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 BEG TO ANNOUNCE THAT THEY HAVE BEEN AWAR 
 
 GRAND COLD MEDAL 
 
 AT THE 
 
 ^Iiitex*iia.tioiial Inventions Exhibition, 
 
 1 885— LONDON— 1 885 
 
 "For General Excellence of their Pianos, 
 
 AND FOR Several Meritorious and Useful 
 
 Inventions;" and also a 
 
 SI^EOI^L a OLD MED^L 
 
 FROM 
 
 THE SOCIETY OF AK,TS, 
 
 1 885— LONDON— 1 885. 
 
 DED A 
 
 TWO SPECIAL DIPLOMAS OF MERIT, 
 
 Sydney International Exhibition, 1879. 
 
 TWO HIGHEST AWARDS, 
 
 International Exhibition, Philadelphia, 1876. 
 
 GRAND NATIONAL GOLD MEDAL, 
 
 WITH CROWX AND RIBBON, 
 
 From His Majesty, King Charles XV., of S-weden, 1868. 
 
 FIRST GRAND GOLD MEDAL, 
 
 Exposition Universelle, Paris, 1867. 
 
 GRAND TESTIMONIAL MEDAL AND MEMBERSHIP, 
 
 From Soci6t6 des Beaux Arts, Paris, 1867. 
 
 FIRST PRIZE MEDAL, 
 
 Tnternational Exhibition, London, 1862. 
 
 Also more than thirty-five First Premiums at American Exhibitions, and testimonials from 
 the most eminent Musicians, Composers and Artists in the world, who all unite in the unanimous 
 verdict of the 
 
 SUPERIORITY OF THE STEINWAY PIANO OVER ALL OTHERS. 
 
 EVERY Piano Fully Warranted for Five Years. 
 
 1^° Illustrated Catalogues mailed free upon application. 
 
 WAREROOMS, 
 
 Steinway & Sons, 
 
 STEINWAY HALL, 
 
 Nos. 107, 109 and 111 East 14th Stieet, 
 
 NE^W YORK. 
 
FAUST. 
 
 A Lyric Drama in Five Acts. 
 
 oom:f»osei> by 
 
 CHARLES GOUNOD. 
 
 Charles F. Tretbar, Publisher, Steinway Hall, 
 
 NEW YORK.. 
 
^gmsmmmmumamMmmummmmmmmmmmmmm wm] inim 
 
 G<i. Fs 
 
 THE STORY OF FAUST," 
 
 (AS SET BY GOUNOD,) 
 
 Narrated by Charles Lamb Kenney, 
 
 Act I. — Faust is discovered alone in the deep silence of his study. The lamp by which 
 he has been poring over the volume spread before him is about to expire, and throws a feeble 
 and vacillating glimmer upon the open page and the heap of musty parchment scrolls that 
 encumber the table. Its fast sinking light is an image of the soul of Faust, gradually yielding 
 to the darkness of despair. A life spent in acquiring the subtle but fruitless learning of his 
 age, has brought no gleam of true knowledge, and the unanswered questionings of his restless 
 spirit torture him with the agonies of universal skepticism. He impatiently closes the volume, 
 and as his eyes turn to the distant horizon, where gleams the dawning of another day added 
 to his weary existence, he invokes the only liberator his perplexed and unsatisfied soul can hope 
 for — Death. But, too impatient in his wretchedness to await its natural advance, he seizes a 
 phial that stands among the philosophical apparatus on the table, and having poured its deadly 
 contents into a crystal goblet, he is about to drain them, when, just as he is raising the cup to 
 his lips, the voices of a number of young girls are heard from without saluting the morn in a 
 chorus. The visions of human mirth and careless enjoyment of life which these sounds evoke 
 unnerve the soul of Faust in its fell purpose, and the goblet, so many tmies emptied in the 
 joyous feasts of his ancestors, but now mantling with a death-draught, trembles in his hand. 
 He makes, however, another effort to raise the poisoned chalice to his lips, when agam the 
 busy world without sends its echoes into his lonely study. This tune it is a band of field 
 laborers hastening to their work, singing as they go, and praising God for the fruitfulness of the 
 earth. Faust is spirit-stricken by these spontaneous hymns from the simple-hearted children 
 of toil, and, checked in his impious purpose, drops the fatal goblet from his hand. But his 
 soul has been too long wasted by the blasting influence of doubt for the wholesome impression 
 thus made to be anything but momentary. On the contrary, he despairs of the beneficence 
 and compassion of the Creator — and, cursing all human joys, all human passions, thoughts 
 and impulses, his own existence, the dreams of love and ambition, and the aspirations of faith 
 and piety, he calls on Satan, the enemy of mankind, to aid him. 
 
 The invocation is soon answered, and Mephistopheles appears, attired in the costume 
 of a gallant of that day, a tall feather m his hat, a stout blade on his hip, and a well-filled 
 pouch hanging to his girdle. Faust is at first startled by the sudden apparition, but, recover- 
 ing himself, IS disposed to give his visitor, though invited, but a sullen reception, and, in fact, 
 plainly requests him to withdraw to the place whence he came. The fiend, once admitted to 
 parley, however, is not so easily got rid of. Mephistopheles pretends to be piqued at Faust's 
 apparent want of faith in his power, and challenges the doctor to afford him an opportunity 
 
 ivi68118i 
 
4 FAUST. 
 
 of displaying it. He ofifers him riches, glory, i)o\ver — but Faust prefers to these the gift of 
 renewed youth, a treasure which he deems to comprise all others. Youth, therefore, with its 
 enchanting illusions, its wild joys and tumultuous emotions, is what he asks the fiend to endow 
 him with. Mephistopheles informs him that the matter is easy to him, but a trifling condition 
 is exacted, as is usual with the ministers of the powers below when gratifying mortals with the 
 accomplishment of their wishes. The compact is that the fiend is to serve Faust faithfully 
 during his earthly career, but that terminaled, their positions will be reversed, and the master 
 will then become the slave. Mephistopheles, a business-like fiend, has the necessary document 
 about him, and hands it to Faust for signature. Seeing, however, that the doctor is hesitating, 
 he determines to use his demoniac power, to give him a foretaste of the raptures in store for 
 him when the bargain shall be completed. Suddenly, a vision takes form before the eyes of 
 Faust. In an humble dwelling, by the side of a spinning-wheel, at which she is placidly work- 
 ing, is seated a simple village girl. The guileless purity of her heart is as apparent in the calm 
 repose of her demeanor as are the tender graces of her form, arrayed in all the freshness of 
 budding maidenhood. It is Margarita, the innocent victim, who is to die in agony, entangled 
 in the toils of Faust's fiendish adviser, as a dove flutters itself to death in the fowler's net. 
 Faust is enraptured at the beautiful apparition, and hesitates no longer to ratify the compact 
 by his signature. Mephistopheles takes up the self-same cup which Faust had in his despair 
 filled with poison, and hands it to him, foaming and sparkling with the elixir that is to renew 
 within him the springs of existence as it clothes him outwardly in the brilliant and fascinating 
 garb of youth. As Faust empties the life-giving cup, he turns to the vision of Margarita, which 
 slowly failes from sight; but Mephistopheles promises the enraptured Faust, who is now out- 
 wardly and inwardly transformed from a decrepid, doubt-distracted doctor of letters and science 
 to a youthful and ardent lover, that his passionate desire to behold Margarita in actual and 
 bodily presence shall be satisfied that very day. 
 
 Act II. — The scene has changed to the exterior of a tavern, at the sign of the God 
 Bacchus, situated near one of the gates of the town. A motley crowd is assembled, consisting 
 of students, burgesses, soldiers, young maidens, and more mature matrons. The students are 
 singing one of their drinking songs, the soldiers are vaunting their powers in love and war, the 
 burgesses are tranquilly discussing the news, the maidens are watching the students and soldiers 
 with glances half shy, half provoking, and the matrons are indulging in not over amiable re- 
 marks on their younger sisters. 
 
 Brander, a pui)il of Dr. Faust, and who seems equally disgusted with learning, and 
 determined to see the world, has enlisted as a soldier, and, in company with Siebel, a suitor to 
 Margarita, is waiting, cup in hand, fi)r a comrade who is to accompany him to the wars, and who 
 is no other than Valentine, the brother of Margarita. While Brander is taunting Siebel with 
 his love-sick melancholy, Valentine joins them; and he, too, is rallied for his sad looks, inspired 
 also by the gentle Margarita, for whose welfare he expresses a deep, brotherly solicitude, as 
 when he is gone, their mother being dead, she will be left without a protector. Siebel promises 
 to watch over her as a brother, and the party is growing more cheerful again, while Brander 
 has struck up a popular ditty, when he is coolly interrupted by Mephistopheles, who, having 
 momentarily parted company with Faust, is inclined to afford himself a little amusement at the 
 expense of the guests of the "God Bacchus." Ironically apologizing for his intrusion, with 
 some words of affected ])raise for Brander's singing, Mephistopheles is challenged to sing him- 
 self. He complies with the request, and sings a song satirizing the passion of gold, which so 
 pleases the party that they invite him to join them in a beaker of wine. Mephistopheles 
 accepts, and, while the licjuor is fetching, amuses himself with predicting the fortunes of the 
 
FAUST. 
 
 company by inspecting the palms of their hands. Brander is told that he will be killed in the 
 first engagement; Siebel informed that no tiower will ever again approach his hand without 
 withering; and Mephistopheles connecting this prediction with an allusion to Margarita, 
 Valeaitine takes offence at the public mention of his sister's name by a stranger, when 
 Mephistopheles warns him that his fiery temper will get him killed by some one who is not far off, 
 and, pouring out a glass of wine, drinks to the company. No sooner, however, has he tasted 
 the wine than he pronounces it execrable, and offers to treat the party with more drinkable 
 liquor from his own private cellar. So saying, he jumps on a bench, and is thus brought within 
 reach of the tavern sign over their heads, consisting of a barrel bestridden by the jolly God, 
 whom he apostrophizes, at the same time presenting his glass to the tap, from which it is im- 
 mediately filled with wine. He then proposes to drink a bumper to the health of Margarita; 
 but Valentine, again enraged at the profanation of his sister's name, dashes the goblet from the 
 fiend's hand, and the wine, falling upon the ground, betrays its infernal origin by flashing up 
 in a blaze of fire. Upon this, a wild tumult ensues; Brander, Valentine, vSiebel, and the students 
 draw their swords, and advance upon Mephistopheles, who, however, safely entrenches himself 
 behind a magical air-drawn barrier, which he traces round him with his sword. In vain do the 
 fiend's assailants endeavor to cross this invincible boundary; they are arrested as by a wall of 
 stone; and Valentine's sword, raised to strike his infernal adversary, is shivered in his hand. 
 With this proof of the demoniacal character of the stranger, they resort to a ready mode of 
 exorcising the fiend by presenting towards him the hilts of their swords, which, representing 
 in form the sacred emblem of man's redemption, Mephistopheles is unable to face, and he is 
 thus compelled to retreat, while Valentine, his friends and the students retire. 
 
 Mephistopheles is now joined by Faust, who, being asked by his diabolical guide and 
 companion how they shall commence their career of earthly pleasures, desires to be brought 
 face to face with the lovely maiden whom he had beheld in the vision evoked by Mephistopheles. 
 The fiend replies that her purity places her under the safeguard of the Celestial Power, against 
 which he cannot contend. Faust then threatens to abandon the fiend, if he does not 
 immediately conduct him into her presence, and Mephistopheles replies that, if he will have a 
 moment's patience, the maid whom he is so eager to behold will present herself on the very 
 spot where they are then standing. 
 
 At the same moment, sounds of joy and merriment are heard without, and a band of 
 students and young maidens, among whom is Siebel, appear, walking in couples, arm-in-arm, 
 preceded by fiddlers, and followed by the burgesses who had previously appeared on the scene. 
 The fiddlers take up their posts on a bench, and the waltzing commences, accompanied by a 
 joyous chorus. Siebel, who expects Margarita shortly to pass that way, refuses to join the 
 dancers, and stands apart, gazing in the direction whence the engrossing object of all his 
 thoughts is to appear. Equally longed for by Siebel and by Faust, though v^ith feelings of far 
 different character, Margarita at length presents herself on her way homeward — modest and 
 simple in garb — modest and simple, but exquisitely graceful in demeanor. Mephistopheles 
 urges Faust to accost her, while he balks Siebel of his intention to do the like by suddenly 
 recognizing him, and persistently placing himself between the lover and tlie object of his passion. 
 Faust, meanwhile boldly addresses Margarita with a compliment to her beauty, and offers her 
 his arm; but Margarita, with a few artless words and a modest courtesy, rejects both his 
 compliment and his proffered protection, and passes on her way. Faust, who seems to have 
 expected a facile conquest, is disconcerted and dejected at this repulse, but recovers hope when 
 Mephistopheles, as they retire in the direction taken by Margarita, assures him that he shall 
 have the benefit of his assistance in the prosecution of his suit. 
 
6 FAUST. 
 
 Act III. — We are in the garden attached to Margarita's dwellnig, and Siebel is seen to 
 enter by a httle door in the wall which separates the garden from the street. He addresses, in 
 the rapture of a fond lover, the flowers which he sees before him, and bids them plead for him 
 to his mistress. Stooping to gather one, he finds it wither in his grasp, and is reminded of the 
 prediction of Mephistopheles at the tavern. He plucks another, and still with the same result. 
 At last, as he approaches a little pavilion to which Margarita is wont to resort tc perform her 
 devotions, he perceives a small holy water font at its entrance, into which he plungea his finger^ 
 in the hopes that this will counteract the fiend's malefice. On again attempting to gather a 
 bouquet of flowers, he is delighted to find that these intended messengers of his love no hmger 
 wither at his touch, and, laughing at his triumph ov^er the witchcraft of Mephistopheles, retires 
 to another part of the garden. Meanwhile, Faust and his faithful attendant steal sofdy into 
 the garden, and overhear Siebel's expressed determination, as he places the flowers he has 
 gathered where Margarita will discover them, to declare his love at their next interview. 
 Mephistopheles, who knows that Siebel is over-estimating his courage, utters a sarcastic ex- 
 clamation, and Siebel hastens away. The fiend now proposes to Faust that, as a counterbalance 
 to the bouquet of his rival, they should present Margarita with a casket of trinkets, but Faust, 
 who is plunged in a reverie under the influence of the passion which he feels is taking a deeper 
 and deeper hold on him, disdains to answer, and Mephistopheles retires, bent on unearthing 
 some buried treasure, in order to procure the means of making an impression on Margarita's 
 mind favorable to his diabolical designs. 
 
 Faust, left alone, approaches the pavilion, and, profoundly impressed with the air of peace 
 and innocence which seems to ])ervade the chamber inhabited by Margarita, apostrophizes the 
 dwelling which has witnessed the gradual unfolding of so pure and lovely a being. 
 Mephistopheles soon re-appears, however, to mar this wholesome train of thought. He ha? 
 brought with him a casket, and informs Faust that Margarita is approaching. Faust declares 
 that he will not disturb the calm happiness of which he has just been contemplating the dehcate 
 and indefinable traces, but Mephistopheles overcomes his virtuous resolution by referring to 
 the probable success of his rival Siebel, and threatening to assist him by handing over the casket 
 of jewels to him. 
 
 At this moment, Margarita's light footstep is heard; Mephistopheles hastily places the 
 casket in the way of the afl-unconscious victim of his arts, and hurries Faust away to another 
 part of the garden. Margarita then appears, and, wrapt in thought, slowly advances toward 
 an arbor where her spinning-wheel is placed, and, sitting down beside it, begins to wind the 
 wool around her spindle. Her mind is dwelling on the young stranger who so boldly accosted 
 her, and she acknowledges herself curious to know his name and rank — a high one, as she 
 conceives, for only the high-born wear so resolute and dauntless a mien. While thus yielding to 
 the interest which Faust has already awakened in her breast, she mechanically pursues her 
 work, and accompanies it, according to her daily wont, with some popular ballad; this time it 
 was one which celebrates the constancy of a certain king of Thule, who, having received a 
 drinking cup from his dying love, goes on drinking to her memory, his eyes filling with tears 
 as he empties the cup, until, feeling the approach of death, he casts the cherished goblet into 
 the ocean, and, having watched it fill and sink, quietly yields up his spirit. At the close of 
 this ditty, Margarita is about to enter the pavilion, when she perceives the flowers left by 
 Siebel, and recognizes them at once as his gift, and the next moment her eye lights on the rich 
 casket left by Mephistopheles. The key is in the lock, and, yielding to a natural curiosity, 
 though not without some misgivings, she opens it, and its dazzling contents are displayed 
 before her wondering eyes. She is tempted to try the effect of one or two of these glittering 
 

 FAUST. 
 
 ornaments upon her person, and a looking-glass being very opportunely placed within the 
 casket, the force of the artfully-contrived bait to the innocent girl's womanly vanity is too 
 powerful for resistance. First, she decks herself only with a pair of earrings; and, pleased 
 with their effect, she proceeds to fasten a necklace about her white, swan-like throat; and, 
 lastly, clasps a bracelet about her arm ; and scarcely knowing herself as she surveys her image 
 in the glass, she wonders what the stranger would think of her thus splendidly bedecked. In 
 the midst of her childish admiration of herself, she is surprised by the entrance of her neighbor 
 Martha, a dame of mature years, though not overburdened with discretion, or very strict in 
 her ideas of propriety. Martha is astonished to see Margarita decked out in costly jewelry, 
 and interrogates her as to whence they have come. Margarita, ashamed and confused to be 
 caught wearing finery which she does not at first dream to have been destined for her, at last, 
 on being pressed by the old gossip Martha, confesses that she was addressed in the morning 
 by a gallant young stranger in the street. Martha jumps at the conclusion that it must be he, 
 and adds that he must be a prince, at least, to make such a magnificent present. Margarita, 
 alarmed at the very thought, is regretfully hastening to divest herself of the jewels, while 
 Martha persuades her to keep them, and defy the gossiping tongues of neighbors, when 
 Mephistopheles suddenly makes his appearance, followed by Faust, and, with a profound bow, 
 apologizes for his intrusion, and asks for Madame Martha Schwerlein. 
 
 While Margarita, who has recognized Faust, is hurriedly replacing the jewels, with which 
 she had adorned herself, in their casket, Martha announces herself to be the identical personage 
 inquired after. Mephistopheles, after pointing out aside to Faust that his present has been 
 graciously received, and that it is only because Margarita has guessed who was the donor that 
 she is now suddenly taking them off, proceeds to inform Martha that he has news for her — sad 
 news — which however, interests but her alone; and, on this pretext, takes her apart, leaving 
 Faust and Margarita together. The story which Mephistopheles has trumped up to gain an 
 opportunity for his master to obtain an interview with Margarita is, that Martha's husband, 
 who had deserted her, is dead; that he died at Padua, and that Mephistopheles had brought 
 her his last words. These last words are not, as Mephistopheles recounts them in his sarcastic 
 way, over-consolatory, but he recommends the dame to think no more of him, and, after 
 waiting the interval demanded by common decency, to take a successor with a hint that, were 
 it not his lot to be ever on the wing, he should esteem himself but too fortunate to be permitted 
 to place the wedding-ring upon her finger. While Mephistopheles is thus cajoling dame 
 Martha, Faust does not fail to improve the occasion, and gradually overcoming the reserve of 
 Margarita by his pressing, but tenderly respectful advances, leads her into a conversation, 
 which proceeds simultaneously with that between Mephistopheles and Martha; and the 
 mockery of the fiend, amusing himself with the silly vanity of the old lady, affords a striking 
 and impressive contrast with the beautiful simplicity, modesty, and artless trustfulness with 
 which Margarita, replying to Faust's questions, relates the brief and homely, but touching, 
 story of her life and of her present position. The brother is gone for a soldier; a mother, long 
 since a widow, is but lately dead; and, sadder than all, the little sister whom Margarita had 
 tended with a mother's care, and had learned to love with a mother's love, had been reft from 
 her also by the ruthless hand of Death. 
 
 "Faust, now left alone with Margarita, Mephistopheles having retired, is deeply touched at 
 the affecting disclosure of Margarita's helpless and hapless condition; but his compassion for 
 her only serves to feed his lawless passion, and to increase the ardor with which he seeks to 
 entangle her inexperienced heart. Ere the interview is terminated, Margarita has lost her 
 heart, and, in her simplicity and innocence, has confessed it, after consulting the oracle of the 
 
S FAUST. 
 
 daisy — -he loves me, loves me not" — placing herself completely at the mercy of her lover. 
 Faust now bids her adieu until the morrow, when Mephistopheles, having skilfully got rid of 
 Dame Martha, who was growing somewhat too tender, encounters him at the garden door. 
 and, taunting him with abandoning his opportimity, begs him, at any rate, to stay and listen 
 :o what the maiden has to say to the stars. At the same moment Margarita appears at her 
 window, and, believing herself alone, pours forth aloud all the tender emotions with which 
 Faust has inspired her. The lover, in an ecstacy of joy at this unrestrained acknowledgment 
 of his conquest, rushes forward and reveals his presence to Margarita, who, thus treacherously 
 surprised, and having now lost her last defense against the demon-aided seductions of her 
 adorer, lets her head droop upon the shoulder of Faust, and Mephistopheles, sure of the success 
 of his infernal plot, leaves the lovers with a laugh of fiendish mockery. 
 
 Act IV. — Some time has elapsed since Margarita's first inter\iew with Faust. She is now 
 sitting dejected by the side of her spinning-wheel, awaiting, with a mournful, yearning heart, 
 the return of Faust, whose prolonged absence from her she refuses to construe into an 
 abandonment. From beneath her window arise the sounds of girlish voices. They are those 
 of her former companions, jeering at Margarita in her misfortune ; and the sting of their taunts 
 is felt the more deeply as the poor victim of an infernal machination remembers with what 
 severity she, too, had treated one of her own sex who had fallen into shame. One friend 
 alone remains to offer sympathy to the desolate girl — Siebel, the rejected lover — who offers to 
 hunt out the seducer and avenge her wrong; but Margarita's heart still clings with fond 
 affection to Faust, and will not harbor one suspicion against his truth and constancy. In her 
 loneliness and dejection, the conscious-stricken girl turns to the only true source of consolation. 
 Every once fiiendly house is now closed upon her: but there is one door which she may yet 
 enter, and which is always open to sorrow and repentance. Margarita's dwelling faces the 
 ^ church, and she hastens to lay down the burden of her heart at the foot of the altar. Already 
 at the threshold of the sanctuan,-, oppressed with a sense of guilt, she falls on her knees, 
 beseeching the Di\'ine mercy. The fiend, however, is watching his victim, and aware how 
 near she now is to perfect fi-eedom fi-om the thraldom of the power he serx^es, Mephistopheles 
 whispers in her ear, as the voice of her own conscience, such hea^y self-accusation, and 
 pictures such a contrast between her former happy innocence and present abject and despised 
 condition, that, for a time, her faith in the power of repentance is overclouded, and her soul is 
 possessed only with the terrors of eternal punishment. These fearful impressions are rendered 
 more torturing still by the chant which is now heard fi-ora within the church, celebrating the 
 glories and the terrors of the last day. Margarita struggles against the demoniac influence to 
 f>reserve a ray of hope, but the voices of the evil spirits commanded by Mephistopheles crush 
 her spirit with threats of Divine vengeance, so that at last she sinks unconscious in an agony 
 of terror upon the pavement. The solemn peals of the organ continue after the sacred chant 
 has ceased, and, as they slowly die away, Margarita revives, and, free for a moment from her 
 demoniac tormentors, rushes into the church. 
 
 Margarita has need of the spiritual strength which she is imploring, to bear up against the 
 fresh sorrows that await her. Valentine, her brother, has returned from the wars, though 
 without his companion Brander, who, in fulfilment of the fiend's prediction, has perished in his 
 first action. The soldier is welcomed by his friend Siebel, whose confusion at the anticipated 
 disclosure of Margarita's fault arouses Valentine's suspicion, and he hastily inquires for his 
 sister. Siebel implores her brother to be merciful to her, and Valentine, shocked at so ominous 
 a speech, but refusing to believe his sister guilty, rushes into their house, while Siebel turns 
 towards the church, to prevent the meeting of Margarita with her brother. At this critical 
 
Atbft :a shvxn ixiriex- viih Faust, whvx under the indueuce c»f a glooiwv i>jese«nment. hesiii^test 
 
 IV e":^:: V ^ . ^ ~ ,, . ^ , ,. . ., , . ,.^j^ 
 
 phelcs i" . ^- - ■ ^ ^^ . ,- ; ■ , -. .. ■ \.. ;,, ...■....,..;; ^\f 
 
 Kks g^taor. The s>o«»g: he £)rthxdth ttoiUs forth Ks fiKi«a bestaam^ io> en<i» a gtwss *ad tauntio^s 
 
 ■rs;:^: :.^ >! ' . • . , , ^ . Iv.> ch«N V - 
 
 ^-:..:^:^:^.■ :. ^ .^ ^. ^ ^ ^ vO^ At XL . ^ 
 
 ^ttf. a?»d shivers ti to pieces^. A cvwibat ensues betxirt^^x Faiust anU \ aknti«e> \x hok ptevious 
 
 '■-' .;ou\. 
 
 .pares to stand by 
 
 : ^ ., . . -...;; :^ v.... i- -i-- -'•> - "...vi do the •- ■■' ■ 
 
 > - -- -i coturasje are unavailing against such a combination, . 
 
 ate* ;v.>c-..^>.c ' ^ - hurries Faxisi a\va\\ and ihe uetgix- 
 
 K'lTS, arouscvi a: ,.,. . .: ...- .ojfte. his hte tas; .^bbing. Margarita 
 
 makes her >rav throttjsh the ctv>wvJ and Uitv>\x^ h<Msetf oix her knees bv the side of her brother. 
 
 • " . ^ - . ^ ■ . - . V .^,;rita, 
 
 :xv . : r^ a cueer of shame and misery tor her, and upbraiding hw ifcor still preservij>^ the 
 
 sod despssr vM Mar^^artta, whom Siebel dravn-^s axsray ftom the dreadlul scene. 
 
 ActV,-:--.-^-- -■-■■-•- , •-,,<--*... ... V .^. .^-^ ■-,. • -s Faust. 
 
 with a view ;, . . ;.> drvnvn 
 
 the last muTtnvirs ot cvxnscjence wuh a revivai or the orgies whtch marked the most dissolute 
 't>e--- ' ■ ^ - < -^f the desired efiect. In the midst of the revelr>- to which he has 
 > u -■. goWet in hand, Faxist is singinsr an anacreontic eifusion, a vxiice 
 
 rc- - .ce, causes a thrill 
 
 :o , > - , - ,.-- j: > > .- .„- ..J >. and the name of 
 
 Margarita escapes his tremWing lips. At the same moment, a pale phaniv>m. in whose livid 
 te-xv-.-x^ h;- . , \ . .-.while. .^ \nly 
 
 var.shcs, ; ^ , s:s on b. , , i to 
 
 Margarita by M . . les> whom he forcibly dia^ along with him, while he pierces his 
 
 way, s^^ " gh the host of demoaas and infernal mcmsters that besei him, and 
 
 seek to - -e. 
 
 With this prelude we ar? introduced to the las* scene of this tragic drama — a prison. 
 
 rr. . -is been. . -ar- 
 
 ance, cvxseh aas des:: awsuts m a dungeon the doom of human 
 
 justice- M .es has ^ ...-. . .rison ke\-s from the sleeping jailor, and 
 
 Faiisi er.'.c-T- where his victim lies sleeping, during i brief respite irvm the restless 
 
 .t.-. - her and she awakens, 
 
 ajj.._ ,,. ^ .- . . u she is ready to clasp 
 
 once tac»e to h«^ besom with all ti»e trusting love of foimer days. But as Faust urges her to 
 5y " ' - :hat 
 
 >.e ~ . unt 
 
 Tts ruins. Miephsstv>phrfes now appears and urges them to hasie, as the day k dawning, and it 
 
10 FAUST. 
 
 will soon be too late to effect the escape of the prisoner. Margarita's excitement increases at 
 the aspect of the hated fiend, to whom she has ever attributed all her misfortunes, and, kneeling 
 in an ecstacy of pious abandonment, she calls upon heaven and its pure angels to protect, 
 forgive and receive her. A noise is heard as of some one approaching; Faust again presses 
 her to escape; but a gleam of memory flashes upon her as she gazes in his face and recognizes 
 the murderer of her brother. Shrinking wildly from his blood-stained touch, she sinks upon the 
 ground and yields her spirit — not to the infernal powers as Mephistopheles implies by his 
 exclamation "Accursed I" but to the heavenly protection which, even in her madness, she had 
 implored, as is announced by the celestial voices which proclaim her " Saved ! " 
 
 BIOGRAPHICAL SKETCH OF GOUNOD. 
 
 BY G. A. MACFARREN. 
 
 CHARLES GOUNOD was born at Paris in 1818. He first studied harmony under 
 Relcha; at the age of eighteen he entered the counterpoint class of Halevy in the Con- 
 servatoire, and subsequently went through a course of lyric composition under Lesueur. 
 
 At the age of twenty-one, he gained the prize of the Institute, making a very successful 
 entry upon public notice by the performance of a Mass of his composition at the church of 
 St. Eustache. He went to Rome to complete his studies, where he produced, in 1841, a second 
 Mass; this was given at the church of St. Luigi dei Francesi, and, in testimony of its merits, 
 he received the rare distinction of being named honorary Maestro di Capella for life. Gounod 
 proceeded thence to Vienna, where, in 1842, he produced a requiem, and, in the year 
 following, another sacred work for performance in Lent. He returned to Paris, and was ap- 
 pointed Maitre de Chapelle to the church of the Missions Etrangeres, and, for some years, 
 devoted himself to compositions for the concert-room, among which may be noticed a cantata, 
 called "Pierre I'Hermite;" two choral pieces, named "La danse de I'epee" and "Le Vin des 
 Gaulois," and several orchestral symphonies. 
 
 Hj became ambitious to write for the stage, and being introduced to Mad. Viardot, she 
 encouraged him in the idea by promising that, if he would compose an opera, in which she 
 might sustain the principal character, she would interest herself to obtain the production of the 
 work. Thus stimulated, he wrote the opera of " Sapho," which was performed, through the 
 influence of the prima-donna, at the Academic Imperiale, in April, 1851, and was given, also 
 at her recommendation, at the Royal Italian Opera, London, in the summer of the same year. 
 It met with no success in London, and even in Paris, though it raised the composer's reputation, 
 it had but a short-lived career. 
 
FAUST. 
 
 11 
 
 In 1852, Gounod wrote choruses for Ponsard's tragedy of " Ulysse," which was performed 
 at the Theatre Fran^ais, and in 1854 he brought out his second opera, " La Nonne Sanglante," 
 at the Academie. He was appointed director of the Orpheonistes, in Paris, in 1852, and 
 exerted his talents, for some years, in promotion of the objects of that very important musical 
 organization. In 1859, Gounod again appeared as a dramatic composer, when his opera of 
 "Faust" was given to the Theatre Lyrique, with Mad. Miolan Carvalho as the heroine, and, 
 achieved a success that bears no comparison with that of any of his other works, placing him 
 very high in the ranks of the living composers of his country. In February, i860, he produced, 
 at the same theatre, and with the same singer in the principal part, the opera of " Philomon et 
 Beaucis," and in the following August, at Baden-Baden, another of less pretension, called 
 **La Colombe." 
 
 An ardent admirer of Gluck, it has been Gounod's aim, in dramatic composition, to revive 
 the principles of that great master, giving paramount importance to declamation as an em- 
 bodiment of the action of the scene — above the value of melodious grace and prettiness — and 
 he has been aided, in the carrying out of his views in construction, by his friends Barbier and 
 Carre, who have generally written the words of his operas. It may not be said of Gounod 
 that he accomplishes the great effects which distinguish the music of his chosen model 3 but he 
 has considerable dramatic power, great depth of sentiment, and decided originality of thought, 
 which qualities are far more felicitously represented in his later operas, than in his orchestral 
 and sacred compositions. 
 
 [Since the above was written, Gounod has produced other grand operas — "Mirella" and 
 " Romeo and Juliet," both of which have been performed with moderate success in this country; 
 but " Faust remains the most celebrated of Gounod's works, and is one of the most popular 
 operas in the repertoires of the English, French, German and Italian Companies. 
 
 Between the years 1862 and 1867, "Faust" was performed in Italian, at Her Majesty's 
 Theatre, London, fifty-six times, being one-ninth of the whole number of performances given, 
 and more than double the number of any other opera, "Trovatore" excepted. — G. W. T., Jr.] 
 
CHARACTERS REPRESENTED. 
 
 Faust. 
 
 Mephistopheles. 
 Margarita. 
 Valentine, a Soldier. 
 
 SlEBEL. 
 
 Brander, a Soldier. 
 Martha Schwerlein. 
 
 Chorus — Students, Soldiers, Villagers, Angels, Demons. 
 
tt^ 
 
 HHSnew^ 
 
 FAUST. 
 
 ACT I. 
 
 Scene I. — Faust's study. He is seated at a table covered 
 with books and parchments. It is nearly morning, and 
 his lamp is on the point of going out. 
 
 Faust. 
 ''Vain! In vain do I call, 
 
 Through my vigil weary, 
 
 On creation and its Lord, 
 
 Never a reply will break the silence dreary — 
 
 No sign — no single word. 
 
 Years — how many? — are now behind me; 
 
 1 look in vain ! I learn in vain ! vain ! vain ! 
 
 The stars grow pale ; the dawn doth heaven 
 
 cover; 
 
 Mysterious night passes away, [ Despairingly. ] 
 
 Another day, and yet another day. 
 
 O death! come in thy pity and bid the 
 
 strife be over. 
 
 What then ? If thus death will avoid me, 
 
 yVhy sliould I not go forth and seek him? 
 /ad hail to my last dreary day ! 
 
 Awaiting, without pain. 
 
 That death for which I'm longing; 
 
 And I know, while this cup holding, 
 
 Of my destiny I'm lord ! 
 
 Chorus of Girls. 
 
 [^Passing without the window. '\ 
 
 Ah ! careless, idle maiden, 
 Wherefore dreaming still? 
 Day with roses laden 
 Cometh o'er the hill. 
 The blithe birds are singing, 
 And hear what they do say : 
 '^Through the meadows ringing 
 The harvest is so gay." 
 
 Brooks and bees and flowers 
 Warble to the grove. 
 Who has time for sadness! 
 Awakq^to love ! 
 
 Faust. 
 Foolish echoes of human gladness, 
 ,Cro by, pass on your way! 
 Goblet so often drained by my father's hand 
 
 so steady. 
 Why now dost thou tremble in mine ? \ j 
 
 CJiorus of Reapers. [ without. ] 
 
 Cometh forth, ye reapers, young and hoary ! 
 'Twas long ago the early swallow 
 Went up where eye can never follow — 
 Yonder in the blue, far away. 
 The earth is proud with harvest glory! 
 Rejoice and pray. 
 
 Faust. 
 If I pray there is none to hear — 
 To give me back my love, 
 Its believing and its glow. 
 Accurst be all ye thoughts of earthly 
 
 pleasure, 
 And every by-passed treasure, 
 Which by memory binds me below! 
 Accurst, ye toys, which did allure me, 
 Yet, when ' possessed, no rapture could 
 
 secure me. 
 Fond dreams of hope! ambitions high. 
 And their fulfillment so rare! 
 Accurst, my vaunted learning, 
 And forgiveness and prayer! 
 Accurst the patience that calms the yearning! 
 Infernal king, appear ! 
 
 IMephistopJieles appears.] 
 
14 
 
 FAUST. 
 
 Mcphistopheles. 
 Here am I! 
 
 You stare as you greet me. 
 Does it fright you to meet me? 
 With sword ai my side, 
 And a cap on my head, 
 And a purse rather heavy, 
 And a gay velvet cloak on my shoulder, 
 I travel as noblemen travel. 
 Speak out, wise man, what is your will? 
 At once tell me. Are you afraid? 
 
 Faust. 
 No. 
 
 Mephistopheles. 
 Do you doubt my might to aid youf 
 
 Faust. 
 It may be. 
 
 Mephistopheles. 
 It were easy to prove me. 
 
 Faust. 
 Begone ! 
 
 Mephistopheles. 
 Begone! Is this the way you cheat me. 
 Now learn, old man, with all your skiU, 
 Well-born hosts politely treat rae! 
 Call for aid from far away ! 
 Then to say "begone!" as if to beat me! 
 
 Faust. 
 Canst thou do aught for me ? 
 
 Mejyhistophelcs. 
 Aught! AU! But first let me hear 
 What I must do. Is it gold? 
 
 Faust. 
 What is gold to me -who hath learning? 
 
 Mephistopheles. 
 Good ! Methinks I can fancy your yearning. 
 'Tis then for glory? 
 
 Faust. 
 No, for more. 
 
 Mephistopheles. 
 For a kingdom? 
 
 Faust. 
 
 No. I would have thee restore 
 
 What outbuys them all. 
 
 My youth, my youth restore me! 
 
 The pleasures of youth! 
 
 Its life and its pleasure ! 
 
 No dark thought shall suU}'- 
 
 Its joy — and, forsooth. 
 
 Why manhood is wasted. 
 
 While searching day and night. 
 
 For that mist called Avisdom, 
 
 Which flees from the sight — 
 
 Eludes us for ever; 
 
 And little we know. 
 
 Which crowns the hard labor 
 
 One has te bestOAv! 
 
 Why time is thus wasted, 
 
 I fain then would know. 
 
 Mephistopheles. 
 'Tis well — 'tis well! 
 Be young and enjoy without measure. 
 I will content your wildest craving. 
 
 Faust. 
 And what shall thy guerdon be f 
 
 Mephistopheles. 
 What my fee ? 
 Hardly worth having. 
 Up here, I will wait on your pleasure ] 
 But down there you must wait on me. 
 
 Faust. 
 Below ! 
 
 Meph istophelcs. 
 Below! Come on, sign it? 
 What now ! ^Miat appalls you ? 
 Needs there more to chase the cold? 
 Is it woman, that calls you? 
 Doubt not, but turn you and behold! 
 
 [TAe vision — Marguerite is seen sitting at her spin 
 ninr/ wheel. ] 
 
 Faust. 
 Heavenly vision! 
 
 Ilejjh istopheles. 
 Shall she love thee? 
 
 Faust. 
 
 Give rae her. 
 
 MephistopJieles. 
 
 It is done ! 
 
 {^Faust signs the parchment.'] 
 
 For the rest of the chapter 
 
 [ Taking up the goblet] 
 
 'Tis I who wait upon you. 
 

 FAUST. 
 
 15 
 
 To drain from your goblet 
 
 The nectar of the sun. 
 
 No more of death — poison no more, 
 
 But life and rapture. 
 
 Faust. 
 I am thine ! Angel from heaven, come down ! 
 
 [He empties the goblet and is transformed into a 
 youwj man. The vision disapjtears. ] 
 
 Mephistopheles. 
 Come! 
 
 Faust. 
 
 Shall I see her again? 
 
 Mephistopheles. 
 
 Faust. 
 
 Mephistopheles. 
 
 Faust. 
 
 It seems so. 
 
 When? 
 
 Why, to-day. 
 
 Away ! 
 
 Mephistopheles. 
 Away then — away ! 
 
 Faust. 
 
 Be mine the delight 
 
 Of beauty's caresses, 
 
 Her soft wavy tresses. 
 
 Her eyes beaming bright. 
 
 Be mine the warm current 
 
 Trilling every vein — 
 
 Passion in torrent. 
 
 Which nothing can rein ! 
 
 The rapture whose pleasure 
 
 To time giveth flight ! 
 
 O youth, without measure 
 
 Be mine thy delight. 
 
 Mephistopheles. 
 Be thine the delight 
 Of beauty's caresses, 
 Her soft, wavy tresses, 
 Her eyes beaming bright. 
 Be thine the warm current 
 Filling every vein, 
 Share passion in torrent 
 Which nothing can rein, 
 And the rapture whose pleasures 
 To time giveth flight. 
 O youth ! without measure 
 Be thine the delight. 
 
 Scene II. — The fair [Kermess.'\ Brander, Students, 
 Soldiers and Citizens discovered at a tavern, drinking 
 and singing. 
 
 Grand Chorus. 
 Red and white liquor, coarse or fine, 
 What can it matter, so we have wine f 
 What if the vintage great be or small, 
 Your jolly toper drink eth of ah. 
 
 Brander. 
 Student, versed in every barrel. 
 Save the one of water white, 
 To thy glory, to thy love 
 Drink away to-night. 
 
 Chorus. 
 Young girls, ancient castles, they are all 
 
 the same; 
 Old towns, dainty maidens, are alike our 
 
 game ! 
 For the hero, brave and tender, makes of 
 
 both his prey. 
 Both to valor must surrender and a ransom 
 
 pay. 
 
 Old Men. 
 Each new feast-day brings the old story, 
 Danger gone by, how we enjoy! 
 While to-day each hot-headed boy 
 Fights for to-day's little glory ! 
 Let me but sit cosy and dry 
 Under the trees with my daughter 
 And while raft and boat travel by 
 Drink to the folk on the water. 
 
 Girls. 
 Only look how they do eye us, 
 Yonder fellows gay! 
 Howsoever they defy us, 
 Never run away. 
 
 Students. 
 How those merry girls do eye ue ! 
 We know what it means — 
 To despise us, to decoy us. 
 Like so many queans. 
 
 3Iatrons. 
 Only see the brazen creatures 
 With the men at play; 
 Had the latter choice in features. 
 They would turn this way. 
 
16 
 
 FAUST. 
 
 Chorus. 
 One would allure them, 
 They look so gay, 
 Only see, they look so gay. 
 If it give you pleasure 
 You may rail away. 
 To a gentle lover 
 We know what to say, 
 Tenderly moreover, 
 Take it as ye may. 
 If you secure them 
 What worth are they f 
 What a display! 
 Boldness without measure 
 Is the mode to-day, 
 AU of us disgracing 
 By your vain display, 
 At a word embracing 
 People such as they. 
 
 Old Men. 
 Come here! come here! 
 Set down and drink a drop, I say, 
 And drink a drop by the way; 
 My wife is scolding aw^ay, 
 It is her daily labor. 
 
 Students. 
 No joUy rover need fear a "nay," 
 Never jolly rover need fear a "nay." 
 Take me for thy lover. 
 Pretty one, I pray ; 
 Never joUy rover 
 Need fear a nay. 
 
 Drinkers. 
 Long live the wine ! 
 Red or white licjuor, coarse or fine, etc. 
 Long live the soldier, 
 The soldier gay ! 
 Be it ancient city. 
 Be it maiden pretty. 
 Both must fall our prey. 
 Comrades, to your armors! 
 If the silly charmers 
 Will })rovoke a fray. 
 If they meet disasters 
 Ere they own tlicir masters. 
 Whose to blame but they? 
 
 l^Enter Valentine, arranf/inff a medal round his neck, 
 followed 1)1/ Kiiehel. ] 
 
 Valentine. 
 Dear gift of my sister. 
 Made more holy by her prayer, 
 However great the danger. 
 There's naught shall do me harm, 
 Protected by this charm. 
 
 Ah! 
 
 Brander. 
 Valentine here ! it is 
 
 Valentine. 
 A parting cup, my friend. 
 If we ne'er drink another! 
 
 time to be 
 marching. 
 
 Brander. 
 Why 60 dullf Thou a soldier and half 
 
 afraid to go? 
 
 Valentine. 
 I am grave ; for behind me 
 I leave, alone and young, 
 My sister Margarita. 
 
 Siebel. 
 I shall be always near her. 
 To guard her like a brother in thy stead! 
 
 Valentine. 
 Thine hand! 
 
 Siehcl. 
 Be sure I wiU not fail. 
 
 Chorus. 
 We'll watch o'er her too! 
 
 Brander. 
 
 Have done, my hearts! 
 
 Enough of melancholy. 
 
 Come what come may. 
 
 Let the soldier be jolly ! 
 
 Some wine, and let some hero brave 
 
 Tune up forthwith a merry stave! 
 
 Chorus. 
 Some wine ! and let some hero brave 
 Tune up forthwith some merry stave. 
 
 Brander. 
 A rat, who was born a coward. 
 And was ugly too, 
 Once sat in the abbot's cellar, 
 'Neath a barrel new. 
 
 A cat — l^Mephistopheles enters. J 
 
MseaaagmF'Tixmi 
 
 FAUST. 
 
 17 
 
 Mephistopheles. 
 Excuse me. 
 
 Brander. 
 Eh? 
 
 Mephistopheles. 
 
 May not I, though a stranger, 
 Make one of such a jovial party? 
 
 [ To Brander. ] 
 
 Pray sir, conclude the canticle so well 
 
 begun. 
 
 And I wiU sing, when you have ended, a 
 
 better one. 
 Brander. 
 
 Let us have it at once, 
 
 Or we shall call you boaster. 
 
 Mephistopheles. 
 
 If you must, sirs, you shall; 
 I look to vou for chorus. 
 
 SONG OF THE GOLDEN CALF. 
 
 A llerjiv '^ 
 maestoso. ■*— 
 
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 To your might i-ness they 
 To bia teu^ple o - ver 
 
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18 
 
 FAUST. 
 
 prof 
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 Incense at your fane they of - 
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 fer, From end to end of all the world, 
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 hon - or of the 1 - dol, Kings and peo - pies eve - ly - where, 
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 To the 
 
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 sonnd of jing - ling coins, Dance with zeal, in fes - tive cir - - cle, 
 
 strive in ab - ject toil, As, with souls de - based they cir - - cle. 
 
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FAUST. 
 
 19 
 
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 Sa - tan he con-ducts the ball. 
 
 con - ducts the 
 
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20 
 
 FAUST. 
 
 
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 ball, Sa - +an, he con-ducts the ball. Old Sa - tan, he conducts the ball, He con- 
 
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 ducts the ball ! con - ducts the ball, the ball ! conducts the ball ! 
 
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 Chorus. 
 An odd song, on my life ! 
 
 Valentine. 
 What a strange, mocking comrade ! 
 
FAUST. 
 
 21 
 
 Brander. 
 Your throat must now be dry ; 
 Will you not drink a glass? 
 
 Mcph Istopheles. 
 
 With all my heart ! [ To Brander. ] 
 
 Ah ! here's something it grieves me to see ; 
 Here's a line of ill fortune ! 
 
 Brander. 
 Who cares f 
 
 Mcphistopheles. 
 Not you for dying. 
 Say your prayers at the siege, 
 Ere you mount on the wall! 
 
 Sichel 
 You pretend to tell fortunes ? 
 MephistopJieles. 
 
 [ Taking Siebel's hand. ] 
 
 Enough to tell you yours. 
 And remember it's this : 
 Every flow'r that you touch, 
 Every beauty you dote on, 
 Shall rot and shall wither. 
 
 Siebel. 
 Ah! 
 
 Mcphistopheles. 
 Look to your nosegays for Margarita. 
 
 Valentine. 
 My sister ! how dare you speak her name ? 
 
 Mcph istopficJes. 
 Take you care, my captain, 
 A sword that I know of is waiting for you. 
 
 ISnatrhiii;/ thr t/lass from Brander.] 
 
 I drink to you all— Pah ! what rubbishy 
 
 wine. 
 Let me see if I cannot iind you better ! 
 
 \_Strikhvj the head of Bacrhu.t at the .side of the inn.] 
 
 What ho, Bacchus ! up there ! some liquors ! 
 Come while you can. 
 
 And each one drinlc the wine he likes best. 
 While I propose the health of the dearest 
 
 of all dears, 
 Our Margarita. 
 
 Valentine. 
 Enough ! 
 
 Bridle thy tongue, or thou diest by my 
 
 hand! 
 
 Mephistopheles. 
 
 Come on! l Both draw.] 
 
 Chorus. 
 Come on ! 
 
 Mcphistopheles. [ MorHng. ] 
 So soon afraid, who so lately defied me? 
 
 Valentine. 
 My sword! O disgrace! In my hand is 
 
 powerless. 
 
 Siehcl, Valentine, Brander and Chorus. 
 
 'Gainst the pow'rs of evil our arms assailing, 
 Strongest earthly might must be unavailing. 
 
 Valentine. 
 But know thou art powerless to liarm us. 
 Look hither! look hither! 
 Whilst this blest sign we wear 
 Thou canst not harm us. 
 
 Mephistopheles. 
 We may meet again, my fine friends; 
 
 But now, good-bye. [Enter Faust.] 
 
 Is aught amiss? 
 
 Faust. 
 
 Mcph istopheles. 
 Naught ! 
 
 I am here at your thought. 
 What is your wiU with me ? 
 How first shall I please you? 
 
 Faust. 
 Let me see her, that darling child, 
 Whom I saw in a dream ; 
 Or was she only a vision? 
 
 Mcph istopJieles. 
 Not so! but you may find it 
 Not easy to win her, 
 Task for no pious beginner. 
 
 Faust. 
 What matter, so I win? 
 Come, let me only see her. 
 Or I shall deem thy promise but a tale 
 
 Mtphistophch'S. 
 As you will! I'm your slave on earth, 
 Ordained to do your pleasure! 
 
22 
 
 FAUST. 
 
 Ere long this dainty treasure, 
 Too pure for such a sinner, 
 Shall be here. 
 
 While the dancers go so gaily by 
 You may your fortune try, 
 And methinks, prevail! 
 
 TuUL 
 
 r I \ \ r I ■ I r ! T i T r r I t r r' 
 
 
 
 Con 8va ad lib. 
 
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 :p— izusz: 
 
 r ' — r»^ — , — I , '^r'- ', — i I ,- — *~rf~i — , — , : ,*' - 
 
 -•-n*-i — I- 
 
 ff— --'—'— ^*-*-hi-»-* ■ — ^ - '— ' — ' — '■ — ' — '-)-! — r-l — — ^t— r*-*-» — ' \ ■ — ■ hi *-h« — ■■ — -ri — '— '-1 
 
 9' 
 
 4— I— ' I I r 
 
 ^A z: —JL. ^jlzlm.^ 
 
 i«Jtzu=^^t^^ 
 
 Es^gf^-zii^ggi-rfet^^gi; 
 
 ■*■ rr 
 
 ^ ^'"''' Soprani. , 
 
 )=;z:i^|^-b€zz--*zib^,^*z=gzib^z:izz*=h »^- [:zz:g=g-L-g=:^ii^-bg:-=zz:±;z=g:: 
 
 Light as air at ear - ly morn - ing, Our feet they tiy o - ver the grouud. To the 
 
 n f Tenort. 
 
 ^ - I \ —r^ »_rszz|iz1z=rgrz»— zizrziizjzziipz^zz^izrqiilTr 
 
 - y^ — >— hh F~r — ~ r — ! — *~ r*~* — r-rzr j — '--- - 
 
 *«^S 
 
 .0—1—0 
 
 1 — t — r — t 
 r r~c 
 
 Light as air at ear - ]y morn - iug, 
 f Bassi. 
 
 Our feet they fly o - ver the ground, To the 
 
 
 ±- d:r__rd 
 
 — — -(52- -•- ■♦• 
 
 m^" 
 
 
 P-44 # — — , — — , 0—0 — , — — I f— £— rz — i — g— r-i^g*-#*-| — 
 
 '-H • r-h-- 
 
 r-- 
 
rt.Mri!-,..,-..^»»..-w».- .^~- .^ 
 
 FAUST. 
 
 23 
 
 ;l^3^ 
 
 ds: 
 
 »~r?^ m—riC)- 
 
 jEEEiPPEES 
 
 —\-0 ^0 ^\-s> 0—^- 
 
 
 mu - sic's mer - ry sound, To the mu - sic's luer - ry sound, Light as air at 
 
 
 mu - sic's mer - ry sound, To the mu - sic's mer - ry sound, Light as air at 
 
 QTg ^ — T— *— I r'5^ — -1-, r- 
 
 
 =p;=-,r^F.=|=^_= 
 
 
 i=-: 
 
 -^ti— » ~r ' ^F»— ^— » — F»— -- 
 
 ^gg^^^ 
 
 
 
 f- 
 
 i^.S 1 — — — • — — — ; — • — — — \-'Mi — J — !»—!»- \ — !s — b i — — — 0— 
 
 ^-ffjf— -I p I # 1 1 M 1 i A l-^P • Y- ^ F ■—* * 1-0 r- ] k , , 
 
 -ft— *— »-_-H-Fzi- 
 
 -1-,-J-. 
 
 •_L__* « — Lg 0_^0 L^.« 
 
 fe=SEt^; 
 
 :|i^*±*=#z;b?2z:i^±e:A= 
 I I II 
 
 ear - ly morn - ing, Our feet they fly o - ver the groimd, To the mu-sic's merry sound. 
 
 if 
 
 —i~\-s> •— F>— > — —U — • — ■- — 
 
 "»~r| 1 — hit— A— »— pi — I — 0— 
 
 ■- 1— H — I i- 
 
 — i 1 1- 
 
 
 ■»-b — 
 zztczz 
 
 ear - ly morn - ing, Our feet they fly o - ver the ground, To the mu-sic's meny sound. 
 
 
 0-k-0- 
 3zc=p=c===tp: 
 
 =#ii-#->— •-pi=F— f£#-Fi-F^ 
 
 t=pFi|^*:^-q|^r^r^»:i:_-*vr^i,-_r^^=fq 
 
 _:pr?ttzz*3^!iilit:ptrEZjErppii^rrtihizt?d 
 
 -0-0-1 — 0-0 — ■ — 0-0-, — 0-0- 
 
 t)*Srr — 0— •—[—.— — 0— \ 0-0— \ • — • \-^-^-^ F— *!s- » •-#-—;-#-» \-^*-*-\ 0-0— \ 
 
24 
 
 FAUST. 
 
 
 To the mu - sic's mer - ry sound. For the flut« and gay - er vi - ol, Are to 
 
 P 
 
 m^im^i 
 
 
 
 To the mu - sic's mer - ry sound. For the flute and gay - er vi - ol, Axe to - 
 
 P 
 
 .# m 
 
 mi^i^ ^i-t^=!^ ^^\^=f^;^i=^l^i~ ^^^^iEiEt 
 
 iiES^IIj 
 
 g^gEBg=psagiE3^ 
 
 —9-^-1 — 
 
 =— Ji rfs— i-l •— • — I •— # — I «5^i ;* 1 #— • — r- # • 1 • • — I «* — »• — 1 
 
 — i-^-. 
 
 
 day in cheer - ful tri - al, Are to - day in cheerful tri • al, To make the dance go 
 
 Z Zj:^ -j_3L L — S i*S_C[I , L, 9-^ <■«■ LLZ— I , 1 1 U ► 
 
 day in cheer - ful tri - al, Are to - day in cheerful tri - ul. To make the dance go 
 
 fSri — -— ir'-ciLll — »— I — : * — f — : » — r»— y— *~r r i — r'— •— •— r — ^ — •-C"" ^'"a 
 
 B.|u=::^=iir^±:t=£--b:^ — i — t-jzi — T-[^~i-'^-Vir^i — i PF=P=F=Pr=i=^^— l=F^i 
 
 ^^t.i^m'!l 
 
 ^—l-r»- 
 
 &^^^^^-^5^mMt^^^^^:^^^l 
 
iimitr»mumiim-rmtirrjMam»tammimiaumimmm 
 
 ■^iWWil illHitl I'l I 
 
 FAUST. 
 
 25 
 
 :-pi 
 
 wif — « — a — s — F »- ii — ^ •-(h s F^j — ^ #-|-! — is--^— F-'— » ',~f' — a ':— 
 
 
 round. 
 
 r^=^-?- ?- 
 
 For the flute and gay - er vi - ol, Axe to - day in cheer • ful 
 — -^ — 0-1 
 
 _»^T:i^ 
 
 -»-=-#- F*—w, — ^-F« — s— *— F*— is — •- 
 
 n:=^C| ^_!x ^-C ^ 
 
 round. 
 
 For the flute and gay - er vi - ol, Are to - day in cheer - ful 
 
 m^. 
 
 -?-^ 
 
 ^-fc-t 
 
 ^^ 
 
 ^*=^ 
 
 ^ — f — r~l — '< r~i — 
 
 -?=:E 
 
 
 
 ^tfl 
 
 ^^a — 9 , , , — — , 1 0-0 . — -0 -»— I ^--0 — !-#-»< 
 
 t . do. 
 
 
 
 £ 
 
 eEe?e=^ 
 
 .0 — ^ — 0. 
 
 :^_^ 
 
 tri - al, Are to - day in cheerful tri-al, To make the dance go round. 
 
 arr 1 ^ 1 ^^^ 0-1 — -I ^^ 0~t 1 
 
 *i^--;^ tt—bii -^-f'\-r*—ys-f-Ff -^f-^ ' f—f—f— 
 
 ~^ — 5^ y—h'^j""*"^ — hn~ — T — I — H — J »~tzLi "tz:ztzzt~ 
 
 -^— F*- 
 
 J » fp V 1 F* ^ ^— 
 
 tri - al, Are to - day in cheerful tri - al, To make the dance go round. 
 
 -__.+t -4 
 
 •-. : : 
 
 #«n# 
 
 -?t|=ttt]*:Et.ErEpE? 
 
 ■.-''mZ»- 
 
 cres 
 
 -0 0- 
 
 0—-'0^ 
 
 '00 
 
 — 
 
 
 -1— t— f— K-f— f 
 
 Z- Z.0.0~0Z- ~ 
 
 -n-^' 
 
 -^—ji ^-^ 0—0 1 r- 0—0 1 00 00 1 
 
 5''"'tt *— *— F# — i 1 — \ — I — I — F* — 1 1 — ' — I — F*— — f—\ — 
 
 ^0 ' 
 
 •■—-—#- 
 
 w' — I— 
 
 «-»-FS=¥^y=7-^ 
 I — i — Ly eziD 
 
26 
 
 FAUST. 
 
 Meph. (to Faust.) 
 
 m 
 
 ^^rjt-». 
 
 -^?->-?-^-?-[-'--^-t^-?-?-^ -* -f — *— *- 
 
 l-i^-V 1»< s/- 
 
 -\i> — b— H 
 
 How their dear eyes are beam - ing ! Go npar and choose, 
 
 
 -#•-#■ -#■ • 
 
 /^/^ - — 'pp ^ 
 
 svt=iz= — -r* ^1 r"^—* — * — r* — ^^* Ttf • — ' 1 
 
 L — tz^ tp — »_*_ti? 1 ti — H — t: dzt: -^ I 
 
 
 42- 
 
 Faust. 
 
 ^^^m^^^m 
 
 Ev'ry flow'r ou - ly waits on the ^ to smile. Cease to speak for a little 
 
 1 — gf ^^^ Ds_3 — ^.^ a— ^-j- p *^ I zr4. — ::f.-'^^ ^ 
 
 — tf—^- 5 i r 5 L- tr.l^^?^:::lv ts u tat t 5 _, 
 
 5-^- 
 
 -t?tt- 
 
 ■«=?: 
 
 -s—%^ •—r-B- , I r-+ 
 
 I H F — p-i . a- Er.^'-; 
 
 
 while, And leave me a - lone \^-ith mj' dream 
 
 lUg. 
 
 
 d'i r r ^3* * PC* « FS* -*- -• — p? — ^ — ^.,— p-i— •^^3f__3 
 
 SlEBEL. 
 
 'till she goes by whom I 
 
 Wearv T wail 
 
 
 cA .}k L'»*">*~r~1'»*'>*~i — ••■••n »—»-\ * — 0-1 0-0-\ 0—0-\—w*-w*—\ — •f-*'~ri — »• — »• 
 
FAUST. 
 
 27 
 
 f:^^^^^^^^. 
 
 Chorus. Soprani, to Sikbkl. 
 
 love so vain - ly, 
 
 Why will you be 
 
 •♦— -i«- . 
 
 iE^-^iiiii 
 
 jfiM*: 
 
 faqii|?z=i^-: 
 
 ^•*T>f 1 1 1 1 1 h-l 1 1 f-» 1 i \— I 1 \-m 1 \ 1—] ! 
 
 SlEBBL. 
 
 y=3^ 
 
 
 :e: 
 
 v-^ 
 
 =i 
 
 'iZZ 
 
 mmm 
 
 shy? Must we ask you plain - ly. 
 
 No, no, 
 
 no, no, 
 
 some one 
 
 ^1=^3^^ 
 
 n- 
 
 nt; 
 
 ^^'— r-^-T ^t— '-t-T T-r-r r=^F=f 
 
 do 
 
 -0 — • 
 
 
 :z±=p: 
 
 more handsome, try 
 
 :rd=:=:^- 
 
 feE^-EEfS^ai.EEEgEEBEfgE3^g^aE3 
 
 'li — * — t 
 
 -H — Pa — ij — 0- 
 
 Light as air at ear - ly morn - ing. 
 
 Our 
 
 't- 
 
 z=: :=^=: iig:-?— e=|:r -?- p=^g^z:— 
 
 'X 
 
 ■«>- 
 
 te^E: 
 
 ■?-?-i 
 
 Light as air at ear 
 
 ly morn - ing, 
 
 «> — r 
 
 Our 
 
 ==lE?E:^F'E^EE5EEE|£E=fEl^=^EE.= 
 
 i^ 'im — ■^ ■^' *^# '^ 
 
 !f=?t==Ei£EEJ=EJ=^=SzIi?=r^ 
 
 :EE3 
 
 '^lis m — It' !•— Fr — ii — »e-Ti^— i- T-f-ir*— * — F"!— •— •— F::: • — •— -F-f— »— • — F — '— • 
 
28 
 
 FAUST. 
 
 « 5 — L, — g — ,_L^_l i_J J-L* *-^'-<2 W-^^- — ^0 #-L, ff#— 3 
 
 feet they fly o - ver tlie ground. To the mu - sic's mer - ry sound, To the mu - sic's 
 
 3: 
 
 SJi— r— # 1 1 1 1 
 
 -It [ I —J— - 9—9—9 
 
 1 ■— =— -]-p#— s— • p— i — H-l-fS*- 
 
 - g~v r#— r~#- r| — T [■■ h g 9- 
 
 -9-yg-0-^0 — ji — — 
 
 r iiibi: ^ — 1=: 
 
 §3|f=t=r: 
 
 feet they fly o - ver the ground, 
 0-0-0 ■^-_ 
 
 To the ma - sic"s mer - ry sound, To the niu - sic's 
 
 — 1 1 |-r<? ; 1 ■ (-# — I , &— 
 
 
 
 g£g=ez:E==E!=t::z±zbe=i|n=ti=3=t=c£EzEgz:EEEz:Er:zEEEzb * i I Jif _4__L j=, — p^ 
 
 
 mer -ry sound, For the flute and gay-er vi - ol. Are to day in cheer - ful 
 
 ttr ^ ^ ^ 
 
 r 
 
 mer - ry sound, lor the flute and gay - er vi - ol. Are to day in cheer - ful 
 
 
 F^?=r=^EE^E; 
 
 :p=z=EE: 
 
 \-m w — I — w — I 
 
 »— r-| .» — rrl » ■ 
 
 i 
 
 iM^ 
 
 
 pp 
 
 z3^-^ tt — ^-*~*— r^ -f-r — I H-r-F^h*— 1 — 1 — H— -r- p— r*-Ji — zr~vr 
 
 -F:t= 
 
 *»-yf — r-\-9»-9'— 
 
 m • 
 
 4 V 
 
 i 
 
FAUST. 
 
 29 
 
 
 tri - al, 
 
 Are to - day in ... . cheerful tri - al, To make the dance go round. 
 
 — V- 
 
 tri 
 
 EEg 
 
 ;EEEEES-:3EEa=EEE' 
 
 -#— ^— •— |-#-^^-#-i-^F# — — — F-^— «- 
 
 
 al, Are to - day in . 
 
 -r 
 
 cheerful tri - al, To make the dance go round. 
 
 WM^^^:^^^m^^^^^^^^^^^='^ 
 
 ft^- 
 
 
 i^a=i 
 
 S^t — ir*»-»»— i: — tzzt^rrzrit—l—r—l — » — r-— g— g— rT*f ~»*T T*i*~**~l S " f"^"! 11 
 
 ^i|a=i|=fri=:trfzi;p_:H=»=»=t^-:»:z:h-»zz»zitJi:i==s_M_fe_*_h5±^*_ 
 
 _^fce^t-[=zFp5E=E=:Et-E=E=fcEEzi:E=::fcEEF-E=:it==+=E*i=t=t=Ep£^ 
 
 'Tis she! iny own one! 
 
 ilf (?p/i istopheles. 
 Thine own one? Hast thou no tongue! 
 
 Siehel. 
 Margarita ! 
 
 Mephistopheles. 
 Your servant! 
 
 Siehel. 
 Wicked man! Not yet gone? 
 
 Mephisto])}ieles. 
 It seems not, you see, 
 Since again Ave have met. 
 Not gone yet! not gone yet! 
 
 \_Margarita crosses the stageJ] 
 
 Faust. 
 High-born and lovely maid, 
 Forgive my humble duty. 
 Let me be your -srilling slave. 
 Attend you home, to-day. 
 
 Margarita. 
 No, my lord, not a lady am I, 
 Nor yet a beauty | 
 And do not need an arm, 
 To help me on my way! 
 
 Faust. 
 
 By my youth! what a charm! 
 
 \_Gazing after her. ] 
 
 She knows not of her beauty. 
 Oh ! darling child, I love thee. 
 
 Siehel. 
 She has gone homeward. 
 
 Mephistopheles. ito Fauut.] 
 How fare you? 
 
 Faust. 
 But ill. She would not hear me. 
 
 Mephistopheles. ILaughing.] 
 
 Not hear? What wall you do? 
 It would seem, master mine, ( 
 
 I must teach you to woo. 
 
 Chorus of Young Girls. 
 What is this? Margarita, 
 Who would not let a young 
 And handsome lord esquire her! 
 
 agam! go on again 
 
 Again! 
 
 Light as air, at early morning, 
 Our feet fly over the ground 
 To the music's merry sound. 
 
 Oh! pleasure enchanting! 
 
 Till breath be gone! 
 All glowing and panting. 
 
 Let us dance on! 
 The earth it is reeling. 
 
 The bliss of a trance 
 Wildly are we feeling. 
 
 Long live the dance ! 
 
30 
 
 FAUST. 
 
 5 l*i Bl L ACT 11. 
 
 \_Gwtden of Margarita's house. — Enter Siebel."] 
 Allegretto agitato. 
 
 p 
 
 :^A ' 
 
 g>^g=^'^=^-— p-^-?-r Jzpzi ^'z-^^=t-:f^^'-=^ 
 
 -0 ^— ? 
 
 g0-g0-, 0-g0-g 0- 
 
 Cres 
 
 ;=t 
 
 ^-0»-W0-W» -W»-9» 
 
 —J — i — \ — I — ; — i-^ 
 
 r^-±.-^^— 
 
 :d=j=3i2=z: 
 
 
 dim. 
 
 PP 
 
 — i— ?^i=z=ji=zz.-z=p=f!=: tzEzz'^p' — tzt=:*=^~P-P: 
 
 *— #- 
 
 -=j=^=q=^ 
 
 SlBBEL. 
 
 •-^ — #- 
 
 
 In the language of love, 
 
 O gen 
 
 tie flow - ers, Say to her I . . . . a 
 
 -#■-#--#--#■-«--«■ -•■-«•-••-•■-«■ -w -r -r -r -r -•■■«■-«■-«•-•■ -•--•-■••-•■-•--«■ 
 
 
 Z-JZZZIT- 
 
 -?-j ?- 
 
 ::1=z^q: 
 
 -•-T- 
 
 ?=E?z;f=f=:r-*-f=Eti=i: 
 
 -^ 7— h'— ;^— p— '— *— ^— hi — n - 
 
 — — \-9—\D—'9—\i>—'^ —\i^— V- p 
 
 — rifv:^*!==:;;=i? 
 
 -1 a V r- rli p 
 
 dore her ! Say she's my love and trea - sure, Say that she of my heart, of my 
 
 -^zl — '■ — i— i]— j— bH-zj- 
 
 -#■-#■-«■•♦--#■ -0- -0- -0- -0- -0- -0- m w w w m 
 
 cres. 
 
 
 
 ^4=^ 
 
 ^=^e=£^^^^=?=^^=^^^=^S=^'E 
 

 FAUST. 
 
 31 
 
 -•-— 
 
 
 \-r— K ^ ^ h; g [-# — i- #— ^^ \—\-0 —i * -^^— I 
 
 life, is the joy ! And as - sure her my love. ... is strong. . . . and 
 
 .00 .^ .00 .00 .00 .00 ■§■ 1 • . 
 
 -^^ 
 
 m^^. 
 
 7-?— ?- 
 
 
 pure, 
 
 :f=tz=Ls=:U=^=ti: 
 
 Tell my hopes and fears, 
 
 
 That her pres - ence 
 
 Ores 
 
 §1=2=^3: 
 
 
 i^J 
 
 -?- 
 
 T^ 
 
 
 ?— 
 
 ?=z?^ 
 
 -^ — h- 
 
 :7— J 
 
 
 -*— F#-* 
 
 
 -->,- 
 
 
 i 
 
 en - dears. 
 
 Each bright hour for me : 
 
 So plead, sweet flow - ers. 
 
 i:J~: 
 
 cen 
 
 ■09-00-00-^0 — « — — — — *— L__*_a_#_«^*_r«_«_*|_s ^0-0-0-0 !-»■ 
 
 5--»--5- -*■ -•• -*■ -*• -*■ ■*■ -•■-•--••-•■-•• -»--»--»•■* -0--0--0—9- 
 
 dim. 
 
 
 '^^^^^==^ ^^'=^^ =^:^^ ^i^J^ ^ ^^ -3iE3^ 
 
 \_Siehel (jathers a flower. '\ 
 
 What, faded? Ah! me! 
 
 Thus the bold, evil sorcerer foretold at the 
 
 fair : 
 I may not touch a blooming flower 
 But it shall wither. 
 
 But my hand in holy water I'll bathe — 
 See, now, will they wither? 
 Here, to pray, comes daily 
 The sweet, gentle maid. Now venture. 
 
 How, are they faded? No! 
 Satan, thy spell hath faded. 
 Thus every fraud must fail; speak, then, 
 
 for me. 
 Tell her, sweet flowers, I love her. 
 Bright are the heavens above her, 
 Bright is the earth for me, 
 When her loved form I see. 
 Oh! speak, then, for me 
 What yet I never have told her — 
 
32 
 
 FAUST. 
 
 Say that my arms would enfold her; 
 
 Guarding from every ill, 
 
 And loving her still, 
 
 Thus speak, sweet flowers, for me. 
 
 lExit Siehel.'\ 
 
 \_Enter Faust and Mephistopheles.'] 
 
 Faust. 
 
 Is it here? 
 
 MephistopJieles. 
 ^Tis the place. 
 
 Fausf. 
 Thou art looking around. 
 
 MephistopJieles. 
 For Siebel, your rival. 
 
 My rival! 
 
 Faust. 
 
 3Iephistophelcs. 
 
 Hush! here he comes! ISiebel re-entei-s.] 
 
 OieuCl. \_Kot perceii'inij them.] 
 
 Now, my nosegay is perfect, indeed. 
 
 MephistopJieles. 
 Indeed! 
 
 Siebel. 
 No danger! 
 
 For I will warn her solemnly 
 Against the stranger. 
 And tell her all I hope, 
 And all I could dare. 
 
 Were she wronged, how my arm should 
 
 avenge her! 
 
 Mcph istophclcs. 
 
 Brave avenger! Wait for me here, my 
 
 dear friend! 
 Since our flowers are laid out 
 To tempt the pretty maiden, 
 My gift I will venture to try — 
 Something, I ween, a little rarer. 
 To adorn a too-willing wearer! 
 
 Faust. 
 Be thou gone! 
 
 Mephistopheles. 
 I obey — but will return anon. 
 
 Faust. 
 
 What is it that charms me, 
 
 And with passion true and tender warms me? 
 
 Margarita! Thy unworthy slave am I! 
 All hail, thou dwelling pure and lowly! 
 Home of an angel fair and holy, 
 
 All mortal fair excelling! 
 
 What wealth is here, what wealth out-bid- 
 ding gold. 
 
 Of peace and love, and innocence untold! 
 
 Bounteous Nature! 
 
 'Twas here by day thy love was taught her, 
 
 Here thou didst with care overshadow thy 
 
 daughter 
 
 In her di'eam of the night! 
 
 Here, waving tree and flower 
 
 Made her an Eden-bower 
 
 Of beauty and delight 
 
 For one whose very birth 
 
 Brought Heaven to our Earth, 
 
 'Twas here! 
 
 All hail, thou dwelling pure and lowly, etc. 
 
 Mephistopheles. 
 
 Attention! here she comes! 
 
 If yonder flowers this casket do outshine. 
 
 Never will I trust a little more. 
 
 Faust. 
 Away ! I will not bring shame to her door. 
 
 Mephistopheles. 
 
 What! retreat. Doctor? fie! 
 
 On the door's quiet threshold, my talisman 
 
 ILai/in;/ down the casket.'] I plaCG. 
 
 Behold! now wait and hope! ^Exeunt.] 
 
 [^ Enter Margarita. ] 
 
 Margarita. 
 
 1 wish 1 coidd but know who was he that 
 
 addressed me; 
 If he was noble, or, at least, what his name is? 
 
nmminiiiwntiMwn miiiimiiiiiii"iiiiy 
 
 FAUST. 
 
 33 
 
 Moderato maestoso. 
 
 -0 m-, > •- 
 
 I 
 
 Margarita. 
 
 ii 
 
 
 
 Once there was a king in Thu- le- 
 
 nt IZZ:^ • a *. 
 
 — iF-l~t.^^-?tt'^c^:===s^*^^1 
 
 
 — ^„^. 
 
 *' i ** m " *i\l •* "^ *i 
 
 :«-"7-iTT-f-7-»7:h»z2ziziT- 
 
 -i^f:!^: 
 
 
 4--^—' 
 
 pp stacc. 
 
 
 
 
 — I — 
 
 ~0 — 
 
 -^ — * 
 
 
 :i=iJ*^t 
 
 4'- 
 
 -0 
 
 =:cd 
 
 
 
 Who was un - til death alway faith 
 
 ful, 
 
 And in me - mo - ry of his loved one, 
 
 s=:=N: 
 
 -;==*"=:=i— Ji^^=-tSI=:J«=i__=IIti_l_•Izz=:J.z:l:«=:^t«^=5zz^^— 
 
 -*^^ 
 
 
 
 
 -*-? — 
 
 (Stop-ping and speaking to herself. ) 
 
 ?0 — 0—0— 
 
 Caused a cup of gold to be made: 
 
 His manner was so gen 
 
34 
 
 FAUST. 
 
 (Resuming the song. ) 
 
 T 
 
 1^=::^^=^= 
 ^ ^^«- 
 
 * — vrw — 9 
 
 ^11 
 
 '^—^•- 
 
 tle. 
 
 "Twas true po - liteness ! 
 
 Nev - er treas - ure orized he so 
 
 ^ 
 
 ^ '2^ 5 
 
 
 
 — — -_# «-«— #-| — » 
 
 Sit; 
 
 
 S 
 
 r-^# 9—^—2- 
 
 ^ N- 
 
 :i=bi 
 
 l-=Z±=^=ir 
 
 -K ^- 
 
 dear - ly, Nev - er treas - - ure prized he so dear - ly, Nought else would 
 
 
 ^--=1 
 
 3 
 
 se 
 
 --N s- 
 
 use on fes-tive days And always when he drank from it, His eyes with tears would be o'er- 
 
 'fH *i5- 
 
 P 
 
 
 t:r>;^=^_^3^± 
 
 flow 
 
 izizszz g-fc-=^g=:*— I— : — : — n 
 
 
 ^ E;r - 
 
 9-9-*^ * 9 — V~9' 
 
FAUST. 
 
 35 
 
 -V 1 
 
 1 ;-r-^ : ' 1 
 
 ~s •>■ 
 
 r"s — ^ — ' \ ^^: — *n 
 
 ^ " 
 
 #—•-•-• .— 
 
 -# * - * ' 
 
 - • • m ^ >. • 
 
 ^ . 1 ^-^— L ^^=r ^Z r ,_if^___-, 
 
 "When he knew that death was near. As he L\t on his cold couch. 
 
 * 6 --*-»~^^ 
 
 p-> "^ is y— P ^-H— ^ N N -| 
 
 f ^ 
 
 
 ,3_<_,*:f__ _=^^ 
 
 t^;^ ' ^^-^' 
 
 -^-^•-'-^■-^-^ 
 
 t^^^-=-|ii-^ 
 
 =^=E=a=El: 
 
 -/ — ^ '- 
 
 ^i^.-=M—7^E^ 
 
 smil - ing. Once more he raised , with great - est ef - fort. To bis lips the gold - en 
 
 ■A K- 
 
 -^ — i- 
 
 
 
 -g-,*— f #_^dl. e *» e Sk •!_ 
 
 Ezt?^ 
 
 (Stopping and speaking to herself.) 
 
 t^m 
 
 -A, Ss- 
 
 * — 9 — 9 — * I -*^^~.-9 — * ^ — — r 
 
 I knew not what to sj\v. — Mv tace with blushes red 1 
 
 1^ — T\ Andante. 
 
 =? 
 
 i m — r^er — 
 
 f pp 
 
 I. N 
 
 9!^T?S?_t-_zEEE§ 
 
 *^ -0- 
 (Resuming/ the song.) 
 
 
 9« •- 
 
 4z==i=: 
 
 
 =1=:^ 
 
 ^* — 9-^ i F- 
 
 '^^^^^m 
 
 And then. in her pniibe and her hon - or: And when he to hon - or his 
 
 lo. Tempo. 
 
 
 -r^- 
 
 :i 
 
 
 '^- 
 
 .f. 
 
 ^-^5^ fgg- ^f^g f^;? z=^;g:g^iiz=j^ 
 
36 
 
 FAUST. 
 
 E^^E=gi?E?Eyi=g 
 
 la - dy, Drank from th'e cup the last, last time, 
 
 Soon 
 
 -cz^- 
 
 "-• i 
 
 it fell from his 
 
 i 
 
 
 • — "^— f i^-f— *— *-^= i?_tf i_|L- — 1 
 
 rit. " " p 
 
 Pi^^i 
 
 — =|-=px 
 
 
 i 
 
 tremb - ling gi'asp. And gent - ly passed his soul a - way 
 
 1^ -f9- ■*- 
 
 ^F F*— — ' 1-' — ^-^-^ -41 
 
 :r-gi^J=:?-j^^_ 
 
 
 
 'Tis but a lord who has so brave a mien, 
 
 So tender all the while 
 
 No more! 'tis idle dreaming, 
 
 Dear Valentine! may heaven bless thee 
 
 And ])rini:^ thee home again! 
 
 I am loft hero so lonely! \_Srrhvj the f overs.'] 
 
 Ah! flowers left here, no doubt, by Siobel, 
 
 poor, faithful boy! 
 But Avhat is this. 
 
 And by whom can the casket have been left? 
 I dare not touch it! though the key is laid 
 
 beside it. 
 What is within? will it open? 
 Why not? I may open, at least, since to look 
 
 will harm no one. 
 
 [ OpcDn caslct. ] 
 
 Oh heaven! what brilliant gems. 
 With their magical glare deceive my eyes ! 
 Can they be real? Oh, never in my sleep 
 Did I dream of aught so lovely! 
 
 \_Puts down the casket and Inccls down to adorn her- 
 self uith the jeivels. ] 
 
 If I dared for a moment 
 
 But to try these earrings, so splendid! 
 
 And here, by a chance, at the bottom of 
 
 the casket, is a glass! 
 Who could resist it longer? 
 Ah! when, in the crystal clear, my face I 
 
 vicAv, 
 I cannot think that this is I. 
 Is it thou, Margarita? 
 Is it thou? tell me quickly! 
 
 [Puts on the earrinf/s and looks at herself in the glass. ] 
 No, no! it is not I. 
 No, no! not I thus reflected, 
 But a princess, I know! 
 It is not I! it is not I! 
 Of a king 'tis the daughter, whom each 
 
 one saluteth, 
 Wiien they met her in the way. 
 Could he but see me, 
 How truly demoiselle, 
 How truly am I fair! 
 Ah ! a demoiselle, most truly, and he could 
 
 think me fair! 
 I am a demoiselle, and he would say a fair 
 
 one! 
 Shall I try yet another jewel? 
 
 I 
 
FAUST. 
 
 37 
 
 Let me see the effect of the bracelet, the 
 
 necklace ! 
 Ah! how fair! 
 Ah! methought a cold hand rested on my 
 
 shoulder ! 
 
 Ah! ah! ah! \^ Enter Martha.} 
 
 Martha. 
 Samts above and angels! 
 How charmingly you look, my darling! 
 Where did you get your jewels from? 
 
 Margarita. 
 Alas ! they are not mine ; I just found them 
 
 by chance! 
 Martha. 
 They are yours ! yonder jewels are yours, 
 Nor meant for any other. 
 Merely a gift from some noble who humbly 
 
 adores you. 
 My dear old man would have given me such 
 
 if he could. 
 
 [Enter Faust and Mephistopkeles.'] 
 
 Mephistopheles. 
 I speak to Madam Schwerlein, I believe f 
 
 Martha. 
 You do, sir. 
 
 3Iephistopheles. 
 The fault is yours, if I am bold, you look 
 so kind. 
 
 [ To Faust. ] 
 
 Only see how the jewels have carried the 
 day. 
 
 [ To Martha.'\ 
 
 I have news for your ear. 
 
 Martha. 
 What news! 
 
 Mephistopheles. 
 It afflicts me thus to grieve you! 
 'Tis news that comes always too soon. 
 Know that your tender husband 
 Is dead, and sends you his blessing. 
 
 3Iartha. 
 All, great heaven! 
 
 Margarita. 
 What is this ! 
 
 Mephistopheles. 
 Naught ! 
 
 Martha. 
 Oh distressing news! oh distress past 
 expressing ! 
 
 Margarita. 
 Ah, my heart, how it trembles! 
 With delight past expressing! 
 
 Faust. 
 What joy to meet her eyes! 
 Half afraid, half caressing. 
 
 Meph istopheles. 
 Know that your tender husband 
 Is dead, and sends his blessing. 
 
 Martha. 
 My husband has sent nothing more? 
 
 Mephistopheles. 
 No! blessings are cheap; 
 And, lest you die of your grief. 
 Seek for another, richer, 
 And with heart more tender. 
 
 Faust. [To Mnrgarita.'l 
 
 Why lay these jewels by? 
 
 Margarita. 
 They are far to grand for me. 
 A queen might properly wear them! 
 
 Mephistopheles. [To Martha.'] 
 
 Happy will be the man 
 
 Whom you choose for your next. 
 
 I trust he will be worthy. 
 
 Martha. 
 You sigh! For why? 
 
 Meph istopheles. 
 I sigh because of my misfortunes. 
 
 Faust. 
 Lean on my arm for a wdiile. 
 
 Margarita. 
 I pray you, I pray you, excuse me! 
 
 Idephistopheles. 
 
 [Offering his arm to Martha.'] 
 
 Honor me! 
 
 Martha. [Aside.] 
 
 How sweet a smile! 
 
38 
 
 FAUST. 
 
 Mephistopheles, iAside.'] 
 
 This good neighbor hopes to steal me. 
 Yes! she hopes to steal me. 
 
 Marf/arlta. 
 Pray you, sir, excuse me! 
 
 Martha. 
 Pray you, don't leave me. 
 
 Faust. 
 Pray you, forgive me! 
 
 3Iartha. 
 And so, you never take a rest! 
 
 Mephistopheles. 
 Never do. Hard on a man like me, so steady ! 
 Not a friend ! not a home ! not a lady ! Ah ! 
 
 Martha. 
 That, in youth, perhaps, may be best, 
 But there's naught more doleful in nature 
 Than is an old unmarried creature ! 
 
 Mephistopheles. 
 Such a creature, old and alone, 
 I confess, has often made me shiver. 
 
 3Iartha. 
 You may escape the chance for ever 
 And should do so ere you turn to stone ! 
 
 Faust. [ To Marganta. ] 
 
 But why are you lonely? 
 
 Margarita. 
 My mother is gone; 
 At the war is my brother; 
 One dear little sister 1 had. 
 But the darling, too, is dead! 
 The angel! the angel! 
 Loved me, and loved me only; 
 I waited on her, night and day. 
 How I worked for her! oh, so dearly! 
 But those to whom we cling most nearly 
 Are the first to be called away. 
 Sure as ever morning came. 
 Came her call, and I must be there! 
 Since she could speak, slie called me mother. 
 Oh, my bird! ne'er for another 
 Half so truly my heart will care! 
 
 Faust. 
 If a second angel, made by heaven, 
 Could so pure, could so perfect be, • 
 She was an angel! 
 An angel sister to thee. 
 No, no; do not leave me! 
 ^A herefore should you fear? 
 Heaven! strike me down, if I deceive you! 
 For why should you fear me ? 
 
 Margarita. 
 You laugh at me! 
 Ah, my lord, I fear 
 Words like yours to hear! 
 While they murmur near, 
 I must, alas ! suspect you. 
 I pray you to leave me. 
 Yes! I must not hear them, 
 Should they yet deceive me! 
 
 Martha. 
 Sir! you do not hear, 
 And your quiet sneer 
 Is put on to grieve me. 
 Sir, you do not hear! 
 Oh! that sneer, that sneer, 
 Is put on to grieve me ! 
 You go like another! 
 After having spoken. 
 Leaving one alone. 
 Why should you begone. 
 To leave me ? 
 
 Mephistopheles. 
 Do not be severe! 
 
 The time is near when I must leave you. 
 Do not be severe! 
 If I go and travel, 
 Does that mean that I deceive you ? 
 If I travel on, does that deceive you? 
 
 Margat'ita. 
 I pray you go, the night comes on ! 
 
 Faust. 
 Dear angel! 
 
 Margarita. 
 Pray you leave me! 
 
 Faust. 
 Ah! unkind one! to deny me! 
 
MBH»aEt»EB«29iaaa 
 
 FAUST. 
 
 39 
 
 Mephistopheles. 
 'Ere the scene becomes too moving, 
 'Twere best to fly! 
 
 3Iartha. l Aside.] 
 
 Now be most civil! 
 
 Methinks, — why, lie has gone! 
 
 Mj lord ! my dear lord ! 
 
 Mephistopheles. 
 Yes ! So let her run ! Ouff ! 
 Yonder jolly matron loving, 
 Was longing, upon my word, 
 Tenderly to Aved the devil! 
 
 Faust. 
 Margarita ! 
 
 Martha. 
 Pray my lord! 
 
 Mephistopheles. 
 How absurd! 
 
 Good night! it was high time — 
 See, 'neath the balmy linden, 
 Our lovers devoted approaching, 
 'Tis well — better leave them alone. 
 With the flow'rs and the moon. 
 O night! draw around them thy curtain! 
 Let naught 'waken alarm, 
 Or misgiving sever! 
 Yet, flowers and the enchanting charm, 
 With your odor so dreamy, 
 Her senses bewilder! 
 
 Till she know not whether she be not al- 
 ready in heaven. 
 
 Margarita. 
 The hour is late! Farewell! 
 
 Faust. 
 Oh ! never leave me, now, I pray thee ! 
 
 Why not enjoy this lovely night a little 
 
 longer! 
 Let me gaze on the form before me! 
 While from yonder ether blue 
 Look how the star of eve. 
 Bright and tender, lingers o'er me! 
 To love thy beauty, too. 
 
 Margarita. 
 Oh! how strange,. like a spell. 
 Does the evening bind me! 
 And a deep languid charm 
 [ feel without alarm. 
 With its melody enwind me. 
 And all my heart subdue! [Jsirfe.] 
 
 Let me now try my fortune ! 
 
 Faust. 
 What is this? 
 
 Margarita. 
 
 [^Takiru/ the leaves from a flower. "^ 
 
 Let me, let me but try. 
 
 Faust, 
 Was it her fancy! 
 
 Margarita. 
 He loves me — he loves me not! 
 He loves me! 
 
 Faust. IToher.} 
 
 Ah! 'tis no tale betraying; 
 
 The flower has told thee true! 
 
 Repeat the words anew 
 
 Tliat nature's herald brings thee ! 
 
 He loves thee! 
 
 In that spell, defy what fate can do — 
 
 In love, no mortal power 
 
 Faithful hearts can sever! 
 
 Whatever the weal or woe, 
 
 We wiU be faithful for ever! 
 
 For ever! for ever! 
 
 Andante. 
 
 iil|eE& 
 
 ffl 
 
 
 ?^dZi__i* 
 
 ziitftis: 
 
 ten-der moon, O starry 
 
 p 
 
 
 
 '" fi/^ • « "^^ ■•^ - • »- -1=^ ip--.^ 
 
40 
 
 FAUST. 
 
 -H^^^=r:^± 
 
 
 - — 0- 
 :EE£ 
 
 
 
 E^ 
 
 Heav'n Si - lent a - bove thee Where the an - gela are enthron'd, Hear me swear how dearly do I 
 
 
 Makg. 
 f9 — — 
 
 -^' 
 
 - 0—9—^—W~ Y\- 0- 
 
 -• — »- 
 
 -? — #-*- »-hi »-i— 
 
 ZZ: FT —a 
 
 love thee ! 
 
 Yet once a - gain, be-lov-ed one, Let me hear thee, It is but life to be 
 
 -K^ i i^=^- — : — 
 
 
 
 ^i^¥:1= 
 
 -N- 
 
 near thee, Thine own and thine a - lone, 
 
 
 ^: 
 
 Yet.... 
 
 -^ 
 
 -i -r^-A — 1 — 1 — |— ^ — I , — ■> ^ — i-#-f IS" • #-hb^ 
 
 i!i_«_«r*; 
 
 -^•- 
 
 
 
 * -^ 
 
 :rb:r=::i-:1= 
 
 
 —A ^r— H ^j — 
 
 jl^ 
 
 ^0-^- 0-1^^0-^-0 
 
 
 :At=t4?L 
 
 gain ! 
 
 '^ N 
 
 Ah! lov-ed one! I am thine own! lamthiuc own, and thine a - lone. 
 
 
 ^- ■ €^ — 0-^—0 F» — • — • 0—0-0'-[-0-ii-\ 1 T — ; IV*. -> — T — ^ . ^A 
 
 -•■ ii- 
 
 0-0-0 -r i |-v-'--i — r*- 
 
 JU M. Jt. M. 
 
 m^^^^i^^^^^&M^km^M^^ 
 
FA UST. 
 
 41 
 
 Faust. 
 Margarita ! 
 
 Margarita. 
 Ah! begone. 
 
 Faust. 
 Unkind one! 
 
 Margarita. 
 I falter! 
 
 Faust. 
 
 To bid me thus begone! 
 
 Margarita. 
 Ah! begone! 
 Ah! I dare not hear! 
 Ah ! how I falter ! I faint with fear ! 
 Pity, and spare the heart of one so lonely. 
 
 Faust. 
 
 Oh, dear one, let me remain and cheer thee, 
 Nor drive me hence with brow severe ! 
 Margarita, I implore thee! 
 The one I love, the only one, I implore thee ! 
 
 Margarita. 
 If, indeed, you love me? 
 
 Faust. 
 Margarita ! 
 
 3Iargarita. 
 
 By that tender vow 
 
 That we have sworn, by that secret torn 
 
 from me, 
 I entreat you only in mercy to begone ! 
 
 Faust. 
 
 Oh, fair and tender child! 
 
 Angel, so holy, thou shalt control nie, 
 
 Be passion ever so wild! 
 
 I obey — but at mom? 
 
 Margarita. 
 
 Yes, at morn, very early! 
 At morn, all day! 
 
 Faust. 
 
 One word at parting! 
 
 The one, one word of heaven say — 
 
 Thou lov'st me! 
 
 Margarita. 
 
 [ Hastens towards ike pavilion, then stops short on the 
 threshold, and wafts a Liss to Faust. ] 
 
 I love thee! 
 
 Faust. 
 
 Were it already morn! 
 Ah, now aAvay! 
 
 Mcph istopheles. 
 Why, thou dreamer! 
 
 Faust. 
 Thou hast overheard? 
 
 Mepliistopheles. 
 Well, I have, 
 
 Your parting with its modest word. 
 Go back, on the spot, to your school again! 
 
 Faust. 
 Let me pass! 
 
 MepJiistopJieles. 
 
 Not a step; you shall stay, and overhear 
 
 again 
 That which she teUeth to Charles' wain. 
 
 You dreamer! [Marr/arita opens the window. J 
 
 I know! 
 
 Look! there she opens the window. 
 
 Margarita. 
 
 He loves me ! he Toves me ! 
 
 Repeat it again, bird, that caUest ! 
 
 Soft wind that faUest! 
 
 When the light of evening dieth, 
 
 Bear a part in the strain. 
 
 He loves mc ! Ah! our world is glorious, 
 
 And more than heaven above ! 
 
 The air is balmy 
 
 With the very breath of love ! 
 
 How the bows embrace and murmur ! 
 
 At mom! at moxn! 
 
 Ah, speed, thou night, away! 
 
 He will return ! Come ! 
 
 Faust. 
 Margarita. 
 
 Margarita ! 
 
 Ah! 
 
 MephistopJieles 
 
 There! Ha, ha, ha! Ha! 
 
42 
 
 FAUST. 
 
 
 
 CJwrus. 
 
 ACT TTT. 
 
 
 Fold the flag, my brothers, 
 
 — 
 
 
 Lay by the spear ! 
 
 We come from the battle once more; 
 
 Scene I. — Grand Square. — Procession of 
 
 soldiers and 
 
 Our pale praying mothers, 
 
 citizens. — Valentine and Siebel meet. 
 
 
 Our wives and sisters dear, 
 Our loss need not deplore. 
 
 Siebel. 
 
 
 
 Margarita ! 
 
 
 Valentine. 
 
 Margarita. 
 My friend! 
 
 
 Ah! by Mars! Is that Siebel? 
 
 Siebel. 
 
 
 
 Again in tears! 
 
 
 Siebel. 
 
 Margarita. 
 
 
 Yes, 'tis I, but — 
 
 Alas! 
 
 
 
 You only do not ask my shame. 
 
 
 Valentine. 
 Come here, boy! 
 
 Siebel. 
 
 
 Come, be not shy! 
 
 Tho' I am but a boy, 
 
 
 Where is Margarita? 
 
 I am a man in my spirit, 
 
 
 Siebel. 
 
 And will surely avenge all the wrong he has 
 
 
 
 done. 
 
 I think in the church hard by. 
 
 He shall die ! 
 
 
 
 Margarita. 
 
 
 Valentine. 
 
 W hat mean you f 
 
 
 Praying, I know full well — 
 
 Siebel. 
 
 
 Praying to heaven for me ! 
 
 jMy own sister, how she will lend 
 
 What need I should name him? 
 
 
 A rapt and ready ear 
 
 The friend! The false betrayer! 
 
 
 To the tale I have to tell! 
 
 3Iargarita. 
 
 
 Chorus. 
 
 Ah ! spare his name ! 
 
 
 Yes ! 'tis a joy for men victorious, 
 
 Siebel, 
 
 
 To the children by the fire, trembling in 
 our arms, 
 
 Spare himf still can you love him? 
 
 To old age of old time glorious, 
 
 
 
 To talk of war's alarms. 
 
 Margarita. 
 
 
 Glory and love to the men of old. 
 
 I do! I must! 
 
 
 Their sons may copy their virtues bold; 
 
 But why should I o'ercloud your 
 
 youth 
 
 Courage in heart and sword in hand, 
 
 With woes mine OAvn? 
 
 
 Ready to fight or ready to die for Father- 
 
 'Tis wrong, my friend, 
 
 
 land! 
 
 To speak of him to you! 
 
 
 Who needs bidding to dare by a trumpet 
 
 May heav'n roAvard thee! 
 
 
 blast ? 
 
 For all your aid to me ; 
 
 
 Who lacks pity to spare when the field is 
 
 Those who by riglit of virtue now disdain me 
 
 won ? 
 
 Have little pow'r to pain me, 
 
 
 Who could fly from a foe, if alone Or last, 
 
 While I have pow'r to pray! 
 
 
 And boast he was true ? — coward might do 
 
 I go before the altar 
 
 
 when peril is past. ^ 
 
 My repentance to lay. 
 
 
 Now to home again ! 
 
FAUST. 
 
 43 
 
 We come, the long and fierj strife of battle 
 
 is over; 
 Eest is pleasant, and after toil 
 As hard as ours beneath a stranger sun, 
 Many a maiden fair is waiting 
 Here to greet her truant soldier-lover! 
 And many a heart will fail and brow grow 
 
 pale to hear — 
 To hear the tale of cruel perU he has run. 
 We are at home ! we are at home ! 
 
 \_All exeunt rejoicing. '\ 
 \_Enter Mephistophelcs and Fav^t.'] 
 
 Mephistopheles. 
 
 {^Throwing bach his mantle and accompanying him- 
 self on the guitar. Ji 
 
 Thou who here are soundly sleeping, 
 
 Close not thus thy heart! 
 
 Caterina ! wake thee ! wake thee ! 
 
 Caterina ! wake ! 'tis thy lover near ! 
 
 Hearken to my love-lorn pleading; 
 
 Let thy heart be interceding. 
 
 Awake, love, and liear! 
 
 Ha, ha, ha, ha, ha! 
 
 Don't come down untU, my dear. 
 
 The nuptial ring appear 
 
 On thy linger sparkling clearly — 
 
 The wedding-ring — the ring shineth clear. 
 
 [^Spokev.] 
 
 Faust. 
 Cease thy heUish lay! 
 
 Mephistopheles. 
 
 Caterina! cruel, cruel! 
 
 Cruel to deny to him who loves thee — 
 
 For thee doth mourn and siah — 
 
 A single kiss from thy rosy lips. 
 
 Thus to slight a faithful lover. 
 
 Who so long hath been a rover, 
 
 Too bad, I declare ! 
 
 Ha, ha, ha, ha, ha! 
 
 Not a single kiss, my dear, 
 
 Unless the ring appear! 
 
 Ha, ha, ha, ha! 
 
 \_Enter Valentine from the Imusc.'] 
 
 Valentine. 
 What is your will with me ? 
 
 Mephistopheles. 
 
 With you, my captain splendid! 
 
 My humble serenade was not for you 
 
 Valentine. 
 
 You meant it for my sister! 
 You meant by your jeer. 
 
 intended. 
 
 His sister! 
 
 Faust. 
 
 [ Valentine breaks Mephistopheles guitar. ] 
 
 Mephistopheles. 
 
 Is there something that bites you? 
 Or perchance no music delights you. 
 
 Valantine. 
 
 Enough of insult ! Reply ! 
 By which of you two shall I be requited 
 For name defiled, for laurel blighted f 
 Which of you two shall fall beneath ray 
 
 sword ? 
 Mephistopheles. 
 
 Will you be mad ? Come on, my pupil, 
 
 \_Faust draws his sword. ] 
 
 And take him at his word ! 
 
 Fatist. 
 
 His eye, so stern and dark with blood. 
 With fatal might enthralls me ! 
 Is not a brothers vengeance just, 
 Ifdeath befalls me? 
 
 Valentine. 
 
 Thou who rulest right, 
 Thou knowest the voice that calls me, 
 My sword shall find his heart outright 
 Ifdeath befalls me! 
 
 3Icphistophelcs. 
 
 ^Such an eye, dark with blood. 
 Enkindles, not appalls me; 
 For I smile, since in his ire 
 I see good luck befalls me! 
 Lean against me, my friend. 
 Be not eager to fight! lean on me! 
 He shall have it. 
 
 \_Faust and Valentine fight — they make four thrusts. 
 Valentine falls. ] 
 
44 
 
 FAUST. 
 
 So, captain, lie you there, 
 On your last bed of glory ! 
 And now come away ! come away ! 
 
 \^Exeunt Faust and Mephistopheles.'] 
 
 Chorus. 
 This way, this way was the noise ! 
 In the streets they were fighting. 
 And one is on the ground, 
 Over there in the shade. 
 
 [^Martha and Citizers enter. 1^ 
 
 But he is not yet dead! 
 He is trying to rise! 
 Come to his aid! 
 Support him, raise his head! 
 
 Valentine. 
 
 Too late ! too late ! 
 
 There's no need, good friends, to bewail me ! 
 
 Too often have I looked on death to be 
 
 afraid. 
 Now that he is near. 
 
 \_Entcr Margarita at had-. ] 
 
 Margarita. 
 Valentine ! Valentine ! 
 
 Valentine. 
 
 Margarita, my sister, 
 
 What brings thee here? Begone! 
 
 Mercy ! 
 
 Margarita. 
 
 Valentine. 
 
 Thy shame hath slain me! 
 Her fine betrayer's sword 
 Hath sent her brother home ! 
 
 Chorus. 
 Siebel. 
 
 Her betrayer! 
 
 Pardon ! 
 
 Margarita. 
 
 Oh torture cruel I mv doom is come ! 
 
 Siebel, 
 
 Pray have mercy ! 
 
 Chorus. 
 
 Her shame hath slain him! 
 
 Her shame hath sent her brother home! 
 
 Valentine. 
 
 Hear my last words ! 
 
 Margarita, when fate strikes thee down, 
 
 Must thou, as 1, be ready: 
 
 No use is it to struggle or pray 
 
 When the caU from on high bids us to come 
 
 away; 
 Live, live meanwhile, 
 Enjoy thy guilty splendor. 
 Wear a rich robe thy white limbs to enfold. 
 Cover with rings thy hand so soft and tender! 
 Laugh at the feast with other women bold! 
 Go, and talk of thy mother, 
 Who did love thee so well, 
 And thy wild soldier brother. 
 Live, and grow old! 
 
 And remember for thy shame how he fell! 
 Let heaven reject thee and earth be thyheU! 
 
 Chorus. 
 
 Do not curse when thou liest 
 
 In the hand of heaven; 
 
 Make thy peace ere thou diest. 
 
 Forgive her, if thou Avouldst thyself be 
 
 forgiv'n ! 
 
 Valentine. 
 
 Margarita, let me curse thee! 
 
 On thy death-bed thou too must lie! 
 
 Ah! thy hand hath slain me! 
 
 Like a soldier I die. [raientine dies.'i 
 
 Siebel, Martha and CJwrus. 
 
 Heaven give him rest! 
 
 And forgive her the sins she hath done. 
 
 Scene II. — The Church. — Marfjarita discovered kneel- 
 ing at a font. 
 
 Margarita. 
 
 O Thou, whf on thy throne 
 Giv'st an ear for repentance! 
 Here, before thy feet, let me pray. 
 
FAUST. 
 
 45 
 
 Mephistopheles. 
 
 No ! Thou shalt pray no more ! 
 Let her know, ere she prayeth, 
 Demons of ill, what is in store. 
 
 Chorus of Demons. 
 
 Margarita. 
 
 Chorus. 
 
 Margarita ! 
 
 Who caUsmef 
 
 Margarita ! 
 
 3Iargarita. 
 I falter — afraid! 
 Oh! save me from myself! 
 Has even now the hour of torture begun ? 
 
 [The tomb opens and discovers Mephistopheles who 
 bends over to Marganta's ear. ] 
 
 Mephistopheles. 
 
 Recollect the old time, when the angels, 
 
 caressing. 
 Did teach thee to pray. 
 Recollect how thou comest to ask for a 
 
 blessing 
 At the dawn of the day! 
 When thy feet did fall back, and thy breath 
 
 it did falter 
 As though to ask for aid; 
 Recollect thou wast then of the rite and 
 
 the altar. 
 In thine innocence afraid! 
 And now be glad and hear! 
 Thy playmates do claim thee, 
 From below, to their home ! 
 The worm to welcome thee, 
 The fire to warm thee. 
 Wait but till thou shalt come! 
 
 Margarita. 
 
 Ah ! what sound in the gloom 
 Is beneath me, around me? 
 Angels of wrath? is this your sentence of 
 
 cruel doom? 
 
 CHORAL. 
 
 By the Worshipers in Church. 
 
 When the book shall be unsealed. 
 When the future be revealed. 
 What frail mortal shall not yield? 
 
 Margarita. 
 
 And I, the frailest of the frail, 
 Have most need of Thy forgiveness! 
 
 Mephistopheles. 
 No ! Let them pray, let them weep ! 
 But thy sin is deep, too deep, 
 To hope forgiveness! 
 No! no! 
 
 Choral. 
 
 Where shall human sinner be, 
 How lie hid in earth and sea, 
 To escape, escape eternity? 
 
 Margarita. 
 Ah! the hymn is around and above me, 
 It bindeth a cord 'round my brow! 
 
 Mephistopheles. 
 Farewell! thy friends Avho love thee! 
 And thy guardians above thee ! 
 The past is done! The payment now! 
 
 Margarita. 
 Thou ! on Thy throne, who dost hear me 
 By the side of my grave, 
 Let a tear of mercy fall near me. 
 To pity and save! 
 
 Cltorus. 
 O Thou on Thy throne, who dost hear us 
 That go down to the grave, 
 Let Thy mercy be near us. 
 To pity and save. 
 
 Mephistopheles. 
 Margarita! 'Tis forever! 
 Mine art thou! 
 
 Margarita. 
 
 -I^"-- IMephistapheles disappears.} 
 
 ACT IV. 
 
 WALPURGIS NIGHT 
 
 Faiist. 
 No farther! 
 
 Mephisto2)heles. 
 Did you not engage here to follow me with- 
 out doubting? 
 
46 
 
 FAUST. 
 
 Faust. 
 Where are we now? 
 
 Mephistopheles. 
 
 In my own empire! 
 
 For, doctor, here all I possess. 
 
 Behold, this is Walpurgis night ! 
 
 CI torus. iInvisible.-\ 
 
 Behold, this is Walpurgis night ! Ha, ha, 
 
 ha, ha! 
 Faust. 
 My blood is frozen! 
 
 Mephistnpheles. 
 
 Behold, the Orient's shining splendor 
 
 At my calling now stands before thine eyes. 
 
 ( Transformation . ) 
 
 Mephistopheles. 
 
 Till the dawn of morning appears. 
 All unseen by the eyes of profane ones, 
 To you I offer at this feast of courtesans 
 and queens a place here. 
 
 Chorus. 
 See, the goblets they're filling! 
 The names of ancient Gods 
 Make the air all around us 
 Ring with a joyful noise. 
 
 Mephisto2)heles, 
 
 Queens of beauty rare. 
 
 Famed in olden time, 
 
 Cleopatra with sweet eyes 
 
 And Lais with beauteous brow — 
 
 Let us hasten to join for a moment this 
 
 banquet so gay! 
 Come on! come on! heal the burning fever 
 Of thy wounded heart. 
 Take this full goblet. 
 Now find forgetfulness of the past in the cup! 
 
 Cliorus. 
 
 See, the goblets they're filling! 
 The names of ancient Gods 
 Make the air all around us 
 Ring with a joyful noise. 
 
 ORAND BALLET. 
 
 (After t/ie Ballet.) 
 
 MephistopJieles. 
 
 Let thine enchantment. Goddess of Joy, 
 Extinguish all remorse in his heart so 
 
 entranced. 
 Goddess of Joy and Delight, extinguish ail 
 
 remorse. 
 Let him forget, yes forget Margarita! 
 What do you dread? 
 
 Faust. 
 
 Do you not see her there, before us. 
 
 So pale and speechless. 
 
 With an ornament strange around her 
 
 beauteous neck — 
 See, she conceals it, a red riband — 
 That narrow stripe so red, just like the cut 
 
 of a sword-blade — 
 Margarita ! I feel my hair standing on end — 
 Her I must see ! Come ! I will have it. 
 
 ACT V. 
 
 A Prison. — Marfjarita on the ground asleep. — Enter 
 Faust and Mephistopheles at the prison door. 
 
 Begone ! 
 
 Faust. [7o Mephistopheles.^ 
 
 Mephistopheles. 
 
 The day is daAvning, 
 
 The scaffold has been set; 
 
 Compel, without delay. 
 
 Thy beloved one to follow thee! 
 
 The maiden sleeps — the keys are here! 
 
 On but thyself it depends to save her. 
 
 Faust. 
 Begone ! 
 
 Mephistopheles. 
 
 Be swift! I shall wait at the door. 
 
 [_Exit Mephistopheles. ] 
 
 Faust. 
 My heart is torn with grief and repentance ! 
 Oh what anguish ! O worm that will not die ! 
 
FAUST. 
 
 47 
 
 O fire ! no art can stay ! 
 
 She lies there, at my feet. 
 
 The young and lovely being, 
 
 Imprisoned here because of me! 
 
 As if herself, not I, were guilty ! 
 
 No wonder that her fright hath reason 
 
 taken away; 
 Our little child, O heaven ! was slain by her 
 In sudden madness ! 
 Margarita ! Margarita ! 
 
 [^Margarita awakes and rises. ] 
 
 Margarita. 
 
 Ah ! do I hear thee once again, 
 The darling song of time gone by; 
 That was not the cry of the demons 
 Rejoicing in my ruin! \ 
 
 'Tis his own voice I hear! 
 
 Marerarita ! 
 
 Faust. 
 
 Margarita. 
 
 His hand is here to save me! 
 
 It is he! it is he! I am free! 
 
 For mine own faithful love is here! 
 
 Ah! I love thee only! 
 
 Love thee, love thee only; 
 
 Nor shame on the scaffold 
 
 Can make my heart afraid! 
 
 Since thou cam'st to find me, 
 
 No tears shall blind me! 
 
 Take me up to heaven, 
 
 To heaven by thy aid! 
 
 Faust. 
 
 Yes, I love thee only, 
 Let who wiU goad me on, 
 Or mock me or upbraid! 
 Thy look doth appall me. 
 Thy truth doth recall me! 
 Earth will grow as heaven. 
 By thy beauty made ! 
 
 Margarita. 
 Not yet ! 
 This is the fair 
 Where I was seen by you. 
 In happy days gone by — 
 The day your eye did not dare 
 To meet my eye! 
 
 "High-bom and lovely maid, 
 
 Forgive my humble duty! 
 
 Let me, your willing slave. 
 
 Attend you home to-day." 
 
 "No, my lord, not a lady am I, 
 
 Nor yet a beauty — not a lady, not a beauty ! 
 
 And do not need an arm 
 
 To help me on my way!" 
 
 Faust. 
 Come away, away, if thou lov'st me! 
 
 Margarita. 
 
 How my garden is fresh and fair, 
 Every hour is incense breathing. 
 And through the still evening air 
 A cloud of dew with perfume wreathing. 
 
 Faust. 
 
 Come, Margarita! 
 
 No! 
 
 Margarita. 
 
 Faust. 
 Come, they shall not harm thee ! 
 
 [^Enter Mephistopheles.J 
 
 Mcphistopheles. 
 
 Then leave her! then leave her! 
 Or remain to your shame. 
 If it please you to stay. 
 Mine is no more the game! 
 
 Margarita. 
 
 Who is there? who is there? 
 Dost thou, see there in the shadow. 
 With an eye like a coal of fire. 
 What does he here? — he, who forbade me 
 to pray ! 
 
 Mephistopheles. 
 
 Let us go, ere with dawn 
 Doth justice bring. 
 
 Hark ! the horses are panting in the court- 
 yard below. 
 To bear us away! 
 Come, ere it is day, 
 Or stay and behold her undone! 
 
48 
 
 FAUST. 
 
 Margarita. 
 Away, thou fiend, away! 
 
 Faust. 
 Come ! 
 
 Margarita. 
 
 Away, for I will pray! 
 Faust. 
 
 Come, mine own, ere 'tis too late to save 
 
 thee! 
 Margarita. 
 
 Holy angel! in heaven blest, 
 My spirit longs with thee to rest! 
 Great heaven ! pardon grant, I implore thee, 
 For soon shall I appear before thee ! 
 
 Faust. 
 
 Come with me, I command! 
 Follow me ! 
 
 Margarita. 
 
 Oh save me ere I perish forever ! 
 
 Faust. 
 Come with me ! 
 
 MephistopJieles. 
 Let us leave her! 
 
 Come, or be lost ! Come, or be lost ! 
 For the day is near! 
 
 Margarita. 
 
 To my dispair give ear, I pray thee! 
 
 Holy angel in heaven blest, 
 
 My spirit longs with thee to rest ! 
 
 Faust. 
 
 Come, come, wilt thou not hear? 
 
 Come, lean on my breast! 
 
 The early dawn is gray! 
 
 Come, oh come; I'm here to save thee. 
 
 MephistopJieles. 
 
 Come away, come away ! the dawn is gray j 
 Come, ere they claim thee; 
 Come away, the dawn is gray! 
 If the gii'l be not possest— 
 
 Fattst. 
 Margarita. 
 
 3Iargarita. 
 
 But why such an air of dispair f 
 
 Faust. 
 Margarita ! 
 
 3Iargarita, 
 
 But why thy hand covered with blood? 
 Go! I'm not thy prey. [Dies.l 
 
 Faust. 
 Ah! 
 
 MephistopJieles. 
 She is mine! 
 
 CJiorus of Angels. 
 No ! not so ! 
 
 All who have sinned here 
 May here repent the sin 
 By their holy living. 
 Let earth be severe! 
 Let earth be severe! 
 Heaven is forgiving. 
 
 
 END OF THE OPERA. 
 

 FBANZ LISZT. 
 
 Messrs. STEINWAY 8l SONS: 
 
 Gents: The magnificent Steinway Grand Piano now stands in my music room, 
 and presents a harmonic totality of admirable qualities, a detailed enumeration of which is 
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 FRANZ LISZT 
 
 ANTON RUBINSTEIN 
 
 New York, May 24, 1873. 
 Messrs. STEINWAY & SONS: 
 
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 ANTON RUBINSTEIN 
 
 THEODORE THOMAS. 
 
 Cincinnati, July 19th, 1879. 
 Messrs. STEINWAY & SONS: 
 
 Gentlemen: I consider the Steinway Piano the best Piano -at present made, and 
 that is the reason why I use it m private and also in all my public concerts. 
 
 As long as the Pianos of Messrs. Steinway & Sons retain that high degree of excel- 
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 Title 
 Grand Duchess of 
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 ♦Hamlet 
 
 Jewess, The 
 
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 (Queen of Sheba) 
 
 LakmS 
 
 Lily of Killamey, The 
 
 Linda di Chamouniz 
 ♦Little Duke, The 
 
 Lohengrin 
 
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 ♦Lovely Galatea, The 
 
 Lucia di Lammermoor 
 
 Lucrezia Borgia 
 ♦Madame Favart 
 
 Manon 
 
 Maritana 
 
 Marriage of Figaro 
 
 Martha 
 ♦Mascot, The 
 
 Meistersinger, Die 
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 Mefistofele 
 
 Merry Wives of 
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 Mignon 
 
 Mikado, The 
 ♦Musketeers, The 
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 Norma 
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 Text 
 
 Composer 
 
 i^ Jacques Offenbach 
 
 Ambroise Thomas 
 
 I, Jacques F. Halivy 
 
 G. Karl Goldmark 
 
 I. L^o Delibes 
 
 Sir Jules Benedict 
 I, Gaetano Donizetti 
 
 Charles Lecocq 
 G. Richard Wagner 
 
 I. do. 
 
 Franz von SuppS 
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 Wm. Vincent Wallace 
 
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 Edmond Audran 
 
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 Otto Nicolai 
 
 /. Ambroise Thomas 
 
 Sir Arthur S. Sullivan 
 
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 Title 
 
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 ♦Sleeping Queen, The 
 
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 ♦Sorcerer, The 
 ♦Spectre Knight, The 
 ♦Stradella 
 
 Tannhauser 
 
 Traviata, La 
 
 Tristan und Isolde 
 
 Trovatore, II 
 
 Ugonotti, Gli (The 
 
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 Verkaufte Braut, Die 
 (The Bartered Bride) 
 
 Walkiire, Die 
 
 William Tell 
 
 Zauberflote, Die (The 
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 /. R. Leoncavallc 
 
 G. Richard Wagfief 
 Sir Arthur S. Sullivan 
 
 I. Giacomo Meyerbeer 
 
 J. Vincenzo Bellini 
 
 G, Richard Wagjtet 
 
 /. Giuseppe Verdi 
 
 I. Giacomo Meyerbeer 
 
 F. Charles Gounoa 
 
 I. do. 
 
 F. Camille Saint- Saem 
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 Michael Wm. Balft 
 
 /. Vincenzo Bellim 
 
 Sir Arthur S. Sullivan 
 
 Alfred Celliei 
 
 Friedrich von Flotou 
 
 G. Richard Wagnet 
 
 J. Giuseppe Verdi 
 
 G. Richard Wagnei 
 
 /, Giuseppe Verdi 
 
 J, Giacomo Meyerbeer 
 
 G. Friedrich Smetanu 
 G. Richard Wagnet 
 
 I. Gioacchino A . Rossini 
 
 G. 
 
 W. A. Mozan 
 
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