. ! Sc. in Jfteiljen Mf en fliegeji jn bie £>i>V ftd) » Unb roenig fc^Xt. .] Spaziergang mit Wagner. 2. .

£?'' 3>r. id) mujjl erlefren. 2£acjnei\ 2Bie fount tl>r eud) 2l)ut nid)t ein barum bctriiben hm>ev 2Rann genug. w-i* ''''' | v~-^ - ^^&^ Unb kibe bann. 2)er 2ftenge SSeifalC tout mir nun tote £oI)n. jebod) auf feme Wit griftenljafter Sftulje faun. 3d) l)ak felbft ben ®ift an £cwfenbe gegeben @ie frelften l)in. 2In £>offnung reid). 3n 3^eblid)feit. 2Betfe. iio Goethe s Faust. Unb. bie freemen Daf man Berber lofct. 2Bie ttenig SSater unb ©otjn O £ £o @oWj 2ftcin eineg IRuIjnte* toertt) gefrefen $ater ttar ein bunllcr (Sfyrcnmann. . (Jrfdjien barauf mit fomten garfcen £>ie junge fimtgin im ®U$. / / 3m tauejt 23ab ber £$e aermajlt. tm ©tauten feft. / -/ J ' ^ T)er itber tie SKatnr IjetPgen ®reife. fonnteft bit in meinem 3nnent lefen. £anberingen id) 7 f £>adjf ba$ Gntbe jencr $eft ( $om §crrn beS §immeig &u er $n)ingen. ^ranen/ ©cuften. £ £)a3 2%tge gufammengof S)a ttarb ein rotter ^£U/ ein ful)ner greter. iflfo ifyrc ^ . fragte Unb niemanb toer ^atientcn ftarben. 2(u3 einem SSrauJ&emadj in$ anbere gequatt. nadj uncnblidjen Ofeceyten. [Sc. mit Ijolttfdjen £atttergen. biefen Zljakxn. ! . biefen 23ergen/~ 2Beit fd)limmer att bie ^eft getobt. 1 5piet faf id) oft gebanfenoott cittern Unb 2Kit 6 qucilte mid) mit 23cten unb mit gaften. genaS ? ©o 3n Ijafccn toix.! . bie : Spier roar bie ^enei. mit offnem tflammenfeuer. in ©efellfdjaft son (Bid) in bie fdjtoarje %^'en. SM)e fd)log.

teicfyt be3 ©eifte3 $litge(n tofrb fo f ein fb'rperlidjer ^litgel ftd) gcfeilen. ^v** x © baf 3d) fein Siiigel mid) oom 35oben Ije&t. ftd) mit erftcirmten SSudjten enblid) tteg^uftnfen $or ben Dodj erftaunten 2lugen auf. Dort eitt fte t)in unb for^ert neucS £efcen. al$ 3iingling/ bcinen @o ®o nnrft bit bit/ gem ion iijm au^uitben ^ater eljrft. ! 2lu3 biefem 2tteer be3 3rrtl)um3 auftutaudjen 2Ba3 man nid)t freif. Dod) tag un$ biefcr ©tuube fdjimeg ©ut Durdj foldjcn £rubfinn nid)t oerruutmern 23etrad)te/ Jute in 2lbenbfonnc-@(ttt(f ! Die grunumgetmen fultten fdjtmmern. man tl)tn ttfcertrttg/ 1 1 Die ftunft. /iaalt empfangen . toetf. 2ittem ber neue £rieb ertt>ad)t/ 3d) eile fort/ tljr eto'geS £id)t $u trinfen. tnbeffen fte ettttpetd)t. fdjeint bte ©ottin . mir unb unter mir bie 2Bellen. ! 3()r nad) foil)' unb immer nad) $u ftreBen tm ettigen $benbftral)( Die [title 2Mt ju meinen gujjenr Sntjiinbet atte $o^tt/ fcerutngt jebeS £t)at/ Den Der ©ifberbadj in golbne i©trome ftiefen. l)inter mir bie 2Jad)t. Jaujl O glitcflidj/ tter nod) Ijoffen famt. ba3 eben Braj^te man/ ^ Unb n?a6 man fann man nid)t braj£d)en. 2. ttnlbe 23erg Kidjt I)emmte bann ben gotterg(etd)en £auf @d)on tlmt oai 2fteer mit alien feinen ©djludjten . @ie ritcft itnb mifyt. ber £ag ift itberlebt.] Spaziergang mit Wagner. fann bein ©ot)tt gu l)ol)rem 3iel getangen. $or mir ben £ag unb Den 3Xd^ ! fmnntel jju itber (Sin fainter £raum. . 2£enn al3 2ftamt/ bte SBifjenfdjaft oermefyrft.! 1 Sc. bte ©ettiffenfyaft unb punr'tlid) 2Benn bit.

! ! . 7^3 Unb iiber Slacken. ad) ftd) 35ie eine n?iU 2)te eine tjatt. (Jin fetig Seben tuarmet alle ©tieber. . SBagner. 3dj Ijatte felbft oft grillenfyafte Ijafc* id) £)od) foldjen £rieb 2Ran fteljt ft$ leidjt ©tnnben. 2Benn liter nn3/ im blanen Ofaum oerloren. an 2BaIb nnb gelbern fatt. e$ jebem eingeboren. 3fyr fdjmetternb Steb bie Serene ftngt. lia're nnr ein Banbermantel ntein. [Sc. Unb fiitjrt midj tteg. . EBemt iiber fdjroffen gidjtenfyofyen 'Der 2lbler anSgebreitet fc^toeBt. @o fteif^t ber gan^e $immet $n bir nieber. nnb $immet fyerrfdjenb toeben. 2Bie anberS tragen nng bie ©eifteSfrenben $on 23nd) $n 23nfy »on Start $n Start \^^ 7^ £)a tterben 2Sinternad)te Ijotb nnb fdjint. . in berber ftebegnft. mit flammernben Organen T)ie anbre Ijebt getoattfam ftd) 00m 2)jtft 3n yi S?D ben ©eptben Ijoljer 2Hjnen. giebt eS ©eifter in ber Suft. 2. $u nenem bnnten $eben 3a. 7 if o j®ag feitt ©efitljt tyinanf nnb »ori»art$ bringt. oon ber anbern trennen O terne nie ben anbern fennen 3mi <Seeten ttotmen. ! ii2 2)odj tfl Goethe''s Faust. 2)u bift bir nnr beS einen £rieb# betonft ! in meiner 23rnft. me empfnnben. iiber @een 2)er franic^ nad) ber $eimatlj ftrebt. nodj 2)e3 $oge!3 ^tttig toerb' idy nie beneiben. Unb adj! entrottft bn gqx tin toiirbtg ^erganten. @idj an bie 3BeIt. auS bent gotbnen £)uft. 2)ie jtoifdjen @rb' @o I fteiget nieber Unb triig' er mtc^ in frembe Sanber.

•. ber Sfce&el ffiflt 2lm 2lBenb fdjafct man erft ba# ©au^. urn eincn tcnigSmantet feim- SSagner. ! roenn fte (iigen. toetl fte un$ gem Betrugen. "7<ft> Urtb nafyren ftdj fcon beinen Sungen SBenn fte ber 2Rittag auS ber 2Bufte fdjictt. . ©eljordjen gem. Sefcadjt' tyn redjt ! gur m$ Ijattft bu ba$ Sljier ? Sagner* giir einen $ubcf. . ber erj^erquitf t. fte Ijeran. nidjt h)id)tig fdjien er mtr.-• £)ie ftromenb im £unfjfrei$ fyer. fid) <Sie flellen fine ttom ©mtntet gefanbt. ift SDodj geljen roir Qrrgraut fdjon bie 2Betr. 2. SSon alien (£nben 23on 2torben brmgt ber fdjarfe ©ei(ter$aljn Sttuf bid) Ijerfcei. ber auf feine 2Beife @id) auf ber @pur be$ §erren pfagt. 7?r£)em W 2ftenfdjen taufenbfamge ©efaljr. 2Ba3 fte^ft bu fo. S5emfe nid^t bic ftofylBefanntc ftdj ©djaar. nnb Hitfll erjtannt I)inau3 ? 2Ba$ ?ann bid) in ber 2)dmmrnng fo ergreifen ? — Sauft ©ieljfi bu ben fdjtoar^cn ©nnb burdj <&aat unb <2to£pcl ftreifen ? SBagnet? 7(f J* 3dj falj tl)n langc fdjon. Unb li^etn englifdj. u&erBrcitet. 1 . mit pfeilgefptfcten Bungcn 23on 2llorgen $ielm.! Sc.] Spaziergang mit Wagner. gern. @o Urn <Sie bring! ber 2Beft ben ©djtoarm. fcereitet. 1 113 I Mix ytify foflt feil er urn bic foftlidjftcn ©etodnbcr. tyiJren $um (Sd^aben frolfgefaanbt. 79 jS)ie foift gefiityft. s . bidj i unb $etb nnb 2lne $u erfdufen. S)ie ©tutlj auf @Iutlj urn beinen @d)eitel tjaufen. ttertrocfnenb.

(£$ ift ein pubetnjirrifd) £l)ier. beinem @toif in$ 2Baffer fpringen. id^ ftnbe nic^t bie ift ©pur 2Son einem @etft. tr-enn er gut ge^ogen.. 2Rir fc^eint 3u bag er magijjgjtffe ©d^Iingen fiinft'gem 23anb urn imfre gufje jieljt. er ftrefct auf an bir ^inauf SSerliere ttaS. SKagner* £)em $unbe. fdjon ift er nal) 2Bacjtter* £>u ftel)ft. ? 1 . er rotrb e3 fcrtngen. Wagner. fo jiel^t ein ^euerftrubel 2luf feinen ^faben lunterbrein. ffaitfc 23emerfft bu.. unb atteS £)rejjur. "^ c< <jlfcS^ 28agner* 3>dj fel)* ilm ungetoij? unb fardjtfam unS umfpringen. e$. 3dj (£$ fetje nic^t^ alS einen fd)foar$en $ubel mag bet eud) tool)! 2Iugentaufdutng fegn. frrid)ft ilm an. unb lein ©efpenft tft ba. ftott 2)er StreiS ftirb eng. . 2Betl er. 2. [Sc. dx fnurrt unb (£r ttebeft — auf ben 23aud^_ v*m atteS £unbe*23raud) ! gtoeifelt/ (egt ftdj Jauji ©efetle bidj ^u un£ ! Stontm tycx I SBagner. £)u I>afl tool)! red)t . er roarret S)u £)u %la&) fteljeft ftilt. ein $unb. 2Birb felbfl ein toeifer wann getoogen. vote in foettem ^d^netfenfreife (£r urn un3 1 Ijer unb immer nafyer jagt ? Unb trr tc^ nicfyt. ^ttei Unfcefannte fteljt. feineS £errn. 1 14 Goethe' s Faust. ! .

115 3 a. nad) be$ SefcenS Duette i2 . beine ©unjt (£r. ^ClUfl mit i em ^ttbef 2 Ijereintretenb.!.eles. (/Vv^ Wit jebem (£# reget ungeftiimen Zljun . $ubet ! renne nidjt t)tn unb Ijier rotebet 2ln ber (Sdjroefle roaS fdjnj^erft bu ? $ege bid) tjinter ben Dfen geF nieber.) (@ie gefjcn in tag SCENE 3. Ijaft. 2Rein £)utd) fcefleS Stiffen id) bir.] Bekanntschaft mit Mephistopheles ttcrbicnt er trefflitfjer . Grntfdfytafen ftnb nun rotfbe~£tiefre. jtd) bie 2ftenfdjcnliefce. fid^ 2>ie £ie6e ©otteS regt nun. Sc. £)ie m 3m jtd) fetter fennt $ernunft fangt roieber an ju fpredjen. 2ldj. ©tattler. TO ein rotllfomtnnet fritter ©aft. Ijin. §. 2)ann roirb'3 unferm SSufen IjeUe. @eg ruljig. ber ©tubenteti gan$ unb gar. roenn in unfrer engen Belle Sampe freunblid) roieber fcrennt. Unb £offnung roieber an $u bitten ^er^eu/ baS 2Ran 2ldj ! fetynt fti| nadj beg £efien§J3adjen.etattisr|mft mit |$£e£(jist0£|r. 3. 2Bie bu brauf en auf bent fcergigen 25ege fcmen ©0 iiimm nun unb @prmgen erge|t un£ aucfj son mir bie $flege. J SSerlaffen Ijafc* tdf) $efb unb $uen. @j&lar. 2)tc eine tiefe S^ac^t Wit 3to aI)nunggttolfem IjeiPgent ©rauen unS bie Bcffre (Seele roecft. fcebecfr.

2Benn idj oom ©eifte red)t erteudfytet Bin. Itrtb nnr frieber im 2)urfte Uegen ? 2)aoon IjaV id) fo Diet @rfal)rung. ? 7i ©efdjriekn fteljt : im 2lnfang ttar ber @tnn. 2ftit reblidfyem ©efiilji etnmat £)a3 I)etltge Original 3n mein getie&teS £)eutfdj $u (@r fc^tdgt etn iifcertragen. metne gan$e (SeeP umfaffen. fceftturren ? 2tfeer adj ! fd)on fiiljf ic^. 2)aS tlmen 2Btll e3 ber oft fiefcfyfoerttd) murren . $ber ttarum mug ber (Strom fo balb oerftegen. y^ £unb. aud) biefeS nieberfdjreifce. gt> j TO in bem nenen £eftament. 3d) mug e$ anberS ixb erfejen. 2)ie nirgenb£ ttiirb'ger unb fdjimer brennt. . oor bem @uten unb ^djonen. 2Btr ftnb gettolmt. SSotum auf unt> fd^tcft fid) an.6 ! . 23efriebigung nidjt metjr ^ fl au3 bem 23ufen quttlen. 2>od). 2Kic^ brcingt% ben ©runbtext aufeufcfjlagen. ift. bag bie 2ftenfd()en ocrI)oI)nen/ 2Ba3 2)a£j fte fte nidjt oerftelm. 25ebenle tooljl bie erfte 3eite. 2Bill ber tl)iertfd)e ^ciut nid)t ^affen. [Sc. tote fte. inbem ber alleS toixtt unb toar bie ? im 2lnfang ic^ Shaft. 2Btr felmen unS nadj Dffenbarung. 1 1 Goethe nifyt. 5Dod) biefer 2Itanget ta'jjt ftd) <^v v erfejen 2Bir lemen baS itefcerirbtfdje fd)&£en.) @efd)rieben fteljt : „3m !" 3lnfang ttar ba$ 2Bort $ier ftotf tdj fdjon ! 2Ber tyitft mir setter fort ? 3d) lann baS 2Bort fo I)od) mtmogtidj fd)ci|en. 3. f O$ nurre £)ie jc|$t $ubel ! 3u ben fyeiligen £i3nen. s Faust. fid) 2)ag beine ^eber 3ft e$ ber (£$ follte fteljn : nid)t tiBereile fctjafft @inn. bet bem fceften 28iften.

3. 2l6er gebt ittdjr ». 1 ©etfter auf bem ®ange. 2lber ttaS muf ic^ fefyen ! $ann i>a$ natiirlid) gefdjeljen ? ! iff 3 WrWidjfett ? e«?r3ft e$ ©fatten 2Bie ftirb mein ^)ubel lang unb breit @r &e*t fl$ mit ©etoait. 2)aS ift nid)t eineS £unbe$ ©eftalt 2Gelct) eitt ©efpenft bracfyt i^ inS £auS (Sdjon^fte^er tt>ie ein Sfttpfetb auS. Men 2ftag (Jiner id) nid^t in ber 2lal)e letben. l)aft freien Sauf. id. £)ie £l)uY ift offen. 1 ! © 2Kit feurigen 2lugen. fc^recrfic^em ©ebifjL ! bu Mft mir gettifj ! >9 giir jotdje Ijatbe £>oltenbrut 3ft @alomoni«jf5cPffel gut. fd)ttebet roieber nieber.! ! ! !! ! 7 Sc. ! 1 1 ©djon 2Rir l)tlft baf id) babet 2fof einmat fd>' ntdjt Wetfce. Ungern Ijefc' ic§ ba$ ©afiredjt auf. mh Unb fcfyreifce getroft: im 2lnfang toar bie &lj>at mit bit ba$ 3immer tljeilen. fo lag bag £euten.] Bekanntschaft mit Mephistopheles. . roarnt mtdj ber ©eift tr-aS. @d)roebet 2luf unb l)in. Unb er Ijat ftd) to$gemad)t. oon unS beiben >2Ku# bie Belle meiben. (So lag bag ©old) einen ftorcnben ©efellen @oll ity ^ubel. £>rinnen gefangen ift 1 einer iljm Reiner ! 23leibet tyaufienr fotq 2Bie im tefcn ber 3agt ein alter £b'llenjud^.

St'oMb ftcf> mill) en ! 25er fte nidjt fenme. ^ 5 s (Satamanber 0?anfd)enb fltefe ^itfammen.!! ! ! : . n8 Stimnt Goethe it)t 9 s Faust.SDenn er t^at un$ alien ©d)on fciel $n ©efaflen. Unbene Seudjt' in 2Reteoten*@djonc. ©gfylje fcerfd)totnben. @3 2)u liegt gan£ ml)tg. <m3l)re Shaft Unb (£igenfdjafr. ben ©prndj ber 35tere CjitA ©alamanber foil glitljen. Safjt tl)n nid)t ftfcen ^/j». SSerfdjnnnb 1 in gtammen. @rft ju Begegnen SBrand)' id) bem SL^iere. [Sc. foflft ©tarfcr kfjdjnynm c*>ma . £)ie feemente. 3. iljm nii£en. @9fylje 1 -SSring tycinSlidje £itlfe. Unbene fid) roinben. 2Bare lein 2Keifter J Uefcer bie ©eifter. nnb grinft mid) an mid) l)5ren 3d) ^ab' iljm nod) nic^t mel) getfyan. . Incubus! Incubus! Xxitt I)er£or nnb madje ben ©djtyjj ! teineS ber $ierc <&tedt in bem £l)ierc.

&# will $nm 2leM jerfliej) en. SSojn ber £atm ? roaS fteljt bem £ettn $u ffauft. IBtft bit. 1 19 ?^r©ng(u$tlin8bcr$olle? (So ftel) bieS iteidjen. 9 $~j~"greoenttid) bnrd)ftod)nen ? Winter ben Dfen gefiannt. bag td^ nidjt *>etgefcen$ brofye. 2)urd) olle £immel gegofnen. ©efefle. - ^ - 3d) falutire ben ge(et)rten £ettn 3I)t Ijabt mid) roeibfid) fc^tot^en madden. <Sdjft)iEt e3 toie ein ©te^X^ant. . £>ienf*en ? 9 7 o@in $)a$ oifo war be$ $ubet£_$etn ! fal)tenbet ©colaft ? 2)et (£afu$ madji midj tadjen. 2>en me entftrofnen. UnauSgeftrcdjnen. 3(5 fcetfengc bid) mit Ijeiliger (Sttoatte ' M)e ?i ! md)t _ £)ie ftatrfte toon meinen ®unflen 9flepf>tftopf>ete$ trttt. £)en gcm^en ^Return fitllt e$ an. intern ber STleBet fdttt. ! ?£a @teige nid)t jut 2)ecfe Ijinan ?ege bid) $u be$ 2Reiftet3 giif en 2)u ftel)ft. geftetbet trie etn fatyrenber @djolaf*tcu8 fyinter bem Dfen fjersor.] Bekanntschaft mit Mephistopheles. 5 \-i> SSertoorfneS 2Befen ! ®annjt bn tl)n lefen. 3.! ! ! Sc. 2)em fte ftdj fcengem ! £)ie fdjtoaqen ©djaaren ©djon fdC)toitlt e3 auf mit oorftigen £aaren.

fdjeint mir flein G } / Der. ? ro 2Benn man end) Sltegengott. ffaufr 2&a$ ift mit btefem 3tatl)feln)ort gemeint ? 3c^ fan ber ©eift. 23erberBer. 2tnr in ber 2Befen Sttefe tradjtet. ber Sfofang* ailed war. bad 35ofe nennt. Aligner Ijetgt 2hm gnt. bag nicfytd entftiinbe. benn @iinbe. 21cein eigentlidjed Element. Dad ftol$e Sidjt. bte ffeine 2carrenttelt. n?ad ifyr fttr£ Drum @o ift kffer ftaVd. Berftornng. . (£in £fyeit ber ginfternif. geljt Unb bad mit 3ft ttertl). fltedjt . Saufr 23ei ena> il)r £>erw. 3. fann man bad SBefen ©enwljnlidj aud bem 2lamen lefen. Die ftetd bad 23ofe roill unb field bad @ute fdjafft. ber ftetd fcerndnt ailed. nnb ftcljft bodj gan^ &or mir ? 9ftep£tjlop{jeU& 23ef$eibne SBaljrljett fprec^* idj bir. . gait ft 2Bie ttetmft bn bid) ? 5D?e^tftop^ete^ Die gragc $iir einen. fter luft bn benn ? 9flettlnftop|>ele^ (£in £fyeil tton jener traft. Du nennft bttfj einen £§eit. n?ad entftefyr. bad mm ber Gutter 2tatf>t . 2Benn • ftdj ber 2Renfdj. bie ftdj bad &d|t gebar. ! 120 Goethe s Faust. . [Sc.. benn bag ed ju ©rnnbe ailed. ber bad 2Bort fo feljr ^era^tet. ti^eit entfernt fcon allem @dj£in. 2Bo ed ftd) afljubeutlidj toeift. ©eiuo^nlie^ fur ein ©anjed Ijatt 3dj Bin ein Zfyii bed £§eitd.

@o gel)t e3 fort. ^ £)er fyeilfam fd)affenben ©etoatt faltc ftd) £eufel3fauft entgegen. oergeocnS titcfifd) batlt . 23ranb Qrnbe 2Reer unb £anb Unb bem oerbammten 3eug. ! . ber £l)iei> unb 2ftenftt)enorut. ben 121 £)en ate %ng/ bod) getingt^ Otam ifyt ftreitig madjt Unb 2$on il)tn nid)t. fo soicl e3 ftrebt. Diet al$ id) fd)on iljr unternommen. £)em ift nun gar ntdjtS an^ujjafcen. @o Tie Xie fefceft bu ber en>ig reaen. fc^oit/ ©n ©0. eg nun tm tleinen an. fcei^tfommen. 2Serljaj£et an ben forpern tie ffeot. 5eudjten72Barmen. bem 2Baffer. Sauft 2ta Unb fenn' id) betne ttmrb'gen ^fiidljten 2)it fannft fangft im ©roften nidjtS oernid)ten. . SSxptt madfjt eS ®orpcr Ijemmt^ auf feinem ®ange Ijoff' id). (Sdjuttetn. ©titrmen. Ijatte nid)t$ 2tyart3 fur mitt]. biefe pfumipe "Sett. frifd)e£ 25lut. ba e$. fatten £dtt' ify mix nid)t bie glamme oor6eI)atten. 3. torpem ftromtU banert e3 nidjt lange. Sc. 2)a$ @tfoa$. man mod)te rafenb tterben : £>er Suft. Unb 2Ba$ (So freitid) tft nidfjt oiel ftd) bamit getfyan. llnb mit ben torpern ttirb'S 3U ©runbe gelm. bem 2ftdjt$ cntgegenfteltt. 3d) iwtjjte nic^t 2Ilit 2Betten.! ! ! . tone ber (£tben (£ntft>inben taufenb $ eimjc ftd). 3Bte *okte tyab' id) fct)on fiegraben ©erufyig WiU am ! Unb immer jirfultrt ein neueS.] Bekayintschaft mit Mephistopheles. 3m 3d) £rodnen. $auft.

/^f3dj Ija6e {efct fetmen lernett 25efit(^e nun mtdj. bu @o!jn ber §i>He. ftefyft. ftel)t jcfct @ac^e cmberS au# . [Sc. fudje ^u fceginnen. I 'H ' ©eTSrubenfufj auf eurer ffaitfr £>a$ ^entagramma madjt bir $cin ? (£i. fteinc^ pinbewif?/ (Sdjttefte. toie bu magft S^iire. ift Ijier bie (£in Oflau&fang bir audj getoig. ber nadj aufen ein 3U. ©e|fey / idj*« o O o 23erfcietet nur nur ein ! baf id ^nau«frajicre. 2)e£ (SfyaoS tounberlidjer ©olm 2Bir Pollen wirHid^ im$ fcegnnen SDte nad)ftenmale tnefyr ba&on 1 SDu'tft tdj tooljl biefjmal mid) entfernen ? Sattfr 3dj felje ttidjt/ ttarum bu bicfy fragfi. ! . Sauft / 4 c £od) njarum gefyft bu nidjt burd)^ genfter ? .~ bu ttemg often.! ! !. 122 2Ba6 cmberS / I Goethe'*s Faust. fage mix. Der £eufel farnt nic^t au3 bent $auS. 2Benn ba$ bid) fcamtt. att er Ijereingefprungen. . merfte nidjtS. trie recfyt ! eS iff nicfyt gut ge^ocjen 2BtnM. 3. vote lamft bu beun herein 2Bie ttarb eiu folder ©eijl bctrogen ? ? Sefdjaut eS £)er eine 3ft. ffaujL £)a3 itnb Ijat ber Bufall gut getroffen ttarft mein ©efangner ift benu bu ? ^ £)a3 fconjmgefctyr getungen sjtt e ^^^a^ 2)er $ubel £)ie pj>tfto!pf>ele$. £ier ift bag genfter.

. £erren. Urn mix erft gnte 2R&J)r $u fagcn. &attfr ©0 Metbe bod) nod) etnen 2lugenMitf. ^rttnb toir fcefpredjen baS $nnad)ft. : Sc. fo Bin idj aud) fcereit. ©en Ijalte. $odj je£o tttt' id). ftd) tljr ein ^3aft. 3)ir gnr ©efetlfdjaft ^ter gn Wetfcen £>odj mit Sebingnig. toer il)n Ijcift (£r njirb tlm ntc^t fo fcalb gnm $?epf>tftopf>ele^ 2Benn bir'3 belie^t. 123 '$ ift em ©efefc ber £enfet nnb ©cfpenfter 2Bo S)a3 fte Ijercingefdjjupft. ffanfL ^ M*%tf) fey e$ gem. ! &anfL 3d) Ijafe bit rndjt nad)ae|Mt.] Bekanntschaft 7iiit Mephistophcles. . ftdjer ttoI)t. Unb ba liege mit end). 2)tr toirb bason t(t nid)t3 aBge&ftatft nidjt fo fur§ ju faffen. fc&ltcljt bir • fret Kur bag bie f nnft gTfailtg fei. < 67$e|t tag mtdj lo3 idj fomme fcalb gnrntf ©arm magft bn nad) 23eliefcen fragen. . . erftc ftctyt nn3 fret. baS foltfl bn rein genieg en. fceim gtoeircn fmb toir f nedjte. 3. fdt)Iief en ? $?e^tftopl>efe^ 2Ba£ man 2)odj baS oerfprid)t. Jaufh £>ie £olle feftf* Ijat tyre a^ecjte ? 6*£)a3 fttuV id) gut. $iir biefeSmal mid) gn cnttajfen.! ! . bir bie Mt - £)nrd) meine Mnfte nmrbtg gn oertreikn. lp$ imb Ijodjfl. ba miiffcn ftc IjinauS. 3Bt(t bn bod) £enfet felfeft in$ ©aw gegangen* gtoeitenmale fangen.

2)ann ftirft bu beinen ©anmen te£en. fanget an ! ©eiftei\ ^ (Sdjnnnbet i^r bnnfetn SBoflmngen brokn 3ftei$enber fd)cme greunbltdj ber Hetfyer herein Maue 2Baren bie bunMn 2Bol!en gertonnen (Sternelein fimfeln. £)u toirft. £)etfen bie tebe. TO in be3 3ctfyre3 Gtinerlei. Unb bcmn ent^itft ftcfy bein ©efiiI)L 2luc^ bein 23ereitung braud)t e$ nidjt fcoran 23eifammen ftnb voiv. . /A qo @erndj ftitb ftd) etge|en. fiir beine ©tnnen 3n biefer Srnnbe meljr getmnnen. 9D?epj)tfto^ete$. _ £utnmtifc|er @81>ne ©eiftige z / «45ne. 2KiIbere @onnen (Sdjeinen barein. fie X>ie fcfyonen 33ifber. ^wvt fcringen.. [Sc. ! . 2Ba3 bir bie ^arten ©eiftet ftngen. 3. * '@djftanfenbe 23eugung (Sd)tte6et / / 1 ©efynenbe Keigung $o!get Inniifcer Unb ber ©enxinber ^latternbe 25dnber S)etfen bie $anber. bie (Sinb nidjt ein leered 3auberfpiel. ! ! 124 Goethe 's Faust. iief in ©ebanfen. mein $mmb. 2Bo ftcf) fitrS Sefcen. wxubex.

@ble ©ejieute. 2Inbere fdjtoefcen 2l(le 2llle f ^nm £eben. 2lnbere fdjroimmen Ueber bie @een. so. L- ^ ^ ©djciumenbe 2Bein:. ©rangenber @tur$en in SSadjen w . .^%eft(^anf»to ©aujelnb befoegen 2Bo tt>it in (£fyoren 3auc§jejibe Ijoren. S)te jtdj im grcten ' 2We ^erftreuen»_ (£mige faimmen Ueber bie £>o!jen. tteber ben 2tnen / . . // 125 r&e&enbegeben. ! . 3. ^tieget ben fyeUen (TSnfeln entgegen. @een ^/v* @i(| " umS (Seniigen (Mnenber £iigel..! . SBreiten ju 5 //. £affen bie f>5I)en Winter ' ftd) liegen. /. §ur $erne ._ Hub bag (Mnget // g $Iiegei ber ©onne. Saufe bet *v nbe ®proffenbe 0^a»fen Saffenbe £raube @f%m* Setter*-' . p ^ ^an^enbe fdjanen. Oyejetn burdj retne.] Bekanntschaft mit Mephistopheles.

£)od) biefer @d)ttette Banker £u gerfpalten. ben £enfet feft ju I)alten ! UntgcmMt ilm mit fugen £ranmgeftatten. ! 3I)r Ijafct ilm trentid) eingefnngen id) $tir bieS Concert Bin in enrer @d)nlb. y 9D?epf>ifto^eIe^ (£r fd^tdft ! <2o ret^t. @ie fi|t gan$ somen an ber tajtte. Saufte. traume fort. e. 2)er ^(iegen. Unb baf ein ^3nbel tnir entfprang ? . £aufe. 5£)n Bift nodj nid)t ber 2ttann. > 35in td) v benn aBermatS Betrogen ? $erfd)roinbet fo ber geifterreid)e 2)rang/ 2)aj? ntir ein Zvaum ben £eufel fcorgclogen. [Sc 3. . mit Del Betupft £>a fommft bu fdjon J)ersorgeI)upft 2tur frifd) an$ 2Gerl ! 2)ie <Spi|e.! * ! 126 / Goethe / s Faust. Bajt^en. grofc^e. SSerfcnft ilm in ein 2tteer beS 2BaJml! . ^arten 3nngen. @d)on rafd)elt eine I)ier unb ttirb fogteid) mid) tyoren. bid) tjeroor $u ttagen \ ' $u fienagen. j-* ftefcenber ©eliger £nlb. 23ebarf 2ftd)t id) eineS JRatten^aljn^* idj iange Brand)' $n befd)rooren. il)r Inffgen. biefe (E?d)tt)ette Unb @o ttie er fte — ! 2?oc§ einen 23if . fo iff $ gefd)el)n — 2£un. bie mid) fcannte. £)er £err ber fatten nnb ber 2Kciufe. U$ tt>ir un$ roieberfeI)n Jauft (ertoadjenb). @teme. 25epel)(t bir.

127 SCENE @tubtrjtmmer. SDiepfitftopfyeleg. Unb ratlje nun bir. $au|L (£# flopft ? herein ! 2Ber frill mid) toieber plagen ? 3d) Bin'*. unS 2>cnn bir bie ©rillen $u tterjagen.! ! ! Sc. fttr^ 2)ergleidjen gteidtjfaU^ unb gut. al$ ebler punier. — 5auft. . gauji herein £)u mujjt eS breimal fagen. SDeS engen (£rbelekn3 fiiljlem Mn §u alt. ivaS ba3 £ekn fe^* Sauft 3n 3d) t^\ - L> je^emjlleibe njer^ 1 ^ ^oljl bie ^3em fej)n. fcertragen tc^. . fipifcen (vt^^i i)egen. 2)er jebem an bie Dfyren ftingt. Wtxtx%% unfr WLtitt. fret. £>ie £al)nenfeber auf bem £mt. urn nur ^u ftnelen. lo^gefcunben. anplegen. 4. 3n rotljem golb^erjygtniem tletbe. v-^ri £)a3 Sftantctdjen son ftarrer <©etbe. Ijier. urn oljne 2Bunfdj ^u bie 3u 2BaS fann - Belt mir tool)* geftaljren ? ! (SntMjren fotTft bu ! follft entM. . 2Rit eittem langen.ren £)ag ift ber etoige ©efang.] Vertrav und Wette. (Srfaljrefl. Ijoff gefcillft bu mix. herein benn @o Sir 23in tterben. idj.Damit bu. 4. jung.

Saujt £)a$ ©pioniren. £)er £ob erttunfdjt. £ag jil^H/ fel&ft bie mir Sauf Wifyt (£inen SButtfdj erfiillen ttirb. . £er 2ilmung jeber Sufi rW<v - 2Rit eigenftnntgem £ri#et mtnberr. 2ludj muf ba tdj. ber mir im 2*ufen tt>oI)nr. [Sc. S)ie Hufgen er. 128 Goethe's Faust. 2)en. Siorfieern £)en nad) rafd) burcfyraftem £an$e. tttit * (Sntfejen toad}' ber tc^ 2ftorgen3 auf. ba# Sefcen mir aerljajjt. u^ £) fetig ber. entfeelt balun gefunfen Unb bod) Ijat jemanb einen fcraunen @aft 3n jener 2lac^t nidjt auggetrunfen. bem er im ©iege^gtan^e urn bie (©djlafe foinber. tterben totlbe £raume fdjtetfen. . in feinem 3dj modjte btfrre Straiten tteinen.! . beS ^o^en @eifte$ ! 3n etneS 2Rabdjen$ Airmen ftnbet ic^ ttor £) njaV Sforaft @nt$utft. %Rify attgftlidj auf ba3 £ager ftretfen 2ludj Uftid) tttrb feine Oiaft gefdjenft. roenn bie S^ac^t ftd) nieberfenft. nidjt (£inen. 2)er ©ott. fann nad) auf en tridjtS fcetuegen. $?eplnfto^ete^ Unb bod) ift nie ber £ob ein gan$ nnltfommner @aft. Un* Kur £>en heifer jebe ©trotbe ftngt. ift beine Sufi. SDie ©djityftmg meiner reajm 23ruft 2Rit taufenb Se&engfca&n Hubert. 4. fdjeint'S. Unb fo ift mir ba3 2)afep eine Saft. unfer gan^eS Seben tang. f ann tief mein SnnerfteS erregen £)er iiBer alien meinen SMften (£r tfyront.

Unb glndj &or alien ber ©ebulb Jy^X ©etftercfyor unficfytfcar.!! .! ! . 9ttepf. ! gtnd) bent ©fanfcen. toa3 ^L ca^ " nnS in Srdumen nnS Ijeudjelt. bodj met ift mir bemugt gauft 2Bcnn an$ bent fd^redetid^cn ®etou$lc t" / ©n 2)cn 2Iiit fitf fccf annter £on mid) jog. ©efuljle fcetroa. £>ie ftdj an nnfre @mne brdngt $erftttdjt.tftopf>eleS. toenn mit (£r tm$ ju fiilmen £Ijaten regt. v^ £)e$ 0tntynt3. !! ! ' Sc. TO 2Beib unb Smb. ber 2lanten3baner £rna.ott I)at fte gerfdjlagen 2Cir tragen K . ' Unb fte in biefe SrauerfiflMe mit iBlenbMtnb e^mei^elfrdften knnt Serflfodjt ! »oraiS bie Ijolje 2Reinung. 2Bomit ber^eift jtdj feifcft umfangt ! $erflndjt bag 23lenben ber (Srfdjemttng. Otefl tton rmblitfjem Slnftang froljer 1 Mt (80 2Rtt find) fa> tdj attent. 4. 2BeIj ! toel) SDu Ijaft jfe jerflort. Wit @te ntddjtiger gaufl fttir^t. ate f nec^t ^5erpue^t fcg 2Rantmon. 129 2lUn>ijfcnb bin ify nidjt .] Vertrag iind Wette. JBerffodjt/ ttaS al$ 23eft£ fdjmeidjett. ttitb tta£ bie @ecle & ©aufeftperf nmfpannr. £)ie fdjjonc SBelt. fte jcrfattt ! Grin $arfa. nnb $ffog ©djd£cn 2Benn er $u mit^em un$ ©rgefcen 2>ie ^olftcr juredjte Icgt ! glnd) feg'bem SSalfamfaft ber £ranfcen glndj jener ^oc^ften £ieBe$l)ulb ! Sludj fesj ber $offnnna.

£>oY auf mit beinem £)er. £)ocij fo ift'S tridjt gemeint. potfen. mit mir fcereint. £eBen frifjt inft. n?te ein ©eter. [Sc. ttnb neue $ieber ^ J-/• Gotten barauf! ^*u . £>ijre. 3dj Bin bein ©efelle . 2luS ber (Jinfamfett. auf ber ©telle. 4. ' <u ^rac|tiger ^ 23aue (te ttiebcr. btr ©ram am $u fytelen. t £)erl£rbenfoIme. fyiniifcer. (te 23ufen feaue 2£euen $efcen$lauf 23eginne. tote ju £uft unb £I)aten ratljen ! mtjlttg fte ^</ t^W*^ 3n bie SBcIi foett. @o toil! id) micfy gem fteauemen. SDeine ©(^ritte burets Seben neljmcn. £rummem ftagen in$ %ti&)t$ Unb 2ftac(j tiger UeBer bie oertome Sdjinte. 2Botten 2Bo ©innen unb ©afte fte bidj tote. 3n beinem auf 1V] 5 iRtt Ijcflem ©inne. S)ag bu ein £)id) unter 2ftcnf(i) mit 2ftenfc§en gu ftofen. £)ie f^tec^tcfte ©efcUfdjaft laft bic^ fuljtcn.. 2)ein $u fei>n. 2)iej? jtnb bie fteinen iBon ben 2tteinen. baS $a8 3d) bin feiner fcon ben ©rofien 3)od) foitlft bu. ! ! 130 SDie Goethe s Faust.

" iv&t 2)amt mag. . U)a3 tttlt unblann. * Unb 00 eS aud) in jenen @pl)dren ©in Dben ober Unten giebt 3n iBcrlunbe bidj bu^ toagem bu follft in biefen £agen %Rit greuben meine Stiinfte feljn. 2lu3 biefcr (£rbe quillen meine greuben. ©in idj bcin Wiener. bu mix ba3 @leid)e tljum 2)a3 2)ru6cn faun mid) ftcntg fttmmew . 4. 131 Unb. S)aoon ttill id) nidjtS tteiter l. 2)ie anbre mag barnad) enrfteljn. Unb btefe (Sonne fdjeinet meinen Seiben $ann i^ midj erft oon iljnen fdjeiben. mad)' bir'S rcdjt.-. gefd)el)n. ! jV0 '- 2Ba$ cinem anbent Spvid) bic 25cbingung beutlidj au3 ©n folder 2)icner bringt ©efaljr in$ ^an^. roaS uodj fein 2Kenfdj gefelm. Ob man and) Mnftig l)a£t unb liebt. ncin ! ber £eufcl ift ein (£goift '. biefem (Simtc fannft ! 3d) gebe bir. 2Citf beinen SBinf nid)t raften unb nid)t rulm foit SBemt (So follft un3 britBen ttieber finben. Unb tljut ntdjt Iciest urn ©otteS Kitten. ©djldgft bu evft bieje jZBelt &u £rummern. $?epf>tftopl?ele^ 3d) ttiE mid) l)ier $u beinem 2)ienft berfcinben. niifclidj ift.! .oren. sc.] Vertrag ic$ und Wette. k 2 . bin bcin ®ned)t ffaujL Unb toctS foil idj bagegen bit crfitllcn ? 3)ap Ijaft bit nod) eine lange grift* Jauji Kein.

£)ag id) mir felfcft gefallen mag. . el) man fte fcndjt/ Unb 35aume. bie Beit fommt audj Ijeran. bent man me gettrimtt. ttie ein 2Reteor. guter $rcunb. 3)odj Ijaft bu @peife. S)ie. I)aft £)tt rotljeS oI)ne ffiaft. ©in 2Rabdjen. bie fault. £^ ^ i 2)er &)ic fdjime ©otterluft. [Sc. — ! ' Beig' mix bie grudjt. . <2o taunft bu mid) fdjmeidjetnb je Miigen. in fcinem SSon beuteS ©Icidjen j[e gefaft ? 2BaS Ijoljen (©trckn. Ouetfftlfccr gXeic^. Shmtft bu midfy mit ©enufi Betritgen £)ag fe^ fur mtd) ber le|te £ag i§ ! ©ie 2Bette fc9 e^ gteid) ! urn midj getfyan WV £op! gauft Unb @djlag auf ®d)lag 2Berb' id) ! gum $ugenWi(fe ! fagen ! : $ertoei(e bod) bu fcijt fo fd)5n — 2)ann magfl bu mid) in geffetn SDann roiXX tdj gem ju ©runbe fd)lagen geljn . 0^ mogen. ©oXb/ bag fcei bie m$t fattigft. bag an meiner 23ruft mt togetn fdjon bent 2tad)£ar jWj aet&inbet. (£in ©picl. 2Bo toir ttag ®utg in 3tul)e fdwtaufen gauft 2Berb' idj fceruljigt je midj auf ein $autt>ett fegen. 4.! :! 132 Goethe s Faust. ©odj. . bir in ber £>anb gerrinnt. »erfdjtoinbet. bie fid) tagXic^ neu begritnen ©it folder 5 2luft_rag fdjredft mi$ id) ttidjt. gauft tvittjl bu anncr £eufef gcfcen ? 2Barb eineS 2Renfdjen ©eift. iRit foldjen @d)d|en famt btenen.

ober roeffen. nid)t 2Ramte$*2Bort bu nod) £aft genug. mein 2Bort 3 nid)t gefprod)ne3 baf 3ff Sttuf eroig foil mit meinen £agen flatten ? 2lud) roaS ©efdjriebneS forberfl bu. i] Vertrag und Wette 133 2)ann mag bie £obtengtocfc fd^aUcn. ! — ~>~ r r gaufh ^ebant ? gctannt feinen 2Rann. sr. Die llfyr mag ftelm. $eber fdjrciben roillft 3ri> ? gebe jebe Sd^t birfrei. bin ic^ $ned)t. FMn. ^ergament. Dann $3 Hft bu betncS $>ten|le$ fret. 2)a$ 2Bort erftirbt fdjon in ber geber. Jauft )a$u i) I)aft bu ein oolleS dttfyt oermeffen . ber 3eigcr fallen. S)ie |>errfdjaft fuljren %Bafy# 2Ba$ unb £eber. roag frag id). bu bofer ©eift oon mir ? (£xi. $etn Dpfer villein ein rotrb je gereuen ftd) alle ^pergament. 2Reif el. . roer Sreue rein im Sufen il)tt tragi. 0|aj} ntcfet bte SBcft ? m ift alien (Stromeri fort. ''Javier ? @otl \§ mit ©riffel. lino mid) foil ein SSerfpredjen fyalten ? Dod) 2Ber biefer 2BaIm unS in$ ©erg getcgt mag ftd) gent baoon befreten 4 Segliitft. 2Karmor. . 3dj roerbe Ijeute 211$ £)iener. 3ft ein ©efpenft. meine $flid)t erfullen. beim 2)octorfd)mau3. befdjrieben nub beorcigt. oor bem fdjeuen. Ijabe mid) nidjt freoentlidj 1 Hy »ie i(^ befyarre. fey bie Mt fitr mtdj sorbet 9ttep£tjl<>p£ere& Sebenf e$ rootyl ! roir roerben'3 nidjt oergeffen. Urn $eben3 ober ^terbcnS roil(eit 2lur etnS 53fIT id) mirein paar Beilen au3. gletdj.! ! .

3d) [)abe mid) ^u Ijodj geblal)t 1 • 3n 2)er gro£e @cift 35or mir beinen Ofong gel^r id) nur. S)it wtter&cidjneft bid) mit einem £rityfd)en 25lut gauft 2Benn bief btr fccttig @o mag e3 bet ber ©'niige tljut. £)e3 £)enfenS gaben ift jerrtffen. $ra|e bleiben. [Sc. (Mingen unb SSerbruf 2Rit einanber roedjfetn. |htr raftto* betl)dtigt fWj ber 2Iknn. 2Bie magft bu beine Otebneret uBertreiten ? 2htt gleid) fo Wg 3ft bodj ein jebeS Stattdjcn gut. bag 3ft grabe baS. 23elte6f S end). . 2fttr cfett fange ttor atfcm SBiffen. roaS icfy btcf SSunbnif 2)a3 ©treben meiner gcmjen traft brecfye id) »erfpr_edje. ! ! 134 Goethe s Faust. 2lur feine gurdjt. . gauft. iiberall $u nafdjeu. fcerfdjliej) t ftd) bic 2totur.! . SSIitt ift ein gan$ befonbrer ©aft.• 9ttep|)ifto^ef^ (£udj ift w fein 2tfa£ unb 3iel gefefct. 4. I)at mid) i?erfd)mal)t. 3m glieljen ctn?a^ $u crljafdjnt. Sag in ben £tefen ber ©innlid)feit Un$ gtiit)enbe £eibenfcfyaften ftillen 3n unburdjbntugncn 3aubcrl)ittlen ©ct) }cbe$ SBwtber gfetd) bereit ! ©tiirjen tt>ir un$ in bag 3tafd)en ber Beit. roie eS faun . 3n$ 2)a OMen ber 35egebenl)eit mag benn @d)mer£ unb ©enufj.

bie $unft ift fang. ginjlernif georadjt.! ! ! ! Sc. 2)ajj toon ber 2Biege"fci$ ftcin -ilZenfct) ) pr 35al. erquitfenbem 23erbru#. . 2)a3 laft mir Baug . $erliebtem £a£. Un# Uub fyat er in btc eud) taugt emjig £ag uub . am (Jub 1 and) id) ^erfc^eitcrn. £>ie 3ett ift Kx%. Hub 2Rtt roaS bcr gan$en 2ftenfdjljctt jjugctljcitt 2Bifl idj in mctnem foment ©elBft geuicfjen. bem fdjmer${id)fteu ©cuujj. meinem @eift ba$ §odjfT uub £icffte gretfen. 135 SBefomm cud) njo^l.] Vert rag 1 und Wcttc. uub 2Bel) auf mciueu 25ufeit Ijaufen.re ben alten ©auertejg toerbaut einent. fo . 2lffociirt end) mit einem ^oetcn. $ct$t ben £errn in ©ebcmfen fd)ioeifen. £>od) nur toor fidj Ijoreu ! Gtinem 1 ift Unb afte ebfen Oualitciteu vHuf cureu C£f?ven. ber sent 2Biffen$brang gcljctlt (fpofl ifi.3ct)citel Ijoiufeu. i. 2lacf)t. gaufi 2iaetn ic^ trill Wlep$iftop1}eU$. biefeS @lau6 nnfer @an$e 3ft nur fur elnen @ott gemadjt (£r ftnbet ftdj in einem cto'gen ©lanje. 3d) bact)t% itjr Kefet eud) Mefyren. toon $rcub' ift nidjt bfc IRebc. ber mandje taufeub 3^^c 2In biefcr fyarten <Speife four. £)em £aumcf meil)* tdj midj. ift. 3fyr SBoIjl Uub Uub. O glaube mir. n>a$ cud) etge£t Jiur gretft mir $u uub fegb nic^t blobc £>u Ijereft ja. toie jte felbft. mein eigen (Setftft gu ifyrcm dselbft erttetteru. feiucn ©djmcrseu tunftig ftdj tterfdjltejjen. 2ttein 23ufen.

136 £)es Soften 2KutIj. 2)e3 £irfd)e3 ©dmefligfeit. 3Wepptjiop$elc$. 2)e3 2?orben3 2)aurbarfeit Saft il)n end) ba3 ©eljetmnifi ftnben. ©inne bringen ? 2Kej>$tjiop£ele$. ? gu'f c ! § ftenigcr bie ftnb bein td^ frtfd) 2)odj alleS. . ttenn e3 ntd)t mogltcf) ift. 5Dc3 3talidner£ feurig 25tut. ©rojjmutl) imb 2lrglift »s oerfuuben. [Sc. mit ttarmen (jugenbtrieBen. ffaufr 3d) fuel's. <Der 2Renfd($eit tone ber jtdj alle $u erringen. @y un3 be$ SefcenS tfreube fretlid) flieljr. Duiflt innertidj bod) feine nene 3dj Bin nidjt $ raft nm ein £>aar Brett l)5l. ©e§' beinen gufl anf etlen!joI)e ©ocfcn/ £)u MeiBft bodj immer.. 2Icod(jte fefljft foul) einen £crren fennett/ 2Burb' iljn £>erw SJRifrofoSmuS nennem end). 2Bie man bie ©ad)en eBjm fte^t 2Bir miiffen ba3 gefcfceibter madden.aF id& alle @d^d|e £)e3 2Kenfd)engcift3 anf midlj IjerBeigerafft. tta3 bn fetft.err 25in bent Unenblidjen nid)t ndfyer. Goethe s Faust. 4. Unb toemt id) mid) am @nbe nteberfe^e. il)r fel)t bie ©adjen. n?a£ brum meiu . 2Rein guter £err. fcergeBenS l. einem pane 511 aerliefcen. Sa3 Renter ! Unb topf nnb 3ft baS §anb* nnb gentcf c. £)u Bift am (£nbe — ttaS bn Bifi @efc' bir prrudfen anf son 2IMtonen Sodfcn. Unb 2lac^ gaujl 2Ba3 bin Sfcadj tdj benn.

) . /fomm. (@r flctbet ftd> urn. gauft 2Bie fangen roir baS on ? 2Bir gcl)en efcen fort. iljre frcifte nic^t bie mcine ? renne $u unb bin Ijatt' idj em renter 2Kann. iljn ju felm. £>arfft bu ben 23ufcen bodj nicr)t fagen. ba3 fur ein 2Karterort ? ^'eiftt baS fitr ein $er>en fit^rcn.) 2?un u'Berlaf e3 nteinem 2Bi|e 3dj fcraudje nur ein 23iertelftunbd)en Beit . Unb rings nutter liegt fdjime grime 2Beibe.! ! ! ! . gieB ntir beinen diotf unb 2Uit{5c £>ie 2RaSfe tnuf ntir KjHidj ftelm. 137 SSenn (Stub Scfy feigje galjten fann. ju brefdjen plagen ? £)aS 23efte. Snbeffen madje bid) pr (gotten galjrt Bereit (ftauft at. 4. £>er arme Sfttabe roartet tange. grab* mit in bie 2BeIt lament 1 eS bir : ein $erl ber fpccuttrt/ 3ft h)ie ein Xfyet.n.] Vertrag tdj fedjs und Wette. . ijt 2Ba3 2Ba3 @lei4 Ijor' id) einen auf bent @ange ffaitfL 2ttir i|T$ nidjt moglid). ! sc. anf biirrer £>eibc $on einem fcofen ©eifi im ®rciS Ijcrumgcfiifyrr. 2)er barf nidjt ungetroftet gelm. roaS bu roiffen toft. @tdj unb bie 3nngen3 ennusnren ? Saf bu baS bent £errn 2todjfcc(t SBanft 2Ba3 roittft bu bid) ba3 (Strol. TO Unb ttierunbsroanjtg 23eine* ! ©rum 3dj fag frifdj £a$ afle3 ©innen fei.

nur in 33fein> unb 3aubertterfen SDidj »on bent fttgengetft beftdrfen. £)nrd) fiacre Unbebeutenfyeit. fpredjcn nnb ju fennen. (£r foil mir $appeln. 3d) Bin all|ter erft fttr$e 3ett. unbebingt tym l)at ba3 <Sc^idfat einen @ei|t gegebeu. 138 Goethe s Faust. Unb beffcn ubercilteS <Strebcn (So I)ab' id) bid) fdjon — £)er (£rbe greuben iiberftmngt £)en fcfylepp' i^ burd) baS hnlbc Scbcn. 4. mir mit (Styrfurdjt nennem $?epf>tftopf>elc^ (£ure £i>flidjfeit erfreut mid) 3l)r fe|t einen fefyr ! §)abt iljr anbre mefyr. Unb (£r fetner UnerfSttftdjfeii fcfytteben @oll ©peif unb Xranf oor giev'gen Stppcn nnrb (Srqutdung tyatt' ficl) utnfonft erfletyn Unb er ftdj and) md)t bent £eufcl itbergcben. nelmtt eudj meiner an 3dj fcmtme mit Seiblicfyem s aOem guten 2Rutl). $erad)tc nut SScmunft unb 2Bif[enfdjaft. ®etb unb frtfdjem Slut JKeine Gutter ttollte mic^ faum entfernen s . 2Rodjtc gent n?a$ Jic&it$ ^ieraufen lerncn. . £)er ungebdnbigt imnter $orftdrt3 brmgt. ftarren. ! .! . gel)tt (£r rnujjtc bodj &u ©runbe @tn @c$uter trttt auf. . [Sc. Unb fomme oolf (£incn 2Rann $u £)en afle (£rgebenl)ett. (in SauftS tangent Jtteibe). ftebcn. 2)e3 2Renfd)ert Safl atterl)od)fte f raft. end) fonjt fdjon umgetljan ? toie 2Rann. @cfritler + 3d) bitt' end).

Sc. ©riincS. Tod) frci(id) txntrbc feeljagen . Unb mod)te gem. fcincn 25anm. 2Xn ityrem £a!3 mill ic^ 2)odj fagt mir nnr/ rote fann mit grenben fyangen id) Inngelangcn ? - (Mart 2Ba$ eudt). biefen fallen 5 WJX @# Unb 2Ran e? mir feineStocgS gefalten. mod)te fdjon toicber fort 3n biefen 2ftanew. £)a fer>b tljr anf ber redjten (Spur tljr £)od) miift eudj nid)t jerftreucn laffen. ttafylt tljr fur eine gacnltat ? 3d) nrimfdjte rec^t gele^rt §n tterben. crfaffen. 2)ie SBiffenfdjaft nnb bie Katur. ^ufridjttg. ift ein gar fcefdjrcinrter ftel)t ttidjtg 3taum. £>odj balb ernafyrt e3 ftdj mit Sufi roirb^ end) an ber 2Betetf)eit 35niften 2Rit jebem £age meljr getnften. 3Sergel)t mir £oren.] Besuch des Schulers. 4. @elnt nnb 3>nfen. ^ v. 3dj Hn bafcei mit @eeF nnb mir ?eib .. @o nimmt ©0 3)a3 fommt nnr anf ©ercolmljeit an. in ben (©a'len. ©filter. 139 25a fegb tl)r efccn redjt am Ort ©chiller. : . ©emitter* . auf ben 25anfen. roa3 anf ber (£rbcn Unb in bem £immel ift. ein ®inb ber 2Rntter SSruft 2cicfyt gteid) im 2lnfang nntfig an. e^ ifyr better gel)t.

9flepj>tftopf>cIe^ ©efrraudjt ber Beit fte geljt fo fdjnefl oon ^innett/- 2)od) Orbnung tfyeurer leljrt end) Sett gerotnnen. euc§ brum Buerft Collegium logicum. er bebcic|tigcr fo fortan 2)a$ 5pinja)letd)e bte ©ebanfenHIm. 2)ann Iepet man end} ! ! ! 5Die @djijpeitt £)ie (£in Ijeritfcer lu'nuber fdjiejjetv $dben ungefeljen fliejjen. 140 Grin roenig Goethe s Faust. geiftige 23anb! . roar' unb $iert' £>a# preifen bte @d)ii(er aller nimmermefyr. 3n fpanifc^e ©tiefeln etngefdmiirt. Unb brum ba3 Unb roenn baS 5E)a£ 2)rttt* 2)ritt' (£rff unb 33ierte fo unb Sroett' ni'djt ttdV. Drten. 2)er ^fytfofopl). Ijer. 3lt)ei 3)ret bo^u noting fei. ©etriefren. roie (£ffen unb Sxinfen fret. 2Bo (Sin Zvitt taufenb $dben regt. [Sc. rotlt roa$ $efcenbig3 erfennen unb frefcfjretkn. ( 1 SrrlidjtcUre I)tn unb w. 4. er bte £fycife in feiner ! leiber nur M $anb. einen @d)(ag il)r roaS auf fonft 5Daf.: . ber Unb fctoeift eudj. e3 tmifjt' fo fe^n £)a3 (£rff roar' fo. £)ann $at ftcljft. baS Smite fo. touj unb Oner. td^ rati)' 2Kein $reunb.. erft ben ©eift fyerauS $u treifcen.]_ mand)en~£ag. bte Unb ttidjt etfoa. (£inS Bfoar ift'3 mit ber ©ebanfen^abrif Bte mit etnem Befcer^eifterftutf. Sr^i^it unb Bctfoertrctfc 2ln fgotten (Sommeffeiertagen. @d)Iag taufenb $erfctnbungcn trttt therein/ fdjlagt. 2)a roirb ber ®etft eucfy rooljt breffirt. ©tub 2Ber (Suc^t after feine 2Bet>er gettorben.

2)a# foEt tfyr mir ni$t ^ttermal fagen fdjtoars 3$ benfe mir. bie 2Ktij}t il)r eu$ an ba$ 2>a feljt. unb ni$t brem ge^t.r oorI)er rooljl prciparirt. ttor alien anbern <Sa$en. 141 Encheiresin naturae nennt'# bte QEI)emie/ ©pottet fljrer fclBjt. (Stiller* ®amt end) ntdjt cfccn gan$ serfteljen.! . ©in pra$tig 2Bort £u 2)ienften fteljt. Sc. fefyr.] Besuch dcs Schitlers. % Wetapfyfil ma$en ° tieffmnig faft. 28a3 $iir roa3 brein gefyt ni$t paft . unb \vci$ nt$t tote. Stacker. i. ! . tann man getroft na$ £aufe tragen. ate ttaS fteljt ©fitter.r ttaljr @tunben l)a6t jeben £ag (Segb brinnen mit bent @loifenf$lag $abt eu$ 2)amit 2)aj? er tl. na$I)er beffer tm 23udje 2)o$ eu$ beg @d)rei6en3 ja befleijjt. tr>oI)l ^aragrapIjoS einftubirt. 2)o$ ft>al)lt mir eine ^acultat . ai« bicthf eu$ ber £etlig' ©eift ni$t3 fagt. in beS 2Jlenfd)en £»jrn 2)o$ giinf oorerft btefeS I)att>e 3al)r 2lel)mt ja ber kften Drbnung tl. rote oiel e# mifct 2)enn roaS man au f toeij? 6eft|f. 2)a3 roirb nadjftenS ifyr f$on Beffer gel)en. 2Bemt lernt afle3 rebuciren Unb ge^orig ftaffiftcirem 2Rtr toirb son afle bent fo bumnt/ 2il3 gtng' mir cm Wixtyvob tm $ opf tyerum. ! ! ! ! .

3ur OftedjtSgetefyrfamfeit fann id) mid) nidjt fceqncmen. 2ttem ^Ifcfd^en mirb bnrd) endj oemteljrt. Unb auf be3 3m @an$en \ 2)ann ge^t bnrd) bie ftdjre ^forte s. 2£a3 biefe SOBtffenfc^aft ktrifft. 3d) (£3 rx>iinfcr)te nidjt end) irre p ftiljrcn. . fo Otcl oer6orgne3 ©ift. Ijaltet endj an SBorte mnf fcet bent 2Borte fe^n. oon Drt $u Drt. £) gliicf(id) ber. ©d)on gnt ! 2lnr mng man fid) nid)t altyt angftlid) qnalen 2)enn efcen too 23cgriffe fel)ten. 142 Goethe s Faust. ttenn tl)r nnr (£inen I)ort.Bnm £empel ber ©etviffyeit ein. fo fd)roer. [Sc. ©filler. £)od) ein SScgriff — % 2tteifter3 2Borte fdjtvort. iljr 2lm kften ifi'3 and) I)ier. bag bn ein @nfel Mft $om $on Otedjte. ber arjenet iff 3 fcmm £u nnterfdjeiben. 4. n>ie e3 fcfyr ntc^t itM neljmen. £)a ftetlt ein 2Bort gur redden Stit 2Btt 2Borten laf t fid) ein. ift @# licgt Unb oon in ben fallen 2Beg ju meiben. ben iljr Meljrt gaft modjt' tdj nnn £I)eologie ftnbiren. 23ernnnft roirb Unfinn. . 2BoI)IrIj at $tage mi) btr. (Schiller. ! ! .. 3d) tann e3 end) fo '3d) roeif. ftd) trefflid) ftreiten. nm biefe Seljre ftel)t. bag mit nnS gcfcoren leiber ! ift. (£g erfcen ftd) ©efefc* unb Oicd^te 2Bie cine etx>*ge Sftranfljett fort ftd) @te Unb fdjteppen ijon ©cfdjledjt riitfen fadjt jum ©cfd)Iedjte. bent ift. ©chiller. nie bie $rage.

"©in £itcl mug fie erft fccrtraulidj macfen) . Sc. ©in jeber 3Ijr fej)b nodj ^iemlid) tr>oIjlgcl>aut. . @ott SQBenn Icif t baS getb gar $u toeit l)at. bag ringSum rciffenfdjaftlidj lemt nur. man einen $inger$eig nur ftdj^ fdjon efyer h)ete fiiljlcn. ift 2ftdjt audj ein traftig 3>al)r' ift ! Unb. ©incm ^uncte $u Unb rcenn tp Ijaflweg £)ann Ijafct iljr fte all* curiren eljrBar tl)ut. Urn e$ 1 am ©noe geljn ^u SBie * ®ott gefafit. 2111cm id) iljx mug cud) uod) l>cmul)m 2BoKt £>rei mix »on ber 2Rebtcin 2Bortd)cn fagen ? cine furje 3cit. fetn $on einem 2Bort 3ota raubem ©filler. ®o 2luS taufenbfad). . laffen.. unterm $i\t. . $ergel>en$. fid) trefflid) la'fjt fid) 143 Wxt 2Botren 2ln 2Borte la'gt glaufien. id) I?att* cudj auf mit soielett $rageu. 23efonber3 tcrnt bie 2GeiBcr fufyren % ettig 2Bel) unb 2ld). rca3 er lernen lann 2)od) ber ben 2lugenMid ergreift. (SCTOt) 2)er @eift ber 2ftcbicin -3I)r burd)ftubtrt bie ift 1 leidjt $u faffen grog unb Heine 2Beft. 3d) bin be3 trodnen £on3 nun fatt.] Besuch dcs Schillers. cin @i)ftem fcereiten. 9ttepf>tftopf>ele$ (fiir fic$). Unb iljr eudj bie nur felbft fcertraut. % 1 fdjftcift.[4. $ertrauen eud) (£# ift anbern @eelen. 2Kuf tticber rcd)t ben £eufel fpielen. 2ln f iilmljeit ttenn n)irb £ end) aud) nid)t fcljlen. $er$ctl)t. 2)a3 ift ber rcd)te URann.

! .) (Sftacfyt'S efjter&tettg ju unb empfiefyt $?ep|>tfio^ele^ golg' nur bent alien ©prud) unb meiner 2Kuljme. 2)ir foirb gettijjl einmal ftet beiner ©ottafynltdjfeit bange Sauft tritt auf. baS $uMein Unb faffet fte. ©unft mix biefeS Beidjen 2flepf>tft0p|>ele^ fooljl (@r fd^retfet unb gte&t'S. ! ! 144 Stojjl Goethe s Faust. Sauft 2Bolun foil e$ nun gelm ? . ©e^iiler. scientes bonum et malum. tft alle St^eorie. $on 2Ba$ anbermal fcefdjtteren. ber ©flange. eure Shmft oiel tiinfte u'Berfteigt BmnJBillfomm Um bie em anbrer Setfteljt ta$yt iljx bann na$ alien ©tebenfacfyen. tntr S)iirft' tdj iji*$ al3 n?ie ein £raum. 4. oiele 3al)re p ftreicfyt.) ©filler (Heft). Eritis sicut Deus. foil gem gefdjeljn. toie feft gefd)nurt fte feg. [Sc. 3d) fann unmoglid) ttieber 3d) gel)n. 3u feljn. £)a$ flefyt fdjon fceffer auS ! 2Rcm ftefyt bod) too unb toie. ficty. griin beS tfyeutet ©chiller* 3d) fdjttoY eudj $u. . eurer %Beitynt auf ben ©runb $u Ijioren ? ttoljl ein eu^ id) sermag. 2Bol)l um bie fd^Ianfe £ufte fret. tooljl ^u brucfen. £e&enS golbner 23aum. mu£ eud)~ nod) @onn' ©el)t eure mcin @tammfmd) itoerteidjen. mit feurig fajlauen 23li(fen. j ®rau. t Unb $reunb. ©djitler.

sc.. 5. bag ttirb > ftd) aHe3 geben <Sobalb bn bir ocrrtanft. |lcJIer in 3ed. —AuerbacJi bie flro$g. bcmn 2Itit freldjer $rcnbe. f ned)t nnb 2Baa.e luftiger ©cfctten. Unb ftnb ttir leid)t. - 1 1/ 45 2Bol)in t$ bir gefaUt 2Bir feljn bic Heine. 23or anbern ful)P 3d) tterbe ftctS mid) fo ftein oerlegen feijn. un$ bnrdj bie £)n nimmfl bei biefem foil £iifte tufynen @d)ritt 2cnr feinen grofjien 23iinbel mit (£in bi3d)en ^enerlnft.2Belt. s Keller. bie id) bereiten tterbe. . mir ber S5erfuc^ nid)t glnden ttie micfj 3dj twtfte in bie 2Beft p fcfjitfen. . SCENE &utxljKty% 5. .] Abfahrt. id) $?epluftopf)ere^ 2Kein gnter $rennb. toe(d>em 2htfcen ! 2Btrft bu ben Ctnrfnm burdjfdjmarufcen Jauft Mein geljlt bet meinem langen S5art (£3 hnrb mir bie tetdjte Sefcettfart. £ebt nnS be^enb toon biefer febe. fo geljt c3 fdjncll Ijinanf 3dj gratnlire bir pm nenen £eben3lanf.en ? 2Bir breiten nnr ben 2Rantcl SDer an& tragen. Sauft 2Bie m fommen Ijaft h?ir benn au$ bem §au$ ? bn ^ferbe. 5rof^ 2Bill feiner trinfen ? feiner lad)en ? . foBatb n>ei^t bn §n leben. 3d) mill end) lel)ren @eftd)ter mad)cn ! . l^tt$%i%.

rote naffeS ©trot). few ft unb V £otia! §o! 2Utmcu. bu Bringft ja nidjtS £mmml)ett. 5. 3Ijr roofft e3 {a. id) Bin tterlorcn SSaumtoofle I.n ! (SicfceL Bur SXuf £pr ! In'nauS. ber ettt>a^ 21 ! iiM nimmt tara lara ba 21 ! tara lara ba ! S)ie Steven ftnb gefttmmt (Stngt.! ! !! ! ! 146 3I)t fei)b jet Ijettt Goethe s Faust. roer ftd) ent$roett fefirett 2Rtt ojfncr 23ruft ftngt $unba.er ! ber ®ert fprengt mir bie £%em ©tefceL SBenn ba3 giiljtt ©eroolfce roteberfdjallt.) £)a$ Me. Unb 2>a$ fcremtt fonpt tmmer Itc^terlol)* 23rant>er* liegt Sftdjt einc an btr . fcine ©auereu tycrfcet/ grofd) (gtefit tljm etn ©tag 28etn ufcer ben J?opf). erft rec^t man be3 23affe3 ©runbgeroatt ©0 redjt ! IjerauS mit bent.alV3 nur nod) jufammen ? 33ranber< (£tn garftig £teb (£tn letbtg $ieb ! ! ^)fui ! etn polttifdj $teb 2)an!t ©ott mtt jebem 2ttorgett/ . man foil e$ fei. £>a l)afi bu fcetbeS ! 23rartt>er* £>ot>pett (Serein ftrofd). l)eirge Otom'fdje IHeid^ r 2Bte l.er* 3Belj mtr. [Sc.

O^ieget 3a.^- S)af idj nidjt taifer ober ®an$ler bin. gefteljt. 35rant>er (auf ben JEifc^ ftytagenb).: ! . n>c«j cine Ouolitfit - H^*n r ' J*~ £)en tofdjlag U ategt. beuUIcamt erljoljt.) auf ! in [titter S^ad^t* auf ! ber Sie&fte toadjt. ttnffen. 5.^" ^ ^ (*• (- - b ~ w 33erfiebte Scute jtfcen l 2 . ic^ tteig I)ier. j 3um£iebftenfe9em^oMb%kf(|eert! *> 2)er mag mit iljr auf cinem fcujtoeg fd)afew (£in alter 23ocf. (StebeL SDcm £tefcd)en feinen ©rug ! 3d) toil! ba^cn ntdt)t^ I)oren £)em Steven ©rufl unb tug 3tieget ! bu ttnrft mir 3 1 nid)t fcertoetyren (®tngt. Braud^t fitr$ 9tom'fcf)e Otetd) %\x fiir reidjiidjen 147 ! SDctf? tl?r nid^t forgen 3d) IjalV cS foenicjftcn^ ©etomm. nub unb riil)me 3d) unit ju memcr 3cit fdjon ladjeiu (Sic I)at W ©tefceL fte mid) angejuljrt. fmgc. ^ ©rug* mir S^ofdjj (ftngt). . . fmge nur. (Sdjtting bid) auf. ! 21tag im ©alopp nod) gute 2lacl)t il)r merfern ©n 3ft braver fiir f erl son astern ioicl gleifd) unb Slut bic 5)irue $u gut. 3d) hjitt il)r son feinem ©ruge TO bie genfter eingefd)miffen. btr ttirb fte'S auty fo madden. ! ! sc. §u lefcen ^{f^. nic^t fel)len . ©odj mug and) mt$ em ©fcerijaupt ^ k~* 2Bir toottcn einen $apft crfociljlcm 3$r hngt. mem Siefcdjen jeljentaufcnbmal. Otiegct ^u ! be3 2Rorgen3 fnilj. ttetm cr fcom 23toWerg fetjrt. grew 2c*ad)tigaft.] Auerbacti s Keller. ! 9>ajt auf 3l)r ! paft auf ! ©cljcrdjet mir £>erw.

nnr ftdj toon $ert £atte ein ^Ran^Ietn angemafFt. 5. @f)oru3 (jauc^jeub). . an ben £erb unb tl)dt jutft unb : Unb erBarmltd) fdjnaufcn. Unb biefen mug. SBollte ntd)t3 tyr 2Biityen mifceit . 33tant>er* fuljr tyerum. [off auS alien $fMiP/ Bernagt'. fte fuljr IjerauS. f> N (} ^> ' | @ie tljat gar mandjen tagftefyrung. £utl)er.! ! 148 Goethe s Faust. TO ©ie Unb Ijatte fte £ieo> im SetBe. 2)er tiidje ^ugelaufen. TO TO ttne ber doctor iljr £)ie flodjin r^at^ ®tft geftellt . t ^ j ©a $a ! fodjte bie 23ergifterin nodj fte ipfeift anf bent le$teh Sofy ' TO 31W Wt "fte SieB im Seifc. £)a toarb'3 jo eng jjfttte fte W i|r in ber 2Belt. nadfy <StanbSgeMl)r. [Sc.) (£3 ttar eine dtatV £efite im Mcrneft. unb Sutter. ®e£t 2td)t ©in £ieb fcom nettften (Sdjmtt Unb ftngt ben tabreim frafttg mtt ! (@r fingt. TO Wt? & @ie lam giel KM im SeiBe. f«^ 1 tm SetBe. Bur guten 2cadjt id) ttaS $um 35eften gekn. Ijatte fte SteB' im SeiBe. 33rant>er* ttor 2lng(t am IjeKen 1 £ag lag.r' eg £te** S5atb §atte bag arnte Styer genung. ^^ L TO Ijfitt' im SeiBe. jerfrafct' baS gan$e £au$.

$Ran (test's an iljrer ronnbertidjen @ie fmb itidjt eine @tunbe Ijier. ftel)ft. mit bem <©d§n>ang. ^ <r^ ©0 lang ber SBtrtlj nnr fie ©inb oergnitgt nnb nnfceforgt 23rant>er* £)ie fommen eften oon ber Ofoife. SBemt fte 1 nidjt itf er topfroet) flagen.! . bn (£$ ift ein fteiti Otefy ! 2Rein Sei^ig lob* ^ari3. . . ©iebeL pr roa$ fiep bn bie gremben an ? fttOfcfK Sa|/ mtdj nnr geljn ! 33ei einem rotten ©fofe . £)cn armen fatten ©ift §u ftrenen ift 3 ? 23rant>er. <Sie fteljn root)! fetjr in betner ©unft SUtmaper. £)amit bn toie leidjt ftdj'S lefcen lap. 3dj mnfj 3>it bicfj nun oor alien £)ingen Inftige @efellfd)aft Bringen. 5. 149 2Bte 1 fidj bie plotten 23nrfdjen frcuen l ! (g$ mix einfredjte Shtnft.] Atierbacli s Keller. roeiter fcorgt. Sc. Ijaft id) mir ! ^ . . | £>er (SdjmgrBaudj mit ber fallen ^lattc 2)a3 UngtM madjt iljn jaljm unb mtlb (£r fteljt ! 1^ (^ in ber gefdjrootlnen dtattt @ein ganj natnrlid) ©6enfcilb. 2Beife 2Bat)rI)aftig. nnb fcilbet feinc fente. S)em 23oIfe l)ier roirb jeber £ag eilt 3^ 3Hit roenig 2Bi$ nnb Diet S)rel)t jeber ftc^ Sdjagen 2Bie jnnge $crfcett im engen 3irfettan$.

* &*of$* 31}r fet)b ioot)t fpat $afct iljr ton mit $erren §cm$ nodj SRippadj aufgefcodjen ? erft julEacfyt gefyeift ? £eut 2Btr ftnb hrir iljn oorfceigereift . $icl ©ru'jjj e Ijat er tm$ an jeben aufgetrogen. 2)en £enfet frurt bag JBoIfdjen me. 1 2Rarftjtf)reier ftnb 3 getoig . un$ and) $u end) gu fe^cn ? <©tatt eineg guten £runfg. id^ fdjraufce fte (ju ftauft). 5. tl)r £>errn ©teoeL SSteX (Sctfe. SUtmaper.) 2£ag Ijhtft ber $ert auf @inem gufl ? 3(1 eg erlaufif. 2>en 23nrfdjen @ie @ie fdjeinen feijen Iciest bie SBiirnter au$ ber mix an$ einem eblen £ang. 3>Ijr fdjeint eitt fetyt oertooljnter 2Rann. ^u S v Ijafcen iljn bag {external gefprodjem 35on fetnen $etrern nmfjt' er otel §u fagen. tt>ie Goethe einen $inber$aljn.atte SaufL @et)b un$ gegrtift. gegen 5refc$.) -w- . ©an! $um ®egengru£ SDTc^tflo^ eleS sen ber @eite anfeljenb.! ! ! ! . u> 33ranber. fhrt& unb unjufrieben cms* 2tofe. Unb toenn er fte kirn traaen I. id) twettc grofdj* @Het> 2XdC>t. [Sc. s Faust. 150 3iel)' id). ((§r neigt fid. ben man nidjt Ijafien faint/ @oll bte ©efeflfdjaft un$ erge|en.

) (£3 ttctr einmal ein timig.f<$* id) frieg il)n fdjon SBerni idj nidjt trrte. (£3 toat ^en liefct er gat* nid)t toemg. einmal ein $ onicj. toarte nur. 1 t c be! <£in pftfft£et patron ffro.] Auerbacti s Keller. r r TO tote feinen eignen ***"'' '• ^ •/ \ > . Ijorten totr ^' ( ©eufcte (Stimmen ©joruS ftngen ? ©ettig. 151 £>a Ijaji bu'S 1 ! ber »cr|teljt $ 1 @ Kun. (Seljit.ier $on biefer 2Boifcun<j toieberftingen (Segb iljv ttofyl grofcf)* gar ein SSirtaoS ? </ O nein @efct ! bie 5traft ift fdjfoacf). VLltmaycx (teife). £>er ^att' einen gtojjen gfol) — ©ordjt ! einen gfolj ift (£in gfolj £>afct ityr ba£ mir ein fauBter ©afh ! tooljl gefafjt ? A^x (faflt).o. bie 2Renge. 2)em fdjonen £anb be3 2Bein$ unb ber ©efange. (®tngt. ©efang mug treffticf) I. 2)cr l)att' einen gro^en $toI). ©tefceL to 2Btr aut^ em nagelneueS @tutf — <L "-^ fommen erft ou^ (Spcmien juriitf.! ! ! ! ! Sc. allein bie Sufi ift grofl m\$ ein Sieb SBenn iljr fcegetyrt.

f)atV einen grogen ©tern. mir auf'S gcnaufte mijfr Unb bag. 2Bir fmtfen unb erflttfen fftdjt. £)te £ofen feme fatten tterfen 2)ag er 9ttepljtjio)»peIe& 3n ©ammet unb 2Bar er in @eibc nun angerljan. SMe ttaren fefyr geptctgtr v> £)ie ®om<jm unb bie 3o_fe ua*^ **J @eftoct)en .rc - * ^ 2Bir rrncfen unb ^ 3)odj gleidj. Goethe s Faust. roenn enter ftidjt. Unb £errn unb graun am £ofe.! ! 152 £)a 2)a. $atte 33anber auf bem tletbe. QatV and? ein $rcu$ baran. jte & A~^. y^^JlVv^. 5. Unb mig iljm £ofen an 33tant>er. [Sc. ttenn etner gtofc^ 23rafco ! 23raoo ! 2)aS ttar fdjim ! ©tefcel. Qtfjoru^ (fauc^enb). Unb Unb burften unb genagt. 35ergcf t mix nidjt. fo lieB fern topf tlnn iff. Unb Unb tear foajeid) 2ttmifter. rief er feinen ©djnetber.7 crftitfen ' ftea. jucfen ntdjt. bcm ©djneibcr em^ufdjarfen. SDod) gtetd). fte mdjt rm Jen. £)a ttmrben feme ©efdjftnfter 35ei §of and) grog e perm. @o foil e$ jebem glolj erg$n ! V^f . : 2)er ©dmeiber tarn ^eran tmj bem 3unfer f fetber.

SUtmaper (tctfe). 2?ur gefit nidjt gar ju Kerne ^rofien il)r ein guteS ©lag/ 2)enn ttenn id) jubictren foil/ ^erlang idj and) bct$ 2Kaut redjt 1 ooll. 2)al)inten Ijat ber SBirtlj ein $orfcdjen SBerfyeug fteljn. ^^ ©ieoeL mogen ba# nidjt ttieber Ijoren 3d) fitrdjte 1 mn> ber 2Birtf) kf%eret_ftcl) . n?a£ roitnfe^et tl)r $u fdjmcden ? ffrofdfr. @ie finb com ^eine. 5. w (©djafft cinen Sojrer an ! 23tanber* 2Ba3 foil mit bent gefdjclm ? 3I)r Ijafct bodj nidjt bie gaffer oor ber £ljure ? . <^n ©onft gab id) biefen ttertljen ©aften 2lu3 unferm Mer toaS gum 25eftem 8tebeL 2tor tmmer l)er ! td) neljm ^ auf midj. 1 5rofdj* ©djafft fo ttolten totr eud) lol&en. toie idj fpiire. Sc. meint tljr ba$ ? £d?t fljr fo mandjerlei ? . SBemt eurc°2Beme nur 2Bir ein luSdjen to&en. ^C^tftO^ele^ (3u (mmrnt ben Sourer).!! .] Auerbacti s Keller 33ranber + 153 ^\%t bie finger unb pacft fte fcitt (£* IcBc bie grciljeit ! © lebe ber 5lltma^er + 2Bem 2J?ep£tjlop£ele& 27cepjnftoppelee* 3d} trance gem em ©Ia$.) 2hm 25*tc fagt. grofty. ! . bie gretljcit Ijodj fceffe'r p e^ten.

iftopf>eleS (&o$rt). 3d) fietr eS einem jeben ^^ vtJ 8ll}a ! bn fangft fdjon an ttenn bie Sippen afyuletfen. > 2)a3 $aterlanb (inbem er werleiljt bie alterfieften ©a&eiu (JW* ^^ ! 9ttep£tfloppele$ an tern $Iafc. bag finb £afd)enfpjejerfadjen (ju SSranber).er (ju Swfty). 2Rann mag feinen granjen 2Beine rrinft er gem. ®tbt mix ein @Ha£ worn adjten fttgen 2ttepl. j^*** -fc 2lltmat. eincv l)at inbeffen bie aGBactySpfropfen gemacfyt unb serftopft). liegt @tefcel (inbem fid) 9Jie^tffo#)ete3 feinem $ta|e ncrtjevt). 3d) mnj) gefteljn. feljt ntir inS @eftd)t 3d) 1 fel) e£ ein. ($nd) foil fogleidj £ofaier flief en. £)ag ©utc 2)odj il. 9tteppijiopJjele& fret. 6 . ben fanren ntag ity nidjt. ' 1 54 ' GoethJ s Faust. ein Sod) in ben £iftf.!! ! ! . Unb tip ? 23ranber* 3d^ frill (£ljampagner*2Bein. 2tein. fo twill id) jRIjeintoein Baku. \)x Ijafct un$ nnr gnm Scficn.tanb Mjrt). too Srofcfy jt|t. [Sc. @nt ! id} ttaljlen foil.re (Sin (tester bentfd)er wt$ oft fo fern. StofcJ). SSerfdjafft etn toenig 2Bad}3. 5^e^ifto^cle^ © ! (Sf ! 2Rit foldjcn eblen ©aflcn . £>erren. 23tanber* 21lan farnt nidt)t flet$ bag $rembe meiben. bie ^frojrfen gleid) 511 madjen %iv p- Sllimaper* $d). foil er Unb redjt monffirenb fegn *W ' 9tte^ifto^ele3 (bofyxt. leiben.

fjolj bie 3ta>en.t an. UnS i(l TO 2>aS iBolf ift fret. ~"r 2)er I)oI$erne £ifd) famt 2Beitt audj gefcen. ©eaten fel. $elft ! ^eiter ! £elft ! £>ie §i>tte frrennt . 155 2BaV e3 fcisdjen fciet getoagt id) ©efdjfoinb 2htr grab' IjerauS gefagt Wit tteldjem SGBeine famt bienen ? SUtmaper* 2Rit jebem ! 2htr nic^t lang gefragt (^actybem bie Soctyer atfe g»&oljrt unb scrfto^ft ftnb. ttie tool's iljm geljt ffaufr 3d) ^atte Sufi nun afcjufaljren. @in tiefer SStttf in bie 2totur £>ier ift ein SBunber. unb jcbem ber »ertangte f(ie|jt SQBein inS ®(a3 Iftuft). bie 35eftiatitat 2Birb jtd) gar I)err(id) offenBaren.] Auerbadi em ! s Keller. n)ie fiinf^unbert ganj faniMifd) tooljl. (55ieb ttur erfl 2Id)t. ber unS 3Wepj>tjlopf>eIe& 2htr ^iitet eudj. 5. bag il)r mir tridjtS oergtep nrieberljoft. ber 2Bein fHcfjt auf btc (5rbc unb toirb jur Sfamme). © fdjimer SSrunnen. gtaufcet rntr 2ton ^te^t bie ^fropfen unb genieft (inbem fie tie ^fropfen jieljen.) (mit feltfamen ©eberben). £rauBen Mat ber SBeinftorf.! ! ! ! ! !! ! ! ! ! Sc. Corner ber Siegenfcocf £)er SBefo ift faftig.) (@ie trinfen sine (fingen). ©tefcef (trinft umjorficfytig.

5. unS ba0 $um jtoeitenmale Weifcen gan$ "X^ ^ <— 3$) batifV. (StefceL 2Ba$ ( &$ $ag baS fei.pfen gegefeuer. Unb I.) 2Co tin id} ? SOBet^e^ fdjimc Sanb . 3flepfuftop$ele$ (bte Stcimme befpvecfyenb).) sjftepljijtoplKleS (mit ernfttyafter ®e6erbe).ier feirt £o!u3pom3 feseSen ? etilT.! ! ! ! ! ! ! . ©tefceL 2Ba3. -' 2)u ttnttft un$ gar nod) grofi fccgegnen ? 23rant>er* 2Bart nur ! d$ foflen ©dotage regnen bem ! Slltmaper (jteljt etnen $fropf cms Sifcty. freunbttc!) Element (3u bem (Scfetlen. #err ? (£r tt>iU ftc^ unterftel)n. &q ruljig.) giir bicjjmal toar e3 nur em £ro. atteg Beinfag ©tebeL 35efenftten . ! ! ' 156 Goethe s Faust [Sc. 3d) fcrenn' ! \§ fcrenne ©t'ebeL Baufcerei ©toft ju ! ber fori (®ie ifi ©o^clfrci jtefyen tie 3Jieffer unb geljrn auf 9JJe^tfio^cte§ loS. e3 fpringt iljm ffeuar entgegen).n ? 2Bart ! 3§r fdjeinet/ bag iljx un$ nidjt foil fc^It e$ ttjeuer tat ! (£r ?rofc$. roix ^ieflett fljtt fac^te feittoart$ geljn. galfd} @eWb fyier unb 2Bort $eranbem @inn unb Ort (Se^b unb bort fel^t (®ie ftd)n erjtaunt unb etnanber an.

unb ^e^en bie 2tteffer.) (ttjte ofeen).] Auerbacti s Keller. ! Unb beine 1 Ijafc id) in ber $anb (&$ roar eitt S>j|ta$. 157 SBemfcerge ! @e^ id) tcdjt ? (StefceL itnb Srcmfccn gleid) $ur £anb 33rant>er» §ier unter bicfem griiiten ! £anBe. anbern tljun httyt toeld) em (Stotf t»ei @el)t. 2Bte? grofcfj. bie ©efeften fasten aug einanber. roa3 iji gefdjcljn ? @tebeL 2Bo ift ber f crl ? itict)t SBenn ic^ iljn fpiire. &# tiegt mir bieifd)tx>er in (@idj nacf> ben giifjen.o. ffrof*. tote ber Sfccufel fr>a£e ttetfcfyftnnbet (@r mtt Sciuft.) 2ttein ! Oolite n?oI?l ber SBein nodj fliepen ? . fofjl log ber Stolen 25anb Unb merft end). ber cjing bnrdj atte ©licbcr I @djafft einen <&tuty id) ftnfe nieber* Stem. ! 3rrtlmm. bcm Sifcfye toenbcnb. fagt mir nnr. toetc^e £ranfte $)ie eg tocctyfetfeitig ((5r fapt ©iebetn bet S^afe.) @tebeL 2BaS 1 gieBi * ? 5lltmapev.! ! ! ! Sc. 2Bar bag beine SRafc ? 23ranbet (511 @ieM). ! (£r foil mir leBenbig geljn ^Utmaper* 3dj ^ab* tljn fetBjt JjinanS §nr Mertljiire — 2luf einem gaffe reiten felm.

ate tranf ify 2Betn. ! ! . 2Rtr baudjte bod). §at bie 2latnr nnb Ijat etn ebler @etft 2ftdjt irgenb etnen 23alfam anggefunben ? 3Rep$ifi*|>$cIefc 2ttem greunb. SGBanbe unb mit bem feltfamften <§erenl?augratl) auggefdnnittft. 2hm fag' mtr etn£. 9luf einem niebrigen <§erbe fletyt cm grofer i?effel iifccr bem better. 6. tdj foil 3n btefem 2Bnft oon 3taferei ? SSerlattg* idj Dtatl) oon etnem alten SQBeibe ? Unb fdjafft bte (Subetfodjerei 2Gol)l bretftg 3al)re 2Bcl. unb forgt. [Sc. 23rant>er + $l>er toie mar e3 mit ben Zxavfotxi ? 5lltmaper. man foil fein SBunber glaufcen ! SCENE 6. Sxunpfe. ©tebeL 23etrng ttar alleS. jetgen fid^ »erfct.tebene ©eftaXten. Unb ift . fid). mtr. nnn X)icl) fpridjfl bn toteber ling natiirltdj gu oerjitngen. ba# 2>er 3)ieerfater mit ben Sungen fi£t banefcen unb tocirmt 3)ecfe finb er nicfyt itfcerlauft. toemt mtr 00m £etf>e ? bn nidjtS 23effer3 n?etf t ©djon tft bte £>offnnng mtr aerfdjtwmben. 3n bem ©inc 9Jleejfa£e fifct bet bem j?ef(et unb fcfjaumt tfjn. ftauft. ber bacon in bic £olje fteigt.. 2Rtr nriberftel)t baS tolle 3anBerttefen gettefen &erfyrtd)ft bu mtr. 2fte^ifto^ele3. Sing nnb @d}etn. gtebf 3 and) etn etn hnmberltd) (£apttet TOtel Slllein e3 ftel)t in einem anbern 25nd). 158 Goethe s Faust.

oljne (Mb unb 3auBerei $tt Ijatfen p tyaBen 23egieB bid) gleid) l)tnau$ cwfS $elb. gait ft 159 3d) ttitt eS ttJiffcn. 6. Shmft unb 2Biffenfd)aft ©ebulb toill Bei bent 2Berfe fqn. tta£ (£g ftnb gar ba^u gcI)ort. Gmt ftitter @eift ift 3aljre lang gefdjaftig £)ie 3eft nur ntad)t bie feine ©aljrung ifraftig. gfauB'.! ! .] Hexenkuche. SeB 1 ntit bent $iel) al$ $iel). idj fcmn mid) Bequcmcn. Unb alle^. sc. fetBft ju bitngen ba$ Befte »tet. 2Rep$fpoy$ere& @ut Unb SXr^t ! Gin ! 2RitteI. unb gu graBen. . ftel)t gar nid)t an. 2ltferr ift unb adjt' eS ntd^t fur Oraulv 2)en 2)a3 ben bu entteft. gang' an (Jrljalte bid) fetcfljte bid) ntit ungemifd)ter ©peife. unb beinen @inn 3n einem gang Befdjrcinften treife. . (So ntujj benn bod) bie £exe bran ! 2Barum benn jufl baS atte 2BeiB ! f annfl bu ben £ranf nia)t fetBer Brauen ? 9Rep$ifiop$ele& 2)a3 n?aV ein fd)oner SeitoertreiB 3d) foottf inbefj 2lid)t tvoljl taufenb SSritcfen Bauen. bie £anb ntir §u neljmen. £eufel frmn'3 . nnmberBare @ad)en I)at fte'S 2)er £eufe( 2lttein ber gtoar getefyrt nid)t ntadjen. ! 2fof ac^t^ig 3a^r bid) gu oerjitngen ^ nid)t 8a*fr 5Da$ Bin £)en (Spaten in 2)aS enge 2eBen id) nid)t gefooljnt. attein.

irv. - - Dei ~ *• ftattx ^ lint ma&-: $.. :. - :.. - : ::::. : i:\ ::: : 6on 2 i mm [c : btc x\ .„ "• •: :.':.r 2. : . :::: 2: . -.. . '•: : :. : 3: . "- -.. - - - : -.. : u: : 3. . . .' ru 3 :' .: - ... t ".::':.:. : ? T J. : : . ..: - .. U -: . _ ... - ..: 11::: H n :. £$tfl I c.-.. 2:::::::' . i: '" :: :!•: :::::: .'".

Unbbtefer£opf? $aier unt» $d$tm £)er a%rne £ropf ! . Wcin $alt bewon 5Du muflt perben @ie ift son S^on.] Hexenkuche. 2Ba$ foil ba$ ©ieb ? £)er $ater (tyoft eg tyerunter).) £)er tater. £)a$iftbie2£ett.! !! ! . 161 2Bte gtitiflidj toiirbe ftdj bcr Stffc fd)ci£en. fie burctyfetyen. 2Barft bn ein £>iefr. SBoUt (Grr 1 idj bid) gleidj erfennen. 6. Sc. |>ier glanjt Unb V ^ter nodj mel)r. bid) (£3 gieBt ©djer&en. r 3>dj Bin lefienbig liefcer <SoIjn. ben teffet M . fcftcn ! fiornit* er nur and) in« Sotto bie (Snbeffen |a5«l iungen Sfteerfci^cn mtt etner gtofien Jfuget gefpielt unb rotten fie tyeroor. @ie ftcigt nnb faltt yt> Unb @ie roltt fceftanbig ftingt toic fcalb ferid>t @fa$ ba3 ? We 3ft I)ol)I intocnbig fie fel)r.) Uuft jur tfa&tn unb U$t ©telj bnrdj baS ©iefc *' (£tfenn|t bu ben 2)ieb ? U)G> Unb barfft il)n nidjt nennetu (fic$ bent Seuer nfiljernb). (£r fennt ntdjt (£r fennt nicfyi ben Zop\. ! ! .

t tjaben. 2Ruf ift baS 2Beifc fo fdjito ? an biefem I)ingeftredten £eiBe £)en 3nm)egriff oon alien £immeln fel)n @o etoa^nbet ftd) anf @rben ? id) x | 2latiirlid). © fc9 fo gut.) £ier ft^ td) £)en Setter ttie ber 1 Ijalt ic§ I)ier. ben fdjnettften beiner ^litgel. giir biefl mal bid) w^^ immer fatt 3d) h)ei|l bir fo ein (2d)a|d)en an^nfpiiten. %<xi. gfep(iftop$eW& UnpP&eS^ter! £)er better* S)en 2Bebet nitron Ijier.ete^ ju fifcen. SDtepfyifhtyljefeS. Unb 2ld). fci§rt fort ju fpvedjen. 6. td) nid)t ! 30* tann nnr al$ tt>ie im 2leM fel)it £)a3 fdjonfte 23ilb oon eincm 2Beibe id) fte — ? 3fl'$ ntoglid). Unb fcf ((5rr nottyigt bid) in (SeffeU ben 9Jiept. 2BaS fe^ 3eigt fid) id) ? 2Belc^ ein Ijmtmlifdj 23ilb in biefcm Sanberfpiegel leil)e ntir O SteBe.! ! ! ! 1 62 Goethe s Faust. tl)r fiil)re ntid) in ©eftejb ! hjenn id) 2Bemt anf biefer ©telle oleik.) Saujl (tnefdjer biefe 3eit iiBcr »or cinem ©pieget gefknben.. tonig anf bent £l)rone eg fel)ft nnr nod) bie tone. toer fiefjt (5auft betynenb immerfort in ben ©pieget. gcnafyert. bringen bent 3Jie^ifto^ete^ eincftrone mit gvofiem ©efdjrei). e$ foage. Unb feltft am @nbe ftel) S3ra^o fagt. . ttenn ein ©ott ftd) crft fed)S £age ptugt. Unb 2113 ba# gnte ©djuffat SBrantigam fte t)eitngufiil)ren felig. fief? tf.m balb batb fid? »on ifym cntfcrnt i)at).iftopI. [Sc. £)te (toelcfye £IHere bigger atferlei ftunberlicfye SBetoegungen luxfy einanber gemad. nat) $u gel)it. £)a mnj) e$ ttaS ©efdjejbte* foerben. fid) in bent ©effet unb mit bent SBebel fpielenb.

) Bag 2Ber ift bag fycv ? 2Ber feyb tyr l)ier ? Skgroolittfjrba? fdj lid) |tdj ctn ? m 2 . !Die <§ere fommt butdj bie mit entfe^tidjem (SJefd^ret fjierunter gefafyren. .Krone um unb jetBrecfyen fie in jtoet ©tutfe. 2ftein 35ufen fcingt (£ntfewen ttir mir an ju fcremten un3 nur gefdjttinb ! (in oBiger (Steftung). man Menneu/ ftnb. toenigfteng mufj 2)afi eS aufridjtige £>er Jteffel. fangt an iiBerjufaufen . 2ttep£tftop$ete$ (auf bie Sfyiere beutenb).) 2htn ift e3 gefd§el)tt feint/ 2Bir reben unb 2 /^o 2BeI) 2Btr I. Sfamme jum ©djornftein I)inau3fct)tagt. mit todtym Ijerumfpringen. 6. Wit £)ie 163 ©djtoeig unb mit Slut tone fie $u leimen (@ie gefyen ungefdntft mit bet .5ren unb reimen Sauft (gegen ben (Spiegel). 2hm fangt mir an faft fefl&fl ber f opf unS ^u fdjftanfen. eg entfteijt eine gtofe Mamme. fcerfengft bie gran 23erfluct>te3 £l)ier (Sauft unb SJkpBiftopfjeleS erBItcfenb.! ! ! ! ! ! sc.] Hexenkiiche. £)tc £erc* 2/00 2lu! 2to! 2tu! »u! ! $erbammte£ £t)ier ^crffucfjte @au ! SSerfaumfl ben feffet. ttetrfjen bie $a|$in Bigger aupet tvdtye 2ld)t gelaffen. 2htn. £>te ^ptere* Unb roenn Unb toemt e£ eg glutft. mir ! itt^ merbe fdjier tterriiift. jfdj fdjtffc **- @o ftnb e£ ®ebanfem Saufl (toie oBen).0 ^oeten u^-^-^- '.

ben er in ber <§anb fy&tt. . . Wucfy bie (Suitor.. . 1 aerjeiljt ben rd)en ®tuf (Sel) itt^ bod) feinen ^ferbefuf 2Bo (tub benn eure fceiben Otalfjn ? pr biefimal fommft bu fo baoon 2)enn frettid) i(l e3 tint 2Beile fd)on. 2Ba3 ^alt mid) fo fdjtag' id) $u. £)a3 norbifd)e ^I)antom tft nun nid)t mel)t $u fd)auen 2Bo ftel)ft bu Corner. SDie geuetpein (£udj in$ ©efcein (@te fcil. ! @nt$toei ent^ttei ©a £)a liegt ber liegt tft Srei ba$ ®la# I &$ nur @paf Sftefobei. bie alle Belt Mecft. £)er foitrbe mir fcei Seuten fd)aben ^ . £)a$ ttnr un3 itid^t gefel)en Ijafcen. £)er £act. unb unter bie ®tafev unb £ityfe fcfylagt).! ! ! ! 164 Goethe s Faust. [Sc. . bu 2la$. g.tftopj>ere3 (ttetctyet ben SBebd.) 3)ieptyifto^ete8 unb ben £f)ieren.iere toinfctn. Serfd)mettre bid) unb beine ®a$en*©etjter §afl bu fcorm rotten 2Bamm$ ttidjt tneljr Otcfyect ? Sannft bu bie £almenfebcr nid)t erfennen ? <paD' ic^ bief Slngefidjt fcerftcdt ? TO £exe ! l - @ofl id) mid) ettta feller nennen ? £)te £) + $m. 3u bemer : (Snbem (£rfcnnft (jrfetmft bie £exe soft ! ®rimm unb ©ntfe^en ! jurftcttritt. @d)foeif unb feauen ? Unb ttaS ben gufl Betrifft.) bu mid) ? ©mgjpe ©djeufat bu bu bcinen §erra unb SKeiftcr ? cd>. ben ia) nidjt miffen fann. mfy Sfauji.rt mit bem <3<$aumloffel in ben Jleffel unb ftmfct Slammeit £>ie £I. 9flepI. umfetyrt. $at auf ben £eufel fid) erffrecft .

fcin fo ift bie (Sadje ein (£afcalier. Dn ^voeifelffc nid)t (Stelj t. Dtp £ere. (3» gauft). roie anbre dcmaliere. mit $exen um^ngefyn. kbicn 1 165 s Dawm @eit idj mid). §a ! ©a ! DaS ift in enrer 2lrt il)r 3l.! ! . sc. Die £ere. toerBitt' id) mir Die SBawm @:r ift £>ere. : .) ^)te (ladfjt £ere unmcifitg). 2Beifc. baS 1% fiil)re ((Sr matyt erne unanftanbige ©efcerbe. (Sinn nnb 23erftanb toerlier* Oe^ ic^ ben 3unfer ©atatt id) fd)ier. ? 2Ba3 I)at er end) getl)an ? 9tte^tftopf>ere^ fd)on tang 1 tn$ gaMfatd) gefd)riefcen 2ltfein bie 2ttenfd)en ftnb ntd)t3 Beffer bran Den 3d) 23ofcn ftnb fte fo$/ bie 235fen ftitb geMiekn. SttepJJtfiopfjeleS 2Rein preunb.! . 2lnS ber tdj fetbjt gmueilen nafd)e. il)r $erren. toieten 3al)ren falfdjer 2Baben. aud) nid)t mcijr im minb'ften ftinft 3d) will eudj gent ein @Ia$djcn gefecn. 6.r fegb ein <Sd)etm. bag iffe an meinem eblen 35Iut baS 2Baj3gen. foa6 il)r fdjajjt (Jin gnteS ®la$ »on id^ bent belannten attfte bitten ©aft Dod) mnj? end) nmS S)ie 3al)re boppetn feme traft.] Hexenkuche. 2hm fagt. baS terne tootyl i>erftel)n ! Diefi ift bie 2lrt.! !. ©ar Die gern ! §ier J)af>' id) eine glafd)e. Die £ere (tanjenb). . roie manner Junge 2Rann. ! . tx>teber I)icr ^e^tftop^ele^ Den 2lamen. gut Dtt nennft mid) §erc 23aron. nrie nnr immer wart.er.

igt (@r Sauften. @ie ttinft ^auften. SDrei mad)' gleid). ©n£ bu mad)' 3el)n. eine £affe fcoll beinen $rei$. @mb mit fcefcmnt/ yer^a^t genng. 6. (£3 ifl tin gnter $tennb.! ! . 1 66 Goethe s Faust. Bifl 1 ©0 @o reidj. ^offen ©eg nnr nicC)t etn fo fttenger Sftamt <2ie muf alS 2lrjt etn 5>ofu$pofuS madjcn. nic^t eine (So farm err totgt il)r ttotyl. [Sc. 3ule|t fctingt fie em grofieS SSucfy. bte rafenben (Merbcn. ! 2)amit ber @aft btr ttol)l gcbeiljen farm. fimdj beine ©prnd)e. SSerlter bie 23ier 2lnS giinf nnb @edj«. an ju ftingen. bie JJejfel $u tonen. ju ifjr ju treten). ©tnnbe lefien. (*«fe. <^ Unb Unb 3toei laf geljn.) Die £ere (mit grower ©m^afe fangt an au$ bem £)n mnf t oerftetyn 2lu§ SSucfje ju bectamircn). £)a3 tfl mtr £nm Sadden (St.) £)odj toemt e$ biefer 3Rann un&orfcereitet trinft. il)tn bem e3 gebeijen foil 3d) gomt' 0~ 3iel) gern baS 25efte beiner iiidje. giefc Unb i§m £)te tnbeffen fangen bie ©tafcr £exe fteflt (mit fcttfamen ©efcerbcn. ttaS foil bag tterben ? 3eug. bie if)r 3um ^Mt^bienen unb bie gacfel fatten miiffen. fagt bie £ex\ 2ld)t. 2Ra^ ©iefien nnb ®otfi'*iN>lftra4t! . 3)cr djgefdjmadteftc 25etrng. JRein/ fage 2)a3 tolle tttir. ni3tl.! ! . in ben JtreiS ju treten. $tdjt einen ^ret6 unb nnmberfcare <8arf>en fyinein . ftcttt bie unb madden DJhtftf. Sfteerfalsen in ben Jlreig.

unb fitfle Die ©djale rafcr) bis an ben O^attb Imian . \@$ mttffc ftd) babci bod) audj roa3 benlcn laffem Die £ere (fatyrt fort). ift baS £exen*@i nmaM£ffl g )w- JaufL bic 2Wtc fpric^t tm gieber. @enug.ett unb (£in$ unb Drei gu oerbreitcn. roar bie 2Xrt gu alien Beitcn.. sc 6 . Dttrd) Drei unb (Sfatf/ Srrtljum ftatt 3BaI)rI. 2 1 DaS ift nod) tange tticfjt ooritber. Der gcmjen SBelt i" Unb tter nidjt Dent toirb fie bettft. gemtg. . ffaitjt 2Ba# fagt fte (£3 toirb mir t ttttS ftir Uttjtmt oor ? gteid) ber 5?opf jerfcredjcn. Unb Keim Unb 3 elm ift ift 1 67 p?*~ @in«. 33uc^ . ! DaS TO^bunft. ^3(j fenn' e3 too^O fo ftittgt baS gatt^e 3d) I)abc marine 3ett bamit ocrtoren. (£r fyat ftc otjne (Sorgen. gefdjenft. 2Rid) bttnlt. id) Jjor* ein gauges (SI)or $on lutnberttaufenb barren fpredjen. Demi cin totflfomtmter SBibcrfprudj 23(eibt gteid) geljeimmjjtoofl fur toge hrie ftir £l. fcinS. roemt er nur SBovtc I)ih't. Die ^oI)e toft oerborgen ! Der 2Biffenfd>ft. .orem ^^ r © 3Rein Sreuuiv bie totft ijt alt unb neu. trcfflid^c <&ifyVic ! ($ieb beinett Stranf t)erbei. ] Hexenkuche. ungeftort frefaffen ? (590 fdjtoafct 2Ber ' toill M unb ntit teljrt man ben 2carrn 1 a ^/®en?cl)ntid7g(au&t ber 2ftenfd).

\ « . : [Sc. entjiefjt etne teidfjte Sfamme). ©en ebten gaufr £ag mtdj nur fdjnelt nodj in ben (Spiegel fdjauen ! zim' ©a3 Hem Him ^rauenbtlb ttar gar ^u fd)5n ! Stein ! ©u foITfr bag 2Ru£er feljn. 2Bie ftd) (£upibo regt unb Ijin unb ttneber fyringt. Unb balb empfmbeft bu mit innigem @rge|en. 2tur fcifdj Ijmunter ! 3mmer $u @$ i i ttirb bir gleid) baS §erj erfreuem ': 23ift Unb ttttlfi bidj ttor mit bem £eufel bu unb bu. ©te £ere* ^>ter ift ein £teb il)r ! ttenn tljr'S gutoetlen ftngt. tote fte 3auj! an ken SJlnnb fcrtngt. ©enn metnem (£r ift ein Mann greunb tttrb bfefer £ranf md)t fdjaben son fctelen ©raben. 2Uuftggang lefyr' ic^ fyemad) bid) fcfyafcen. 6. alter grauen balb leibljafftg t>or bir .! ! ! 1 68 Goethe s Faust. @o barffl bu mir'S nur auf 2Bafyurgt3 fagen. fcfyenft ben £ranf in etne @ctyate.ren ! ©« z mufjt notfytoenbtg tranfptriren. SttepjjtfiopjjeleS (ju afaufi). ^\ l ©te £ere (mit meten (Seremonten. ©te £ere* 3Rcg* end) baS (Sdjlucfdjen toot. ©o tterbet befonbre 2Btrftmg fpiiren. Sauft tritt fyerauS.! beljagen (jur «§cj:e).te loft ben J?ret3. $omm nur gefdjtttnb unb taf bid) fit(. J ©er mand^en guten ©djlucf getljan. H Unb fann ^ '' id) bir ttaS ju ©efatten tljun. bie $raft burdj h o ©amit 3nn* unb 2(euf re$ brtngt. 2lun frifd^ fyinauS ! ©u barffl nidjt ruljn.«. ber glamnte fdjeuen ? 3)ic £e.

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1 . il)n fo fein geBrad)t t)ierl)er. -& . 3u tf)m 3Jte^^tfto^^etc§. lx»ie ein DtafeiiSeTju toBen -• ben ©djmud. ein geffienfter ift ttid&t ©out. 9. ^^^ ^ ^ f ^w ' La^ 7 ° jekt auf baS 25Iut SBollen * ber Gutter Wotted foefljen. 2ftein $inb ! rief fte.] Spaziergang. Unb 2>er 3)ie wal)r(id) ! gottlo* ber. Unb rtedjt'3 einem jeben 2Ko^I an. ! ! sc. ©letdj fangt^ il)r l)cimlid) an ju graucn X)ie $rau Ijat gar einen fcinen ©erud). Mephistophelei Bericht 177 SCENE 9. ^d^c ! *^' %* SJRargrettein ^og ein fdjiefeg 2ftaul .. Gutter fief) einen ^ faffen fommen . C T A : . 2Birb un$ mit £tmmel$*2Ranna erfreuen Seianjt 1 bie ©eele. OB ba3 £>ing Ijetlig ift ober profan Unb an bem @d)mud. ^n-/ 3ft l]att\ bad)f fte. id) bcnn fo feljr ? @o •' Jetn ©eftdjt in mcinem £eBen 3d) modjt' mid) gleid) 2Bemt idj nur fcfefl fein Steufct bcm £eufct iiBergeBem war 1 ! Jauft U >' ©at ftd) bir m$ im ®or>f »crQo?cn ? ™^T Qify fletbef 3. fiir ©rctd^cn angcfd)afft. 2)enft £)en Bat ein ^faff l)infteggerafft ! fc £)ie Gutter fctegi ba3 £>ing 511 fd)auen. ungeredjfeS ®ut mm — -. 1^ * ©djmtffelt imnter im ©eBetBudj. ^e^tfto^ele^ ^~° 25ei alter fcerfd)mat)ten SieBe ! 25eim l)oflifd)cn (£Iemente 3d) toofltV id) nmjjte wa$ togej^bag id^f ftudjen tonnre ! = ^^ gaufh 2£a$ l)aft ^ ! ? was ftteipt bid) fal. ba fm'irt' fte'S flat/ £)ag baBei nid)t i)iel (Segen war. tfaufl in (Sebanfen auf unb afc gefjcnb. .

! ! ! ! ! 178 £)er Ijcttte Goethe fanm ben ben SlnWitf : s Faust. V^9S- 2Beif tteber foaS fte ttilt nod) foil.ele3. nicfyt ®etf nnb ifting'. @pag sernommen. ftc% (jT^ii J tioergeffen . 2todj meljr ' an ben. ber getoinnt. [Sc 9. nnb ridif$ nac^ nteinem ©inn ^ang bid) an iljre 2lac§Darin 1 . bent §erot i(l alleS tinbetfyiel Jaufr Unb mad)'. tann nngercd)te3 @nt oetbanen* Sank £)a3 ift ein allgenteiner 33rand). i in^o TO toaren'S etfen $ftf[erling/. ©enft anS ©ejdnneibe £ag nnb Kadjt. 2 <r< O ja. meine liefcn granen. m 2)anlt* tteniger nnb nidjt meljr. Siefj ftdj (£r fpracl) @o Ijat ifl man redjt geftnnt 2Ber itfcernnnbet. ber^ tljr gefcradjt. (Sin 3nb' nnb femig fann e3 cmdj. IH\ ! £>ie mxtijt einen gnten ^ magen. ofc'3 ein ®or£ ooll Slitffe tt>ar% $etfytac(j ilnten alien Ijimmlifdjen £ol)tt — Unb • fte ttaren feljr errant baocn. ffaitfr Unb@retd)en? @i|t nnn nnwljoou'.^_3^ « v $at gan$e Sflnber Unb boc^ nod) nte anfgefreffert. Kv^Xwnr>w. £)e3 Stevens Summer ein tfjnt (Sdjaff bn tl)r gleic^ 2lm erften foar ja fo mir leibneu ©efdjmcib' nidjt met ^e^tftopr. \ j ^ 2)ie Stitdj' allein. fool)l fceljagen. @tri$ branf ein (Sponge.

fcetriifcen. (Saujl afc. gnaVger £err. »on (S&enljolfr l)errltdj gan. 2Ronb unb ©terne (»b. gafl ftnlen mir bie ®niee nieber SDa pub' tdj fo 3n meinem Unb ein ^aftdjen imeber ©djrein. son £er£en gerne. 9ftargarete* $rau 2Rartl. SCENE 10.e ©reteldjen. unb gar %Btit reiser.! !! . IBieHeidjt ift er — £> ^em ! (@te toetnt. redjt gar tobt ! fyerfllif Xie^en. Unb lap Sljat SE$at il)n mtdj auf bem (Strolj afletn. (aftetn).n. @s I.) Bum Beitoertreifc bem SieBc^en in bie Suft. 10. ! sc.$ @atf)en. 179 (Ses? lljtb fdjaff £eufel bod) uur nidjt tt>ie 25rej. m$ folTS ? 5D?argarete.) ©0 ein serlicfcfer £l)or oerpufft atle ^ ot^^-^v @udj (Sonne.) ! $atV id) nur einen £obtenfd)ein yuXU 2JJargarete fommt. ©oft &erjeiy$ meinem lichen 2ttann. N 2 .] Der Nachbarin Haus. tx>eig ©ott. alS ba3 erfte ttar. 1 einen neuen ©djmutf Ijerfcei 3a.at on mir mdjt tt>oI)fgctI)an (M)t ba ftratf^ in bie 2Bcft I)inein. bodj ttaljrtidj nidjt -fc^ it.

ben grauen SScr^ei^n erficten.e (Sc^merbttein fragen ! . 2Ccr fonnte nur bie fieiben ®aftd)en Brtngen ? (£$ gcl)t nidjt ju mit red) ten 2)ingcn ! (@« kopft. Warty?. fo nad) . 5D?argarete. Unb bann 2Bo man's (£in gieBt'3 einen Slntaft .) 1 2Boltte nad) gran 2Rartt. i8o Goethe s Faust. maxtye. 2)a3 tmtfj @ie ttidjt bcr 2ftutter fagen gfyat'S ftieber gtcic^ $ur 25eidjte tragen. Unb leg* ben ©djmutf tyier Ijetmlid) an (Spacer ein (Stiinbdjen tang bent ©piegelgtaS 2Bir Ijafcen unfre greube bran. . [Sc. ®omm bu nur oft ju mir Ijeru&er. bie ^3erle unb nadfben Seuten fejen bann in$ Ol)r * ^ - laft. 1 ooritBer. (Ce/* - SMe 2Rutter fteijt'3 ttol)l nidjt. tyflax&axete. O bit gtudfefge GEreatur £)arf mid). 10. 1 2ld) felj @ie nur ! ad) fdjau' @ic nur (*>u%t fie ouf).) $?argareie* 2ld) ©ott ! mag baS mcine 2Kutter fer>n ? Waxtye (burets SSor^anget gucfenb). tetdjcn crft.! ! . grab 2Ruj) fcei 1)erein gu treten. letber. gieftt^ ein gcft. ! . <£$ ift ein frember $err — herein n* w m^iftopf)tltS trttt auf. mit fe^en laffett. 35 in fo frei. rtic^t 2?od) in bcr $ird)e auf ber @affcn. (£ritt e^rerbtetig »or CDtargareten jurAtf. man mad)t i|r aud) tva$ oor.

^^ . 5^argarete.iftopl. fommen. urn alleS in ber fiir Belt I.. id) 0ie $er$eit)t bie greiljcit/ bte SBill uad) 2Ktttage toieber genommen.] Der Nachbarin Haus. ! 2Bejen. (£r benn ? $crlange fel)r — ! id) Ijatt' eine frol)ere 2Ra^r U^X-j : 3d) l)offe.e. £)er §err bid) ein grMein alt. 3dj tcnne @ie t)at mix ift baS genug ba gar Dorne^men SSefudj. mid) $erluft ju £obe betriiben. SRargarete* 3dj bin ein amteS jungeS 23lut 2(d) ©ott ber §err ift gar ju gut ©djmudi unb ©efdjmetbe ftnb ntd)t ! ntcin. $?epl.ele^ M) f e3 ift mdjt ber (©djmutf aftein . je£t. unb lajj t (Sie griijjen- Ji) $?artl. 10. 9ttartf>eber £crr §u fagen ? 1 8 3d) Un% \va$ l. 3ft tobt ? bag treue »ttein §erj ! OtDej! i* oergel)' ! ?Rann liebe ift tobt! 2ldj. fo fdjarf 2Bie frent mid^Tbaf id) bleiben barf l)at ein @ie Ov^— ^ 2Ba3 bringt 3(§ luouT. ©off tinb. einen Slid. »er$n>etfett nid)t ©o 3$ I)ort bie traurige ©efdjtdjt' modjte 2Biirbe Sttargaretebrum mem' £ag' nid)t tieben.at (tetfe jui^r). ! ! : ! ! ' 1 Sc. . @ie lajjt midj'S brum nidjt Mfen 3I)r 2Rcmn ift tobt. $dj ! gran.

! . I nidjt tet$glt meljr.. gfetd) in bie dlf $u treten 3()r fei)b ein lieben^frurbig tinb. 2Ba3 2Ba3 ! ttidjt ein @ctoftii(f ? flein ©efdjmeib' ? " jcber £anbmerf3Burfd) im @runb be$ ©cicfetS fpart.ere& 3a. grog unb fcfyfter ! Saf @ie bod) ja ftir it)n br:tl)tmbert 2Reffen ftngen 3m iiBrigen finb meine £afd)en leer. an mid) §u Bringen ? $?epl. <fa Wlaxtyc. <§x$tyt mix feineS SefcenS @d)lug . 2ln einer n>oI)(gen)eil)ten static. 10. lieBer Ijungert.! ! : 1 82 • Goethe s Faust. Seib mug ^reube IjaBeu. ! bag bie URenfdjen fo ungtitcflicjj ftnb ©eroig.iftopl. Sfadj er Bercute feine $el)ler JaTunb Bejammerte 2ldj fein Ungliitf nod) ttiel SfllaxQ arete.at mir Ijerglidj leib fein ©elb roaI)rt)aftig fel)r.^JL' ^^ (£r liegt in ^abua Begraben 23etm !)ei(igen 2tntoniu3. 3um Unb 2lngebenfen aufBetoat)rf. id) tviU fur tlm maud) IRecjuiem nodj Beten. 3reub> mu$ ^eib. liefer Bcrrelt 2ttabam. Sum 5paBt eirotg ftfljlen OfhttjcBette. . maxtfye. 3Ijr rociret toertl). 3fT« nity ein 2Ramt. feg'S berroeir ein (Man. [Sc.. eine SSirte. il)x fonfr nidjtS Wlaxtfyt. Sttargarete* 2tdj nein ! baS gel)t jefct nod) nid)t an. e3 il)itt Wtin er I.

villein.. |A < $on Unb (So s I)aI6gcfaultem @rrolj fanb. Beifoertreifc $u gaffen. (Srjaljtt mir bod) 3d) ftanb an feinem Sterfcektre. ber grojjten §immel$gafcen/ 183 *$ ift eitte @o ein liefc £)ing im Srm ju l)aftcn. gettifj in lefcten Bitgen. bag er roeit mel)r nod) auf ber 3ec^e Ijatte. fteig ©ott ! fte mar mel)r (Sdjulb a ^ ify 2)a3 iiigt er ! 2Ba3 ! am 9tanb be3 ®xaU $u litgcn -^J¥4 Cfr faMte I)arte. er I)at euij tyer^lid) bran gebaajr. ! mem ! ©etoerfc'/ mein 2Beife fo $u oertaffen 2ld) bie (£rlmvrung robtet mid). nid)t jum /^-jX^u^ /<.! ! ! Sc. unb bann ferot afterfteitften fitr fie $u fdjajfen. t(^ £Bte. ^Unb SSrot im Unb fcmnte £at nid)t Sinn. 2KtfV aHeitt er ftarb" al8 (£l)rijt. 10. einmat mein £I)etf in gricben effen. rief er. $cartpe + er fo aller £reu\ fo alter £ieV oergeffen. bin. ttnber. . fte 23ergaV mir nur nod) in biefem £e£en ! — (toetnettb). 2)aS ift 'X bc$ SanbeS nid^t bcr 25raud).e. sWep§tftop£ele& 35raud) ober utd)t I *>^' -Jr <i$ gtefct jtdj and).] Der Nachbarin Hmis. 2Benn7d)' nur 3d) (*rft l)atb ein tenner fprad) er. ©er gute 2Rann 1 ! id) Ijafc il)m Kingft oergeften. ©er 2cicfyt patferei foi £ag unb 2tad)t ck^~H bod). mufj mid) »on @runb auS Ijaffen. 2ftargarete. . @3 mar ttag Bejfcr at$ oon . 9J?artI.

;

!

!

184
(£g fprarf)
:

Goethe

s

Faust.

[Sc. 10.

TO

id)

mm

roeg

»on 21Mta ging,
firiujft'tg
;

5Da

Deter' id) fiir

grau unb ®inber

*

Un$

roar bemt and) ber

$immel

gitnftigr

SDajj mtfcr @djiff cin iiirfifd) ga$rjeiifl fing,

2)a3 cinen ©d)af$ be$ grojjcn @ultan$

fitljrte.
(
'

Da
Unb

roarb ber 2apferfeit
id)

it)r Sol)tt,

^

emoftng bemt and),

tine ftdj'S geMI)rte,

5?Reut rool)lgcmejmc3

^eil

baoon.

3ttartpe,

©

roie ?

©

too ?

l)<xt

u?$

oieftcidjt

oergraoen ?

2Bev

toetgr too

mm

e3 bie

soier

2Binbe t)akn
feitter an,

!

,

^T^

©n TO
®ie

fd)one3 grauleitt ttaljtn ftd) er in 2lapcl fremb mnl)er fpa^terte
l)at

£v
)**•*
* tf
** M
,
fc
-

an il)m ml Stdjg nnb £mt3 getljan, 2)a£ er'3 M$ an fein fcftg (Sinbe'fpurte.

*^ 2^ /0

2»art$e.
£>er ©djcfat
2iucr) alleS
!

ber 3)ie£ an fcinen ®ittbern
afle Kotlj

!

©enb,

tonnt'

nid)t fein fdjanblidj

Sekn

l)inbent

g#epf>tftopi)ele^

(^ 3a fct)t bqfur ift cr mm tobt. 2BaV idj mm jcfct an enrem pa£e,
!

""^
-

Sctraurt'
$ijtrte

id) it)n

cin judjtig 5>al)r,

v—*

'

bann untertoeiP nad) einem nenen ©ct)a£e.
9ttartt)e +

$d) ©ott
ginb*
id)

!

toie bod) tnein crfter roar,

'

nid)t teid)t

anf biefcr 2Belt ben anbern

(£3 fomtte
(£r liefcte

faum

ein ^ergiger

Mxxfytn

fcmt.

^u^

mtr baS

allsuoTelc 2Banbern,

Unb frentbe 2BeiBer, unb frentben 2Beut, eUocUnb baS oerfmd)te SBurfelfptct.

^epl)tftopl)ele^
2hm, nun, fo 2Bcnn er end)
fount' c3 gcl)n unb
ungefcifyr [0 oiel
fteljen,

$y^i

'III

fr^^

!

! !!

!

Sc. 10.]

Der Nachbarin Haus.
&eitc nadjgefeljen.
enct)
l

185
y

$on

fciner

^"

'

3d) fdjhrtr'

ju,

mltTem

23ebiitg

^

^__,

^<

2Bc$fclt'

ic^ fci&ft

mtt end) ben JRing

marine.

O

f

e3 Belief

bcm §errn gu

fd)erscn

!

(fur ftd>).

2Kim mad)'
£)ie

ic^

mid) bet Seiten fort

I)felte ftoI)l

ben £enfel

fclfcft

kirn 2Bort.

(3u ©rettfjen.)

2Bte ftc^t e3 benn mit 3l;rem ^er^en ?

5Ctfargarete.
2Ba3 meint ber £err bamit
?

$tfep!uftopl)ete3
(fur fid?).

Sn
fSaut.)

gntS, nnfd)itlbig$ $inb

!

Sefit h)ol)l, il;r

grann

^argarete.

Mt
3d) mod)tc gent ein 3engni£

tooI)l

9ftartf>e*

O
Tjafccn,

fagt mir bodj gcfdjnnnb

!

2Bo,

tx>ie

nnb roann

mem

©djafc gefiorfccn unb fcgratcu.
gcttcfen,
Icfen.

3d) tin toon je ber

Drbmtng greunb

SKo^t* itm and) tobt im 2Bod)enMattd)ctt

3a, gnte gran, bnrd) Riveter Scugen 2Ihtnb

2Birb atlertoegS bie SSaljrljett fttnb

;

*^v-

§afce nod^ gar einen fcinen ©efcllen,

Sen

toill idj

end) fcor ben Oftdjtcr ftcltem
l)er.

3d) Bring' ilm

maxtye.

O
Unb
I)icr bie

tl)itt

ba^ ja

/jimgfian

ift

and] ba ?

1

86
!

Goethe''s Faust.

[Sc.
'i

n.

din Braver ®naV
$raulctn3

tfi

Diet geretft,

alte |)ofli^!eit ertoetft

93?

arg arete*

Wifyte

ttor

bem $erren

fdjamrotlj fterben.

S5or feinem tihrige ber (£rben.

SttartH
5) a Ijinterm

§au$

in

metnem ©arten
Ijeui'

2Bollen ttir ber §ernt

2t£enb marten.

SCENE

11.

©trafle.

Saujl.

3Re$tflo^ele8.

3Bte iff 3 ?

WW
$inb'
1

Jauft
forbern ?

BitTS

Mb

geljn ?

^w^
:

9ttepjjtflo!ppeIe&
211)

fcrcwo

!

idj

cud) in ^euer ?

3n fitter 3eit tfl £euf tocnD foUt
i)a3
tft eitt

©retcfycn e ucr,
iljr fie

bei

Kad^atf
!

2RartI)en feljn
fe/^

w "^,

^

2Betfr foie auSerlefen

Sum

Sfotpplcr*

unb 3igeunertoefen

©ovcdjt!

/

,

,.

^Jr

£>odj nrirb and) toaS »on un$ fcegcfyrt

©in SMenft

ift rooljl

be3 anbern

roertlj.

3Btr tegen mtr ein

gitltig

Seugnig

nieber,

2)a§
3>n

ifyreg (£l)t)errn

du^gejecfte ©licber

^)abua an larger

&$ite ruljn.
ffaufl
erft bie fteife

Ib^

@el;r ftug

!

2£ir toerben

mactjen miiffen

!

;

!

!

Sen.]

Mephistopheles zweiter Bericht.

187

Sancta Simplicitas
SScjeucjt nur, ol)ne

!

barum

iff $ nidjt

ju

tl)iut

toict

p

toiffen.

^»^-c
bet

2Benn

(£r nidjtS SBeffcr^ I)at, fo

ift

pan

jerriffen.

*^ tofirt iljr'S nun ! £) Ijeifger 2Kann ! 3ft e3 ba3 erftemal in eutemHeten, £)aj? tfjr falfd) Beugntg afcgelegt ? §abt tbr toon @ott, ber 2Beft unb foa3 fid) brin Befoegt, J8om SKenfdjen, ttaS fid) ilnn in ®otof unb £er$en regt,
2)efinitionen nid)t ntit grog er $raft gegeften,
2ftit freezer

^

^

@titne,
it)r

fiilnter 23ruft ?

Unb
£af>t

itoollt if)t
il)t

redjt in$

Snnre

gel)en,

batoon,

miijjt e3 grab' geftct^en,
<2ri)tt>erbtlein3

@o
£>u

toiel

ate toon

£ernt

Sob genmpt

$aufi
fcift

unb

Meifcft

em

Stigner,

em

@otol)ifte.

3a, ttenn

man's

nidjt ein l>i3d)cn tiefer toiijjte.

£)enn morgen roirft, in alien (£l)ren, 2)a3 arme ©retdjen nidjt fcetl)oren, Unb alle ©eclenlieV il;r fd)n>oren ?

JaufL
Unb
^ttat toon §er$en.

@ut unb

fdjon

2VlT^

S^ann

totrb toon eto'ger

£reu' unb

Stefce,

$on

etnjia,

uBerallmacfyf gem £tiel>e

3Sirb ba3 and) fo toon §crjen geljn ?

$ag bag (£0 toirb ! 2Benn id) emtofinbe, gur ba$ @efuT;l, fur baS @enntl)l Slacf) Seamen fud)e, leinen fm¥e, £)ann buvd) bie SBelt mil alien <Siunen fdjttoeife,
!

ffaujl

!

!

;

!

1

88

Goethe

s

Faust.

[Sc. 12.

%lad) alien I)b'd)ften SBorten greife,
tint) btefe

©fatlj,

oon ber

id)

fcrenne,

ttnenblid), ctoig, eftig nenne,

3ft bag ein teuflifd) ktgenfpiet?

3d)

Ijao* bod) IRedjt

$orM meif
3d) Bittc
bid),

birbicg

$Ser

9fadjt

unb fdjone meine Sunge fceljctlten tviU unb Ijat nur einc 3unge,
td) Ijao'


,

.

JM
'

L
>

r^
(

VBeljSli'* gettig.

Unb fomm,

be3 (SdjtoafcenS UeBerbrujj

;

Qmn bn

fyaft Oxed)t, oor^itgtid)

mil

id)

mug.

V .^

^^

,

SCENE

12.

J*]]

b

fete toto-^rmc.
@arte».

— SDJargarete

an SaufienS 2lrm. 3Jiartlje mit Qftepfjifto^cleg auf unb ab [pajierenb.

3d)

ftttyP

e3 tooty, bag

nm*

ber £err nur

fdjojit,

K<jL;

xt

^

nU

|>erab
Gfttt

fid) lajjt,

mid)

git

tfefdjamen.

^eifenber

ift

fo geh?oI)nt,

2lu$ @ittigfeit

fiirftefc

ju uelmten
fofdj crfa()rnen

"T
2Icann

3d) ioeig
SJlcein

311

gut,

bag

arm ©efprac^
oon
btr,

nid)t unterl)alten famt.

Jauji
(£in 23(td

din 2Bort met)r
biefer SGBeft.

unterfyalt,

M8

aUe 2Bei3l)cit

(@r fufK

tyre Sank.)

9ttarcjarete*

3ncommobirt

end) nid)t
ift

!

2Bie fount

ifyr fie

nur

tuffen ?

@te

ift

fo garftig,
id)

fo raul)

2Ba3 1}aV

nid)t fdjon aQccf fdjaffen
ift

muffen

X)ic ^cutter

gar

511

genau.
(®efjn wvit&er.)

!

;!

Sc. 12.

Erste Garten-Scene.
Wlaxtyc.

189

Unb
^

tl)r,

mein

|>err,

tljr rcifl

fo

immer

fort ?

i

baf ©eroerF unb $flid)t unS ba^u treiften Jriel @djmer$ fccrlagt man mand)en Drt, Hub barf bod) nun cinmat itid>t Weifcett !
2ldj,

2Rit roie

3n

rafdjen 3^)ren geljt'S rooljl an,

@o
Unb

urn unb urn

fret burd) bie

2Belt ^u flreifen

£)od)

fommt
I;at

bie iofe Beit fyeran,

ftd)

ate $agcftol$ altein aunt

Da3

nod) fetnem

rooI)l getfyan,

@rab $u ^<n <

fd)(eifen,

^epI;tftopf>e^
Wit ©raufen
£)rum,
fel)' idj

baS son roeitem

^

"Martt;e.
roertljer

£err,

T6eratl;ct euct) in

3eiten.

l^rr^i /

3D?argarete,
3a, auS ben $ugen, an$ bent
£)te £of!id)feit
2llTeirt il)r ijtibt
tft

®tnn
;
'

!

eud) getajrftg

/^
-

ber ^reunbeljauftg,

\^-

©ie

ftnb oerftanbiger al$ idj Hit.

^auft.

©

23efte

!

glaufce, roaS ntan

fo oerftanbig

nennt,

3ft oft mel)r (£itelfeit unb Shtr^ftmt.

^argarete.
2Bie?
$d), baf bie (Sinfalt, ba£ bie llnfd)ulb nie
(Bio) fel&ft

unb

ttyren I)eif gen 2BertI)

erlennt

2)ajj £)emutl), ^iebrigfcit, bie I)od)ften

£)er

tiefieoott au3tl)eilenben

2htur
cj

®aben

Wl ax axete,

$D

2)enlt

tljr

an mid)

ein 2lugcnHidd)en nur,
Ijafcen.

3d) toerbe 3eit genug an eudj $u benfen

; .

;

i

go

Goethe* s Faust.

[Sc. 12.

3>ljr fesfjb ttoljl

oiel allein ?

9ttavgarete*
3a, unfre SEBirtljfdjaft
tft

nut

flein,

Unb
Unb Unb

bodj hnll

fte oetfetyen
;

fep.
muj? fodjen, fegen, ftrufen

2Bir l)akn feme 2ftagb
naljn,

^
,

.

unb laufen
ift

fruT)

unb fpat

tneine STCutter

in alien
i

©tuden
,

©0

accural!

-;

^

baf fte Juft fo fe^r ftd) emjufdjranfen l;at ; ^-^ 2Bir fonnten unS roeit elj'r al3 anbre regen 2Rein $ater Ijinterliej) ein Ijitfcfdj 33ermogen, @in £au£djen nnb ein ©driven oor ber ©tabt.
2ftdjt
:

^^

*~

,

^
[V-

2)od)

$aV

id) jefct fo jientlid) ftille

£age;

J~~ 2Rein 23ruber ift ©olbat, 2Rein @djtt>efterdjen ift tobt 3dj l)atte mit bent tinb rool)l tneine liefre

2lotIj

;

2)odj fiijewaljm' \§ gem nod) cinntal alle lieB toar mit bag tinb.

page,

@o

(Jin (£ngel, toenn btr'3 glid).

9ftargarete*
3dj jog eS
aitf/

nnb

l)er$lidj IteBt' e3 tnidj.

&$

roar nad) tneineS 35ater^ Slob geboren

£)ie

Gutter

gal>en roir fcerloren,

(So elenb

note fte

bamals
nid)t

lag,

Unb

nadj nnb nad). benfen, bran $Da fonnte fte 2)a$ arme 2Bitrmdjcn felBft ju tranien, Unb fo erjog idj'S ganj allein, Wit Witty unb SBaffer; fo ttarb'S tnein. 2luf meinem tat, in nteinem @d)oo£ SBar'3 freunblid), ja^elte, roarb grog
fte erljoltc ftd) fel)r langfant,

nun

-

Jaufi
£>u
Ijaft

gehrig ba3 reinfte (Dlud

empfunben.

frti| am Sage fcf)on am 2Bajc(tog ftel)tt . 2Ridfeine$ 25c|fern ju Bele^ren. 2)e3 Jlemen 2Bicgc fianb ju 2lac§t SXn meinem tdj 23ett' . 12.) £)te armen SBeifcer ftnb bodj ift fcfyroerltcf) iiM bran : ^ k @tn ©ageftofy $u fcfcljrem tr^^/ ^ept. c$ burfte lattm ftdt) 2Bar ertoadjt 2Mb Unb Unb ntufjt tdj'S tremfen. SDann auf bem 2Kar!t unb an bent perbe forgen.eut (0 morgen.n soriifcer. ^*JL Hub immerfort / ( rote r. (@el. 9ttargarete* 191 T)od(j audj gciiug gar manege fcl)tr>ere ©tunbem regen. . . £5alb. metn §at j!c§ £>err. md)t immer muttjtg $u 2)odj fdjmecft bafiir bag (£ffen. Mb c3 ju mtr fegen.tftopJ>eIe^ ^ @# !atne nur au£ cures ©letdjen cm.] Erste Garten-Scene. hammer auf unb nieber gel)it. fdjmecft bie iftulj 1 . 2Ran ###BOT_TEXT###lt;xt mid) ufceratt redjt Ijoflidj 3d) rcoftte fagen : rcarb^ ttte (£rnft in eurem £er&en ? Wit grauen foU man ftdj nie unterfteljn $u fd)er$en. — Sc. ttemt'S nidjt fdjnnccj. Ijafit t()r nodj mdjt$ gefunben ? bag £er$ nidjt trgenbroo gefiunben ? Wf** re" c 2)a3 ©prtcfjttort fagt : (Sin etgner §erb ©in Brakes 2Beifc. i"*-^ 9ttartfje* (Sagt grab. • 3d) meine. SDa geJ)t% mein £err. ftnb (Mb unb ^erlen n>ert^.. ofc tljr niematS £uft Mommen ? aufgenommen. tanjclnb in ber »om Sett' aufftel)n.

bie id) natym.) tljut mix Ijeqlid) leib bafj il)r feljr gu'tig fegb. bad)f er in 2Rit biefer Bit ©irue grabe ! I)in $if]janbettt. auf end) nidjt bofet tterben fonnte. c$ foil ein @piel. 2Ba6 ftd^bie gre^cit unterfangen. etn§ nadf) kern onbern. &dj. Unanftanbtge3 gefeljn ? @:3 fdjiett i()it gleid) nut an^MDanbeln. beinem 25etragcn 2Ba3 gredjeS. [Sc 12. 1 $aufh 2_£l & ttnb *>u tter^eiljft bie grofyett. ttneber. 3dj toar beftitr^t. w&^ t^^* ®t\k\f td)^ bod) eurem ^ottljeit 2)a$ it| id) ttmjjte nidjt. gaujl ®ujji $iebdjen 5D?argarete + Sap (@te pflutft eine eternal unt> gu^ft tie ©ternHume flatter ah.) gauji 2BaS nur foil bag f (Sinen ©traup ? Sttargarete* Stent. . tttir ttar bag trie gcfd)cl)n @3 fonnte niemanb Don mix id). id) ttar red^t bof auf tttid). ! 192 Goethe s Faust. . tl)r *>erftcl)t mid) nidjt $Upf>tftopf>efe^ £)odj id) fcerftey — £)a3 (®el. 2ldj. TO bu jungft au3 bent 2)om gcgangcn ? 5D?argarete.! ! ! ' . I)icr ttaS fidj ju regen gteidj begonnte 2ltfein gennf}. ©leidj al$ idj fteiner (£nget. Ijat UeMS fagen. Sauft £)u frmnteft mid). in ben ©arten fam ? @aljt il)r c$ nidjt ? idj fd)lug bie 2lugcn nieber.n ttoriiber.

Sidjt — (£>a3 te£te SSfatt auSrupfenb.) ^ftargarete* gaujl O fdjaubte 2BaS ^'- nidjt ! £ag biefen ifl Sltcf. fein (£nbe $ein (£nbe ^argarete (brutft tfjm bie <£anbe.! : !! ! !! Sc. roaS fesm.) ! ify Iacf)t mic^ au£. o .) (£r tiefct midj 3a. mac^t fi^) to8 unb tduft toecj. Jauft 2)u IjolbeS $immel$^ngemt 9D?argaretc SieBt midj — MSft — ! (f%t StcBt mid) — fort). mtt tyotber Steube. bann fotgt er i^r). Ifattfr 2Ba$mutmetflbu? yjlavQaxcte tyalb lout). (£r licfct tmdj — IteM mid) ntdjt. fott&ugefen gan^ unb eine 2Bonne fegm 3u flHjlen. Ijeijjt? IkU bid) bid) baS @r UtU ((Sr fafjt tfjre kiben ^anbe.] Erste Garten-Scene. mem ®mb Sa{| btefeS 23Iumentoort (it Sir ©3te*2fo«fi>rud} JBerfldjjl bu. bie etoig [esm ! mug @n?ig 3>tyr (£nbe ftiirbe SSerjtweiflung ! Stein. ©ebanfen. (<Stc xutft @el)t unb murmdt. £a£ biefen ^anbebrud wtattSfpredjtfdj "®tdfr bir fagen. gaufh 2Bie? 193 9ftargarete. 12. Die 2hdj( &ridjt an. (5r fte^t etnen SlugenMicf tit Wlaxtye (fommenb).

TO %% auf be3 Kadjfcarn ©djritt unb £ritt ^u gaffen. roie Unb man fommt in$ Hub unfcr ^arc^en ? man fid) immer ftellt. 3dj Mt' eudj. £)a$ ift ber Sauf ber 2Mt SCENE 13. ! 25efter 2Rann toon £>er$en lieV idj bid) . $?epI. ^^ bort aufgeffogen.) ^S6'6 £reffMdj bid) g^argarete. - (£r fdjeint il)r geroogen. din ©avtenljauSdjen. langer t)ier 311 ju TOIei^en. tie 3ii&c. 3a. 3Repfrffiop$ete& 3ft ben @ang 2RuttjtoilP<je <Sommeroogel . @ereb'. c3 tft ein gar fcoferDrt. unb tx>ir roottcn fort.! ! ! ! ! ! 194 Goethe s Faust. [Sc.tftopt. 13. .eIe^ Unb fte il)m and). ftecft an tie Sippen. (ilm faffent unt ten $u£i juriicfgefcent). 2ldj ©djefat. " ^U d» * t ^t Htfcm (£$ tft. — Ijatt tie Singetfpifce Qftargarete fptingt herein. crfS I)atte jit niemanb rncpS gtt tretfcen Unb nidjtS fdjaffen. ficfy fitntev tic £l)ur. xtnt gucft turd. fo nedft bu mid) (®r fuflt fte. $*argarete + @r fommt (fommt).

o2 . 3a . 13. Wepl)\ftop1)elc$ Hotft an. Unb fag* $u alien ©adjen 25in bod) ein arm unto iffenb tinb. 25egreife nidjt. mein £err. 2tuf fcalbtg 2BieberfeI)n (Wauft unb 2fte^tftopJ)etc3 afc.] Zweite Garten-Scene. 2Ber ba ? @ut Srcunb ffaiijh @tn £ljier (£3 iji n>ol)t 3eit $n fdjeiben. $aufi 2)atf idj end) nicfyt geleiten ? SIttargarete* Die Gutter toiirbc mid) — $efct fooljl gauft 2Ruf Sett tooljl idj benn geljn ? maxtye. 2lbe! ^argarete. 195 Sauft (ftampfcnb).) ^argavete* $)u liefcer ®ott ! tt)a$ fo ein 2Kann 2frdjt afle$/ alleS benfen farnt 23efd)amt nur ftelj* t(^ sot il)m ba. ja. (fommt). eS ift fpat.! ! ! ! ! ! sc. foa$ er an mix fmb*f.

gafcft ©rnpfinb' x^ nun. an3 bem fendjten S5ufd^ fnijrft ryvAAfO . 2Barum id) Bat £>u ^aft mir ntd)t umfonft Qcin SXngeftc^t t m geue r jugetoenbef. Jauft (al(ein). nal)er fcringt. ©tnrnt im Unb roenn ber ftitlcn JBuftft. • . 2Ricr) ttor mir felfift erniebrigt. 2)er $ortt)elt ftlBerne ©eftalten auf. pSu ber Sefcenbigen leljrft » 1 _i -$£70 $or mir nnb mid) meine SSriibcr 3m nnb Baffer Jemten. gaBft mix aUc#. 2)ie midj ben 3)n £u biefer SBonne. ©afift mir bie Ijerrlidje Batur jnm tomgreid). ben idj fc^on ntct)t mefr @ntBel)ren faun. ju geniefem 2tid)t talt ftannenben 35e[uct) erlaitBfl bu nnr. '. in ben SSufcn eineS greunbg. ©ottem nal) nnb 2Kir ben ©efajrten. Unb ftcigt ttor meinem 35ticf ber reine 2Ronb >a r 25efanftigenb ^ernkr^n^en mir $on gelfentoanben. jeigft mir 2Uidj bann felfcft. SCENE gw SMfc 14. in Suft ^ ( 5)ie Otiefenftd)te ftitrjenb Sfradjfcarajjte {Qj. fctlt nnb fred§. V iO> i 23ergcnnefi mir in 'SOBie iljxe tiefe SSrufl. . ^u fdjancm fuljrft bie $cil)e fcorfiei.. fte \kk $u ftil)len. bn gaBft mir. unb ^u %lid)t$. ttenn er gleidj. Unb linbern ber tetrad) tnng flrenge Sufh © bafl bem 2Renfd)en nidjrS ^Soltfomm'neS roirb. -d2Balbe iranft nnb fttarri. 14. nnb meiner eignen 35rnft @el)eime tiefe 2Bnnbcr effnen ftd). . [Sc. J-W^ Unb 2cad)krftamme qne£jj§enb niebcrftrcift Unb tljrem gall bumpf l)ol)l ber £ngeTbonnerr. ®raft. / 1 (£rfyajmer ©eift. i ^IXA- 196 Goethe s Faust. 2Rit einem 2Bortl)aufy beine ®cibzn ttanbelt. ©aim - bn mid) jur ftdjern §i5l)le. unfr %ih\t.

H. gefitl)tt £)ein Sefcen ot)ne mid) ? 2Som ^ri^frak bcr Smagination $aV tdj bidfbodj aujeiten tang curirt nid)t. armer (5rbenfol)n. barfft mir'3 md)t im &u (Srnfte fagen. bag 2Bie Ijatt'ft bu. 3ttep£tf*o^ele& £al)t iljr nun balb bag Sefcen g'nug gefiiljrt ? 2Bie fcmn'S cudj in bie Sicmge freuen ? (£3 ift toolj! gut/ SDann afcer tvieber bag man's einmat ju toag Keucn ! profcirt gaufi 3d) tt)ollt% bu ^cittefi mel)r $u t()un. vSc. 2ta. ! . 2ln bir ©efellen. . a^ '" - . aRep$<flo»»ete*. Barfd^ 3ft ttaljrlid) ttenig fcerlteren.<. 5Den gan^en £ag t)at man bie £>anbe soil 2Ba3 tl)m gefallt $ann man unb tt>a3 man taffen foil. nun 3)u ! tdj laff bidj gerne rul)n.trt. mtp^iftophtlc§ txxtt ouf.! . 2Ba$ l)aft bu ba in $ol)len. fotoarft Hub toaV ii bu fdjon SSon biefem Qhtball abfpajicrt. idj imTSenufjl aerfdjmadjt' nad) 23egicrbe. id) £0 tawmV Unb oon 25cgierbe p ©cmtf?. (£x hjitt nod) 2)cmf.*** j2#*x> 2H$ mid) am guten £ag $u ^lagen. bem §errn nie an ber SRafe fpiircn* ffaujl £)a3 ift fo juft ber recite £on er mid) cnmh.] In Wald und Hohle em tx>tlbe^ 197 dt fgigt in ttteinet 23ruft $euer "Had) jcnem fdjiJnen 25ifb gcfdjciftig on. uub toll. unljolb. gelfenri#en £)idj tone cm ©ajulju 511 &erjt|en ? .

roor. ©elegentftd) £)odj lange ftd) efroa^ fcor^ulitgen ###BOT_TEXT###lt;x\t (£r ba3 nidjt ai\$. Unb furj nnb gut. . aufgejiefcen 3n Stollljcit cber $ngft unb ®rau$. . ^Jd £)er @rbe 2ttarf ntit 2ll)mtng3brang t>nrd§n?ut)tcn. 14.! ! ! . id) genu' 3I)m baS 33crgnugen. lifcerfliefl en. "pif er Bett^ertrei^ ftecft Sir ber doctor nod) im Seifc. -W<dL @in fcl)oner. 2Ba3 feufdje £er$en nid)t entfeeljren tonnen. @itt iifcertrbifdjeg 3>n Sfcadjt itnb Xljan SSergmigen auf ben (Mirgen fiegen. gefittet pfut pi fagen. 2)u h)are|i £eufcf $erftel)fl bu. roaS fiir 511 gintnen.r 2(Ee fedj$ £agcn?erf im 23ufen fiil)ten. bu 3a. ap$ burnt-fern SJRooS unb triefenbcm ©eftein/ 2tal)rung ein ? 2Bie etne Mte.nigltd) umfaffcn. roiirbeft tnein ©litcf mir nidjt g'nug. Unb bann bie Ijolje intuition — 3d) barf nid)t fagen tt>ie — §u (3Jttt einer ©efccrbc.) fdjliegcn. 2ttan barf ba£ nidjt fcor fcufdjen £>l)ren nennen. ovty^ Unb. JaufL $fui iiBer bid) 2)a3 3t)r Ijafct hritt cud) nid)t fccljagen 2-ftf r baS IRedjt. Sauft neue SefienSlraft SBcmbel in ber Debe fdjafft ? JiRir biefer aljnen e3 fonnen. 3n fielder Shaft i^ toeifjl nidjt tt>a^ genieg en. [Sc. Z»*>~- SDu fctft fdjon tficber at>getrief>en. VSalb liefcefronniglid) in alleS $erfdjnntnben gan$ ber @rbenfoI)n. ftd) Unb @rb' unb $immel 3u einer ©ottljeit auffdjtoeflen lajfen. 198 2Ba3 fd)furfft Goethe s Faust. toctyrt e3 langer.

fteljt bie 2Bol!en $iel)it tlefter bie alte ^ ©tabtmauer Ijin* I * 3Benn id) tin 23oglein toaV l)alfce 2JddC)te 'fo get)t iljr ©efang Sage f lang.! ! . <U *"*$ei& nidjt baS fdjone 2Beib" fiifjen Ijalb" ! JBting' bie 35cgier %u iljrem tttebcr oor bie oerriidten ©inncn 5D?ep{Hftopl)ele^ . nnb Ijalfc fcift bu e3 fdjon. unb toaV id) nod) fo fern. Sc. 2)ie 3tit toirb il)r erlmtmticfj lang ©ie ftcljt am genfter. anftatt in 2Balbern $u tljroncn.eIe^ ®rip! bag id§ bid) fange <LQ ' $emujjter Unb nenne 2Jicf)t ! I)efc bid) toon Jjinnen. I 199 ©emtg tamit Hub Qtin £icM)en il)r ftfjt babriunc. ! . . meift fcetniR I (£inmal red)t au^geioemt. Grinmal ift fte munter. 2hm bein 25ad)lein ttieber w 2Kid) bitnlt. *vJh allcS toirb il)r ^ 5Du Jommft 6~® @ic <£rft l)at bid) eng unb txixb\ gar nid)t au^ bem ©inner Xiefe* ukrmadjtig Jam beine SiefieStoutlj itfcetgefloffem gefd)tnol$nen 2Bie 00m ift ©djnee em fejtdgt* SSadjtcin iifcerfteigt ©it I)afi fie il)t inS £>er$ gegoffcn. Unb immer ©djlange SaufL ! ©flange ^ep^tftopl. $te(T eS bem gtofen £>erren " gut/ vt-^ SDaS arme affenjunge 23lut $iir feine Siefce \x Moljnen. 2ga$ foil e# flttb fyaflj benn ? ©ie meint bu fe^ft cntffolm.. twVS fd)eint. toetliefrt. H.v nalj. % a uft 3d) tun il. 2)ann toieber rul)ig.] In Wald und Hbhle. lang.

14. ^ @elegenl)eit ju tnadjeh. all il)r l)auglidjeg 23egimten Umfajtgen in ber fleinen 2&eTt. 2Bag tfi bie §immel$freub' in il)rer il)ren airmen ? £f^£ Sajnnid) an 23ruft erroarmen il)re 2?otl) ttict)t r ^upnd) Sin id) nic^t immer ? ber $(iid)tting ber UnMjaufie. §u gtiimmern fdjlug gricben il)ren muff id) untergraBen ! £)u. mit ftnblid) bnmpfen @innem -.! ! !! ! ! 200 3d) fctmt 3a. £olle. Beneibc fdjon ben iljre £eifc beg ffetrn. Dpfer l)akn mir bie 3eit ber 2lngfi oerrur^en 3Bag mnfj gefcf)el)n. 3rocUnb $af| ify. mein greunb ! 3dj I.ab^ end) oft fceneibet Umg Sfttllinggpaar. tdj fie Goethe! s Faust. bag unter Otofen roeibet. me oergejfem me oerlieren . Kidjt etnja in ben £ob. Uhtlj. 2)er Unmenfd) ol)ne 3ioedf unb 3>r Unb U)ie ein 2Bafferfiurj »on ^elg ^u gctfen fcranfte u L*- 23egterig ioiitljenb nad) bent 2lfcgrunb $u ? feittoartg fxe. [Sc. SaufL @ntfliel)e. unb ic^ mufj ladjem WM)cn jammer (£rfannte gletdj ben cbelften Seruf. mufjitefi biefeg §ilf. ** A "' JU*- 1 SBemt £typen ityn inbefl krutyrem ©ar tooljl. £)cr ©ott. ber ©ottoerl)agte. ift 2?ur fort/ eg ein grower 3l)r foUt in eureg SHebdjeng hammer. ^M^ id) fit Unb ©ie.' . Suppler 1 SWepptfioppele*.i l)atte bie gclfcn fafltc ' nict)t genua. £cufel. «. mag'g gleid) gefd)cl)n ! . ^^ 3m Unb £utrcljen auf bem fletttcn 2llpenfelb. 2XucC) fclfcft ^ '-< -. ber W ©djon unb ! 3I)r fdjimpft fd)uf.

. 2Retn $er$ ifl fitter 3d) ftnbe fte nimmer Unb nimmermel)r* *> 2Bo id) iljn nidjt IjafcV SjTtnir ba3 @rao. fetdfon am %mnra:fre. — ©retcfyen am ©pinnrafcc atletn. 201 2Ihg \)x ©efdjtdf auf mtcfy $ttfammenftur$en 511 Hub fte mit mtr ©runbe geljtt lilC SBic ^ 2Bo 1 toteber ftcbet. ( 2113 ettten £eufet. (SteHt er ba3 @nbe »or. "^~ . .! ! .'2ttd^ ^gef^matfter^ ftob' id} auf ber SSBett. Sftein SReine dtulf tft Ijin.tapferJfilt! 2)n Bift boc^ fonft fo stemltd) chtgeteufett. 2Reine JRu^ i(l Ijtn. ber »er$ft)eifelt.] Gretchen am Spinnrade. armer ®opf oerrutft. bit ©elj ein unb trofte STjor fo ein Stityfdjen fetnen jtdj flletdj SluSqang " fteljt. 2)te ganje 2Belt 3ft mir aergattt. 2Rem £er$ ift fdjtoer 3d) ftnbe pc nimmer Unb nimmermefyr. -£* ®IcBe. SCENE 15. 15. mtr 3ft 2Rein armer <Sinn 3ft mtr jerftittft.»crte. ©retdjenS <3tu6e. ttneber ajiiljt! fte. Sc.

2Rein Bufen brangt (Sic^ nad) 2ld). Hjm id) l)in . Unb feiner Ofobe Baufcerflug.! ! . ©enter 2lugen ®ett>alt. @etn ^anbebrutf. 2lu3 bem £auS. nur Bum genfter l)inau3. id) 2£ad) il)m nur gel. J (Seined 2RunbeS Sadjcln. biirff faffeu Unb fatten il)n Unb <So ruffen il)n. 202 Goethe 2fadj tljnt s Faust. (Sein Ijoljer ©cmg. ! 2Rein §erj 3d) ftnbe fie ift fdjtoer nimmer Unb nimmermeljr. Unb ad) I fein Sug SReine 9toy ift l)in. fdjau' id) 1 [Sc. ©ein 1 eble ©eftaXt. toie id) tt>oItt% 2Xn feinen tuffcu SScrgc^en foUt^ . 15.

@Ianbftbnan@ott? Saufl 2Kcin $iebd)cn. niemanb fein ©efiiljl nnb 9)?argarete. . '7^ Joust's fentesMumrtnifss* QJiart^enS ©artcn. id) i&UaJ^My %i\x nteine Siefcen liejT Sett unbWuT feine S!trdje ranfcen. 3)odj oI)ne SSerlangen.! ~ . jur 35etc^te bift bn lange md)t gcgangen. 2ldj.] Fans? s Glanbembekenntniss 203 SCENE 16. 3nr 2Reffe. Sauft $?argavete. toer barf fagen 3d) glanF an @ott ? 2ftagft ^riefter ober 2Betfe fragen. : Unb iljre 2lnttt>ort fdjetnt 511 nnr ©pott llefrcr ben Srager fep. Ijattft ©u em Ijerjlidj 2ttlein id) glanb'. ©crft>rid& mir. £)a$ ijl nidjt redjt. 3dj eljre fie. foenn id) ctma^ anf bid) fonnte J and) nid)t tie (. man mnjj bran glanben ! m$ man £)n et)r(t ? ^ttaraarete. Saf baS. bn nid)t »tel baoon. 2hm fag'.! ! Sc 16. 2Bilt mem Stinb ! £>n flip. 5D?argarete. £einrid) A gauji 2Ba3 tdj faiut Wlax$axcte.eiPgen ©acramentc. ttie Ijajl tift bn'3 mit ber Religion ? guter 2Rann. — Sftargarete.

. Unb brangt <p^ 2todj ^>aupt nidjt atieS unb £er$en bir/ Unb roefct in exigent ®el)eimnijj Unjidjtfcar fldjtfcar nefcen bir ? @rfiuT baoon bein £er$. £)er SWerJjalter. <So glaufcft bu nidjt ? 2Ri$3r* mtdj »r barf Unb roer il)n nic^t. ie. gaft unb 2Bofl>t erljaft er nidjt fid) fcftfi ©id}. 1 fo grog e$ ift. 2lame ift ©djatf unb Otaudj.: . 2)a6 ift afleS redjt fdjim unb gut Ungefafyr fagt ba3 ber ^farrer and). UntneMnb 9ttargarctc. mid). ! 204 Goethe s Faust. Kenn*«©tiid! ©crj! £iefce! @ott! 3dj Ijafce H(l> feinen tauten ift >>}trD SDofttr! ©cffil alle$. Unb roenn bu gan^ in bent ©efwjle felig Kcnn e$ bann. glauJ' fyt. £immel3glutlj. [Sc. 2htr mit ciit Hsdjen anbern Shorten. 2Ber empftnben Unb ftd) untertoinben 1 A^ iljn nictyt *^ ? 3u fag en : tdfgfaufc £)er toumfaffcr. roie bu roitlft. ftdj ? nidjt babrofcen ? ber £tmmet Sicgt bie ferbe nidjt Ijierunten fcft ? Hub fteigen freuublidj fclicfenb @totge ©terne nidjt fyerauf ? @djau* ic^ nidjt Slug* in 2luge bir. bu nennen ? I.olbe3 2fege|idjt Mennen 3d.

m$ f ©ajj inb Sftargarete* (£3 tijnt id) bid) mir tang fd)on 1 roel). bid) ^n fdjanen.arete* SBoUte nid)t mit feineS @leid)en lekn . $aV Unb i<§ »or ) bem menfdjen cin I)eimtid) @ranen.t after bod) immer bamm ffaufL fein (£l)riftentl)um. . modjt'3 fdjicf leibltd) fd)etnen. in ber @efellfd)aft fcl)\ ffaufr 2Bie fo ? Sjftarg. fcei 2)er 2ttenfd). 16. 2Benn man's SDewi bn l)aft fo l)i3rt. ' 205 Saufh <& 2lCCe fa<jcn'« alter Dxten Bergen unter bem l)immlifd)cn nid)t id) in ber <j~~*« Stage.! . 2113 beS 2Renfdjen roibrig ©efidjt gauji Siete $nppe. ^tel. tt)ic id) mid) feljne. ! ! ! sc. ben bn ba 3fl (£$ bir Ijaft.arete. @o nidjts einen Stid) in$ §>erg gegefcen. 3ebe3 in feiner ^spradje SBarum meinen ? $?argarete.] Faust' s Glaubensbekenntfiiss. 3d) Bin fonft alien 2Renfdjen gnt 2tt>er. fitrdjt' iljn nid)t 9ttara. arete. l)alt iljn fiir einen <Sd)elm ba^n (Sott aerjeilj' mir% roenn id) il)m Unredjt tiju' (£3 mnjji audj fold)e tauje geBem 5D?ara. mir in tiefer innrer ©ee(e I)at mir in metnem £eften fccrljafjt. ©eine @egenroart Beroegt mir baS 23tut. ! .

206 $ ommt Unb er Goethe einmal %ux £I)uY s Faust. 3dj mug nun fort. oon i(. 2)u atjnungSooller (£ngel bu 9ttargarete* T)a§ nfcermannt mic^ fo fefyr. mug eS and) fo fesm. 2ld). £einrid).ig bir am 35ufen Ijangem Unb 35ruft an 25ruft unb ©eeF in @eele brangen (£in ? 5!)?argarete.. 2ldj. -2)ag er nidjt mag cine ®eele iiefcen. ! . fcmn tdj nic ©tunbdjen rul. in'ngegekn foarntr feinc ©egemoart mix bag 3nnre $u. 3d) ttaV gleidj auf ber @teEe tobt Unb roitrben toir ?au|h 2)u $ier (£nget. fount id^ nimmer kten. \jif-0 £)ag. too er nur mag $u nr^ trcten. Unb ba3 frigt mir inS £er$ Ijinein 1 1 £)tr. <* Ijerein. bag er an mdjtS feirten 2Cnt^eit nimmt (£3 ftel)t tfym an ber @tirn' gej%iel6en. ift bag I)at feme ! 2totlj> ein glafdjdjen £>rei £ropfen nur . SRein id) fogar. fo fo toolji in bemem fdjniirt 2lrm. id) liebte bid) nidjt tneljr. ttenn idj nur alleine fd)tief ! i / $ 3d) lieg bir 2)od) meine gem l)eut 2tadjt ben Oftegel offen Gutter fd)laft nid)t tief. ergrimmt Wan ftel)t. ! ! . . mx nmVS @o Unb fret.r fcetroffen. 2Ind) toenn er ba ift. @ie|jt er I)aIB immer fo fpottifd) brein. gauit 2)u I)aft - nun V bie 2Intipatl)ie gflargarete.

] Faust''s Glaubensbekenntniss. ? £af* toieber fyionirt ? 3d) Ijafc'S auSfitljrlid) n>o^I fcewommcn. Dfc einer fromm unb fdWid^t nad) altem 23raud). 2)er gan$ allein 3l)r feitgmadjcnb \% f!d& Ijeiltg quale. £ieM)eu. uur an/ • nidjt. bit e3 ratten ? id) bid). 2)a£ fte beu liebften 2Ramt oerlomt fatten . » £» 1 2)u Ungeljeuer ftcl)ft nid)t ein. 2Bie biefe treue liefce @eele.aitr £>ag mir §« tl)un fafl nid)tg mel..nen tooljt Mommen. foil. e$ £>ie foil fated)ijtrt 3l. 16. SSon il)rem ©laufcen sett. fotgt er un$ efceu aud^. Beper 2Kann. ! . <Sie bcnfen.r iiBricj Meifct («b. *1 a ^" @$ &° roirb % idj nidf)t um beittettoiEett ? Ijoffcutlidj ntd)t fdjaben 2BuW <SeV SBcif 3d) id) fonfl. Zvant amljiiften geffflttg bie 207 3n invert Mt ticfem (Sdjfof 2Bctg tlju 1 Katur. 2RaM$ finb bod) fc^r interefftrt. butft er ba. 2>er ©rafaff ! ift er ttea. sc. toa$ mid) nadj beinem SStllen treiBt ijafce fdjon fo ml fur bid) getl. £err doctor ttmrben ba 5ofP.) Stte^tfto^eteS tritt auf.

3dj fomm' gar ttentg nnter %eutc.r fte nidjf tote. din 2IMgbetein na^fii^ret bid). £te3c()eth £ap nic^td son 23arBeldjen geljort ? ©retc^en. ) 208 Goethe s Faust. SStettetdjt tuoljl tjeute id) gan$ ftdjer em @enie. Steven* @etx»iff^ ©ifcgfle fagf mtr^ Ijeute $ie Ijat jfdj enbtidj ift au$ Betl)5rt £a$ ba$ $orneJjmtI)un ©retrfjetn 2Bte fo ? 8te$<feetu (Bftinff! ©ie fiittert jfoei/ tuemt fte nun ijjt unb trinft. t &""$* ^m §xmxntxt ®retc$en unb Stegdjen mtt j?rugen. gar ber £eufel Bin. 2ftein 2Ra$fdjen toeiffagt fcerBorgnen @ie 2ton fiil)lt. - ****- $aujh £)u ©potrgeBurt son 2)rccf unb U ©inn . CcJri : fetter 9ttep$tftoj>£ele& Unb bie ^%ftognomte ba fccrfteljt fte metfterlic^* toeijj 3n nteiner ©egenttart toirb'S it. £)u uBerjtnnfidjer. »adjt ? bog — * — 5«ttfl 2Ba$ gel)t bidj*« an ? £aB' id) bodj meine greube bran ! SCENE 1717/ r. Stem SSort.! ! ! . . [Sc. ftmtlidjer greier. 17.

£te£cf)em (£r ttar v etn 2larr ! (Sin fltnfer Sung 1 £at (£r ift cmbertoartS nod) Suft genung and) fort ®retd.em £>a$ ift nid)t fdjim 2te3tf.em JBebauerft fte nodj gar ! 2Bemt imfer (gtanb etnS am @pinnen roar. p . Cwu^u 2>a mag fte benn ftdj bucfen nun. . (£r nimmt fte getoifi 5a fetner $rau. ^^ SSttb't jtdj roaS (Sdjimljeit etn. 17. ttn$ 2£adjt3 bie URutter ntdjt I)tnunterlteg. foU'$ ifyr iifcet gel)n. ! an bent kcti geljangcn 3)a3 ftar tin ©pa^ieren. ©efdjenfe oon tlmt an^uneljmen. Sriegt fte tljn.! .] Am Brunnen. ! Sc. ©rei$en* 209 (So ift'3 iljv enbttc^ red)t ergangen. 2luf £>orf unb Xangplafc git^ren 2Bie lange Ijat fte 2ftufH' uberatt bie erfte fcmt.! . nidjt 2Bar bod) fo efyrloS. . fte~T6ei tljrem 35u|Ien fit j) >uwa> 2litf ber ^urfecmJ nub mt bunfeln ©ang 2Barb ilmen feine @hmbe ju tang. Gurtcftrt' tl)r immer mit auf tljre ftcf) 55afterdjen unb 2Bein . 3m ©unbetfjembdjen fwpujPtfjun I < ©vetcf.en. SBar etn ©efop unb tin ©efafedT 2>a ift benn audj ba$ S(rom$en tteg ' ! .en. $u fd)amen. v / ^ y~- ©retcfjem 2)a3 arme £)ing £tegtf.

©ein 2(ntti£ guabtg tnetner 5Rott) 2)aS ©djroert tm ©erjen. v T' h — ! J /i . roar fo liet> ©ott. @euf$er fdjitfft bu ^inauf urn fein' unb beine 2Ber 2Bie fiir)Iet. 2) it ©djuterjenreidje. tt)r.) ©vetc^ett (naci) «§aufe gdjcnb). is. [Sc. 18. ! ! SCENE felons Snringer. 2Rit taufenb @djmer$en SSttcfft auf ju beiueS @olme$ £ob. ma<3 nttct) ba$u rrtefi. rou()tet . f&sbtt am ^minc^r. $i&) neige. Hub Cfitferfing ftreuen bte £f)itr («*. ltnb tun nun fetbft bcr @unbe fctoj afle«. ! 2Bemt tl)cit ein idj 2Bte fount' arme$ 2Kagbtctn fet)(en ufcer cmbrer ©iinben 2ftdjt 2Borte g'nug bcr 3unge ftnben ! 2Bie fdjien ntir^ fdjh)ar$. ®od) adj. Bum ltnb 35ater Mtcfft bu. 23iumcn- — 3n ber SPiauer^ofyte ein 5lntarf>t§6itb bev friige baser. ©retcjjen (ftecft frtfdjc 23(umen in tie Jtritgc). Stotlj. mar fo gut 2Rir'$ roar. immer bod) nicf)t fdjtoar^ g'nug Unb fegnef mid) nub tljat fo grog.! ! 210 2)a$ ^ran^ef reif en Goethe bte JBufcen lx>ir fcor s Faust. 2Bte fount' idj fonft fo tapfer f«tett. Mater dolorosa. unb fd)foar$t^ nod) gar.

19. r 2 . ©retctyenS 3Sruber.] Gebet am Zwinger. 2Bo manner fid) feerujmen macj^ M @otbat. * 2Ba$ c3 zittext. Valentin s Tod. @djieit Ijett in meine hammer 2)ie (Sonne fritf) fyerauf. 3n meinem £ilf ! 35ett rette mid) oon ©djrnadj unb £ob ! 2ld) neta. toaS oertancjet. 2)a3 §er§ $crfcrtd)t in mir. Qein 2lnt(ifc gncibig meiner 2totl) !. 2 1 SDer ©djmerj mir im ©c^ein ? 2Ba$ mein aruteS §er$ Ijter fcangef. — (Strafe cot ©tetctyeng $f)itre. ttie ttel).! ! ! 1 Sc. 2)te (Sc^erfcen oor meinem SfRorgen f^enffer 23etl)aurt3j mit ^Miteit/ adj TO id) am fn'Hjett £)ir biefe SSfamen fcrad). icf) id) ttein'. 2Bie 3d) roclj.e. £)u ©djmerjenretdje. Valentin 3Senn tdj fo fag einem ©elag. tteine. SBotjht icf) }r mutter tut ! cjelje. SCENE 19. tote tteljc 2Birb mir 3d) tt)ctn\ Biii/ adj 25ufen t)ter fount aftetne. @a{| id) in alleut 5 jammer fdjon auf. SBetfjt nur biv trot bu attetit L. S'lac^t.

[Sc. ^ ©oil nid)t lebenbig toon ber ©telle gaufi. 19 Hub X mtr ben Slot 2Ragblein laut. 2tctferumpfen J^ A ©oil jeber ©djurfe midj befd)inmfen ©oil ttie ein bofer ©djulbner jt|en. ©ie 2)a ift bie 3ier »om gan&en £aar ($efd)ted)t ' i^ fajjen alle bie £ober ! Unb mm Unb an ben — fhmtm. td) Der s J7Ztt ttollem £en GBentoga ©aft metner ftdjern 3tm> £ort' alT bent ©d)toabroniren jit. £op Siting ! ticmg baS ging §erum ! ! m "M?"*} ! 2)ie einen fdjrteen : (£r l)at Dted)t.! !! ! 2 12 Goethe bie ©efellen s Faust. geprjcfen sor. l)eran ? 2Ba3 fdjfetdjt Ijerfcet ? e3 ftnb tl)rer jtoet. SDie metner ©dJnTefier ba3 Staffer reicf>t ? £o£i. 2ttepfnftopficfc$. Unb ftretc^e ladjelnb mcinen 23art. ilnb fciege baS ootle ©lag gur £cmb Unb fage : 2lHe$ nad) feiner Wet I 2lt>er ift cine im gangen Sanb . 2Bie toon bent genfter bort ber ©afriftei 2lufh>art$ ber (Sdjein beg ett'gen SampdjcnS ftamntert Unb fd)frad) unb fd)ftcid)er feitfrartS Mmmert. id) it)tt 3ft er'$/ gleidj pad' beim geH^. 2)te metner trauten ©relet gfeidjt. ftd) auSjnrau fen 2Bcinben In'ncmf &u laufen ttmj ! 2Kit @tid)e(reben. . 35ci jebem Bufallgtoortdjen fdjtoifcen Unb modjt' icfj fte jufammenfdjmeifem tomtf id) fte bod) nidjt Signer Ijcigem 28a$ fommt 3rr' ic^ nidjt. ®la$ ba3 £ob aerfdjtoemmt.

man bod). Sc.! . @o ftouft mir fdjon burdj atte ©licber llnb d £)ie ()ertiid)e 2Bafyurgi$nadjt. Wl ^0 tote eine to ! oon ^erlenfdjnnten. hi ber flcniegen.] Valentin's Tod. ffaitft ^ic^t ein ©efdmteibe. ringSnm SSufen fiet 213 Unb <So ginftcrnijj brfatgt ftcljt'S in memem na'j|ti<j. mix ift'S ivte bent ^cifclem fdjmadjtig. nid)t ein Oiing. 5Da3 on ben gcuerleitern fd)leid)t 4^ (Sid) Icif bann urn bie Sftauent fhleidjt 2Rir iff 3 gan$ tna.enblid) baki. 19. @inb Ijerrtidje £ott?entl)aIer bretn. 2)u lannft bie grenbe Batb erteocn. 3d) fal) bafcei n>ol)f fo ein £>ing. 3c$ fduelte neultdj fo Jjinein. ©in MSdjen SDiefcSgeltifi/ ein fci$d)en 3tounetei. . £immel oolier @tmte gtiiljt/ . ffauft dlMt S)en h?oI)t id) ber bort ®dja| tnbeffen in bie £oljV fyinten pimmern felj' ?. toaxnm man n?act)t. 2)a3 teffeld)en IjercutSjuljefien. ©te fommt un$ iikrmorgen £>a toeif? ttieber. UKeine Itebe 23ul)Ie bamit $n jieren ? 9ttep$tftop£ete$. \\ Utnjonft and) ctam5 >tft. ift eS redjt ic^ 2ftir tljnt eS toel). iljr 2Benn olme ©efdjenfe ju $elj\ @# 1 fotlt end) efcen nid)t ^erbriegcn.

TO TO 2R«bdjen ein. mit bem IRing am ginger. 2M)mt end) in Wfyt ! 3ft e^ wflbraty. toie idj end) fnljre ©erang mit enrem gteberipjfdj ! ! mix pgeftof en ! 3dj parire. 5Dann gnte 3I)r S^ac^t. Valentin. ntcX)t getoidjen grtfdj ©art an midj an. $atl)rindjen.) Urn fte gctoiffer $u Ufymn. armen.n ! Sag . TO Valentin (ttttt »or). 2hm foil eg an ein ©djcibelfpatten ! SJce^ifto^eXe* (ju ffaufi).! ! ! !! ! ! 214 ©oflt iljx Goethe s Faust. : [Sc. 2Rfibdjen nic^t juriidfc. lag eg (£r Icift bid) ein. 2Ben Xorfft bn l)ier ? ktm (dement SSermalebeiter Ofattenfanger Bnm 3nm £enfet crft bag Snftwment Steufel Ijinterbrein ben (Sanger 9tteppift0pf>eXe& SDic Bitter iffc ent&toei ! an ber ift nid)t$ $u Ijalten. 2$ut feinem £>iefi 2tor ntd)t^ an £ie£>. 2Ba^ madjft bn mir 23or SiefcdjenS £t)iir. 19. ein toaljre$ ®nnftftii(f Ijoren fljr 3dj fmg' ein moralift^ & e&' (@ingt $ur 3tt^er. ©err doctor. I)ier 25ei friiljem £age$Witf e ? fei. . armen dinger it)X $aM end) liefc.

Wan T)a fdjitt unb rang. mid) trefftid) mit ber ^oti$ei. Shut 2htn 3d) after fort ! tft ber Sflmmel jaljm : ! 2Btr mu'ffen gteidj &erfdjtomben £)enn fdjon tx>eig entftel)t cm ntorbcrlidj ©efdjret. $erau$ ! §erau$ ©retd.en 2Ber tieqt Bier ? Reiner 2Ruto £ol)n. 19.ele^ ©etvtf ! Valentin. yjlaXtl)? (am £>od) mit bent SSfatfcamt fdjledjt mid) atijugnben. £) ttel) sRetfiftoMele*. ©tof $u Valentin (fattt). SBalettttn* 215 ^ctrtre ben SSavum benn 2ludj ben nidjt ? SBaletttttu $?ept. ber £enfet fidjt 2Ba3 tft benn ba3 ? @d)on tvirb bie §cmb mir taljttt. . 3d) glaufc'.eU (am 8fenjlcr).] Valentin's Tod. §erfcei ein £tdjt 9D?artf)e (uneven). Senflcr).!! ! ! ! ! ! ! sc. SMe Berber. ftnb fte benn entflotjn ? (^erauSttetenfc) @retcf. (511 gfOttfl). liegt fd)on einer tobt $?artfje ($erau8ttetenb).tftopt. man fdjreit nnb ftdjt.

2Benn 28irb erfi bie ©djanbe fte Ijeimlid) $tel)t jur SBett gebrad)t. man gern ermorben. 3c mel)r fud)t (te bc$ £agc£ £id)t . fid) 2Bad)ft fie after unb mad)t audj fcei grof. : 3dj fag bir'3 im feertrauen nur $Du fcift bod) nun einmal cine £ur' @o feg'S and) e&en rcd^t.! . ©retctyetu 2Uein 25ruber ! ©ott ! 2Ba$ foil mix ba$ ? SBalenttru Sag unfern ©err ©ott cw$ bent @paf. 23ift gar nod) ntdjt gefd)eibt genuug. 2Beifor. fo toirW bran. $opf unb OI)ren mod)te fie 3a. Unb rote eS gel)n farm. gel)it. 2)ann 3>%q | gel)t fte £age Mo£. Unb ntan 3I)r iiber ben @d)teier ber 2tod}t .) 2Rein ©retdjen. S 23alb Jommen toemt bid) il)rer ntel)re Unb @o Ijat bid) aud) em £>u£enb r^at/ bie gan^e @tabt roirb geooren. ftct) ! bn fcift nod) jung. 3&) fierfo ! bag il)r if* oatb gefagt Unb Mlber 2Ba$ ftcl)t nod) getl)an. . 3e Ijagtidjer roirb il)r ©eftd)t. ©retc^em 2iumad)tiger ! ttetdje 2?otI) ! $afentut.er unb mid) an (Me treten urn ifyn. 2ttad)ft bcine 1 @ad)en fd)(ed)t. ©efd)el)n tft teiber nun gefdjeljn. tyult unb flagt ? l)ort $ommt t. Unb ift bod) nidjt fdjoner geftorben. 2i6 Goethe s Faust [Sc 19. £>u fmgjt tnit @inem erft fyetmlid) an.

£)ag alle fcraoe 23itr<jer$leutV 2Btc son enter angeftecften £etd)en. lag bte £l)ra'nen fei)n i L ©a Bit bit bid) fpract)ft ber (£l)re Io3. 2lnf (Srben feim serntalebett 5D?artf»e.] Valentin s Tod. IBefeljft eure ©eele ©ott ju ©naben ! SBoflt il)r nod) £aftwna. 19. 217 3d) feV toat)rt)afttg fdjon bte 3ett.) . anf end) lab£n ? SSalenttru f onnf id) btr nnr an ben bitrren £ei&. 21^etn 33ruber ! SBeldje ©oflenpein ! SBalenttn.! ! ! ! ! Sc. (©tirbt.en. 3d) gel)e burdt) ben £obe3fd)Iaf ©ott etn att ©olbat nnb fcrao. ©afcft ntir ben fd)tterften §er$en$ftofj. ! ^>A SBenn fte btr tit bte Slngett feljnT ^ (Sollft feme gotbtte terte mefyr tragett ntd)t mel)r tf> 3n 3n ber f irc^c am Ultax ftelm y etttem fdjonen ©pifcenfragen ! 2)td) ntd)t fcetm ^attje tvot)lbel)agett 3it erne ftnftre \j^i ^ammeretfen Unter Pettier unb ^rnppel bid) fcerftetfen. Bon bfrr bit 3)tr foil |w*^ 2Ke|e fettab" toeidjen. ©retc^en. £)n fdjanblidj fuwletifdje* 2Bcib" £)a Ijofft' trf) alter nteiner <Sitnben Sergefomg ret^e 2Raf 511 fmben. Hub toenn btr benn and) ©ott fcer^etfyt. ba3 §erg im £etfr fcer$aa. 3d) fage.

Orgcl unb ©efaitg.! ! " 218 Goethe's Faust. langejt ^eiu t)inukv(d)Uef ? bemcr ©djtoelle toeffeu S5(ut ? ' 2Iuf — Hub mxkx bemem £et£en Uub augftet bid) IRegt ftd)^ mdjt quidcub fdjou. ^J Wax ###BOT_TEXT###gt;ix% TO §ier bu «o* soil Unfdjuib A sum Wax txatft. uub l)tuitt>er geljeit . Dies irae. [Sc.) 33ofer ©etfl ©rtmm fctft bid) ! ®ielJofaune tout ! W . SSofer ©ctft ®rctd. tic 2)uvdj bid) $ur taugett. 2Bie embers ©retdjen. 586fer ©eift. ©ott im £et$eu ! ©retdjen 2BofteI)tbeiu^f? 2BeIcf)e iRi[fetr)at? SSet'ft 5 H V" bu fur betuer 2Rutter @eele. £aft §afl> tiuSetftiete. J Le* Solvet saeclum in favilla. U ^'' fyuttcv !Tom. dies ilia " . — 9lmt. : • uub ftdj 2Rit aljmtng&wtter ©egeufoart ? 2BeI) ! 2BeI) id) 2Bar' S)ie ber mir Ijeritfcer ©ebanfen IcS.eii. ©tetcfycn untcr tnetcm SSotle. SCENE SO. (£)rgelton. Su$ bem fcergrijfnen 23ud)eWjeu (Mete Mteft. . 20.

2 1 ®r$er BeBen Unb bem §er$. Nil inultum remanebit. w~ Judex ergo cum sedebit. 20.em 4?erfe^te. SSe^t auf Bit SBaV id) I)ter meg bie ! Wix tjl/ at$ ofc Orgel mtr 1 £ 2)ett 2trt. Quidquid latet adparebit. 2iu3 ^fdjenrmy gfammenqualcit Weberjufgcfdjaffen. 3I)r SHntltfc tveubett 33erf(arte tton bir aK . ©retdjem 2ftiv toirb fo eng 1 ! SDie ^auernpjefe 25efangen midj £>rangt mid) ! — Suft 33ofer ©etft IBerfcirg bid) ! (Snub unb ©djanbe 1 S5lei6t nid)t aerfcorgem Sup? Sidjt? 2BeI) bir Quid sum miser tunc dicturus.] Gretchen SDic ini Dom.! ! ! ! ! 9 Sc. Cum vix Justus sit securus? 93cfev ©njl. Quern patronum rogaturus. ©efang mein §erj 3m Stiefften loge.

©emigt mir 2Ba3 fyitft'S. 9Rep$fflop$ele& SSerlangfl bu ttidjt nad) einem SSefenfltele ? 3d) rounfdjte mir ben atterberfcften Soil. ai. biefer ®notenftocf\ bag man ben 2Bca. Mal^nrgiswarjrt auf frem «§ar$gebirg.! ! 220 Goethe 1 s Faust. SSon bent ber Duett ftd) eroiq fprubelub ftiirjt. 2tuf biefem 2Beg ftnb voir nod) roett fcom 3ic(e. id) fpiive nidjtS . Qflepfjtftc^eteg. gaufi ©o lang' tdj midj nodj frifdj auf meinen 33euten fcerfiir$t ! fttljle. Quid sura miser tunc dicturus ? ©retdjeiu Kadjfcarm ! ©iter gfafdjdjen ! — (@ie fata in Dfmmacijt. [Sc. bie fofdje $fabe foih# ! A< 2)er grilling roeBt fdjon in ben 23ir?en. 2)a3 ift bie Sufi.) SCENE 21. SDann bicfen getfen ^u erftetgen. ©djauert'S btw JRcinen ! 2Bel. £)tc £ctnbe bir $u rctdjen. Hrxrjdtatt* — ©egenfc son Scfyierfe nub (Sleub. Sauft. Unb fettfi bie gidjte fm tlm fcfanT ba&on @oflt' ev nidjt audj auf uufre ©lieber nnvfeu ? JJiivnsiljr. — 3m £afo)rmtl) ber Scaler Innjufdjleidfyen.

eingegangem getangen. SWepptjloppele*. fte fdjnell ooritfcer rittfen. . 3nitd. 2ftein leidjteS 2catttre(I $u ^nnugen unfcr Sanf. (M)' @r mtr grabV inS £eufcfo tauten @ouft Waf id) iljm few glatfcr^SeBen cm$. 3n bie £raum* unb 3aukerfpT)are <8inb ttir. fyeute ^auoertott. ba$ man ki jcbent (Sdjritte $or etnen 33aum..t tm StBec^fetgefang. id) cut Strict ! lutte ! . 3cfy merfe n>ill fooljl. ! ' giiljr' ituS gut unb mad)' bir @l)re. ba$ cTen luftig Bremtt. ^ . ! 2lllem fcebenft ber 23erg ift Unb ttenn eitt 3rrlid)t end) bie 2Bcge toeifcn foil. foil e3 mix gelingen. fd)cint t$. oor eitten gctfen rcnnt bafjl fgRatiP. butfcn. sc. id) bid) £e ba 2Ba3 mem greunb ©arf ju itnS fobern ? v^- nritlft bit fo »ergefcen$ fobern ? @et. SDort fel)' id) ! eht3. Unb bie tlippett/ bie ftd) . ©0 miifjt iljr'S fo genau nid)t neljmen. 2lur ^icfjad gel)t geftofyntidj (£i ! (£t ! @r benft'S ben 2Renfdjen itadj$ua()meit. 21. WalpicrgisnacJit e3 tointertidj ixn SeiBe auf dem Brocken. bod) fo gut unb tcudjt' im$ ba I)iuauf 2lu3 (£l)rfurdjt. ' Unb mid) gent nad) end) fcequemen. 22 1 %ttix ift 3dj nntnfd)te @d)itec unb Sroft auf meitter 25a(m. £)a£ ttir ^ortt>cirt^ fcatb 3>n ben tteiten oben Dtciumcn " 7 ou <©$' 2Bie bie SSaume Ijinter 23aunten. Unb leud)tet fd)ted)t. iljr fe^b ber £crr oomjpattS. ^ ftauft. Ijojf s it^. ! ! ! . 2Bie trautig fteigt bie unoollfommtte @d|etj>e ^^ 3)e3 rotten 2Konb$ mit fpatcr ©tutfj tycratt.

ttne fie Mafen ! 2)ntdj bie ©teine. Unb &aufenbfaroig. 222 GoethJ s Faust. (Stimnten jcner ©tmntelstage ? 2Ba3 toir Ijoffen. ° ^ ^J mt gebrangten Bum Sd^drme^ugeiv oerttirrenben ®tlcitt. fd)aarenftcife. bie ®eftd)ter (Sdjneibeu/ £>ie ftd) unb bie irren Sifter. tote bie (Sage filter Seiten. t .! . SDurdj ba3 2RooS unb burdj bie $aibe 5 ! Unb bie gunjfenttriirmer fliegen. ttte bie fid) SBinben ©d)Iangen. 1 2lBer fag mix. tta$ fcoir liefien ! Unb baS &d)$. . an$ $el$ unb ©anbe. burdj ben Deafen (Stlet 35ac^ nnb SSadjtein 1 nieber. . Ober 00 better geijen ? 2lUe$/ atte# fd)eint $u brejien. 2Bfe fte fdjnatdjen. lU)tt ! ©tfjntr. . [Sc.t ! tout e$ naljer ffau& unb fli^ unb ber SiSer. ttnb bie fangen getfennafen. ftdj metyren. 2tod) bent SBcmbrer. 00 nur ttnr ftel)en. ^ v— $e(S unb 23dnme. Un3 2tu« McBtcn fte ju fd)reden. bie Bidden. (Streden nnmberitdje 23anbe. f)aftet ttteber. 21. fte atte <BuR> mfy gefitiefcen ? @inb baS 2Mdje Unb burets ©eftrdndje ? £ange Seine. bide 23dndje bie 2BnvseIn. id) ^or ©or 1 tdj 1 Ofhufdjen ? Ijor Sieber ? id) I)olbe £ieoe3f(age. un$ &u fangen bcrBcn 2Rajcrn feSp l ~ ©trcden ^ofi^enfafern a>& bie 2Kaufe.

ttnb I)ier in bet gebrcingten (£tfe JBereiitftett fte ftc|. 2Bie im 33erg ber 2Rammon gliiljt. S)atm fdjleidjt fie roie ein garter gaben.anf einntaL * ©a"ffrul)en gnnfen in ber Sfcalje. 2£eM tocrbid)tet bie JRadjt.] Walpurgisnacht auf dem Brocken. ©ier fd)lingt eine ganje ®rretfe. ! ^-^ 4 gaufL 2Bie feltfam gltmmert burd^ bie ©ritnbe (*in ntorgcnri)tl)lid) triifar @djein Itnb fcH>ft fci3 in bte tiefen @d)fitnbe toirtert er Innein. 223 gaffe toatfer meinen 3t£fel $>ter ift fo cin 2ttittcfgtpfc[. ^ ! gaujh 2Bic raft bie 2Binb«faaut butd) bie Suft Wit tocWjen (Sdjlagen trifft fte meinen 2tatfcn £)n mn£t beS gelfcnS (Sonft (Sin atte %pen paden . roie^ bitrd) bie SBcitbcr fradjt . ^ 2De3 2l6grnnb3 £>ampf. Uv^ioe^ $ore.! ! ! ! Sc 21. bort jie^en ©djnxtben. i^-C^-^ 2Rtt Ijunbevt $bent. ^' ftitrgt fte bid) Ijinafc in biefet* (Sdjfihtbe ©ntft. ©ntjiinbet fid) (£rfendjtct nicC)t £err URammon ©liitf. f&) burdjS £!)al. $n biefem gefte prcidjtig ben ^ataft ? bit'* ©in bag gefelp l)aft 5 3d) fpiire fdjon bie nngeftitmen @afte. 2Bie an^gcftrcntcr golbner @anb. ^ fteigt etn ©a ^k^m^ i £>cmtt irtdfjt fie kuie fie cin Ouefl Ijenoor. Id^. L 3Bo man uttt (Srftannen fiel)t. 2)od) fdjau* ! in iljxex gan^en £bT)e bie geifenttanb. §ter leudjtet ®fatij anS SDunp nnb glor.

!! 224 Goethe s Faust. 5Der SBurjetn Stnarren unb ^w^~\ „ ®%cn x} ^^ . £)er ©tantnte madjtigeS £)roImen. buret) bie Mertrumuterten Slupe in ber ©olje ? 3ifdjen unb 5porft bit ^ Ijettten bie Sitfte. ©irren unb 23red)en ber 2lefte. ttem (£Ijre gefcttljrt 23au6o ^or ! unb anaefitl)rt $rau (So (£l)re bent. £)a folgt ber gatt^e ©exenljauf. @ttmme. UeBern Slfenftein £)a gittft' id) ! «** ber (£ule m$ 2?eft lutein. [Sc. @ttmnten 3n ber ^ertte. @ttmme £)ie alte JBau&o fommt aftein (Sie reitet auf einem 2Ihttterfcf)ttein. £>ort famnteft fid) ber groj) e ©auf/ £err Urian ft|t often auf.! ! . e$ ft— t + ber 23otf. 3m Unb furdjterlidj i?ertx>orrenen gattc ttefcer eittanber fradjen fte alte. ! SDte mctdjt' ein ?Jaar 5lugen *J . 2lttfgefd)eutf)t ffiegen bie (£ulen. §oY ! eS fplittern bie @aitten @tt)ig griiner ^atcifte. ben ganjen 23erg entfang (Stromf ein toittfyenber 3attftergefang £eren tm SDte £)ie @jjor. ©itTtit^tig (Sdjtoein unb mutter brauf. bie &aat ift grim. in ber 2caT)e ? 3a. 21. <So gel)t e~3 liter @tein unb @totf. £exen ju bcm SSrorfen §tet)U/ ©toppet ift gef6. <£* f— t bie £exe. SBetdjen 2Beg fommft bit Z)er ? ©ttmme.

! . Ijat fte . v^~~^ 2Htt (£inem ©grunge madjt'S ber 2Rann. 21. 23etbc @j)ore* <£« fdjtoeigt ber 2Binb. molten gerne mit in bie £olj\ 2Bir toafdjen unb &IpJ fmb hrir gan^ unb 2lBer audj eiroig unfru^tkr. ^' 3m £)er trufce 2ftonb oerfiirgt ffcljgertu (Saufen forityt ba$ 3aukr*(SIjor \ $iel taufenb geuerfunlen ^er^or. Sc. <3ttmme (ofien).] Walpurgisnacht anf clem. 225 ©ttmme + f* L J O 28a$ 2Ridj reit'fi faBre *ur §otfe bu fo fdjnelle ©ttmme. 00m $elfenfee ! wi ©ttmmen (»cn unten). >£~ £erenmetfter* 2Bir fdjleidjen lute bie £alfceg @f)or. Slommt mit. £)a3 2BeiB 2lnt>re £dlfte* 2Bir nel.! ! : . bie Gutter pfo§t. $alte ! £alte Q . 2)ie teeiBer afle ©enn . ©ttmme (son unten). e$ fKrtt ber ©tern. ! /^ -: ^ £>a ftefy nut SSunben £exetu 2>er 2Beg ift fcreit. gu beS SSofen §au0/ taufenb ©djritt oorauS. gefdjunben bie . fmb oorM3. fxir tin toller 2)a$ erfticft. (££or* fft ber 2Beg fang 2BaS SDie tfi bag ®aM f inb Strang ? fH$> ber $efen frafct. Brocken. geljt eS I)at ©djnecf im £au3. fommt nxit. 2Bir / gar.men ba$ nidjt fo genau 2Tiit taufenb ©Written mart's bie grau £>odjr n?ie fte and) jtdj eilen frttm.

2nmme m 95Bct ntft cbtn]. ter Bent nicBt fleg. urn ten ®ipfe( $ie6n. ! ! ! . reeit 25ie jtnb tie ant em icBen 10 3d) Bat? 51: {Kntfc feine JtuB. [Sc. 53ette dfccre. fofange3eit. 36 n?are gem £ei meinev ©(eicBen. bati rutfcBt unt flappert unt plapj?ert! unt ftinft unt Brennt (Sin rcaBre» £exenelement 2tur feft an mir fend unt reir gleirfj getrennt. 9)cepBtftor?Be(ee trangt unt f&ft. Unt femme £5 or ter £erem £ie 2alBe gte&i ten £eien SttttJ Sin lumpen ift 511m 2ege( gut. Iftann.! !. 21.! 226 Goethe's Faust. £er jfieget nie. 2Bo till tu ? . tragi bat 2 reef.) Xrrc- . Bier tedj nicBt bajtt. ftcfc> nicBt BcBen fann. 33etbe dfccre. .: f &O0 Xaj i* unt auirit.: 2ceBmt micB mix ! 2ceBmt mid? mit Sdj fteige fcBcn treiBuntert >tBr. bo on6 ter BeJfotfpofte ? 2ttmme (ur. £0 tragi ter ^Sefen. e$ rragi bet £ccf EBer Bcute 3ft en? to. Gin gutes 2cBifT ifi Jeter 2reg . lint fann ben ©ipfel nicBt erreicBen. bati }ieBt (7ud)tet. an cerfemer (art £aIM)ere 3c6 tripple nacfi.jrrii6t ! . S>ie @afre( tra^t. an tern ^Bcten Bin. lint tecft tie £atte reeit unt Breit JRit eurem 2c6n?arm ter SexenBeit n?ir Unt n?enn 2e ffreicBet H:e laffen jid> meter.

! ! . in ber grog en SBelf ®ag man fleine £Bclten mad)t. in (£inenffea|. 3m k^o tleinen man Saufh <Dodj broken modjf idj Itefcer feim ©djott fey tt^ ©fotlj unb SBirMraufy 2)ort ftromt bie 2ttenge §u bem 35ofen . nur urn meinetfritfen q2 . 227 §tet 2flepfHftopf)ele^ 2Ba3 1 ! bort fcfyon Inngeriffcn ? «< ' 2)a fterb idj £>au3redjt fcraudjen muffen. atte. toeldje fcunten glammen ! ift em muntrer ift ®iufi fcetfammen.b freunbltd). fl^w*^ j^l <^*- £)a mug fid) mand)e3 ^attyfellb'fem Ctv^XA*-' 2)od) mandjeS 3WtljfeI tmtyft flt§ audi}.*JjZ 2Bir toolten fyier im ©titten faufen. fomm ! tint fdjlupfen ba Ijmeitt* ! - 6U ^ . Sc 2i. bie fid) flug oerl)itllen. Pa| ! 3mtfer ffoTanb fommt ^afc ! fitter JoM. ©a Hub fel^ ic^ junge £exd)en natft unb Hog. Sag bu bie grog e 2Belt nut faufen. £ag unS au$ bem ©ebrana/ enttoeidjen (£3 ift $u toH. CaaaJ^h.] Walpurgisnacht auf dem Brocken. faffe mify I unb nun. danft (in ber Sevne).. doctor. fogar fur meme3 ©leic^ett* SDort neBen tetttf)tet toaS ntit ganj fcefonbrem ©djetn. nidjt allein. 3d) benfe bodj. 9tfa& |>ier. • .ren.^ J^^Lj^ £>u ®eift beS 2Biberfprudj$ ! 2htr $u ! bu magft mid) fuT. ®omm. (£$ ikl)t midj toaS nadj jenen ©traiujen. . H$ ift bod) fange l)ergefcrad)t. ! ©ei. T6elie6jg Urn unS nun lu'efelfcft $u tfolirem ^ ^ -/^^o ( ©a (£$ ftel) nur.emad)t Sum 23rotfen toanbetn ttir in ber 2Bafyurgi3natf)t. ba# ttar red^t ftug a.

. [Sc 21. incognito feiuen p gelm . man fodjt. . nur l)itt ! 2Rcm tan$t. urn im$ I. Goethe ber @pafl ift s Faust.! . h* tuieianb ^eidjnet mid) ntdjt au$. etnigen. . f omm nur ! 0011 $euer getjen roir jit $euer 3d) bin ber Berber unb bu (3u bift ber ^reier. fcerleugn' id) I)ier mid) ntdjt. roenn pbfd) in ber $on @£u£ um^irlt unb 3ugenbbrauS . ! 3d) t)ore toa$ fcon Snftrumenten tonen 23erflud)t ! <&*** ^ ^ 4 tomm 3d) mit tret* ic^ ©efdmarr 2ttan mug fid) bran gerooljnen. . ^ greunb ? baS ift kin ffeiner diaum. man fd)roa|t. Stomm tttit (£3 fann nidjt anberS feim. am (Matag man Orben fel)n. ©ettug allein ift jeber ja $u $au3. idj ©eneraL 2Ber V mag I)ajje auf S^ationen trauen 1 *L- Wan 2)enn (Stel)t Bet bem nod) fo soieX fur fie getl)an $olf> roie bei ben ^rattem often lr» r immerfort bie 3ugenb am ^ | . pf. 3)od) ift ber ^ferbefuf I)ter eljren&oK $u §cm$. roa3 madjt end) tl)r I)ier am (£nbe ? 2Ritte fanbe. TO Banker ober £eufei probuciren ? 9ftep£tfi0pf>ele& Broar bin 2)od) tagt (Sin ify feljr gerooljut. man liebt 2hm fage mir.fer einjuftiljren. 3d) lobf euc^. <©teljfi bu bie (Sdjnede ba ? @ie fommt I. 228 £>ie miilf ift fteitt. roo e$ roaS 35effer^ giebt ? $auft + 2Biflft bu bid) nun. man trinft. bit ftel)ft ba£ (£nbe raunu ftet) *7<ro @in £utnbert fetter bremten in ber $eil)e fagft bu. ! ! '/- Unb 2BaS SDa oerbinbe bid) cmfS neue. bie urn ttergtimmenbe StofyUn fMsen. .) 3I)r atten £errn. I)eran unb fiiljre bid) Ijerein.erangefrodjen Wit itjrem taftenben ©effect £at fie mir fdjon roaS abgerodjem SBenn icr) and) roitt.

gereifr. Stein SMd) ift l)ier.alten ttoftten.. . roaS ttir nic^t fottten jefco Jeljrt fid) atfeS £)odj urn unb unt/ 3 #Y 5^ ^nfc efcen ba toir'3 feft erl. i ^] / £robeI&ere* £erren geljt nidjt fo oorfcei ?af t bie (Megentjeit mdjt fallen 2Kufmer!fam tlitft uadj meinen SBaaren 3I)r ! f ! (£3 ftel)t barter gar mcmdjertei.^r 2)a3 ift ^ nod) nie fo naferoeiS getoefen. ! .. erfteige. ber . auf ber (£rbe gleidjt) 5DaS ntdjt einmal $iinx tiidjt'gen ©Robert 2)er 2Renfd)en unb ber 2Belt gereid)t. Wlittifet. 3dj loic mir bie guren 2llten 2)enn fretlid). -> . au3 bem ftd) nidjt in gang gefunben SeiB Eeines (2>em SSerjeljrenb I)eige3 @ift ergoffen. ift Unb bodj ttidjts in meinem £aben.! . 3ef$t ift 2 2g man oon bem Otedjten allgufteit. SDa roar bie recite golbne Ml $ar*>eniu 28ir toaren tua^rtic^ audj nidjt bumut. (ber auf einmal fefjr alt erfdfjctnt). ba tx>ir alleS galten. nidjt etu tiefcen&oiirbig 2Betu Setn <Sdjmucf. Sc. 21. n?eil mein gafdjen rriifte laufr. 3nm jitngften £ag fiiljp ic^ baS SSolf £)a ic| gum lefctenmat ben £exent>erg Unb. Unb tt)aten oft. oon bem nidjt feint gefloffen. 2Ber mag n>ot)l ii6erljaur>t jefct erne (Shrift 25on mcif tg ftugem~3ifl)alt tefen Unb ioaS ba$ tiefce junge SSott fcetrifft.] Walpurgimacht anf dem Brocken. @o i{t bie SBelt audj auf ber 2leige. ®tiix teld).

v J. 21. ! 2)ie I. fte 23or biefem ©djmncf.afcen fdjon toaS O^e^t^ gefprnngen tyUV' 9ttepf>iftopf>ele& £)a3 I. Saufh 2Bcr ift benn ba$ ? 9ttepf>tftop|>er^- %m 33etradjte ift fie genan baS. . gauji 2)ag 5eif * i(^ mid) nnr nidjt fetBft ttergeffe ! idj mir ta« bodj cine 2Reffc U^ L ^1U ° 2)er gan^e @trnbel ftreH nadj often £>u glanJft $n fdjieften nnb bn voirft gefd)ofcen.ren fdjonen $aaren.. gran 2RuI)me @ett)an SSerleg' ! @ie ! toetfteljt mir ! fd>XedC)t bie ! Beiten. [Sc.at mm I. &# <jel. ViU M ~> -(^ gefdjetjit fie fid) ©efdjeljn getljan anf 2lenig!eiten jiel)n ^j. 2ftmm SBenn birf) in 2Xd^t oor il.enre leine IRuI. Mn etwa IjinterriidS ©divert. 2^nr 2lenig!eiten un$ an.t bamit ben jnngen 2Kann etlangr.t jrnn nenen £an$ ! mm femm ! toir gretfen $n. ! ! ! 230 SSerfii^rt/ SRidjt Goethe 's Faust. gaufL 2Ber? 2tbam3 erfte gran. tnit bent fte ein$iaj3rana.. baS nidjt ben SSunb gefirodjem ben ©egenmamt burdjftodjen. bie 2XIte tnit ber 3wtgen . fasten* (So U$t fte il)n fofcalb nicfyt ttriebcr gaufi 2) a ft|en $n>ei.

(£inft l)att' 2)a fa!) id) i^ einen fdjimen £raum einen 2fyfelkum. SSalt ? (tanjenb). 3Bie er*$ in feiuer alien 2RuI)Ie tljut. geljn. foBalb toir oorttartS 2Bemt it)v end) fo_im f reife breljen ftotttet. Sc.one* 2)er 2tepfetdjen Begeljrt tljr fel)r. mug (W^% ~ $ann er nid)t jeben ©djritt Bcf(ffoa|en. Lv^/ / .] Walpurgisnacht auf dem Brocken. id) ftieg 3n)ei fdjime 2lepfet glcmjten bran. ©in ©eift ftel)t nie auf orbenttidjen giifjen ? 2hm tattjt il)r gar.! . ^arabiefe Ijer. <So — Ijatt' tin e3 ttar. 3dj Biete meinen Beften ©tug ! £)em TOter mit ©alt' er einen bent ^fetbefnf Bereit/ ttidjt SBenn er ein fdjeui g$voftop$anta$mtft aferffodjte* 25o« ! too? unterfteljt il)x tuft. fdjon Unb oom SDag and) meitt ©arten foicfje tragi (mtt ber 9lftcn).- ^^ $at man end) lange nid)t Beunefen. gaitfl (mtt bet 231 Sungen tanjenb). @ie r u. £)te Sllte. 2(m meiften cirgert tp. geflet mir'S boc^. (£inft Ijatt' id) einen ftiiften Zxaum . ^aUft (£i ! ber ift 2Ba3 anbre tauten. SSon $reuben fB$F ify mid) Bettegt. rcijtcn midj. Ijinan* £)te @tf. a/U~> @o ift ber (Sdjritt fo gut al$ nidjFgefdjeljn. 2)a £)er fat) id) einen gefpattnen 23aum. ? . 21. (tanjenb). un$ anbern 2ftenfd)en gfeid) 2)te ©djotte 2Ba3 unit benn ber auf unferm eBen u'Berali er fdja|en. .

bar . 23efonber# toenn ujr barum fcegriifen fotltet. r^cl Unb toenn 2Hutegefftd) an feinem 3ft er son ©eiftent (3u <®tetg ergefcen. e£ fragUtacfy feiner ftegeL mix (tub fo Hug. bir sum £cm$ fang ? gauft 2Idj ! mitten im ©efange fpraug s (Sin rotljeS 2ttauSdjen it)r au6 bent 2Rnnbe. curirt.. ivie er ftdj fontagirt. oor meinem lefcten <&tfjxitt. uub bemtodj fi>uff« in £egeL 2Bie lange Ijao id^ nidjt am 2gajn ^utaujgefeljrt Unb nie ttirb'S rein . immer mit.) 2Ba$ 2)a3 laffeft bu bag fdjime 2ftabdjen fo lieMidj faljren. id) £>ie £eufet unb bie Qitytex jn fajtoingen. ntc^t geuau . ba$ ift bOd) unerljort 1 ^j k £)te ©djone* @o I>ort bod) cmf) nn$ Ijier $u enntujiren 3d) faa'S eud) ©etftern in$ @ejtd)t 2)en ©eifteSbefpotiSmuS te«V id) nidjt 2ttein ©eift fann it)n nid)t exercirem (®8 toirb fortgetanjt. ber au8 bent £anj getveten ift. Ber fragt barnad) in einer ^djaferfhtnbe ? j^u^ U* - . ©enug.) f . : . baS ift unerljort. £)a$ ift tta$ 9le^t« bie 21tauS ! £ag nimmt man bod) ntd^t grau.. 21. unb oon ©eift gauft. «~^ 23erfd)tt)inbet bod) Bit Ijafon {a aufgeftdrt! - 2)a3 £eufel6:pa(f. *Proftopf>attta3mtft 3Ijr fes?b nodj immer ba ! ! Kein. er attenfattg nod} gut iljn [Sc. ! ! ! 232 2)cr$ Ijiefj Goethe''s Faust. fe^ iti> toitl mir md}t$ getingen • 2)od) eine IReife nefym' Unb t)offe nod). (£r toirb ftdj gleid) in eine EJnfce fe|en. T)a$ ift bie 2irt. ^ £eut.

ein 3boI.] Walpurgisnacht auf dem Brocken. 233 <Dann fal. i. ify — 2ttepf>tftopf>eIe^ gfaitfr JL. mit gefdjlojnen $it$en ju geljen. tft leWo*. _ 3Bte fonberBar muj? biefen fdjonen §al$ (Sin eingig rotfjeS (fedjnitrdjen fdjmuden. S3om ftarren Slid erftarrt be3 2Renfdjen Unb er ttirb faft in @tcin fcerMjrt $on ber 2ftebufe Ijaft bu ja gefyort Sttufr ^itrttaljr. eS ftnb bie 2lugen eine$ £obten. icxtxu / 3d) mttf kfenneitr baf mtr baudjr. ! 2cidjt fcreiter ate ein 2Refferrii(fen ©an$ redjf ! id) felj* c£ efcenfafite. £etfv ben id) genofj. bte ber fiife ©retdjen mtr geBoten. &ag ift bie BauBerei. 2)ie cine Iteknbe £anb £)aS £)a£ tft ift bie 23ruft. 21. bu teidjt toerfitljrter Xfyox ! <Denn jiebem fommt fte ttie fein £iefcd)en toor. . nicfyt fdjlojj.eIe^ %)aM £a£ bag nur fteljn unrb'S uiemanb iroo^I. ! sc.' c Se^fc! LU^ 1* 3l)tn ju begcgnen tft nidjt gut SSfat.u <&* ift ein 3auberSitb.. @in 6taffe$/ fdjoneS fdjiefct @ie <Sie fdjeint 2Re$ifto. $aufi 2Betdj eine SSonne ! tt>elc^ ein Seiben 3d) !ann toon biefem SSlitf nidjt fdjeiben. ftcfyft bit bort ®inb aflein unb feme ftefyen ? 0/ ftdj tangfam nur &om jDrt. . 5Daj) fte bem guten ©retc^en gleidjt ^e^tftopl.

2Ri(^ btlettirt^. 234 @ie fcmn baS £ampt 3)enn $erfeu$ 2htr Goethe' s Faust. ttie §m ip Ijat 1 im prater .^ da immcr biefe Suft jitm 2Bal)n ! . aud) mtterm 2lrme tragen [Sc. neue3 @ttt(f.! . Ijat'S iljr aftgefcl)lagen. benn ba gcljort iljx l)in. . ben Soring * 9tteppt(loj>£eIe$. - ^^. SSenn 2)a$ ic^ eud^ anf bent 23lotf3fcrg ftnbe/ ftnb' id) gut . (Sin SDitettant at eS gcfc^rieBeit. Unb $Di(ettantcn fpielen^ end). f omm Unb bod) ba3 £ugeld}en tycran fo luftig. 21 . . 23er$eil)t. man mir'3 nid)t angepanr id) toat)tlid) ^ @o fel) em Sweater. ba£ te^te 511 (Stiitf son ftefcen (Soviet geften I) ift alfljier bet* 25raud). 2BaS giefit'S benn ba ? ®tei&) fangt (Sin man toieber an. iljr £ernt/ toenn tdj oerfdjnnnbe aufeujieljtt.

(So geigt'S in biefen Stnnben f onig Sie nnb bie ^onigiitr ftnb aufs nen oerimnben. £ente ruljen Sitter 35erg text tinmat. fie 35vaudf)t man nnv jit fdjeibcit. aitf from §mcta* £ocf)$ett. 2Xrtet fceftegt ben Sang 3n t)intmtifct) reinen Molten tocft fein $iete grafecn f (ang.b il)v ©eifter. Dfcerom Set. ! sc. two id) Bin. SBatpurgt^nac^t^tvaum ober DfcevonS unb £ttamci3 goftcne — Sntmuqjo. . . SDaS ift bie gemje (Scene £erott> + 2)af) bie §odj$eit gotben fei> SotPn 2t6er ift fnnftig 3al)t' fegit sjorii^er ber Streit oorfcei. Dfcerom ©attett/ bie fid) oertragen hjottett/ £ernen'$ oon un$ 6eiben SBenu fid) jtvete tiefcen fottcit. 22. £)ocfy tocft cr and) bie Sdjonen. 235 SCENE IgfasfasgieJ 22. Unb fdjlejg ben guj) im Ocei^en £nnbertTommen fymtertjer/ Sid) cmdj mit ilmt $n frenen. .!! .] Maskenspiel anf dem Bvocken. Stommt ber ^Jutf nnb bretjt fid) qner . 2Kiebing3 3 roactre Soljne. nnb feitdC>te^ %%al. ift £)ag gotben ntir tiefcer.

[Sc 22. 2)oc^ geljt'g tridjt in bie Siifte. (Spinnenfuj? unb Unb glitget^en MtenBaud) bem SBidjtdjen 3mar ein S^tetdjen ajefct eg nidjt. din ©urdj £onia. feinen ©djtoanj Qo&l WiU e^ a\$a 3fteife(. ber fid. Dv^efter Xuttu Fortissimo. ©3rt ben ^necfefc^nicfeffytatf Storc^ feine ftumpfe Kafe ^j aJ^ Uf 7 \ ©eift. unb gritlt bie grau. evft fctlbet. ba fomtnt ber £)ubclfacf M^ (£g ift bie ©etfatWafe. SDodj gieM e$"em ©ebid)td)en. Ijoljer Kleiner ©djrtrt unb ©prima. . ttnb 3I)n an 2lorben$ (£nbe. ^ttanta* (Sc^motlt ber 2Ronn. %x§xt mir nadj bent 2Rittaa. ©te. ^ / 3(1 bag nidjt 2Ra$feraben*<3pott ? @ofl id) ben 2lugen trauen ? OBerou/ ben fdjimen ©orr. gttegenfc^ttaus* Wit £)ag tljren SJrofdJ unb 2RijtfeimafV toertoanbten/ im £au£' unb ©riCT tm ©raf\ <^ ftnb bie SJKufifanten ©eljt.tIjau tyaxfyen. 3 (So fajjt fte nur fcefyenbe. ^eugtertger 9?etfenber. 236 Goethe:'s Faust. 2ludj Ijeute fyier £u flatten ! Drtf)ofc>ox\ Petite ®Tauen.!! . unb S)iifte 3toar bu trippelft tnir genung. ! ! ! .

ba$ Ijeut giirftaljr id) nur ffi^enfteife Bereite mid) fcei Beit Bur 2ldj ttalifin'fc^en IReife. ift ergreife. ^orbtfc^er 2Ba$ £)odj icfy MnftUv. ^ $?atrone> 5~^ 2Bir tjafon ^u oiel SefcenSart. tint Ijter mit cud) gu maulen . thrift ! mein UngTiicf Ijier fit^rt midj ! Ijer 3Sie totrb nidjt getubert ft (H^ Unb oon bem ganjett ©exenljeer @inb §rx>eie nur gepubert. ttie man tounfc^en faun 2M)4aftig. fo tote ber Diocf. £>od) Ijojf id). @apenmetfter* $ftegenfdjnau^ unb SftutfennafV Umfdjttarmt grofdj ntir nidjt bie 2h(fte im %a\ib @o UtiU bodj aud) unb @ritP im @raf. oerfauten. $u oerfdjliugen. 3unge £ere* ©er $uber giir aft* ift. fottt il)r ' ^ • jung urib jart. .] Maskenspiel auf dem Brocken. @o toie ityr fegb. unb graue 2BeiBd)en 35o«t £)rum flfc' idj natft auf meinem Unb §eig* ein berfce3 Seifcdjen. ©efellfdjaft. ! ! . 2Rarin fitr matin -u*£>ie tyoffnungSooflften £eute v*^ Stnbfajme (nadj ber anbern @ette). tauter S5raute Unb 3unggefetten. Unb @ie tyut alte ftdj nidjt ber 23oben auf. 237 @o (So tote bte ift ©otter ©rtedjeutaubSr audj er tin £eufet. im £acte SBtnbfajjne (nacty ber ein en ©eite).! ! : ! sc.. 22.

2(16 Snfecten ftnb tint bet. „(£r ftjun nad) 3cfuiten. (Satan. 2todj 2Btirben $u terefym ^ ©el)t/ tuie 2iaiiD fte in gebrcingter ©djaar jufemtmen fdjerjen fie 2lm @nbe fagen nod) gar." $ratuc^ 3n bem tfaren mag idj gem Unb aucl) im £ritkn ftfdjen ©arum feljt t()r ben fremmen ©erm <5itf) auft) mit £eufetn mifdjem SBcltfinb* M' 3a. <Sagt. dx fdjnopert roaS er fdjnopern hnn. SWufaget 3dj mag in biejem £exentjeer 2Ridj gar &u gem sjerlterett 1 W idrt ' £)enn freilidj biefe roitjjt 2Rufen cmpfiiljtm id| cl. ^arnajj.'r. " 3ft alleS ein Eeljtkl . [Sc. gfaufcet mix. ©0 ttitt id) ©letcC) in bie £5((e mit Beljenbem Scmf fyringem Lenten. @ie fatten gute £er$en. tote ^eifrt ber fleifejmamt ? (£r gel)t mit fhrtjen ©djritren. fur bie grommen. 22. unfern £errn tya$a.!. Wxt fteinen fd^arfen ©c^eeren. 238 Goethe's Faust.! . Ci-devant ©entuS ber 3ctt TO red)ten tomm. $at gar einen fcrciten ©tyfel. faffe £euten roirb man roaS. meinen 3ipfel tone ber beutfdje 2)er 23(o Werg. . - Sfleufliertflcr ^eifenber.

2Bie DrpljeuS £eiet bie 25ejgen. bet pumpe Unb 2)a$ fracjt ntd)t. Ijafjt ftcfy fdjtoer. . Unb mnf mic^ baf flelje I)ier oerbriejjen turn erftenmal gujjtett. 2htr unreport! e3 ftnb tm dioljv £)ie unifoncn ©ommefa.eute •• narrifd). h)ie er frmn.. 3ft bicf ntal gar ju I)emfd) $iirfral)r. toenn id) ba3 atfeS bin.^. sc. ttie e3 anSfteljt Sttclet. Ijercm$$tcljt ^ Ijupft ®rumme fprtngt. @o bin ic^ l. ©ogmattfer* 3d) laffe mid) nid)t irre fd)rein. 2lidjt burcj trittf nod) 3t»etfel - £)et: 2Bie £eufef mng bod) ettoa3 fegn gaW benn fonft anc^ £eufel ? 3beaUft *V £)ie ^l)antajte in meinem (Sinn . @tc fcilben cmf bent 23tocf$fcercj @ctr mcmdjcS Son&enttfeL Ijiet 239 £an$er* £)a fommt ja 3fc I)5re frot)l etn ncucS (Sfyor ? feme Swmmelm r^l.] Maskenspiel aaf dem Brocken. 22. %li&jt feft cmf meinen (Supernaturaltfi SJRit oief ^erguucjen Hit id§ ba Unb freue mid) ntit biefen . Unb oafr* fid) getifbaS ^eftdjen f (£3 etnt fte Ijter ber Dubelfacf. : . baS Sumpenpcuf. £an$metfter 2Bie jcbet SDer botfj bie + Seine lugfU ! @tdj. ^ y^^d^ . ntir red)t £)aS 2Befen 3d) iff $ur Dual . dttalift.

! groM tet £aufr' $erfiud>te SDirettanten gtiegenfdmau^ unb 5l. 22. 3xxlid)tex. ^cl*£jV ^ Kun afrer ®ott fiefoljten Unfere <2d)ul)e fmb burdjgetanjt/ 2Bir lanfen auf uacften @oI)ien. 240 ®emt »on Goethe' s Faust. @apenmetfter* nnb ®xi\V im @raf% SJIh'idennaf. (Sonfl ^a^en ttrir mand)en 25fffen erfdjranjt. .r fet)b bod) 2Ihtftfanten lu> £)te ©ewanbtem @att$fouct/ fo Beif t bag $eer $on tufhgen ©efdjopfen geljn roir SXuf ben gitfen geljt'S nidjt meljr. £>rum auf ben fctyfen.! !. . ®ie Unb 2) a geljn ben ^fammdjen auf ber ftSj ©pmv gtcurt'n «^ *>em ©djafce. 9Son bent ©umpfe fommen toir erft entftanben tt)ir ttir.. . 2BorauS £>od) ftnb gletdj im 3teil)en fyier £)ie gtanjenben ©alanten. id) fa IKuf gutc ©eifler fcpeg en. ben £eufeln farm < [Sc. Siege nun im ©rafe quer 2Ber I)ilft mir auf bielBeine ? Die SWafflpem 5^Ia^ &o geljn bie unb pafc ! unb rina^ermu ©rc$d)en nieber ! . 2fuS ber $ol)e fd)o£ id) I)er 3m (Stern* unb geuerfdjeine. 2lnf £eufel reimt ber Stoeifel nur Un id) redjt am pa|e.

1: . 5XrteL ©ab bte Kefcenbe Katur. ^ er k^' feller. ©eijteroudj ^w£ @ie IjaUn ptumpe @(teber. • 241 ©eifier fommett. @afc bet* @etft eud) gtttget.! sc. s #uct / -• Stretet trid&t fo maftig auf. Unb afle$ tff jerftofcen. Ap > Suft im SauB unb 2Binb tm ftol-r. 2Bie (Eep$antenfalFer. Unb @ci.] Maskenspiel auf dem Brocken. gotget memer Uityttn ©put/ Suf pm Otofenljugel £)rtf)efter* Pianissimo. ber ptmnpfT an biefem Za§ ^htif. SBoffenjmj unb 2teMfIot (SrlieKen ftd) i>on ofceit. 22.

itffto3 i?er= ! ! ! — berBen ! 20?epf>tfto^ete^ <2ie ift bie erfte nid)t Sauft ©unb! ©eift ! aBfdjeutidjeg llntl. i>or mir ^er^utrotten.angem SBanbP il)n roieber in feine fteMing^ fcifbung. 23. 5elt. toie er fidj oft nadjttidjer 2Beife geftet. bem tjarmlofen SSanberer wr bie gitfjl e gu foflern unb ftd) bem nieberftitr^enben auf bie ©djultern $u l. unb baS I)aft bu bal)in ! irrt mm — ! @tel) nur. baf er fcor mir im @anb auf bem 23aud) frieze.aterin im Verier gu entfefclidjen . SCENE 23. oerBirgft mir tljten toadjfenben Jammer unb laffeft fie l. gauft 3>m (£fenb ! SSerjtoeifelnb ! ©rMrmlidj auf ber @rbe lange fcer* unb gefangen ! TO 2RiffetI. Sri'tfcer Sag.! 242 Goethe s Faust. nidjtSttitrbiger @eift.*J 23i3 batnn ! U-^ Ctuaten eincjefperrt/ ba£ Ijolbe unfetige ©efdjifyf ! 23errcitl)erifc(jer. id) iljn mit jammer SDie erfte ntd)t ! giifj en trete. flel) ! 2BaI$e bie teuflifdjen 2lugen mir toert.ier! — 2Bcmbte ilm. bu unenblidjer ttanbte ben 2Surm ttieber in feine £umb3geftatt. [Sc. ben SSertuorfenen ! Jammer ! »on feiner Sftenfdjenfeele $u faffen r bag mel)r aU din ©efdjityf in bie £iefe biefeS (£tenbe$ oerfanf/ bag nidjt bag erfte — — .eit ! Hub midj foiegft bu tnbefjl in aBgefc^maiften Berftreuungen.etmXic^t @telj mtb truge mir burd) beitte um ingrimmenb im ®opf Return ertraglidje ©egentoart @efangen ! 3m untt)ieber6ringlitf)en (Sfenb 23iJfen ©eiftern uBergeBen unb ber ridjtenben gefiipofen SRenfdj* I.

toarnm an ben ©djanbgefellen mid) fdjmieben. ber bn mem £erg fcmneft nnb metne @eete. ba too eudj 2ttenfd)en ber ©inn ufcerfdjnappt. bag er end? elenben (SterlJ* gegeBen toarb ! £>en nnfdjntbig (£ntgegnenben ju ger* fdjmettern. feine 3tiegel nid)t offnen.ere^ lidjen nidjt ©reifp bn nad) bem Conner ? 2Bol)t. toemt bn nid)t bnrdjfnljren frmnfl ? 2Billft flicgen nnb tuft oorm @djtt>ittbel nidjt ftd)er ? 2)rangen fcotr nn$ ober bn bidj nn$ ? ^tetfdje beine bn mtr gu erfdjeinen hntr^ bigteft.n ! R 2 . pdj in 23erlegenl)eiten Suft gn madjen. ber 1 fte inQ 23erberfcen ftiiqte ? ober bn ? (Mitft totfb umfjet). fte 2Barnm mad)ft Tit ©emein^ bir anf. mit un$.! Sc. Jauft fringe mid) l. fitr 243 genngtfyat notl) bie ©d)ttlb alter itbngen in feiner ! nnnbenben £obeS= n)iil)tt oor ben $ngen beS etoig $erjeil)enben 2Kir . 23.] Faust fordert Gretcheri's Befreiung. e$ 21Zarl getaffen unb £e6cn bnrdj. ber 23erberfcen ftd) cMt 1 !"! — gefragtgen 3ciljne mtr ntdjt fo entgegen ! 2Rtr ©ro£ erTjerrlidjer te£t ? (£nbigft bn ? Olette f!c ! ober toel) bir ! £)en graflidjften gtndj itfcer bid) anf 3al)rtanfenbe SD?epf>iftopf>ete& 3dj Jann bie 35anbe be$ 0tad)er3 nid)t lofen.in ! ©ie foil frei fet. ^e^tftop(. ba$ ift fo Slgrannen^rt. ber ftdj am <Sd)aben toeibet nnb an ©eift. 3dt) — dlctte fte ! — 2Ber ftar 3. ba$ (£lenb biefer eingigen liter baS @d)idfal oon £anfenben l)tn I bu grinfeft 2hm fmb fd)aft foir fdjon totcber an ber ©range nnfereS 2Bi|eS.

24. Uefcer be$ ©rfdjlagenen @tdttc tadjenbe ©eifter unb lauent auf ben h)iebetM)renben Berber. gaufr @ie ftreuen unb tvetljen. Beugen fidj. offen Selb. fcraitfenb. ©djftekn auf/ fdjtoefcen atv neigen ftdj. JBorfret ! $orki . 2ftorb 1 giiljre fag tdj. unb £ob ctner 2Beft unb fcefm' fte itfcer bidj Unge* 3dj pfljre bid). Unb ©tabt bie ©efatjr. gauft 2?odj ba# Ijeiter ! Don bir? mid) I)in. 9ttepjHfto»|jete& Sine £exen$unft. notfj Kicgt auf ber »on beinet pcmb.fr 2Ba$ toefcen bie bort auf bem Otafcenftein ? 2Bcifi nid)t. . Ijore ! £aBe tdj afle 2I^ac^t id) im ©immet unb auf @rben ? £)e3 :£l)urner3 (Sinne totU ©djtuffei urn* neMn fiiljre . toft$ fte fodjen unb fdjajfen. 24. auf fc$toav$en ^Sferten batter 5att. ffaufr 3Iuf unb b«i)on SCENE Stacfyt. £tae am g^fasteme. ber 231utfdjulb fdjtoefcen bu bid) au3fe|eft ? 2Biffe. [Sc. SWeptytftopfieteS.! ! ! 244 Goethe s Faust. Sa u ft . unb toa3 id) tljtm faun. fcemadjtige bid) ! bet ! unb fiif>re fte IjerauS mit 2Kenfd)ent)anb eudj. 3dj ftadje bie 3aufcerpferb'e jtnb t>ereit r tdj ent* £)a$ fcermag u§.

33ift bn dn >2ftenfd).arete (fid? vox tyn fnntoatjenb). ju il)r cjeljen fuf^teft. Ijeran-. 2)te tetten llirren I)b'rt. %ats* JurksMf. (®r tritt ein. fie ftieber ju feljen ! £)ein 3a_gen ^ogert ben £ob (@r ergreift bag ©ctytofj. fetch's — Sauft. ©ttft &tiil I fomme bid) §n fcefreiem 2D?ara. ba3 ranfd)t. ~- @S fingt intoenbtg.) 50?atCjarete 2Ber I)at bir (auf ben JtnUenV £enfer biefe 2I?ad)t . (auffcpepenb).) ^avgarete (fici) auf bem Sager uevbetgenb). mtt einem iBunb @c$fuffe( unb enter Sam^e.! ! . fie auf^ufc^tiepen. 2)er mid) geffen Ijat 2ttetn <Sd)tt)efterlein Hem £ufc anf bie S5ein% 2fo einem fitl)Ien £)rt £)a matt idj etn fdjimeS SBalbttogelein . ba$ ©trot). ^(iege fort. jammer faft mid) an. Winter biefer fend)ten Waiter. 2fttd) fagt etn Xcingft enttootjnter ©fatter. 245 SCENE Jleifer. 25. Gretcken's Tod.] Kerkerscene. h 2)er 2ftenfd)I)cit ganger > £ier woljnt fie. 25.! !! ! Sc. 23tttrer 2Be$ l 2M) ! ! eie fommem idj £ob jjctuft (teife). bie §ux\ I)at 2)ie mid) ttmgeBradjt 2Retn 23ater bet* ®djelnt. bag ber ©eliefite tanfdjt. fltcge fort J CUt ft @ie al)net ntdjt.) 2Keine Gutter. fo fiil)te meine 2?otl) 2)u hjirjl bie 2Badjter anS bent ©djiafe fdjreien ! (@r fa^t bie Jletten. »or einetn eifcrneit Sfyurcfyen. war em ju gnter 2BaI)tt ! Unb 2)u £>n $ort i^r $etftred)en ! janbetft.

[Sc. 2)u tyolft (£r6arme 3ft'$ bid) mid) fd)on um 2Ritternad)t. Unb fagen nun. . unb lag tttidf) I kUn (@tc morgen friil) nid)t jeitig gemtng ftefyt ? auf. 25. ! . Unter ber ©djtoette @iebet bie £olfe ^ I cro £)er 23ofe. Unb niematS fterb' idj ftieber frol). unb ba3 roar ntein SSerberfcen. ! ! ! 246 Uefcer mid) gegeBen Goethe' s Faust. um mid) $u franfen. fo jung Unb foil fd)on fterften ©d)on war id) and). £af mitt^ @ie ftngen Sieber auf mid) ! & ift W§ fcon (£tn afteS 2M)rd)en enbigt fo. 3d) $mt' e3 biefe gan^e 2£ad)t @ie nal)men mir'S. 2to| n>ar ber greunb. £)ie 3ammerfned)tfd)aft auftufcpef em ^argavete (tutrft ficty ju t^m) O tag un$ ten. bie £>eiPgen anjurufcn @iel) ! unter biefen (Stufen.) Sin i(^ bod) nod) fo jung.! ! ! . idj I)atf eS umgefirad)t. . ©in Siefcenber liegt bir $u f^iigett. i^ bid) bod) mem £age nid)t gefel)en ff«*ft 2BetV id) ben Jammer ufcerftel)en ! SDfar^avete* 3d) Bin nun gan$ nur erft in beiner Sftadjt* ^o? f baS ®inb nod) tranfen. ! gaffe mid) nid)t fo geftaltfam an 1 @d)one mid) ! 2BaS Ijafc ic^ bir getijan ? $aV £ag mid) ntd)t oergeknS flel)en. ben £euten rdJL 2BerI)eiftfie^beuten? J gauft (ttrirft fic^> nieber). nun ift er tvcit Berriffen liegt ber ^ran^ bie 23lumen jerffreut.

gauft 3tfj 5in'« 2)u fcifr^ ! O jtt fag* e3 nod) einmal (3$n faffenb. loo £) roeile bu roeileft (Strifofenb. 25. ©retdjen ! ©retdjen yftaxQaxete (aufmerffam). tdj So 2Kartl)e beiner toarren. tomm mit ! fomm mit WlaxQaxcte. ©rimme.! ! ! ! ! ! ! ! sc. 2)a$ ftar be$ greunbeS ©rimme £>te ifcttcn fatten at». 2Bo ifr er ? 3dj IjaV il)n rufen Ijoren. 2BeiP id) bod) fo gem.) m 1 . 2Kitten burdjs £eulen nub happen S)urdj ben grimmtgen.) (@tc fpttngt auf. 2luf ber id) bid) gtttn erftenmale fa^ Unb ber Ijeitere ©arren.] Kerkerscene. reufltfd)en £ol)n Qfrfannf \§ ben fiijjett/ ben liefcenben Zen. fret ! 3d) Bin 2Ictr foil niemanb roejren. Jauft (fortftrefcenb). -Gretcheri*s Tod. 247 TO furdjtfcarem tin mdjt ©etofe gauft (taut).) <& 2)u iff 3 ! (£r i|T$ ! 2Bol)in ifr aHe Oual? ! 2Bol)in bte 2lngfr beS terferS ? ber terten ? fcift'g ! tommjt ! 3d) Bin gerettct — mic^ retten @djon $^ unb e @traf e nrieber ba. 2ln feinem SSufen tiegen (£r rief ©retdjen ! (£r ftanb auf ber ©djroelle. ber £olle. -"w^M^ 2ln feinen £alS roill id§ fliegen.

Unb fcift bu*« benn ? Unb ftp bu^ anc^ ge^if ? 3dj Bin' 3 ! $omm mit yjlaxQaxete. ttnr'S tl)euer fcufett miiffen. £)u madjft bie gepn ©djoof. Hub I}a|i'« ftttficn loerlernt ? SBarum tt>irb mir an beinem §alfe 2Benn fonft fo Bang. . Sftmmfi SBie fomtnt e3. beinen (£m"a. 5!ttargavete* 2Bie ? 2>u lamtfl nic^t mel)r fitffen ? SKein greunb.! 248 SBcmt bu SBerben nic^t eileft/ Goethe s Faust.! ! ! . ate tootttefi bit Unb bu mid) mid) erftiden ? $itffe nttdj (sonft tuff id) bid) (@ie umfait tl.) ffaufl tomtit ! ^olge mir ! £ieM)en.an$er £immet fitpteft. 2Reine Gutter IjaV id) umgeftradjt. fo tuv% tton mir entfewt. SStidfen son beinen 3Bortcn . ©tub 2£o fhtmro. [Sc. mid) iiforbrang.n.) £) toel) ! beine £ippen finb Mt. faffe 2Rutlj 3d) Ijer^e bid) mit taufenbfadjcr ©tutt) 2htr fotge mir ! 3d) ^ttte bid) mtr bie£ ! (ju tf)m getoenbet). bein Steven ? (@ie toenbet ift ©eMiefcen ? SKer ftrad)te mid) brum fid) »on ifym. 25. baf bu bid) oor mir ntct)t fd)euft ? Unb roeift bu benn/ mein ^reunb/ roen bu fcefreift ? toieber midj in betnen to*/ — $omm ! fomm ! @d)on n?eid)t bie tiefe Sfatdjt.

arete* bu mujjt bir bie ittrig tfetten 3d) roitt ©rater tefdjreiten. fo fromm. %Rify eitt toeing in ©eif. fei. Gretcken' 1 } s Tod. '- Saufh git^tft bu. 2Bar e3 ntdjt bir X)ix and) — £)u at ! unb ! mil* gcfdjenft ? ! tiff 3 id) giant* e$ faunt. bag it^ e3 tin. 25.! . getljan Slut bran. 249 2ftein ttnb Ijat td) ertrattft.] Kerkerscene. etn IjoibS ©flitf 2Iter e$ rottl mir nidjt mel)r gelingen 2Kir iji'g. TO fttef eft bu mid) Don bir ^urnd Unb bod) ttft bit's. ater feud)t 2Bte mid) baudjt.. £)a3 roar etn fitfjeS.! ! ! sc. gitr bie mufit bu forgen ©letdj morgen £)er SKutter ben teften $fafc geteu. ! ! ! ! . @tet beine £anb S)etne 2Btfd)e 3ft @3 ! We §anb fte ! — ift fruit £rauut fte ift 2(d). — / .n ! 3Ctfarcj 2?ein. 3d) titte bid) brum £af ba$ SSergangne oergangen 5Du Bringjt nticl) urn. M) ©ott 2Ba$ Ijaft bit ©tede ben ©egen etn. 2htr nid)t gar ju tveit Unb ba$ Meine mir an bie redjte 23ruft 2ftemanb hnrb fonft tet mir Itcgen ! 2Kidj an beine <&ntc $u fdjmiegen. aU miiflt* id) mic^ §u bir jtoingen. unb tlidft fo gut. 2Reinen SSruber fogtetd) barneten. fo !omm 9ftargarete + £)al)inau$ ? .

Unb fie n?erben midj bod) ergreifen 3d) Weifce fcei bir. 3n ben 2Batb tyinein. [0 fomm 23on l)ier i\€ ettige 3ht1je&ett Unb £>u better feinen @d)ritt gel)ft — id) nun fort ? £) £einrid) r fonut' mit £)u lannft ! @o tootle nur ! 2>*e £I)ur fteljt offem 5D?argarete + 3d) barf nidjt fort . ©efdjtoinbJ ©efdjtoinb! IRettc bein armeS feinb ! gort ! 3mmer ben 2Be$ Sm 4yw^ UeBer ben @te#. Unb nodj ba$u mit fcofem ©ettnffen (#3 ift fo etenb.! ! ! ! ! ! ! \ ! 250 Goethe 1 s Faust. in ber grembe fdjroeifen. [Sc. 3to$ greie. mix cwf. fcettein §u muffen. ^argavete. 9ttargarete« 3ft ba$ ®rab brauf $auert ber £ob. fat mi& ift ttidjts 2Ba3 l)ilft eS flieljn ? ®ie lauern bod) gu Ijoffen. fo Hft bit fret . 3m ga£ £eidj* e$ nur ajeidj <£$ anil fid) Z)efcen. @3 ift fo etenb. 25. Sinfe tto bie Spiattfe fteljt. 35ad) l)inauf. (£$ ^ctypelt nod) mttl rette! gaufh 25efinne bidj bod) %tux @inen @d)ritt.

I)ilft fein ©agen. £)er $ta$. 25. e3 ttirb £ag ! ber tefcte £ag briugt Ijevein. id) leibe feme @ettalt ! gaffe midj nidjt fo nwrberifd) an (Sonft Ijafc* ic^ bir ja atte3 ^u Siefc' getljan. fte toafyt nidjt meljr. 2ftein £od6$etttag follf e3 fei. Gretcherf s Tod.] Kerkerscene. ber Stopf ift tljr fdjtver fdjlicf fo lange.! . ! (£3 ttatett gfudlidje Mten £i(ft I)ier !ein $tel)en. 2)ie 2Renge brangt ftd).n 2BeI) (£3 @ag' niemanb. efien gefd)et)n ! 2Bir foerben unS friebetfeljn SHfcer nidjt fceim . bie @affen man ^crt fte nidjt. fte nidt ni&)t. Slag ! 3a. Sc.arete. Stance. £aj? midj ! 2lein. 251 SBaren tint nut ben 23erg ootfiei 2)a ftfct meine 2Ihtttet auf einem @tcta/ faflt mid) folt teim @c^opfc 4c £)a jtfct meine 2Rutter auf einem ©teiit/ Unb foatfelt mit bent $ opfe ^ @ie @ie @ie toinft nidjt. fdjlief. gauft £)er Stag graut ! Siefcdjen ! Siefcdjen ! $?ara. @o toag' idj'3. ! ! !! ! . bid) Ijintoeg $u tragen. ®onnen fte nidjt faffenSMe @(ocfe ruft. bag bu meinem trance ift fdjon fcei ©rctdjen toarft. bamit ttn'r tm$ freuten. midj Binben unb pacfen $utft nad) Bum iyv^-A>-t^} 23Iutftul)l (un ify fdjon entnidt. ba$ (Stamen 2Sie fte frridjt. @djon jebem 2?aden .

paubern ! 2Ba$ £)er ! fteigt ber ttift 2Ba3 au$ bem SSoben tyerauf ? @d)icf il. ober tl)r fei)b tterlorem Unnii$e$ 3agen ! Bcwbern unb 2Reine ^ferbe fdjcmbent.! ! ! ! ! ! ! ! 252 2)ie <Sdjcirfe.n fort ber an bem ^eiligen Dvt ? ! (5r to ill mid) $aufi £)u ©eridjt ©otteS £>ir foflfi Men mid) iifcergefcen ! 9ftar$arete« ! Ijafc' id) (ju Sauft). ^ ! [Sc. bie nadj Goethe meinem tx>ie s Faust. @ie ift gerid)tet ©ttmme (*oon often). Stomm 3)em ! lomm idj. 3ft gerettet sWepjnftopIjefe* (juSauft). ! $agert eudj umljer. £er ju mtr (^etfdjttMnfcet mit ftauft. 2)er 2ftorgen bammert attf. (©tttmm liegt bie 2Belt baS ®rafc O toaV 2htf ! id) nie gefcorett (erfdjetnt braupen). vei^adent)). 9ttargarete* m'n Setter ! JRette mid) ! 3I)r Gmgel. il)r Ijeiltgen ©djaaren. 511$. mid) $u fcetoaljren £eiuridj ! 2Kir grants t>or bir. $emrid) ! £einrid) .) ©ttmme (con inneit. ! 3d) laffe bid^ mit i()r im <©ttd}. 25.

.NOTES.

.

15. 74. P. estranged . and Basedow. get&afctyt. 1. 73. . and F. This preposition here is a prefix belonging to the fommtj love and friendship rise (or follow) in shades. umttttteri.— — NOTES. 1. [1797. mtt. What I possess I is see as if projected removed —into the distance. 1. The magic breath which like an electric fluid surrounds your train. The spirit-realm here referred to the region of the Supernatural to which the subject of Faust appertains. 73. 10. im toeiten. and Kestner lived All these had known the first scenes of his Faust in the condition in which it was written twenty-three years before —more especially Gotter. Lavater. 16. Klinger. Gotter. 73. and his friends Merck. reminding us that in 1797 Goethe had his sister — lost Cornelia. 74. commentary on this line. while Klopstock. Lenz. fortune 1. and what past becomes to me a reality. e. P. 8.] P. Jacobi. i. Merck. is Klopstock. DEDICATION. company of these P. 12. and Jacobi. P. The dear ones who cheated of fair hours by deprived by death of the opportunity of enjoying happy hours Bayard Taylor has an instructive have departed before me. 1. ®etfterreic$. and the two Stolbergs were at a distance.

] MANAGER. The raised eye-brows are a sign of atten- P. he is finally bidden by the manager to set about his task.— 256 Goethe 1 s Faust. denotes acquisition. 14. [1797. the merry spectator for amusement but the poet only thinks of the higher duties of his art. 19. PRELUDE FOR THE THEATRE. . create 1. MERRY SPECTATOR. and be. POET. . SSerfdjitngt. 76. pangs. As Goethe personally superintended the Weimar theatre from the year 1791 to 1817. The manager and the merry spectator try to impress on the poet their respective opinions as to what the piece should The manager looks for commercial success. — by the force of the wild moment popular applause) people do not take time fully to understand and value the poet's best ideas. ated 1. on one hand with writes his plays. throes. on the other with a "jolly fellow" representing the public. Goethe intro- duces a stage-manager who. 9. excuses himself on the ground of old age. the poet who discusses the prospect of his enterprise. 1. having just set up his theatrical booth in a German town. 1. imperfectly appreci. 75. 75. Love and er friendship and cherish our heart's blessings. is swallowed up (of i. \vhi3h begins with a similar abstract of the subject-matter. P. 2Iugenfcraimen. tion. This plea not being admitted by the others. many of the ideas of this Prelude were probably due to his experiences while fulfilling that duty.. P. 76. 10. Obtain by cherishing. SBetyen. The prefix here. P. arranged in the form of a conversation. as nearly always. erpftegen. e. See page 55. by the The idea of the Prelude for the Stage was suggested to Goethe Indian drama Sakuntala.

77. 77. his heart what makes a crowded house merry 1. rofj. P. 78. glitters. P. 4. to tie . 78. — is an object made little of. gtftnjt. pay —a French word. 1. without 2. P. or deficient in refined feeling. P. 31. 79. forcibly puts on the spindle the interminable length of her thread (of events) —a 1. 1. 1. 26. 32. is satisfied s . 76. materials on which to rest your claims on public 13. 77. i. 77. teeming with life. sorgetegt. the attendance in the theatre of such a person as the speaker well worth taking into consideration. 79. 78. Clotho. 21. f (see page 47). from to sling. who gfirtjn. 1. P. 76. forcibly puts. e. Who assures Olympus. 28. the presence of a gallant lad i. P. 5. i. served up. frofy. tootle. edifies. 17. 23. P. See p. P. a meal consisting of too many ? dishes. "When nature. 76. thick. quells strife among the gods (see page 1. "Who is calls is individual to its general con- secration. to take up piecemeal. 19. one who is but he who forming— growing formed —finished— never —will ever be grateful. . you present a great variety of approbation. i. 79. P. 1. 257 16. e. P. ? 2. 1. 1. P. 77. -*P. who can describe the setting sun so as to predispose us to a reverie P. Who can make the evening red glow in the pensive spirit. 13. pull to pieces. juriicfefdjlingt. 15. should not be P. 1. and Atropos. e. jtotngt.— . e. 46. 1. 19. carelessly winding. oljne ®age. 2Betlje. 77. 54). 1. uncultured. you have gained in breadth. Notes. 1. P. able to impart a general signification to a special event P P. is ferttg. not from fctytingen. aufetocutt. (Stfcfyeint. 1. it comes before the public. P. 78. 22. Wlaxime. hxax>ex J?nafce. SSereinen or tieretntgen = to make united. 1. 79. 23. P. in fcer SSrettc. f eretnet. 1. 28. to. crowded. 77. 1. ufcevttfcfyten. 78. P. fatten. P. Lachesis. jerfturfen. 78. figure taken from the spinning labours what of the three Fates. have an eye 1. 1. which knots the world together again in fctyHngen. to devour.

—unto a self-appointed aim 29. . P. while ye are ma- nufacturing compliments.258 P. P. 1. 81. 1. This pronoun refers to ©ntfcfytufi = she. 1. 8. 80. ^Resolution. 1. tyinjuftyfaetfen. 1. 80. 1. 80. 81. brectyfelt. P. 6. sergeffen. (5r. 31. P. P. s Fatist. 9. @e$otf. Goethe 22. to ramble along —with pleasing deviations. Figure taken from a turner. being in the vein for poetry —in the poetic mood. forelock. ©timmung. to waste. 81.

P. and must as devil be doing. servants. 29. 1. P. the sun chimes in with emulous song in the music of his brother spheres. This word implies a re- 22. S 2 . to wit. 49) = the germs of growth. the successive stages of an erring scholar's probation. P. although. the progress. 1. 19. 2Bettgefang. Guarf. 83. P. 26. 259 PROLOGUE IN HEAVEN. the serpent. 82. 1. [1797. 28. 1. P. 3)a3 2Berbenbe {see p. fcocfy. e. P. 1. 1. flag. said for nxnngfeicty. 19. <3c$one. ®df)rung. 6. erfcfyetnen. 85. P. and discovers the plot of the drama. fcunflert. SEftufjme. »or. 1. A flashing desolation flares before the path of the thunderclap. 12. 1. 83. P. P. you may appear here without hindrance. 18. puddle. the fool. 2. 1. 83. 1. 83. the good man in his darksome way. P. ©efinfce. @dtfag. 85. 1. P. 1. etftylaffen. instinct. or impulse. 84. 23. MEPHISTOPHELES. THE HEAVENLY HOSTS. proof to Mephistopheles for his impertinence. rejoice in the living profusion of Beauty. SUBSEQUENTLY The Prologue in Heaven gives an account of a court held by the Al- mighty. P. the humorist. P. my aunt. his ferment. 19. 4. 85. SCBanbetn. 11. who stirs and works. 1. P. SBenn.] THE LOED. P. 1. fcfyaffen. 11. 85. 1. 85. P. 1. acts This is instead of : la boty t>er ®4rtner roetf i. 85. 85. 84. is always of the same stamp. 82. 85. 2. 83.. P. @c$atf. Notes. while he under the doubtful forebodings of 1. 30. prefix of SSorflamm en with dative.

and is an accusative of time. 1. his invocation of the Earth-spirit. 87. which run riot in the writings of the adherents of ©turm unb SDrcmg. 1. meaning during which. pedants. who. 88. but then. 87. to huckster . and both the form and the matter of the composition strongly remind us of that extraordinary epoch in the literature of Germany. 1. takeable traces of the ideas of the time. properly : to peddle. refers to SDfonbenfctyetn. 1. learned fops. The matter also bears unmisThe main theme of the scene is This the despair of a dissatisfied scholar. and intentionally regardless of grammatical precision and elegance. pedantry. P. P. property. 11. afforded Goethe an opportunity for giving expression to that rebellion against erudition. 1. and the predominant line of four feet varying occasionally with others of five or six. and to that enthusiasm for native feeling and genius. calls to his aid the spirits of the upper world.260 Goethe s Faust. P. 14. feeling disgust at the pursuits of his fellows. P. 88.] Pages 87 to 95. which contain Faust's at first soliloquy. £>afitr. 17. P. to turn small goods upside down. ®ut. abounding in colloquialisms. on the other hand. FAUST IN HIS STUDY. SCENE 1. The diction is rugged. not merely: land. are the oldest portion of the work. 21. goods. . 2)eit. and his dialogue with "Wagner. 1. Faust says that he has watched for the moon many a night. framen. Sciffen. and routine. with The metre is irregular. [Sc. the iambics being interspersed many anapaests. 13. 87. here : to rum- mage. [The first nine pages of this scene loere written betiveen 1771 and 1774. The time which it was written coincides with what is generally called the period of ©turm unb <Drang.

furctytfam. 6. l. 88. disciple. gefogen. erat^menb. two buckets. P. disencumbered from all the fumes of knowledge. 91. 1. Schiller employs the same figure P. P. 90. ummttert. 89. is P. 31. as Diintzer observes. 1. 28. float over meadows in thy glimmer. morning the dawn of spiritualism. 89. is anxiously jammed. e. StammenfcUfcung. 1. or compressed. ©efcuvt unk ®rab.sc. buckets. ftemmt. 88. is 1. " acolyte" (Hay ward). panting after me —the figure being the same as by in gefogen. P. one which is always above. Not " flutters" 1. 1. enabling thee know how one P. Goethe frefirst quently drops the inflection of the of two or more adjectives em- ployed to qualify the same noun. umftecft. toottt. 17. ©tmer. 21. 7. P. -^auStatlj. P. 4. sucked at my sphere. P. confined. e. here to be understood as a relative* unto which God created men. for supposing a reference to Jacob There no necessity Boehme's book.] Notes. 92. in thy bosom. toefcen. @eetenfraft. 8. speaks to another. to new sensations. 1. the other in his fifth riddle. child of fire. ceiling. tremblest in all the depths of thy life. 1. 1. P. 4. (Hay ward). sometimes misprinted rottU = clouds gather over me. 91. befctyranft. 3. 92. 9. 1. 92. kafjtnetn. because. eriuufjlen. 1. 90. two nominatives standing in apposition . 89. 261 P. which a smoky tapestry surrounds up ancestral to the P. as I breathe. 1. P. 1. 90. The adjective fuvditfam irregularly left uninfected. red. lumber stuffed in — an accusative ab- P. P. locally. to id?. 88. P. 1. a timid writhing worm. 17. or is the initiation into the secrets of the spirit world. 20. surrounded electrically my breath. 12. spirit then rises the power of the soul. 1. 90. solute. who. 92. i. 1. hemmed in. in 1. 91. 8. This word is P. to 1. This figure to taken from an old fable of which day and night are compared in. 1. Aurora. ©critter. the well. 9fturgenrotfj. tried to breathe the same atmosphere P. 89. all my senses are awaking i. 31. 1.

13. Goethe 13. 1. as grammar. 26. erjiagen. fr&ufett. compels the hearts. 1. 15. a dustbin and a lumber-room. Wl'xttd. P. 95. in unison with yours. The idea is that scholars such as Wagner view ancient history with mo- dern eyes. 92. P. ^ergament. in which the times are reflected as in a mirror. 94. etc. 95. P. own is notions. 93. begretfft. 23etounbrung. by which a scholar such codex. P. J?unft. 3. 1. worms or animalculae found in tubs of rainwater. 1. fcefptegetn. terial 1. P. This adjective is best translated by Carlyle. 1. who ever clings (lit. P. 1. the whizzing loom of Time. 93. e. such as a mock levee. fctyaffen. 94. 93. P. 1. proceeding P. P. i. thou resemblest the spirit is tainted whom thou conceivest. 1. you it. . or trial. The parchment is mentioned here as the ma- on which the old MSS. 1. 23el)agen. 1. 3. to i. are written. P. delight. 1. 9Jumpetfammer. fteU. who banished buffoonery (^anStrntrft) from the German stage. lebenbtgeg. e. and from want of breadth misinterpret antiquity. 93. to learn philology. 31. uniting. 1. 18. 14.262 P. Faust indignantly turns round. . 92. %aupt* unb @taat^2tftton the name of a mock-pageant. 95. Wagner comes an old Latin or Greek C. 2Bef>ftuf>t." spirit 17. [Sc. hermeneutics.. and with a from the depths of the spirit. 93. P. 1. 94. compass the means by which one ascends to the fountain-head. P. 95. cleaves) to insipid trash. P. 14. 23. you wiU never make other hearts beat fool. 1. 4. ttyov. 94. 1. 1. seest Him by. as they are unable to divest themselves of their P. P. 1. 92. a mock a mock coronation. 21. ye curl shavings (of argument) for mankind. to decipher etc. 94. 93 (stage-direction). by hunting. Such comical exhibitions were common in Germany up to the time of Gottsched. thy conception of by anthropomorphism it is con- fined to beings like thyself. s Faust. be thou no tinkling 7. the art referred to get it is rhetoric. 24. " the garment thou P. will be the admiration of children and apes if your palate longs for 1. a parody of a state ceremony. 9Jegettttnirmer.

youthful fire The Faust of the second soliloquy has none of the and overweening assurance of the Faust of the <Sturm unb £>rang period. „Sau ft. In the MS. chiefly because Goethe determined to substitute the Almighty for the @rb get ft. as well as the greater part of the three following. In the scenes written before 1790 Goethe generally wrote @tmten. 1. <Setn. and to There is this cause the next hundred lines. P. This was carried into effect in 1797. and the conclusion of the present scene. owe their origin to the same no doubt that here and there passages which occurred in the original draught were transferred to the present version. in the middle of scene 4. it or feiner. his attempt at poisoning more cheerful earliest state of the Easter-hymn —were written some twenty-five years later than the nine preceding pages. etn {fragment. feftjft. genof. icty. at the sound of soliloquy of Faust. revelled in this my own being. as the chief supernatural personage of the drama. 9. called and recommenced twenty-three pages lower down. but somewhat weak. must be attributed the occasional incoherences observable in The diction is not only incoherent and obscure. composed. 96. is genitive to As pronoun refers to has the same force as .] The remaining six or seven pages of this scene — containing the second mind. as the plural of Sinn. All these scenes were sub- sequently suppressed. wherein that elementary deputed Mephistopheles to come to the aid of Faust. of Faust there followed here spirit several appearances of the ©rbgcift. while in the scenes of later date he employed the regular plural @inne and the diminutive ©retcfyen. with the words : Unb n>a§ bev ganjen 9Jienfd$ett jugetfjettt ift k. i. after the exit of himself." 263 broke off.sc. who has grown weary of Diintzer points out two simple tests for detecting the age of any scene in Faust. At this line the edition of 1790. and his return to a Wagner. gcitofj. He speaks in the tone of a dejected savant of fifty life. when the Prologue in Heaven was change. and 9ftargaretf)e as the name of dftargaret.] Notes. [1797.

Goethe It is usual in s Faust. afymingSsott ttermaf. The sense is that men renounce ment of material comforts. 96. now that venture after venture has been wrecked in the whirlpool of time. id). i. 29. creating. ness quite as P. [Sc. The sense of these i. fcfyaffenb. his attempts at conjuration. ®emtyU. 13. With afcgeftreift. 14. somewhat obscure lines seems to be that Faust fears that his actions. 96. By the "small space" a man in Faust's state P. 1. P. 1. aspired full of foreboding to glide life of through the veins of nature and enjoy the P. 96. cut Htintx 9taum. P. to the noblest thought which the mind has itself. a small place suffices to phantasy. is when we have still attained to the good things of this world. in the preceding line with and again lower down with laid aside. befall you. and deplore which you have never . their nobler aspirations on the attain- 32. is meant the contracted still circle of objects for which of mind would wish. 1. ever conceived ever more and more extraneous matter attaches e. or even tenour. probably to avoid harsh- ness of sound. i. understand fjat. 12. er both are in apposition to ©toff. fcctoetnen. our highest aspirations are constantly clogged by material it. is 24. 1. may imperil his happimuch as the several causes of his present misery. P. 97. 1. of our lives. 96. 96. losses you dread mishaps which never may sustained. ®anj. that which better is termed by us delusive and vain. bit. German thus not in the fid) to construe relative sen- tences depending on third person. 26. considerations. ifyr. 3. 27. our actions (our steps in the wrong direction) as well as our sufferings impede the course. For the same reason »crmap. 1. life. but in the gebiinft. 96. as if able to create. Sremb is in the positive. ttnr. is equivalent to mid). grow torpid in the bustle of the world. 1. 1. P. a deity. 1. 1. 97. P. frember in the comparative degree. The remedy he seeks may perhaps be worse than the malady he suffers. The impulse meant here the desire of Faust to become more than mortal.264 mein. 5)rcmg. jum ©itten. 96. the glorious feelings which gave us (spiritual) or which animated us in our aspirations. e. P. or metner. first or second. e. inflected. em^fcmgen. and qualify Though unThe inflexion has been omitted at the end of both words.

in ironing chiefly. 97. Every one at a family gathering had to extemporize a verse. 11. fvedtcfy. earn it anew. P. explaining the figures chased on the cup. which went from hand 3uge6racf)t / to hand. thou wilt not wrest from her hy levers and by P. thou old pulley hast become smoky since the dim This refers to the is lamp desk. e. 99. to explain in verse. as a solemn festive greeting to the morn. 98. P. e. 9totte. and smoothing-iron. P. 98. P. by which Faust's lamp drawn up or down over his P. it 3. SBerbetuft. 1. a sheath or case. or 1. 5. more especially intel- lectual property.Sc. P. 101. 1. 1. 11. creeping. the state of Christ after his glorification. 24. 1. or similar phrases. 3ugtofte. 13. your wards (in the key) are strangely twisted. erftaven. P. or pulley. the place of sorrow. does not really 1. 265 5reUtd> P. £ev Svfce 2?ruft. 22. 1. 1. passed you on. with wheel and cogs (*'. itself condemned not to quail P. 9£tegd. 1. This particle arose out is gefyrocfyen. 1. 1. SSiiget or SSugekifen an instru- ment used P. See the translation given on p. hereditary im- perfections enveloped. 101. 97. . jugefcracfyt. 1. from Sutter in the sense of lining. well. 99. (£rnnv6 eg. gives pleasure only in proportion to the trouble we have he had in acquiring says it it. 99. unlock the holts. are mocking me. ''Surely" (Hayward) not the right word. i. 99. -§of)te. roller. As most of what Faust render him happier. 101. umftanten. 30. 31. imagination thinks before the grave. the passage 18. 97. I do not has the force of of fret — s I know deny it. Sctyraufcen. P. quaffed. P. 99. 98. wheel. 1. raise. ye instruments. -8i'tget. 1. 1. proffered you. Property. SHtrctygang. forsooth. 99. P. $at = while the buried one. the teeth in the wheel). i. buttered. possesses is inherited. 6. 29.] A Totes. 26. 1. 100. screws. or the earth. hut also in chemical experiments. is cylinder (or roller). 20. 54. 24. first smouldered on this desk. yet ye do not P. bunflen not to quail before that dark cavern in which to a state of torture. whom the corrupting. P. from life to death. 33.

105. ^cmbet. 103. On St. SfigerljauS. P. 1. 1. a strong tobacco. I 25. 104.] WITHOUT THE GATE P. toevfren. 1. curly-head. tftaugfi^f. a technical term for playing the barrel-organ or P. 19. 10. getoogen. Arms is the name of a coffee- whether to turn in here. tetern. betm 5ltten. 105. P. P. sergaffen. THE EASTER-DAY WALK WITH WAGNER. 102. [1797. the Huntsman's 11. be smitten with 1. because that saint is supposed to patronize marriages. 105. . 2. . P. now to death. now that he has been elected. Betjenber. 104. 1. in a crystal. shindies or rows. 1." or to the " Riverside Inn " (2Bafferfyof). 22. 1.266 Goethe s Faust. are situated near Frankfort. 103. 103. 1. or go to the "Mill. 1. 103. 20. 8. Inns so named. im Jtrtyftaft. under ift. Seterfaften. 104. 1. 1. P. 103. PEDESTRIANS OF EVERY RANK PASS OUT. 1. 28. 1. 13. Sucft btcty ? The artisans are in a douht village called Burgdorf. restraint. 13. 1. P. [Sc. and a P. P. P. we let the trumpet call now to pleasure. lose you. P. 4. does your skin itch you ? 1. ba er'3 am very sweet on the girl. house. his heart in looking at you. SCENE 2. This may either or a kaleidoscope. 102. Andrew's eve girls in mean a mirror Germany are some- times shown their future husbands by fortune-tellers. P. in their old condition. gentrt.

not " over „9GBettl)er'$ marsh and sea" (Hayward). he coaxed her yet apart. 18. the bitter physic. repre- senting the masculine element) was joined to the lily viz. what a 1. e. Jlomgtn. electuaries. which creates a presumption that these verses. lilium —the female element. Ill. P.sc. the host. SCBtbrtg never has the sense of: divided into antagonistic elements. Setk en. SGBtbrtge. before now. a red-lion (a kind of mercury). 9te»ter. landscape. said for : fca tl)r e3 tod) gut gemeint fyabt. use. then yellow. march away. what conquests. 112. 1. ©tiirmen. 23. 28. over plain and sea the crane home. meant 11. 1. f)ait ifjr eS tod). 109. or tincture of antimony. and character. 1. the disagreeable drugs. (a technical cient alchemy. laboratory. 110. are ever on the move. This verb first means to require. 27." There is a similar passage in written in 1773. P. 110. then red. 1. became first white. denoting the elixir of plaints) or the panacea for all (It com- appeared with gaudy hues in the glass. P. Satnxrgen.) P. P. seeing that 1. 38. you have. 10. ally itself (not "keep pace" — Hayward) in flies so light or airy a fashion. a bold wooer (i. P. P. on brauctyen can be imitated by using first tvould use. term in an- minerale. 2. 1. 110. 2. and the sound of the fiddle-bow. (Sfyrenmann. 12. 110. 1. etc. when the young queen life. . they retreated to some corner where the noise of the festival only faintly could reach them. not 3)unfet "sombre" (Hayward. 1.] Notes. jieljen bason. 30. fliidje. 1. can never refer to P. 1.. though not published until 1808. brauctyen. 106. 16." as it is generally mistranslated. P. gefeften. 7. 24. really date from the same year. from revoir in the sense of to survey. This word originally meant a district allotted to a gamekeeper. others). 267 life ! P. 105. fctymetcfyelte. 1. 105. Filmore. 1. a worthy man living in obscurity. 12. aSenerabttc. %iad)tn. only from the lime-tree (which the couple have the huzzas were »'. 109. 110. P. 19. e. and then to In English this play use. and then can 1. P. Ill. or "contraries. P. heard (mingled with the) shouts. P. 110. well. P. and at a distance left). 108.

ftrefct tyerauf. In the next fourteen lines these spirits are divided into four classes corresponding to the four winds. ©colar. with obstinate amatory The two im- pulses here spoken of are that of sensuality and ideality. 114. they lisp like angels when they lie. 114. Goethe 23. 1. P. 114. which heap fire upon thy head. 25. See p. In the first — English version of Faust. invoke not the host of spirits which is diffused in streams in the atmosphere. the effect of training. 2. 7. taking the latter word 1. P. 113. from the north their sharp-fanged tooth chases thee with arrow-pointed tongues. the docile pupil of the students. engtifdj. 113. and the fields 1. but only to deluge thee 1. by Lord Gower (1823). 1. 2. Stcfcesluft. 1. This adjective left uninflected as often in Goethe whenever two adjectives qualify the same noun. 112. 1. . 113. 1. 113. 3. 18. P. 112. [Sc. 38. 1. P. These are the two as Diintzer in- leading characteristics of Faust. 18. and meadows. <&d}aav. P. P. mcigtfd). which at first refreshes. pubefnarrtfcfy a droll dog. P. P. this line was rendered " they lisp in English when they lie " ! P. 113. 3ungen. 115. 16. £>reffur. is. erqiiicft. 1. 114. 22. desire. 1. 13. is 1. in the sense of a thirst for knowledge. 114. (SdjnetfenfreiS. he will jump up at you (to fondle you). 2)uft. P. s Faust. P. 1. P. 12.268 P. This rare word for ©taufc forms us. 1. spiral curve. ©cfyeitel. 8. dust. used in Frankfort and the neighbourhood.

settoorfeneS 2Befen. which awakens the better soul within us with a solemn feeling of foreboding awe. . SncubuS. P. I see e. SMctyen. 3. 119. 12. burctyftocfyenen. freunblicty. of an old it is 24. my way. 269 SCENE IN 3. 1. [1797. 115. 12. 115. 1. 1. P. P. 1. 21. toecft. I. thou reprobate. P. re- knowledge. the fountain-head of life. i. THE STUDY. —such God. 118. and ©norne. P. 1. 1. P. why dost thou snuffle on the threshold here ? 20.sc. 9. P. 119. 115. 1. 115. the spell of the four. 117. ligion. spirits of fire. ©ctylufi. cheerfully. The last of these is variously The latter name is especially applied earth. P. as love. 2. behold this symbol (the crucifix) thou fugitive P. etc. £i3Uenluc$3. 115. fctyno&erfi. 28. diaty. 3eidjen. nte entfyvofmen. 6.] MEPHISTOPHELES APPEARS TO FAUST. shaft. 119. e. SSiere. step forth and complete the spell. genii of the mountain 25. within quakes an old lynx (species of wild of the four elementary called to the cat) of hell. 119. The "Key of Solomon" was the name Latin book on conjuration. 1. 1. P.] Notes. 117. i. 1. 1. P. 6. P. daylight. 117. 7. 25. 1. 1. P. ©tytiiffel. 118. P. air. Jjette. 26. the unbegotten. P. 1. Quelle. the fertilizing streams of life art. 3. wickedly pierced (on the cross). of hell. 115. and tfoMb. water. called after the Jewish king because of said him in the Bible that the spirits were obedient to him.

. 3. 121. who. 119. P. it is all too plainly seen god of flies. gefcar. or some such apparition as described in the Book of Revelation. 4. hence Mephistopheles claims for Darkness not only priority. to the essence of things. P. P. [Sc. 120. 1. 1. 8. 3. the element which he combats. beS in the fiery furnace. 9taum. anju^aien. P. this clumsy world. the other two names are likewise when you are German for Beelzetranslations of some Hebrew which gave birth to light. fcefinnen. ©cfyetn. whole room. because it is 1. has regard only in which liar. (Sinem ettt>a3 an^afcen. this Something which it opposes the Nothing (or annihilation). 26. destroyer. P. appellations of Satan. Goethe 15. P. P. 1. setljaftet. Sitegengott is the bub . 121. too eg. fire. 120. The spirits of Darkness are here described as spirits of Light. P. just as the good angels. P. told to promote birth and growth as much as lay in their power. pluMpt 33Mt. Light contests supremacy and space with mother Night. far from caring for externals. the kernel of the poodle. much the as I have tried. ftreittg madjt. called 1. I'll singe thee with holy By the " thrice glowing means the sign of the Holy Trinity. a chimney.270 P. 26. light" he is 20. 119. 9?auc$fang. being used to express the unravelling of a mystery. captive Light adheres to matter. or the Heaven Prologue were 1. I could never do any injury. the s Faust. 122. 121. has since passed into a proverb. 1. to inflict 19. 1. a part of that darkness all Chaos or Erebus preceded Light in regard to Light. as the repre- sentative of the powers of Darkness. it is not to be overcome. but maternity in 1. 119. 120. 121. not " space" (Hayward). These metato entrap physical subtleties are humorously employed by Mephistopheles the scholar . here first employed. at the same time they are in character. the accounts of the creation. 1. reconsider (the use of our struggle against Life and Light). 1. 3. 122. 10. 1. 13. an injury on somebody. would naturally depreciate Light. $ubel« J?ern. as he. This phrase. 1. P. in spirits of Destruction. or in the story of the three men P. we will think about it.

©ettftnber. ness. looran. 123. is P. so that the syllable signified a good spirit. or Druids. P. or whose assistance and symbol. but is P. P. 1. will delight your palate. devote themselves for life to one another. 12. 122. absorbed in thought. 3. 1. or £)rut> in !Dtubenfuf? is not connected with the Gaulish priests. the ethereal would that the dark clouds did melt away. or the name of a mysterious figure produced by by producing the five sides of a pentagon until the parts produced meet. good news. the fields. 18. 124. 1. 1. The Song of the Sirens. @6f)ne. 1. 31. the the genii) hovers athwart his path. 1. 124. tefcen. 8.] Notes. fjod) unb most obediently. P. nacfygeftettt. they light upon the bower where lovers. benevolent. is P. 66d>ft. . whose foot. is couched in somewhat unintelligible language. 26. vanish ye dark-arched ceilings. one angle is too open. P. 3. P. P. 9knfen. or obtuse. 123. 11. P. Sftetgung. Mephistopheles professes to be unable to escape. tried to get you. £>rubenfuf. 1. 1. beauty of some heavenly children. 123. gone after you. P. 124. deducted. 10. where he genii over is to revel in music. 22. P. 124. jerronnen. no previous preparation required. 13. 1. 16. 8. 24. whom to Mephistopheles calls up. 124. P. 1. P. filched. SWci^c. 1. to be wafted The purport is that Faust from his college chamber some happy island. SBeugung. P. wine. 124. 124. viz. 124.sc. As this sign was supposed to deprive evil spirits of their power to do The syllable mischief. tremulous bending (of 1. 19. a wizard's foot. you 1. 124. 271 pentagram. and to be borne aloft by lake and mountain. P. SBinfet. calling you : High- and most serene Highness. had the effect just described. 1. and love. 123. Saufce. longing desire follows after. 125. 122. The is incantation -song of the sirens. sprouting tendrils. 1. SBotfmngen. 14. Lit. 28. more probably derived from the German adjective traut. the fluttering ribbons of their vestments cover 1. of the college chamber. laying triangles across one another. abgejtoatft.

P. 125. 3. wine leave the heights far behind. wine expand into lakes so as Others take it to fertilize. s Fmcst. P. 34. P. 126. 1. 125. and trickle through stone conduits. where we (genii) can hear choral strains. 125. verdant it in the sense of "charms" (Hayward) angenefjme) Diintzer says stands for urn hills.272 P. P. 1. 1. or embellish. at the edge or corner. hence. 20. fcettegen. and replete with joy and bliss. 22. 125. P. around pleasing ©eflugef. full of love. 126. Jtcmte. 1. P. 7. geniigttcfye e. [Sc. 1. 2luen. and fly to the bright P. for life in P. and see some (of our brethren) dancing on the meadows. the streams of 14. as soon as he smears it with oil one (of the minis- tering rats) comes hopping along. 1. 17. jum Sefcen. 125. the heavy grape drops into the vat of the hard- squeezing wine -press. Goethe 4. 25. 1. w v ich (islands) dancing are reflected in the waves. 125. . 16. same as urn 2BtUen. so as to please The rivers of hills. the SSergniigen. feetu^ft. (i. SBad^cn. . 125. 1. £ofjen. 1. sergnugticfye or <§itget. the wildfowl sip delight from them. for the sake of. 1. 125. foaming wines flow in brooks. um'g ©enitgen. This somewhat unusual phrase means the . 11. but all (whether flying or swimming) make some distant star. Zxaube. to beautify. isles. P.

129. . Death. 2. a common German idiom 2. 128. with indie.] ATotes* 273 SCENE 4. 1. fcnbet. powerless as regarcs things without. and hinders by a thousand ugly realities any all my busy 17. 1. with gold i. totnbet. e. P. 1. wreathes. 128. 5. 4. fjeifer. P. my curse T . liar 2)<u)tn is 1. and imposed on the remnant of childlike feeling in me. he 1. . 1. 5. 1. 6. viz. in- animate. P. fcetrog. fancies. 129. P.] P. Sunfer. 128. that I must see another day which. 7. THE COMPACT AND THE WAGER. P. P. ®rilten. P. etc. . i. criticizing lessens even the ex- pectations of any future 10. P. on all viz. mind. 128. e. hoarsely. which by obstinate joy. 8. P. 99) tone drew me on that night (see scene end of away from harrowing thoughts. P. 1. 22. 27. past. though he is . 1. to expel your or ©rittcn. by a melody of happier days. 127. 8. 127. —the god within me — reigns over my inward energies. P. 1. = quoniam. . Stxxtttl. to rid you of your hypochondria. cavalier. by the Easter hymn. 1. 1. ben er . grasshoppers. see the day. Ijtnbett. Since a sweet famip. [1797. 128. 1. unto hoarseness. to whom he. ttyront. lace. fancies. would I had sunk away. 127. ju fefyn. whom Death surprises.! sc. entranced. bafytn gefunfen. for to destruction. 128. gotbcerfcramt. bem er 24. 128. originally usually means whims P. 128. creation of 1. 2&enn.

Others take the passage either as an interroga- tion. 13. altftug. 1. in that sense. P. when he (Mammon) supreme joy. 4. new songs shall peal thereupon. this P. Goethe 12. when once you have hurled world to pieces. which. 2>a§ 3)rii6en. 130.274 P. 129. 11. senses. 129. who by This ogling. mit fyettem ©inne. 1. 131. tions. all an affirmation. 131. perfectly agree with this inIjaft terpretation. 14. comprehended by the bu. 15. gnaws. either begin the apodosis . 1. conunon herd. 25. jc you ? P. if once from these I am divorced. P. 131. in the latter case. 14. intrigues with a etc. 131. 20. P. . begin with sense unclouded. you have have a neighbour. 130. $acf. P. if you thus like of interpret your inten- @tnn does not mean mood. ©rfctyeinung. volatile like quicksilver. 1. 1. £tummern. gratis. accursed be the infatuation of appearances which crowd on our P. 3)ru6en. 1. 130. 1. spreads for us the bed of idle- ness in indolent delight. 1. um ®otte3 nntten. 2)od) Ijaft But you have on food. position of Jjafl The ordinary punctuation of the passage. melts in the hand you girl. 1. legt. 129. barauf. the other may arise afterwards. or as a hypothesis. 1. 132. 1. while is still my breast. tyeucfyett. 129. 21. what deludes us name. the 6. 1. and the transbu. P. although the second transposition in is bu (in lines 5 and 6) somewhat surprising. 4. the low rabble. an act of mercy. the cheat of glory. Mann. £u(b. me little concern. 23. the simplest way of understanding this sentence. for God's sake. their years. fcfyeiben. [Sc. viz. P. 27. 17. 130. as therefore. owing to bed). ftocfen. 1. which does not satiate. in our dreams. frtft. P. juices stagnate. as gold. if it will. 1. P. 1. 1. P. for bu Ijaft. and. is a mere pleonasm (= perhaps). 131. translated. the continuance of P. they counsel. by which Faust declares pleasures to be hollow and delusive. P. @inne. 130. or with wisdom beyond where senses and frets. 1. how precociously. gefapt. and should not be literally P. 132. the Hereafter gives 1. s Faust. 3. hereafter. 131. 12. in this connexion. P. 23. 19. 130. P.

moment in Thus the problem happiness of the drama sition of the sources of human — — the expo- is reduced to the simplest form which it could be dramatically expressed. Faust wants knowledge only.] Notes. 1. my sensation of 1. 8. am I but a slave care ? . 133. again. as iic^avreit generally means. Slnttyt. tnn id. jeig mtr. fcefjatte. let 4. 133. show me both those false pleasures which fail. 1. mir. 3eigcr.sc. tuoljtan ! at jettj understand some such exclamation as after aerftytomfeet. The difference between these several interpretations is but slight. to tap. and implies that the parties engaging in a tract touch each other's hands wager or con- by way of pledge. P. my present condition I else. agreed ! This interjection is an old imperative of tappen. and the stakes are on the side of Faust. 4. top ! done. By it Mephistopheles accepts Faust's challenge to show him the desired of supreme felicity. 3. 25. and those true joys which endure. and there more which rot. however. it is 12. or 275 (But bemt. Con- sidered in relation to the Compact. "We is may observe. Time (absolutely) be no more by death. i. peculiar. in for me. and (on the other) those trees which every day grow green i. if only Mephistopheles can procure him one $ertt>eite infcocfy. the index hand. ttne id) fce^arre. P. 132. or whose id. not actual enjoyment. but among the pleasures are which he wishes fruits to see he suspects that few are real. Mephistopheles has nothing to lose. 1. Time cease. let P. to persist and Faust desires a T 2 . that one of the essentials of a wager or bet all wanting. The wager here described is the key to the whole plot of the drama. e. 1. stant of such satisfaction as fcu fctft fo fcf)5n< would cause him to exclaim : P. tie 3ett. e. happiness for the remainder of his tent with life. than there are trees which remain ever verdant. 133. and ready to resign his soul to the demon and die at once. to persevere. 132. what do The phraseology of tine k. described on the preceding page. show me (on one hand) the fruit which rots ere plucked. is somewhat . so that I may avoid them. whether (I shall ever be) yours. ere they are broken. P. that I may admire them. Instead of demanding unbroken Faust is now declares himself con- momentary gratification. the "Wager modifies the previous stipulations so as to release Mephistopheles from part of his former engagement.

As a true blase. urtter atl'en 1. £>octorfd)mau3. the sense of the line thus fmbe mid. 27. 1. wax and leather parchment) are said here to used in writing. : Diintzer paraphrases 2Bte id) mid) aud) serfjatte. because the parchment is wax in sealing legal documents. 10. pressive 1. 1. under the hitherto impenetrable veil of sor- cery let every magic feat be prepared forthwith. 9^afd. them to new The fact that pain pleasure become almost convertible terms to the philosophical Pessimist is singularly illustrated by the writings of Schopenhauer. change rather than a continuance of his condition. with the same zest as if he had been an inexperienced novice disturbed . urn SefcenS ober SterfcenS ttriften. nafdjen. P. in a certain sense. 1. lord it 1. the over men. P. P. to enamoured hate. This is one of the most frequently repeated maxims of Goethe. 133. dents. 4. welcome required stimulants to goad to him. Befomm' eud. P. 27. fall to. 12. [Sc. to sip the sweets everywhere. e. 133. {%. flatten mit. P. to the most pain- ful enjoyment. 18. Mobe. or as one who had lost all hope in the possibility of happiness. he could not have entered on a course of new pleasures. 3cut&erl)utten. 134. his anticipations of future joys must have been itself by strong fears of opposite sensations. P. of children toof)t who steal sweets. 2. 135. to exhilarant vexation. 134. 4. Scwmel. and don't be shy 1. dispose of my days. P. because his torpid senses efforts. tm Seben auSfjarre. In order to to understand these seemingly contradictory terms. £eber. as well as by the numerous recent poets of SBettfdtmer^. man is only in his proper sphere when inces- santly active. = prosit in Latin. P. id. Several English translators . Among the suppressed portions of the tragedy one scene referred to a Doctors' dinner. Yet pain must and have been. we ought remember the apathetic condition to which Faust has been reduced by his philoso- phic pessimism. fcetljattgt. 1. 134. 1. P. 17. 1. at which Mephistopheles acted as waiter to Faust. 135.en is an ex- German term used 1. 25. such as that held out. to intoxication I devote myself. to guard against all acci- or that I may have some evidence which may hold good in the event of your death. ! may it agree with you ! P. 133.276 Goethe s Faust. 135. 133. Umftanben afcfjdngtg.

1. 135. and suffering. 135. talk to 1. all P. i. let him draw up a plan — sketch a career—em- bracing every species of the most exquisite pleasures which Faust can The noble qualities which this poet is to "heap on Faust's honoured head" are not mentioned as actual qualities bestowed on Faust. P. try. Faust expresses a desire for experiencing all the joys and sorrows which man can experience. and gown. or. head and haunches P. 136. 1. P. me. OJJu^c. 1. faut." which Goethe would have done well to suppress. etn (fragment. ©trofy to thresh straw.eit gettafjrten P. 138. it. 8. 1. the joys being the true object. 137. who have chewed this hard cud. 1. 12. 137. 5. 135. 1. a grand fellow. or repeated " Irish bull. but only as parts of the imaginary sketch which the poet is to devise. as. 1. tteBen. fdjnmfen. . at best. allotted to all mankind. stare. fjoren. 135. £>er 90?enfci)*jeU tfroite. 1. btefes (&anit refers back to the desire for universal joy in line 8. stick fast. tajj fetn. reenter Sftann. gentleman (the poet) set his thoughts ranging far and wide. 135. the sorrows the indispensable alloy or leaven of the joys. £>a3 la#t that is worth hearing. 1." of 1790. [1774. 136. P. 4. the crowning felicity of Man. bein. first We now re- turn to the text of the edition — „5auft. P. P. let the i. have done with bvefefyen. Good ! 28. 277 but a thrice - regard lines 4 and 5 as simply inexplicable. 1.] Notes. a German phrase for — to no purpose.] r. P. are thine. utgct^eUt. believe 17. musing. 1. bte SSeretmgung alter bev 9Jienfd)(. ©auertetg. 1. e. what the deuce ! hands and feet. 18. P. e. "With line 7 the part inserted in 1797 ended.sc. 135. 3. no man can live on such a diet as you propose to yourself. 24. 137. But their remarks only prove their inability to grasp the significance of the passage. 29. P. he shall sprawl. 137. no man can digest the old leaven. 17. P. which Faust had expressed fid. as Diintzer paraphrases ©enitffe. 23. cap 12. 15.

[Sc. the perception of the leading principle. that excessive attention to detail defeats the The (fiat drift of the bie Sljeile in ber <£anb) generally main end is of a science such as Logic or Chemistry. Chemistry terms Ench. pressed by Goethe. 1. i. the limits of the human understanding. 3. Collegium logicum. that it may creep more circumspectly hereafter along the path of thought. P. P. P. P. naturae. The three figures. 140. stand for the three propositions of syllogism. tine. 21. 138. toetjj 1. 20. P. ffiepen. 1. to intimate that they deem him are addressing an ass. the Wolffian philosophy was in vogue in Germany. According to : Falk „$Mje auS petfiJnL Umgange. P. Chemistry makes asses' ears to herself. shuttle. irrttdjtetire. 1. for. breffirt. or (in how much freij? mocking 1. Scfnfftetn. the threads flow (run. getitften. the handling of Nature viz. 1. 140. whom they In the above line. 139. P. 1. 140. 1. 140. 140. trained. 141. gctrtcBen. and knows not how. in this part of the country. 1. you carried. fcebcidjttger. P. and knows not how. this action was said to which was subsequently suphave been performed by Chewhole passage is mistry with reference to herself. while that Kant had not yet made its appearance. 2 originally ran thus SSotyrt fief. 1. In Germany people sometimes put their hands to their ears derisively. 2. she is to behave. it mcf)t .ue. fly) unseen. lectures on Logic. 6. 14.— 278 Goethe s Faust. e. 140. fro. 7. 1. and that the chief thing P. and may not rove ignis -i'atuus -like to and crossways and transversely. P. . 4. i. 9. when this part of the fourth scene was being written of (1774). e. 29. out here. 1. 1. you did. that 11. you intelligently grasp what things are un- suited to the brain of man. Mephistojtheles acting as Professor to a Student (1774). thus you will every day feel more delight in hanging on the breasts of Wisdom. P. 12. J. 141. tyteraufien. 1832"). fafit. felkr Of)ren itnb md)t n. mocks her own teaching. Goethe must have thought here of the philosophy of Wolff rather than of that of Kant. e. and laced up in Spanish boots —an instru- ment of torture. 140. i. 15. herself. 2.

for (saying) will enter and what will not. 1. Bange. 144. 142. 142. P. P. 141. a 1. 1. 145. 143. 13. 1. 16. er. 142. fetn. 10. fteljt. ^lagc. 11. P. 19. adapt myself . unterm -§ut. 143. to revel through. you may then take for all sorts of liberties for which another keeps beating about the bush P. 1. 18 (note). a hint. P. 1. 1. ©tammtmd). P. P. 18. 145. 144. P. 31. 3. 1. fcfyicfcn. ju £>tenfien ftefjt. fcfjfteift. many a year. 1. takes his leave.D. if you only assume a half decent air. e. 143. the Professor. 141. of the word opportunely makes its appearance. 25. of the Law actually subsisting are contrasted with the prin- ciples of Hftaturrccfyt or 2Sernunftred?t. Qftnljime. 142. The abuses P. P. a grandson. i. one under the influence of tradition. viz. you will be able to give a verbal account of P. the snake. to cause several people to unite for the same amal- gamate. 1. 144. P. grope one's way further. 144. 1. 1. The <§ut. P. 1. 142. my aunt. to hear 13. might I trouble you another time of your wisdom. 1. 1. how this science is circumstanced. P. e. e. ficfy 28. 7. untev etnen «§ut Bring en. album. 4.] Notes. with all your likeness P. 1. 9. 1. @nfet. P. you will be afraid some day. 143. 3ota. 2. to God. 1. the sign of membership in a clique or conspiracy. scientific in vain that you range round you in P. M.sc. 144. burcfyfcfymavufeen. ein. diploma of P. benefit becomes a nuisance. ben @runb. to idioms. in several e. ©tebenfacfyen. to. 15. connected with the word. fiifjten. word not a tittle can be taken away an — allusion to a well-known text of Scripture. a fine word will be at your it. 279 what i. 1. to its foundation. German object. P. ciuf i. 3. 20. g. 143. %\id. P. 1. 143. you have them is all under your thumb. command. 32. 8. to explain to me your wisdom. 1. empftefjlt ficfy. fteUt 3. P. inquiry. Singerjeig. 144.

you know what qualification turns the scale.280 Goethe s Faust. 7. 146. bctS tomtfcfye 9ietcfy. the full power of our bass voice. 1. 18.] The scene which describes the drinking-bout of the German students is closely connected with the main idea of the drama. 1. metfern. as due . P. except is be to smash her windows. @tanbe8gdnt$r. 1. the possession of the strongest head. may an old ram it bleat to her " good night " ! P. title of 7. P. 1. 148. like as clerk at the Imperial Court of others. P. that is your P. as was called in the preceding ber SSatfcunfaft bet Xxauhc. itoMb. this empire. 2lu3frf)tag. 13. "Pope" is a student's slang term for a president. which recently has come to life again in a new 5. The "holy Roman Empire" was the the Germanic empire up to 1806. It treats of a source of pleasure which has ever been placed gifts of in the front rank of physical enit joyments scene — —the 1. ATTERBACH'S CELLAR IN LEIPZIG. P. 5. 1. 147. 25. 1. angefiifyrt. 146. a P. to their station. 17. as brightly as a number P. 1. 3. [Sc. 1. viz. 18. who quarrels. 146. 147. Chanheld many wondered "how it still together" form. — 1. ttegt an btr. may he wanton with her on a cross-road. ©runbgetoalt. 1. 2. Bacchus. tyapft. or. entjnmt. at other times you blaze fault. A year or two before this line was written Goethe had acted cery at Wetzlar. a hob-goblin be her mate. 147. 1. 147. [1775. P. SCENE 5. etngefc^mtffen. 21. P. 146. she took me in. 147. and. 1. lityttxltrf). P. 146. 147. of candles. P.

may be passed. 14.5. P. join 7. that you may see how lightly (i. 1. quiz. 148. P. 1. 9lafe. piece. samples. and P. 11. 281 P. tafit. I'll mountebanks." P. 6. 1. 3um exactly corresponds to the Latin " in medium conferre. GrbenMtb. P. boldly in the chorus. 5. 151. P. is 11. 5. nagelneu. 148. 148. fatten. 150. he had love in his belly (not body). Leipzig gives I'll its inhabitants an air of refinement. 150. etnjufdjftrfen. 150. tm geifce. e. 149. a fine sort of a companion. 1. 1. 1. 1. . 1. 153. 149. a virtuoso. P.] nun Arotes. P. 8. 151. and while mine host gives btlbet. $ro6en. 11. This phrase is a P. JJtunbretm. 26. P. ###BOT_TEXT###gt;adt fie fein. P. patron. 1. he had fattened for himself a as if paunch. 149. 148. enjoin. a first-rate performer. 2. I'll worm out their secrets as easily as drew a child's tooth pull the polypus out of their noses). The flea the symbol of the upstart courtier. angemfiftet. P. 1. 17. 1. P. P. 1. ! P. a 17. freucn. he sees in the swollen rat his own image drawn merrily) life P. 2Q3a3 fjtnft. 1. credit. is strictly conversational. 15. brand-new a flea is fciufcrer ®aft. why does the fellow limp Goethe frequently uses SCBag in the sense of tt>arum? without adding any verb on which 2Ba3 depends. 153. how these silly fellows chuckle 1. 152. make game of them. 151. 152. 149. jucfte. P. draw them ? out. a knowing fellow i. fritre. 150. to 8. I guess. 152. 149. fastidious. spoiled 1. 1. 23el)agen. 149. 4. auf bem k£ten ha. 1. P. if I 1.sc. P. 1. point your fingers and nick them nicely. P. 1. P. fcfyraufce. 1. 1. 153. 14. 1. 1. 151. 148. brothers 1. that the breeches may have no sisters. 1. 1. 11. This use of 2Ba3 1. Sod). P. a)iarftfdjreier. ©efcfytoifter. he's giving the last gasp. little P. »ettool!mt. 1. 1. by good treatment. 148. P. creases. 13. common idiom for the death-rattle. SSirtuoS. 10. (lit. 23. jollity. was convulsed. P. P. 5 -8efteit gebeit. 23. 150. 2. to life. ! 7. e. I must by way of good night contribute iBeften gefren something to the general good.

P. foliage . is in their glory —a somewhat uncom- mon use of the adjective 1. 157. 154. 9 (note). etc. This German idiom for exceedingly is prin- cipally used in speaking of physical sensations. 154. This verb is in the third person singular of the present. a slang term. be off. P. P. 154. 157. P. thrust home. 12. 14. is let loose. juggler's tricks. Safcfjenfrteterfactyen. 1. 1. afyufafjren. 16. 154. P. 17. and keeps putting these into the holes. 155. s Faust. SSeften. P. Frenchmen. 156. JKefcen. sparkling. P. ttpgelfret.— 282 P. 156. but this passage requires a far stronger ejaculation. 1. 28unber. vines are wood. 155. my ! feet feel as heavy it as lead. fanmbalifcJ). A you is true German cannot bear a Frenchman. moufftrenb. fid. 156. 1. fret. tierftopft. wine 14. 157. the fellow game. do you dare to be rude to us is fair ? 1. P. 4. to 6. P. the arbour. fettrt>artg gef)n. ! to make himself dare to carry on your jokes 10. 1. SauBe. referring to 1. broomstick. making fun of us. Sftetn. 1. P. P. 18. 1. £)rt. 1. P. 5. 156. are juicy. P. fret. magic transformation and word can change place bte SauBe. 7. scarce. Btetfcfytoer. 155. 9. 154. P. now let any one tell one ought not to believe in . 155.. 156. 7. 2. dat. P. and senses. P. miracles. 17. 14. 1. 158. P. Goethe 7. 1. 1. but their. 1. uttterftefm. 23efenfttet. as it is generally mistranslated another has made the stoppers. [Sc. Gad Diintzer thinks a corruption of id) meine. 16. of bag SauB. 1. mag jum tetfcen. not in the participle. 1. 1.

The primary purpose of the poet was to dramatize the process by which Faust recovers his youth and is his usual manner. describing the agencies and the persons these feats of magic were achieved. this number seems rather extravagant. by whom P. I dislike this senseless 9. 158 (stage -direction). P. [1788. WITCHES' KITCHEN. 158. to keep you young up to eighty. taking the words as figurative of base lusts to and actions of the witch and her monkeys and sensuality. explains to it 12." means rather make young by a sudden process than to retain in a continual state of youth. 283 SCENE 6. and therefore the ' ' words would permit the interpretation probably to make you younger by eighty years". tterjungen. P. in accordance with theme was not directly entered upon. Unfortunately. SDieerfatev.] Notes. 159. 5." —for ' ' to make and keep you young until you . but preceded . Nearly all German commentators adopt an allegorical ex- planation. composed at Rome in the park of the palace Borghese. uet^iingen So Diintzer : „H3 tn'S atytptfte 3af)r. 1. will this sorcery-business. etc. by which Mephistopheles sought tempt Faust. 6. greasy concoction take from me. These two names for a of the Portuguese in Africa. 3auberrcefen. female monkey and its male were coined by Goethe out word "macaco" a species of ape found on the Congo — P. 9Jiecrfa|e. to 2luf ctdjtjtg or bis auf acfytjtg could also mean the extreme of a time which the process of rejuvenescence might extend. this shown the image of Margaret but. a spectral extravaganza loosely connected with the plot of the tragedy. by a long introductory scene. ©ubdBcfyeret.sc. 1. so that Diintzer is right in assuming that Goethe has employed »erjitngen in a somewhat extensive sense are eighty. This explanation seems unnecessary. 158. however.] The £erenfucfye is = @cene. 1.

of clay. I s Faust. M. struct one thousand of these than brew one such P. a3riicfen 6 ait en. accursed whelps. by the monkeys as the king of devils. why are you stirring the por- P. says he would rather conpotion. It would be useless to look for any deep meaning in what was merely iniBettelfu^en. 1. efficacious. 23. 7. is Thus Mephistopheles here found out P. in quality 15. abgefc^matft. was sometimes used as a derisive term for wretched compositions. 162. frafttg. or what has lost its flavour. would rather build a thousand bridges in the mean time. I may roll the ball too fast and break it. 161. {e&enbtcj. fdjicarmen. I dice. 1. P. 7. @cf>erBen. 161. 159. to This advice off is addressed to the monkey's son. P. The tft crown. P. 1. It ein gvofieg *J3itbufitm. not "disgusting" (Hayward). 23. 12. 10. hence they served in ancient times for all sorts of predictions. be potsherds. to 1. qutrtt. roam. Xgon. throw the dice quickly. 161. as the monkey the changeableness of earthly fortune is . Footbridges over precipices are superstitiously regarded as the as haunted. The next line 1790. P. 17. P. . ridge ? 1. 1. ftmrfle. P. 160.284 P. as a gloss or pun on breitc because that expression. 1. 161. SBrtcl. 11. 160. region. 33ettelfuWen. Stotf. tended as a passing joke. am lively. but this no proof that every other word in the scene likewise to be interpreted allegorically. and had I money I should be re- puted clever. I'm badly off. P. ©efttb. 160. 3) a fjabt ifyx we are boiling thick soup for beggars. @ofyn. 159. P. 1. the silly fool. 1. there will 17. 16. e. take the wisk. 1. states in ba$ is tie 2Bett. 1. keep the rolling ball. 160. 6. P. [Sc. P. 20. and brittle ball symbolize. Sieves are instruments for whatever deficient . i. 14. 1. especially in the art of discovering malefactors. insipid . P. P. @tefc. 15. and work of the devil. 162. 160. 160. 1. 161. absurd. 161. which originally meant a mess for paupers. is not found in the edition of was added by Goethe subsequently. who is warned 1. 2. befteUt. : 1. Goethe 19. is 1.

the The English conception of the devil gives him a split German one solid horse's foot. 163. fits. P. false calves. 2. 18. it has a good while ago been consigned to the book of . I do not see any cloven foot. 1. $ferfcefu£. she -bear does with her 1. at any rate we must give these poets rhyming monkeys) 17. P. as rhyme —an intimation that the proceedings of the tions of the well as the incanta- monkeys. do without. 164. while the other is like a man's. the ideas are easily added. Moni and Hugi. 163. 165. and quite secondary. (i. 1. you are singeing your mistress the plague of —by the flame which ! had arisen in the P. (the 1. 164. you carrion. this is beating the time. claw. 164. 163. P. 1. SBabeit. something clever should come of —referring being to the Bible account of the creation. 165. padding or leggings to cover the cloven foot. P. and if the spell succeeds. into £ereitfud)e. ©ebanfen. 162. 164. suppress fables. to ancient 19. where are your two ravens ? This is an allusion German mythology. we put all we say. e. foot. 1. 1. 23.— sc 6. 7. e. Seuerpetn. in which Odin or "Wodan. horse- club-foot. 164. e. P. culture —as — P. 1. how to discover such a treasure &d)ati the standing German term for a sweetheart. P. skeleton. 1. why. fire on your bones 7. dost thou know me. why Siebel exclaims in scene 5 : 2Ba$ fjtnft fcer J?erl auf ctnem 5up P. 14. 1. representing the powers of memory and understanding. or hear. flue. . retmen. 1. which fly before them. see. the name of Satan. for your song. 164. have each two ravens. 164. 162. teimen. 163. bu 5 2laS. That is the reason ? 1. P. and the thing i. aufrtcfyttge tyoeten. are mainly got up for the sake of the poetical form into which they are thrown.] ATotes. ©cfyeufaf. 9?akn. P. P. P. 28. ®efctyettte8. me. tierfcttt' tcfc. credit for sincerity —because they did not pre- tend to talk rationally. the rhyme) then there are ideas. miffen. glue it together for 5. P. 285 it P. 1. Metft. 163. ftrau. 1. 2. 1. ©ctyafecfyen. 9. P. 1. i. 10. horrid hag? lit. please. 18. 1. 20. and the other Gods. the old which licks all the world into shape young has now extended to the devil.

1. put into the mouth of the witch in order to give an idea of tricks of sorcery . and make three an even number. 9)iuftggang. 1. it. of which the preceding witches' hocus-pocus was to be a parody. ©raben. gletcfy. a good gulp. low jester. 1. 17. 3. 167. the raging ges- most absurd piece of cheatery. it P. 1. the 1.contradictory nature of its which thereby remained a complete mystery to wise P. who has taken many 1. bu unb eblen bit. whom shall benefit. 166. P. he is a man of several university degrees. in judgment in inserting such coarse and wholly irrelevant allusions to the religious observances of a large number P." is crazy stuff. 168. 18. you how to prize gentlemanly lounging. 165. 2. 166. bran. men and to fools alike. tures. This "multiplication table of the witches" Qnnmatemg. 13. a 3. gebeit)en. 168. P. 166. ser^apt. s Faust. frefannt. 1. <Sd?elm. The grofk 33ud) referred to is the Missal. [Sc." which Faust here describes as "odious. is 1. a kind of mystical gibberish. 6. what coat of arms I wear. 2Ba£pen. 165. Goethe committed a decided error of his fellow-countrymen. and reminds us of the place where the scene was composed. see here 15. 10. By "the him.286 P. well I P. garded to the flatly self. P. 6. though well known to meant the celebration of the Mass. P. Mephisto- pheles attempts to put that dogma on the same level with the jargon of witches. The introduction of this sub- ject in Faust is not a little surprising. will then teach met with the devil. Goethe 8. but people are none the happier for 1. 1. The phrase probably was intended as a transla- tion of the Italian dolce far niente. and attributes the respect with which it had generally been reterms. P. 168. hail-fellow. 165. it would be vain to look for any deeper meaning. . Lines 6-17 are a critique of the doctrine of the Trinity.

of Margaret were suggested an innocent Frankfort girl. this does not 13. 170. P. 287 SCENE FAUST'S FIRST MEETING [1774. 10. P.] 7. 1. how short in the —a figure taken slightly. I stole close up to the confessional. sharp. me with 1. furj angebunben. and was therefore written some thirteen years before Goethe to suppose that in knew Christiane Vulpius. 170. WITH MARGARET. P.] Notes. (bother) 12. £an3 Stebettic^. as some ill-informed French and English commentators imagine. 10. consider what is feasible —a phrase pri- marily referring to infants learning to walk and stand. gefcfyieben. bimfelt. The name. the law. don't trouble P. 1. Goethe could have thought of his subsequent wife. @tiu)t. . P. curt. to hy his acquaintance with whom he had heen attached when a boy. 169. my we praiseworthy Sir Moralist. though she had next : to nothing to confess. 1. ftfmtMnfd?. from a horse her so tightly held that it can move its head but P. 1. 170. 8. 4. 1. P. Jack Rake. he fancies. it is a gross anachronism drawing the character of his Gretchen. scenes dates As the substance of the Margaretfrom 1774 and 1775. 18. P. tt)r. 3. who was going to be shriven. (&bm (generally precisely) here has the force of nearly or almost. confessor.te. 169. $faffen. 15. 7. lobefan. rein 1. lit. 1. 170. 170. 1. 170. 19. always do. gdjt an. and to the poet in some degree the character. 169. 23etd. 170. 1. 1. gefyn unb fiefyen. 5. P. priest. the modern is Sfjnen. P. P.sc. 170. 170. part at midnight. P. 1 how tart she was. 1. This is the old form of address.

without joke or jest. beside the mark. serbrtepen. These two words are synonyms disgrace. a garter. 4. mind a little trouble. 1. 1. cfjne ©dnm^f unb . or slang. P. fret about it") is quite The which Hay ward gives (" don't SBrimfcovtum. to appease P. but chiefly applied SBatfcfyen fcertvatfcty. <&pa$. dative to fcfyafft. you knead your SBvtmfcortum is oftener used in trifle. more rarely to French. yet. translation corresponds to pig et in Latin. means reg. Malespini. P. 171. 171. toeiben. let 1. 1. 2. "Welsh. Stan* means to speak a semi -Italian or broken German hence the kind of patois which used to be spoken at Coire or Chur in Switzerland. and means a fragment. in is and it still e. . StefceShift. P. ttetfctye. in abuse. . 23. 171. meanwhile you may feast by yourself to your heart's content in her atmosphere on the anticipation of future joys. I pray. P. @c$tmpf imb joke and earnest. 170. 171.288 P. success 14. or. 171. The w ord etymologically connected with to Italians. get me my loving desire. is such as those of Boccaccio and Gaulish and the . 7. 1. or with praeparato- rium in Latin. not half as great as when by first all sorts of little dalliance or toying. Goethe 's Faust. gefcf)ttnnb. doll. it had formerly quite another meaning ©rnft. tains its old signification (= joke) in this and similar phrases. lit. around her. don't SSerbrtefien 4 [Sc. my ardour 1. r Italian stories. a connected with bribe in French. not the business weary you. P. 26. not to be attained in a hurry. for 8. an equivalent for corrupt German. 171. French than in German. and about her. for although ©ctytmpf at present generally . 6. as the saying in 1.

173. 18. and here with pure holy growth the divine image was wrought SBcfccn is out. 8. sweet twilight which pervades this sanc- 15. from etgen (own) and geboten. he looked a splendid fellow. [1774. 20. 1. 18. entivtrfte here the child lay. that languishing livest 1. Siifte. this poverty P. (Sfjrtft. how small the big lubber. aOBonnegraug. 1. 7. its 24. 173. P. 173. my sweetheart here hergrandsire's has knelt with the fall cheeks of childhood. (Sftngefcoten ficfy. 12. which bids thee spread the cloth on the This is and scatter sand in circles at thy feet. 1. 173. 173. breathe. faufetn. 1. P. tuary. here Nature in light dreams thou hast ma- tured the born angel. 14. 174. 1. P. 173. overwhelmed with ! U . 172. nowadays strew sawdust P. etc.. 289 SCENE 8. instructs thee like a mother. 3auberbuft. 8. £>ammevfdjetn. P. caught in down at her feet.] P. on the dew of hope. P. a favourite term of Goethe to express organic growth. what (appearance of) abundance in 1. P. fraufein. «§anS. 1. ah. the act like a schoolboy. 1. what a thrill of joy 1. 1. 173. teBft son. big Jack. 1. 11. enchanted air. P. grateful for her Christmas-box. 5. table. an allusion to the practice of putting sand on the floor. 1. toatfer. because cell to another.] Notes. itnteriuetft. 172. 29. 1. just as innkeepers in smoke-rooms. P. P. and has Icissed withered hand. MARGARET'S ROOM. havirg bosom. would sink confusion.! ! sc. fcitbcteft <x\%. 173. P. 173. 172. as organisms are formed by the addition of one is the woof the result of a combination of meshes.

Suftern^eit. Goethe* s Faust. 1. 1. 176. and to save me further trouble. iifcer. brflngt. his eyes began to water whene'er he drank time the cup of from it. 176. to put her clothes into 9. 18. 174. pretty things the diminutive has here. gtngen he prized it above all. 174. 22. 26. lent afleS fetn. 1. taking the casket as a security. 1. P. 175. 175. as if physics and metaphysics stood grey and bodily before you tive ! Styr is redundant . 4. as often. P. P. fetyt has the force of the impera- mood . in derision of Faust —a line which has the effect of a stage -direction. my hands. xl)v fc^t brein. 8. 175. 1.! 290 P. so sultry here. on it. I swear to you. @cici) eleven. fttfjt'3 but people take no notice of 24. fill with water. P. it. and sink. mistress. 16. bumpftg f)te. P. brein is equivalent to au§ in augfeljen. 174. Alas. 1. 1. trtnfen. 1. 1. over P. 27. barii&er. . for us poor souls . 1. etnjuraumen. aSutyle. I rub P. viz. all worship gold. fra£ ten Sto)pf. lief) barauf. P. P. 176. 1. he saw the cup fall. he drained for the last warmth-infusing wine. all press after gold. xi)X ttevgetyn. 174. 175. 13. and now. 5. SefcenSgUttf). then I advise your wantonness to employ the best hours of the day elsewhere. 174. 12. 22. 1. 1. 176. 12. 14. P. a laudatory force. is a bantering admonition to Faust to put on a grave P. it is so close. assume an air as if you were en- tering the lecture-room. [Sc. it. 1. it will turn her head. 1. 1. 175. P. I scratch my head. 176. P. The whole passage air. P.

don't or like milk and water. 2.. 1. 1. would I knew anything worse to curse by a cognate accusative. 26. 24. 1. 1 79. fetn.] P. a gift-horse. 1. 1. 1. 4. clasp chain and rings. p. handsomely. pocketed. for icfy and is a very common interjection in the South of Germany. P. See Introd. 1. c3 fhtctyen fonntc. 1. and consumes the blood. felt 12. REPORTS THE ILL SUCCESS OF HIS FIRST SCHEME. if P. 178. the first was not worth much be weak as pap ! at any rate. 178. ft>ar ntctyt met. P. 1. 178. 178. 23. U 2 . fnetyt. tfetbet'3. P. [1774. fcdjagen. won SSret. uevpufft. swept away. 177. pinches you. puffs away into the air —as in smoking. 177. 1. ftrtcty tin. IN A WALK WITH FAUST.. highly delighted. t% is 1. 291 SCENE 9. clogs. 1. raving like a maniac makes you look handsome. »erfc$o£en. $alt stands. a»aut.] Notes. 20. P. P. as Diintzer observes. 1. 179. 177. tyatt. P. 177. P. P. 8. 62. has anything got deranged in your head ? P. 177. Sc. devil. 177. 2. P. as they were so many halfpence. 1. I deem. 9. *Pftfferftnge. it is. Peg made a wry fyaiU. MEPHISTOPHELES. thought she. ensnares the soul. P. 13. 28. 1. face. 7. 3. 177. P. 177. fcef&ngt.

12. GRETCHEN'S NEIGHBOUR. tl)t man macfyt we tell her a fib. UtxixUn.292 Goethe s Faust. 18. 1. [Sc 10. 1. 180. over 1. P. 3c$ tyiit. sends his compliments to you. Uft @ie gruften. 1. P. 180. 182. 2. P. no joy without sorrow . 14. glass -panes in the door leading to the passage. 1. 182. This line implies that Mephistopheles came to Mrs. 10.e. P. 181. 179. lit. is an old and poetic imperfect of P. 3. before it under- stand unt>. 181. nut redden SHngen. 1. 180. what ? not a medal. 182. . 17. 16. 1. 181. 11. This is line. . letfc ju tljr. 11. SCENE 10. over 1. [1774. no sorrow without joy ? ! 1. P. P. he takes you for a lady. etn SQBefen. f)abtn. P.] P. of me. 1. Wrflutein. 1. MEPHISTOPHELES SECURES THE SERVICES OF MRS. 11. 23. 1. 179. a distinguished visitor. 179. 181. one of those oftenest misr-endered by translators. it certificate of death ! an opportunity. Martha by appointment. implying that magic had been used to bring the caskets there. the loss of him I loved would be the death P. 33efucty. 1. I never ttyun. @c$auftiicJ. 180. and would rather starve and beg (than part with) ? aitffcettiatyrt is 3rd person sing. fpart. 1. This curtain is drawn over the aside to her. Sobtenfcfyein. 7. 1. burets SSorfj&nget gucfenb. peeping through the curtain over the door. not a trinket such as every artisan keeps at the bottom of his bag. P. t^dt ifjn. such as he stores up as a keepsake. i. 14. 1. as a married person deserted by her partner. P. was not done by natural means. had I hut a cttvaZ »or. pres. 181. 181. P. on the straw. I did. P. P. as a grass-widow. MARTHA. you have a mien. P. 2lnlafj. ©tro$. vexed him. 1. 12.

P. 3. fcetrauerte I would mourn for him (wear mourning) one chaste year. imb fteJjin. 1. bafiir. 183. 14. and in the meantime I'd look out for another darling. 16. P. when 19. P. 10. ftmrte. P. 185. intrigues with girls. e. P. 183. 24. 183. 183. fabette. 19. I have a very refined companion.Sc. 3um 3eit»ertteit> merely inten- the force of 1. 184. is made known by two 1. werjettett. he was raving in his last moments. referring to the dead. bteffeitg. 15. 184. 21. getfjan. P. days. 182. gaffen. 1. witnesses. him many proofs of love and P. P. 9. 184. 293 P. 183. viz. procured. 184. 1. P. 183. it can be had. 1. 184. though . . to pay. 1. I gaffen. etc. P. be3 SanbeS. P. so things might have gone on smoothly. I dare say. 11. 3e^e. nac^gefe^n. 184. more loving little pet than he there never was.] Notes. P. is now dead. 1. P. »ter SQBtnbe. 1. squandered. in the widest sense of the word. 4. sifies had not to gape. —a genitive of place. 20. such as beg aQBegeS. 1. e3 giefct ficty. 1. 184. 1. 185. a 28. 1. *. fetnen ®efeflen. implies that they are gone to heaven. as a penalty for that he icty. funb. 19. gefjn P. he owed to the lodging-house-keeper much more than he was able 18. so that he felt the effect of it to the end of his @eftg. fidelity. @ut3 where the four winds have scattered she gave it. P. in this country P. 5ftarvc$en. 1. and found that he had still a long score to wipe out. ®inn. 185. overlooked. 18. 1. 1. 1. 1.

to 3ur= or Mxlit'b ncfnnen. 17. 1. 1. 16. auggeretft. of. P. 15. 187. 187. P. 187.] P. am fully conscious that the gentleman only me to the blush. 1. 4. P. 12.] LOVE-MAKING. 1. and stoops so low to put 1. P. 1. 11. Introd. to make . we only shall make a valid deposition that the carrion limbs of her spouse repose in consecrated ground at Padua. 1. ©etoiifjr. 188. for once you deserve the name holy man) 1. 8. put up with things out of complaisance. P. for the frenzy. then there will be a talk unique all- sub- duing passion. [1775. 25. etc. spares P. fc^mt. holy man. 9iecfyt fretyalten. toixxt t$r'8 nun. 187. nefjmen. 1. and more than enough of your chatter! SCENE 12. 23. See P. ftytoetfen. will prove himself in the right. as if we did not know better. the best of things. P. range.. 20. does it prosper ? This verb is rarely intransitive. P. 294 Goethe s Faust. 188. FIRST GARDEN-SCENE. 186. as if picked out for the trade of a pander and a gipsy. 186. p. ttmfite. 10. 1. 188. 186. 62. 1. 187.. forbet'it. Uefcerbrufl. (of 1. enough. 7. SCENE 11. Sriefce. P.. 12. 3tgeimettvefen. [Scs. [1775. 12. for the feeling. FAUST CONSENTS TO THE SECOND SCHEME OF MEPHISTOPHELES. I my lieb modesty. P. 188.

if* 1. ftyaffett. 190. 1. and to crawl to the grave as a lonely old bachelor —no one ever got any good mind by that. 189. P. 5. 9. P. 24. or rather what if I impertinently took upon mycome into P. spirits. 1. is not always in the best of P. P. 1. 191. she could not think of suckling the poor creature. out of 13. to do. run smoothly from your tongue. itM bran. regen. mtc$ itBerfduft'S. 189. under such circumstances one dinner and rest are palatable. 1. self to do. whatever you do. gathers an aster and pulls leaves.] Notes. 12. 295 employed for ar* P. 23. polite speeches 17. presume to jest with ladies. trdnfen. etc. 194. ftcty untevfteljn. 192. 13. yea. badly off. 1. given to scandal. This imperfect a colloquialism for P. . 1. ©inn. (StetutMume. does very well to rove freely. 13. 1. 7. 192. ©ctyaffen is colloquially especially 1. 189. 192. P. P. 191. fcofer Dtt. P. v£ur$finn. . P. 191. 16. Sftetn S3ruber ©otbat. 191. approaches us rapidly. 12. 190. 189. P. it would only depend on the to like of you to tutor me to a better course. narrowness of mind. what began here is —pointing to her heart—in your fccgann. but time comes apace. fjanbetn. P. P. 1. fief? 1. gefjt'3 tvofyt an. 15. 1. 191. 15. I tremble all over. P. getyt ju. an ill-disposed place. 1. Meljren. not as if 8. we are better able than others to live in good style. it seemed as the idea had suddenly head to come to terms with this 1. unterfangen. getauftg. P. in years of rash youth it P. 1. 25. 11. fcfymecft. fteftt. 190. you will be talked about. his 1. she had to stint herself. 11. 2. 1. 192. 1. P. etnjufctyrftnfen. 12. This line was inserted in 1800. 194. P. the part of "Valentine and written scene 19. Beit en. by South. 1. 190. off its P. 188. when Goethe had invented P. 8. girl. 1.Germans. behalf to plead. out of sight. over line 20. Begonnte. 193.! Sc.

SCENE 13. necfft bit mid). has fled into solitude. is Diintzer justly observes that the present scene better suited to the now occupies. jc. after Goethe's return The whole scene formerly stood after that "At the Well. and absorbed is mind in profound contemplations of Nature. FAUST DRAWN AWAY FROM THE CONTEMPLATION OF NATURE BY THE RENEWED TEMPTINGS OF MEPHISTOPHELES. [1775. 2lm 33runnen. AND CAVERN. [Scs. 1. 14. The ordinary metre of Faust is peculiarities. Faust. and." as which may be described place ship. requiring the assent of the person addressed. [1789 and 1775. M. has not yet taken that which is reached in scene 17. 13. : @rr)aBner ®etft. was prefixed in 1789. 194. Sftictyt. While he thus en- gaged. its The monologue exhibits several marked metre. 197. rogue. SECOND GARDEN-SCENE. contracted from ntcr)t r»ar)t ? a redundant interrogative. The : monologue from Italy. thus you tease me. on p. how many things such a man is can think ahout. formed part of the MS.] P.] This scene hrings hefore us a pause in the action of the drama. 11. of 1775. it the culminating point of the seduction. One of these is the rhymed octo-syllabic verse. I've caught you. . induces him once more to return to her. 195. approaches. The latter portion of this scene. 13. P. 14.296 Goethe s Faust. benfen farm. ic. because it presupposes throughout that the courtfatal turn though far advanced. 1. craftily painting the anguish of Margaret. SCENE IN FOREST OR. beginning with the dialogue %cibt tt)r nun Mb bag Sefcen. whose hetter his instincts have revived.

1. in subsequent editions of his Faust. According to some these lines anticipate Mr. and teachest in air and sea. and that this passage implies his miraculous intercourse with the spirits of Helen. to the Deity. for there is no doubt these words are capable of that conwere not struction. 19. and that eight years later (1797). thou causest the chain of organized beings to pass before me. It is not necessary to suppose. might be understood as a prayer at first written as such. unt> ftetgt bet* SJionb. 11. and the giant-pine in fall hurls down and crushes neigh- bouring boughs and trunks. the Earth -spirit being barely referred to in the of the tragedy. p. This passage shows that Goethe at that time (1789) still intended to assign to it the Earth-spirit a somewhat prominent part. 196. that he abandoned that intention. P. is 297 and ten or But in these thirty-four lines Goethe employs eleven syllables to each line. fnarrt. P. telligible The lines are perfectly in- on the supposition that Faust extended his contemplations History. 1. me to recognize my brethren in the silent grove. creaks) in the forest. as described in the passage just quoted. the invocato its rest tion of the Earth-spirit in line Qtxtyahna (Seift." . 196. 1. 1 It is also surprising that Goethe did not alter lines and 3. 1. P. as several commentators (moonlit) forms of have done. 196. Darwin's theory on the Origin of Species. H. (ftfyafcner ®etft. in the same sense as he previously penetrated the mysteries of Nature. although evidently they P. 196. : Probably he thought the apostrophe (Srlja&ner (Setft. 1. and the allusion apparition in line 3. as in line 9 the "row of the living. to 3. 196. of which we hear so much to in the legend as well as in Part II. that Faust was bodily visited in the cavern by the ghosts of the departed. fettnen. finally was not until when he wrote the Prologue in Heaven. 91. as here. and temper the austere pleasures of contemplation. then from dewy crag and copse bygone generations. and others.sc. no rhyme at all. 1. 12. and never approached in terms of adoration. when you appeared me in fire. im 5euer. and that the " silvery forms" of the past merely rose before his mind's eye. the sublime spirit is the Earth-spirit (or Microcosm) of scene P. Another remarkable feature 1. of Faust. Thales.] Notes. and when the moon with soothing arise the silvery comes over here. and when the storm roars and rages its (lit. light 1.

19. 1. and . P. two used of horses worked beyond will be their strength. tiorjulugcn. others variously mistranslate these words. 1. 25.I 298 P. 197. from the Latin crispus. I do not grudge you the amusement participles of oc- casionally deluding yourself with a pack of lies. ju fctyltepen. butcfyjuttnu/Un. in the sunny hours of the day imb to part loss. 1. 1. 198. 198. 1. 197. 3. facfyt. to realize. 197. £>u Qiibft. 1. 189. 198. 1.ftrifcgfra&g. iifcerfuefen. 197. 1. as impending. 10. 13. and if this continues. atifpajtrt. 25. am guten Sag. cross. 197. thus I reel from desire to enjoyment. P. at one time with the raptures of love to overis all nature. [Sc. . with a companion so ungracious. P. 198. anguish. P. 14. [1775. 14. 1. aufgerteoen. you would ere this have strolled off this world. and then to end your philosophic dreams— dare not say how. Goethi s Faust. .spirit deputed Mephistopheles to be the companion of Faust. than to plague me in the bright hours of e. 16. flow into aside. had already taken place.] P. 22. 198. life . P. fcatfcty 1. futylen. Here ended the part inserted in 1789. aogetriefcen. worn out with madness. 197. 1. would be no great 1. P. 1. to search. 206. Faust's earlier course of and not containing any reference to you are exhausted. while your character as a son of earth quite laid P. to rummage through the marrow of the earth with impulsive foreboding. of the crotchets of imagination I have cured you. 196. 13. according to which the Earth. P. P. described —two lines which suggest that the seduc- on p. and mad. 20. toll. . the day. 1. P. this subject is distasteful to you. and in endesire joyment I languish for tion. not "in my happier hours" (Hayward) P. 198. terror. This line strongly suggests the earlier plan of the drama. he assiduously fans a raging fire. 25. 28. lines 20-25. P. fceljagen. 1. @enup. i.

—French 23. ©efbfi is best understood as an adverbial P. because that would be no suitable reply . P. eploree. 199.] Notes. @innen. the 1. the twin-pair feeding among the roses — is an expression for the billing and cooing of lovers. 1. £>er ®ctt. P. H. 3mttftng3£aat. The whole a figure in which Faust compares himself cottage with its to an Alpine torrent sweeping away a unsuspecting inmates. 16. Hay- ward and others misinterpret but : he knew at once that it would be a noble vocation. Kef it would look well in reward young monkey 1. P. ®tlt ! bafj id) bid) fange. 8. 1. ber. P. while she with childlike clouded senses dwelt in all a cottage beside (the bank). shall catch you. to exercise the vocation (as Mr. 1. is a provincialism Mr. auSgetoeint. Hayward and others toerbe bid) getoij? fangen). P. that God who created lad and lass re- cognized at the self-same time the noble trade of providing opportunities too. on the Alpine slope. his lordship to P. 199. besides. brooklet is P. 299 dry again. . In reply to Faust's indignant exclamation: " Avaunt pander!" Mephistopheles retorts by alleging the sanction of God for his action. now thy c8 gut. 200. for her love. feicfyt. " would I were a bird"! such her tears refuse to flow is her song. in others. 199. is mistranslate this line (which it equivalent to 3d) were hypothetical. ®ett. 199. 19. He could not say that God Himself does similar things as what was laid to his charge. you may depend upon it that I followed by bap. 1. 7. 10. for e8 gefte. amplification of and). viz. 1. 199. 5. jc. 200.sc. etlannte does not mean he understood how it). 200. and cares her domestic is were comprised within that little world. taken from the Song of Solomon. iv. ©efcmg. 5. 20. which means as if as much as : be certain that. 1.

2. it is In vernacular German has : the sense of crazed. P. 201. to avoid the comical effect which the name <§an8 or Soljann. but here better understood in its primary sense moved from P. because language. MARGARET AT THE SPINNING-WHEEL. SCENE 15. referring to JRufje noun. distracted.] P. historical 1. 201.SCENE OR. 1. . 1. 203. how do you stand as regards religion ? how do you discharge your religious duties . 1. [Scs. P. 201.] P. 1. THIRD GARDEN. SSufeit fcrangt my bosom pants for him. I should pour out ic$ my soul in kisses (if he came). fid). have produced. 21. 16. FAUST'S DECLARATION OF FAITH. 203. 202. turned into gall. hrie tyctft bu'3. 24. [1775. jerflutft. SCENE 16. »erge^en fotlt'. <§erj is neuter — —not to the last illustrates the advantage of genders to a 17. a common appellation of German footmen. embittered. 15. sergatft. 1. would ? or. 1. P. its place. This fie. 13. [1775. tc$ ftnbc ftc. ©errudt. 1. cerriicft 19. wandering. ©ottte here has the same force as nmrfce cergeljen. 202. 17. Goethe has substituted the name £etnttc$ for that of the prototype of his hero. 1. 201. P. P.300 Goethe s Faust.

P. freunbttcty Mitfenb. 204. 17. 205. 207. P. which beclouds the dawn of heaven. we can hold him fast by our apron-strings. with genial twinkling or. k 1. P. it. little 1. 206. 16. seems tolerable. that a man should be pious and plain-dealing as in the good old time. 17. . 15.] Notes. and and iStutx are the two progenitors. but there is . for a silly girl. e. moves. the 1. This adjective a technical term claimed to other by the Catholic Church in Germany in contradistinction P. and stirs. a name nothing more than sound and i. to look on as a spectator. 301 ? . Befomm'. by the nose. umptten. 1. cheerfully beaming. 1. smoke. 1. 208. and. such oddities 2. envelope nature in deep sleep. bucft er ba. brftngt mc$t. 205. it ftel)t fdjief. 207. 204. brettt. 3)retnfdjett fcfyrtiirt. are not implied in freunbttd). 9. leading you 3. sensualist. as. server. 6. 3)retf parallel to 33itpgeBurt. a 1. 22. . ? P. up . P. 1. untertvinben. is alone conduct- ing to heaven. you philosophic filth maid is 1. P. ivtbt. 1. P. letbttcfy. 208. who will venture tcfsay P. visibly. SSraucty. whenever he comes in laces up. alone conferring bliss. 207. to be woven hence. Love and friendship 1. Hence is it comes to mean. ©raSaffe. does not every thing press to thy head and e. ®£ottgeburt. beside thee. closes he has such a sarcastic look. 207. Slame. 1. 10. ! P. it will pass muster. 23. 1. monkey a nickname much good may it do you . 207. 14. aftetit fetigmac^enb. thou abortion of and fire ! ©pottgeburt. P. Stauie. 1. 204. 1. 18. to become concrete. 204. invisibly. P. P. the gossamer. French. : If he ducks under there (gives way) we shall find him a good boy . in everlasting mystery. 204. P. 6. to float in the air like a gossamer. P. 1. for instance. to weave. u6erfinnftd>er. tft Stauty. 1. signifies the gradual meeting of invisible atoms into a single web. finnltctyer Sreter. 207. 206. 1. P. something wrong about properly. means. 1. P. P. the voice of the Deity 5. 205. 27.Sc. 2Beben. appeal to thy intellect and thy feelings 19. speaking within our soul. at the door though. as in the present instance. forms of religion. rare owls. is a child born to be a mockery of nature. they say to themselves . heart ? •*.

the boys will tear her wedding-garland. 1. if P. and we will scatter chopped straw before her door. Hayward erroneously takes fuf for an adverb. to her 1. 1. fctymdkn. P. 1. aSorne^mtfjun. 210. Mr. Suft gemmg. 209. 2. how ready was I formerly to vilify a poor girl who went wrong. I am now myself exposed. 12. 1. P. cS ftinft. 1. 209. it will go ill with her. P. Stix^hu% do penance in a white sheet. [1775. P. P. 1. P. [Sc. garden-seat. he has plenty of chances elsewhere. 210. 3. 209. 209. friegt fie ifm. 17. a foul story." P. 210. 9. fitfi. . 209. 1. P. SCENE AT THE WELL. furtefirt. gut. I blessed myself and thought much of myself. i. 210. tfranjet. tion of sin. the subject of Lieschen's uncharitable remarks. 10. 1. 1. 1. 17. was so good. 208. 25. P. that is the effect of her 16.302 Goethe' s Faust. 209. 1. 17. they caressed and they kissed. lit. According to Diintzer. was so pure. 1. 20. to the imputa- ©ropt^un. is mentioned only with a view to bring about the subsequent reflections of Margaret. he made love for with pies and wine. 1. 1789. 210. MARGARET BECOMES CONSCIOUS OF HER GUILT. P. 3$fir6anf. she gets him for a husband. 23. 208. 15. 7. 11. of Barbara. bare. 209. to boast.] Barbara. " she sat sweetly. 16. S3itl)ten feet tfjrem fufen 23uf)ten. ©efdjIccC. t^at fo groji. whose case resembles that P. e. P. P. it is grand airs. Mof?.

at Images of saints —here of the Virgin—often stood at the city. 212. etc. P. 212. bones. can compare with. leaning on my elbow in quiet confidence. Return. the drinking to Margaret's and the clinking of . 303 SCENE 18. and listened P.er is an open space between the city wall and the nearest row of houses. SOBenn icty fo fa{5. is. so it went round. hold the candle to. ©ctyttabvomren means the noise that assembled squadrons make. 22. 3tmno. 12.] P. bag SQBaffer vetcfyt. P.. which the townspeople. MARGARET'S PRAYER TO THE VIRGIN. —here the apodosis should begin. According to Diintzer. 4. 210. 212. tine ttmfyfet. toer fufytet. 211. 1. THE DEATH OF VALENTINE. 3nnnger.] Notes. to their loud talk. to boast. in days gone by. *c. and for a prison in were in the city wall. viz. and my companions loudly praised the loveliest of the full while they drank her health in a bumper 1. 210. P. glasses. It is also used for the city wall itself. promenading outside the the habit of offering their devotions. 19.scs. [1775. last line. [1800. 13. 1. I used to sit. 1789. who feels how pain wracks my SCENE 19. when I made one of a drinking party at which men are apt girls. health.] P. my sister ? 1.

in the meantime will the treasure rise to the sur- face which I see glittering yonder ? These two. 213. it's s Faust. 212. fc^jmac^tig. 12. SGBte how from the windows of yon vestry the (i. enough to tear out one's hair. it. expressed in language in- tentionally ambiguous. and glimmers is Mown) sideways. 213. light of the ever-burning lamp flickers. k. I'll collar toon. P. P. at every chance word like a had deo tor. and that the question in the tootyl. to adorn my love ?" to which the other then gives a ^ertenfcfynure. even so in my heart. bo^elfinmg P. viz. It is not astonishing that Faust. and I feel frisky like a kitten that at a fire feel quite round the ladders which lead up to the hurning house. iv. with just touch of thievishness and wantonness. is taken from Ophelia's song P. P. when done. in order to lead to this jest of Mephistopheles. it is the second verse is Goethe's own. and run up a wall. P. Goethe 18. I a virtuous withal.) was only written by Goethe. fur Sfjranen. ftyhrifcen. make one [Sc. ge&raucfyt saying that he has a string of pearls. 2. 22. 1. . taufen. should not enter into the ribaldry of the joke. 19. The first verse of the demon's serenade 5 . in Hamlet. it is 3.304 P. equally probable that the reply of Mephistopheles in lines (£>u fannft. in order to imply that Faust wished make a present thereof to Margaret. 13. 1. two preceding up lines k. 212. 3rf> fenne mcmctyen fcfyonen ®c$a£. "Is there not a trinket. lines 4-19. 1. and sweat him. P. 212. and that he just then very conveniently ohserved a hoard of precious metal rising from the interior of the earth. however. lines are slightly ohscure. hlack as night. ttctlbractyt. 214. 1. 27. 212.. 19. with stinging speeches and turned-up noses shall every rogue insult 'me ? P. It is. 213. 1. 212. in his present mood.) 14-17 (JRMt contains an obscene jest. and the eight following. jc. suitable reply. but continue to speak of treasure -digging simply. 1. 214. not a ring. According to the received interpretation they to secure a treasure. -iftaferumtofen. which both he and Mephistopheles had long been anxious to raise. e. 1. ff elite. P. diu&t. That treasure- digging was one of the occupations of Faust and his companion also we learn from the last three lines of scene 7. nactyttg. 1. 30. $ro£fen (Sityer). steals 1..

in a fine lace collar (not. 214. 1. the guitar broken to no two will hold together. P. afyujtnben. P. except. morberttcfy. or full. P. in the obscurest corner. JRattenfdnger. is 1. 217. ber Si'tmmet. my sins. 19. 5. a more ticklish matter. X . 215. I should hope to get plenary absolution. 217. no surprise that the dying soldier should speak rather ungrammatically. 16. 1. 1. P. 18. P. 24. or hanger —a jocular term for a sword. 7. 305 thief. 1. enticer. gu fatten. thy heart shall faint away within thee. 1. fool)H>efjagen. 217. but the is Hue and Cry. i. could I P. lines 19—20. I know quite well how to make i. bring on your head the sin of blasphemy (not but get at thy withered body. cripples. a terrible outcry. 217. 28. 11. burren £et6. quite another thing.] Notes. from the bits of it tradition of the ratcatcher of Hameln on is the Weser. 214. thou shalt never again P. now the lubber is tamed.! . bawd complete forgiveness. etc. base 1. thou slander —Hayward) 18. 1. 1. it all right with the police. 21. 217. originally meaning a goose-wing. take pride) at the dance. ' ' no equivalent in English. 9Mc$e QJiap for in retc^em Sftafie. is Setfc the proclamation issued for murder. wilt enjoy thyself P. 1. do nothing to oblige any 1. 217. among beggars and thou shalt skulk. 214. im sergagen. sc. 215. pieces. cursed ratcatcher. 214. for It need cause all P. e. P. 5. 215. ' ' Sammeretfe is most expressive in German. ju Ste&'. 10. Sciftrung. P. e. P. 9. fmben. Sammeretfe. 1. your whisk. but there P. Steberhrifcty.

218. MARGARET'S AGONIES OF CONSCIENCE IN THE CATHEDRAL. foreboding presence. by her own daughter. 1. 218. under the direction of Faust {see scene 16). well-thumbed.] P. 4. 2lmt P. that the death of Margaret's mother was not authorities. passed through thee during sleep into another state of being — at first suggest the idea that Margaret's mother might have died of ever natural this solution grief at her daughter's conduct. 20. 1. 218. inquired into visit the by the and that Faust could after so still continue to house How awful a catastrophe as the unstill intentional poisoning of her mother. lano in the thirteenth The Latin chant here quoted was written by Cecentury. etc. 8). P. SJcetne lutr Gutter Jjafc' tcty gefcractyt 248. SCENE 20. [1775. unS freuten (p. 13. Margaret could receive the visits of the man who had supplied her with the poison in his speech never once allude to his fctcfy "Why does Valentine mother's death ? The words burcfy ? jur tangen $em fnniifcerfdtftef i. How came it. how- may otherwise appear.— : 306 Goethe s Faust. »ergrtffen. She died from the effects of the sleeping potion ad- ministered to her. and set to music by Jacoponus.. 218. 251. for having died without 2luf betner ©cfytoefle tneffen 23fut ? referring to Valentine. But. lines 7 and which contain Margaret's admission its to that effect. viz. less torment. it is not that which Goethe has adopted. 1. is it that. viz. e. = service. That bamtt this is so is shown by um* two distinct passages in the (p. [Sc. P. 1. The following line was inserted in the text in 1800. last line). incautiously we must assume. Dungeon -scene. 18. . and @ie with fctyltef. it may ? be asked. l)tnubetfrf)fttf\ through thee passed over in sleep into endshrift. 218. There is an air of improbability about this part of the story. ©egentoart. 23. P.

raised P. seem well founded. 1. 219.sc. or in halting-places of prisoners doomed some other spot on the top of the mountain.] Notes. 219. The names of Todtmoos and Menzenschwand — villages at the foot of the great Feldberg —point to similar customs in Baden. To furnish Goethe with an opportunity of lampooning his literary adversaries. 9. 3rd. Up to the time of Charlemagne these villages were the to die at the 3. P.cufet^^an3et. 1. P. six two vil- on the high road and eight miles respectively below the summit. (Schierke is The shrieks and misery expressed in their (Sctyrecf en) names a corruption of are traces of the pagan usages of the locality. 17. as if it away my breath. The allegorical inan essentially spectral drama. fcefangen. 307 starts up. the beatified turn away their faces. [1799-1800. 1. was honoured with human sacrifices on the first of May. The Church substituted the Feast of St. who assisted her brothers St. 5. 28. malefactors or captives being usually chosen as victims. an English nun of the eighth century. 219. aufgcfctyaffen. 1. to the Brocken. or on the preceding night. on the whole. SSerftftrte. 21. confine me. from whose name the word Easter is probably derived. and thy soul took from its ashy resting-place to fiery torments. terpretation that the ascent of the Brocken symbolises the struggle for greatness in the world does not. P. MAY-DAY EVE ON THE BROCKEN. By introducing the superstitions connected with the Brocken 2nd. Waland purga for the heathen festival of Ostera. This Walpurga. serfefcte. Willibald X 2 . The scene lages is laid in the neighbourhood of Schierke and Elend. 219. SCENE 21. to give a greater air of mystery To show the mental condition of Faust during Margaret's imprisonment.] The to object of the SStocf en-Scene is threefold : — 1st. The goddess Ostera.

QJiafern. 5. . is a botanical term for those coloured spots in to wood caused by the tendency growth being interfered with. for these do not fly) escort. 2. make grimaces. [Sc. salamanders (fabulous lizards) ? creeping through the bushes with their long legs and thick bellies P. (SBuqetn) stretch forth their far-branching fibres after the traveller. 35. 3tyfet. 1—2. tobern. 1. —to give us in close-packed swarms a bewildering P. ©cfyetn. 1. Wunnibald was canonized in the tenth century. 223. 222. 223. 7. 1. rises 1. 10. 22. 223. below the sum- one of these is called the Schnarcher-Klippe. 1. 223. 1. 1. P. 1. P. 222. 1. t>eit oHerberBfien. 8. 220. and down even to the low recesses of the chasm flashes of lightning quiver. 1. ? 14. 1. P. 27. the peevit are these here and the jay remained awake P. 221. to flare. SWittelgtpfet. fjinetrt. out of their sturdy spreading filaments they i. Qftafern. take firm hold of my skirt. P.308 St. strangely through the ground gleams a lurid how light like that of dawn. 223. P. (sort of plover). 21. 12. i. fire-flies flit about in the air (not " glow- worms" —Hayward. Goethe'*s Faust. also meaning the disease of measles. . 222. 1. in converting the Bavarians. 222. 220. Sftotcfye.) — Hayward. P. the will-o' -the-wisps sometimes combining and sometimes dividing their volume. supposed to meet on the Brocken upon her feast-day. <ScfyeiH how sadly the imperfect disk of the red moon with its 1. 222. six miles There are several rocks of considerable height mit of the Brocken P. e. belated light. <§afjer. and afterwards frequently invoked for aid against the witches who were P. 1. Sunfentonitmer. toe&t. P. fctynetben ©eft^ter. and the long noses of rock —how they snore and sneeze. a central mound. 221. the sturdiest of berfi all he-goats (not the "roughest" to words. 33. Mcifyen. because spring only means rough when it is applied P. and the flickering lights which grow more nu- merous and bigger. is astir in the birch trees. 1. 1. have the owl. P. 16. they trip him up. 222. P. e. 3.

224. sends forth a bright glow. 1. e. setbtc^tet. line. by way of Ilsenstein. 225. and through the wreck-strewn hiss clefts or gaps (not —Hayward) and howl the winds. the nurse of Proserpine. 1. 1. 23otf. here rises a vapour. a mist intensifies the darkness. 23.So. in mythology the symbol of wantonness. a rock to tbe north of the Brocken. 1. proceed in a single P. yonder sparks @ic$ »cretnjetn. to — Hayward). the Witches. 1. made such eyes. P. 1. e. she stared so hard. smothered. P. sits 18. SDrotyncn. 20. I perceive signs of the approach of our impetuous. P. ©cfyttaben. 2lugen. fa$re. ©auten. P. 9. 223. shivered. 224. 21. 1. ®dfte. angefittyrt. 1. i. she has taken off 3. 12. 9.] Notes. mist and gauze. 1. 225. a gauzy mist. 1. 1. and there unites (not "scatters" suddenly single. woman always a thousand paces ahead on the road to Evil. 10. ftafct. 24. JUitfte. hark to the creaking and snapping of the branches. Baubo. m-eutjeft. 8. 225. . the besom scratches. 2. 225. rapidly-moving. to become geljen. how rages the whirlwind through the air. P. 223. 1. my skin. 24. 16. are P. 1. P. by the quick motion. P. P. 224. P. 224. the pillars of ever-green palaces. trees. is the reverse of mtt Ijunbett 21bem scintillate quite 16. 223. here for a considerable distance it (viz. 225. 28. ®tutf)) it winds through the valley with a hundred veins. "cliffs" 1. aOBinbSfctaut. 224. often ciuf. 29. pfafct. 27. the mighty booming of the trunks. both witch and he-goat smell. guests. 1. the babe is 1. the mother bursts. P. SSaufto. P. is P. P. i. 224. she 1. 223. there exhalations move. 1. P. 9. viz. P. she shall lead us. 224. gefctyunben. 1. go to hell (not " drive"— Hayward). Sir Urian —one of the names of the devil— is on the top of the mountain. 1. fprutyen. P. swauS. £>urtfl unb gtor. near us. 224. 1. 224. 21. P. the pitchfork prods. 5. 1. 223. 223. 223. 309 P. The Meeting of P.

225. 1. 393a£purgiSnacfyt. 1. 3auBer=(51)0r. 1. 226. P. moreover. Selfenfee. 225-9. as it snatches along. P. can find ? we . tion altogether. @a& with one bound. 2. to slink here into the first corner Walpurgis Night in order. s Faust. Goethe 17. but for ever barren. P. 225. ye —a rocky valley These lines to the north side. P. lomm nidjt fcaju means that she cannot succeed in joining the throng of her companions. <§aft>fjere. 2. etc. but simply a poetic description of a meeting of witches and as we cannot admit that Goethe combined Allegory with dramatic Action. 23. fla^ert. —another name of Teutonic origin is coming. 1. is p. which for the last 300 years. but it is certain that the rest of this scene not alle." this error. better to discard the allegorical interpreta- P.Witch is one who is but half initiated in witchcraft. 226. Mephistopheles leads Faust out of the Crowd. which. . 23. the magic band. they hiss and melt in air (not " twirl"— Hay- ward). 12. P. from Felsensee [Sc. of the commentators base their allegorical interpretation.310 P. is referred to aesthetic criticism. has in vain been trying to raise . 1. 1. and several other verses. 227. 1. we are wandering to the Brocken on St. they march and babble. is Likewise the " voice below. e. we'd like to ascend.t. 1. found on pp. P." on taken to signify classical scholarship. since the revival of letters. are the passages on which some Thus. forsooth. though free from unable to produce anything. P. 1. itself to the dignity of artistic merit literary mediocrity. aSotcmb. 18. when the voices below say : " "We wash and are perfectly clean. the fyaibtyxt is supposed to mean It must be admitted that these and a few is subsequent passages would thus receive a deeper meaning than they would otherwise possess gorical. There no necessity of thinking of poets or 3cf> other authors in order to interpret this character. £auSrecf. come along. 21. it is in this part of his Faust. 226. Squire Voland for the devil — 4. the right of the master of the house. over 1. 3. 227. 227. the is Demi. emits a thousand sparks. 225. in tie $bf)'. 10. 227. i.

I am the matchmaker. 228. the fallen upstart. The epigram: "Who can place reliance on the populace. 227. Mephistopheles here suddenly assumes the . face. the ex-cabinet-minister. P. deal in something new. you the lover.. tvauen. P. to redound to . P. an old practice (not " an old saying" —Hay. 230. 4. whirling smoke. P. made up. at the last few drops when the barrel 1. it is we live here in peace. hope I shall not get crazy. and because tilted. while 25. or one long handed down. head. 16. which is the parti- ciple past of geretctyen. company. P. understand f)at with gereictyt. the snail with her searching feelers lit. 228. 13-16) "I see the people ripe for the judg- ment-day. 18. roar past us.! 1 sc. Steter. in irony he takes the appearance of a man as decrepit and as much : a praiser of the past as the four malcontents —the ex-general. 22. who. 19. gereicfyt. in 1799. 17. a very aged person. P. SBtrMraucty. 26. which has not brought about unmi- tigated mischief to individuals and to the world a f large. 1. is (1. 1. P. getljan. if I found you right in the midst of the jollity. crfc^etnt. 8. but many a riddle concocted. 1. 230. 1. tm JUetnen. is 1. «$au3. this is a fair with a vengeance ." my own little vat runs thick with dregs. P. 228. the past is gone. 227. 227. 1. fnityft. »erleg'. too. 227.t. 5. so malapert. 1. in a small circle. 229. SugenbbtauS. P. tyaufen. over air of 1. P. 229. make little worlds within P. everyone has 28. 229." etc. and the unsuccessful author —and says etc. 1. 23. had reason to complain of the great ingratitude of the French. P. mad. encircled with revelry and youthful P. 3 1 P. supposed to refer to General Lafayette. fo nafemetS. so conceited. 21. 27. 230. world likewise has arrived at the last stage. 1. 1. 1. 227. that people the large. P. 13. 1. Xvtodfoxe. ward). P. huckster -witch. I 1. 229. 1.] Notes. is enough of himself in his own home. 228. taflenben @eftc$t.. the lit. 228. 12. SSJieffe. P. 21. 24. 1.

We are told in Lilith. The term taken is from Aristophanes' Clouds. 1. It is a somewhat contemptive term for ba$ P. it created man in His own image. whereupon she Then only Eve was given had beautiful hair. 15. that ghosts never stand on ordinary feet. Sifttlj. 9. 231. P. 20-22. or abdomen-visionary. Nicolai. Nicolai makes humorous poetic extravaganzas. Some trans- misunderstand fcaS. Siijjen. in 1774. This apparent contradiction. for having. tag 3eug. £rangt. P. equal. gave this v. 230. e. the otherwise accounted for Old Testament. owing took to flight. and Eve as created out of his rib. and then. Goethe nickname SQBertfyet'S to the Berlin bookseller. having during the space of 130 years given birth to a numerous offspring of to was divorced "help- by him. 312 Goethe 's Faust. 1. 1. 21. 191. 1. 231. him as his second it meet. 3)aS Ijat feine 9?uf). referred to dancing. 27. Satirical Sally on Nicolai. P. Adam's first wife. the first instance had a wife named who. lators 1.— . usually explained by assuming that there were originally two accounts of the creation other Elohistic tors of the —was —the one Jehovistic. 230. 231. by affirming that a belief in ghosts was the effect of a disordered stomach. in which (ornament) she has no as if SSotf. such as ours. a wild dream. 19. to her bad character and her disobedience. racter. P. $rofto=$fjanta3mtfl. Adam is mentioned as having no helpmate. parodied and subsequently ridiculed Goethe's employ- ment of supernatural agency in poetry. 19. 1. e. the origin of is first said: "God Lilith. 231. etnen tmtften %xaum. and denotes one whose abdomen so affected as to produce whimsical visions to arise in his brain. 13. £eiben. ii. [Sc. The Dance of the Witches. P. jctyfifcen. 17. the subject ." hence Lilith but every curl of contained a devil P. i. in the next chapter. male and female — created He them". by the Jewish commentathe Talmud that Adam in devils. when others dance he is bound to criticize. is a bye-word is for one of the principal literary adversaries of Goethe. it that rabble has no rest. that ghosts have no actual existence. 230. i. 1. 23. is a mythological chawhich may be thus explained: In Genesis i.

232. 1. a red mouse jumped out of her mouth. had in 1799 just announced a new book on Switzerland and where he had recently been. who was a great Italy. neljm' icty P. 1. or Rationalists. rot^eS dflauSdjer. 1. order. bqtmngen. nut. proved it an im- P.. mttnetymen. Segef. P. if leeches feast on his rump. 21. Academy of Berlin. was edited by Mcolai. 14. 232. 232. to put down and poets. 5. 6. 4. before I make my exit. we have enlightened the world. . 9Jii't])(e . Mcolai. furtrt. is 1. and yet the old superstitions remain. SeufetSpacf. 232. 28. he prescribed leeching as the best cure for visions. how long have I been essaying to sweep away delusions. why. I hope. he would perhaps express approval. in a circle.] Notes. is especially applied to Mcolai.sc. we are so wise. 1. 232. in a to be discourse before the Royal posture. publications. 232. to take en passant. his mode of easing himself. and a few other writers of that day. P. on the subject of supernatural agency. 1. 231. undertook to P. and yet Tegel is Tegel a village near Berlin. fjerauggefef)rt. especially if (not you were to compliment him on the subject (of his critiques) "to consult him" — Hay ward). The term 2Iuf!(drer. 24. 232. 20. 27. 1. P. Popular superstition very generally attributes in Germany this phenome- non to witches. P. Mcolai is here compared to the blind horse of a treadmill. Faust mistakes the Medusa for Margaret. foulagtrt. 7. As Mcolai attributed ghost apparitions to hemorrhoidal complaints. where in 1799 a ghost appeared. P. as 1. cuifgeftart. for if you would only turn round he does in his old treadmill. P. 232. this crew of devils have no regard for rule or haunted. Basedow. 1. P. <ScfyafcrftunK who cares about that in an hour of love- making ? . criticize new jc. devils 16. 232. P. viz. he is cured of spirits and of wits. Mcolai. but I shall at all events take an excursion while I can traveller. 18. 1. 313 a review which of serious discussion. 232. The 2U(gemetne beutfcfye JBi&Iiotfjef. 1.

3 14 Goethe s Faust. even one without a head. means the shade of some departed person. 1. 3. 234. fonber&cir. it is 16. for every one thinks that it is his own lady- whom he 1. amateur actor and playwright Kotzebue. a staring look chills man's blood. [Sc. Faust P. 14. son fiefcen. P. P. 1. SSrocfen — I shall be content. 1. to the Medusa is able assume any form whatever. with her throat cut —that being the most which could exist for the imagination of Faust. he consigns to the JBlotfgfrevg. 10. whom to hell. ©etttifcUttS. she seems to walk with shackled feet. SOBenn tcfy. 234. petrifies 1. prater. my amateur's task to draw up the curtain. lines 1 and 2. corruption of for you. 234. 1. for that's the place These two lines are addressed to Goethe's literary adversaries. P. 233. angetljan. no wider than the back of a knife. 4. then residing Goethe disliked him on account of his obtrusiveness and his love of low comedy. e. that it SJiuf? is redundant . @ie fcfyetnt. 1. the name of the people's park in Vienna. 234. to the retires with Mephistopheles to a hill to witness a Show. An " idol. 234. 233. 1. P. 9. when I find you on the 23lotfgfcerg —the devil's mountain. P. fommt ftc »or. 5." in the Greek sense of the word. 1. 1. SQBaljn. 234. considering that Perseus beheaded her. officious show-man —a term probably referring at "Weimar. 1. SStut. 6. just as Dante consigned his enemies . she might as well carry her head under i. P. love 15. 1. how it strange that this fair neck should be marked with a single streak of red. The Medusa always assumed to anyone who looked at her that particular form which was most likely to strike the greatest terror into him. and well nigh him. P. 8. sees before him. this is the last of seven plays. 234. @ie fann. unless I am deprived of my senses. The phantom Medusa has just taken the shape of aspect Margaret. P. 21. P. 2Bte «. JDilettant. 233. 18-21. Sbol. what a Prater liking is you have for illusions. 233. 233.. he has left some two hundred. 234. " that of the should mark" means terrific the same as marks. P. P. P.. 10. Kotzebue was a very fertile writer of comedies. her arm.

is a poetic fiction. cause which suggested this Consequently.] This Intermezzo. THE MAY-DAY EVE DEEAM OR. to account for the gathering of so Night. Goethe thought he could not select a more appropriate theme than their golden wedding. buzzing. AN INTERMEZZO. sc. it is was intended as a for an attack on Goethe's contemporaries. interlude in the It bears some distant resemblance to the celebrated Midsummer Night's Dream. the attendants of Oberon and Ti- tania. It contains no dramatic action vehicle for satire in the . . are also called in to supply the place of stage -musicians.. who hold their golden wed- ding. A number of animals. like the Shaksperian masque. or humming on the mountain.] Notes. invite a crowd of visitors to assist at the ceremony. 22. [1799. The introduction of Oberon and Titania. supreme control over all spirits on the night preceding May -day. or interlude. resorted to in order to explain why this mashave querade of ghosts should be held at all. many spirits on Walpurgis when Faust and Mephistopheles were on first the Brocken —the coin- cidence of the dates being probably the idea. introduces a masquerade supposed to have been witnessed by Faust and Mephistopheles upon the Brocken on "Walpurgis Night. and when their office has been . As these two fairies have ever to been supposed. veiled form of a spectral masquerade. croaking. % 315 SCENE 22. from the days of Chaucer to the time of Wieland. in which Bottom and his companions appear and act before Theseus and Hippolyta. Puck and Ariel. THE GOLDEN WEDDING OF OBERON AND TITANIA. but.

and the Orchestra. JDubelfacf.— 3 16 Goethe* s Faust. {lit. 13. The Masks P. etc. 19. needed. The Masquerade. if 5ra£en. first = I am . the humble-bee others think that some flat-nosed Weimar musician was meant. foot 1. bag gotben. Diintzer thinks an animal referred to. husband pout. 1. duly set forth by the stage-managers. enter. ended. 1. each reciting to an epigram of four lines about himself. 235. 5ftegenfd?nau$e. 7. no scene -painting Mieding was the former decorator and the scenery stage-manager of the theatre of the town of Weimar. P. is the brave sons of Mieding can rest this time. musicians. 2. at all) . P. by his music. 9. 235. @5fjne. am = I but a sorry animal eg none am able to write poetry. take snout and midge's nose along with them. 235. ugly faces. Ariel —a kindred spirit taken from the Tempest lit. 236. 235. but seem to some ambitious juvenile in Weimar. 8. grimaces. one by one. and wings are needed for me. ®iebt must be taken in two quite different senses. 236. listen to his is odd music. frog in leaf and cricket in grass —these . are our P. who meddled with poetry. This gives an opportunity Goethe for lampooning his literary opponents. queer. P. 3. Srofcfy. 22. refer to The four lines are nearly unintelligible. allures Manq. fid) fcttbct. ©cfymoftt. coming from his snub nose. there comes the bagpipe it is the soap- bubble . and wife have whims. 235. 1. viz. P. that golden event to me more P. their kin. [Sc. 1. 236. %$al. P. foot 1. . hoary mountain and dewy vale are but is all P. fro tc$ bin. many 1. and slides his among 1. imp . fly's all P. then am able to produce. 1. . 1. look. when Puck comes and wheels about. 236. 1. i. if ye spirits are present with me now. 5. one by one. 235. P. 13. 236. Still unformed but yet I (or embryo) little spirit : spider's I and toad's belly. required. the dancers. frights 1. if the strife between Oberon and Titania be pleasing. e. the Decorations. 9. the guests enter.

$ftrcfyen. 236. 293tnbfal)ne. and high bound through honey-dew you walk deftly enough for me (spouse). P. 1. mairfen. will be a 1. I shall accomplish greater things) 7. Though Oberon has critic. 237. 19. powder sit as well as petticoat (or else. seems to refer to some unknown sylph-like couple who quented the "Weimar theatre. all its mummery ? neither claws. 25. 317 P. 237. squabble. 23. P. P. the Xenia. 236. to wrangle. 237. recited by an unof poem on the gods was sometimes charged with a semi-pagan spirit. ma- trimony (not P. P. 19. for. and show a plump body. $urtft Purist — supposed to refer to Campe. 1. which to P. 22. but remember. P. ffyjentoetfe. 237. Artist from the North : What I draw to-day tour in mere sketch. ^^ ~" against the two joint authors of the Xenia. 238." or Leader of the Muses.] Notes. Stapdlmtifttv. to Catholicism. short step and fragrance — is what we like . 1.' . who wished literature of all indelicate expressions ! to clear the German language and is What wantonness 1. meaning one of the Stolbergs. who was a great devotee and a convert P. as crino- only I naked on my he-goat. he is as much known a devil as the gods of Greece. >v^ . supposed to mean Mcolai tail. also very fre- obscure. going on here Only two Mutches are powdered. 1. 237. 237. 23. 237. P. or Grecian mythology in general. : : sc. 9Mfenber. we are not going into the This epigram. weather-cock. who was supposed P. Conductor of choir : Do not swarm about the thinly -clad woman. naively jest in a crowded troop off as at last they will pass themselves good-natured. Is not that a masquerade with 1. line) are 11. 1. keep time. 27. but I am practising with a view to make a Italy (when 1. air. to be a rake. 1. who in his "Musagetes. and in his " Spirit of the Times" had inveighed 7. nor P. lauttx SSrftute. faith. nothing but female aspirants to brides). 237. 16. 237. £>er $uber. Of these he says : they. 237. UtiU im Xattt. 22. 1. 1. 1. P. 4. etc. . either refer to Schiller's may Greece. referring to the other Stolberg. inquisitive traveller. 1. Hennings was a Dane. orthodox These verses.

and would fain on each other the coup de grace . etc. . 1. says : 1. 240. P. hence synonymous with a blockhead. Zurich. P. who to the pious every thing has a spiritual signification hence they do not object even to appearing on the Blocksberg at a godly gathering. steps out. Lavater. 238. Jftcfjrfcommel. @fe£ttfer. he is fond P. [Sc. all too self-willed. 239. a fat and stupid bird. so stiffly ? 18. 1. haughty step. 3. they (believers) follow the track of the flames (which announce the presence of something Supernatural). 238. 15. Sibeler. P. 238. here comes another troop of masks. 238. 1. P. but do not be alarmed. P.8 — 3 1 Goethe 1. it has 1. Spirit of the Times. P. nfirrtfcty. $)ag 2Befen. 1. Sttemity. is or bittern. viz. 3. I would rather be their president than lead the Muses (in my periodical). lupft. 11. and fills with disgust. 239. 23. 1. they are but bitterns. This word. derived from the Latin fidelis. 21. yet the bagpipe unites them here. 239. P. gar ju ^crtifty. on account of his halting gait and meagre appearance of fishing in the troubled waters. entity is a perfect plague to me. to make an excursion on for all. 22. worldling —a favourite name for Goethe. is a student's term for a merry wag he says : These raggamuffins (philosoinflict phers) hate each other much. 1. : The other periodical. 238. 11. lifts his legs. . for ever singing one note. called . as wild beasts were once united by Orpheus. room P. . 3GBeItftnt>. is " Crane" a nickname for Pastor Lavater of . " The come. and scents out whatever he can" —allusion probably referring P. the philosophers I hear their drums in the distance. 1. German Parnassus which is so broad. s Faust. 7. to the next character. 24. 239. 22. 25. and think they . 239. 1. P. Nicolai again asks : " Who is that man holding himself He walks with 1." says "With the right people one can get on the catch hold of my skirt. 239. neueS (Sfyor. in groups. Masks of Philosophers advancing P. I must be a fool if all this is a creation of my me Ego —a hit at Fichte's idealism. 2ttit te$ten Seuten.

a rustling among the leaves. they were young elephants. the true mode of dealing with the Supernatural. shooting-stars bilities of These ignes fatui and political nota- seem to signify some quickly extinguished the time. ItnBepIfltc^en. 240. 27." . in the same sense. mouthful by P. P. the Massive. 241. 1. and a breeze in the —and all is faded. P. 9ftafjfoen The massive all or the blunt refers to the Eevo- lutionists of France last : Let the blades of grass be trampled down.] Notes. . i. referring to the French emigrants of 1799. e. 1. politicians. Masks of Politicians. 1. 240. as none ought to be stouter than himself Ariel. Time-servers: Our troop of merry fellows are called the Careless when we cannot walk on awkward our feet. At Puck and Puck reminding if the last of the masks. inviting the party to follow him to the rose -decked hill. 240. We walk barefoot. 22. fawning at court. you are an accursed species of ama- e. 11. ©etmnbte. you do not keep time. sing one more parting strain Train of clouds and gauzy mist become ' : ' brighter from above reeds . Srrlidjter. 15. P. P. we would do anything to remain in power. 240. not to tread as heavily as . i. teurs. 319 Scepticism is are near the treasure —but. 1. @ternfcfytut)tye. 33erf!ud)te SMfettanten. 240. •'.sc. P.. if The orchestra the great Spirit had given them wings to any purpose. e. we walk on our heads. lines 19 and 24. etc. Ariel close the masquerade. 8. We formerly got many a good but now it's all up.

was written some thirty years and formed part of the Frankfort 16. and in lines 10-13. As it which strongly remind us of the earlier plan of the tragedy and the part originally allotted to the Erdgeist. P. link P. P. getfctymettetn. 244. [Sc. ju fottern. 1807. 1. 243. Sljurmer. to dash to pieces the being. 243. the only prose-scene of the tragedy. we find expressions render the transition from the Brocken. 1. 243. lines 13-16. however in- who replies to us that feelings when in perplexity. tefct. This has misled some commentators into the supposition that the entire scene earlier. — is the tyrant's mode of giving vent to his 8. his secretary '? was dictated It Riemer one morning in January. imnfcenb. SCENE 23. P. 243. p. 13. 21. why me ? to the base associate who delights in injury. writhing. 21. and to fasten on the shoulders when he fell. 1. A GLOOMY DAT IN THE COUNTRY. nocent. 1. 1.scenes to the scene in the geon less abrupt. . 23. [1807. to roll MS. I will cloud the senses of the jailer. P. on p. the language In several passages. and revels in destruction — a sentence showing that as late as office in 1807 the original idea of the Erdgeist and his still the drama was in Goethe's mind. notably in should not be too closely examined.320 Goethe*'s Faust.] This. 242. 1. PROSE -SCENE: FAUST DEMANDS THE RESCUE OF MARGARET. 242. by Goethe was intended to to Dunwas somewhat hurriedly written.

] The Dungeon-scene. last of the edition of 1808. your delay hastens her death. jogert tyercm." it P. flteuen unb toeifyen. It written in prose at a very early period. assemblage of witches. P. a stepmother slaughtered her stepchild.. P. and takes name from the birds of prey which 21. 22. i. they scatter sand. 24. lines 8-16. The for tells which see Grimm's Mahrchen. I. THE RIDE PAST THE RAVENSTONE. and gave to its father to eat and how the Y . 244. 1. 244. 1. 5)er 9ftenfd>f)dt. a guild . 245.] The Ravenstone which they gather in such places. 1. P. 1. though long remained imprinted. and formed the P. „95on tern how . lays hold of me. its assumed present shape about 1801.scs. NIGHT.SCENE [1801. 2. pass on their journey to Margaret's cell its is the place of execution. a sense of all the misery to which mankind are subject. and they devote to SCENE 25. «§ejcenjunft. 3)Jac$ant>ett>om. e. tale referred to. 245. 47. death. 245. the whole misery of mankind.] Notes. THE DUNGEON. 321 SCENE 24. OPEN PLAIN. 25. 7. [1801.

1. the staff is 26. P. 251. P. and told in plaintive notes the story of the murder. beuten. This refers to an old custom ta$ ©tSMetn ttitb observed at executions in Germany. 7. 1. in Luther's version). if Death is P. 246. 3. lit. 246. the bell still is tolling. bird . 252. or rather bones. @ctye£fe. £er ju mir. £>ci. nun geroctyen. then I up the bones. you. were changed into a peewhit. 24. 246. 23. P. 10. c. 1. 10. iifcerftefjen. here the brain. The bones came assumed the form of a Margaret peewhit. lines 2 and waiting. 247. 14. who bid them apply the tale to me ? The tale meant here P. 251. [Sc. 252. P. P. 1. this way ! 1. became (not "there" its — Hayward) a forest- i. short for SatyneHa^en (Matth. 250. 3Serbct£en. : After reading the sentence the sheriff says jerfcroctyen. 245. the hair . 3)te Zfyat nrirb staff. tm your fate. upon which a small is representing the life of the criminal. 25. shall I survive the misery 1. sister of the slaughtered child afterwards collected and buried the remains to life. . 252. under a juniper tree. who has stolen it from me ? P. is . P. yes. tale. to carried out. to loose the chains of misery and bondage. 1. 14.} 2. my ruin (my " undoing" — Hayward). 246. 13. 1. 3. this voice from within. dying away. A chill runs through my brain. 245. similarity to the story of Margaret. 251. gnashing of teeth in hell. getfjan. picked 15. 27. is broken. P. 19. 1. P. 248. anfjufdtftepen. until now I have done all I could to please thee. here sings snatches of a song founded on this P. 1.2 2 Goethe 4 's Faust. @ttmme. fcrauf '. JUa^cn. probably is meant for Margaret's. and the sentence ©tidje. if the grave is outside. 1. 1. bte 23etne. that before mentioned. P. broken. the slaughtered child. ? P. brum. 12. 14. in in this consists its which child-murder is committed and avenged 1. then come. 1. Stamen fcrtctyt. P. Jtta^en being the viii.

The lines first scene relates to circumstances which occurred many years after the events described in Part I. the god of wealth. . presents to the Emperor a huge coffer filled . and who bestows on Mephistopheles the appointment of As part of the festivities of the Carnival a court jester. grand masquerade is held. in the character of Plutus. It morning. whose folly is only equalled by his poverty. al- though these notes rest on no better security than the sup- posed existence of a vein of precious metal in some vaguelydefined region. In the opening is we find Faust rising from sleep.— APPENDIX SUMMARY OF THE SECOND PART OF FAUST. Faust. of Ministering and bathe him in the waters Lethe. the gift is gratefully accepted by the needy monarch. at which Mephistopheles and Faust are present. and ridding him of the pangs of remorse. the is sun rises over a beautiful park. where Faust reposing. spirits attend. Faust at Couet. which has the effect of obliterating the past from his mind. Act I. After this he accompanies Mephistopheles to the Court of a mediaeval German Emperor. with bank-notes of Mephistopheles' manufacture and.

. had not Goethe on one occasion told his secretary Eckermann that they represented the Ideas of the Beautiful. who has become a Bachelor of Arts. College Chambers. he and Faust are commanded up Paris and Helen from the realms of Orcus. by studying the Greek mythology. concerning the principle of Wagner's amanuensis of none other than the innocent Ereshman since Part I. boastfully asserts that he can disclose the secrets of philo- sophy and of the to call spirit. on the occasion of a State performance at the Court theatre. busily engaged in editing the papers which is Faust had left behind him. and interrupts the seat show in order to take his by her side. they pay a " Mothers." "Who these mothers to the realm of the to symbolize it were meant would be very hard to say. expresses a wish and as Mephistopheles to become the patron of the fine arts .world. falls The beauty of Helen so great that Eaust desperately in love with her. result is. is who forthwith appear. Eaust withdraws it to his University. the Good and the True. summon Paris and Helen. On arriving at the university they find Wagner seated in Eaust's room. and prosecuting investigations life.— 324 Goethe s Faust. and is now as vain and conceited as he was modest and diffident formerly. that the performance ends in an angry altercation prepare for and as a new conjuration thus becomes in order to necessary. thus unexpectedly enriched. Bringing back with them from this shadowy kingdom they full powers to exhibit phantoms. The Emperor. They are unappalled by this command. Eatjst's Yisit to his Act II. and to exhibit them in bodily shape. Whilst . mentioned by Plato as the creative Essences which preside over all things. but before proceeding visit to execute it. The .

Faust is 325 asleep on a couch. the Did the world come into its present fire. ever striving to break its contracting to fetters.— Appendix. Goethe entitled this the " Classical Walpurgis-Mght. They each utter a few verses. is Hence little they say. Act which in point of fact was written long bemakes no mention of the Emperor and his Court." In it the gods. and his is ingenuity employed in the This classical performance which now takes place. is called Homunculus. e. which he had little creature. ancient may be termed a grand exposition of mythology. By way of contradistinction to the Mayscene. of which is. and it is. and philosophers of Greece pass successively before us. This a clever imp shut up of in a bottle. long been bent on producing. shape through the action of water. he desires to marry. the tutor of Achilles. whom III. The com- mentators regard this figure as an allegorical representation German scholarship. heroes. many painful endeavours the creature succeeds in bursting the glass bottle. g. But Faust pays little is heed to this metaphysical dis- His one thought how to find the centaur Chiron. burden theory. The . that the pedant Wagner After made the father of Homunculus. but represents Faust as marrying Helen during his stay with Wagner at the University. demi-gods. or mannekin. under whose guidance he hopes to discover Helen. assume a less ignoble and dwarfish form. or the day Eve meeting of the witches on the Brocken. cussion. Wagner artificial succeeds in manufacturing the living automaton. Faust's Union with Helen. fore the rest. according to the Neptunist or through that of as the Plutonists allege? Ultimately Thales gives judgment in favour of the former theory. Chiron having conducted him to third act.

Many claim a share. is referred to in the with the Greek mind. Act IV. Helen from Proserpine. to which it powers of conjuration in several difficult to assign would be any symbolical meaning. Faust does homage to her in feudal form. The issue of their marriage is the wayward boy. his Having exercised ways. After the battle the Emperor divides the spoil. to follow her to earth. and Faust and his friend obtain strip of sea-board land. The Emperor is moved by of the this remonstrance. Thus he attains his highest wish. by dint of magic charms. supposed to represent Lord Byron. whose death after the battle of Missolunghi in 1824. Faust returns to the Court of the Emperor.— 326 Hades by a Goethe s Faust. Faust in the Character of General. it is thought. but the Archbishop is the most exacting. Helen's rightful inheritance. He declares that the Emperor's favours to Mephistopheles are a gross insult to the Church. the realization of the beau-ideal of Art secret passage. after which she invites him to share her throne. allegory. to have a better right to the throne. he receives the ghost of —the union of the Teutonic The palace of Menelaus. finds involved in a whom he war with one who pretends aid. Euphorion. . instead in consequence but a narrow wide and fertile district promised them. viz. and brings his treasure back to his College chamber. Faust and Mephistopheles lend the Emperor their powerful give on condition that he will them whatever territory they may conquer. is made. which nothing short of the cession of nearly all the newly-acquired territory can wipe out.

They are often close attendants. and announces to him the approach of a yet more terrible visitor — Death. 3m SSorgefiityt tcfy wit folctyem fyofjett ®emefi' je£t ben fyixtyften 9lugen6(ttf. which has long infected the neighbourhood by exhalations. The result of all this is that Faust becomes involved ISTor is in a furious quarrel with Mephistopheles. complains of the proposed ejectment of two old tenants. soon returns. . 327 Act Y. Faust has no sooner entered on his new possession than cares and troubles fall thickly and heavily upon him. @old)' em ©ettnmmet mocfyt tcfy fe$n. and Trouble. after this improvement. and the chapel razed to the ground. Faust a project for drying up a its discusses with Mephistopheles marsh. Care. Last Days and Death op Faust. only source of uneasiness. He draws a brilliant picture of the future prosperity of the tenants. . Lynceus. their chapel. His steward. and though he succeeds in getting rid of at least some of them. fteljn 2luf freiem ®rtmb mtt fretem 9SoIfe tcfy 3um 2lugenMtcf e burft' booty. one. This worthy couple love bells ring for and take pleasure in hearing the and on that account are hated by Mephistopheles. Philemon and Baucis. Care. viz.— Appendix. would be able to live on the estate in greater numbers. fagen ! : 3SetiueUe bu tuft fc fcfyim @§ fann 9ttcJ?t tit bte @£uv »on memen ©rbentagen ®fucf 2leonen wttergefm. wealth. €tu±lt. and dismisses them from his palace. and freedom. Before this death comes. Their names are Want. and hang over his bed by night. who has their cottage burnt down. this his Four aged crones dog his steps. service. who.

cunningly filched is it). whereupon.— 328 Goethe's Faust. On of entering heaven he falls prostrate at the feet of the Yirgin Mary. there to receive him. being well aware that a judicial trial might not prove favourable to them. e. strewing roses and claiming Faust as theirs. $)ie fjafien fie mir pftffig meggepatfetyt [i. they resort to a stratagem. t>ie ficfy mir »er*>fant>et. vw^-j 2)aS ItnfcefcfyreiWictye £ier tmvb'S gettyan. £>a§ Unmldngiictye <£ier hnrb'8 ©veignifi. and not actually experienced death seizes him. £>a§ @tmg*2Bei6lic$e 3ief)t un$ fjinan. After his funeral a sharp contest takes place for the posses- sion of his soul. THE END- . He says : 2>te fyofye @eete. Thus the admission to an act of of Faust to the heavenly state ascribed clemency which he was far from deserving. although he had only dreamed mo- ment it. and steal Faust's soul at a moment when Mephistopheles is wholly wrapped up in one or more of the angels who have excited his amatory desires. But. A multitude of the heavenly host appear. complete satisfaction. — In expressing these bright anticipations Faust utters the fatal words of : 23eitoet(e bod)/ bit fcift fo fdjirn {see the Compactof a scene). Margaret is and a chorus : angels sing the lines with which the drama closes 2ltteS SSetgcingticfye 3fi nur em ©leictynif.

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