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 EDITED BY 
 
 CALVIN THOMAS 
 
 PROFESSOR OF GERMANIC LANGUAGES AND LITERATURES, COLUMBIA UNIVERSITY 
 
 VOLUME I : THE FIRST PART 
 
 BOSTON, U. S. A. 
 
 D. C. HEATH & CO., PUBLISHERS 
 1902
 
 Copyright, 1892, 
 D. C. HEATH & Co. 
 
 PRINTED IN 
 
 UNITED STATES 
 
 OF AMERICA
 
 PREFACE. 
 
 IN undertaking this edition of Faust I was actuated chiefly by a 
 desire to promote the study of the poem as a whole. It is not the 
 place here to discuss the misconception which has prevailed so 
 long, and to some extent still prevails, concerning the Second 
 Part of Goethe's masterpiece. Enough that it is a misconception 
 to regard it as a mass of riddles, allegories and deep abstractions 
 requiring some sort of occult wisdom for their interpretation.' It 
 is a mistake, too, to regard it as in any sense a senile afterthought, 
 or as the product of decadent poetic powers, or as uninteresting. 
 Let it not be supposed, either, that these sweeping statements of 
 mine are only the confident proclamations of a new mystagogue who 
 thinks that he has found the key. For the simple truth is that no 
 key and no special order of intelligence are needed. The Second 
 Part of Faust, to be sure, is not literature for children, or for the 
 weak-minded, or for the very indolent, but neither is the First 
 Part. I only wish to urge here that any one who reads and enjoys 
 the First Part (by which I mean the whole First Part and not simply 
 the love story), should be able to read and enjoy the Second Part 
 also. If he fails at first, his failure will be due probably to one of 
 three causes : either he lacks interest in some of the large ideas 
 that interested the maturer Goethe ; or he has not made himself 
 sufficiently at home in that dream-world of tradition which underlies 
 the Faust-drama, or, possibly his vision has been obfuscated by one 
 or more of those well-meaning but misguided persons whom the 
 
 0)
 
 11 PREFACE. 
 
 late Friedrich Vischer called allegorische Erkldrungsphilister . In 
 any of these cases let him first correct the personal difficulty a 
 thing not hard to do and then let him read the Second Part of 
 Faust as he reads other good poetry : with a free play of intelli- 
 gence to respond to its infinite suggestiveness, but without ever 
 imagining that the text is a Chinese puzzle. Doing so he will find 
 that he has gained a permanent source of high enjoyment enjoy- 
 ment of a kind (if his experience is at all like my own) that he 
 will soon come to prefer greatly to that derivable from the painful 
 tragedy of sin and suffering with which the First Part closes. 
 
 As to the animating spirit of my work it is needless to speak at 
 length ; that will appear best from the work itself. I have wrought 
 as a philologist and a lover of definiteness. Taking for granted 
 the fascinating power of Faust I have made it my aim to contribute 
 to the understanding of it rather than to inculcate any particular 
 views with regard to it. I have not been troubled by the solicitude 
 one sometimes hears of in these days, that preoccupation with 
 philological details, i. e., the attempt to get accurate knowledge of 
 the particular matter in hand, could by any possibility in the long 
 run injure the philosophical and aesthetic appreciation of the whole. 
 On the other hand a multitude of warning examples made it both 
 easy and necessary to keep in mind the dangers that arise from 
 importing one's own ' philosophy ' into the poem in advance of a 
 careful historical study of its genesis and a thorough philological 
 mastery of the text. 
 
 My text aims to be an exact reprint of the Weimar edition. I 
 hesitated somewhat about the use of the official spelling, but 
 decided not to introduce it. I do not see how it is possible to 
 devise sounder principles for the recension of Goethe's text than 
 are those adopted by the Weimar editors. To depart from these
 
 PREFACE. Ill 
 
 principles in the matters of spelling and punctuation would hftve 
 been opening the door to subjective caprice without accomplishing 
 any discernible good whatever. 
 
 I have of course endeavored to profit by the labors of preceding 
 editors, critics and expounders, of whom a list of the more impor- 
 tant will be found in an appendix. In dealing with a subject like 
 Faust, about which such mountains of literature exist, it is, in 
 general, possible to attain originality only at the expense of either 
 truth, usefulness or importance ; and my aim has been to be useful 
 rather than to seem acute or learned. I have, however, from first 
 to last tried to work independently, i. e., to go to first-hand sources 
 of information and derive from them my knowledge and my 
 impressions. In the notes I have as a rule avoided controversy 
 and the rehearsal and discussion of conflicting views. My method 
 has been to form my opinion from the data, then to read what the 
 various commentators have to say, changing my own opinion where 
 necessary, and then to present my final conclusion without argu- 
 ment. In dealing with matters of fact which I could verify I have 
 not always been particular to name the writer who first called my 
 attention to the primary source of information, but have proceeded, 
 like most of my predecessors, on the Roman maxim quod bene dic- 
 tum est meum est. On the other hand, in dealing with matters of 
 opinion, or of fact that I could not verify, I have endeavored 
 always to acknowledge all real obligation. Everywhere I have 
 essayed the utmost brevity consistent with a satisfactory treatment 
 of real difficulties. I have tried to waste no words in trivial, 
 obvious or useless comment. Citations possessing only a curious 
 or erudite interest, but not needed for scientific illustration, have 
 not been admitted. I have also avoided any attempt to do the 
 work of an etymological dictionary or a historical grammar.
 
 IV PREFACE. 
 
 According to my conceptions the one great purpose of the editor's 
 notes to a classic should be to help the reader enter more perfectly 
 than he otherwise might into the thought and feeling of the author. 
 Philological lore which would have been news to the author and 
 does not contribute to a proper understanding of the author's 
 meaning, is, in general, out of place and entitled to no better name 
 than pedantry. The rule is, however, subject to this limitation : 
 peculiarities of diction, which pertain to the author's individual 
 style (the style is the man), may properly be made the subject of 
 brief philological comment for the purpose of giving the reader, so 
 far as may be, the author's exact point of view. 
 
 CALVIN THOMAS. 
 ANN ARBOR, MICH., August, 1892. 
 
 PREFACE TO THE REVISED EDITION. 
 
 In this second edition I have tried to correct the mistakes of 
 the first and in other ways to bring the book up to date. The 
 Introduction has seemed to require but little change. I have 
 been criticised for dealing too briefly with certain topics, such as 
 the historical Faust, the growth of the legend, and Lessing's 
 Faust, but this criticism is not well grounded. My work being 
 intended primarily for college students, brevity with regard to 
 unessentials was an important part of my plan. Now the topics 
 just mentioned are interesting enough in their way, but Goethe 
 knew nothing about them. If an authentic biography of the old 
 magician should be discovered, there is no reason to suppose that 
 it would throw any light on Goethe's poem. So also Lessing's 
 Faust is a subject by itself. There is no evidence that it ever 
 influenced Goethe.
 
 PREFACE TO THE REVISED EDITION. V 
 
 In the Notes the changes are much more numerous and im- 
 portant. Corrections that have been suggested to me by letter 
 or in published reviews have been introduced wherever I have 
 been convinced. Among those who have put me under special 
 obligation are Prof. Witkowski of Leipzig, Dr. Blau of Bryn 
 Mawr, and Prof. Senger of California. I do not flatter myself, 
 however, that these friends or any one else in the wide world will 
 be entirely satisfied with my Notes even in their revised form. 
 Faust is a very difficult subject for the commentator. It teems 
 with words and phrases the meaning of which is uncertain and 
 which are differently understood by the most competent experts. 
 Every German reads the poem, and every German, as Scherer 
 once remarked in an essay, has his own Goethe. He is also 
 apt to be sustained and soothed by an unfaltering trust that 
 his Goethe is the only true one. Now an American whose 
 feeling for the German language is an acquisition of adult 
 life would naturally like to defer to those who should know 
 better than he ; but what shall he do when his natural coun- 
 sellors fall out and take to berating one another? What I 
 have done is to weigh and decide according to my best judg- 
 ment. I am well aware that in some cases the decision is only 
 too vulnerable. 
 
 The most important contributions to Faust-scholarship since 
 the appearance of my first edition are the works of Collin, Baum- 
 gart, Valentin and Witkowski, and the third edition of the Goch- 
 hausen Faust with its valuable Introduction. It is pleasant to 
 notice a tendency to emphasize once more the artistic unity of 
 Faust. In this general attitude of mind I am quite at one with the 
 writers named, though sometimes at variance with them in regard 
 to particular lines of argument. The familiar comparison of
 
 VI PREFACE TO THE REVISED EDITION. 
 
 Faust to a mosaic has a certain value. When one looks at it 
 very closely with a philological magnifier, one sees various im- 
 perfections ; the pieces are not always perfectly fitted, the colors 
 are sometimes out of harmony. But when we step back far 
 enough to see the work as a whole, its general design becomes 
 perfectly obvious and the little imperfections fade out of sight or 
 no longer offend the eye. But shall we then deny that they exist, 
 and be over anxious to explain them away ? There are those who 
 seem to feel that what we call artistic unity must involve per- 
 fect congruity in every detail. For them even the ' Intermezzo ' 
 is sacrosanct; it must be shown to be just the right thing in 
 the right place or else the whole Faust is a failure. But this is 
 going too far. The student of Faust must learn to pick his way 
 discreetly between the Widerspruchsphilister and the Einheits- 
 philister without being taken in by either of them. I may be 
 pardoned for thinking that my edition will help him. 
 
 C. T. 
 NEW YORK, June, 1898.
 
 INTRODUCTION. 
 
 I. 
 
 PRELIMINARY REMARKS UPON FAUST AND THE STUDY OF FAUST. 
 
 IT was as early as 1769 that the mind of Goethe, then a youth 
 of twenty, began to be teased by the alluring problem of a Faust- 
 drama. After musing on the subject some three or four years, he 
 put pen to his work, little thinking,as he did so, that this particular 
 poetic project would be the great task of a long lifetime, and would 
 leave his hands some sixty years hence as the masterpiece of his 
 country's poetry. 
 
 The general conception of the proposed drama, he tells us, lay 
 clear in his mind at an early date ; but from the first his procedure 
 was unmethodical. The legend yielded, or could be made to 
 yield, a hint for every mood : poetry, pathos, humor, satire, hocus- 
 pocus all were there. And so he worked in a desultory way, 
 writing a passage here and a passage there, now a soliloquy, now 
 a song, and again a bit of dialogue or a succession of dialogues, 
 according as he had caught the vision of this or that interesting 
 situation. Thus, without concern for acts or for a logical develop- 
 ment of his plan, he allowed his work to take shape in a series of 
 pictures, leaving the intervals to be filled in by the imagination. 
 In this way a number of pictures (we may call them 'scenes') had 
 been written down previous to his settlement at Weimar in Novem- 
 ber, 1775. 
 
 Then came a period in which the temper and circumstances of 
 the poet were unfavorable to the continuation of the work. In 
 1788-9 a little more was written, and a part of the scenes on 
 hand were revised for publication. These appeared in 1790 under 
 
 (vii)
 
 Vlll INTRODUCTION. 
 
 the title of Faust. Ein Fragment. In 1797 the task was again 
 resumed and during the next four years it made considerable prog- 
 ress. The work done at this time consisted partly in the writing 
 of new scenes, partly in the revision and expansion of scenes 
 already written but not published, and the welding of this new 
 matter to the scenes of the published Fragment. During this 
 process Goethe discovered that he could not complete his design 
 within the limits of a single drama and so decided to publish, 
 provisionally, a First Part. This First Part, still far from contain- 
 ing all that he had then written on the Faust-theme, appeared in 
 1808 under the title Der Tragodie Erster TheiL 
 
 Then ensued a long period of stagnation. At last, in 1825, 
 Faust was again taken up to become, now, its author's chief occu- 
 pation during his remaining years. The work done at this time 
 was similar to that of 1797-1801, save that the proportion of 
 entirely new matter added was much greater. Goethe died in 
 March, 1832. The Second Part of Faust appeared in 1833. 
 
 The production that came into existence in this way holds a 
 unique position in literature, there being nothing of its own kind 
 with which to compare it. As a serious dramatic poem based on a 
 tragical story and leading up to the death of its hero, it was called 
 by Goethe a tragedy,' though the ordinary canons of tragedy do 
 not, in the main, apply to it. On account of the magnitude of its 
 scope it is often compared with the Divine Comedy of Dante. In 
 some respects it resembles a medieval ' mystery.' But whatever 
 it be called and however opinions may differ with respect to this or 
 that detail, it is beyond question the most important monument of 
 German poetry. No other is so much quoted by German writers, 
 so much discussed by German scholars, so vitally related to the 
 intellectual life of the new Germany.* Nor is it simply a national 
 
 * Egelhaaf, Grundzuge der deutschen Litteralurgeschichte, p. 112. speaks of Faust as 
 " das Werk, ohne das unser Volk seine Kultur, der Einzelne sein eigenes Geistesleben 
 sich kaum denken kann."
 
 INTRODUCTION. IX 
 
 poem. In proportion as the genius of Goethe has of late won 
 universal recognition, so Faust, as the most complete revelation of 
 his mind and art, has become a world-classic whose power is felt 
 everywhere by ' those that know.' 
 
 On account of this exceptional character the study of Faust is a 
 difficult and peculiar study. The poem contains but little of 
 abstruse thought for Goethe was no 'metaphysician,' but it 
 does take us sooner or later into almost every conceivable sphere 
 of human interest. Thus the philological reading of the text with 
 its peculiarities of form and expression, its folk-lore and antiquities, 
 its reminiscences of reading and observation, its frequent excursions 
 into unfamiliar regions of thought, feeling and poetic vision, con- 
 stitutes a task to which modern literature since Dante offers no 
 parallel. And when the difficulties of the text are overcome, then 
 there is the poem as an entirety. In a very real and important 
 sense it has unity, and so must be studied as an artistic whole. At 
 the same time it is by no means free from incongruities. More- 
 over, owing partly to its slow and desultory genesis, partly also to 
 the very nature of the subject and of the poet's plan, different por- 
 tions differ greatly in matter and style and in the kind of appeal 
 they make to the reader's interest. The comprehension of these 
 various parts, both in themselves and in their relation to the 
 whole, is an important part of the study. 
 
 But the essential character of Faust is its symbolism, which pre- 
 sents living issues of modern culture in a setting of old popular 
 legend. To acquire a right feeling for this symbolism, so as to 
 make of it neither too much nor too little, so as to get out of the 
 poem in the reading just what its author put into it, no less and no 
 more, this is what is hardest and at the same time most vitally 
 important. To aid here is the chief purpose of this Introduction. 
 This object will be attained best, however, not by discussing sym- 
 bolism in the abstract, but by describing minutely the genesis of 
 the poem. To know what Goethe put into Faust we must study
 
 X INTRODUCTION. 
 
 the origin of its different portions in connection with his contem- 
 porary moods and experiences. To understand the poetic artist we 
 must first know the man thoroughly and then watch him at his 
 work. This is simply to follow his own well-known rule : 
 
 SSer ben 3)td)ter hriH Berfteljen 
 2Jhifj in 3)ici)ter8 ?onbc gefyen. 
 
 A famous passage from Dichtung und Wahrheit will serve as a 
 convenient starting-point. In speaking of his first intimacy with 
 Herder at Strassburg, which began in September, 1770, Goethe 
 writes : 
 
 Most carefully I hid from him my interest in certain subjects 
 that had taken root with me and were now little by little trying to 
 develop themselves into poetic forms. These were Gotz von Ber- 
 lichingen and Faust . . . The significant puppet-play legend of the 
 latter echoed and buzzed in many tones within me. I too had drifted 
 about in all knowledge and early enough had been brought to feel 
 the vanity of it. I too had made all sorts of experiments in life 
 and had always come back more unsatisfied and more tormented. 
 I was now carrying these things, like many others, about with me 
 and delighting myself with them in lonely hours, but without writ- 
 ing anything down. Especially, however, I hid from Herder my 
 mystic-cabbalistic chemistry and what pertained to it, though I 
 was still fond of busying myself with it in secret in order to develop 
 it into a more consistent form than that in which it had come to 
 me.'* 
 
 This passage calls for a retrospect in two directions. First we 
 must see what that ' puppet-play legend ' was that had so impressed 
 Goethe in his youth. Then we must inquire into those personal 
 experiences which led him to see in Faust a symbol of himself. 
 
 * Werke, XXVII., 320. (References to Goethe's works are, wherever possible, to the 
 Weimar edition now appearing. Werk* means the ' works ' proper, or first ' Abtheilung ' 
 of the edition; Natitnvisstruchaftliche Schriften the second, Tageb'iicher the third, 
 Brief* the fourth. Whenever the needed volume of the Weimar edition is not yet out, 
 the Hempel edition will be referred to.)
 
 INTRODUCTION. XI 
 
 II. 
 THE DATA OF THE LEGEND. 
 
 The puppet-play referred to by Goethe was an outgrowth of an 
 earlier popular drama performed by actors of flesh and blood. 
 This popular Faust-drama made its appearance about the beginning 
 of the seventeenth century, but in order to understand its charac- 
 ter we must go still further back to the origin of the Faust-legend 
 itself. 
 
 Of the actual personage whose life gave rise to the legend very 
 little is known ; it has even been argued that the whole tradition is 
 mythical. Modern scholars are well agreed, however, on the 
 strength of three or four notices found in the writings of men who 
 claim to have known Dr. Faust, that there was a man of that name 
 who went about Germany in the first half of the sixteenth century 
 and passed himself off on credulous people as a great magician. 
 Philip Begardi, a physician who published an Index Sanitatis at 
 Worms in 1539, speaks of Faust in this work as a notorious charla- 
 tan who had travelled about the country ' a few years ago,' calling 
 himself philosophus philosophorum, etc., and cheating people out of 
 their money by fortune-telling, necromancy, magical healing and 
 the like. Begardi was acquainted with many people who had been 
 deluded by Faust's large promises and small performance.* 
 
 In an age when every one believed in magic it was natural that 
 people should soon begin to credit Faust with actually doing the 
 kind of things he said he could do.f Thus, even in his lifetime, 
 his name came to be associated with marvellous feats of magic ; and 
 
 * The historical Faust does not greatly concern us. The notices relating to him can 
 be found in many places ; e. g., in the essay of Diintzer upon the Faust-legend, published 
 in Vol.V., of Scheible's Kloster, in the same writer's Introduction to his commentary upon 
 Goethe's Fatat, and in Kiihne's ' Programm ' Uber die Fausttagt. For exact biblio- 
 graphical data concerning books referred to in this Introduction and in the Notes see Ap- 
 pendix I. at the end of the volume. 
 
 t Cf . Scherer, Das iilteste Faust-Buck, p. vi-vii.
 
 xii INTRODUCTION. 
 
 when, about the year 1540, he met with a violent death under ob- 
 scure or mysterious circumstances, the mythopoeic imagination of 
 the people was ready with its explanation : he had been carried off by 
 the devil whose aid had enabled him to do his wonders. The myth 
 once started, Faust speedily became a new representative of a type 
 long familiar to European superstition, the type, namely, of the 
 wicked magician who, for some transitory favor of pleasure, power, 
 knowledge or the like, sells his soul to the devil. What was in cir- 
 culation about former copartners of the devil began to be repeated, 
 with local additions and variations, concerning Faust.* Thus 
 grew up a mass of fables which, toward the end of the century, 
 were collected, put together into something like a narrative and 
 published as a Historia -von D. Johann Fausten dem weitbe- 
 schreyten Zauberer und Sch wartzkun stler. f This book appeared in 
 1587, at Frankfurt-on-the-Main. Its publisher was Johann Spies, 
 who says in a preface that he had the manuscript from a good friend 
 in Speyer.' The unknown author, apparently a Lutheran pastor, 
 writes with a very definite and intensely serious purpose, which is to 
 warn his readers against magic and the black art. The book is full 
 of Bible quotations and bears on its title-page the motto : ' Resist 
 the devil and he will flee from you.' The story told is in brief this : 
 
 * The following quotation will serve to show at once how early the legend had taken 
 shape and in what kind of soil it grew. It is from the Ser manes Con-vivales of the Basel 
 preacher Johann Cast. The book was printed in 1543. Cast writes of Faust : ' I dined 
 with him in the great college at Basel. He had given the cook birds of different kinds to 
 roast. I do not know how he got them, since there were none on sale at the time. He 
 had a dog and a horse which, in my belief, were devils, as they could do everything. Some 
 said the dog occasionally took the form of a servant and brought him food. The wretch 
 met a terrible end, for he was strangled by the devil.' Later notices also give to Faust a 
 ' black dog which was the devil.' 
 
 t Of the original Faust-book, first edition, there are now known to exist, according 
 to Engel, ZusammensteUung der Favit-Sckriften, p. 59, only five copies. It is, however, 
 obtainable in various reprints: (i) in facsimile, Das alteste Faust-Buch, mit einer Einleit- 
 ung- von Wilhelm Scherer, Berlin, 1884 ; (2) Das alteste Faustbucfi, mit EMeitung und 
 Anmerkungen von August Kiihne, Zerbst, 1868 ; (3) Dot Volksbuch vom Doctor Faust, 
 in Braune's Nevdruck* deutscker Littraturwtrke, Halle, 1878.
 
 INTRODUCTION. Xlll 
 
 Faust, the son of a peasant living near Weimar, is brought up 
 by a rich uncle at Wittenberg, where, in due time, he studies the- 
 ology at the university and takes his degree with distinction. Be- 
 ing, however, of a ' foolish and arrogant ' (we should say, a bold 
 and original) mind, he gets the name of ' speculator,' and begins 
 to study books of magic. Soon he repudiates the name of a 
 * theologus ' and becomes a ' Weltmensck? calls himself a ' doctor of 
 medicine,' 'astrologer,' etc., and goes about healing people with 
 herbs, roots and clysters. Having thus ' taken eagles' wings to 
 himself, and resolved to search into all things in heaven and earth,' 
 he carries his madness to the extent of trying to evoke the devil. 
 Going into the woods near Wittenberg, at night, he succeeds, after 
 much ado, in raising a subordinate devil who appears in the guise 
 of a monk. Faust demands that this spirit shall come to his house 
 the next day at midnight, which the spirit does. Then, after va- 
 rious preliminary ' disputations,' in one of which the spirit gives his 
 name as Mephostophiles,* the pair enter, at Faust's solicitation, 
 into an agreement. Mephostophiles agrees to bestow upon Faust 
 the form and nature of a spirit, to be his faithful and obedient ser- 
 vant, to come to his house whenever wanted, and there either to 
 remain invisible or to take any desired shape. In return, Faust 
 agrees that after a certain period, fixed later at twenty-four years, 
 he is to belong to the devil, and that meanwhile he will renounce 
 the Christian faith, hate all Christians, resist all attempts to con- 
 vert him, and sign this covenant with his own blood. 
 
 For a while Faust remains at home seeing no one but Mephosto- 
 philes and his famulus, an < insolent lubber' called Christoph Wag- 
 ner, who had formerly been a worthless vagabond. At first Mephos- 
 tophiles amuses Faust and Wagner (who is in his master's secret) 
 with various manifestations, and feeds them on princely food and 
 drink purloined from the neighboring castles. So Faust leads ' an 
 epicurean life ' day and night, ceases to ' believe in God, hell, or 
 devil, 'f and thinks that soul and body die together.' He desires 
 a wife, but marriage being a Christian ordinance, the devil objects 
 and finds other ways to gratify his lust. He also provides a great 
 book dealing with all sorts of magic and ' nigromancy.' Faust's 
 curiosity being excited, he asks his familiar all sorts of questions con- 
 
 * On the forms of the name see note to line 242+, of the text. 
 
 t Chap. X. This curious feature of the legend which makes Faust skeptical with re- 
 gard to hell and the devil even while he is on intimate terms with an envoy of hell and is 
 daily doing wonders in the devil's name, is worthy of special notice.
 
 XIV INTRODUCTION. 
 
 cerning the spirit- world. Long 'disputations' ensue respecting 
 hell, the hierarchy of devils, the fall of the recreant angels, etc. 
 Mephostophiles' account of Lucifer's former estate brings Faust to 
 tears of remorse over his own folly ; still he will not repent and 
 return to God and the church, but persists ,,in alien jeinen opinioni- 
 bus unb 2Ret)nungen." Presently the devil refuses to answer further 
 questions, whereupon Faust becomes a calendar-maker, and turns 
 his attention to physics and astronomy. In such pursuits seven 
 years pass. 
 
 In the next eight years we hear of only two adventures. Faust 
 desires to visit hell, and Mephostophiles brings it about that Beelze- 
 bub calls for him at midnight, takes him up into the air in an ivory 
 chair, puts him asleep and lets him dream of hell in the belief that 
 he is really there. Afterward he ascends into the sky in a car 
 drawn by dragons and spends a week among the stars. In the 
 sixteenth year he conceives a desire to travel on earth ; so Mephos- 
 tophiles converts himself into a ' horse with wings like a drome- 
 dary,' and bears him to all parts of the world. In this way he 
 visits many lands, seeing their sights, enjoying their pleasures, and 
 performing all sorts of conjuror's tricks. At Rome he plays pranks 
 upon the pope. At Constantinople he visits the Sultan's harem in 
 the role of Mahomet. At the court of Charles V. he counterfeits 
 the forms of Alexander the Great and his wife. Again he conjures 
 a stag's horns upon the head of a knight, swallows a peasant's cart- 
 load of hay, and saws off his own leg and leaves it in pawn with a 
 Jew. Toward the end he spends much time in revelry with certain 
 jolly students. On one occasion some of these wish to see Helena 
 of Greece, whereupon Faust produces her for their diversion. 
 Later he takes Helena as a concubine and has by her a son Justus 
 Faust, who loretells future events for his father. 
 
 As the end of his career approaches Faust regrets his bargain 
 and bewails his fate in bitter tears and lamentations. The devil 
 tries to console him, but insists inexorably on the contract. On 
 the last day of the twenty-four years, having previously willed his 
 property to Wagner, Faust goes with his boon companions to an 
 inn near Wittenberg, treats the company to good food and wine, 
 informs them ruefully of his situation, and tells them that the devil 
 is to come for him at midnight. They then separate. At the 
 hour named the students hear a terrible sound of hissing and 
 whistling, and in the morning on going to look for him they find 
 no Faust,' but only his mangled body lying on a heap of refuse.
 
 INTRODUCTION. XV 
 
 The gist of this story, as seen by those who created it, is the 
 awful fate of a bad man who is led by the study of magic into deal- 
 ings with the devil. The league with the devil is not the root, but 
 the fruit of Faust's badness, which consists, primarily, in an unholy 
 intellectual curiosity. A promising theologian, he is not content 
 with traditional theology, but wishes to know all things in heaven 
 and earth.' This desire itself is. sinful. Men should be content 
 with what is revealed in the Word. Faust essays to get the 
 desired knowledge by the study of magic, but this study is sinful. 
 Knowledge and power may, to be sure, be got in that way, but 
 they are got by the devil's help and men are commanded to resist 
 the devil instead of making friends with him. Hence the logic of 
 the catastrophe. Faust's wicked desire is gratified. For a while 
 he lives as a superior being and lords it over time and space. But 
 he does this by the devil's aid and the devil must have his pay, and 
 his pay is the soul of his dupe. 
 
 Speaking broadly and from a modern point of view, * what we 
 see in the Faust-legend is the popular Protestant theology of the 
 Reformation period expressing itself upon the great intellectual 
 movement of the Renaissance ; upon the new spirit of free inquiry, 
 of revolt against narrow traditions, of delight in ancient ideals of 
 beauty. Faust is a representative of this spirit. It might seem at 
 first as if there were but little likeness between him and the great 
 humanists, but there are two traits which connect him with them, 
 namely, his interest in secular science and his love of antique 
 beauty. The lovely pagan Helena, as well as physics and astron- 
 omy, is one of the devil's tools for entrapping the soul of Faust. 
 In this connection it is noteworthy that a very early tradition con- 
 nects Faust with the University of Erfurt, then the great seat of 
 German humanism. f There he is represented as lecturing upon 
 
 * On the historical import of the Faust-legend, cf. Erich Schmidt, Charakteristiken, 
 pp. 1-37, Kuno Fischer, Goethe's Faust, p. 21, ff., and Scherer's Introduction to his fac- 
 simile edition of the original Faust-book. 
 
 t Cf. Scherer, GeschichU der deutschen Littiratur, p. 273.
 
 XVi INTRODUCTION. 
 
 Homer and calling up the shades of Homeric heroes to illustrate 
 his lecture. Again he participates in a discussion on the utility of 
 Latin comedy as reading-matter for the schools. In this Faust we 
 see a genuine colleague of the humanists. 
 
 Thus it would seem as if the legend, in working out the charac- 
 ter and career of Faust, had intentionally made him a wicked secu- 
 lar counterpart to Luther. At least the parallel, as drawn by 
 Scherer,* is very striking. Both Luther and Faust are occupied 
 with the old humanities at Erfurt, but Luther turns his back on the 
 sensuous lures of paganism and meets his need of woman's love by 
 marrying him a wife in accordance with divine ordinance, while 
 Faust yields to lawless passion, rejects marriage at the devil's 
 advice, and takes Helena as a paramour. Both live at Wittenberg, 
 the cradle of the Reformation, Luther as the reverent student and 
 expounder of the Bible, Faust as a despiser of scripture and a 
 searcher after forbidden knowledge. Both visit Rome, where 
 Luther is shocked by the prevailing license, Faust cynically amused 
 to find that others are no better than himself. Luther shies his 
 inkstand at the devil, Faust makes friends with him ; Luther is a 
 devout believer, Faust a reckless skeptic. 
 
 For a time the Faust-narrative proved very popular and new 
 editions and translations came out in rapid succession. f In 1599 
 G. R. Widman published the story with an elaborate commentary, 
 and his account, it would seem, became the chief source of the 
 subsequent versions. J Widman differs in many particulars from 
 the original Faust-book, but the details do not concern us here. 
 In general he gives to the legend a more decidedly anti-Catholic 
 tinge and deprives it of its poetry. In his hands Faust loses the 
 character of a titanic philosopher who ' takes eagles' wings to him- 
 self ; he is, rather, a promising youth led into bad ways through 
 
 * Faust-Buck, p. xxi. 
 
 t For exact bibliographical data, see Engel, Zusammenstellung, p. 57 ff. 
 
 t Widman's work is reprinted in Scheible's Kloster, II., 273 ff.
 
 INTRODUCTION. XV11 
 
 contact with the magic of the Catholic church. The episode of 
 Helena Widman only refers to in a foot-note ; he will not offend 
 chaste ears and hearts by relating it. In 1(374 a new edition* 
 of Widman's work was published by C. N. Pfitzer, a Niirnberg 
 physician, and Pfitzer's book was re-issued in abbreviated 
 form early in the following century by an anonymous editor 
 styling himself a man of Christian sentiments ' (von einem 
 Christlich Meynenden) .f This little book was widely sold and must 
 have been familiar to the boy Goethe at Frankfurt. J Indeed it 
 was here, or in Pfitzer, that the author of Faust found the hint for 
 his Gretchen. On the strength, probably, of some tradition that 
 had escaped or scandalized Widman, Pfitzer and his anonymous 
 successor tell of Faust's falling in love with a poor but beautiful 
 servant-girl. At first Faust tries to seduce her ; then when her 
 virtue turns out to be proof against his wiles, he proposes to marry 
 her. From this purpose he is frightened by the devil, who gives 
 him the fair Helena in the girl's stead. 
 
 But it was the popular Faust-drama, more than the narrative, 
 which kept the subject alive for the German people during the 
 seventeenth and eighteenth centuries, as it was also the drama, in 
 the form of a puppet-show, which impressed the young Goethe with 
 the significance of the legend. Of this drama as performed by 
 living actors no text is extant. Indeed it was not a drama in a 
 critical or literary sense, but a popular show presented from age to 
 age by strolling companies, with variations and improvisations to 
 suit the time or the views of the manager. But in spite of their 
 variety these shows were of the same general type and conformed 
 
 * Reprinted by A. von Keller, Tubingen, 1880. 
 
 t Reprinted, with a good Introduction by Szamatolski, as No. 39 of Goeschen's 
 Deutsche Litteraturdenkmale. This reprint is from a copy of the year 1725, the earliest 
 known. 
 
 t It is, however, certain that Goethe was not confined to this book and the puppet- 
 play for his knowledge of the legend. See also below, under the heading 'Gretchen.' 
 
 Szamatolski, p. 23.
 
 XV111 INTRODUCTION. 
 
 broadly to a traditional text which now appears to have been 
 derived from Marlowe's Faustus as brought to Germany by English 
 players and performed there early in the seventeenth century.* 
 Marlowe's Faustus was written in 1589, the poet getting his knowl- 
 edge of the story from the translated English Faust-book which 
 appeared before Feb. 28, 15894 The play follows the legend 
 closely in spirit and in details. It begins, after an expository 
 chorus, with a soliloquy in which Faustus expresses his dissatisfac- 
 tion with philosophy, law, medicine and theology, and resolves to 
 study magic. He is warned by a good angel that he will do this 
 at the peril of his soul, but he is captivated by the vision of the 
 wonderful things he will be able to do and enjoy as magician, and 
 so decides to ' conjure though he die therefore.' Going into the 
 woods at night he brings up a spirit, Mephistophilis, with whom he 
 arranges terms of service for twenty-four years, promising to give, 
 at the end of that time, his body and soul to Lucifer. Then follow 
 the disputations, travels and tricks, as in the legend. Again and 
 again Faustus would fain repent and save himself, but is always 
 persuaded that he cannot, that it is too late. At the last, in an 
 agony of remorse and fear, he is carried off by devils. 
 
 Thus we see that Marlowe takes the theology of the legend as he 
 finds it and gives us a simple tragedy of sin and damnation. His 
 Faustus is a depraved soul that wilfully follows the lower instead of 
 the higher voice, and suffers the consequences he had himself fore- 
 seen. The poet, to be sure, makes his hero doubt the reality of 
 hell,$ but this skepticism sits lightly upon him, and we feel that 
 under the circumstances he has no right to be skeptical. The 
 compact is a plain matter of purchase and sale. Faustus has had 
 before him an emissary of hell in bodily form, and this emissary 
 has assured him that heaven and hell are supreme realities. Never- 
 theless he says to himself 
 
 * Cf. Creizenach, Geschichte des Volksschauspitls vom Dr. Faust, chapters i and 2. 
 ,. f Cf. Zarncke, in Anglia, IX., 610. 
 
 I "Come, I think hell's a fable" ; act II., sc. i.
 
 INTRODUCTION. XIX 
 
 " The god thou serv'st is thine own appetite," 
 
 and forthwith proceeds to sell his soul for a mess of pottage. The 
 pottage is purveyed in accordance with the agreement, and the 
 devil gets his own. 
 
 There is reason to think that Marlowe himself treated his sub- 
 ject rather seriously, making but little use of clown scenes and 
 hocus-pocus to amuse the crowd. These things, however, were 
 called for by the popular taste, and after Marlowe's death, in 1593, 
 his text underwent extensive interpolations of that kind. It was 
 this Faustus, thus amplified, which was taken to Germany and 
 played there, with other English plays, by English actors.* The 
 earliest performance of which we chance to have a record was at 
 Graz in 1608. f Very soon the subject was taken up by com- 
 panies of German actors who, whether they really owed anything 
 to Marlowe or not, at least followed the same general line of 
 treatment. Of this German Faust-play as performed in the 
 seventeenth century our knowledge is scanty, more ample, how- 
 ever, for the eighteenth century. By that time it had become a 
 spectacular extravaganza in which the clown, under the various 
 names of Pickelharing, Hans Wurst, Harlekin, Crispin, Casper, 
 (his part was usually taken by the manager of the company J) was 
 the main center of interest. The story of Faust, while its serious 
 import was not altogether lost sight of, was treated as a convenient 
 thread on which to string all sorts of grotesque and grewsome 
 diablerie. Thus a performance given at Frankfurt in 1767 (Goethe 
 was then in Leipzig), was advertised as a ' grand machine comedy,' 
 with specific attractions like these : (i) Faust's dissertation in his 
 museum (study) as to whether he shall pursue theology or micro- 
 
 * At these performances it was customary, for the clown to speak German, while the 
 other actors used English an arrangement which tended from the outset to give the 
 clown at once a factitious importance and an episodical character. Cf. Creizenacb, 
 p. 69. 
 
 t Creizenach, p. 45. 
 
 t Creizenach, p. 148.
 
 XX INTRODUCTION. 
 
 mancy' (necromancy).' (2) 'Faust's remarkable conjuration at 
 night in a dark wood, whereat various infernal monsters, furies, 
 spirits (among these Mephistopheles) appear amid thunder and 
 lightning.' (3) 'Crispin makes fun with the spirits in the magic 
 circle.' (4) ' Faust's contract with hell ; the document carried off 
 by a raven through the air.' (5) Crispin opens a book in Faust's 
 library and little devils come out.' (6) ' Faust's journey through 
 the air with Mephistopheles,' and so on. At the last Faust is 
 carried off to hell by furies and the play concluded with a ballet of 
 furies and a ' grand display of fire-works ' representing hell.* 
 
 But it would be a mistake to suppose that such performances as 
 this were still common as late as 1767. Long before that, the old 
 popular plays with their prominent clown, their coarse humor, their 
 fondness for fantastic supernaturalism, their indifference to literary 
 standards, had fallen into disrepute in high-toned circles. An arti- 
 ficial taste had grown up which looked to the classical drama of 
 France as the model of all excellence. Dr. Faust and his theat- 
 rical associations had become ridiculous and vulgar ; so that it re- 
 quired the boldness as well as the insight of a Lessing to take a 
 stand against the swelling tide of correct but vapid imitations of the 
 French and to come to the rescue of the old German plays. In his 
 memorable seventeenth Literaturbrief, published in 1759, Lessing 
 argued that the spirit of the English drama, rather than the French, 
 was best adapted to the German people. ' In our tragedies,' he 
 insists, ' we want to see and think more than the timid French trag- 
 edy gives us to see and to think. The grand, the terrible, the 
 melancholy, works better upon us than the nice, the delicate, the 
 love-lorn.' Later in the same letter he writes : ' Our old plays really 
 contain much that is English. To take only the best known of 
 them : Dr. Faust has a number of scenes such as only a Shake- 
 spearian genius would have been able to conceive. And Germany 
 was, in part still is, so enamored of its Dr. Faust. .' After this 
 
 * Creizenach, p. n, 12.
 
 INTRODUCTION. XXI 
 
 Lessing gives a specimen of a Faust-scene such as he would like to 
 see. 
 
 The effect of Lessing's letter was to rescue the Faust-theme from 
 the disrepute into which it had fallen and to make it seem available 
 for the higher purposes of poetry. A new Faust-tragedy thus became, 
 as Schroer expresses it, a problem of the age.* Lessing himself, 
 as is well known, attacked the problem, and it is matter for lasting 
 regret that his Faust never saw the light, though Providence had 
 better things in store than any solution which he could have offered. 
 There is no evidence, however, that Goethe was directly influenced 
 by Lessing's letter, though he must have read it. He came by 
 his interest in the subject in his own way, the way of the puppet- 
 play. To this we must now turn. 
 
 When the old popular Faust-play was retired in disgrace from 
 the theaters, that was by no means the end of it ; it found refuge 
 with a class of men who cared very little for critical theories of the 
 drama, namely, the showmen who amused the young with their 
 wooden puppets. The play soon fell altogether into the hands of 
 these men and by them the earlier dramatic tradition has been con- 
 tinued more or less intact down to our own time. In the early 
 years of this century these plays became objects of scientific interest, 
 so that reports of performances, and in due time complete texts, be- 
 gan to find their way into print. To-day we have a considerable col- 
 lection of them.f differing a good deal of course in minor dramatis 
 personae and in details of plot, but still conforming to the same 
 general type. Unfortunately none of these plays, as we know them, 
 can be identified with the one which Goethe saw. Indeed he may 
 have seen more than one. Still, by a comparison of those we have, 
 
 * In the Introduction to his edition of Faust, p. xxiii. 
 
 t Six were printed forty years ago by Scheible, V., 732 ff. These and several others, 
 eight in all, were studied by Creizenach in 1878. Since that time has appeared Dot 
 Schioiegerlingsche Puppenspiel votn Doktor Faust, herausgegeben von A. Bielschowsky, 
 Brieg, 1882. The latter is based on a stenographic report of a performance given at 
 Brieg in 1877. It is supplied with a good Introduction, and contains, in six parallel col- 
 umns, a conspectus of the plots of five puppet-plays and Marlowe's Faustus.
 
 XXil INTRODUCTION. 
 
 we can form at least a rough mental picture of the ' legend ' that was 
 ' buzzing' in his thoughts at Strassburg in 1770. 
 
 Some of the plays begin with a prologue in hell. Charon com- 
 plains to Pluto that he does not get souls enough for his ferry. 
 Pluto promises to increase his custom by sending devils to mislead 
 men. In one case he promises specifically to have Mephistopheles 
 beguile Dr. Faust of Wittenberg into the study of magic. Most 
 of the plays, however, begin with a brooding soliloquy of Faust, in 
 which he explains why he has taken to magic. Usually it is because 
 he has found no satisfaction in theology. A supernatural voice at 
 his right warns him, while one at his left encourages. In the next 
 scene, as a rule, Wagner comes in and announces that two students 
 have just brought a mysterious book, a clavis de magica or the like. 
 Faust is delighted and Wagner now secures permission to employ a 
 fellow-servant for the coarse house-work. The clown comes and is 
 engaged by Wagner for this position. Faust now proceeds to conjure 
 with the book, but in his study instead of in the woods. Various 
 devils appear and Faust selects the swiftest, Mephistopheles, with 
 whom he contracts for twenty-four years' service, signing the paper 
 in his own blood. He then demands diversion and Mephistopheles 
 spirits him away to some princely court, usually that of the Duke of 
 Parma. After he is gone the clown comes, gets into Faust's magic 
 circle, cites the devils to appear, and amuses himself with them. 
 Faust now conjures for the amusement of the court, calling up ap- 
 paritions of Alexander, David and Goliath, etc. Meanwhile the 
 clown has followed him and contrives to betray the secret of his 
 new master's power. Faust becomes an object of suspicion and is 
 compelled to go away. Then he appears as a penitent. He would 
 return to God, but Mephistopheles beguiles him with the gift of 
 Helena. After this we have a scene in which the clown, as watch- 
 man, calls out the hours of the night. At the stroke of twelve 
 Faust is carried off by devils or furies. 
 
 We come now to our second retrospect. Goethe tells us, it will
 
 INTRODUCTION. XX111 
 
 be remembered, that he had ' drifted about in all knowledge and 
 early enough come to feel the vanity of it ' ; also that he had ' made 
 all sorts of experiments in life and always come back more unsatis- 
 fied, more tormented.' And then there was his ' mystic-cabbalis- 
 tic chemistry.' Let us see precisely what these experiences had 
 been, which formed the soil that nourished the roots of Faust. 
 
 III. 
 
 PREPARATORY EXPERIENCES OF GOETHE. 
 
 In the fall of 1765 the boy Goethe was deemed ready to leave 
 his father's house in Frankfurt for the university. His own desire 
 was to study the old humanities at Gottingen, but his father insisted 
 upon Leipzig and the law. To Leipzig he accordingly went; 
 cherishing the secret purpose to trouble himself but little with juris- 
 prudence, but to devote himself to those studies which best prom- 
 ised to develop the poet in him.* Half diverted from this purpose 
 by Professor Bbhme, to whom he brought letters from home, he 
 took up certain law-lectures only to find them a bore and presently 
 to drop them : he knew, or thought he knew, all that the lecturer 
 saw fit to impart. He began a course in logic, but the study ap- 
 peared to him frivolous ; instead of teaching him to think, it taught 
 him to pick his old simple thoughts to pieces. With philosophy 
 it went no better ; that too seemed a matter of words. Of the 
 subject in hand,' he writes, ' of the world, of God, I thought I knew 
 about as much as the teacher himself. ' \ His highest hopes he set 
 on the famous Professor Gellert, but Gellert proved to care more 
 for good handwriting than for poetry. A course in Cicero's De 
 Oratore, under the distinguished Ernesti, turned out a little, but 
 not much, more helpful. ' What I wanted,' Goethe writes, ' was a 
 standard of judgment, and this no one seemed to possess.' J 
 
 # Werke, XXVII., 50 ff. 
 t Werke, XXVII., 53. 
 $ Werke, XXVII., 67.
 
 XXIV INTRODUCTION. 
 
 What wonder if, under such circumstances, having failed to find 
 a single line of appetizing study, the young student should fall 
 into a pessimistic frame of mind respecting the whole round of 
 academic pursuits? What wonder if it may have seemed to him, 
 in an occasional savage mood, that the learning of the learned was 
 little else than a hypocritical farce of words paraded as a cover for 
 ignorance ; a floating bog of conventional verbiage, in which a 
 firm standing-ground of positive knowledge was nowhere to be 
 found? We must of course guard against reading too much 
 of the later Goethe into the life of the youngster at Leipzig. It 
 was no doubt later that moods like these threw their deepest 
 shadow ; but even now he began to feed on the very food in all 
 the world most fitted to beget them. In a letter of Oct. 12, 1767, 
 he calls the sentiment phis {que) les mceurs se raffinent, plus les 
 hommes se dipravent, a ' truth most worthy of reverence.' This 
 wonderful truth ' came to him, no doubt, from the great apostle 
 of nature, Jean Jacques Rousseau.* The sentiment is the burden 
 of Rousseau's famous prize Discourse of 1750, and if the main the- 
 sis so pleased our young philosopher of seventeen, it is fair to pre- 
 sume that he was no less captivated by the diatribes against the 
 learned which abound in the same essay. Rousseau's doctrine was 
 that civilization is corruption. Its arts and sciences and other 
 boasted refinements have substituted for the good simplicity of 
 nature a bad web of conventionalities, prominent among which 
 are the idle researches and the hair-splitting quibbles of the learned. 
 
 Thus Goethe found in Rousseau the antithesis : nature versus 
 traditional book-learning, f He heard a voice telling him with 
 passionate eloquence, that the life of the scholar, ' poring over 
 miserable books,' is contrary to nature. And this voice found in 
 
 * Careful search has failed to discover these exact words in Rousseau's writings, but 
 the Rousseau tinge is unmistakable. The young Goethe, who often wrote French at this 
 time, seems to be stating in language of his own an idea that he had got from 'reading a 
 French book. 
 
 t Or, as Fischer puts it in German, Umatur gegen Unnatur.
 
 INTRODUCTION. XXV 
 
 his own being a responsive chord which a little later was to be 
 heard vibrating in the great symphony of Faust.* 
 
 Outside the university, too, the Saxons quarreled with the young 
 Frankfurter's opinions, his poetic taste, even his clothes, his man- 
 ners and his language, and insisted on making him over without 
 convincing him that they were right and he wrong. At the end of 
 a year's residence we find him writing that he begins to be ' rather 
 dissatisfied with Leipzig.' He has quite fallen out with ' society,' 
 and delights to shut himself up in Auerbach's Hof with his new 
 friend Behrisch and laugh at the Leipzig people. f This Behrisch 
 was a droll genius with a cynical bent and a talent for persiflage. 
 He was eleven years older than Goethe. Memories of these con- 
 ferences in Auerbach's Hof and of jolly times in the ' cellar ' below, 
 lingered in the mind of the younger man and were turned to ac- 
 count in Faust. They furnished hints not only for the scene 
 'Auerbach's Cellar,' but also for the student scene, in which, in 
 its earlier form, Mephistopheles talks very much as we can imagine 
 Behrisch to have talked, with his youthful auditor's approval, on 
 these occasions. Therp is evidence, also, that Behrisch con- 
 tributed in less innocent ways to the initial conception of Mephis- 
 topheles. In an extant letter to him Goethe imagines himself 
 playing the very part toward a virtuous girl which Faust plays 
 toward Gretchen.|| Besides these things there is nothing in 
 
 * E. g., lines 386-446, 1064-1125. 
 
 t Briefe I., 82. On the locality cf. the general note to the scene 'Auerbach's 
 Cellar.' 
 
 Lines 1868, ff. 
 
 II Letter of Nov. 7, 1767, Briefe, I., 133. The writer, be it remembered, sins only 
 in thought, but his language is noteworthy. The seduction of a virtuous girl is an ' affair 
 of the devil' which he, the writer, were he not afraid, would undertake to carry through 
 after ' fourteen days' preparation ' (cf. Faust, line 2640). And Behrisch is his ' teacher.' 
 The passage ends thus : " Und der Ton und ich zusammen ! Es ist komisch. Aber ohne 
 zu schworqn ich unterstehe mich schon ein Madgen zu verf wie Teufel soil ich's nen- 
 nen. Genug Monsieur, alles was sie (Sie) von dem gelehrigsten und fleissigsten ihrer 
 Schiiler erwarten konnen." Note the " schon " and cf. Faust, line 2645.
 
 XXvi INTRODUCTION. 
 
 Goethe's Leipzig life that has an obvious bearing upon his great 
 poem. His law studies continued to bore him as often as he gave 
 them a chance. In a letter of October 12, 1767, he writes his sis- 
 ter in a cynical vein of the courses he is pursuing. After dilating 
 on the shortcomings of his teachers and the stupidity of their subject- 
 matter he exclaims : ' So you see how much complete knowledge 
 a studiostts juris can have. I'll be hanged if I know anything!' 
 By this time, however, his poetic ardor, which for a time had left 
 him completely in the lurch, had returned in full force. His pas- 
 sion for Annette Schonkopf caused him to seek relief from the 
 torments of a jealous lover by depicting the type in Die Laune des 
 Verliebten, his earliest play ; while reminiscences of Frankfurt life 
 in its lower strata led to the conception of a second drama, Die 
 Mitschuldigen. He also found at last helpful guidance and con- 
 genial occupation at the home of the artist Oeser. He was learn- 
 ing many other things, if not much law, when, in the summer of 
 1768, a severe internal hemorrhage sent him home. 
 
 Returning to Frankfurt he found himself doomed for a long time 
 to the role of an invalid. A dangerous illness held him in its grip, 
 bringing him more than once to the brink of death, deepening his 
 character and giving to his thoughts a serious cast. ' In my ill- 
 ness,' he writes to Annette Schonkopf, ' I have learned much that 
 I could have learned nowhere else in the world.'* This alludes, 
 no doubt, to his religious experiences under the tutelage of the pious 
 Fraulein von Klettenberg, the ' beautiful soul ' whom he afterwards 
 immortalized in Wilhelm Meister. This good lady interested her- 
 self deeply in his spiritual condition, and tried to have him make 
 his peace with God in her way. He tells us that he proved but a 
 stubborn pupil, since he could not persuade himself that he had 
 been a very great sinner. f Still, subsequent letters of his show 
 
 * Brief e, I., 183. 
 
 t Werkt, XXVII. ,201.
 
 INTRODUCTION. XXV11 
 
 that he was for a time much affected by these pious ministrations.* 
 He became for a season very devout, and this period of quickened 
 religious feeling has left its mark here and there upon the language 
 ot Faust.] 
 
 Of importance also were the studies in magic and alchemy which 
 he now took up. His physician was a member of Fraulein von 
 Klettenberg's pietistic coterie, and a believer in alchemy. He 
 claimed to have a panacea which he had made but dared not use 
 for fear of the law. He also gave out that his wonderful remedy 
 could be made, indeed, since there were personal moral factors 
 involved, could best be made, by each one for himself; and he was 
 in the habit of recommending certain books that would be helpful 
 in this direction. In December, 1768, Goethe was taken suddenly 
 and violently ill so that he despaired of life. The anxious mother 
 persuaded the doctor that now, if ever, was the time for the cure-all. 
 Reluctantly the doctor administered his salt and the patient forth- 
 with began to improve. J This was enough for Fraulein von Klet- 
 tenberg. She became at once deeply interested in the wonderful 
 medicine, and through her Goethe says he was himself ' inoculated 
 with the disease.' He set about reading the doctor's books and as 
 soon as possible equipped a laboratory and began a line of fantastic 
 experiments with retort and crucible. 
 
 The first of the books read was Welling's Opus Mago-Cabbalisti- 
 cum et Theosophicum. This is a German treatise dealing with 
 alchemy, magic, astrology, etc. The first part treats of salt, the 
 second of sulphur, the third of mercury. It is illustrated with cab- 
 balistic drawings and has various appendixes relating to the philos- 
 opher's stone. The whole is intensely Christian, the argument 
 
 * ' I am as I was, save that I am on a somewhat better footing with our Lord 
 God and his dear son Jesus Christ ' ; letter of April 13, 1770, Brie/e, I., 232. 
 
 t E. g., lines 771-85, 1178-85, 1210-19. 
 
 % This story of the wonderful medicine, supposed by Loeper (Goethe's Werke, Hempel 
 edition, XXL, 352) to have been sodium sulohate or Glauber's salt, is found in Dichtung 
 vnd Wahrheit, bk. 8.
 
 XXV111 INTRODUCTION. 
 
 being based throughout on quotations from the Bible. Its intellec- 
 tual character will appear from this specimen : ' So then it must 
 surely and incontestably follow for the adept (Naturgeiibten) that 
 fire, salt and gold are at the root absolutely one and the same in 
 kind, and that the red solar and the white lunar sulphur are in 
 their basis and origin identical, namely, spiritual gold and silver; 
 and that he who knows these two sulphurs, and knows how to find, 
 compound in the right proportion, unite and fix them, must neces- 
 sarily come to see the splendid, radiant, indestructible and immortal 
 body of the man Adam.'* Reminiscences of Welling's jargon 
 freely adapted f meet us in Faust, lines 1 034 ff. 
 
 Once embarked on this line of study, the young convalescent 
 with time on his hands began following up Welling's references to 
 older authorities and so was led to concern himself with Paracelsus, 
 Van Helmont and others. A work that gave him particular 
 pleasure, he tells us, was the so-called Aurea Catena Homeri, % in 
 which he found ' nature represented, though fantastically, in a 
 beautiful concatenation.' This conception of nature as a grand 
 harmony of interconnected parts, each with its own relation to the 
 activity of the whole, underlies Faust's vision of the macrocosm. 
 
 But the most important result of these lucubrations was doubt- 
 less, as Loeper suggests,! the idea of a spiritualized nature, the 
 conception of the world as a living manifestation of divinity. This 
 conception fell in well with his own early prepossessions. As a boy 
 he had felt that the God who stands in immediate relation to 
 nature, recognizing it as his work and loving it, was the real God.' || 
 At the same time the Bible taught him that this Creator of the 
 world could enter into close relations with men. And so as a boy 
 
 * Page 30. 
 
 t Treated " nach eignem Belieben," as Goethe says in Dichtung und Wahrfuit: 
 Werke, XXVII., 204. 
 
 t Cf. A urea Catena Homeri, von Hermann Kopp, Braunschweig, 1880. 
 Goethe's Werke, Hempel edition, XXI., 350. 
 II Werke, XXVI., 63.
 
 INTRODUCTION. XXIX 
 
 he had actually built an altar and burned incense in order to draw 
 near ' to the great World-God in good Old Testament fashion.' 
 And now he found his mystical alchemists teaching, or rather 
 assuming as a matter of course, that nature is altogether spiritual ; 
 that all things we see and touch are but so many transformations 
 or emanations of the same divine spiritual essence. In Welling 
 there are none of our modern distinctions of the inorganic, the 
 living, the conscious and the spiritual. All things are spiritual. 
 Thus he actually speaks of an Air-spirit (Luft-Geist, p. 13), and 
 of a Spirit- World {Geist-Welt, not Geister-Welt, p. 170), and it 
 is an accident if he does not speak of a Star-spirit, or a Tree-spirit. 
 But now Goethe, just before leaving Leipzig, had been deeply 
 impressed by the religious views of his friend Langer. Langer 
 belonged,' so Goethe writes, ' to those who cannot conceive a 
 direct relation to the great World-God; hence he required a 
 mediation, the analogue of which he thought he found everywhere 
 in earthly and heavenly things.' * Such a mediation is the Earth- 
 Spirit of Faust a personification of divine power as manifested 
 specifically on the earth. 
 
 It would be idle to inquire how far the young Goethe believed in 
 this loref ; enough that he found here that which the poet in him 
 could feed upon. His scientific and philosophic intellect was all 
 unschooled, and Spinoza had not yet come to clear the air for him. 
 Might there not be something in it, after all, this occult wisdom 
 that had for ages occupied the best minds in Europe ? Might not 
 this wonderful Nature, could one but properly get into communica- 
 tion with the divinity that speaks in her visible forms, have some 
 strange high secret to tell ; some simple, universal, joy-giving mes- 
 sage that should put an end to the uncertain lot of humanity,' ren- 
 
 * Werkt, XXVII., i 9J . 
 
 t At the end of the eighth book of Dichivng und Wahrkeit Goethe himself attempts to 
 describe retrospectively the peculiar Weltanschauung at which he had now arrived. He 
 calls it a mixture of Hermetism, mysticism and cabbalism, on the basis of neo-Platonism.
 
 XXX INTRODUCTION. 
 
 der the weary plodding of the schools absurd, and make man a 
 partaker in the life of the gods ? 
 
 It was under the spell of such vague, vain dreams as these that 
 the puppet-play magician, who had devoted himself to magic out of 
 disgust for traditional learning, began to acquire for Goethe a new 
 and personal interest : he saw in Faust a symbol of his own striv- 
 ings. In a letter of Feb. 13, 1769, he compares himself with a 
 ' night-brooding magus,' and says further on : 'A great scholar is 
 seldom a great philosopher, and he who has laboriously turned the 
 leaves of many books despises the easy simple book of nature ; and 
 yet there is nothing true but what is simple '. Add to this that 
 Goethe speaks of Faust as a subject that had (already) taken root' 
 in his mind at Strassburg in the autumn of 1770, and we shall have 
 no occasion to doubt the accuracy of the poet's memory when, in a 
 letter to Zelter, written June i, 1831, he dates the first conception 
 of Faust back to the year 1769. 
 
 But the moment the young dreamer began to identify himself 
 with Faust, that moment it was all up with the wickedness of the 
 old magician. For the son of the eighteenth century could see no 
 damnable perversity in any man's aspirations for higher, clearer, 
 surer, simpler, more inspiriting knowledge than he had thus far 
 found. Nor could the possession of power, as an accessory of 
 knowledge, seem to him anything else than an unmixed blessing. 
 And so the Faust of the legend soon began to take on the features 
 of a misunderstood and maligned searcher after truth. Here, too, 
 Goethe was helped by his reading. One of the books read with 
 great interest at this time, he tells us,* was Arnold's Kirchen- und 
 Ketzergeschichte. From this he learned that many a famous heretic 
 whom orthodox tradition has labelled crazy' or 'godless,' was in 
 reality a man of the highest purposes, who taught what he taught 
 because he believed it to be the truth. Thus he was led to ponder 
 on the sad fact that it is the man of exceptional insight and nobility 
 
 * Wtrk* XXVII., 217.
 
 INTRODUCTION. XXXI 
 
 of motive whom the people are most prone to crucify, or to pillory 
 posthumously as a monster of wickedness.* An instance of this 
 was presented in Paracelsus, with whom, as we saw, Goethe was led 
 to concern himself in this year of fruitful idleness at Frankfurt. 
 
 Paracelsus was born about 1490. Setting out to learn the heal- 
 ing art (his father was a physician) he applied himself to the usual 
 studies, but soon became disgusted, forsook the schoolmen and 
 went to live among the miners of Tyrol. Here he studied chemis- 
 try, mineralogy and the facts of disease, in his own way. Acquiring 
 reputation thus, he was in the prime of life made town-physician of 
 Basel and soon after appointed to lecture on medicine at the Uni- 
 versity. Here he bitterly denounced the traditional medical learn- 
 ing of the day and insisted on the importance of studying facts 
 rather than old opinions. The violence of his assaults upon vener- 
 able authorities soon involved him in trouble and he was forced to 
 leave Basel. He then entered upon extensive wanderings which 
 lasted many years. In 1541 the Archbishop of Salzburg offered 
 him a home and protection. He accepted the offer, but died that 
 same year. 
 
 Here was a new picture for the mental gallery of our young poet : 
 A gifted youth impatient of tradition ; his father a physician de- 
 voted to the old, blind routine, himself an ardent seeker after 
 higher things ; this youth as man driven from his university chair 
 by ignorant prejudice for telling the truth as he had learned it at 
 first hand in the school of nature ; for yeajs a wanderer on the face 
 of the earth ; a moment of settled, orderly activity with high 
 hopes for the future, then, death. Insensibly the features of the 
 legendary Faust blended in Goethe's mind with those of the actual 
 Paracelsus. 
 
 Such, then, were the musings which Goethe took with him when, 
 in the spring of 1770, with health nearly restored, he again left 
 home to resume his law studies at Strassburg. Had these musings 
 
 * Cf. Faust, lines 590-3.
 
 XXX11 INTRODUCTION. 
 
 taken dramatic form ? Had he made any progress in the elabora- 
 tion of a plot? Was the figure of Gretchen already in his mind? 
 These are queries to which no positive answer can be given, but 
 an affirmative guess seems on the whole the more plausible. Of 
 one thing, however, we may be sure : Had he commenced writing 
 at this time, the result would have had little similarity in form or sub- 
 stance to the earliest scenes of Faust as we know them. To pro- 
 duce these he needed that general awakening and liberation which 
 came to him at Strassburg, chiefly through the influence of Herder. 
 Thus far he had been but little affected by the new ideas that were 
 beginning to make themselves felt in the field of German letters. 
 At Leipzig he had fallen naturally into the ways of the French 
 'school,' that is, he had learned to think of poetry as the accom- 
 plishment of the cultivated, a matter of regularity, rhetorical point, 
 and elegance of diction. He had himself written two plays in 
 alexandrines, and a number of songs that speak more of the con- 
 scious craftsman than of the glowing soul. And whatever he had 
 written had usually been praised by admiring friends. 
 
 But now at Strassburg, after he had been there some five months, 
 enjoying life in a congenial and stimulating society, studying a little 
 law, and a little medicine, and reading this and that in a desultory 
 way, he came for the first time into contact with a man of powerful, 
 keen, original intellect ; a man who, though only five years older 
 than himself, was already the author of published writings which 
 showed him to be the peer of Lessing in knowledge and critical in- 
 sight. And this man did not praise him at all, but ridiculed him 
 and found fault with him at every turn. For Herder the Frenchified 
 German poetry of the day was simply an abomination. In his pub- 
 lished writings he had attacked the prestige of the word ' classi- 
 cal,' and insisted that the essence of poetry is ' singing nature.' 
 Especially he had dwelt upon the idea that good poetry must be 
 deeply rooted in the national character of the people. Every people, 
 he had argued, expresses itself first in poetry, which is thus the
 
 INTRODUCTION. XXX111 
 
 mother tongue of humanity. Its mission is to speak from the heart 
 and to the heart of the people in the people's language. 
 
 The views of Herder were somewhat extreme and one-sided. He 
 undervalued the formal, artistic side of poetry, and his conception 
 of ' nature ' and ' the natural,' like that of Rousseau and the eigh- 
 teenth century sentimentalists generally, was more or less fantastic 
 and unsound. Still, considering the time and the prevailing taste, 
 his ideas were wholesome. In any case, set forth as they were 
 with a dogmatic positiveness that would brook no opposition or 
 qualification, they could not fail to make a deep impression upon 
 Goethe. At Herder's instigation he began to collect popular songs 
 and to study Ossian and Homer, and very soon he had caught the 
 full force of that intoxication which was to be known to posterity as 
 the storm and stress period.' French authors and French taste 
 were abjured as antiquated and worthless. Nature, originality, 
 force, these were the new watchwords. Down with the rules 
 and conventions that hinder the free flight of genius ! such was 
 the battle-cry. 
 
 We see now why Goethe hid his interest in Faust from Herder. 
 It was not that he was ashamed of the subject, for that, as being 
 intensely German, was of the very kind to commend itself to him 
 under the new light ; but he dreaded harsh and unsympathetic criti- 
 cism. So he kept his musings to himself, but continued to ponder 
 and to read on the theme, as leisure offered itself in the intervals of 
 his academic pursuits and his visits to Sesenheim. For we have 
 now reached the period of his romance with Friederike Brion, which 
 was also in its way a part of his preparation for Faust. Friederike, 
 a girl of eighteen, was the daughter of a Lutheran pastor living at 
 Sesenheim, a few miles from Strassburg. Being introduced at the 
 Brion house by a fellow-student, Goethe at once fell in love with 
 Friederike, who was also pleased with him. For a while the ro- 
 mance was allowed to take its course with no thought of the future, 
 but presently Goethe saw that all his own interests, both higher and
 
 XXXIV INTRODUCTION. 
 
 lower, required him to retreat. For this act of unromantic perfidy, 
 which common sense has always found it easy to justify, his own 
 conscience did not acquit him. There is a faint echo of remorse 
 in the fact that for some time to come he is very deeply interested 
 as poet in a certain tragic situation, namely, that of a simple, naive 
 girl with a ' superior ' lover whose worldly plans would be interfered 
 with by marriage. The situation recurs in four of his early plays. 
 In the first, Gotz von Berlichingen, the tragic nemesis falls only on the 
 perfidious lover : Weislingen is poisoned and Marie gets a better 
 husband. In Clavigo, Marie dies of a broken heart, while her 
 worthless lover is killed by her brother. In Egmont, the lover re- 
 mains faithful, but Clarchen, having given her honor and therewith 
 her worldly all, for love's sake, voluntarily follows Egmont to death. 
 In Faust, the tragic pathos is thrown altogether upon the girl : she 
 suffers an appalling fate, but her lover goes unpunished save by his 
 own conscience. 
 
 In August, 1771, Goethe returned, as a licensed practitioner of 
 law, to Frankfurt, where he remained until the following May, 
 when he went to Wetzlar. In speaking of this period he says that 
 Faust ' was already well under way,'* an expression which, while it 
 does not prove that anything had yet been written down.f does 
 suggest that the plan of the work must have been pretty clearly 
 worked out by that time. This accords, too, with a statement of 
 Goethe in a letter written to Wilhelm von Humboldt, March 17, 
 1832, in which he says that the ' conception ' of Faust, clear from 
 the first in the days of his youth, had lain in his mind over sixty 
 years. f What was this conception? We shall find abundant evi- 
 dence of vacillation and change affecting both plot and characters. 
 We know that the poet's plan ' in a certain sense grew with his 
 
 * " War schon vorgeriickt " ; Werke XXVIII., 98. 
 
 t If anything had been written at this time, it was in prose. See below, p. xxxviii. 
 t " Es sind iiber 60 Jahre, dass die Conception des Faust bei mir jugendlich, von 
 vorn herein klar, die ganze Reihenfolge hin weniger ausfiihrlich vorlag."
 
 INTRODUCTION. XXXV 
 
 own growth, and that the bulk of what was to go into the poem 
 could not have been foreseen at this time. What, then, was that 
 ' general conception ' to which he was fond of insisting in his old age 
 that he had remained faithful from the first? The question can 
 only be answered conjecturally and with more or less liability to 
 error. It must be answered, too, in rather general terms. Stated 
 in the form of a project the plan was something like this : 
 
 The legend will furnish the external setting and costume of the 
 drama, and the puppet-play, with its popular tone, its free use of the 
 supernatural, and its indifference to conventional technique, will 
 supply a rough outline of the action. But the characters will speak 
 the thoughts and feelings of Goethe and his contemporaries. First, 
 Faust will be introduced as a young university teacher, chafing 
 under the limitations of his knowledge, and hence devoting himself 
 to magic. This Faust will proceed to conjure with a book as in 
 the puppet-play. At this point, however, Goethe will deviate from 
 the legend. His Faust will call up neither a number of devils from 
 whom to chose the swiftest, as in the puppet-plays and in Lessing's 
 Faust, nor yet the ' prince of hell ' as in the Christlich Meynenden 
 narrative, but, instead, the Earth-Spirit, a personification of terres- 
 trial nature in her restless, awe-inspiring, inscrutable energy. 
 Then, just as the prince of hell in the legend refuses, on the ground 
 that he is a sovereign, to do Faust's will, but promises to send, and 
 then does send, a minion of his to be the magician's servant,* so 
 Goethe's Earth-Spirit, as a being of higher order, will spurn Faust's 
 friendly advances, but will after all send a spirit of inferior rank, 
 with whom the magician can enter into relations of intimacy. As 
 the Earth-Spirit vanishes, Faust will be interrupted by his famulus 
 Wagner, to whom he will proceed to lay down the law anent the 
 foolishness of the book-worm's ideals. Mephistopheles will then ap- 
 pear in the form of a dog, and, so the poet now intends, remain in 
 that form for a while as Faust's familiar before taking human shape.
 
 XXXVI INTRODUCTION. 
 
 Then, somehow, an alliance between the two is to be provided for, 
 but the poet has not now in mind, in 1772, an agreement like that 
 introduced later in lines 1692 ff. As friend and servant of Pro- 
 fessor Faust, Mephistopheles will be given an opportunity to advise 
 a newly-arrived freshman with respect to academic life. Very soon, 
 however, Faust will leave his professorship to assume the r61e of a 
 gay young cavalier seeing the world with his friend. First he will 
 appear in Auerbach's Keller and perform there various tricks as- 
 cribed to him in the legend. Then he will fall in love with Gret- 
 chen. Led on by imperious passion, but without becoming a con- 
 scienceless villain, he will ruin her and cause the death of her 
 mother and brother. Fleeing arrest he will be away from her for a 
 time, and then, learning somehow that she is in prison for child- 
 murder, will return in a frenzy of remorse to liberate her, and will 
 thus be a witness to her half-insane ravings and her death in the 
 prison. Then (the transition not yet provided for), he will go to 
 a princely court and do conjurer's tricks for the amusement of the 
 great. Somehow (the scene not yet clearly motivated), he will 
 be united with Helena and have by her a marvellous son. At last 
 he will find a settled activity of some large and useful kind, and die 
 happy in the thought that his name will live after him and that 
 coming generations will profit by the good work he has done. 
 
 And will this Faust be saved ? Suffice it to say, for the present, 
 that he is at any rate not to be damned as in the legend. A young 
 poet of a serious turn does not deliberately send his own soul to 
 hell. Moreover this poet is a Pelagian in theology. He tells us so 
 expressly in explaining how he came to drift away from the pietists.* 
 They believed in total depravity, he did not ; they in passive reli- 
 ance on divine grace, he in active self-help. This Pelagianism now 
 underlies subconsciously his conception of Faust. God is the Eternal 
 
 * At the beginning of the fifteenth book of Dichtung und Wahrheit. The passage is 
 important for the understanding of Faust. See also below p. lix and cf. the note to lines 
 
 J38-Q.
 
 INTRODUCTION. XXXV11 
 
 Pardoner. If a man means well and strives,' he will not be lost 
 for following the impulses of his nature whereof God is the author. 
 He may go wrong, but his wrong-doing will be a mistake, and God 
 pardons mistakes. Still this matter of his hero's final ' salvation' 
 is not now prominent in his thoughts. As man and as poet he 
 is interested deeply in this world, but not much in the legendary 
 heaven and hell. In fact, as we shall see,* he has substituted 
 for the supernatural powers of tradition, conceptions of his own, 
 which render the question of ' salvation ' in the traditional 
 sense all but meaningless. At any rate it is perfectly certain that 
 he has never intended for a moment that his Faust, like that of the 
 legend, should go to perdition at the last. 
 
 Regarding Goethe's preparation for the first stage of his poem as 
 now complete, let us see how the text as we know it took shape 
 under his hands. 
 
 IV. 
 
 THE GENESIS OF THE FIRST PART. 
 
 I. The Pre-Weimarian Scenes. 
 
 The portion of Faust now to be considered had its origin in the 
 most fervid period of Goethe's youthful storm and stress, being 
 contemporary with the grandiose titanism of Prometheus, the 
 brooding Weltschmerz of Werther, the stormy passion of Clavigo 
 and Stella, and the wild satirical humor of Satyros and Pater Brey. 
 It was for the poet a time of utmost mental tension, of swiftly 
 changing moods and manifold excitements ; of high-soaring dreams 
 and thoughts of suicide ; of lonely, rapturous communions with 
 nature and of enthusiastic friendships. It was the time also of his 
 love for Lili. 
 
 Work with the pen upon Faust is commonly thought to have be- 
 gun in 1773, but it is quite possible that certain scenes were writ- 
 
 * Below, p. lix.
 
 XXXV111 INTRODUCTION. 
 
 ten down in prose the preceding year. Not until early in I773 
 however, is Goethe known to have employed anywhere the Hans 
 Sachs KniMelvers, or doggerel tetrameter, which is the prevailing 
 meter of the earliest scenes of Faust. That the composition was 
 in progress during 1773 we have at least two indications: first, a 
 remark of Goethe in a letter from Italy dated March i, 1788, to the 
 effect that the writing out of Faust was a very different thing then 
 from what it was fifteen years before ; secondly, the fact that 
 Goethe's friend Cotter, in a jocose letter of July, 1773, asks for a 
 copy of Faust as soon as its author shall have stormed it out.'* 
 
 The year 1774 furnishes several notices relating to Faust. In 
 the summer of that year Goethe recited to F. H. Jacobi the ballad 
 of the ' King of Thule.'f Boie visited Goethe in October, 1774, 
 and was much impressed by certain scenes of Faust that were read 
 to him. Dec. 20, 1774, Knebel wrote to Bertuch: I have a mass 
 of fragments from him (Goethe), amongst others some belonging 
 to a Dr. Faust, in which there are some very fine things indeed. 
 He pulls the bits of manuscript out of every corner of his room.' 
 For the year 1775 we have various notices, partly in Goethe's own 
 letters, partly in those of his friends, which show that Faust was 
 progressing and had already acquired a good deal of celebrity in 
 literary circles. After the poet's settlement in Weimar no further 
 progress can be traced for some twelve years, during which he be- 
 came another man. 
 
 * "Schick mir dafiir den Doctor Faust, 
 Sobald dein Kopf ihn ausgebraust ! " 
 
 Goethe met Cotter at Wetzlar in the summer of 1772. The verb " ausbrausen " sug- 
 gests that Gotter knew not only that his friend had a Faust under way, but also something 
 of its character. Had Goethe, who returned to Frankfurt in the fall of 1772, read from 
 his prose Faust-scenes to Gotter at Wetzlar ? Did Gotter know by hearsay that the new 
 Faust would be ' stormy ' ? Or did he simply assume that anything written by the Goethe 
 whom he had known would be ' stormed out' ? Cf. Herbst, Goethe in Wetzlar, p. 154. 
 
 t Dichtungund Wahrheit, bk. 14. There is no certainty, however, that the ballad 
 was originally written for Faust. Cf. Kogel in Vierteljahrschrift fur Lilteraturge- 
 tchichte I., 59.
 
 INTRODUCTION. XXXIX 
 
 The chaotic Faust-manuscript which Goethe took with him to 
 Weimar in November, 1775, has never been found, and its charac- 
 ter and contents were until quite recently matters of speculation. 
 Very lately, however, through a lucky accident, the loss of the orig- 
 inal manuscript has been in part made good. At some time during 
 his early years at Weimar, Goethe loaned his Faust to Fraulein 
 Luise von Gb'chhausen, a maid-of-hbnor at the court, and she 
 transcribed it at length in a manuscript book of literary extracts. 
 Here the copy remained unnoticed among the effects of the Goch- 
 hausen family until January, 1887, when it was accidentally discov- 
 ered by Erich Schmidt, who at once published it.* The copy 
 shows verse and prose mixed up together in true Shakespearian 
 style. The word * act ' or ' scene ' is not employed, but each 
 separate dramatic picture is headed with a sort of stage-direction 
 indicating the situation. There is evidence that the copying was 
 done with very great'care. 
 
 The Gochhausen Faiist consists of some twenty ' scenes,' of 
 which all but the first three pertain to the tragedy of Gretchen. It 
 begins with a scene substantially identical in form and matter with 
 the present lines 354-605 ; containing, that is, Faust's first solilo- 
 quy, vision of the macrocosm, dialogue with the Earth-Spirit, and 
 dialogue with Wagner. Next comes a conversation between Meph- 
 istopheles and a student. The text is mainly that of the present 
 lines 1868-2050, but instead of the cynical comments on law and 
 theology, we find the devil warning the youngster against girls and 
 gaming, and recommending him to Frau Sprizbierlein's boarding- 
 house. After this comes Auerbach's Cellar,' the first eight lines 
 in verse as in the final version, the remainder of the scene, except 
 the songs, in prose. The matter of the dialogue corresponds 
 pretty nearly to that of the later version, but one noteworthy fact is 
 that here Faust and not Mephistopheles performs the tricks. The 
 
 * Goethe's Faust in urspriinglicher Gestalt nach der Gochhausenschen Abschrift her- 
 ausgegeben von Erich Schmidt. 3. Abdruck. Weimar, Bohlau, 1894.
 
 Xl INTRODUCTION. 
 
 next scene is a short one of four verses containing a dialogue be- 
 tween Faust and Mephistopheles about a cross they are passing. 
 The lines were rejected in the revision and published with the Para- 
 lipomena. This is followed by the tragedy of Gretchen, substan- 
 tially as we know it from the final revision. The earlier scenes, 
 Faust's meeting with Gretchen, his rakish talk with Mephistopheles 
 about her, their visit to her room with the jewels, her girlish glee 
 over the ornaments, the talk about the greedy priests, the scene at 
 Martha's house with the Padua story, the dialogue about bearing 
 false witness, the promenade and summer-house scenes, all these 
 are, aside from spelling and insignificant textual differences, the 
 same and the same in sequence, as in the present text. Directly 
 after 3216, however, comes the lyric monologue 2fteine 3hil) tjl 
 Ijitt," followed by the catechism scene and the scenes ' At the Well' 
 and ' Zwinger.'* Next comes the scene * Cathedral ' with the ex- 
 plicit heading ' Obsequies of Gretchen's Mother.' After Gretchen's 
 swoon comes the speech of Valentin, lines 3620-45, then a short 
 dialogue between Faust and Mephistopheles comprising the present 
 lines 3650-59, and then the verses 3342-69. Then follow the 
 prose scene, but without the heading Dismal Day,' the witch scene 
 at the place of execution, and the final scene ' Prison,' the latter in 
 prose throughout and without the consoling ' voice from above ' at 
 the end. 
 
 At first it was generally assumed that this so-called ' Urfaust ' 
 told the whole story respecting the progress of Goethe's great poem 
 up to the time of his removal to Weimar. Very soon, however, 
 it became evident that such is not the case. There is matter in the 
 First Part which is not in the Gochhausen manuscript, but is 
 shown by evidence of style and language to be of early origin. f The 
 probability is that the sheets which came into the hands of Fra'u- 
 
 * On the meaning of this untranslatable word see the general note to the seen* 
 'Zwinger.' 
 
 t Cf. Vierteljahrschriftftir Litteraturgeschichte, II., 545 ff.
 
 INTRODUCTION. xli 
 
 lein Gochhausen were a ' clean copy ' of such scenes and parts of 
 scenes as Goethe himself at the time regarded as complete. Other 
 sheets containing bits of dialogue and partly elaborated concepts,' 
 the meaning and connection of which would hardly be clear to any- 
 one but himself, were retained by him. It is also very likely that 
 he took with him to Weimar, in various stages of mental elabora- 
 tion, Faust-scenes that he had not written down at all. 
 
 But while we must be on our guard against supposing that no- 
 thing in the poem can be of pre-Weimarian origin unless it is found 
 in the Gochhausen manuscript, the ' Urfaust ' is still of very great 
 importance, since the study of it shows us clearly how the Faust- 
 theme had presented itself to the poet in his early years, and what 
 aspects of it had interested him. In the first place there had risen 
 prominently into the field of his imagination the figure of Faust pre- 
 vious to the compact. This Faust he had conceived, partly on the 
 basis of the puppet-play, partly on the basis of personal experience, 
 as a youngish professor oppressed by a sense of the vanity of his 
 learning, and sick at heart of shamming knowledge before his stu- 
 dents ; as a man who is not troubled by the devils and spooks of 
 the theological sm?ll fry about him, and so has none of their 
 reasons for dreading magic ; a man, however, who does believe in 
 the divinity of nature, and, being possessed of vague longings for 
 wonderful knowledge, power and happiness, supposed to be 
 obtainable through communication with elemental spirits, has de- 
 voted himself to magic, to see if he can get into such communica- 
 tion. This initial conception the young artist had then developed 
 with true poetic instinct by means of two powerful contrasts : Faust 
 the pigmy in presence of the Earth-Spirit, a symbol of the vast, 
 inscrutable, unfeeling energy of nature, that nature which had 
 seemed to Werther an eternally devouring monster '* ; then, 
 Faust the giant in presence of Wagner, the contented book-worm 
 happy in chewing the cud of traditional learning. 
 
 * " Ich sehe nichts als ein ewig verschlingendes, ewig wiederkauendes Ungeheuer " ; 
 First Part of Werther, letter of Aug. 18.
 
 Xlii INTRODUCTION. 
 
 Then, in the second place, the poet had caught and fixed a 
 vision of the same Faust after the salto mortale with Mephistopheles. 
 This Faust he had conceived as a rakish seducer, subject, how- 
 ever, to qualms of conscience and fits of high sentiment ; a ' super- 
 sensual, sensual lover ' ; a wanderer without home and without ties, 
 who yields all too easily to the pull of lawless passion and then, 
 when he learns of the ruin he has wrought, falls into a paroxysm of 
 rage and remorse. 
 
 Then, thirdly, there was the figure of Gretchen, whose tragic 
 story, unfolded in a series of powerful pictures, had soon overshad- 
 owed all else in the poet's interest. 
 
 These were the principal features of the Faust that Goethe took 
 to Weimar. Incidentally, however, he had found in the theme an 
 opportunity to record some of his reminiscences of academic life. 
 The dialogue between Mephistopheles and a newly arrived fresh- 
 man offered a superb setting for his satirical humor, while a scene 
 of coarse revelry in Auerbach's Cellar suggested itself naturally both 
 on legendary and on personal grounds. It is possible that these 
 student scenes, which in the Gochhausen Faust are here and there 
 somewhat boyish, were the first portions of the poem to be thought 
 out. 
 
 Turning now from what is in the Urfaust ' to what is not in it, 
 we note first that the transition from the first to the second Faust, 
 from the disgruntled professor to the ready libertine, the introduc- 
 tion of Mephistopheles and the motivation of his permanent con- 
 nection with Faust, are still to be provided for. Secondly, there 
 is a noteworthy gap in the love-tragedy : it is necessary to account 
 for Faust's long absence from Gretchen during the time of her ex- 
 tremity. Insipid joys '* have been promised, but the picture has 
 yet to be filled in. Thirdly, all that part of the action which was 
 to follow the death of Gretchen is still untouched. 
 
 * Prose scene, ' Triiber Tag," line 10. The ' Urfaust ' has " in abgeschmackten Freu* 
 den " instead of the later " in abgeschmackten 2erstreuungen." /
 
 INTRODUCTION. xliii 
 
 And when we pass from the matter of plot to that of portraiture, 
 we are struck, first of all, by the fact that the character of Faust is 
 here somewhat hard and unamiable. He discloses but little suscep- 
 tibility to the higher and holier moods of humanity. One is not 
 quite prepared, to be sure, for his sudden depravity as lover of 
 Gretchen, but the dissonance is much less sharp than in the final 
 version, since nothing has gone before that makes such rakishness 
 unthinkable.* Goethe has imagined a man whose disgust with 
 study and sense of limitation have become an acute disease, so that 
 he is ready to break with the moral order ; and then, in adjusting 
 this conception to the legend, the poet has chosen to ally his Faust 
 with that particular devil of his own acquaintance whose whisper- 
 ings were referred to above. f There was no inner necessity for so 
 doing. There is no natural connection between an unsatisfied 
 craving for knowledge and libertinism. I would fain be a god, 
 but cannot, so I will be a Don Juan,' is not good psychology, not a 
 natural evolution of character, and in introducing it into Faust 
 Goethe prepared difficulties for himself. It is, of course, to be ad- 
 mitted that the idea of a disappointed dreamer resolving some day 
 in desperation to quit his brooding and enjoy himself in the world, 
 is in itself perfectly natural ; only one does not expect the leopard 
 to change his spots instantly on escaping from the cage. It may be 
 added, too, that the difficulties just referred to reside not so much 
 in the mere fact that the professor becomes a sensualist as that, in 
 so doing, he passes into a new world. The first Faust is the hero 
 of a symbolical action, who has to do with magic books and Earth- 
 spirits, but the second is the hero of a perfectly natural love-story. 
 As we shall see further on, this early interlocking of two worlds in 
 one and the same action was destined to make trouble. 
 
 Consistently with what has just been said, Mephistopheles ap- 
 pears in the ' Urfaust ' as a rake's friend who has nothing about him, 
 
 * That is, no such passages as lines 614-22, 762-84, 1009-10, 1178-85, 1194-1201,1210-23. 
 t Page rxv. , foot-note.
 
 xliv INTRODUCTION. 
 
 except perhaps his magic horses, to suggest that he is not an ordi- 
 nary human reprobate. His relation to Faust is that of a despised 
 but indispensable servant. There has been as yet no thought of a 
 compact like the one finally introduced. Faust can terminate his 
 relation with Mephistopheles at any moment.* Mephistopheles is 
 not concerned to win Faust by making sensual pleasure attractive, 
 but only to do as he is bid and in so doing to expose his master to 
 the torments of conscience. Faust uses his servant as an abettor 
 of his lust, but professes to despise him and occasionally denounces 
 him as a beast and a monster. f At the same time he insists that 
 he ' must ' do the bidding of this servant.^ Such a relation is ra- 
 tional only upon one supposition, namely, that Mephistopheles is a 
 personification of that instinct which leads a man to follow his sen- 
 sual promptings when he knows that his conscience will presently 
 put him on' the rack for it. In this way only can -we understand 
 this early Mephistopheles, this ' tormentor ' who has not yet re- 
 ceived any of the touches that make his later self, in the words of 
 Freytag, the ' most lovable of all devils. ' His character, as well 
 as that of Faust, awaits the deepening, broadening and sobering of 
 Goethe's own nature, which came with his first decade in Weimar. 
 
 2. The Fragment of 1790. 
 
 As was said above, there is no evidence of progress upon Faust 
 between 1775 and 1788, though Goethe's letters and journals for 
 this period give us a very complete record of his doings. || The rea- 
 sons for this stagnation of the work are well known. They are to 
 be sought at first in the manifold distractions, later in the engross- 
 
 * Line 2638. 
 
 t Lines 3207, 3536. 
 
 t Lines 3072, 3360. 
 
 Technik des Dramas, p. 48. 
 
 || The oft-repeated statement that portions of the Helena were read in the Weimar 
 court circle in 1780 is erroneous. It goes back to Riemer's Mitthetiungen II., 581, but 
 Riemer misconstrued a passage in Goethe's diary which referred to Hasse's oratorio of 
 Helena. Cf. Kuno Fischer, Goethe's Faust, p. 249.
 
 INTRODUCTION. xlv 
 
 ing duties of the new life ; then also in the gradual alienation from 
 his former self which came with the momentous change that took 
 place in his character and his conception of the poetic art. The 
 storm and stress subsided. Practical work exercised its sobering 
 influence. Intercourse with people of high refinement led to a better 
 opinion of form, in life as well as in art. His love for Frau von 
 Stein brought new ideals of womanhood and opened new vistas of 
 poetic creation. He began to look back with little pride or pleasure 
 upon the insurgent, formless, extravagant productions of an earlier 
 day. His feeling for nature underwent a change. Journeys to 
 Switzerland and the Harz, scientific observation, a riper knowledge 
 of Spinoza's philosophy, and, finally, the mere lapse of time, begot 
 a calmer attitude in presence of the world's mystery. The awful 
 Sphinx became the benignant Teacher, and the chief lesson she 
 had to teach was the lesson of bit-by-bil development, which led 
 him to recognize his own kinship with all that lives.* 
 
 Thus we understand why it was that the Weimar courtier, when 
 the spirit moved him to higher poetic creation, was not led to com- 
 plete the old projects, but to begin new ones like iphigenie and 
 Tasso, which accorded better with his present moods. And 
 we see, too, why even these new projects could not advance 
 to a satisfactory completion : the needed leisure and serenity of 
 mind were lacking. The poet felt himself ' entangled in a net ' 
 and the inner conflict between the artist and the man of affairs 
 produced at last a dissonance in his life which he himself refers to 
 as a ' terrible malady. 'f Release became imperatively necessary. 
 
 On escaping to Italy in September 1786, he took with him his 
 manuscript of Faust, but it is a year and half before we hear of 
 any work upon it. By that time his ' intellectual new-birth ' was 
 
 * Cf. Kalischer, Goethe's VerhaUniss zur Natunoissenschaft in the Hempel edition 
 of the works, XXXIII., p xlix., ff. ; also Thomas, Goethe and the Development Hypo- 
 thesis in the Open Court for March 15, 1888. 
 
 t Wtrke, Hempel edition, XXIV., 143. Cf. Thomas's Goethe's Tassa, p. xxxu.
 
 xlvi INTRODUCTION. 
 
 accomplished: the dissonance had disappeared and he had once 
 more 'found himself as poet. 1 Feb. 16, 1788, he writes from 
 Rome with regard to his literary work: ' Now there is almost 
 nothing more before my nose but the hill Tasso and the mountain 
 Faustus. I shall not rest day or night until both are finished. For 
 both I have a singular inclination and, of late, wonderful prospects 
 and hopes. All these resumptions of old ideas, these returns to 
 subjects from which I thought myself estranged forever, and to 
 which I hardly dreamed of being equal, give me great delight.'* 
 Under date of March i, 1788, in the Italienische Reise, we read : It 
 has been a fruitful week that seems to me in the retrospect like a 
 month. First the plan of Faust was made, and I hope I have been 
 successful in this operation. Of course it is a different thing, writ- 
 ing the piece out now from what it was fifteen years ago. I think it 
 will lose nothing in the process, especially since I believe I have 
 now rediscovered the thread. As to the tone of the whole, too, I 
 am of good cheer. I have lately worked out a new scene and, if I 
 smoke the paper, I should think no one would be able to pick out 
 the old matter.'f 
 
 This new scene, as we know from Eckermann.J was the 
 
 * Letter to Karl August ; Brief e, viii. , 347. 
 
 t This passage has given much trouble. Goethe speaks here of ' making the plan of 
 Faust,' as if he had not had a plan before, and further on, as if to reinforce this implica- 
 tion, remarks that the principal scenes had been written down "gleich so ohne Concept.'* 
 And yet in his old age, as we have seen, he insisted repeatedly that the conception of 
 Faust had lain clear in his mind from the days of his youth. The seeming inconsistency 
 is to be explained in this way : The early plan was vague and general on its philosophical 
 side. The young poet, starting, as always, from a mental picture rather than an abstrac- 
 tion, had conceived a career and had portrayed incidents of it here and there. But the 
 meaning of the career, and the inner logic of his hero's development had not been thor- 
 oughly thought out, and in painting his separate pictures he had paid little attention to 
 these things. When he resumed work in 1788, this was the matter that troubled him and 
 necessitated 'making his plan" anew. Years before, he had provided mentally for a 
 thread of dramatic logic on which his beads were to be strung, and had then lost that 
 thread. Now, in 1788, he felicitates himself for a moment as he thinks he has rediscov- 
 ered the old thread. In fact, however, he will find that the old thread ia worthless and 
 that he must provide a new one. See below p. lix. 
 
 t Gesprache mit Goethe, under date of Apr. 10, 1829.
 
 INTRODUCTION. xlvii 
 
 'Witch's Kitchen,' whereby the poet, now sojourning in the Villa 
 Borghese at Rome, had attempted to explain the transition from 
 the first to the second of the somewhat incongruous Fausts whose 
 pictures he found peering out at him from the old, yellow, thumb- 
 worn, unstitched manuscript that he had brought with him from the 
 foggy north. He had given his learned professor an elixir of youth, 
 which was at the same time a love-philtre, and had thus transferred 
 to the devil, in some measure at least, the initial responsibility for 
 Gretchen's ruin. Had this been his intention from the first? 
 Doubtful and yet possible. One reads the Gochhausen Faust in 
 vain for any suggestion that its hero was thought of as an old man. 
 He has been teaching ten years, which suggests a man in the prime 
 of life. All the emotions of the first Faust are those of youth, 
 specifically those of the youthful Goethe ; while those of the second 
 Faust are such as the young Goethe felt would have been his, had 
 he been the villain which he was not. The legend makes Faust 
 devote himself to magic soon after taking his degree. On the 
 other hand, the popular drama, needing a definite point of time for 
 its action, and fixing its attention mainly upon the awful fate of 
 Faust at the end of the twenty-four years, naturally introduced him 
 as an oldish man. One of the puppet-plays begins : ' Countless 
 years I have now been brooding,' etc.* So the artists, notably 
 Rembrandt, conceived Faust as an oldish man and this conception 
 has become the familiar one. Thus Goethe had good legendary 
 grounds for introducing his incipient magician as a man well along 
 in years ; and while it is very doubtful whether that was his inten- 
 tion at first, still he found nothing in what he had written which 
 was flatly opposed to such an assumption.! This assumption being 
 made, the rejuvenation of Faust's passions by means of a love-potion 
 presented itself as the simplest motivation of his conduct toward 
 Gretchen. 
 
 * The opening of the Schwiegerling puppet-play ; see above p. xxi. 
 t For the teacher of only ten years' experience might be thought of as having begun to 
 teach somewhat late in life.
 
 xlviii INTRODUCTION. 
 
 Besides this scene, in spite of Goethe's fine resolutions, Faust 
 seems to have made no more progress for some time to come. He 
 may have written some portion of the scene ' Forest and Cavern ' 
 while still in Italy, but this is uncertain. The hill ' prevailed over 
 the ' mountain ' and continued to prevail long after his return to 
 Weimar in June, 1788. By midsummer, 1789, Tasso was at last 
 complete, and not long afterwards, it would seem, Faust was again 
 taken up. By this time, however, Goethe had given up the 
 thought of finishing the work immediately. Just why, we can at 
 least guess. The ' plan' proved after all difficult to manage. The 
 happy creative mood, the joy in the resumption of old projects, 
 which had come to him for a moment in Italy, were not now always 
 at his command. Absorbed in reminiscences of the south, he 
 could not always go out of himself at will and return to the thoughts 
 and feelings of his early manhood. Perhaps the magnitude and the 
 technical difficulties of the subject oppressed him. Nevertheless, 
 his Faust had been promised for the new edition of his works just 
 then going through the press of Goschen at Leipzig ; and so it was 
 that he decided to half-satisfy the public and his own conscience by 
 revising and printing a portion of the scenes on hand under the 
 title Farist. Ein Fragment. This Fragment appeared then in 1790, 
 comprising, with two ' Singspiele,' the seventh volume of the new 
 works. Facing the title-page is an engraving by Lips, after Rem- 
 brandt, representing Faust as an old man gazing at a radiant cab^ 
 balistic circle in his window. 
 
 Comparing, now, the Fragment with the Gochhausen Faust, we 
 see at once that no little work had been done in preparing the 
 former for publication. Various kinds of changes are to be noted : 
 ( i ) minor orthographical and verbal changes in the interest of a 
 more correct and refined diction; (2) corrections made in the in- 
 terest of literary congruity; (3) suppression of old matter; (4) 
 addition of new matter, and (5) versification of prose. To go 
 somewhat into details, we note that, excepting changes of the first
 
 INTRODUCTION. 
 
 kind, the significant omission of the stage-direction which made 
 the Earth-Spirit appear ' in repellent form ' (cf. the note to line 
 481-}-), and the substitution in line 519 of the verse 
 
 <5 hrirb mein fdjonjks Hid gu nid)te ! 
 for the original 
 
 9hm werb id) tiefer tief 311 nidjte ! 
 
 the first scene, lines 354-605, is kept intact. After that, however, 
 comes a passage not found in the Gbchhausen manuscript and com- 
 prising the present lines 17701867. Then follows the student 
 scene considerably modified : the talk about girls, gaming and 
 Frau Sprizbierlein's boarding-house has been suppressed, and in 
 its place we have the famous lines on theology and law. After the 
 exit of the student and the satirical comment of Mephistopheles, 
 lines 2049-50, Faust reappears and we have the brief dialogue, 
 lines 2051-72, which is not in the ' Urfaust.' Next comes 
 ' Auerbach's Cellar,' in verse throughout, and with the r61e of magi- 
 cian assigned to Mephistopheles, Faust being converted into a dis- 
 gusted spectator. Next, the scene ' Witch's Kitchen,' already 
 spoken of; then the tragedy of Gretchen as in the Gochhausen 
 manuscript (minor verbal changes excepted) up to ' Zwinger,' be- 
 fore which is inserted the present ' Forest and Cavern.' After this 
 come the scenes ' Zwinger ' and ' Cathedral,' the Fragment ending 
 with Gretchen's swoon in the church. The Valentin monologue 
 and the three prose scenes which end the Gochhausen manuscript 
 are all omitted from the Fragment. 
 
 So we see clearly that the Fragment was the result of a deliber- 
 ate selection, much being withheld. On what principle was the 
 selection made? Obviously the poetic power of the scenes was 
 not the main criterion. Goethe was not intent on giving the pub- 
 lic random specimens of his best work on the Faust-theme. His 
 aim was rather to present those scenes with which he was satisfied ; 
 those which, both internally and in their connection, he felt to be
 
 1 INTRODUCTION. 
 
 in full harmony with his plan as it now lay in his mind ; so that at 
 some future time he could complete the drama by a process of 
 filling in, without retracting or greatly modifying anything that had 
 once been published. Secondarily, of course, he wished the Frag- 
 ment to be as intelligible as possible in itself. Accordingly he 
 inserted the lines 1770-1867, beginning abruptly with 
 
 llnb tt)d ber ganjen 2Jtenfd)l)eit jugetljeilt ifl, 
 
 thus providing a needed setting for the student scene* and at the 
 same time making it clear that Faust's motive in allying himself 
 with the devil for a grand tour of the world is to be a desire not of 
 pleasure simply, but of experience. With the introduction of this 
 idea the career of Faust acquires at once a new interest : we see 
 that he is not a mere sensualist, but a man bent on draining the 
 cup of life to its dregs. He is to leave his bookish pursuits and 
 participate to the fullest in the life of men, share in all its weal and 
 woe, and end the mad voyage with the shipwreck which is called 
 death. f In this strange program of Faust (one hardly knows 
 whether to call it grand or grandiose) we see a poetic reflection of 
 Goethe's own youthful 
 
 " Yearning for the large excitement that the coming years would yield."}: 
 
 As to what should precede line 1770, it is, of course, not to be 
 supposed that the mind of the poet was at this time a blank. Some 
 sort of ' concept ' he no doubt had, but as to the nature of it we are 
 
 * But this setting is not the one originally conceived. In the ' Urfaust ' Mephis- 
 topheles is made to appear ' in dressing-gown with a large wig on ' which shows that 
 the dialogue had not been thought of as taking place just before the pair set out on their 
 travels. The situation in the poet's mind had been rather something like this: Mephis- 
 topheles has become Faust's domestic servant and acts as a sort of famulus. In that ca- 
 pacity, he one day, in his master's absence, receives a caller and mystifies him when he 
 sees that the boy takes him for the famous Professor Faust. Cf. Vierteljahrsschrift fur 
 Litter aturgeschichte, II., 552. 
 
 t Line 1775; cf. below p. lix. and also the note on lines 1765-75. 
 
 t Cf. the significant passage at the beginning of Dichtung und Wahrheit, bk. 9.
 
 INTRODUCTION. 
 
 li 
 
 quite in the dark. One thing only is clear : the compact as finally 
 drawn up had not yet been thought of. This is shown by the so- 
 liloquy in lines 1851-67. The Mephistopheles who speaks here is 
 still the ' tormentor.' He would not have been made to use such 
 language as he does use if he had been thought of as having but 
 lately entered into a solemn agreement to serve Faust for life and 
 to let his chance of final reward depend on his satisfying}^ master 
 with some form of pleasure. 
 
 But if we find it hard to guess how far and in what way the 
 editor of the Fragment had mentally, for his own purposes, filled up 
 the gap between lines 605 and 1770, we can at least understand 
 the difficulties that beset him. The intellectual preparation of 
 Faust for his savage revolt against the moral order, and that, too, 
 in harmonious connection with a deeper and nobler conception of 
 his character, the introduction of Mephistopheles in such a way as 
 to let it appear thinkable that a man like Faust would wish to form 
 an alliance with him for life, the dramatic motivation of this alliance 
 itself (since a professor might easily give up his calling to see 
 what life is ' without formally leaguing himself with the devil) 
 all these were poetic problems which it was easier to postpone than 
 to solve. And so, postponed they were to be taken up ten years 
 later and carried to a solution, which, if not perfect in all its de- 
 tails, is, in a large view of the matter, admirable.* 
 
 And when the poet came to deal with his student scene, he saw 
 that some of it was rather puerile ; so he struck out this part and 
 replaced it with those genial but penetrating comments upon the 
 routine study of law and theology ;f comments drawn no longer 
 from the shallow cynicism of an all-too-knowing student, but from 
 the deep heart of the century. So, too, the original ' Auerbach's 
 Cellar ' appeared to him now as out of tune with his lofty argument. 
 
 * But the useless and incongruous soliloquy, lines 1851-67, should have been consigned 
 to the Paralipomena. 
 t Lines 1970 S.
 
 Ill INTRODUCTION. 
 
 Faust as a sardonic, self-complacent practical joker was not the 
 Faust that now filled his imagination. Then the scene was too 
 boisterous. It was necessary to lift it out of the plane of a local 
 student burlesque into the sphere of poetry. So he cast the whole 
 of it into verse, toned down its coarseness and gave to Mephis- 
 topheles the r61e that had been Faust's. 
 
 When the love-tragedy was reached there was still the grand 
 difficulty of explaining Faust's desertion of Gretchen. The pres- 
 ence of Valentin in the Gb'chhausen Faust shows that he was a 
 part of the plan from the beginning. We may suppose the original 
 idea to have been something like this : When Gretchen's shame be- 
 comes known to her brother, several months after her fall, he attacks 
 her seducer and is killed in the quarrel. Faust flees to avoid arrest. 
 While he is away Gretchen's child is born and drowned by the 
 frantic mother, who then wanders about for some time as a home- 
 less vagrant before she is imprisoned and condemned to die. All 
 this, think of it as we may, must take several months. Meanwhile 
 Faust, in ignorance of her fate, was to be 'lulled in insipid joys' 
 by Mephistopheles. But how was this to be managed? To make 
 Faust, as the possessor of a conscience, and after all his high pro- 
 testations of love, leave Gretchen and be away for months without 
 an effort to see her, and that after having caused the death of her 
 mother and brother, was very unnatural. His rage on the discov- 
 ery of her plight would be but small atonement for such conduct. 
 And then, what were those ' insipid joys' to be? Had the Wal- 
 purgis-Night ' been thought of from the first? Probably not, since 
 the festival of the witches occurs on the eve of May-day, while 
 Gretchen's fall takes place in the season of blossoming daisies, and 
 in the cathedral scene she is far on the way toward motherhood.* 
 
 Here was a tangle which it was not easy to straighten without 
 sacrificing the dignity and consistency of Faust's character ; and 
 
 * Lines 3790-3. Cf. the introductory note to the scene ' Cathedral.'
 
 INTRODUCTION. lift 
 
 the poet was not yet, in 1789, ready to do what he did finally, 
 namely, make the sacrifice in cold blood and totally disregard the 
 requirements of his realistic love-tragedy. He preferred to post- 
 pone the difficulty, by omitting from the Fragment not only the 
 ' insipid joys, 1 but also Valentin and the three concluding scenes. 
 
 The only new matter in the Fragment, beside what has now been 
 spoken of, is the scene Forest and Cavern, 'and of this the signifi- 
 cant lines 3345-69, beginning 
 
 SBa8 ifi Me itntnet8freub' in iljren &rmen ! 
 
 are found in the Gochhausen Faust. We may therefore safely re- 
 gard these verses as the nucleus of the whole scene, and look to 
 them for its germ idea. Doing so we see clearly what Goethe was 
 here concerned with : it was to show the libertine Faust suffering 
 the pangs of conscience. He saw, however, and saw no doubt 
 much earlier than 1789, that so important an idea demanded fuller 
 treatment ; it was not enough to despatch it in a few words spoken 
 by his hero while on the way for one of his nocturnal visits to his 
 paramour. Hence came the thought of taking Faust out into the 
 woods where he himself in earlier days had been wont to seek re- 
 lief from over-tension of feeling. In the sixth book of Dichlung 
 und Wahrheit, he describes a secluded spot in the woods near 
 Frankfurt to which he resorted with an elderly friend. On one oc- 
 casion the friend begins to explain how the ancient Germans, as 
 described by Tacitus, were also given to communing with the 
 mystic divinity of the woods. Whereupon the boy interrupts : 
 ' O, why does not this precious spot lie in the depths of the wil- 
 derness? Why may we not hedge it in, in order to consecrate it 
 and ourselves and separate both from the world ! Surely there is 
 no more beautiful worship than that for which no symbol is needed, 
 that which springs from our heart simply through communion with 
 nature ! ' From such experiences came the dramatic idea of letting 
 Faust retire to the woods to commune with himself in his guilty un*
 
 Hv INTRODUCTION. 
 
 rest and be joined in due time by Mephistopheles, who should 
 ridicule his scruples and urge him to go back to the city and en- 
 joy ' himself in the embraces of Gretchen. 
 
 The general conception of the scene as thus described was very 
 likely of early origin. But when the preliminary soliloquy of Faust, 
 Faust alone with the woods, came to be worked out in 1788 or 
 1789, (for the perfect iambics can hardly have been written earlier), 
 the task found a poet whose thoughts were no longer fixed so much 
 upon the dramatic requirements of the scene, not so much upon the 
 angry pathos of the dialogue about Gretchen which was to follow, 
 as upon the opportunity offered for giving expression to his own 
 maturer feelings of sympathy with, and gratitude to, the Universal 
 Mother. Thus the soliloquy took its present form. In a serene 
 and exalted mood, Faust returns thanks to the Earth-Spirit, con- 
 ceived as the giver of all things, for the high feelings he has been 
 permitted to enjoy. Then, by way of leading up to the coming 
 dialogue, he deplores the fact that the spirit has also sent Mephis- 
 topheles, who, with his sneering, < converts the good gifts into 
 nothingness.' 
 
 Having completed the scene in this way, Goethe inserted it in 
 the Fragment where it obviously belongs, namely, after the scene 
 At the Well,' in which it is clearly intimated that Gretchen's honoi 1 
 is lost. Later, however, he transposed the scene to its present 
 position. The reasons for this change are discussed below. 
 
 3. The Completion of the First Part. 
 
 Such was the ' Fragment ' that came from the press just as Eu- 
 rope was beginning to vibrate to the first throes of the Revolution. 
 It made no great stir in literary circles, but among the few who saw 
 in it the torso of a Hercules ' was Schiller, whose correspondence 
 with Goethe now becomes, after the completed text itself, our main 
 source of knowledge respecting the progress of the poem in the
 
 INTRODUCTION. Iv 
 
 next stage of its genesis. This correspondence gives us, to be 
 sure, but little information with regard to any details of construc- 
 tion ; its chief value consists in the light it throws upon the spirit 
 and manner in which Goethe proceeded to the completion of the 
 First Part. The most important notices bearing upon this subject 
 will now be brought together. 
 
 In a letter of Nov. 29, 1794, Schiller writes enthusiastically of his 
 interest in Faust, and of the pleasure it would give him to read 
 some of the unpublished scenes. Goethe replies that he does not 
 dare untie the package containing them ; he could not copy with- 
 out elaborating, and for that he has not the heart. Still, he adds, 
 if anything could induce him to go on with the work, it would be 
 Schiller's interest in it. Jan. 2, 1795, the younger poet renews his 
 request still more urgently, but to no effect ; then he ceases impor- 
 tuning and two years pass. June 22, 1797, Goethe suddenly an- 
 nounces that he is going to resume Faust, and if not complete it, 
 at least forward it a good bit. To this end he is now separat- 
 ing what has been printed and disposing it ' in large masses ' to- 
 gether with what is already finished or invented ' (but not printed) , 
 and so preparing to carry out his ' plan which is properly only an 
 idea.' This ' plan ' is precisely what is now engaging his thoughts 
 and he finds that he is tolerably agreed with himself. ' Our ballad- 
 study,' he continues, ' has brought me back to this misty, foggy path, 
 and circumstances counsel, for more than one reason, that I wan- 
 der about in it for a time.' Schiller at once replies expressing his de- 
 light, and the next day, June 24, Goethe writes that really his re- 
 turn to Faust is a measure of prudence. Since, after all, he is not 
 to go to Italy, as he had hoped, but has another northern winter 
 in prospect, and does not wish to bore himself and his friends with 
 idle brooding over his disappointment, he is pleasing himself with 
 the idea of a return to the ' world of symbol, idea, and fog.' ' At 
 first,' he proceeds, I shall only try to finish the large masses that 
 have been invented and half worked out, fit these to what has been
 
 Ivi INTRODUCTION. 
 
 printed, and so go on to the end of the circle.' June 26 Schiller 
 writes at some length of Faust, of the embarrassing magnitude of 
 the subject, of the difficulty involved in finding a poetic frame to 
 contain it, in holding the balance between understanding and 
 reason, jest and earnest, and in adapting the philosophical part to 
 the popular legend. To this Goethe replies the next day thank- 
 ing Schiller for his observations. ' As was natural,' says he, 
 ' they coincide very well with my own plans and purposes, 
 save that I shall take things somewhat more easily with this bar- 
 barous composition, and try to touch, rather than to satisfy, the 
 highest demands. Thus probably reason and understanding will 
 knock one another around like two prize-fighters, only to lie down 
 peacefully at nightfall. I shall take care that the parts be agree- 
 able and entertaining, and afford something to think of. As to the 
 whole, which will always remain a fragment, our new theory of the 
 epic may come in play.' 
 
 In a few days, however, the air-phantoms of Faust ' are dis- 
 pelled by southern reminiscences, and we hear no more of it for 
 several months. Dec. 6, 1797, Goethe writes: 'Pray keep to 
 your Wallenstein. I shall probably go at my Faust next, partly in 
 order to be rid of this tragelaph,* partly to prepare myself for a 
 higher and serener mood, perhaps for 7>//.'f Feb. 3, 1798, he is 
 ' thinking somewhat more earnestly of Faust," 1 and sees in it occupa- 
 tion for a year. April 1 1 he is working at it and finds the vernal 
 mood good for a ' rhapsodical drama.' May 5 he reports good prog- 
 ress made on Faust, and remarks upon a curious case ' that has 
 turned up in connection with his work. ' Some of the scenes,' he ob- 
 serves, ' were written in prose, and they are, in comparison with 
 the rest, quite intolerable in their naturalness and force. So I am 
 now trying to put them into rime, whereby then the idea will ap- 
 pear as through a vail, and the immediate effect of the monstrous 
 
 * TpayeAcuf>os, ' goat-stag,' ' fantastic animal.' 
 
 t Goethe was then meditating an epic on the Tell-saga.
 
 INTRODUCTION. Ivii 
 
 matter will be subdued.' (This refers, of course, to the scenes 
 ' Dismal Day,' and 'Prison'; the former resisted the transmuting 
 process and was finally left in prose. See below, p. Ixiv.) 
 
 Shortly after this date, the Schiller-Goethe correspondence be- 
 comes silent respecting Faust until the summer of 1800, when we 
 have several references to it. At this time, however, it is the in- 
 cident of Helena that is on the anvil. Sept. 13, 1800, Schiller 
 counsels his friend not to be disturbed over the < barbarization of 
 the beautiful forms and situations' (i. e. the blending of the Faust- 
 legend with the antique) , and suggests that this hint may be of use 
 in connection with the Second Part, which is the earliest reference 
 to any plan of making two parts. We may conjecture that the 
 expedient had presented itself to Goethe not long before in con- 
 nection with his work upon the Helena incident. This, in his 
 earlier plan no doubt an episode, as in the puppet-play, had now 
 come to stand forth in his imagination as the culminating point of 
 the entire action. It needed, therefore, to be elaborated at length. 
 Once suggested, the idea of a Second Part may have commended 
 itself the more on account of Schiller's example in Wallenstein. 
 
 In the spring of 1801 we hear of another period of creative ac- 
 tivity. March 1 1 Faust is ' progressing slowly.' Apr. 6 Goethe 
 ' hopes that soon nothing will be lacking in the great gap (i. e. be- 
 tween lines 605 and 1772) except the disputation'; but this, he 
 adds, is a work by itself, which will not be easily extemporized.' 
 Here the Faust-notices of the correspondence end, nor do we get 
 much light from any other sources extraneous to the text about the 
 further progress of the poem. In his Tag- und Jahreshefte for 
 1806, Goethe enters the record oufl in feiner je^igen eftalt frag= 
 mentartfd) befyanbelt"; which means, seemingly, that the First Part as 
 we now know it was then finally got ready for the printer. It ap- 
 peared in the spring of 1808, constituting Volume 8 of the first Cotta 
 edition of Goethe's works. 
 
 What now is to be learned from these notices? That which
 
 Iviii INTRODUCTION. 
 
 impresses one most in reading them is the cynical tone in which 
 Goethe speaks of the Faust- theme. Was this cynicism genuine or 
 was it only a jocose affectation? Did the poet really regard his 
 great work as a 'monstrosity,' and if so, on what ground? To 
 what extent did this quasi-contemptuous attitude really influence the 
 work done in completion of the First Part? The importance of 
 these questions is obvious. If Goethe himself did not regard his 
 work as artistically coherent, and took no pains to make it so, then 
 all attempts to read coherency into it are a sheer waste of time. On 
 the other hand, if he did regard it as a work of art built on a con- 
 sistent plan, then we want to know just what he meant by calling it 
 a ' tragelaph ' and a ' barbarous composition.' 
 
 With respect to the first point, the genuineness of the cynical 
 feeling, there is but little room for serious doubt. Some allowance 
 may be made indeed for the play of humor, but the derogatory ex- 
 pressions in the Schiller correspondence are too numerous and 
 pointed, and the evidence of the text itself in the ' Walpurgis- 
 Night ' and the ' Intermezzo ' is too cogent to be put aside as insig- 
 nificant. Goethe evidently felt that the Faust he was creating was 
 going to be a peculiar affair with which he might take liberties. It 
 would lack a certain kind, and that the most common kind, of 
 artistic congruity. That is, it was a ' monstrosity.' 
 
 The general grounds of this feeling are not hard to discover. 
 With his present classical predilections he could feel, as poet, but 
 little sympathy with vagueness and extravagance. He was fresh 
 from the composition of Hermann, and the qualities he most ad- 
 mired in poetry were definiteness, plasticity, well-regulated tech- 
 nique. In his Faust, however, he saw a dramatic work which he 
 had begun in a spirit of reckless indifference to the rules and require- 
 ments of the drama. The supernatural, that is, the very pinnacle 
 of improbability, had been assumed as a matter of course and made 
 the basis of the action, and the action itself was to consist of 
 selected chapters from the miscellaneous experiences of a life-time.
 
 INTRODUCTION. lix 
 
 The underlying story was a mass of silly superstitions which could 
 only be lifted into the sphere of serious poetry by being treated as 
 symbolical of things real. And yet he had linked with the fantastic 
 supernaturalism of the legend a terribly pathetic love-story which 
 was not symbolical at all, but had been made to stand on its own 
 merits as a picture of life. His hero, Faust, he had introduced as 
 a man animated by vague perfervid longings for the impossible at 
 first by a fantastic feeling for nature, then by an equally fantastic 
 Weltdurst. This hero he had then turned into a rake-unable-to- 
 help-himself. All this must have seemed to the Goethe of 1797, 
 the mature literary artist, the experienced scientific investigator, 
 traveller and man of the world slightly ridiculous. And yet he 
 knew that a quarter of a century before, he had wrought his very 
 soul into that same Faust. 
 
 Besides this, he had written in his youth with no very clear idea 
 as to what the end of his play was to be or to signify. There is 
 not a spark of evidence that he ever intended to send his hero to 
 perdition in the traditionary way. Nor is there any more evidence 
 that he intended to save him. He had simply abandoned tradi- 
 tion altogether and invented a mythology of his own which took no 
 cognizance of heaven or hell. His hero was to drain the cup of 
 life to its dregs and then ' go to ruin ' not to hell, but to the gen- 
 eral ruin which awaits all mankind at the end of their terrestrial 
 voyage. It was to be the tragedy of life's fitful fever lived through 
 in delirium and followed by sleep. What was to come after this 
 sleep had not been provided for. We may indeed be very certain 
 that the young Goethe had never planned to let his Faust die a de- 
 bauched and demoralized sensualist. The youth who at Frankfurt 
 was dreaming of large and useful activity for himself, and who so 
 admired Moser's Patriotische Phantasten, had no doubt provided in 
 his own mind that his Faust should find at last some field of useful- 
 ness and die happy in the sense of having lived to some purpose ; 
 but what was to come after that he had not included in his dramatic
 
 Ix INTRODUCTION. 
 
 scheme. He held the view, no doubt, that God would take care of 
 souls like his and Faust's, but for dramatic purposes he probably 
 had expected to leave his hero right where the human tragi-comedy 
 does actually leave us all when the curtain goes down, in the 
 hands of Providence. 
 
 But now the question presents itself, and no doubt the same 
 question presented itself to Goethe in his mature years : What was 
 to be the import, and what the dramatic interest, of such a tragedy ? 
 A drama requires more than fulness of life followed by the quietus 
 of death ; it demands struggle directed to a particular end, and a 
 catastrophe in which the struggle is decided. 
 
 With all these considerations in mind, we can understand the 
 feelings with which, in the plenitude of his powers, Goethe took up 
 again his long neglected Faust. We can enter into his thoughts as 
 he surveys the old manuscript and the pages of the printed Frag- 
 ment. He cannot go on in the manner or in the spirit of his early 
 beginning. He must complete the poem, if he completes it all, by 
 engrafting his present self upon it. This, to be sure, will leave it a 
 ' monstrosity.' The plot will contain incongruities, the characters 
 will be inconsistent with themselves, and all that. Still it will have 
 the consistency of his own life, and an organic, if not a tectonic 
 unity. Its unity will be that of a spreading, gnarly oak, rather than 
 that of a smart new villa. 
 
 And now, what is the nature of this new graft? Or, dropping 
 metaphor, when the poet of 1797 has matured his plans, what is it 
 that he purposes to do ? In the first place, he will go no further 
 with his invented mythology, but will plant himself on the firm 
 ground of legend. He will bring his hero into relation with the 
 God and the devil of tradition. He will make this hero's career 
 symbolize, in one of its phases, the triumph of idealism over sen- 
 sualism, and this final triumph and salvation of Faust he will fore- 
 shadow by means of a prologue in heaven. In conformity with this 
 purpose, he will convert his devil from a ' tormentor ' into a se-
 
 INTRODUCTION. Ixi 
 
 ducer, whose problem it shall be to win Faust by making sensuality 
 satisfy him completely. And as for Faust's wild longings and 
 strange conduct, he will let the prologue intimate that this Faust is 
 a wanderer in the dark, who is to be duly led out into the light. 
 That is, Faust's career will be made to symbolize, in another phase 
 of it, a clarifying and chastening process. 
 
 Let us now come to the details of the filling-in, following, for the 
 sake of convenience, the order of the completed text, though the 
 new passages and scenes were by no means written in that order. 
 First came, in all probability, the three preliminary poems, but the 
 consideration of these will be taken up in another connection. 
 
 The first scene of the Fragment closed with what is now line 605, 
 and the immediately preceding speech of Wagner consisted simply 
 of the two lines 596-7. The next four lines beginning with the 
 slightly illogical bodj SJiorgen," were inserted on the final revision 
 for the purpose of intimating the time of the action and foreshadow- 
 ing the walk of Faust and Wagner upon Easter day. There is no 
 hint in the ' Urfaust ' or in the Fragment, that the action of the 
 play had been thought of as beginning at Easter. This definite 
 fixation of the time came from the happy idea of letting Faust, in 
 his despair over the Earth-Spirit's rebuff, be recalled from suicide 
 by the religious memories of his youth. The date fitted in well, 
 also, with the plan which Goethe had early conceived of introduc- 
 ing into Faust a picture of a popular holiday. It fitted also with 
 the love story of Heinrich and Gretchen, whose idyl takes place in 
 the season of blossoming daisies. Again, it comported well with 
 the ' Walpurgis- Night,' which comes on the eve of May I. The 
 poet seems to have forgotten, however, that it did not comport with 
 what he had written in the scene ' Cathedral,' provided that was to 
 stand before the Walpurgis-Night.' 
 
 The next new passage is the second monologue of Faust, lines 
 606-807. The artistic motive that guided the hand of the poet 
 here is easily discerned : It was his purpose to deepen and ennoble
 
 bdi INTRODUCTION. 
 
 the character of Faust, to bring him nearer to our sympathies and 
 to give his pessimism a more real and human tinge. It is but a 
 shallow criticism of this fine monologue to insist that men do not in 
 actual life commit suicide because they find themselves denied cer- 
 tain knowledge they would like to possess. Realism is not to be 
 our poet's watchword hereafter, nor is his hero's trouble so easily 
 summed up. 
 
 Of the scene ' Before the Gate,' little needs to be said here. 
 The philological evidence is conclusive that it was planned and 
 largely elaborated in the early Frankfurt days, though the poet 
 then had in mind a later season than Easter.* What he now did 
 was to adapt the scene to the new date and bring out of it at last 
 the poodle. So also the first of the two scenes headed ' Study' 
 gives evidence, up to line 1322, of early origin, though the ensuing 
 dialogue is probably one of the latest portions of the First Part. 
 As to the second scene < Study,' that is, the part of it preceding line 
 1770, with which the Fragment breaks in abruptly, it is difficult to 
 separate the new matter from the old. Some passages convey a 
 strong suggestion of Goethe's youth, but the most of the lines were 
 probably written in 1801. 
 
 We come next to the transposition of the scene ' Forest and 
 Cavern.' The grounds of the change are not easy to see. It is 
 perfectly certain that the scene was written under the presupposition 
 that Gretchen's honor is lost, but as it stands, it must be read on 
 the assumption that she is still innocent. Perhaps the change grew 
 out of a desire to remove the coarse implication of a vulgar liaison 
 involving repeated visits of Faust to Gretchen. It is quite clear 
 that the poet originally conceived the relation of the pair as precisely 
 like that of Egmont and Clarchen, but in his old age he seems to 
 have thought he had so ordered matters as to convey the impression 
 that Gretchen had sinned but once. In line 12066-7, the saints 
 say of her : 
 
 See Kogelin VieUrljahrschrift/ur LMeratvreesckichte , II., 559.
 
 INTRODUCTION. Ixiii 
 
 S)te ftd) etnmat nur ttergeffen, 
 2)ie nidjt afynte baft fte fefyte. 
 
 It may be remarked here that the omission from the scene ' Cathe- 
 dral ' of the original heading which made known that the occasion 
 was the funeral of Gretchen's mother, was in line with this idea of 
 putting Gretchen's character in a more favorable light. Still, the 
 text was never thoroughly revised with reference to the point, as 
 witness line 3675. Again the transposition of 'Forest and 
 Cavern ' may have been suggested by a feeling that the serene and 
 lofty mood of Faust in the opening soliloquy hardly befits the con- 
 firmed libertine. It may have seemed more poetical and more 
 creditable to Faust to depict him as wrestling with himself and with 
 the devil over the wrong that he is about to do under the influence 
 of a daemonic passion than to represent his fine compunctions as all 
 about the gross question of repetition. 
 
 Upon the whole, however, the transposition must be regarded as 
 unfortunate. For, in the first place, as the scene now stands, there 
 are several passages that do not read naturally,* and then, one 
 wonders why the jubilant and prosperous lover of the preceding 
 scene has suddenly become a hermit in the woods. 
 
 Our attention is next claimed by the completed Valentin scene, 
 the early conception of which was described above. In the Gb'ch- 
 hausen manuscript this scene is found after ' Cathedral,' which 
 lacks line 3789, with its allusion to Valentin. The transposition of 
 the scene intensifies the pathos of Gretchen's agony in the church, 
 since she thus appears burdened with a double guilt. Then, too, 
 the scene ' Cathedral ' had been conceived as taking place some 
 months after Gretchen's fall ; it could not therefore come before the 
 death of Valentin if that was to be thought of as occurring just be- 
 fore Walpurgis-Night. 
 
 Finally, we have to do with the prose scene and the carnival on 
 f 
 
 * Lines 3249, 3328-9, 3336, 3360-1.
 
 IxiV INTRODUCTION. 
 
 the Blocksberg. It will be remembered how Goethe himself felt 
 that the prose scenes, because of their savage force of expression, 
 were * intolerable in comparison with the rest.' He tried, we must 
 infer, to put both of them into verse, but failed with the scene 
 ' Dismal Day,' which left its isolated oddity all the more conspicu- 
 ous because the versifying process succeeded well with the final 
 scene ' Prison.' Besides being in prose, too, the scene ' Dismal 
 Day, 1 presupposed a different use of the poodle legend from that 
 which he had now adopted in the earlier part of the play. Again, 
 it had been written on the assumption that Mephistopheles would 
 appear as in some special sense an envoy of the Earth-Spirit, which 
 idea had now been given up. But in spite of these things, with a 
 few trifling verbal changes, in went the prose scene just as it 
 stood. The ' tragelaph ' had to be disposed of! 
 
 But we have not yet touched the real heart of the 'intolerable- 
 ness ' alluded to by Goethe. The ' force and naturalness ' of the 
 prose scene are not out of harmony, but quite in harmony, with 
 ' the rest,' if by the rest we mean the love-tragedy to which it be- 
 longs. The prose, as prose, would produce but a slight jar if the 
 scene came directly after the cathedral scene : the reader's infer- 
 ence would be that only prose could adequately express Faust's rag'e. 
 Even the other incongruities mentioned, though a few strokes of the 
 pen would have removed them, would probably never have troubled 
 anybody but philologists. The real dissonance lies not in the 
 prose scene at all, but in the scene which Goethe had now written 
 and designed to precede it. Taken by itself as a separate work of 
 art, the Walpurgis-Night ' is in its way admirable, but viewed in 
 its connection as a link in the drama, it can only be explained as a 
 wanton freak of poetic cynicism. We are, of course, to assume 
 that the revels of the Brocken are the < insipid diversions ' referred 
 to in the prose scene, though Faust has not found them insipid. 
 But they take place in the spring before Gretchen is a mother, and 
 must therefore have 'been ancient history at the date of the prose
 
 INTRODUCTION. Ixv 
 
 scene. What has Faust been doing in the meantime? And then 
 why this frenzied rage at Mephistopheles for ' lulling him in insipid 
 diversions ' when he has been taking part in them with the zest of 
 a person whose conscience is in no need of diabolical ' lulling ' ? 
 The man who has been joining in the lewd mirth of naked witches 
 is not the man to be thrown into a fury by hearing of the sad fate 
 of a girl whom he has seduced. And why should Faust on the 
 Brocken refer to his love in elegiac tone as a distant memory, and 
 why should he have a vision of the beheaded Gretchen when it is 
 but a day since he left her alive and well ? And why should hope- 
 less confusion be brought into the chronology of a natural order of 
 events ? * 
 
 To these questions there is no answer that is altogether creditable 
 to Goethe's poetic conscience. It pleased his fancy to write the 
 ' Walpurgis-Night ' as an itude in the uncanny and the gross, and a 
 satire upon contemporary men and tendencies that he did not like. 
 In painting the picture he simply gave the rein to his present humor 
 with no serious concern about the inner or the outward harmony of 
 what he was now writing with the love-tragedy that he had written 
 a quarter of a century before. The result, as we have it, is unde- 
 niably a blemish in the poem. The idea of the scene may be ac- 
 cepted as good. The Faust of the legend visits hell. Mephisto- 
 pheles as a purveyor of sensual pleasures would naturally wish to take 
 his patron sooner or later to the grand festival on the Blocksberg. 
 Goethe had all along intended some such picture for the interval 
 between Valentin's death and Faust's discovery of Gretchen's 
 plight. Thus the idea of the scene came naturally enough. Nor 
 is it reasonable to find fault with the poet for not attuning the 
 ' Walpurgis-Night ' as a whole to the high pathos of the love-trag- 
 edy: that would have been poetically out of the question, and, 
 
 * As the text stands we go backward in time when we pass from the cathedral scene to 
 the Walpurgis-Night, or else lines 3790-3 have to be ignored. Cf. the introductory note 
 upon the cathedral scene.
 
 Ixvi INTRODUCTION. 
 
 besides, he was now no longer a master of high pathos. It is 
 simply pedantic, too, to condemn austerely the element of personal 
 satire ; one may enjoy that, especially where it has some broad 
 universal import, and one may even put up with a little nonsensical 
 mystification. But the poet might have spared us the wanton de- 
 gradation of his hero's character, he might have taken a little more 
 pains to harmonize the scene technically with what goes before and 
 what comes after, and he might have found some other place in his 
 works for the trivial and obscure personalities which make up a 
 good part of the ' Intermezzo.' 
 
 But while we may fairly charge the author of Faust with carrying 
 his cynicism too far in this portion of his work, we should not let 
 our impatience lead us to take the wrong side on the main issue. 
 Many able critics have made the mistake of siding with the young 
 Goethe against his maturer self. They have praised the youthful 
 realism, which we see at its best in the Gretchen scenes, as worthy 
 of all admiration, and have treated his later manner as an aberration 
 from the right path. It is this mistake which was chiefly responsi- 
 ble for the long eclipse of the Second Part and for the undue exal- 
 tation of the love-tragedy. Many readers, stopping with the First 
 Part, and further influenced perhaps by the prominence of Gretchen 
 on the stage, have been led to think of her as the heroine of the 
 play in the same sense that Faust is its hero. To such persons the 
 ' Walpurgis-Night ' could hardly seem anything else than a dark 
 enigma to be dimly comprehended perhaps on the one supposition 
 that the tragedy was to end with the First Part and Faust to be 
 sent to perdition for his conduct toward Gretchen. 
 
 The truth is, however, that the love-story is only an incident of 
 the ' little world.' It is an episode which the young Goethe, enam- 
 ored of the lifelike pictures he was creating, and not yet clear as to 
 the ethical import or the poetic requirements of his theme, had 
 permitted to grow into a drama by itself; a drama which, admirable 
 as it is in its kind, has nothing to do with the legend and
 
 INTRODUCTION. Ixvii 
 
 would read as well if published separately under the title of 
 ' Heinrich, Gretchen and lago.' In his riper years, Goethe came 
 to see clearly that pathetic realism was not the element in which a 
 poem based on the Faust-legend should live and move. Humor, 
 the poetic revivification of Tradition's dream-world, with here and 
 there a bit of playful symbolism, this was to be the element. It 
 was not a question of the merits of realism per se, but of the re- 
 quirements of this particular theme. And on this question there is 
 to-day no room for doubt that the Goethe of 1800, much wiser in 
 every way than the Goethe of 1775, was entirely right. It was not 
 for him therefore to be over-anxious about introducing a discordant 
 passage into the pathos of his love tragedy. He had invited the 
 world to think of his hero as a ' good man ' and had made some 
 effort to rescue this hero's title to that name. But he must have 
 felt, as every reader feels, that the effort had not been altogether 
 successful. In spite of the ' Witch's Kitchen,' in spite of Faust's 
 ' I must,' and in spite of the devil, one feels that the seducer of 
 Gretchen is detestable, and the more so for his fine sentiment. It 
 was not possible to save the dignity or the consistency of his char- 
 acter. Why then make the attempt, especially since he was to be 
 presented as a ' wanderer in the dark ' ? Why introduce him in the 
 r61e of a solemn puritan among the mythical lubricities of the 
 Brocken? Why not let him rise to the humor of the situation and 
 enjoy himself like a man fully alive to the greatness of his opportu- 
 nity ? And why trouble about matters of time and space and 
 quotidian probability, since all such bonds were to be thrown to the 
 winds in the remainder of the poem ? 
 
 Some such thoughts as these, we can imagine, had flitted 
 through the mind of the author of the ' Walpurgis-Night.'* 
 
 * Cf. G. Witkowski's little book, Die Walpurgisnackt. Leipzig, 1894. This 
 excellent essay discusses the scene thoroughly from the genetic and also from the aesthetic 
 point of view, taking on the whole a little more favorable view of it than is taken in the 
 text above. All that can reasonably be said in defense of it is there very well put.
 
 Ixviii INTRODUCTION. 
 
 V. 
 
 THE COMPLETED FIRST PART. 
 
 But now, the letters to Schiller tell us also another story. They 
 tell us, namely, of earnest ponderings on the ' plan,' the ' idea,' of 
 Faust. In spite of his cynical references to the theme, the poet 
 felt that what he was creating was, with all its barbarism and ' mon- 
 strosity,' a work of art. He probably did not realize at this time, 
 as he did in his latter days, that this Faust was to be the great 
 work of his life. When he published the First Part, too, he probably 
 thought it very doubtful whether he should ever complete the work, 
 and this doubt, this feeling that very likely the ' tragedy ' would 
 always remain a fragment, may have made him more indifferent 
 than he otherwise would have been to the imperfections just dis- 
 cussed. But, on the other hand, there is no good reason to doubt 
 that when he published the First Part he felt that what he had put 
 into it was, notwithstanding its incongruities, in harmony with 
 his general plan and hence sufficiently consistent with itself. ' For,' 
 as he observes in Dichtung und Wahrheit, ' the inner content of 
 the matter treated is the beginning and the end of art.' Now it is 
 of prime importance in the study of Faust to understand this ' inner 
 content,' which gives to the whole its unity and consistency. For 
 the purpose of bringing this clearly into view we will now enter 
 upon a brief analysis of the completed First Part. 
 
 The first two of the three preliminary poems have nothing to do 
 with the action and so need not occupy us here. The Prologue, 
 however, is vital. It indicates clearly the general character and 
 final outcome of the action. We are not to have a drama of sin 
 and damnation, as the legend would suggest, but a drama of intel- 
 lectual clarification. The dialogue acquaints us with Faust as a 
 man of high ideal aspirations, a 'good man,' a 'servant' of the 
 Lord, whose service, however, is just now ' confused.' But the 
 Lord promises that he shall be led out ' into the clear ' a phrase
 
 INTRODUCTION. IxJX 
 
 which does not refer to Faust's final reception into heaven, though 
 that, too, may be implied, but to the clearing up of his ' confusion ' 
 on earth. Mephistopheles, appearing here as a cynical ' wag,' 
 thinks that Faust's high yearnings are so much nonsense, and 
 craves permission to 'lead him in his way,' i. e., to give him a 
 taste of earth's pleasures ; he is confident that he can soon make 
 Faust ' eat dust with pleasure,' i. e., be satisfied with an animal ex- 
 istence. The Lord gives him permission to try his arts upon Faust 
 during the latter's earthly life, but forewarns him that he will fail. 
 Mephistopheles accepts the offer jauntily. He does not care for 
 ' dead men' ; it will be reward enough for him, in the event of suc- 
 cess, to be allowed to boast of his triumph over the Lord. 
 
 We are now introduced to Faust in his confusion. He is out 
 of humor with life and is chafing morbidly under the necessary lim- 
 itations of human existence. Nominally and at first, that which 
 troubles him is his lack of certain knowledge that he thinks he 
 needs for his own peace of mind as man and as teacher ; but when 
 he describes the nature of his longing, we begin to see that it is for 
 something not attainable by mortals. This superhuman character 
 of his yearnings becomes more apparent farther on : he would fain 
 be an elemental spirit, dreams of ' flowing through the veins of 
 Nature and enjoying the life of gods,' and of ' soaring away to new 
 spheres of pure activity.' Later we find him pining to fly away after 
 the sun like a bird, and to be wafted through space in a magic 
 mantle. In other words, he is not content to stand before Nature 
 simply as a man.' He feels his human existence as a galling fetter, 
 instead of seeing in it an opportunity for free activity. Just this is 
 his ' confusion,' and the ' clearing up 'is to consist in the transform- 
 ation of this attitude toward life into another which may best be de- 
 scribed by the phrase resignation without apathy. 
 
 But to return to the argument. Pursuing his superhuman vaga- 
 ries, Faust has devoted himself to magic. With the aid of a book 
 that he has somehow secured he succeeds in calling up the Earth-
 
 Ixx INTRODUCTION. 
 
 Spirit, but when he meditates a friendly approach to this being of 
 a higher order, he is met with a rebuff which tells him plainly that 
 the coveted knowledge, the wished-for footing of intimacy with 
 divine power, the high destiny of godlike activity and unmixed hap- 
 piness, are not for the like of him. Then Wagner appears and the 
 dialogue with him shows us Faust's idealism in a somewhat saner 
 form (his love of truth and hatred of shams), though he is still 
 somewhat quixotic in the fury of his assault upon Wagner's harmless 
 academic windmills. With the exit of Wagner Faust is thrown 
 back upon himself. He had set his supreme hope on the spirit- 
 world and this has failed him; what is there left? In his despair 
 he is led on to a mournful indictment of life in general. The 
 mistre of his existence vanquishes the will to live and he resolves to 
 die ; but as he sets the poison to his lips he hears the Easter music 
 which reminds him of a youth made happy by a religious faith that 
 is now no longer his. The sweet memory stays his hand. The 
 next afternoon he takes a holiday walk with Wagner, in the course 
 of which his brooding pessimism, his rooted conviction of the bad- 
 ness of man's lot, is still further brought to view. At nightfall he 
 returns in a serener mood, but with the fateful poodle. 
 
 Then follow the scenes which lead up to the compact with the 
 devil. Mephistopheles, appearing as a gay young squire, advises 
 Faust to quit his brooding and go out into the world to see what 
 life is. Faust repeats his litany of wretchedness and curses the 
 whole round of man's pursuits and ideals. It is here that his ' con- 
 fusion' culminates. Mephistopheles again urges that he seek a 
 cure for his malady by testing the pleasures of earth, and offers to 
 be his companion or even his servant in such an experiment. 
 Faust is desperate. He feels certain that the devil's lures cannot 
 bring him the peace he craves ; he is bored in advance by the pro- 
 gram suggested to him. Still he cannot go on in the old way he 
 has reached the very end of his course. He has meant well, but 
 his high cravings have brought him only disappointment and pain.
 
 INTRODUCTION. 
 
 So, in a spirit of reckless desperation he closes with the devil's offer, 
 not as one expecting to enjoy the new life, but as one bent on 
 probing to the utmost all the facts of man's miserable estate. 
 Jumping the life to come, he will at least find out what this life is 
 like in all its forms and phases. In consenting to be amused in 
 the devil's way he merely stipulates that there shall be no rest, no 
 cessation, in the wild ' reel ' from one experience to another. Ac- 
 cordingly the pair make a solemn agreement with each other. 
 Faust is to have during the remainder of his life the prompt and 
 active service of Mephistopheles, but in the next world the relation 
 of master and servant is to be reversed. This last, however, only 
 on one condition : Faust must be satisfied with himself.' Only 
 when he shall ' stretch himself upon a bed of ease,' completely 
 absorbed in the pleasure of the present moment, shall Mephisto- 
 pheles have the right to claim him as his own. 
 
 With respect to this compact, a few comments will be in order. 
 In the first place there is the obvious improbability that a sane man, 
 who really believed that he possessed an immortal soul, would ever 
 admit that he was satisfied with any earthly pleasure, if he knew 
 that that admission would forthwith send him to eternal perdition. 
 Goethe has attempted to deal with this difficulty formally by mak- 
 ing Faust give his solemn assurance that he will be honest. But 
 he has dealt with it more vitally by giving us to understand in 
 more ways than one that the stake of Faust's soul in the life to 
 come is a somewhat formal matter, a part of the costume required 
 by the legend. Of course we may not say boldly that Faust does 
 not believe in immortality, but he is at heart a skeptic for whom 
 the question is at least an open one. At any rate it is not the life 
 to come, but this life, which troubles him, and it is in this world 
 that the real interest centres both for him and for us. And indeed 
 for the devil also which is the real reason why he facetiously says 
 to the Lord in heaven that he does not care for dead men. We 
 must not think of Goethe's Mephistopheles as a malignant fiend,
 
 Ixxii INTRODUCTION. 
 
 artfully and hatefully leading his victim in the way of pleasure, say- 
 ing to him with each experiment, ' Is not this enough ? ' and stand- 
 ing ready with his bludgeon in case of an affirmative answer. He 
 is rather a gentleman of culture, * who represents a certain view of 
 life, and the question is whether he will succeed in making his view 
 acceptable to Faust. If Mephistopheles wins, then Faust's ideal- 
 ism will be quenched in some form of pleasure, and the modern 
 ethical interpretation of such an outcome will be : Eat, drink, and 
 be merry, for to-morrow ye die. If Faust wins, two contingencies 
 are conceivable. Either he will go on to the end tugging at the 
 chains of his human nature and feeling that existence is a burden, 
 in which case the conclusion would mean that man's life is indeed, 
 as the Buddhists and Schopenhauer conceive it, a thing of evil, and 
 that the saddest part of it consists of those lofty aspirations that 
 whisper to men of their superiority to the brutes that perish ; or, 
 on the other hand, his idealism will continue invincible to the end, 
 but be ' cleared up,' chastened and directed into channels that will 
 give to life dignity and value. In that event but the ethical phil- 
 osophy of Faust is a large subject, the consideration of which 
 comes properly in connection with the conclusion of the Second 
 Part. 
 
 When the compact is signed, Faust, of course, does not know 
 which of these contingencies is to happen. He only feels sure that 
 Mephistopheles will not win ; for, though he talks of going to wreck 
 and ruin, that, as we have seen, does not refer to damnation in- 
 curred through the devil's triumph. Nor, so the fiction requires us 
 to assume, does Mephistopheles know what is coming. Though 
 his defeat has been foretold on the highest authority, he still counts 
 on victory. But if neither of the parties to the agreement knows 
 how it is to end, the Lord in heaven knows, and by virtue of the 
 Prologue we know at least in a general way. 
 
 * In his later stage, of course.
 
 INTRODUCTION. Ixxiii 
 
 Thus bound together, the two set out to visit first the ' little 
 world ' and then the ' great.' The little world is the life of com- 
 mon men, the great world, the Emperor's court. They go first to 
 Auerbach's Cellar, where Faust is bored. Mephistopheles per- 
 ceives that his comrade's youth must be renewed, and takes him 
 accordingly to a witch, whose elixir of youth turns out to be at the 
 same time a love potion. Then comes the story of Gretchen. 
 Faust (thanks in part to the magic) seems to drop into his new 
 r61e all too easily, so that we begin to think that as lover he is ap- 
 proaching perilously near to Mephisto's goal. But no : under all 
 the lover's raptures there is constantly felt our poet takes good 
 care of that the prick of conscience, and no man can be com- 
 pletely ' satisfied ' with the things of sense so long as he is inwardly 
 troubled by that silent envoy of the supersensual world, the monitor 
 that ' makes cowards of us all.' Faust remains ' conscious of the 
 right way,' and when the wrong is done, the ruin wrought, and he 
 returns from the orgies of the Brocken (even here his thoughts are 
 fantastically haunted by the figure of the wronged Gretchen), we 
 find him to his honor still capable of acutest suffering. He has 
 coveted the full experience of man's weal and woe, and now there is 
 wrung from him the line of awful pathos, 
 
 >er 2JienfdjI)eit ganjer 3ammer fafct mid) an. 
 
 In these words are summed up, so far as Faust is concerned, the 
 whole import of the Gretchen tragedy. He has not yet been led 
 into ' clearness,' on the contrary, his ' confusion' seems to have be- 
 come more confounded. But the wagers are not yet decided, and 
 the great world ' is still to come. Faust does not end, and its 
 author never dreamed that any sane being would try to imagine it 
 as ending, in the prison-cell of the dead Gretchen. To suppose, as 
 many have done, that the Second Part was an afterthought is to 
 make the most radical and pernicious mistake that can possibly be 
 made in the interpretation of the poem.
 
 Ixxiv INTRODUCTION. 
 
 VI. 
 THE PRINCIPAL CHARACTERS. 
 
 i . Faust. 
 
 The foregoing pages have shown clearly enough that the charac- 
 ter of Faust has its root and its development in the personal expe- 
 riences of Goethe ; it owes to the legend only the externals of cos- 
 tume and historical setting. Of course, we may not say in any 
 literal sense that Faust is Goethe the identity of the poet with 
 his hero must be understood in the light of Goethe's well-known 
 artistic methods. He never deliberately depicted himself, but his 
 works were in a very eminent degree personal ' confessions. 1 
 Faust is only one of several poetic creations which are, to employ a 
 figure used by Goethe respecting his Tasso, ' bone of his bone and 
 flesh of his flesh ' ; the chief difference being that Faust gives us the 
 poet in his development from youth to age, while Werther, Tasso, 
 Meister, reflect particular phases of his history. In all alike, how- 
 ever, what we have in the fictitious hero is not the veritable 
 Goethe, but only actual moods of his transfigured and potential- 
 ized for the purposes of his art. It is by no means to be assumed 
 that what Faust says and does under his circumstances is what 
 Goethe would have approved under like circumstances, could they 
 have been realized. What we have is always a poetic rendition of 
 actualities, not a photograph, and still less an allegory requiring to 
 be deciphered in detail with reference to particular incidents in the 
 poet's life. This is not to be construed as denying that the poem 
 may contain here and there an almost literal transcript from biog- 
 raphy. Take, for example, the incident of the flower oracle, the 
 lover's pursuit and the captured kiss in the summer-house : this 
 certainly sounds very like a chapter from Goethe's romance at 
 Sesenheim. So there are many passages in the poem in which the 
 details are such that a well-informed reader will inevitably think his 
 own thoughts ; but in few of them is it possible to prove anything
 
 INTRODUCTION. IxxV 
 
 or to separate the basis of fact from the fabric of fancy. Such 
 readings between the lines are, when reasonably managed, well 
 enough in their way and may now and then throw an interesting 
 side light upon particular scenes. In general, however, it is not 
 biographical details of any kind, but the broad features of Goethe's 
 inner history that we must expect to find reflected in Faust. What 
 this saying means has been so fully brought to view in the forego- 
 ing discussion that nothing further on the subject is necessary. 
 
 2 . Mephislopheles . 
 
 In this most unique and powerful of Goethe's creations, just as 
 in the case of Faust, we have to do with an evolution. He meets 
 us first as a wag and a rake's friend. But for his name and an al- 
 lusion to magic horses, the Urfaust ' conveys no suggestion that 
 Mephistopheles is a supernatural being. The ' devil ' in him is the 
 devil of sensual promptings, and his relation to Faust is that of a 
 tormentor in the guise of an obedient servant. Later, Goethe in- 
 vests him with all sorts of legendary trappings derived rather from 
 the devil-myth in general than from the Faust-legend in particular. 
 This devil-myth is, as is well known, a highly composite affair. 
 The Jewish 'adversary' and prince of demons, Satan, the Persian 
 god of darkness, Angra-Mainyus (Ahriman, Arimanes), the ser- 
 pent-story of Genesis, the monstrous imaginings of the apocalyptic 
 writers of the Old and New Testaments, theological speculations 
 about Titan-angels at war with God, attributes of Greek, Roman, 
 and Germanic divinities, these are some of the sources from 
 which the devil ' of medieval Christian demonology had been 
 elaborated by popular and learned superstition.* From such tra- 
 ditionary sources Goethe draws at will, adding conceptions of his 
 own as suits his purpose. As an adversary of divine power, 
 Mephistopheles is a spirit of negation : God affirms and creates, 
 
 * Cf. Roskoff, Geschuhte ties Teufels, I., 186 ff.
 
 INTRODUCTION. 
 
 the devil denies and destroys. He is therefore the natural lord 
 and patron of destructive agencies, great and small. Fire, as the 
 enemy of life, is his natural element. Against the divine regime 
 ' let there be light, 1 he is a prince of darkness and a champion of 
 primeval chaos. He has the lameness of Hephaestus, the hoof of 
 Pan, and the two ravens of Odin. In accordance with the familiar 
 popular conception he is a lover of witches. 
 
 Passing from these externals, which are legendary, to the intellect, 
 which is modern, we find the essence of his character to consist in 
 his cynical hostility to all idealism. ' Man in his high endeavor,' 
 is for him a laughing-stock. Moral scruples, sympathy, supersen- 
 sual love of woman or of nature, are the ridiculous antics of the 
 human grasshopper that would fain fly but cannot. At first his 
 cynicism is bitter earnest ; he meets Faust's pathos of high feeling 
 with a pathos of contempt for high feeling. In the later scenes, as 
 throughout the. Second Part, he is a more genial devil, and his 
 cynicism takes the form of clever satire. 
 
 Concerning his indebtedness to actual personages much has been 
 conjectured and but little proved. We have seen reasons for think- 
 ing that the initial conception owed somewhat to Goethe's Leipzig 
 friend Behrisch. From Dichtungund Wahrheit one would infer that 
 the living model of Mephistopheles was, if anyone, J. H. Merck, 
 with whom Goethe became intimate directly after his return from 
 Strassburg. Merck was a man of extensive knowledge, fine critical 
 perception, easy, self-assured social bearing, and altogether solid 
 character. Goethe describes him as tall and gaunt (so was Beh- 
 risch likewise), and as having a prominent pointed nose and eyes 
 that continually peered here and there, giving to him a certain 
 ' tigerish ' expression. He further imputes to him a propensity for 
 biting satire and a capricious habit of treading on people's toes re- 
 gardless of the hurt. This personage Goethe expressly credits 
 with having exerted a ' very great influence ' upon his own life, and 
 he refers to him repeatedly as Mephistopheles Merck. But it is a
 
 INTRODUCTION. Ixxvii 
 
 question whether these Mephistophelean traits of Merck are not 
 largely a matter of fanciful retrospect. Goethe, to be sure, is not 
 the only one who ascribes horns and claws to this youthful friend of 
 his, but Merck's letters and extant critical writings, and the total 
 impression of his character derived from contemporary sources, 
 offer little suggestion of the peculiar diabolism that shows itself in 
 Mephistopheles.* 
 
 And the same thing is to be said of Herder, whom Herman 
 Grimm regards as the living prototype of Mephistopheles. f 
 Grimm's theory is that Herder became for Goethe at Strassburg the 
 starting-point for the poetic conception of an -overweening, remorse- 
 less, destructive critic, a critic that knows it all, sees through you 
 and over you, and delights in showing up the vanity of your enthu- 
 siasms. Grimm supposes, then, that this conception was borne in 
 mind by Goethe until Merck came to give it individuality and 
 speech. To this theory as guardedly set forth by its author, one 
 cannot deny a measure of plausibility, only we must not look for 
 anything of the actual Herder in Goethe's devil. Herder was no 
 cynical enemy of idealism, but himself one of the towering idealists 
 of his century. If he ridiculed Goethe's enthusiasms it was not in 
 a spirit of contempt for enthusiasm per se, but out of devotion to 
 what he thought a better enthusiasm of his own. Another point 
 deserves to be noted with regard to Grimm's hypothesis. The only 
 Mephistopheles that we can even imagine to have been much in- 
 fluenced by Herder is, of course, that of the early pre-Weimarian 
 scenes. But the Gochhausen Faust, not known when Grimm 
 wrote, shows us that this Mephistopheles was by no means an in- 
 carnation of omniscient, overweening critical intellect. He is a 
 kind of devil of whom there was no spark in Herder, and who did 
 not need to be suggested by a Herder, the species being only too 
 common among the sons of Adam. Finally, it is highly probable 
 
 * Cf. Loeper in the Hempel edition of Goethe's works, XXII., 292 fif. 
 t Vorlesungen uber Goethe, 2516 Vorlesung.
 
 Ixxviii INTRODUCTION. 
 
 that the initial conception of Mephistopheles had already taken 
 root in Goethe's mind before he knew Herder at all. 
 
 The truth is that Goethe's famous creation owes very little, and 
 nothing that is clearly definable, to any actual personage. Mephis- 
 topheles is simply the natural, and in view of Goethe's poetic 
 methods, necessary pendant to Faust. The pair are in their way 
 but another instance of that dualism of poetic conception which 
 meets us elsewhere as Gotz and Weislingen, Clavigo and Carlos, 
 Orestes and Pylades, Tasso and Antonio. Over against the 
 extreme of titanic idealism seen in Faust, the poet sets an extreme 
 of earthly sensualism in Mephistopheles. The devil of any age or 
 people is the enemy of what that age or people regards as supremely 
 good. So in a time of emotional expansion like the storm and 
 stress era, when feeling is everything ' and supernal unrest the ac- 
 cepted sign of the soul's nobility, the devil is naturally a person 
 who throws cold water upon all high sentiment. Our poet needed 
 no models, and no suggestion beyond what was furnished by his 
 widening acquaintance with life, and his observation of the inner 
 contrasts of his own being. The habit of critical self-inspection 
 early became a part of his nature. It was as if he were accom- 
 panied by an inward Mephistopheles, that now confronted his 
 flight of feeling with cold common sense, now whispered of the 
 base while he dreamed of the noble, and again turned his pathos of 
 emotion into ridicule. All men carry their devil with them and 
 Goethe was no exception. He once said to Eckermann that there 
 was no crime but envy, of which he could not imagine himself to be 
 guilty. Bearing this in mind and remembering also Goethe's way 
 of potentializing his own moods in his fictitious heroes, his way of 
 raising these moods, so to speak, to a higher power, and carrying 
 out their consequences to a logical end, remembering this we 
 have, broadly speaking, all that is needed to explain the character 
 of Mephistopheles both in its inception and in its development.
 
 INTRODUCTION. Ixxix 
 
 3 . Wagner. 
 
 The legend, as we saw, gives to Faust a famulus in the person of 
 an ' insolent lubber ' called Christoph Wagner, who is in his mas- 
 ter's secret and becomes his heir. This Wagner also regularly ap- 
 pears in the puppet-plays, having there a somewhat colorless and 
 unimportant r61e. Goethe makes use of him fora contrast to Faust 
 of a different kind from that offered by the Earth-Spirit or Mephis- 
 topheles, that, namely of a practical, self-satisfied book-worm. The 
 young Goethe, who slighted his lectures at Leipzig and Strassburg, 
 was, of course, acquainted with fellow-students who attended 
 steadily to their work and were not given to repining over the in- 
 adequacy of the official academic fountain for quenching the diviner 
 thirsts of human nature. In sombre moods the species no doubt 
 exasperated him, and so when he came to depict it in Faust, he 
 threw a touch of satire into the portrait, and made qualities appear 
 despicable that are not so very despicable after all. For it is a mis- 
 take to regard Wagner as a type of the paltry pedant. There is 
 nothing of the pedant about him. He makes no offensive parade of 
 lean and wasteful learning, nor is there anything in him to suggest 
 that he cares only for the letter and not for the spirit. He is a 
 zealous student, a little tactless and importunate, a little naif in. his 
 ambition to know everything, but otherwise quite worthy of respect. 
 He knows what he wants and his wishes are creditable to his head 
 and heart. Faust, in his irritation, calls him the ' poorest of the 
 sons of men,' but humanly speaking, Wagner is a promising 
 youth who will make his mark in the world, in fact, does make it. 
 He is quite right to care for the things that pertain to his future 
 vocation and Faust's bitter rhetoric does him injustice. Wagner is 
 not digging after mysterious, unnamable treasures, but after bait to 
 catch fish ; he has a right, therefore, to be pleased when he turns 
 up an angleworm. The point of these remarks is to caution against 
 the common error of reading the Wagner scenes as if Faust were an 
 oracle of absolute wisdom, and Wagner a ridiculous shallow-pate.
 
 1XXX INTRODUCTION. 
 
 It is Faust who is in the wrong, and his ' clearing up ' will bring 
 him, not further from but nearer to, the humble, practical, human 
 idealism of his famulus. 
 
 4. Gretchen. 
 
 The later Faust-books, as was noted above on page xvii., contain 
 an account of Faust's falling in love with a servant-girl. Whether 
 this story is really, as Scherer supposed,* the germ ' of Goethe's 
 Gretchen is at least doubtful ; Kuno Fischer f thinks the hypothesis 
 unnecessary and even absurd. Of one thing at any rate we may be 
 sure, and that is that nothing more than the merest hint can have 
 been obtained by Goethe from this source ; forthe story is told in two 
 sentences in the Christlich Meynenden Faust-book, and has no resem- 
 blance whatever to the love-tragedy in Faust. This last cannot be 
 said, however, of a certain other narrative which has lately been put 
 forward not only as the probable ' original ' of the Gretchen story but 
 also as evidence that the Faust-book used by Goethe was that of 
 Pfitzer.J In a long note to his second chapter, by way of parallel 
 to Faust's youthful profligacy, Pfitzer tells a story, not found in 
 Widman, of a young student Apion, who falls in love with a girl 
 named Amee, wins her favor by means of presents and then dis- 
 honors her. The mother, trusting her daughter and busy with her 
 house- work, knows nothing of the relation. The maid Caride 
 knows, however, and threatens to betray Amee, but is quieted by 
 Apion's silver. In her shame, Amee is deserted by her betrayer 
 and in due time gives birth to a daughter, who is put to death by 
 Caride, with the young mother's consent. After two years the 
 crime is discovered and both Amee and Caride are beheaded, while 
 the mother is banished for not taking better care of her daughter. 
 
 The similarity of this story to that of Gretchen is so striking as 
 to suggest more than a possibility that Goethe may have read it. 
 
 * Faust-Buck, p. xxviii. 
 t Goethe 1 's Faust, p. 150. 
 t Goethe- Jahr buck, VII., 278. On the Pfitzer book, see above, p. xvii.
 
 INTRODUCTION. Ixxxi 
 
 Still, there are certain facts that should not be ignored. First, the 
 story is not told of Faust at all. Secondly, the main elements of 
 the recital are not so unheard of in life or in literature as to compel 
 the supposition that Goethe needed this particular tale to set his 
 imagination at work. Finally, as we have seen, Gretchen is only 
 one of a group of similar portraits painted by Goethe in his youth. 
 His mind was long haunted by the vision of an artless, naive girl 
 with a superior worldling for a lover. Any theory that attempts to 
 account for the origin of the conception of Gretchen must also ac- 
 count for the Marie of Gotz -von Berlichingen and the Clarchen of 
 Egmont. 
 
 In any case, therefore, we cannot suppose that Goethe's creation 
 owes more than a bare suggestion to his reading in Faust-lore. 
 Nor does it owe very much that is definable to any maidens of 
 flesh and blood. Some have thought, and even argued vehemently, 
 that the portrait of Gretchen is based upon reminiscences of the 
 Frankfurt Gretchen described so vividly in the fifth book of 
 Dichtung und Wahrheit.* But this is not very probable. Even 
 supposing this early love to have been as fervid as would appear 
 from Dichtung und Wahrheit, the episode was ancient history at 
 the time when the Gretchen scenes in Faust were written. Ten 
 years had passed with their kaleidoscopic succession of sweethearts, 
 and the young Goethe was preeminently a poet who wrought from 
 the issues of the living present. It is more likely that the Frank- 
 furt Gretchen was copied from her namesake in Faust. 
 
 With better reason we may assign to Friederike Brion the chief 
 influence, among actual maidens, in shaping the conception of 
 Gretchen. The reasons for this opinion have already been given. 
 
 In these pages we have called Goethe's heroine uniformly by the 
 name of Gretchen, but he himself calls her also by the name of 
 Margarete. As a rule the name Gretchen is used where she appears 
 
 * E. g., Schroer; cf. the Introduction to his edition of Faust, p. xl. ff.
 
 Ixxxii INTRODUCTION. 
 
 alone, as in the scenes, Gretchen's Room, 1 Zwinger,' Cathe- 
 dral.' In the dialogue scenes, excepting ' At the Well,' she is 
 introduced by the poet as Margarete,' though the characters speak 
 of her as ' Gretchen,' Gretel,' ' Gretelchen,' and ' Margretlein.' 
 Reasoning on this fact, before the discovery of the Gochhausen 
 manuscript, Schroer was led to imagine a later origin for the 
 Gretchen ' scenes, as if the image of his heroine in certain pathetic 
 situations had lingered on in the poet's mind after he had composed 
 the dramatic dialogue. But the ' Urfaust ' hardly supports this 
 view. In general it uses the names as they are used in the final 
 version, but with the important exception that in the catechism 
 scene we have ' Margrete ' in the heading, then ' Gretgen ' twice 
 in the text following, then a single ' Margrete,' and the rest of the 
 way only Gretgen.' That is, the names are used fortuitously in 
 the same scene.
 
 1 it e Xragobtc.
 
 3 u e i g it u n g. 
 
 nafyt eucfy toieber, fcfytoanfenbe eftalten, 
 friify ftcfy einft bent triiben Site! gejeigt. 
 
 ' icf> toofyl eudfy biefcmal feft ju fyalten? 
 giiljr id) mein erj nod) jenem UBafyn genetgt? 
 3$r brangt eud) ju ! nun gut, fo mogt i^r toalten, 
 2Bie tt>r aui 2)un(t unb 5Ke6eI um mid^ fteigt ; 
 3Jiein Sufen fii^It fic^ jugenbltcfy erfd^iittert 
 SSom 3^6^011^, ber eitren 3"g umtoittert. 
 
 bringt mit eud^ bie Stlber fro^er 
 Unb mand^e Itebe fatten fteigen auf ; 
 einer alien fyalbtoerflungnen age 
 erfte Sieb' unb ^reunbf^aft mit fyerauf ; 
 SDer d^merj h)irb neu, e ioieber^olt bie ^lage 
 S)e 2eben Iab^rintf)ifc^ irren 2auf, 
 Unb nennt bie uten, bie, um fcfyone tunben 
 SSom liicf getaufd^t, bor mir I?inh)eggefc^tt)unben. 
 
 <Sie I>6ren nid^t bie folgenben efdnge, 
 ie 6eelen, benen ic& bie erften fang ; 
 3erftoben ift bag freunblicfye ebrdnge, 
 3Ser!Iungen ad^ ! ber erfte 2BiberfIang. 
 3Jlein Seib ertont ber unbefannten SRenge, 
 ^F>r SeifaH felbft macfjt meinem Bergen bang, 
 Unb toa fid^ fonft an meinem Sieb erfreuet, 
 SSenn e noc^ lebt, trrt in ber SBelt jerftreuet. 
 
 (3)
 
 Unb mid;) ergreift ein langft enttoofynteS efynen 25 
 
 ftad) jenem ftillen ernften eifterreid;, 
 
 @^ fcfytoebet nun in unbeftimmten Xonen 
 
 SRein Itf^elnb Sieb, ber 3lDlf)arfe gleid),, 
 
 @in Baiter fa^t tnid^, Stfyrane folgt ben 2:f>ranen, 
 
 ftrenge erj e fii^It fi<^ milb unb toeid^ ; 30 
 
 \<fy beft^e fet)' ic^ hne im SSetten, 
 Unb h)a toerfcfytoanb toirb mir ju SSirflid^feiten.
 
 auf bem Sweater. 
 
 Director, 6, eaterbtd) ter, Suftige ^erfon. 
 
 Director. 
 
 $b,r beiben, bie ifyr mir fo oft, 
 
 $n 9?otl) unb Striibfal, beigeftanben, 
 35 agt it>a ifyr n>ob,l in beutfd)en Sanben 
 
 SSon unfrer Unternef)tnung ^offt ? 
 
 3<^ toiinfcfyte fe^r ber 3)lenge 511 befyagen, 
 
 SBefonber toeil fie lebt unb Icben Ictfjt. 
 
 5Die ^Bfoften finb, bie Sreter aufgefd&Iagen, 
 40 Unb jebermann ertoartet fid^ ein $eft. 
 
 ie fi^en frf)on mit fyofyen 2lugenbraunen 
 
 elaffen ba unb molten gern erftaunen. 
 
 %<$ n)ei| tme man ben eift be^'SSoIfg berfofynt; 
 
 2)od^ fo berlegen bin id) nie getoefen ; 
 45 $\VCLI finb fie an bag Sefte nid)t getco^nt, 
 
 2lHein fie fyaben fd)retfUd^ biel gelefen. 
 
 SBie madden iuir'S, ba^ atte frifd; unb neu 
 
 Unb mit Sebeutung aud) gefcittig fei ? 
 
 2)enn freilid; mag id; gern bie 5Renge fe^en, 
 50 2Senn fid) ber (Strom nad) unfrer S3ube brdngt, 
 
 Unb mit getoaltig tuieberfjolten 2Beb,en 
 
 id; burd; bie enge nabenpforte jtodngt, 
 
 S3ei ^ettem Stage, fd)on bor SSieren, 
 
 5Dtit to^en fid; big an bie Gaffe fid;t 
 
 (s)
 
 Unb, tm'e in >ungernotl; um Srot an Sacfertfyiiren, 55 
 Urn ein 33ittet fief) faft bie alfe bridrt. 
 SDiejs 2Bunber toirft auf fo t>erfd;iebne Seute 
 )er 2)id;ter nur ; mein $reunb, o ! tfyu' es> fyeute ! 
 
 Sifter. 
 
 D fprid; mir nid;t bon jener bunten -Jftenge, 
 
 Set beren 2ln6Iicf ung ber eift entflie^t. 60 
 
 SSer^iitte mir ba3 toogenbe ebrdnge, 
 
 toiber 2Bitten un gum trubel giefyt. 
 fii^re micf) jur ftitten immelenge, 
 2Bo nur bem SDicfyter reine ^reube blii^t ; 
 2Bo 2ieb' unb ^reunbfd^aft unfreg >eren egen 65 
 
 otterf>anb erfcfyaffen unb er))f(egen. 
 
 2ld; ! n>a in tiefer Sruft un ba entfyrungen, 
 c^ bie 2type fd;uc^)tern borgelaKt, 
 i)en je^t unb je|t t>ieffeid;t gelungen, 
 $Berfd;Iingt be ioilben 2(ugen6licf etoalt. 70 
 
 Dft toenn e er(t burd) l^afyre burd;gebrungen 
 @rfd;eint e in bottenbeter eftalt. 
 
 glanjt ift fur ben 2lugen6ltcl geboren ; 
 @d;te bleibt ber 3^arf>n)elt unberloren. 
 
 Suftige ^erfon. 
 
 2Benn id; nur nid;t toon 9^ad;n)elt ^oren fottte; 75 
 
 efe^t ba^ id; toon ^iadjtoelt reben looffte, 
 
 2Ber mad;te benn ber 5Ritn)eIt ^a^ ? 
 
 S)en toitt fie bod; unb foil ifyn i>aben. 
 
 2)ie egentoart toon einem braben ^naben 
 
 ^ft, bad;t' id;, immer aud; fd;on toa. 80
 
 SSorjpiet cmf bent Sweater. 
 
 3Ser fidtj befyaglicb mitjutbetlen toeijj, 
 )en imrb be 23olfe Saune nid)t erbittern ; 
 @r tttiinfcfyt ficb, etnen grofjen rei, 
 Um ib,n getoiffer gu erfcfiitttern. 
 85 3)rum feib nur brab uub jeigt eiid? mufterl^aft, 
 2afet ^Bb,antafie, mit alien ifyren S^oren, 
 SSernunft, SSerftanb, mpfinbung, Seibenfc^aft, 
 IDoc^, merit eud^ toofy I ! nid^t o{>ne ^arr^eit fyoren. 
 
 director. 
 
 S3efonber aber la^t genug gefcb, efyn ! 
 90 2Ran fommt ju fdgaun, man luitt am Itebften fefyn. 
 
 2Btrb tele t>or ben 2Iugen abgefponnen, 
 
 (So bafe bte ;IRenge ftaunenb gaff en !ann, 
 
 2)a F>abt if>r in ber S3rette gleid) getoonnen, 
 
 ^^r feib ein m'elgeliebter 9Jiann. 
 95 35ie 3J?affe fbnnt i^r nur burd? SRaffe jtoingen, 
 
 (gin jeber furfjt ficf> enblid^) felbft toa au. 
 
 SBer biele bringt, toirb mancfyem etn)a bringen; 
 
 Unb jeber gefyt jufrieben au bent au. 
 
 ebt ib,r ein tiicf, fo gebt e8 gleirf) in (StM en ! 
 ioo defy ein Stagout e mu^ euc^ gliicfen; 
 
 ift e borgelegt, fo leic^t at augebad^t. 
 b, ilft'^, toenn ib,r ein anje bargebrac^t, 
 ^Bublicum icirb e euc^ boc^ gerpflucfen. 
 
 2) i 4) t e r. 
 
 ^b,r fii^Iet nid^t, Ime fd^lec^t ein fold^e ^anbtcerf feU 
 105 2Bie toenig ba bem ecb, ten ^iinftler jieme ! 
 >er faubern erren ^Pfufcberei 
 jft, merf ic^, fd;on bei eudj
 
 gostfL 
 
 Director. 
 
 in folder SSortourf laftt mid) ungelranft : 
 
 in SJtann, ber red;t ju tmr!en benft, 
 
 iHtufc auf ba befte 2Berfeug b, alien. no 
 
 23ebenft, ifyr fyabet tbeid)e3 oij ju flatten, 
 
 Unb f eb, t nur fyin fiir toen ii)r fd^reibt ! 
 
 2Benn btefen Sangeioeile treibt, 
 
 ^ommt jener fait bom iibertifcfyten SRa^Ie, 
 
 Unb, toaS ba atter[cf)Itmmfte bleibt, 115 
 
 ar manner fommt bom Sefen ber ^ournale. 
 
 3Jlan eilt jerftreut gu uu, tuie 511 ben 2ftafenfeften, 
 
 Unb 'Jieugier nur beflitgelt jeben d^rtit ; 
 
 S)ie 2) amen geben fid; unb \fyun $u^ gum SBeften 
 
 Unb fptelen o^ne age mit. 120 
 
 2Ba traumet ifyr auf eurer id}terso^e ? 
 
 2Ba mac^t ein boffe au eitcfy frob, ? 
 
 Sefe^t bte b'nner in ber 3^at)e ! 
 
 alb finb fie fait, b,alb finb fie rob,. 
 
 SDer, nad; bem @d}aufbiel, ^offt ein ^artenfbiel, 125 
 
 S)er eine ioilbe 9^ad;t an einer 2)irne 33ufen. 
 
 2Bal blagt ib,r armen ^b,oren biel, 
 
 3u foldEjem ^S^ 6 ^/ ^ e b.olben 3Jiufen? 
 
 ^d; fag' eud;, gebt nur mefyr, unb immer, immer mefyr, 
 
 <3o lonnt ib,r eud; bom $iele nie berirren, 130 
 
 <Sud)t nur bie 2Renfd;en ju bertoirren, 
 
 @ie ju befriebigen ift fd;iber 
 
 fa'Ut eud; an? ntjiidung ober @d;merjen? 
 
 2)id;ter. 
 
 eb, b,in unb fud;' bir einen anbern $ned;t! 
 
 3)er 2>id;ter folite tuob,! bag b,6d;fte ^Red^t, 135
 
 SSorfpiel auf bem Beater. 
 
 SERenfcfyenrecfjt, ba ifym 9tatur fcergonnt, 
 
 Um beinetioillen fretoentlicfr, berf<f>eren ! 
 
 SBoburd; betoegt er afle >erjen? 
 
 2Boburcfy befiegt er jebe lement? 
 140 3ft e ber inflang nicfyt, ber au bem Sufen bringt, 
 
 llnb in fein erj bie 2BeIt juriidfe fd^Iingt? 
 
 2Benn bie -ftatur beg ^yaben elD'ge 2ange, 
 
 leid^giiltig bre^enb, auf bie (Spinbel gtoingt, 
 
 SBenn atter SBefen unfyarmon'fcfye 3Jienge 
 145 SSerbrie^Iid^ burd) einanber flingt ; 
 
 2Ber tfjeilt bie fliejjenb immer gleid^e 3tei^e 
 
 Selebenb ab, bafe fie fid^ rfytytfymifcfy regt? 
 
 2Ber ruft ba inline jur affgemeinen SSei^e, 
 
 SSo e in berrlicf>en Slccorben fd^Iagt? 
 150 2Ber Iat ben turm gu 2eibenfd^iaften h)iltf)en? 
 
 2)a 2lbenbroti> im ernften inne 
 
 2Ber fd^iittet alte fd^onen 
 
 2luf ber eltebten ^fabe 
 
 2Ber fli4t bie unbebeutenb griinen flatter 
 I 55 3 um @^renfran SSerbienften jeber 2lrt? 
 
 SBer fid^ert ben Dltymp, bereinet otter? 
 Shaft im 2)ic^ter offenbart. 
 
 Suftige ^erfo 
 
 <5o braud^t fte benn bie fcfyonen 
 
 Unb treibt bie bicfytrifcfyen efc^afte, 
 
 160 SOBie man ein Siebe^abenteuer treibt. 
 
 3ufdttig nafyt man ftc^, man fu^It, man bleibt 
 Unb nacij unb nacb, toirb man berflod^ten; 
 6 toa'cfyf't ba liidt, bann iwirb e angefoa^ten, 
 3Kan ift entjiidt, nun lommt ber c^merj ^eran,
 
 10 
 
 Unb eb/ man fid/ toerfiel;:, ift' eben ein Sloman. 165 
 
 Sajjt un aud; fo eiit <Sd;aufbiel geben ! 
 
 reift nur fyinein in'> botte 2Kenfd;enleben ! 
 
 @in jeber lebt'S, nidjt bielen ift'3 befannt, 
 
 Unb too ib,r' ^acft, ba ift'8 intereffant. 
 
 ^n bunten 33ilbern loentg ^tar^eit, 170 
 
 SSiel ^rrt^um unb ein gamfcfyen SBa^r^ett, 
 
 (So toirb ber befte ranf gebraut, 
 
 2)er atte 2BeIt erquicft unb auferbaut. 
 
 2)ann fammelt fid) ber ^ugenb fd)5nfte Sliit^e 
 
 SSor eurem ptel unb laufdjt ber Dffenbarung, 175 
 
 35ann fauget jebeg jartlid;e emiit^e 
 
 2lit eurem 2Ber! fid; meland}ol'fd;e ;ftab,rimg, 
 
 2)ann ictrb balb bte balb jene aufgeregt, 
 
 in jeber fiefyt ioa er im Bergen tragt. 
 
 %to<fy finb fie gleid; bereit gu toeinen unb gu Iad;en, 180 
 
 (Sie e^ren nod} ben @d;h)ung, erfreuen fid; am <Sd?ein ; 
 
 2Ber fertig ift, bent ift nid;t redit ju madjen ; 
 
 @in 2Berbenber h)irb immer banfbar fein. 
 
 @o gib mir aud; bie ^^iten hneber, 
 
 35a id; nod; felbft im SBerben toar, 185 
 
 2)a fid; ein Duett gebrangter Sieber 
 
 Ununterbrod;en neu gebar, 
 
 mir bie SBelt ber^uttten, 
 2Bunber nod; berfbrad;, 
 25 a id; bie taufenb 33Iumen brad;, 190 
 
 >ie aHe SC^ciler reid;Iid; fiittten. 
 ^jd; ^atte nid;t^ unb bod; gcnug, 
 S)en 2)rang nad; SiBafyrfyeit unb bie Suft am !rug.
 
 SSorfpiet auf bent Sweater. 11 
 
 (Sib ungebdnbigt jene riebe, 
 195 >a tiefe fd^merjentooUe liicf, 
 
 S)e affe flraft, bie 3ttad&t ber Siebe, 
 ib meine 3>ugenb mir juriitf ! 
 
 2 u ft i g e $J3 e r f o n. 
 
 2)er S u 9 en ^/ S uter ^reunb, bebarfft bu 
 2Benn bid^ in 6d^ta4)ten geinbe brdngen, 
 200 SSenn mit etoalt an beinen ^al 
 
 <Std^ atterliebfte 3Jidbd^en ^angen, 
 3Benn fern beS fd^neffen SaufeS ^ranj 
 SSom fcfytoer erreid^ten 3iele luinfet, 
 SBenn nacfy bem ^eft'gen SBtrbeltanj 
 205 S)ie 9^ddte fd^maufenb man bertrinfet. 
 
 befannte aitenf^iel 
 unb Slnmut^ einjugreifen, 
 einem felbftgeftedvten 
 9Jiit ^olbem ^rren 
 3)a, alte ^erm, tft cure ^pflid^t, 
 Unb toir bere^ren euc^ barum nid^t minber 
 
 2llter mafyt nid^t !inbtfc, h)ie man 
 ftnbet un nur nod^ al toafyre Minber. 
 
 director. 
 
 2Borte fmb genug gen>ec^fclt, 
 215 2a^t mi$ auc& enbltd? X^aten fe^n ; 
 
 ^nbe^ ii>r Gompltmente bred^felt, 
 $ann eth)a 9iu^Iid^e gefd^e^n. 
 2Ba fyilft e^ biel toon timmung reben ? 
 )em 3aubernben erfc^etnt ftc nie. 
 220 ebt it>r eud; einmal fiir 
 
 <So commanbirt bie
 
 12 
 
 ift befannt, toa hrir bebitrfen, 
 2Bir tootten ftar! etranfe fcfylurfen ; 
 
 braut mir unberjiiglicfy bran ! 
 
 fyeute nicfyt gefcfytefyt, ift morgen nidt get^an x 225 
 Unb !einen Sag foU man ber^afjen, 
 5Da 3Jl5gIid^e foil ber (Sntfd^Iufe 
 SBefyerjt fogleid^ bei'm d^o^fe fafjen, 
 6r toitt e bann nid^t fafyren laffen, 
 Unb ioirfet toeiter, toeil er mu^. 230 
 
 toifet auf unfern beutfd^en 
 ein jeber ioa er mag ; 
 S)rum fd^onet mir an biefem 
 ^rof^ecte ni4)t unb nic^t 2Rafcf)inen. 
 ebraudgt ba grojj' unb fleine ^immelgUc^t, 235 
 
 3Me terne biirfet i^r berf cfytoenben ; 
 2ln 2Bajfer, geuer, $elfentoanben, 
 2(n 3;^ier unb SSogeln fefylt eg nid?t. 
 @o fd^reitet in bent engen Sreterf>au 
 S)en ganjen ^rei ber (Sd^o^fung au x 240 
 
 Unb toanbelt mit bebac^t'ger dinette, 
 SJom immel burd^ bie SOSelt jur
 
 tm tmmeL 
 
 S)er $err, bic fyimmlifdjen eerf$aaren, 
 nacfyfyer 
 
 2)ie brei (5 r gen gel treten or. 
 
 9U p $ a e t 
 
 SDie (Sonne tont nad^ alter 2Beife 
 ^n Sruberf^dren SBettgefang, 
 
 245 Unb i^re borgef^riebne S^eife 
 
 SSoUenbet fie mtt 2)onnergang. 
 ^^r Slnblic! gibt ben ngeln tarfc, 
 JBenn leiner fie ergriinben mag ; 
 2)ie unBegretflid^ fco^en SSerfe 
 
 250 <5inb ^errlid^ itie am erften Stag. 
 
 abrtel. 
 
 Unb fd^nett unb unbegreiflid^ fc^nelle 
 c() umfyer ber @rbe ^rad^t ; 
 
 9Jiit tiefer fcfwuerbotter 
 255 @ fcfyaumt ba SJieer in breiten ^ftiffett 
 
 21m tiefen runb ber $elfen auf, 
 Unb ^el unb SJteer toirb fortgeriffen 
 3" eh)ig fcfmettem ^arenlauf. 
 
 (13)
 
 14 gouft 
 
 Unb (Stitrme braufen um bte -JBette, 
 
 33om 3Jleer auf' Sanb, bom Sanb auf'3 SOleer, 260 
 
 Unb bilben toittfyenb eine $ette 
 
 S)er tiefften 2Bir!ung rings um^er. 
 
 2)a flammt ein blitjenbe SBerfyeeren 
 
 SDem $fabe t>or be 5Donnerfc^Iag ; 
 
 betne 33oten, err, beret)ren 265 
 
 fanfte 2BanbeIn betneS 
 
 Slnblic! gt6t ben ngeln tcirle 
 2) a fetner bid) ergriinben ntag, 
 Unb aHe beine fyofyen 3Ser!e 
 @tnb ^errlt^) tote am erften 5Cag. 270 
 
 2ft e p ^ i ft o $ fy e I e 8. 
 3>a bu, o ^>err, bid^ einmal toieber nafyft 
 Unb fragft tote affe fid) bei un oefinbe, 
 Unb bit mtd^ fonft getoo^nltd^ gerne fafyft, 
 <So fte^ft bu mtd^ aud; unter bem efinbe. 
 SSerjet^, tcfy lann ntdE>t fjo^e SBorte madjen, 275 
 
 Unb toenn mid^i aucfy ber ganje ^rei ber^o^nt ; 
 3Rein ^at^o brdcf)te btd^ getotf; gum Sadden, 
 att'ft bu bit nid>t ba Sadden abgetoo^nt. 
 SSon <Sonn= unb 2BeIten toet^ id) ntd^ts gtt fagen, 
 ^c^ fefye nur toie fic^ bie SRenfdjen blagen. 280 
 
 S)er Heine ott ber 9ScIt bleibt jlcts Don gleic^em cplag, 
 Unb ift fo tounberlic^ a,U toie am erften ag. 
 @in toenig beffer toiirb' er leben, 
 ^att'ft bu ifym nid)t ben @a;ein be >immellicf)t gegeben ;
 
 im itnmel. 15 
 
 285 @r nennt'S SSernunft itnb braud)t' attein, 
 ftur tfyierifdjer al jebe Stfyier ju fein. 
 6r fd)eint mir, mit 33erlaub Don @to. naben, 
 2Bie eine ber langbeinigen Sicaben, 
 S)ie immer fltegt unb fliegenb f^ringt 
 
 290 Unb gleic^) im ra if>r alte Siebci^en fingt; 
 Unb lag' er nur norf) immer in bem rafe ! 
 3>n jeben Duarl begrabt er feine -ftafe. 
 
 3) e r e r r. 
 
 bu mir toeiter ni^)t ju f agen ? 
 bu nur immer anjuflagen ? 
 2 9S 3>ft au f ^ et: r ^ e en) i9 bfc ni<^t red^t? 
 
 err ! i^ finb' eg bort, ittie immer, ^erjlid^ fd^Ied^t. 
 2)ie 3Jienfd^en bauern mic^ in ifyren ^ammertagen, 
 %<fy mag fogar bie Strmen felbft nid^t ^lagen. 
 
 SDer err. 
 ^ennftbubengauft? 
 
 3Ke^ifto^^>eleg. 
 Sen Sector *, 
 
 2)er err. 
 
 2)ieinen Anedjtl 
 
 3He^f>ifto^^eIeg. 
 300 5iirh)aF)r ! er bient eud) auf befonbre SBeife. 
 
 3iid^t irbifd^ ift be !I?oren SCran! noc^ (S^eife, 
 
 ^f^n treibt bie d^rung in bie $erne, 
 
 6r ift fid^ fetner ottfyeit ^alb betoufst ; 
 
 SSom immel forbert er bie fd;6nften terrve, 
 305 Unb toon ber @rbe jebe ^od)fte Suft,
 
 16 
 
 Unb atte ^afy unb affe $erne 
 SBefriebtgt ntcfyt bte tiefbetoegte 33ruft. 
 
 > e r e r r. 
 
 2Benn er mir je|t aucfy nur bertoorren btent, 
 (So toerb' id) ifyn balb in bte ^larfyett fiifyren. 
 2BeiJ3 bod) ber artner, toenn ba Saumd^en griint, 310 
 2)afc Sliit^' unb ^ruc^t bte litnft'gen ^af)re jteren. 
 
 3 e p ^ t ft o ^ ^e I e . 
 9Sa loettet t^r? ben fottt t{>r nod^ berlteren, 
 SSenn tfyr mir bte (Srlaitbm^ gebt 
 metne tra^e fad^t gu fiifyren ! 
 
 @o lang er attf ber @rbe lebt, 315 
 
 o lange fet bir'S nidt berboten. 
 6 trrt ber -IRenfcfy fo long er ftrebt. 
 
 9)1 e p ^ t ft o $ $ e I e 3. 
 3)a ban!' id) eitd^ ; benn nttt ben ^obten 
 ab' td^ mid) mentals gern befangen. 
 2lm metften Iteb' td^) mir bte botten frifd^en SBangen. 320 
 giir etnen Seid^nam bin tc^ ntci^t ju au ; 
 ge^t e tote ber ^a^e mtt ber 9Jtau. 
 
 3) er err. 
 
 9hm gut, eg fet bir iiberlaffen ! 
 3ie^> biefen etft bon feinem UrqueH ab, 
 Unb fitfyr' t^n, fannft bu tl;n erfaffen, 325 
 
 2luf beinem 2Bege mtt fyerab, 
 Unb fte^) befd^amt, toenn bu befennen mu|t : 
 in guter -SRenfrf; in feinem bimflen 2)range 
 ^ft fid; be redjten 2Bege iuo^I belou^t.
 
 Prolog int immel. 17 
 
 330 cfyon gut ! nur bauert e nidjt lange, 
 
 3JZir ift fur tneine 2Bette gar nicfyt bangc. 
 SSenn id) ju meinem gtoecf gelange, 
 (grlaubt ifyr mir Sriump^ au better 33ruft. 
 taub foil er freffen, unb mit Suft, 
 
 335 SOBte meine SRufyme, bie berii^mte flange. 
 
 2) e r e r r. 
 
 $u barfft au^> ba nur fret erfd^etnen ; 
 ^5^ fyabe jDeineSgleid^en nie ge^afet. 
 S3on aUen eiftern bie berneinen 
 ^ft mir ber (Scfyalf am toenigften jur 2aft. 
 
 340 1De SJienfd^en l)atig!ett lann aUjuIeid^t erfdIaffen, 
 
 r Itebt ftd^ balb bie unbebingte Shify ; 
 2)rum geb' id^ gern i^m ben efeffen ju, 
 3)er reijt unb toirft unb mujj al Xeufel fdaffen. 
 2)0^) ifyr, bie ed^ten otterfo^ne, 
 
 345 rfreut eud^) ber lebenbig reid^en c^one ! 
 
 S)a 2Berbenbe, ba enrig toirft unb lebt, 
 Umfaf[' eud^ mit ber Siebe ^olben <3<$ranfen, 
 Unb toa in fd^inanfenber rfdtjeinung fd^toebt, 
 Sefeftiget mit bauemben ebanlen. 
 
 S)er ^immet f(^Het, bie (5 r j e n g e I oertljeilen jtc^. 
 
 3Ke^)^ifto^^eIe attein. 
 350 SSon 3eit ju 3^t fefy' id? ben 2llten gem, 
 
 Unb fyiite mid? mit t^m gu bred^en. 
 @S ift gar ^ubfd^ bon einem grofien ^errn, 
 o menfd^Iid? mit bem Xeufel felbft ju fpredljen.
 
 r a g o b t e 
 (rftcr Sljeil. 
 
 (19)
 
 Sfeadjt 
 
 3n einem Ijodjgetootbten ettgen gotljifdjen Dimmer % a u fl unruljig 
 aitf feinem @e[fel ant 
 
 gauft. 
 
 nun, ad) ! 
 
 355 j ur ifterei unb 2Rebicin, 
 
 Unb leiber aucfy 2^e0logie ! 
 jDurd^iauS ftubtrt, mit fyeijjem 
 S)a ftef>' id^ nun, idj armer 
 Unb bin fo !Iug al toie gubor ; 
 
 360 ei^e -JJlagifter, ^et^e SDoctor gar, 
 
 Unb jiefye fd^on an bie je^en 3>afyr, 
 erauf, ^erab unb quer unb frumm, 
 SReine filler an ber Sftafe Return 
 Unb f efye, ba^ h)ir nid)t toiffen fonnen ! 
 
 365 2)a hnH mir fd^ter ba er^ ber&rennen. 
 
 3toar bin id^ gefc^eibter al atte bie Saffen, 
 SDoctoren, SRagtfter, d^reiber unb ^Pfaffen ; 
 iJJttdj ^lagen feine cru^el nod^ gtoeifel, 
 giir^tc mid^ ioeber tor >6He nod^ SCeufel 
 
 370 3)afiir ift mir aud^) atte $reub' entriffen, 
 
 Silbe mir nid;t ein toa 9ted^t ju tuiffen, 
 SBilbe mir nidgt ein id^ lonnte toa le^ren 
 2)ie 3Jtenfd^en ju beffern unb gu befe^ren. 
 
 (ai)
 
 22 ftauft. (Srfter Sfjeit. 
 
 fyab' icfy toeber ut nodfj elb, 
 @fyr' unb errlicpett ber 2BeIt ; 375 
 
 @ mocfyte f ein unb fo langer leben ! 
 3)rum fyab' i<^ mtd;> ber 3Jlagte ergeben, 
 Db mir burd^) eifte ^raft unb 3Jiunb 
 mand^) e^etmni^ toiirbe lunb ; 
 id^ nid^t mefyr, tnit fauerm <Sd)h)ei^, 380 
 
 u fagen braud^e toa id^ nicfyt iuei^ ; 
 
 erfenne toa bie SBelt 
 3>nnerften jufammen^alt, 
 
 ' aEe 2Birfen!raft unb amen, 
 Unb tfyu' nicfyt me^r in SSorten Iramen. 385 
 
 D fcti)ft bu, DoHer 3Jionbenfcfyein, 
 
 3um le^tenmal auf nteine ^|Bein, 
 
 Sen id^ fo manege 3Jittternad^t 
 
 2ln btefem ^3ult ^erangetoad^t : 
 
 SDann, iiber Sud^ern unb papier, 390 
 
 ^riibfel'ger ^r^unb, erfd^ienft bu mir ! 
 
 2ld^ ! lonnt' id^ bod^ auf 33erges6i>n 
 
 $n beinem lieben Std^te ge^n, 
 
 Urn SBerge^ofyle mit eiftern fd^toeben, 
 
 2luf 2Biefen in beinem S)ammer toeben, 395 
 
 SSon aUem 2BiffenquaIm entlaben 
 
 ^n beinem Rfyau gefunb micfy baben ! 
 
 ftecT id^ in bem Verier no$ ? 
 
 m^fe 3Jiauerlod^, 
 felbft ba liebe immellid^t 400 
 
 gema^Ite (Sd^etben bri$t! 
 SBefd^rdnft toon biefem $Bii(^erf)auf, 
 35en 2Biirme nagen, taub bebedft,
 
 23 
 
 >en, bi an' fyofye etoolb' fyinauf, 
 405 @in angeraucfyt papier umfiedt ; 
 
 SDttt lafern, .Stiffen rings umfteUt, 
 2Rit ^nftrumenten boflgepfropft, 
 Urbater >auratf) brein geftofeft 
 
 ift beine SBelt! ba ^eifet eine 3Be(t! 
 
 410 Unb fragft bu nod^, tuarum betn 
 
 id^ bang in betnem 93u[en flemmt? 
 2Barum ein unerllarter 
 25ir atle 2e6enregung 
 tatt ber lebenbtgen 
 
 415 a ott bie 9Jienfrf)en f4)uf ^inein, 
 
 Umgibt in Staudj unb SRober nitr 
 SDtdj 2;^iergeri^^)' unb ^obtenbein. 
 
 glie^ ! Stuf ! inau in'g toeite Sanb ! 
 
 Unb bie^ gefyeitnnijjbotfe S3ud, 
 420 SSon 9^oftrabamu eigner anb, 
 
 3ft bir e nicfyt eleit genug? 
 
 (Srfenneft bann ber (Sterne Sauf, 
 
 Unb toenn -ftatur bid untcrioeif t, 
 
 5Dann ge^t bie eelenfraft bir auf, 
 425 SBie f^rid^t ein eift jum anbern eift. 
 
 Umfonft, ba^ trodcne <Sinnen ^ier 
 
 2)ie i>eil'gen $e\d)m bir er!Iart. 
 
 3^>r fcbtoebt, i^r eifter, neben mir ; 
 
 Slnttoortet tnir, toenn i^r mic^ f)6rt ! 
 
 ba iBucf) auf unb erbltrft ba8 3 e ^ en & 
 
 a ! toeldje S^onne flie^t in biefem 33IicE 
 2luf einmal mir burc^) afte meine Sinnen !
 
 24 gcmji. (Srfiet 
 
 $$ fitfyle jungeS fyeil'geS 2ebenglucl 
 9teuglubenb mir burcfy -fterb' unb Slbern rinnen. 
 2Bar e ein ott, ber biefe 3 e ^ en f^rteb, 
 2)ie mir ba innre oben ftiffen, 435 
 
 2)a3 arme erj mit greube filtten, 
 Unb mit ge^eimnt^tiottem rteb 
 S)ie ^rafte ber ^atur'ringS urn mi$ ^er ent^iitten? 
 S3in t$ ein ott? Wir toirb fo lic^t ! 
 ^5^> fd^au' in biefen reinen 3^gen 440 
 
 ie totrfenbe 5Ratur bor meiner <SeeIe Itegen. 
 ^e^t erft erf enn' icfy h)a^ ber 2Beif e fpric^t : 
 ,,1Die eiftertoelt ift nid^t berfrfrtoffen ; 
 ,,2)ein inn ift 511, bein erj ift tobt ! 
 ,,2luf, babe, c^tiler, unberbroffen 445 
 
 ,,$ie irb'fc^e SBruft im 9ftorgenrotf) I" 
 Sr befd^aut ba 3 e ^ e n. 
 
 SBie aEe ftd^) jum anjen h)ebt, 
 6in in bem anbern iuir!t unb lebt ! 
 2Bie immelfrdfte auf unb nieber fteigen 
 Unb ftrf) bie golbnen inter reicfyen ! 450 
 
 9Jiit fegenbuftenben djtoingen 
 3Som immel burd^ bie @rbe bringen, 
 aU' ba 2ltt burc^IIingen ! 
 
 (SdEjaufpiel ! aber ac ! ein (Scfyaufpiel nur ! 
 2Bo faff ic^ bid^, unenblid^e 9?atur? 455 
 
 @u$ Sriifte, h>o? ^^r Dueflen alle SebenS, 
 2ln benen immel unb @rbe ^angt, 
 2)af)in bie toelfe 33ruft fid^ brangt 
 I^fyr queEt, i^r tranlt, unb fcljmacfyt' id^ fo bergebenl ? 
 (r jc^Iagt unwittig baS S3ud) um unb erbttcft ba 3etd)en be8 SrbgeifteS.
 
 25 
 
 460 2Bte anberS toirft biefj fttifyn auf micfy ein ! 
 
 35, eift ber @rbe, bift mir nafyer ; 
 
 djon fiifyr id? meine $rafte fyofyer, 
 
 <3d)on gliify' id) tote t>on neuem SBein, 
 
 !yd; fiifyle Wlufy mid^ in bie 2BeIt 511 toagen, 
 465 S)er @rbe 2Befy, ber @rbe liidf gu tragen, 
 
 3Jiii tiinnen mid^ ^erumjufd^Iagen, 
 
 Unb in be d^iffbrud^S ^nirfd^en nid^t ju jagen. 
 
 @ toolft ficfy iiber mir 
 
 S)er 3Jtonb toerbirgt fein Sid^t 
 470 35ie Sampe fd^toinbet ! 
 
 6 bampft ! jutfen rot^e tra^Ien 
 
 SJlir urn ba au^t 
 
 Gin cfyauer t>om etoolb' 
 
 Unb fafet mid^ an ! 
 475 S$ fi*^'^/ bu fd^toebft um mid^, erfle^ter 
 
 a ! h)ie' in tneinem erjen rei|t ! 
 
 3u neuen efit^Ien 
 
 2ltt' meine innen fid^ ertoii^Ien ! 
 480 $cf) fii^le gan^ mein erj bir fyingegeben ! 
 
 2)u mu|t ! bu mujjt ! unb foftet' e mein 2eBen ! 
 Gr fa^t ba8 S3ud^ unb fpridjt bag 3 e ^en be8 eifieS getjeitnnifj&otl aits. 
 g8 gurft eine rotfjHdje famine, ber e i ft erfcfyeittt in ber glatmne. 
 
 eift. 
 
 SSerruftmir? 
 
 3 1 a u ft abgetoenbet. 
 cfyrecf lt$e eftc^t ! 
 
 eift. 
 
 S)u fyaft mid^ mcid^tig angejogen, 
 2ln meiner @^^are lang gefogen, 
 485 Unb nun
 
 26 gcmfl. (Srfter 
 
 2BeI) ! id^ ertrag' bicfy nidfjt ! 
 eift. 
 
 >u flefyft eratfymenb mi$ ju fd^auen, 
 
 9fteine timme u fyoren, mein 2lntli| ju fefyn ; 
 
 neigt bein mac^tig 6eelenfle^n, 
 bin icfy ! 2BeId5> erbarmlid^ rauen 
 
 tibermenfd^en bid? ! SSo ift ber eele 9?uf? 490 
 2Bo ift bie 33ruft, bie eine Belt in ficfy erfd^uf, 
 Unb trug unb ^egte, bie tnit ^reubebeben 
 @rfd^h)ott, fid^ un, ben eiftern, gleid^) ju ^eben? 
 2Bo bift bu, $CM\t, be^ timme mir erllang, 
 2)er fic^ an micfj mit atten ^raften brang ? 495 
 
 SBift b u e, ber, toon meinem aud^ umtoittert, 
 ^n aHen SebenStiefen jittert, 
 @in furc^tfam toeggeJriimmter 2Burm? 
 
 icfy bir, ^lammenbtlbung, toeid^en? 
 $d; bin's, bin ^auft, bin 2)eineggleiden ! 500 
 
 eift. 
 
 ^n SebenSflutfyen, im S^atenfturm 
 2BaU' id^ auf unb ab, 
 2Be^>e ^in unb fyer ! 
 eburt unb tab, 
 
 (Sin etoigeg 9Keer, 505 
 
 in toedjfelnb SSeben, 
 (Sin glii^enb Seben, 
 
 @o fd^aff' ic^ am faufenben SBebftu^I ber 3eit, 
 Unb toirfe ber ott^eit lebenbigeg
 
 27 
 
 510 2)er bit bie toeite 2BeIt itmfdtjtoetfft, 
 
 efcfydfttger eift, tote nafy fu'fyl' id^ mtd& btr! 
 
 eift. 
 
 S)u gleicfyft bent etft ben bit begreifft, 
 mtr ! 
 
 SSerjt^minbet. 
 
 a u ft jufammenftiirjenb. 
 btr? 
 515 SSem benn? 
 
 ^d? benbilb ber ott^eit ! 
 Unb ntd^t etnmal bir ! 
 
 e Hopft. 
 
 D Xob ! td^ lenn'S bad tft metn famulus 
 ( toirb ntetn fd^onftel liidf 511 ntcfjte ! 
 520 3)a^ btefe giitte ber efid)te 
 
 3)er trocfne <Sd^Ietd)er ftoren mu ! 
 SDBagner im t^Iafrode unb ber ftadjtmufce, eine Sampe in ber 
 a u ft tuenbet fti^ unwittig. 
 
 SBagner. 
 
 SSerjetf)t ! id^ ^or' eu$ beclamtren ; 
 %fa laf't getotfc etn gried^tfd^ Xrauerfptel ? 
 5jn btefer ^unft moc^t' td^ toa ^roftttren, 
 525 2)enn ^eut 311 age totrft bag btel. 
 
 !3df> ^ab' eg 6fter ru^nten fyoren, 
 (gin ^omobtant fonnt' etnen ^Bfarrer le^ren. 
 
 ^a, toenn ber ^farrer ein ^omobiant tft ; 
 2Bte bag benn too^l 511 $dten fommen mag.
 
 28 gaufl. Grfter 
 
 JBagner. 
 
 21 d) ! toenn man fo in fein 'JUiufeum gebannt ift, 530 
 
 Unb fiefyt bie 28elt !aum einen $eiertag, 
 $aum burd) ein $erngla, nur toon toeiten, 
 2Bie foil man fie burd) ilberrebung leiten? 
 
 gauft. 
 
 SSenn ifyr'S nid^t fii^It, tyt ioerbet'S nicfyt erjagen, 
 SSenn e nid^t au ber <3eele bringt, 535 
 
 Unb mit urlrdftigem Se^agen 
 3)ic Bergen atter ^orer gn)ingt. 
 i^t ifyr nur immer ! Seimt jufammen, 
 Sraut ein Ragout toon anbrer <5cfymau, 
 Unb blaf't bie liimmer lichen $Iammen 540 
 
 2(ii eurem 2lfdOenI)aufcfyen ^>'rau ! 
 SBetounbrung toon $inbern unb 2(ffen, 
 2Benn eud^) barnacfy ber aumen ftet)t ; 
 ocfy tuerbet i^r nie erg ju erjen fd^affen, 
 2Benn e eud) nid)t toon erjen ge^t. 545 
 
 JBagner. 
 
 2lHein ber SSortrag macfyt be 9tebner liid ; 
 l' e h)0^)l nod) bin irf> toeit juriicf. 
 
 gauft. 
 
 Sr ben reblid)en eh)inn ! 
 @ei @r fein fd)eHenIauter Slljor ! 
 
 trdgt SSerftanb unb redder inn 550 
 
 3Kit toenig ^unft fid; felber bor ; 
 Unb h)enn' eud) @rnft ift toa ju fagen, 
 
 notfyig 2Sorten nadigujagen? 
 a, cure 9teben, bte fo blinfenb finb,
 
 ftodjt. 29 
 
 555 3 n benen ifyr ber SDfenfc^ett @<f>m^el frciufelt, 
 <Sinb unerqutcflid; tote ber -ftebelimnb, 
 2)er fyerbftlid) bitrcfy bie barren flatter fciufelt ! 
 
 SBagner. 
 
 2lrf> ott ! bie toft ift lang ! 
 
 Unb furj ift unfer Seben. 
 560 9Jiir toirb, bet meinem Irttifd^en Seftreben, 
 
 5Doc^ oft urn $opf itnb Sitfen bang. 
 
 2Bte fd^toer ftnb nid^t bte 3Rtttel gu ertoerben, 
 
 3)urc^ bte man ju ben QueUen ftetgt ! 
 
 Unb e^)' man nttr ben ^alben 2Beg erretd^t, 
 565 -JRujj iuo^I etn armer eufel fterben. 
 
 ^3ergament ift ba ber ^eil'ge Sronnen, 
 2Borau ein 2:run! ben urft auf ehng fttttt ? 
 rqutctitng fyaft bu ntd^t getoonnen, 
 SBenn fie bir nidjt au eigner eele quittt. 
 
 2B a g n e r. 
 570 SBerjet^t ! e ift ein groft 6ra.e^en, 
 
 @id^ in ben eift ber getten ju berfe^en, 
 
 3u fcfyauen loie bor un ein toeifer 3Jlann gebad^t, 
 
 llnb h)ie n)ir' bann gule^t fo ^errlic^ toett gebrac^t. 
 
 gauft. 
 
 D ja, bt an bie (Sterne toeit ! 
 575 -JRein ^reunb, bte $eiten ber 33ergangen^eit 
 
 <3inb un ein 33itcfy mit fieben tegeln ; 
 
 >r ben eift ber ,3etten ^eit, 
 ift im ritnb ber ^erren eigner eift, 
 n bem bte 3eiten fid? befpiegeln.
 
 30 ftaiifi. (Srfter 
 
 S)a ift'3 benn toafyrlid; oft ein jammer ! 580 
 
 9J{an Iduft eucfe, bet bem erften Slid babon. 
 
 in ^efyridjtfajj unb eine Sftumbellammer, 
 
 Unb fyodjftenS etne >aubt= unb taatSaction 
 
 3)itt trefflic^en bragmatifdjen -SRarjmen, 
 
 2Bie fie ben ^u^en toofyl im 5Kunbe giemen ! 585 
 
 JBagner. 
 
 SlKein bie SBBelt ! beg 3ftenfc6en ^>er unb eift ! 
 f jeglic^er bod^ toa babon erfennen. 
 
 ^auft. 
 
 ^a toa man fd erfennen ^ei^t ! 
 2Ber barf ba ^inb bei'm red^ten Xiamen nennen ? 
 3)ie toenigen, bie tt>a babon erlannt, 590 
 
 SDie t^brid^t g'nug ifyr botte erj nidt toa^rten, 
 SDem ^obel i^r efil^I, i^r cfyauen offenbarten, 
 at man toon je gefreujigt unb berbrannt. 
 ^5^> bitt' eud, ^reunb, e ift tief in ber -ftac^, 
 2Bir mitffen'3 bie^mal unterbred^en. 595 
 
 2S a g n e r. 
 
 ^jdt) fyatte gern nur immer fortgetoarfjt, 
 Urn fo gelet)rt mit eud; mic^ ju befbrec^en. 
 5Doc^ morgen, al am erften Oftertage, 
 (Srlaubt mir ein' unb anbre $rage. 
 3Kit Sifer tjab' \<fy micb, ber <Stubien befliffen ; 600 
 
 3toar tbei id; btel, bocfj moc^t' \fy atte toiffen. 
 216. 
 
 3= a u ft afleiit. 
 
 2Bie nur bem $obf nid;t atte offnung fdjhnnbet, 
 immerfort an fd;alem 3 eu 8 e flebt,
 
 31 
 
 gier'ger anb nad; @d;at}en graot, 
 605 Unb froF> ift toenn er 9tegentourmer finbet ! 
 
 SDarf etne foldje SRenfdienftimme bier, 
 ifiSo eifterfiitte mid; umgab, ertb'nen? 
 2)od; ad; ! fiir biejjmal ban!' td^ bir, 
 33em armlid^ften toon aCen Grbenfo^nen. 
 610 2)u rifyeft mid) toon ber Ser^toeiflung Io, 
 te mir bte (Sinne fdbon jerftbren luottte. 
 21$ ! bie Grfd^etnung irar fo rie[engro, 
 2)a^ i$ mi$ redjt alg 3 toer 9 ent^finben foffte. 
 
 3$, benbtlb ber ott^eit, ba ft$ fd^on 
 615 @anj na^ gebiinft bem (Spiegel etu'ger 
 
 em felbft geno^ in immeleglanj unb 
 
 Unb abgeftreift ben (Srbenfofyn ; 
 
 ^5$, me^r al Gfyerub, befjen frete ^raft 
 
 (S$on burdf) bie 5tbern ber 9?atur ju flie^en 
 620 Unb, fd^affenb, otterleben 511 gente^en 
 
 t$ a^nungboll ttermajj, tote ntu^ irf)' bii^en ! 
 
 @tn !Donnertoort ^at mtcf> ^intoeggerafft. 
 
 barf i$ btr 511 gleicfyen mid) bermejfen ! 
 ' id; bie ^raft bid; anjujiefyn befeffen, 
 625 o ^att' id; bid; ju fatten !eine raft. 
 
 ^n jenem fel'gen Slugenblide 
 
 3d; fiif>Ite mid; fo llein, fo grofj ; 
 
 35u ftie^eft graufam mid; juriide, 
 
 ^n' ungetoiffe 9Jienfd;enIoo. 
 630 2Ser Iet>ret mid; ? toa3 fott id; meiben ? 
 
 SoH id; gef>ord;en jenem 2)rang? 
 
 2ld; ! unfre 3:^aten felbft, fo gut ate unfre Seiben, 
 
 <Sie b^emmen unfre 2eben^ ang.
 
 32 goiifi. (Srfter Sljeil. 
 
 ^errlidjften, itw aud; ber eift embfangen, 
 SDrangt immer fremb unb frember toff fid; an ; 635 
 
 SSenn toir gum uten biefer 2Mt gelangen, 
 S)ann tyeifjt ba Seff're rug unb 2Bafyn. 
 ic un ba Seben gaben, ^errlid^e efii^Ie, 
 (Srftarren in bem irbifcfyen 
 
 SBenn ^S^antafie fid^ fonft mit lii^nem ^lug 640 
 
 Unb ^offnungSboU jum toigen erh>eitert, 
 
 <So ift ein !Ietner 9taum ifyr nun genug, 
 
 2Benn liid auf liic! im 3eitenftrubel fdjeitert. 
 
 S)te orge niftet gletcf) im tiefen erjen, 
 
 Sort toirfet fie gefyetme d^mergen, 645 
 
 UnruF>ig toiegt fie ficfy unb ftoret 2uft unb Diulj ; 
 
 @ie bedt fid; ftet mit neuen 9Jla!en 311, 
 
 @ie mag al au unb >of, aU 2Seib unb $tnb erfd^einen, 
 
 21B geuer, Staffer, S)olci> unb ift ; 
 
 u bebft bor attcm tr>a nid;t trifft, 650 
 
 Unb toa bu nie berlierft ba mu^t bu ftet betoeinen. 
 
 ottern gleid;' id? ntd&t ! BU tief ift e gefuf>It ; 
 2Surme gletd;' id;, ber ben taub burd;ttiu^It ; 
 2)en, h)ie er fid; im taube naf>renb lebt, 
 
 28anbrer 2;ritt bernid;tet unb begrabt. . 655 
 
 ^sft e nid;t taub h)a biefe fyofye SSanb, 
 
 2tu I>unbert ^ddiern, mir berenget ; 
 
 !iDer Xrobel, ber mit taufenbfadjem Xanb 
 
 ^n biefer 5CRottentoeIt mid; branget ? 
 
 >ier foU id; finben tca mir fefylt? 660 
 
 <SoH id; bietteid;t in taufenb 33iid;ern lefen,
 
 33 
 
 iiberatt bie 3CRenfd)en fid) gequalt, 
 
 3)aJ3 l)ie unb ba ein Iudflid)er getoefen? 
 
 9Ba grinfeft bu tnir fyofyler @d)abel fyer? 
 665 2U bafj bein irn Erie meine einft bernrirret 
 
 3)cn Ieid;ten Xag gefud)t unb in ber ammrung fd)toer, 
 
 9}ctt Suft nad) SBa^eit, jammerltrf) geirret. 
 
 ^t ^nftrumente freilid^ fpottet mein, 
 
 3Ktt Sffab unb ammen, SBalj' unb Siigel : 
 670 3$ ftanb am fyor, ifyr fotttct c^Iuffel fetn ; 
 
 3toar euer S3art ift !rau, bod) fye&t it>r nid^t bte Sttegel. 
 
 e^eimm^bott am listen 5tag 
 
 Safet fid) 3Ratur be <Sd)leier nid)t berauben, 
 
 Unb tt>a fie betnem eift nid;t ojfenbaren mag, 
 675 SDa< jtotngft bu il^r nid)t ab mit ebeln unb mit <Sd)rau6en. 
 
 3)u alt ercit^e ba idE) nid^t gebraudBt, 
 
 2)u ftefyft nur f>ier, ireil bid; mein SSater braud)te. 
 
 S)u alte 9iotte, bu toirft angeraud)t, 
 
 So lang an biefem ^3ult bie triibe Sam^e fd;maud)te. 
 680 Seit beffer ^atf id) bod; mein 2Benige 
 
 21I mit bem 2Benigen belaftet ^ier j 
 
 2Ba bu ererbt bon beinen SSatern l>aft, 
 
 rit)irb e um es> gu befi^en. 
 
 2Ba man nid)t nii^t ift eine fd)toere 2aft ; 
 685 5Kur toa ber Slugenblid crfd)afft ba lann er niiijen. 
 
 toarum fyeftet fid; mein Slid: auf jene teffe? 
 ^ft |ene g^fd)d)en bort ben 2lugen ein SRagnet? 
 SBarum toirb mir auf einmal lieblid) ^ette, 
 31I toenn im ndd)t'gen 2SaIb un SJlonbenglanj umtoe^t? 
 
 690 ^d; grille bid;, bu eingige 
 
 S)ie id; mit 5Inbad;t nun fjerunter^ole,
 
 34 ftcmft. (Srfler Sljeil. 
 
 3n bir toerefyr' id) SRenfd&enttrifc unb $unft. 
 
 )u lynbegriff ber fyolben @d?lummerfafte, 
 
 SDu 2(u5ug otter tobtltcf) feinen ^rafte, 
 
 rtoeife beinem -JReifter bctne unft ! 695 
 
 3d) fefye bid^, e toirb ber 6$merj gelinbert, 
 
 ^d^ faffe bid^, ba (Streben toirb geminbert, 
 
 S)e eifte ^lut^ftrom ebbet nad^> unb nacfy. 
 
 ^n'g ^o^e 2Reer toerb' id^ binauSgetotefen, 
 
 2)ie (S^iegelflut!^ erglangt gu metnen ^ii^en, 700 
 
 3u neuen Ufern lorft ein neuer Sag. 
 
 @tn ^euerioagen fd^toebt, auf leicfyten 
 
 2ln mid^) ^eran ! %<fy fiil^Ie mid^ berett 
 
 2luf neuer S3ai)n ben 2it^er tt burd^bringen, 
 
 3u neuen (S))i)aren reiner X^attgfeit. 705 
 
 ie^ ^oF>e Seben, btefe ottertnonne ! 
 
 S)u, erft nocfy SBurm, unb bte berbteneft bu ? 
 
 ^a, !e!^re nur ber fyolben rbenfonne 
 
 ntfd^toffen beinen ^utfen ju ! 
 
 Sermeffe bid? bte ^forten aufjurei^en, 710 
 
 SSor benen jeber gern boriiber fcfyletdjt ! 
 tft e 3ett burd? ^baten ju betoeifen, 
 9Jiannett)urbe ntd^t ber 6tteri>D^e h)eid)t, 
 
 9Sor jener bunfeln of>le nidljt ju beben, 
 
 ^n ber fid; $fyantafie u eigner Dual berbammt, 715 
 
 9?ad) jenem 2)urd;gang fyinjitftreben, 
 
 Um beffen engen SRunb bie gange ^oHe flammt ; 
 
 3u biefem @d)ritt fid) Better u entfdBIie^en 
 
 llnb, toa'r' e mtt efaf>r, in'^ 3^id;t ba^tn ju flte^en. 
 
 fomm f)erab, frtyftaGne reine @d)ale! 720 
 
 auS beinem alien ^utterale,
 
 SRadjt. 35 
 
 Sin bie id) toiele ^are nidfyt gebacfyt ! 
 
 2)u glanjteft bei ber SSater greubenfefte, 
 
 (Srfyeiterteft bie ernften afte, 
 725 SSenn einer bicfy bem anbern jugebrad^t. 
 
 SDer toielen 33ilber fiinftlicfy reicfye ^radt, 
 
 S)e 2;rin!er ^Bflid^t, [te reimtoet ju er!Idren, 
 
 3luf @inen 3g bie 
 
 (grinnert mid^ an mand^e 
 730 %$ toerbe je^t bid) !einem 3tad)bar reid^en, 
 
 %fy toerbe meinen SSi| an beiner $unft nid^t geigen ; 
 
 ier ift ein aft, ber eilig trunfen mac^t. 
 
 SD^it brauner glutl> erfiittt er beine ot>Ie. 
 
 S)en idj bereitet, ben ic toa^Ie, 
 735 er le^te 2"runf fei nun, mit ganger eele, 
 
 21I feftlidji F>o^er rufe, bem 3Korgen sugebrad^t ! 
 (5r je^t bie cfjale an ben 2Jiunb. 
 
 locfenllang unb GI) or g ef an g. 
 
 d^or ber (Sngel. 
 
 G&rift ift erftanben ! 
 greube bem @terblid)en, 
 3)en bie berberblic^en, 
 
 740 djteidjenben, erblic^en 
 
 9JidngeI umiuanben. 
 
 ftauft. 
 
 ttefe (Summen, toeld^ ein Better S^on, 
 mit etoalt bag Ia Don meinem 2Runbe? 
 3Serliinbiget i^r bum^fen loden fdjon 
 745 e Dfterfefteg erfte geierftunbe?
 
 36 "gonfl. (Srfier SljeiL 
 
 Gfyb're fingt ifyr fcfyon ben troftlicfyen efang, 
 3)er einft, um rabe 9?ad)t, bon ngelSlippen Hang, 
 einem neuen SBunbe ? 
 
 Gfyor ber 2B e i b e r. 
 2Rit ^ecereien 
 
 fatten ioir i^n ge^flegt, 750 
 
 2Bir feme 2;reuen 
 fatten i^n fytngelegt ; 
 unb 93inben 
 umtoanben toir, 
 
 2ld^ ! unb fair finben 755 
 
 G^rift nicfyt me^r ^ter. 
 
 6^)or ber (Sngel. 
 (Shrift ift erftanben ! 
 (Selig ber Siebenbe, 
 2)er bte betriibenbe, 
 
 ^eilfam' unb iibenbc 760 
 
 beftanben ! 
 
 2Ba fucfyt i^r ma^ttg unb gelinb, 
 
 igfyr tmmeltone, mid^ am taube? 
 
 $Ungt bort umf)er, too toeid^e SRenfcfyen finb. 
 
 te Sotfc^aft ^or' icfy tuo^I, attein mtr fe^It ber laube ; 765 
 
 2Bunber ift be Iauben UcbftcS tnb. 
 jenen ^F)aren toag' \<fy nid^t gu ftreben, 
 
 bte fyolbe ^a^rtd^t tont ; 
 Unb bo$, an biefen ^lang Don ^ugenb auf getoo^nt, 
 3^uft er aud; je^t juritdf mici^ in ba Seben. 770 
 
 6onft fturjte fid; ber immeII;Siebe
 
 Stedjt. 37 
 
 2Iuf micfy I)erab, in ernfter (Sabbatfyftitfe ; 
 
 35a flang fo afynungsbott be lotfento 
 
 Unb ein ebet ftmr briinftiger enujj ; 
 775 @in unbegreiflid) fyolbe efynen 
 
 Xrieb mtd^ bitrcf) 2Balb unb 2Btefen ^t 
 
 Unb unter taufenb fjei^en 2^^ranen 
 
 giifylt' id) mir eine 2Belt entftefyn. 
 
 3)ie 2ieb berliinbete ber ^ugenb mitntre 
 780 er griifyUngSfeter freie IM ; 
 
 rtnnrung fyalt mid^) nun mit ltnbIicE)em efiifyle 
 
 SSom le^ten ernften d^ritt juriid 
 
 D tonet fort tf>r fitfcen $tmmeIUeber ! 
 
 S)ie 3;f>rane qiuttt, bie (Srbe ^at mid^ toieber ! 
 
 6^or ber ^linger. 
 785 >at ber Segrabene 
 
 c^on fid; nafy oben, 
 
 Sebenb r^abene, 
 
 ^errlidj er^oben; 
 
 3ft er in 2BerbeIuft 
 790 <Scaffenber ^reube na^> ; 
 
 2ldj ! an ber @rbe Sruft 
 
 @inb h)ir gum Seibe ba. 
 er bie cinen 
 
 795 2tc^ ! iuir betoeinen, 
 
 gjietfter bein luc! ! 
 
 Gfyor ber ngel. 
 (Shrift ift erftanben, 
 3(u ber SSern)efung 
 Steifcet Don 23anben 
 800 greubtg euc
 
 38 gonfl. r f ter 
 
 b,attg ttm pretjenben, 
 
 Stebe betoeifenben, 
 
 S3rtiberlt^ tyeifenben, 
 
 ^rebtgenb reifenben, 
 
 SBonne i>er^eienben 805 
 
 @urf> tft ber gjleifter nab,, 
 
 @ucb, ift er ba !
 
 SSor bem 
 
 pajierganger alter 21 r t jiefjen f)inau. 
 
 inige 
 SBarum benn bort fyinauS? 
 
 Slnbre. 
 2Bir gefyn ^)tnau auf' ^ager^auS. 
 
 5D i c e r ft e n. 
 810 2Bir aber tooHen nad^ ber SJiUfyle inanbem. 
 
 in anbtoer!burfc|. 
 ^c^ ratij' euc^ nad^) bem SSaffer^of 511 gefyn. 
 
 3 to e 1 1 e r. 
 
 S)cr 2Beg ba^in ift gar nid^t fcfyon. 
 2)ie jtoeiten. 
 
 @tn britter. 
 
 3$ ge^e mtt ben anbern. 
 
 S3 i e r t e r. 
 
 33urgborf fommt fyerauf, getoi^ bort finbet 
 815 3)ie fd^onften SRdbc^en unb bag Befte 
 Unb anbel toon ber erften orte.
 
 40 gaujl. (Srfter 
 
 3? it n f t e r. 
 
 tiberluftiger efell, 
 
 bid; um brittenmal ba $eH? 
 mag nid;t fyin, mir graut e Dor bem Drte. 
 
 2) i e n ft m a b d; e n. 
 , nein ! id^ gefye nad; ber Stabt jiiriicf . 820 
 
 2lnbre. 
 SKir finben i^n getotfj bet jenen ^a^eln fte^en. 
 
 @ r ft e. 
 
 SDa ift fiir mid; !ein gropes lucf ; 
 6r toirb an beiner (Seite gefjen, 
 JJlit bir nur tanjt er auf bem ^plan. 
 
 ge{>n mid; beine ^reuben an ! 825 
 
 3lnbre. 
 
 ift er ftd;er md;t attein, 
 S)er ^rauSlo^f, fagt er, toitrbe bei i^m fein. 
 
 <3 d; ii I e r. 
 
 SBIt^, ioie bie toadern Sirnen fd;reiten ! 
 
 err S3ruber, !omm ! n)ir miiffen fie begleiten. 
 
 in ftar!e 33ier, ein fceijenber ^tobad, 830 
 
 Unb eine SOtagb im ^5u^ ba ift nun mein efd;mad. 
 
 33iirgermabd;en. 
 
 3)a fie^> mir nur bie fd;6nen ^naben ! 
 
 (Sg ift toafyrfyaftig eine (2d;mad; ; 
 
 efettfd;aft fonnten fie bie atterbefte ^aben x 
 
 Unb laufcn biefen 5Rdgben nad; ! 835
 
 SSor bem Ijor. 41 
 
 3 h) e i t e r filler gum erften. 
 
 9iicf)t fo gefcfytoinb ! bort fyinten !ommen jtoei, 
 <5te finb gar nieblicfy angejogen, 
 ' ift meine -Jiacfybarin babet ; 
 $d) bin bem SRa'bcfyen fefyr getoogen. 
 840 ie gefyen i^ren fttUen d^rttt 
 
 Unb nefymen un bod^ aud; am Snbe mit. 
 
 6 r ft e r. 
 
 err Sruber, nein ! $$ bin ntd^t gern gentrt. 
 efc^toinb ! ba^ hnr ba SSilbpret nicf)t berlieren. 
 3)ie anb, bte <Samtag i^ren S3efen fii^rt, 
 845 SBirb onntag^ bicfy am beften carefftren. 
 
 33 ii r g e r. 
 
 Sftein, er gefattt mir ntc^t ber neue Surgemeifter ! 
 S^un, ba er'g tft, toirb er nur taglia^ bretfter. 
 Unb fiir bte <5tabt toa t^ut benn er? 
 2Birb e ntd^t atte Xage f glimmer? 
 850 e^ord^en fott man mefyr al immer, 
 
 Unb 5afylen me^>r al je border. 
 
 Settler ftngt. 
 
 %fy guten errn, ifyr fd;onen grauen, 
 <So too^Igepu^t unb barfenrotfy, 
 Selieb' e eucf) midj ansit 
 855 Unb febt unb milbcrt meine 
 
 er mtd^) md;t bcrgeben leiern ! 
 ber ift frob, ber gebcn mag. 
 Gin Stag ben aUe 9Jienfd)cn fciern, 
 Gr fei fiir mid? ein Grntetag.
 
 42 gaitfl. (Srfter 
 
 21 n b r e r Surge r. 
 
 SefferS toeifj id) mir an 6onn= unb $eiertagen, 860 
 2ll ein efprad) toon $rieg unb rieggefd)rei, 
 2Benn fyinten, toeit, in ber Sitrfei, 
 ie SSoIfer auf einanber fd)Iagen. 
 Sftan ftefyt am ^enfter, trin!t fern @Iacfyen au 
 Unb fie^t ben glufe ^inab bie bunten @d)tffe gletten ; 865 
 ann fe^rt man StbenbS frof) nad^ au, 
 Unb fegnet $rieb' unb ^rtebenjeiten. 
 
 titter Surge r. 
 err 3fiacbar, ja ! fo Ia^ ic^' aud; gefdjefm, 
 @ie mbgen ftrf> bie $d:pfe f^alten, 
 
 atte burc^einanbergei)n ; 870 
 
 nur ju >aufe bletb' bei'm Sllten. 
 
 21 1 1 e jix ben SSiirgermabc^en. 
 @i ! toie gepu^t ! ba fa^one junge Slut ! 
 2Ber fott fid) nic&t in eud) bergaffen ? - 
 9?ur nia-it fo ftolj ! @ ift f d)on gut ! 
 Unb toag iljr toiinfd)t bag toii^t' id) toofyl ju fd)affen. 875 
 
 Surgermabd)en. 
 2lgatf>e fort ! id) ne^me mid) in 2ld)t 
 ^Jiit fold)en er.en offentlid) gu ge^en ; 
 @ie lie^ mid) jtoar, in anct 2lnbrea 
 en !iinft'gen Siebften leiblid) fel)en 
 
 ie 2tnbre. 
 5Dflir jeigte fie i^n im ^rijftaff, 
 olbaten^aft, mit mefyreren 23ern)egnn ; 
 ^d) fef)' mid) urn, id) fud)' i^n liberal!, 
 2lIIein mir tuitt er nid)t begegnen.
 
 SSor bem I)or. 43 
 
 olbaten. 
 
 33urgen tnit b,ob, en 
 
 885 5Kauern unb ,3innen, 
 
 Sftdbcfyen mit ftoljen 
 6b,nenben innen 
 
 id) getoinnen! 
 ,n ift ba ^iiben, 
 890 errltd^ ber So^n ! 
 
 Unb bte STrom^ete 
 Saffen toir luerben, 
 2Bie ju ber ^reube, 
 (So jum SSerberben. 
 
 895 S)a ift ein tiirmen ! 
 
 a ift ein Seben ! 
 9J?dbd^en unb SSurgen 
 3Ruffen fid) geben. 
 ^n ift ba ^mu^en, 
 
 900 ^eulid^ ber Soljn ! 
 
 Unb bie olbaten 
 3ie^en babon. 
 
 ^auft unb SBagner. 
 
 SSom fe befreit fmb trom unb 
 Quid) be grub, Iing b^olben belebenben 33Ii(f ; 
 905 3 m ^ale griinet offnung=Jiicf ; 
 35 er alte 2Sinter, in feiner cfytoarfje, 
 3og fid^) in raub,e Serge juritd. 
 3Son border fenbet er, flie^enb, nur
 
 44 gaufh (Srfter tjeil. 
 
 DI;mmdd;tige djauer lorntgen 
 
 $n treifen itber bie griinenbe $Iur ; 910 
 
 2lber bie onne bulbet fein 2Beij$e, 
 
 UberaH regt ficb, 23ilbung unb treben, 
 
 2lHe toitt fie mit ^arben beleben ; 
 
 !Dod:> an S3Iumen fe^It'g im 9f ebier, 
 
 @ie nimmt ge|)ii^te SRenfd^en bafur. 915 
 
 ^ef)re bic^) um, toon biefen ob,en 
 
 ber <Stabt juriicf gu fe^en. 
 bem I;o^Ien finftern 2:i)or 
 em bunte etoimmel ^erbor. 
 
 fount fid; fyeute fo gern. 920 
 
 @ie feiern bie 2luferfte{)ung be ^errn, 
 2)enn fie finb felber auferftanben, 
 2Tu niebriger ^)dufer bumpfen emcid^ern, 
 3(u anbtoer!= unb en)erbe3=33anben, 
 2lu bem 2)rudE toon iebcln unb ^dd^ern, 925 
 
 2lul ber (Strajjen quetfdgenber (Snge, 
 2lu ber ^ircfyen e^rtoiirbiger 3^ac^t 
 @inb fie atte an' Sid^t gebrad^t. 
 
 nur, fiei) ! toie be^enb fic^ bie 5Renge 
 
 bie drten unb fttlbw jerfc^Idgt, 930 
 
 2Bie ber glu^, in 33reit' unb Sdnge, 
 (So manc^en luftigen 9iad)en beioegt, 
 Unb bi gum (Sinfen iiberlaben 
 ntfernt fidp biefer le^te ^ai>n. 
 (Selbft bon be S3erge fernen ^Bfaben 935 
 
 SBIinlen un farbige ^leiber an. 
 5$ ^ore fd^on*be orf etummel, 
 $ier ift beg SSoIfe ica^rer >tmmel, 
 ^ufrieben jaud)get ro^ unb $lein : 
 |>ier bin ic^> Sftenfcfy , ^ier barf ic^'g fein ! 940
 
 aSor bem 2^or. 45 
 
 28 a g n e r. 
 
 3Jiit eut^, err Sector, 311 fpajteren 
 3ft efyrenboH unb ift etoinn ; 
 SDocf) iuiirb' id) mrf)t attetn mid) fyer berlteren, 
 28etl id^ ein g^inb toon attem Stolen bin. 
 945 3)a giebeln, c^reien, 
 
 3ft mir ein gar fcerfyafcter 
 <3ie toben iie bom bofen etft getrieben 
 Unb nennen'S greitbe, nennen'S efang. 
 
 33 a u e r n unter ber Sinbe. 
 unb efang. 
 
 deafer ^te ftd jum 
 950 Wit bunier lyacfe, 23anb unb 
 
 (Scf)mu(f tear er angejogen. 
 d^on um bie Sinbe tear e boH ; 
 Unb aHe tanjte fc^on ltie toff. 
 
 955 
 
 @o ging ber $iebelbogen. 
 
 @r briirfte ^aftig fid^ fyeran, 
 2)a ftie^ er an ein SRtibcfyen an 
 3Kit feinem GHenbogen ; 
 960 2)ie frifc^e irne fei>rt' ftd^ um 
 
 Unb fagte : nun bas finb' ia) bumm ! 
 
 eib nia^t fo ungejogen.
 
 46 gaitfl. (Sifter f)eit. 
 
 fyurtig in bem reife ging'S, 965 
 
 ie tanjten red)t, fie ianjten lin!3, 
 Unb atte 9ifa'de flogen. 
 ie tourben rotfy, fie tourben ftmrm 
 Unb rufyten at^menb 2lrm in 2lrm x 
 ^uc^^e ! ^ud^e ! 970 
 
 gud^^eifa ! eifa ! e ! 
 Unb uft' an Ilenbogen. 
 
 Unb t^>u' mir bod) nid)t fo bertraut ! 
 
 2Bie mand)er ^at nid)t feine SBraut 
 
 S3etogen unb betrogen! 975 
 
 @r fd;meid;elte fie bod; bei etf 
 
 Unb toon bet Sinbe fd;ott e ioeit : 
 
 efdjrei unb giebelbogen. 980 
 
 2llter 33auer. 
 
 doctor, ba tft fd;bn toon eud), 
 
 i^r un ^eute nidjt t>erfd;md^t, 
 Unb unter biefeS SSoIfSgcbrang', 
 2llg ein fo od;gela^rter, gefyt. 
 @o nef>met aud) ben fdjonften ^rug, 985 
 
 h)ir mit frifd)em Strunl gefiiHt, 
 bring' ifyn ju unb n)iinfd)e laut, 
 
 er nid)t nut ben S)urft eud; ftifft ; 
 $>ie 3^1 ^ e ^ Xro^fen, bie er fyegt, 
 ei euren Xagen jugetegt. 990
 
 SSor bem f)or. 47 
 
 gfauft. 
 
 3$ nefmte ben GrquidEung^Sranf, 
 rtoibr' eu$ affen eil unb 2)anf. 
 
 3) a 8 33 o 1 1 famtneft ftd) int $rei utnljer. 
 
 2llter 33 auer. 
 gurtoafyr e ift fe^r too^I get^an, 
 3)ajj i^r am frozen Sag erfcfyetnt ; 
 
 995 abt i^r e bonnal bod^ mit un 
 
 2ln bofen Sagen gut gemeint ! 
 ar manner fte^t lebenbtg fyier, 
 3)en euer 3Sater nod^ gule^t 
 2)er ^et^en ^iebertout^ entri^, 
 
 1000 21I er ber eud^e \tl gefe^t. 
 
 2tuc^> bamals i^r, ein junger 9Jiann, 
 ^5^r gingt in jebe ^ran!en^au, 
 ar mand^e Seiche trug man fort, 
 ^i>r aber lamt gefunb 
 
 1005 Seftanbet manege ^arte 
 
 35em elfer ^alf ber elfer broben. 
 
 211 1 e. 
 
 efunb^eit bem betoafyrten 9Jiann, 
 er nod^ lange ^elf en lann ! 
 
 3Sor jenem broben fte^t gebiicft, 
 ioio 2)er ^elfen le^rt unb UI 
 
 (Sr ge^t mit 23 a g n e r n toeiter. 
 
 2B a g n e r. 
 
 2BeIc^ ein efii^I mu^t bu, o grower SJiann, 
 S3ei ber 3SereF>rung biefer 2Renge
 
 48 gaujh Srfter EIjeiL 
 
 D glutflirf), toer t>on feinen afcen 
 (Sold) einen $ortl)eil jiefyen !ann ! 
 $Der SSater jeigt bid;) feinem na&en, 1015 
 
 @in jeber fragt unb brangt unb eilt, 
 3)ie giebel ftodt, ber 3^dnjer toetlt. 
 2)u ge^ft, in 3ftei^en ftefyen fie, 
 25ie 9J(ii^en fliegen in bie ot>' : 
 
 Unb toenig fef)It, fo beugten fid;* bie $nie, 1020 
 
 lam' ba 33enerabite. 
 
 tuenig <5d)ritte nod; f)inauf ju jenem <5tein, 
 ier h)oEen h)ir bon unfrer 2Banbrung raften. 
 ier fa id) oft gebanfenbott attein 
 Unb qualte mid; mit 33eten unb mit ftaften. 1025 
 
 2(n ^offnung reid), im lauben feft, 
 9Jiit l)ranen, eufjen, ^anberingen 
 S)ad)t' id) ba @nbe jener ^Seft 
 SSom errn be ^>immel 511 erjtoingen. 
 S)er SRenge 33eifatt tont mir nun toie ol^n. 1030 
 
 D Ibnnteft bu in meinem ^nnern lefen, 
 2Bie toenig 3Sater unb <5ol)n 
 old; eine 9tu^me toertl) getcefen ! 
 2Jiein SSater toar ein bunller @i>renmann, 
 
 iiber bie 9?atur unb if>re fyeil'gen ^reife, 1035 
 
 9teblid;feit, jebod; auf feine 2Beife, 
 lit grittenfyafter 9}{iil>e fann. 
 r, in efellfcfyaft toon 2lbepten, 
 (Sid; in bie fd)toarje ^iid;e fd)Io^, 
 llnb, nad) unenblid;en Stece^ten, 1040 
 
 Sibrige jufammengo^.
 
 2?or bent Zljor. 49 
 
 >a toarb ein rotber Seu, ein fitlmer $reter, 
 
 $m lauen 23ab ber Silie bermafylt 
 
 Unb beibe bann mit offnem gtammenfeuer 
 1045 ^ u ^ e ^ nem Srautgemacb, tn' anbere gequalt. 
 
 (Srfrfnen barauf mit bunten gatben 
 
 35ie junge ^ontgin im Ia, 
 
 ier ioar bie 2(rjenei, bte ^patienten ftarben, 
 
 Unb ntemanb fragte: loer genas? 
 1050 @o fyaben twir mit ^ottifd^en Sattoergen 
 
 3>n biefen SC^dlern, biefen SBergen, 
 
 SBeit fd^Itmmer al bte ^Beft getobt. 
 
 ^cb, b,abe felbft ben ift an iaufenbe gegeBen, 
 
 @ie toelften bin, ic^> mu erleben 
 1055 SDajj man bte fred^en 9Jiorber lobt. 
 
 2Bagner. 
 
 SBie !onnt ifyr eud^ barum betritben ! 
 but nidrjt ein braber 9Jiann genug, 
 2)ie ^unft, bie man ifym iibertrug, 
 eiDiffen^aft unb ^iinctlid9 au^uiiben? 
 1060 SBenn bu, al ^tingling, betnen SSater e^rft, 
 <5o toirft bit gern toon ib,m empfangen ; 
 2Benn bit, al 2Rann, bie SSiffenfcl^aft berme^rft, 
 (So lann bein <Sob,n ju ^o^rem \d gelangen. 
 
 D glii(!ltd9, tuer nod? ^offen !ann 
 1065 2lu biefem 9Jieer be ^rrtb,um aitfjutaud^en ! 
 2Ba man nid^t toeijj ba eben brauc^te man, 
 Unb tua man twei^ fann man nicfyt brauc^en. 
 2)od; Ia^ un biefer Stunbe fdone ut
 
 50 gaujl. (Svfter 
 
 Surety folcty en SCriibfinn nicb, t berfiimmern ! 
 
 Setracfyte tote in 2(benbfonnestut^ 1070 
 
 ie griinumgebnen >iitten fcfyimmern. 
 
 6ie riiclt unb toeicfyt, ber ag ift itberlebt, 
 
 Sort eilt fie fyin unb forbert neue Seben. 
 
 D bafj lein ^litgel mid^ bom Soben ^ebt, 
 
 ^5^r nad^ unb immer nad) gu ftrcben ! 1075 
 
 I^d) fa^' im etoigen Slbenbftra^I 
 
 ie ftitte SSelt ju tneinen ^u^en, 
 
 ntjiinbet aEe o^n, beru^igt jebe ^^al, 
 
 Sen il&erbad) in golbne trome flie^en. 
 
 9?idjt i>emmte bann ben gottergleic^en Sauf 1080 
 
 Ser toilbe Serg mit aHen fetnen (Sc^Iuc^ten ; 
 
 <5c6,on tb,ut ba 3Jleer fic^ mit ertoarmten Sudeten 
 
 SSor ben erftaunten Stugen auf. 
 
 Soc^) fd^eint bie ottin enblic^ toegjufinfen ; 
 
 2lffein ber neue Xrieb ertoad^t, 1085 
 
 $cf) eile fort i^r eto'geS Sid^t ju trinlen, 
 
 SSor mir ben Xag unb ^inter mir bie 9iac&,t, 
 
 Sen immel iiber mir unb unter mir bie 2Betten. 
 
 @in fd^oner ^raum, inbeffen fie enttoeidjt. 
 
 2ld^ ! ju be eifteg glugeln toirb fo leicfyt 1090 
 
 ^ein forberlid^er $liigel fic^ gefeEen. 
 
 Soc ift e jebem eingeboren, 
 
 Sa^ fein efitfyl ^inauf unb borh)art bringt, 
 
 SBenn iiber ung im blauen 9taum berloren, 
 
 ^TC fd^metternb Sieb bie Sercb, e fingt ; 1095 
 
 2Benn iiber fc^roffen gid^tenb, 51>en 
 
 Ser 2lbler auggebreitet fd^tuebt, 
 
 Unb itber gladjen, iiber (Seen, 
 
 Ser ^ranid^ nacfy ber eimat^ ftrebt.
 
 SSor bent Sljor. 51 
 
 2B a g n e r. 
 
 l)atte felbft oft griHenfyafte 6tunbcn, 
 fold)en Strieb Ijab' id) nod) me empfunben. 
 fiefyt fid) leid)t an SSalb unb ftelbern fatt, 
 3SogeI gittid; toerb' id^ nie beneiben. 
 2Bie anber tragen un bie eifteSfreuben, 
 
 1105 ^3" ^"^ 5 U u ^/ bon ^ Iatt S u ^ Iatt ! 
 5)a toerben 2Btnternad^te fyolb unb fd^on, 
 Gin felig 2eben toarntet aHe Iteber, 
 Unb ad) ! entroHft bu gar ein toiirbig ^ergamcn, 
 (So fteigt ber ganje ^tmrnel 511 bir nieber. 
 
 gfauft 
 
 1 1 10 jDu btft bir nur be einen ^rieb beftwfct ; 
 
 D lerne nie ben anbern f ennen ! 
 
 3h)ei eelen h)o^>nen, ad; ! in meiner S3ruft, 
 
 S)ie eine toitt fid) ban ber anbern trennen ; 
 
 3)ie eine I) alt, in berber 2iebeluft, 
 1115 id) an bie 28elt tnit flammernben Drganen ; 
 
 S5ie anbre ^ebt geiualtfam fid) bom 2)uft 
 
 3u ben efilben ^o^er Sl^nen. 
 
 D gibt e eifter in ber 2uft, 
 
 ie jh)ifd)en Srb' unb immel berrfd;enb toeben, 
 1120 @o fteiget nieber au bem golbnen 2)uft 
 
 Hub fiifyrt mid) h)eg, gu neuem buntem Seben ! 
 
 ^50, toare nur ein 3^ubennantel mein ! 
 
 Unb triig' er mid) in frembe 2anber, 
 
 3Rir follt' er um bie foftlidfyften etocinber, 
 1125 yiifyt feil um einen $6nig<omantel fein. 
 
 23 a g n e r. 
 
 Serufe nid)t bie toofylbefannte (Sd)aar, 
 35ie ftromenb fid) im IDimftfreiS iiberbrei + et,
 
 52 ftcmft. rflci Xfyil 
 
 em -Iftenfcfyen taufenbfd'Itige efafyr, 
 SBon alien Snben b,er, bereitet. 
 
 23om 9Jorben bringt ber fd^arfe eifterjafyn 1130 
 
 3iuf bicb, fyerbei, mtt pfeilgefpi|ten $ungen ] 
 SSon SRorgen gtef>n, fcertrocfnenb, fie f>eran, 
 Hnb naf)ren ftd^) toon beinen Sungen ; 
 SBenn fie ber SWittag au ber 2Biifte fd)i(ft, 
 S)ie lut^ aitf Iutf> urn beinen c^eitel fyaufen, 1135 
 
 <So bringt ber SBeft ben (Sd^toarm, ber erft erquitft, 
 Um bic^ unb ^elb unb 3(ue ju erfaufen. 
 <3ie fyoren gern, gum <Sc^aben frof> getoanbt, 
 e^orc^en gern, tueil fie un gern betriigen, 
 @ie ftetten toie bom ^immel fic^ gefanbt, 1140 
 
 Unb lifpeln englifd^, toenn fie liigen. 
 od^ geJ)en toir ! (grgraut ift fc^on bie SSelt, 
 SJie Suft gelu^It, ber el fdttt! 
 2lm Slbenb fd^d^t man erft ba au. 
 28a fte^ft bu fo unb blicfft erftaunt ^)inau? 1145 
 
 fann bid^ in ber d'mmrung fo ergreifen? 
 
 gauft. 
 @iel)ft bu ben fdh)argen unb burd^ @aat unb toppel ftretfen? 
 
 9B a g n e r. 
 ^d fab, ifyn lange fd^on, nidt hncfytig fc^ien er mir. 
 
 ^auft. 
 SBetracb, t' i^n rec^t ! gur toa b, a lift bu ba ^ ier ? 
 
 2B a g n e r. 
 
 $iir einen ^Subel, ber auf feine SBeife 1150 
 
 tcb, auf ber <5^ur be erren ptagt.
 
 SSor bent S^or. 53 
 
 a u ft. 
 
 Semerfft bu, lute in toettem <2d)nerfen!reife 
 @r um un fyer unb tmtner nafyer jagt? 
 Unb irr' id) nid)t, fo jiefyt ein geuerftrubel 
 2luf feinen ^faben ^mterbrein. 
 
 2B a gner. 
 
 ^d^> f efye nic^)t al einen f cfytoarjen $ubel ; 
 6 mag bei eud; too^l 2lugentaufcf)ung fein. 
 
 Sauft. 
 
 2Rir fd^etnt e, ba^ er magif$ leife d^Iingen 
 3u fitnft'gem Sanb um unfre 
 
 SS a g n e r. 
 
 1160 ^d; fe^)' ifyn ungetoi^ unb furd;tfam un umfyrmgen, 
 2BeiI er, ftatl feine ^perrn, jtoei Unbefannte jte^t. 
 
 3)er ^rei n)irb eng, fd;on ift er nafy ! 
 SS a g n e r. 
 
 >u fte^ft ! ein unb, unb lein efyenft ift ba. 
 (gr fnurrt unb jtoetfelt, legt fid; auf ben 33aud;, 
 1165 @r toebelt. 2lEe unbe Sraud;. 
 
 ftauft. 
 efelle bid; ju un ! 
 
 2B a g n e r. 
 
 ift ein ^ubelna'rrifd; ST^ier. 
 ftebeft ftitt, er toartet auf ; 
 f^rid;ft i^n an, er ftrebt an bir ^inauf ;
 
 54 goujl. (Srfter Xfjeit. 
 
 SSerltere few?, er Itrirb e Bringen, 1170 
 
 beinem tod in'3 SBafjer fpringen. 
 
 tool;)! 9ted:)t ; id^> finbe nicfyt bte 
 SSon einem eift, unb aEe ift S)reffur. 
 
 SOB a g n e r. 
 
 3)em unbe, iuenn er gut gegogen, 
 SSirb felbft ein toeifer 3Jiann getoogen. 1175 
 
 ^a, beine unft berbient er gan^ unb gar, 
 @r ber 6tubenten trefflidjer colar. 
 @ie een in b
 
 tubtrgtmmer. 
 
 5 Cl U ft mit betn $ n b e I Ijereintretenb. 
 
 gfattfr 
 
 SSerlaffen ^ab' id? gelb unb 2luen, 
 >ie eine tiefe -ftacfyt bebecft, 
 
 1180 9Kit afynungtoottem fyeil'gem rauen -^ 
 
 ^n un bie beffre Seele tocdft. |^LO^ 
 
 (Sntfdjlafen fmb nun toilbe Xriebe, 
 9Jiit jebem ungeftiimen 2:^un ; 
 6<l reget fid^ bie SRenfd^enliebe, 
 
 1185 2)ie Siebe otte regt ftcfy nun. 
 
 ei ru^ig ^ubel ! renne ntd&t ^in unb tmeber ! 
 2ln ber (Sc^toeHe toa f4)noj)er[t bu ^ier? 
 Sege bicfy ^tnter ben Dfen nieber, 
 2Jtetn befteg ^iffen geb' td& bir. 
 1190- 2Bte bu brau^en auf bem bergigen SBege 
 
 SDurc^ SRennen unb ^ringen erge^t un Ijiaft, 
 (So nimm nun aud^ toon mir bie 
 21I ein hnflfommner ftitter aft 
 
 2Cd^ toenn in unfrer engen 
 1195 )ie Sam^e freunblirf> toieber brenn^ 
 
 3)ann toirb'S in unferm 33ufen ^eHe, 
 , ba fid) felber !ennt. 
 
 (55)
 
 56 ftauft. (Srfter 
 
 SSernunft fangt toieber an gu fpredjen, 
 
 Unb >offnung toieber an 511 bliifyn ; 
 
 3Jian fefynt ficfy narf) be 8eben 33a$en, 1200 
 
 2ldj ! nacf) be 2eben QiteUe fn'n. 
 
 ^nurre nid^t ^ubel ! 3 U ^ en ^eiligen Xonen, 
 
 SDie je|t metne ganje eel' umfaffen, 
 
 2BIH ber t^terifd^e Saut nicfyt ^affen. 
 
 SBir ftnb getoo^nt, bafj bieJJienfd^en tier^o^nen 1205 
 
 fie nidpt berftel;n, 
 
 fie toor bem uten unb d^onen, 
 
 if>nen oft befogtoerli^ ift, tnurren ; 
 
 e ber unb, it>ie fie, befnurren ? 
 
 2lber ad^ ! fc^on fii^P icfy bei bem beften 3BiHe'n, 1210 
 Sefrtebtgung ntdit mef)r au bem S3ufen quiffen. 
 2lber toarum mitfj ber trom fo balb berfiegen, 
 Unb loir toieber im SJurfte Itegen ? 
 2)abon ^ab' icfy fo biel (Srfa^rung. 
 3)od9 biefer SJtangel Ici^t fic^ erfe^en, 1215 
 
 2Sir lernen ba Uberirbtfc^e fd?a|en, 
 2Bir fe^nen un nad? Dffenbarung, 
 2)ie nirgenb toiirb'ger unb fcfyoner brennt, 
 in bem neuen ^eftament. 
 
 brdngt'iS ben runbtejt aufjufd^agen, 1220 
 
 lit reblic^em efiifyl einmal 
 
 ijeilige Original 
 -3n mein geliebte 35eutfd git iibertragen. 
 
 (Sr fc^Iagt ein SSolum auf unb fdjicft ftc^ an. 
 
 efd^rieben ftc^t : n im 2lnfang tear ba 9S o r t !" 
 
 ier ftod' id^ fd^on ! 2Eer ^tlft mir hxiter fort? 1225
 
 tubirgimmer. 57 
 
 3>d? lann bag 2S or t fo b,od? unmoglid? fd?aen, 
 3>d? mufj eg anberg iiberfeijen, 
 2Benn id? bom eifte red?t erleud?tet Bin. 
 efdferieben ftefyt: im Slnfang tnar ber (3 inn. 
 1230 SBebenfe toofyl bie erfte 3>t\le, 
 
 beine $eber ftd^ ni(^t iibereile ! 
 eg ber Sinn, ber atfe toir!t unb fd^afft? 
 fotttc fte^n : im Slnf ang toar bie ^ r a f t ! 
 
 ud& inbem id^ biefe nieberfc^reibe, 
 1235 d^on toarnt mid? toa, ba^ id? babei nicfyt bleibe. 
 gjitr Pft ber eift ! 9luf einmal fe^' id? JRat^ 
 Unb fd?reibe getroft : im 2tnfang tnar bie $ ^ at ! 
 
 id? mit bir 
 l, fo lafe b 
 1240 @o lafe ba 
 
 old? einen ftorenben efeHen 
 
 2Rag id? nid?t in ber 9?ab,e leiben. 
 
 (Siner toon un beiben 
 
 2Ru| bie 3ctte meiben. 
 1245 Ungern b,eb' id? ba aftred?t auf, 
 
 te 2^)Ur ift often, fyaft freien Sauf. 
 
 3lber tca mu id? f efyen ! 
 
 ^anu ba natiirlid? gefd?eb,en? 
 
 3ft eg d?atten? ift'g 2SirlIid?feit? 
 1250 2Bie toirb mein $ubel lang unb breit ! 
 
 @r ^ebt fid? mit eiralt, 
 
 ag ift nid)t eineg ^unbeg eftalt ! 
 
 SSeld? ein efpenft brad?t' id? in'g 
 
 d?on fteb^t er tt>ie ein -fttfyferb aug, 
 1255 3Jiit feurigen 2lugen, fd?rec!Iid?em
 
 58 gaufl (Srfter fcljetl. 
 
 D ! bu bift mir getoifj ! 
 $ur foldbe fyalbe >ottenbrut 
 8ft alomoniS @rf)Iuffel gut. 
 
 e i ft e r auf bent ange. 
 Srinnen gefangen tft etner ! 
 Sleibet ^aufeen, folg' i^m !etner! 1260 
 
 2Bie im ifen ber %u.<fy% 
 ein alter 6ttenludj. 
 
 fytn, fc^iuebet iuieber, 
 2luf unb nteber, 1265 
 
 Hnb er ^at ficfy Iogemad^t. 
 
 i^r t^m ttii^en, 
 
 fjn nic^t fi|en ! 
 25enn er t^at un alien 
 <Sa)on biel ju efaffen. 1270 
 
 @rft ju begegnen bem 
 
 33raud/ id) ben 6prucfy ber 3Stere 
 
 alamanber foU gluten, 
 Unbene fid^ toinben, 
 
 berfc^lDtnben, 1275 
 
 fi(^) mii^en. 
 
 2Ber fie nic^t lennte 
 S)ie lemente, 
 
 Unb (Sigenfcfyaft, 1280 
 
 SBare fein geifter 
 liber bie etfter.
 
 tubirjiimner. 59 
 
 n 
 
 alamanber ! 
 
 1285 Staufdjenb fliefje jufammen 
 
 Unbene ! 
 in 
 
 Sring'fyauSlicfye wlfe 
 1290 Incubus ! incubus ! 
 
 Xritt fyerbor unb mad^e ben djlujj. 
 
 ber SSiere 
 tedEt in bem 
 i liegt ganj ruf)ig unb grinf t mid^ an ; 
 
 I2 9S ^5^ ^ a ^' ^ m noc ^ n ^* ^ e ^ get^an. 
 
 2)u fottft mic^ ^oren 
 tarfer 6ef$tooren. 
 
 Sift bu efeUe 
 in gliid^tling ber 
 1300 o ftefy bie^ 
 
 2)em fte ftti) beugen 
 S)ie fd^toarjen cfyaaren. 
 
 d^on fd^toiHt e auf mit borftigen aaren. 
 
 SerloorfneS 2Befen ! 
 
 1305 $annft bu if?n lefen ? 
 
 3)en nie ntf^rofj'nen, 
 UnauSgefprodjnen, 
 
 atte ^immel egoff' nen 
 X>urd^ftocnen ?
 
 60 gcmft. (grfter Sljeit. 
 
 Winter ben Dfen gebannt 1310 
 
 dfjtoiHt e ftne ein lebfyant, 
 
 3)en ganjen 9?aitm fiiUt e3 an, 
 
 @ tottt jum s jiebel jerfliejjen. 
 
 tetge nicfyt jur 2)ec!e fyinan ! 
 
 Sege bi4) 311 be 2Reifter gu|en ! 1315 
 
 2)u fiefyft ba| ic^ nid^t bergebenS brofye. 
 
 ^d^ berfenge bic^ mit fyetliger ol?e ! 
 
 Grtoarte ntc^t 
 
 3)a bretmal glii^enbe Sic^t ! 
 
 rtvarte nid^t 1320 
 
 2)tc ftar!fte bon metnen ^iinften ! 
 
 top^ele tritt, inbem ber ^eBel fattt, gefletbet tt>ie ein fal)> 
 renber ^olafticuS, Ijinter bem Ofen ^evoor. 
 
 SBoju ber Sarm? ioa fte^t bem errn 511 S)tenften? 
 
 Sail ft. 
 
 SDa alfo tuar be ^itbelS ern ! 
 @in fal)renber colaft ? SDer 6afu mad^t mic^ lacfyen. 
 
 m e i) ^ i ft o $ f) e I e 8. 
 
 $cfy falutire ben gele^rten errn ! 1325 
 
 ^5^r ^abt mid^) ioeiblid^ fcfytoitjen madden. 
 
 2Bie nennft bu 
 
 9Ji e p ^ i ft o $ $ e I e 3. 
 
 >ie $rage fcf>eint mir flein 
 $iir einen ber ba Sort fo fe{>r berad^tet, 
 2)er, ioeit entfernt bon atlem d^ein, 
 9Zur in ber SBefen Xiefe tracfytet. 1330
 
 tubirjimtner. 61 
 
 , iljr >errn, !ann man ba UBefen 
 
 au bem 3f?amen lefen, 
 2Bo e ftd& a%ibeutli3> toeift, 
 2Benn man eudfy ^liegengott, SBerberber, Siigner 
 1335 9?un gut, toer bift bu benn ? 
 
 in 2:^eil toon jener $raft, 
 ie ftet ba Sofe ioiE unb ftet ba ute fdjafft. 
 
 ift mit btefem SRat^feltoort gemetnt? 
 
 3Ji e ^) ^ i ft o p ^> c I e . 
 ^d^ Bin ber eift ber ftet tterneint ! 
 llnb ba mit ^Red^t ; benn aHe h)a entfte^t 
 1340 !3ft toert^ ba^ e ju runbe ge^t ; 
 2)rum beffer toar'S ba^ nid^t entftiinbe. 
 (So ift benn aHe h)a i^r (Sitnbe, 
 3erftorung, lurg ba 33ofe nennt, 
 JUtein eigentlid^eS lement. 
 
 Sauft. 
 1345 ii nennft bid^ einen Xfyeil, unb fte^ft bod^ ganj bor mir. 
 
 3JI e ^ ^ i ft o ^ I) e I e . 
 33ef$eibne 2BaI>r^eit fprec^' id^ bir. 
 SBenn fief) ber 3Jlenfc^, bie fleine !>ftarrentoelt, 
 etro^nlid^ fur ein anjeS ^cilt ; 
 ^d^ bin ein Xfyeil beg 5C^eiI, ber 2lnfang atte3 tear, 
 1350 (Sin Sfyeil ber ginfterni^, bte fid^ ba 2ict gebar,
 
 62 goufl. (Srfter Sljeil. 
 
 ftoljc 8iet, ba nun ber Gutter 
 SDen alten -Wang, ben 9taum ifyr ftreitig ntad^t, 
 Unb bod) gelingt'3 ifym nidjt, ba e3, fo fciel e ftrebt, 
 SSer^aftet an ben ^br^ern llebt. 
 
 SSon ^or^ern ftromt'g, bie $orper mac^t e fc^on, 1355 
 
 @tn ^or^er ^emmt' auf fetnem ange, 
 o, ^off' \fy, bauert e ntd^t lange 
 Unb mit ben orpern h)irb' #} runbe gefyn. 
 
 5 a u ft. 
 
 !enn' id^) betne h)iirb'gen ^Bf 
 2)u !annft im ro^en ntc^t bernic^ten, 1360 
 
 Unb fcingft e nun im $leinen an. 
 
 Unb freiltcfy ift nid^t biel bamit getfyan. 
 9Ba fid^) bem ^itd^ts entgegenfteflt, 
 S)a tiuaS, btefe ^lum^e SOBelt, 
 
 <3o biel al id^ fd^on unternommen, 1365 
 
 ^d; tou^te ntd^t iljr beijufommen, 
 gj^it SSetten, tttrmen, cfyutteln, 33ranb, 
 eru^ig bletbt am (nbe 2Reer unb 2anb ! 
 Unb bem berbammten 3 eu S/ ^ er fyier= unb 3Jienfd^enbrut, 
 S5em ift nun gar nicfyts anju^aben. 1370 
 
 JBie biele ^ab' id^ fd^on begraben ! 
 Unb immer circulirt ein neiteS frifa)e Slut. 
 (So gefyt e fort, man mod^te rafenb toerben ! 
 er Suft, bem SSaffer, toie ber 6rben 
 @nth)inben taufenb ^eime fid^, 1375 
 
 ^m Strodvnen, ^eud^ten, SSarmen, fatten ! 
 citt' id^ mir nic^t bie $Iamme borbe^alten, 
 nid;t 2(bart fur mia).
 
 tubirjimmer. 63 
 
 (So fe^eft bu ber etoig regen, 
 1380 SDer fyeilfam fcfyajfenben etoalt 
 
 2)ie falte eufel3fauft entgegen, 
 3)ie ftd) toergeben tiicfifcfy battt ! 
 2Ba 2lnber fucfye u beginnen 
 GfyaoS tounberlic^er 
 
 3JI e p ^ i ft o j> ^ e I e 3. 
 1385 SBir ttoHen toirfltcfy un beftnnen, 
 
 3)ie ndd^ftenmale mefyr babon ! 
 S)urft' td^ toofyl bie^mal tntc^ entfernen? 
 
 Jfliift. 
 
 3$ fe^e nid^t toarum bu fragft. 
 !jjcfy ^)abe je^t bid? fennen lernen, 
 1390 Sefud^e nun mt<f> tote bu magft. 
 
 ier i(t ba ?yen[ter, ^ter bie St^iire, 
 (Sin 9iaud)fang ift bir aitcfy geh)i. 
 
 2K e ^ I? i ft o ^ fy e I e 3. 
 eftefy' id?' nur ! 35a^ \3) 
 SSerbietet mir ein fleine 
 1395 2)er S)tubenfu^ auf eurer djtoette 
 
 ^entagramma ntad^t bir 
 (Si fage mir, bu (Sofyn ber 
 2Benn ba bi$ bannt, tote f amft bu benn fyerein ? 
 2Bte toarb ein folcfyer eift betrogen? 
 
 1400 SBefcfyaut e red^t ! e ift nid^t gut gejogen ;
 
 64 ftcmfh Srfhr 
 
 )er eine 2Binfel, ber nad) aufjen gu, 
 3ft, tote bu fiefyft, em toenig offen. 
 
 gfftuH. 
 
 )a fyat ber gufatt gut getroffen ! 
 Unb mein efangner toarft benn bu? 
 
 ift toon ungefafyr gelungen ! 1405 
 
 3JI e ^ i ft o p ^ e I e g. 
 
 2)er ^5ubel mer!te nidjts al er ^ereingef^rungen, 
 S)ie adje fie^t je^t anber aul ; 
 lann nidt au bem 
 
 toarum ge^ft bu nid^t burd^'g $en[ter ? 
 
 ' ift etn efe^ ber 5TeufeI unb efyenfter : 1410 
 
 2Bo fie fyeretngefcfylityft, ba miiffen fie ^inaug. 
 
 Srfte fte^t un frei, bei'm 3toetten finb toir ^ned^te. 
 
 t^auft. 
 
 bffe fclbft ^at ifyre 3flec^te? 
 finb' id^ gut, ba liefce fid^ etn $act, 
 Unb ficf>er too^l, mit eud) i^r erren fd^Iie^en? 1415 
 
 3W e $ $ t ft o p $ e I e . 
 
 2Ba man berf^rid^t, ba follft bu rein genie^en, 
 !iDir h)irb babon nid^tg abgejhjadft. 
 jDod^ ba ift nid^t fo !urj ju faffen, 
 Unb toir bef^red^en ba gunad^ft ; 
 
 ^o bitt' id), ^od; un5 ^od}ft, 1420 
 
 biefeSmal mid; ju entlaffen.
 
 titbirjimmer. 65 
 
 3-aujl. 
 
 (So bleibe bod} nodj einen Slugenblid;, 
 Urn mir erft gute 2J?di>r' ju fagen. 
 
 !3et lajj mid? log ! id? fomme balb juriicf ; 
 1425 3)ann magft bu nad? SBelteben fragen. 
 
 ^(^ ^abe bir ntd;t nad^gefteUt, 
 
 Sift bu bod? felbft tn' am gegangen. 
 
 STeufet ^alte toer i^n ^cilt ! 
 hrirb i^n nid^t fobalb jum jtoeitenmale fangen. 
 
 1430 SBenn bir' beltebt, fo bin \<fy aucfy bercit 
 2)ir jur efettfd^aft fyier ju bleibcn ; 
 mit SBebingnifj, bir bie 3it, 
 meine ^iinftc, ioiirbig gu bertretben. 
 
 ^d? fe^' e gern, ba fte^t bir fret ; 
 1435 -ftur ba^ bie $unft gefdflig fet ! 
 
 i ft o p ^ e I e 8. 
 $)ii toirft, tnein $reunb, fiir betne innen, 
 ^n biefer (Stunbe me^r getoinnen, 
 21I in be ^a^re @inerlei. 
 SBa bir bie jarten eifter fingen, 
 1440 35ie fdrionen SBilber, bie fie bringen, 
 inb nidj)t ein leereg 3 au ^ cr f^ e ^ 
 bein erud? toirb ftd? erge^cn,
 
 66 Soufl. Softer 
 
 hrirft bit betnen aumen leijen, 
 Unb bann entgiirft fid? bent efiib,!. 
 33ereitung braucfyt e3 nid^t boran, 1445 
 
 23ei[ammen finb h)ir, fanget an ! 
 e t ft e r. 
 
 <Sc^toinbet, tfyr bunlelit 
 
 2BoI6ungen broben ! 
 
 SRetjenber fd^aue 
 
 greunblic^) ber blaue 1450 
 
 Sltfyer ^erein ! 
 
 SSdren bte bunleln 
 
 2SoI!en jerronnen ! 
 
 ternelein funfeln, 
 
 3JiiIbere (Sonnen 1455 
 
 djetnen barein. 
 
 d^luanlenbe SBeugung 
 
 d()toebet boriiber. 1460 
 
 efynenbe 5Reigung 
 
 ^olget ^tniiber ; 
 
 Unb ber etoanber 
 
 glatternbe 33dnber 
 
 2)ecfen bte Sanber, 1465 
 
 ecfen bte 2aube, 
 
 2iBo ftd9 fur's Seben, 
 
 ^tef in ebanfen, 
 
 2tebenbe geben. 
 
 2aube bet Sattbe ! 1470 
 
 proffenbe 9tanlen ! 
 
 Saftenbe raube
 
 tubirjimmer. 67 
 
 turgt in'3 
 SDrangenber belter, 
 
 1475 (Stiirjen in SBadjien 
 
 cfyaumenbe 28eine, 
 3fJiefeln bttrcfy reine 
 @ble efteine, 
 Sajfen bie 6fyen 
 
 1480 ^tnter fid^ liegen, 
 
 S3reiten 511 Seen 
 @id^ um' eniigen 
 riinenber iigel. 
 Unb ba efliigel 
 
 1485 d^Iiirfet ftdp ffionne, 
 
 ^Iteget ber 
 ben 
 
 cntgegen, 
 SDie ftd^ auf S&etten 
 
 1490 aullenb betoegen ; 
 
 2Bo toir in G^oren 
 
 ben 2luen 
 anjenbe fdjauen, 
 
 1495 3)^ e fi<^ i S re i en 
 
 SlUe jerftreuen. 
 inige Himmen 
 liber bie o^en, 
 2lnbere fdjioimmen 
 
 1500 Uber bie een, 
 
 $nbere fc^toeben ; 
 2ttte jum Seben, 
 2lHe jur
 
 68 $ofl- Srfier 
 
 Siebenber terne, 
 
 <3eliger mlb. 1505 
 
 @r fdjlcift! <3o red;t, ifyr luff gen, garten !yungen! 
 
 3$r fyabt ifyn treulid; eingefungen ! 
 
 $ur biefj Concert bin id; in eitrer d^ulb. 
 
 2)u bift nod) nid;t ber 3Jiann ben 5eufel f eft ju fatten ! 
 
 Umgaulelt t^n tntt fit^en ^raumgeftalten, 1510 
 
 SSerfenlt i^n tn ein SJieer be 
 
 2)od) biefer (Scfytoette 3^uber 
 
 SBebarf id; eine 9tattenja^n. 
 
 9iid)t Icmge braud;' id; ju befd;h)5ren, 
 
 @d;on rafd;elt eine f)m unb toirb fogleid; mid) ^oren. 1515 
 
 |>err ber fatten unb ber -JRaufe, 
 
 ^liegen, ^rDfd;e, 2Bangen, 2aufe, 
 
 t bit bid; Berber gu toagen 
 Unb biefe (Sd;h)ette ju benagen, 
 
 oiuie er fie mit )l betu^ft 1520 
 
 a fommft bu fd;on fyerborgefyupft. 
 9l\vc frifd; an'g SSer! ! 5)te (Spi^e, bie mid; bannte, 
 <Sie fi^t gang bornen an ber $ante. 
 
 einen SBifr, fo ift'S gefd;e^n. 
 
 aufte, traume fort, bi toir un toieberfe^n. 1525 
 
 ^ a u ft ertoacf)enb. 
 33in id; benn abermali betrogen ? 
 SSerfd;h)inbet fo ber geifterreid;e rang, 
 2)a^ mir ein Sraum ben Xeufel borgelogen, 
 Unb bafj ein ^5ubel mir entf^rang ?
 
 tubtr^tnttner. 
 
 a ii ft. 2Kepl)ij'topljeleS. 
 
 1530 @ !Iobft ? eretn ! 2Ber tottf mid) toieber blagen ? 
 
 u tnu^t e breimal fagen. 
 
 gauft. 
 Herein benn ! 
 
 m e ^ $ i ft o Jj I? c I c 8. 
 @o gefdttft bu tnir. 
 SBtr toerben, ^off' id^, un bertragen ! 
 )enn bir bte GJriHen ju berjagen 
 
 T S3S 
 
 ^n rotfyem golbberbramtem 
 5)a SRdnteld^en bon ftarrer cibe, 
 !Dte af>nenfeber auf bem ut, 
 2)Ht einem langen ftti^en ^Dcgen, 
 
 1540 Unb ratbe nun btr, furj unb gut, 
 )ergleicfyen gletd^fatt anjulegen ; 
 
 (69)
 
 70 ftaujl (Srfter fjeil. 
 
 $)atnit bit, loSgebunben, fret, 
 afyreft toag ba Seben fet. 
 
 gfatifl 
 
 n jebem &Ieibe toerb' id> toobl bie $ein 
 
 engen (Srbelebeng fiifylen. 1545 
 
 bin ju alt, urn nur gu f)3telen, 
 um ^ ne 2Bunf4) gu fein. 
 fann bie 2BeIt mir toofyl geh)af)ren ? 
 ntbe^ren fottft bu ! fottft entbef>ren ! 
 >a3 tft ber etotge efang, 1550 
 
 2)er jebem an bie Dfyren flingt, 
 S)en, unfer ganje Seben long, 
 Un ^eifer jebe (Stimbe fingt. 
 9Zur mit ntfe^en toacfy' id^ 3Rorgen auf, 
 ^d^ mocfyte biitre S^ranen toeinen, 1555 
 
 2)en 5Cag gu fe^n, ber mir in feinem auf 
 
 (Sinen 2Bunfd^ erfiitten ittirb, nid^t (Sinen, 
 felbft bie 2l^nung jeber 2uft 
 eigenfinnigem ^rittel minbert, 
 2)ie @d6pfung tneiner regen SBruft 1560 
 
 SRtt taufenb 2ebenfraen ^inbert. 
 
 irf), toenn bie 97ad:)t fid^ nieberfenlt, 
 
 auf ba 2ager ftrerfen ; 
 ba ioirb feme Sftaft gefc^en!t, 
 toerben toilbe ^Traume fd^reden. 1565 
 
 2)er ott, ber mir im S3ufen toofynt, 
 ^ann tief mein ^nnerfteg erregen ; 
 5Der iiber aHen meinen ^raften t^ront, 
 (Sr fann nadj) au^en nid^tg beh)egen ; 
 Unb fo ift mir bag SDafein eine Saft, 1570 
 
 2)er Xob erlnunfc^t, ba Seben mir berfyafjt.
 
 71 
 
 Unb bod; ift me ber ob ein gcmj toittfommner 
 
 8faufr 
 
 D felig ber, bem er im iegeSglanje 
 2)ie blut'gen Sorbeern urn bie cfylafe hrinbet, 
 1575 2)en er, nadj rafd) burd;raf'tem 
 
 $jn eine 3ftabd;en 2Irmen finbet ! 
 ) toar' ic^ bor be ^o^en eifte 
 ntjiidtt, entfeelt ba^in gefun!en ! 
 
 9Ji e p i ft o p ^ e I e 8. 
 Unb bod) fyat jemanb einen Braunen aft, 
 1580 3>n jener 5Rad;t, nid)t au^getrunlen. 
 
 ^toniren, fd^eint'S, ift beine Suft. 
 
 3)1 e ^) ^ i ft o j> fy e I e g. 
 2lttit)iffenb bin id; nid;t ; bod; Diet ift mir 
 
 Sauft. 
 
 SSenn au bem fd;redtlid;en etoiifyle 
 @in fii| befannter ^ton mid; gog, 
 
 1585 2)en 9left bon Iinblid;em efii^Ie 
 2Rit 2ln!Iang frofyer &it betrog ; 
 @o flud;' id; attem tt>a bie <5eele 
 SJiit Sods unb au!eltoerf iimftoannt, 
 Unb fie in biefe Strauerbofyle 
 
 1590 9Hit 33Ienbs unb <Sd)meid;eIlraften bannt! 
 3?erflud;t borau bie fyofye 3Reinung, 
 SBomit ber eift fid; felbft umfdngt ! 
 33erflud)t ba SBIenben ber @r[d;einung, 
 2)ie fid; an unfre <2>inne bra'ngt !
 
 72 Saujl. (Srfler 
 
 35erflu$t toa un in ra'umen fyeucfyeft/ 1595 
 
 2)e SRufymS, ber 9tomenbauer rug ! 
 
 SSerflud^t toa al 23efi$ un3 fcfymeicfyelt, 
 
 2llg SBeib unb inb, al ^ned^t unb 
 
 SSerflud^t fei SRammon, toenn mtt 
 
 r un u fii^nen 5t^aten regt, 1600 
 
 9Benn er ju tnii^tgem rge^en 
 
 2)ie ^3olfter ung jured^te legt ! 
 
 glud) fei bem Salfamfaft ber Xrauben ! 
 
 gluc^ jener fyocfyften Sie6e^ulb ! 
 
 ^luc^ fei ber ^offnitng ! gluc^ bem lauBen, 1605 
 
 Unb gluc^ Dor alien ber ebulb ! 
 
 eiftersS^or mtftdjtbar. 
 
 SSe^ ! toe^ ! 
 
 S)u fyaft fie jerftort, 
 
 ie fdjone 2Belt, 
 
 5Rit mac^ttger ^auft ; 1610 
 
 @te ftitrji, fte jerf attt ! 
 
 in albgott ^at fie jerfdjlagen ! 
 
 2Bir tragen 
 
 SDie Xrummern in' %li<S)tZ ^iniiber, 
 
 Unb Hagen 1615 
 
 tiber bie serlorne d^one. 
 
 9Karf>tiger 
 
 2)er rbenfo^ne, 
 
 ^radjtiger 
 
 S3aue fie iDieber, 1620 
 
 $n beinem 33ufen baite fte attf 1 
 
 3^euen SebenSlauf 
 
 SBeginne, 
 
 3Jlit fyeflem inne,
 
 tubirjimmer. 73 
 
 1625 ttnb neue Sieber 
 
 barauf ! 
 
 i ft o p I? e I e 3. 
 3)iefj ftnb bte fleinen 
 SSon ben SJfeinen. 
 ore, tote 511 Suft unb Stfyaten 
 1630 SUtftug fie ratten ! 
 
 3n bie 2BeIt ioett, 
 2(u ber Gsinfamfett, 
 SBo @innen unb aftc ftoden, 
 SBotten fie btd^ loden. 
 
 1635 o^ auf mtt beinem ram gu f^ielen, 
 
 SDer, tote ein eier, bit am Seben fri|t; 
 S)ie fd^Ie^tcfte efeUfd^aft lafet bid^ fii^Ien, 
 bu ein 3Jlenfd^ mtt SRenfd^en bift. 
 fo ift' ni$t gemeint 
 
 1640 2)i$ unter ba ^3ad ju fto^en. 
 
 ^5$ bin fetner bon ben ro^en ; 
 S)o$ toittft bu, mit mir Deretnt, 
 S)etne <S$ritte bur$'l Seben ne^men, 
 (So toiU t$ mt$ gem bequemen 
 
 1645 e ^ n 5 U f e ^ n / au f ^ er tette. 
 
 ^$ bin betn efette 
 Unb, ma$' i$ bir' re$t, 
 33in i$ bein Sriener, bin betn 
 
 Unb toa foil i$ bagegen bir erfiitten? 
 
 3R e $ fy i ft o $ $ e I e 8. 
 1650 S)aju ^aft bu nod? eine lange ^rift.
 
 74 goufl. (Srfter 
 
 Kein, nein ! ber eufel ift ein goift 
 Unb tfyut nid&t leidjt urn otte 2Bitten 
 etnem anbern nit^ltd^ ift. 
 
 bie SBebtngung beutlid? au ; 
 @in folder Wiener bringt efafyr in' au. 1655 
 
 i ft o p ^ e I e g. 
 
 ^d^ it>iU tntd^ 1) i e r 311 betnem SDienft Derbinben, 
 2luf beinen 2Binl ntd^t rafteu unb nid^t 
 2Benn toir un b r ii b e n toieber finben, 
 @o foUft bu mir ba leid^e t^un. 
 
 3)rii6en lann mid? toenig fummern ; 1660 
 
 <Srf)Iagft bu erft biefe SSelt 511 riimmern, 
 S)te anbre mag barnad^ entftefyn. 
 2lu biefer @rbe quttten meine Reuben, 
 Unb biefe onne fcfyeinet meinen Seiben ; 
 ^ann \<fy mid^ erft toon i{>nen fcfyeiben, 1665 
 
 3)ann mag toa toitt unb fann gefce^n. 
 3)abon hnff id^ nid^tg lueiter ^oren, 
 D6 man aucfy fiinftig ^a^t unb lie&t, 
 Unb 06 e aucfy in jenen S^^aren 
 @in D&en ober Unten gibt. 1670 
 
 m e $ I) \ ft o p ^ e I e g. 
 
 ^n biefem <Sinne fannft bu' toagen. 
 SBerbinbe bid) ; bu follft, in biefen Xagen, 
 
 ^reuben meine $iinfte fe^n, 
 
 gebe bir toa nod^ fein 2Renfd gefe^n.
 
 tubirjimmer. 75 
 
 1675 2B a ^ toittft bu armer eufel geben ? 
 
 28arb eine 3)ienfc^en eift, in feinem fyol?n treben, 
 
 Son &etnesgleid;en je gefajjt? 
 
 SDod; fyaft bu <2peife bie nidjrt fattigt, Ijaft 
 
 2)u rot^cg olb, ba ofyne $Ra[t, 
 1680 Duedftlber gletdb, bir in ber anb jerrinnt, 
 
 in Spiel, bei bem man nie gennnnt, 
 
 (Sin ^Jidbc^en, ba an meiner 33ruft 
 
 SJiit 2(ugeln fcfyon bem 9iad^bar ftd^> berbinbet, 
 
 $er e^re fd^one otterluft, 
 1685 S/ie, toie ein 3Jieteor, berf djtoinbet ? 
 
 3eig' mir bie $ru$t bie fault, e^>' man fte bridjt, 
 
 Unb SBaume bie ftdf? taglia; neu begriinen ! 
 
 folder 2luftrag fd^redft mirf> nia;t, 
 fola^en (Sd^a^en lann id^ bienen. 
 1690 25od?, guter greunb, bie 3^it fommt aua) ^era 
 2Bo toir ia ut in Sflu^e fa^maufen mogen. 
 
 SBerb' id^i beru^igt je mid? auf ein gaulbett legen, 
 (So fei e gleic(> um mid) getban ! 
 ^annft bu mid; fd)meid;einb je beliigen 
 1695 2)afj id; mir felbft gefallen mag, 
 
 &annft bu mid; mit enufc betrugen ; 
 2)a fei fur mid; ber le^te 
 S5ie 2Bette biet' id; !
 
 76 goufl. (Srfler 
 
 Unb <5d?lag auf cfylag ! 
 2Berb' id? jum 2lugenblid;e fagen : 
 SBertoeile bod? ! bu bift fo fd?on ! 1700 
 
 S)ann magft bu mid? in ^effeln fd?lagen, 
 ann toiH id? gern ju runbe gefyn ! 
 35ann mag bie Xobtenglorfe flatten, 
 SDann bift bu beine 3)ienfte fret, 
 S)ie Ui>r mag ftet>n, ber 3 e is er fatten, 1705 
 
 @ fei bie 3it fur mid; fcorbei ! 
 
 9)1 e j) 1) i ft o p $ e I e . 
 SBebenf e too^I, tt)ir toerben'5 nicfjt bergeffen. 
 
 ^auft. 
 
 S)aju I>aft bu ein Dotted Sftec^t, 
 ^d? fyab e mid? nid?t frebentlid? Uermeffen. 
 JBie id? be^arre bin id? $ned?t, 1710 
 
 Db bein, ioa frag' id?, ober iejfen. 
 
 3Jie^)^iftoj)^eIe. 
 lyd? icerbe ^eute gleid?, beilm )octorfd?mau, 
 21I 2)iener, meine ^Bflid?t erfiiQen. 
 5?ur ein ! Urn SebenS ober <terben toiUen, 
 S3itt' id? mir ein ^aar geilen au. 1715 
 
 Slud? toa efd;riebne forberft bu ^ebant? 
 
 aft bu nod? feinen SJlann, md?t 2Ranneg=2Bort gefannt? 
 
 ^ft'g nid?t genug, ba^ mein gef^rod?ne 3Bort 
 
 2luf etrig foH mit meinen STagen fd?alten? 
 
 S^af't nid?t bie 2Belt in atten tromen fort, 1720 
 
 Unb mid? foil ein 23erfpred?en fyalten ?
 
 tiibirjimtner. 77 
 
 3)od) biefer 2Ba^n ift un in' erj gelegt, 
 
 2Ber tnag fid) gern babon befreien ? 
 
 93egliicft toer !reue rein im Sufen tragt, 
 1725 $ein Dbfer toirb ifyn je gereuen ! 
 
 Slttein ein ^Sergament, befcfyrteben unb be^rdgt, 
 
 ^ft etn etyenft, bor bem ftd^ aUe fd^euen. 
 
 S)a 2Bort erftirbt fd^on in ber $eber, 
 
 ie errfd^aft fiifyren 2Bad? unb Seber. 
 1730 2Ba toittft bu bofer eift toon mir? 
 
 @rg, 9Karmor, ^Bergament, papier? 
 
 (Sott ic^ mit riff el, 3ReifjeI, geber fc^reiben? 
 
 ^d gebe jebe 2Ba^)I bir frei. 
 
 3Ji e p ^ t ft o j> ^ e I e 8. 
 SSie magft bu beine Stebnerei 
 1735 5iur gleid^ fo ^i^ig iibertreiben ? 
 ^ft bod() ein jebe 33Iattc()en gut. 
 S)u unterjeid)neft btd^ mit einem ^rb^fd^en Slut. 
 
 ^auft. 
 
 SBenn bie^ bir Dottig 'niige tf>ut, 
 @o mag e3 bei ber ^ra^e bleiben. 
 
 2ftepfyiftopfyele. 
 1740 S3Iut ift ein gang befonbrer (Saft. 
 
 feine $ur$t, ba^ id^> bie^ SBunbnifj breeze ! 
 
 treben meiner ganjen ^raft 
 3ft g'rabe ba h)a \<fy berf^rec^e. 
 3<^ fyabe mid^ ju f>od^ geblal>t ; 
 3 n fceinen Siang gefyor' ic nur. 
 2)er gro^e eift fyat mid^) berfc^ma^t,
 
 78 3fOfl. 
 
 SSor mir berfd)lie|5t fid) bie 
 
 2)e 2)enlen $aben ift jerriffen, 
 
 SJiir elelt lange toor attem SBiffen. 
 
 Safe in ben Siefen ber @innlid;leit 1750 
 
 Un glttfyenbe 2eibenfd;aften ftiHen ! 
 
 ^n unburc^brungnen gau&erfyiiHen 
 
 @ei jebe 2Bunber gleid^) Bereit ! 
 
 tiirjen h)ir un in ba 9lauf4)en ber 3^it, 
 
 $>n'3 Gotten ber Segeben^eit ! 1755 
 
 SDa mag benn d^merj unb enufj, 
 
 elingen unb SSerbru^, 
 
 einanber h)ed^)feln n>ie e lann ; 
 bet^atigt fid) ber 3)iann. 
 
 @ud) ift lein 3Jlaj$ unb 3iel gefefct. 1760 
 
 33eliebt' eud) iiberaH ju nafcfyen, 
 
 33e!omm' eud; too^I toa eud; erge^t ! 
 5Hur greift mtr 311 unb f eib jud;t blobe. 
 
 ^auft. 
 
 u ^oreft fa, toon ^reub' ift nid;t bie 9tebe. 1765 
 
 3)em Staumel toeib, ' id; mid), bem fd;merjlid;ften enufc, 
 S3erliebtem a^, erquidEenbem Serbru^. 
 SUJein Sufen, ber bom 28iffenbrang ge^eilt ift, 
 (Sott leinen djmerjen fiinftig fid) berfd)Iie^en, 
 Unb hm ber ganjen SJlenfd^^eit guget^eilt ift, 1770 
 
 2BiU id; in meinem innern elbft geme^en, 
 2Jiit meinem eift ba bd)ft' unb Sieffte greifen, 
 ^^r 2Bof)I unb 2Beb, auf meinen 33ufen ^aufen, 
 Unb fo mein etgen <3elbft u if)rem elbft ertueitern, 
 Unb, toie fie felbft, am @nb' aud) id; jerfd;eitern. 1775
 
 tubirjimtncr. 79 
 
 3ft e to b, i ft o to b, e I e 8. 
 D glaube mir, ber mancb, e taufenb ^a^re 
 2ln biefer fyarten Stoeife laut, 
 SDafe toon ber 2Biege bi jur SBafyre 
 $ein -IRenfcfy ben alien auertetg berbaut ! 
 1780 laub' unfer einem, biefeS anje 
 
 ^5fi nut fiir einen ott gemad^t ! 
 6r finbet ftd^ in einem eto'gen lanje, 
 lln f>at er in bie $in[ternijj gebrad^t, 
 Unb eud^ taitgt einjig Stag unb 
 
 1785 2lHein id^ toitt ! 
 
 9ft e p ^ i ft o p ^ e I e . 
 
 3)a Idjjt ftd? 
 3)oc^ nur bor (Sinem ift mir bang ; 
 35ie 3eit ift lurj, bie Hunft ift long. 
 lycl? bdd^t', il)r lie^et euc^ belefyren. 
 Slffodirt eud9 mit einem $oeten, 
 1790 Sa^t ben errn in ebanlen fd^toeifen, 
 
 Unb aHe eblen Dualitaten 
 2luf euren @^ren=<Sc^eiteI fyaufen, 
 Sotoen 
 
 1795 S)e ^taliener feurig S3Iut, 
 
 3)e ;Jiorben 3)aurbarfeit ; 
 Safet i^n eud^ ba ebeimnifj finben, 
 ro^mut^ unb 2lrglift ju berbinben, 
 Unb euc^, mit toarmen ^ugenbtrieben, 
 1800 ^ad^ einem ^lane, ju berlieben. 
 
 felbft folcfy einen erren fennen, 
 3Jiifrofomu nennen.
 
 80 gouft. (Srfter 
 
 2Ba bin icf) benn, toenn eg nicfyt moglicfy ift 
 
 >er Sftenfd^eit $rone u erringen, 
 
 ftacfy ber fid) aft e <5inne bringen ? 1805 
 
 2ft e p $ i ft o p fy e I e 8. 
 25u btft am @nbe toa bu 6ift. 
 
 ' bir ^erriitfen auf toon SJiiHtonen SodEen, 
 
 beinen gu^ auf etten^o^e <Soc!en, 
 bleibft bod() immer toa bu bift. 
 
 ^auft. 
 
 fiifyr, bergebenS ^ab' ic^ atte (Scfjatje 1810 
 
 9Jienfd9engetft auf midp ^erbeigerafft, 
 
 Unb tuenn id^) midf) am @nbe meberfe^c, 
 
 DuiUt innerlicfy bod^ leine neue ^raft ; 
 
 %<$ bin nid^t um ein >aar breit ^o^er, 
 
 SBin bem Unenblicfyen nid^t nci^er. 1815 
 
 3Jiein guter err, i^r fefyt bie Sadden, 
 2Bie man bie acfyen eben fte^t ; 
 2Bir miiffen ba gefc^eibter mac^en, 
 <fy' ung be Sebeng ^reube fliefyt. 
 2Ba enfer ! freilidc> anb' unb ^ii^e 1820 
 
 Unb $opf unb -- bie finb bein ; 
 2)ocfy attc, toa i$ frif$ genie^e, 
 ^5ft ba brum toeniger mein ? 
 JOenn i$ fed^S engfte ja^Ien !ann, 
 inb i^re ^rafte nid^t bie meine? 1825 
 
 %&) renne ju -unb bin ein renter 9Jiann, 
 t' id) bier unb jtoanjig Seine.
 
 tubirjimmer. 
 
 SDrum frtfd^ ! Soft atte <5innen fein, 
 llnb g'rab' mit in bie 2BeIt fyinein ! 
 1830 3>cfy fag' e bit : ein $erl, ber fpeculirt, 
 ^ft tine ein S^ier, aitf biirrer >eibe 
 SSon einem bofen eift im $rei fyerum gefuljrt, 
 Unb ringg um^er liegt fdjone griine SBeibe. 
 
 gauft. 
 293ie f angen fair ba an ? 
 
 3ft e p ^> i ft o $ I) e I e 8. 
 
 2Bir gefyen eben fort. 
 1835 SBa ift ba filr ein 2JJarterort? 
 
 fyeijjt ba fiir ein Seben fiifyren, 
 unb bie ^ungen ennutyiren ? 
 bit ba bem errn 9?a(^6ar 2Banft ! 
 2Ba roittft bu bic^ bag trol) ju brefd^en 
 1840 5Da iBefte, h?a bu toiffen lannft, 
 
 arfft bu ben 33uben bocfy nici^t fagen. 
 6r' icfy einen auf bem ange ! 
 
 ftauft. 
 'g nid^t tnoglicfy i^n ju fet>n. 
 
 SDer arme ^nabe toartet lange, 
 1845 ^ er ^ ar f n ^t ungetroftet gefyn. 
 , gib mir beinen 9loc! unb 
 5Ra!e mu^ mir foftli^ fte^n. 
 
 (r Iteibet ftc^ urn. 
 uberlafe e meinem 2Bie ! 
 3$ braucfye nur ein SSiertelftunbd^en 
 1850 ^nbeffen mad^e bid) ur fd^onen ga^rt bereit ! 
 
 ftauft ab.
 
 82 ftoitft. (Srfter 
 
 totofyeleS in gcmft'S langem tteibe. 
 
 SSeradfyte nur SSernunft unb SBiffenfdfyaft, 
 
 2)e 3JJenf$en atterfyocfyfte flraft, 
 
 Sajj nur in Slenb* unb gaubertoerfen 
 
 3)idi) bon bem Siigengeift beftarfen, 
 
 <So fyab' id^ btd^ fc^on unbebtngt 1855 
 
 $fym ^at ba @cfytc![al einen etft gegeben, 
 
 S)er ungebanbtgt immer bortoart bringt, 
 
 Unb beffen iibereilteS treben 
 
 2)er @rbe ^reuben iiberf^rtngt. 
 
 S)en fc^Ie^j)' id^ burd) bag loilbe Seben, 1860 
 
 SDurdj fla^ie Unbebeuten^eit, 
 
 (Sr fott mir ja^^eln, ftarren, fleben, 
 
 Unb feiner UnerfattHcfyfett 
 
 oil (S^eif unb ranf bor gier'gen Sip^en fd^loeben ; 
 
 Gsr h)irb rqutdung fid^ umfonft erfle^n, 1865 
 
 Unb fyatt' er ficfy aud^ nid^t bem Steufel iibergeben, 
 
 6r ntii^te bod^ ju runbe gefyn. 
 
 6 d^ it I e r. 
 
 ^d bin attfyier erft furje geit, 
 
 Unb lomme bott rgeben^eit, 
 
 @inen -Dtanu ju fbred^en unb ju !ennen r 1870 
 
 2)en aUe mir mit (Sfyrfurcfyt nennen. 
 
 m e b ^> i ft o to $ e I e 8. 
 
 Gitre 6flid^feit erfreut mid^ fefyr ! 
 ^t>r fe^t einen 9Jtann h)ie anbre me^r. 
 abt ifyr eud fonfl fd^on umgeti>an?
 
 tubirgimmer. 83 
 
 <5 $ it I e r. 
 
 l8 7S S$ &itt' euc ^/ ne^mt eucfy meiner an ! 
 %<S) lomme mit attem guten SRutfy, 
 Seiblidjem elb unb frifrfjem S3Iut; 
 3JMne SRutter tooHte micfy f aum entfernen ; 
 gern toa 9tecfyt3 F>ierauen lernen. 
 
 1880 2)a feib ifyr eben red^t am Drt. 
 cfy ii I e r. 
 
 2lufricfyttg, mod;te fc^on toieber fort : 
 ^n btefen SRauern, btefen fatten, 
 2BtII e mir feinetoeg gefaHen. 
 @ ift ein gar &efdjran!ter 3taum, 
 1885 9Jian ftefyt nid;t rune, leinen 33aum, 
 Unb in ben (Salen, auf ben SBanfen, 
 
 mir ^oren, (Sefyn unb 2)en!en. 
 
 3JZ e f f) i ft o $ $ e I e g. 
 fommt nur auf etoofynfyeit an. 
 @o nimmt ein $inb ber Gutter S3ruft 
 1890 -fticfyt gleid^i im 2lnfang toittig an, 
 3)o<$ balb ernai)rt e f:$ mit Suft. 
 @o h)irb' eucfj an ber 2Bei^eit Sriiften 
 3Jtit jebem Stage mel)r geliiften. 
 
 <S (^ ii I e r. 
 
 2ln i^rem al toitt id; mit ^rcuben ^angen ; 
 1895 ^$ f a S^ wii^ nur, toie fann id^i ^ingelangen ? 
 
 3R e ^ ^ i ft o $ ^ e I e 3. 
 rflart eucfy, el?' i^r toeiter ge^t, 
 2Ba toafylt il>r fiir eine gacultdt ?
 
 84 goufl. Srfter Zljtil. 
 
 3) ii I. e r. 
 
 Sd) hriinfcfyte rec^t gelefyrt jit ioerben, 
 Unb mocfyte gern toa auf ber @rben 
 Unb in bent >tmmel ift erfaffen, 1900 
 
 at unb bie 
 
 feib t^r auf ber redjten (S^jur ; 
 tnufjt i|r eud^) nid^t jerftreuen lajfen. 
 
 @ 4) ii I e r. 
 bin babei mit eel' unb 2ei6 ; 
 
 eilid^ lt)iirbe mir be^agen 1905 
 
 in h)enig ^rei^eit unb 
 2ln fdonen (Sommerfeiertagen. 
 
 ebraucfyt ber &\t, fie gef)t fo fcfynett toon ^innen, 
 od? Orbnung lel^rt eutfy $e\t getoinnen. 
 3Rein t^eurer ^reunb, ic^ ratE>' eud^) brunt 1910 
 
 3uerft ottegium Sogicunt. 
 35 a tuirb ber eift eiid) it)o^I breffirt, 
 ^n f^anifd^e tiefeln eingefc^niirt, 
 S)a| er bebac^tiger fo fortan 
 
 ^iinf(f)Ieid^e bie ebanfenba^n, 1915 
 
 Unb nic^t ettoa, bie $reuj unb Duer, 
 ^rrlic^telire ^)in unb fyer. 
 ann le^ret man euc^ ntand^en ^ag, 
 SDaf;, h)a ifyr fonft auf Sinen (ScI)Iag 
 etrieben, tote Sffen unb ^rinlen fret, 1920 
 
 @tn ! 3^ e ^ ' r ^i t ^flju not^ig fei. 
 t'g mit ber ebanfens$abri!
 
 tubirgimmer. 85 
 
 2Bie mit einem 2Beber=2fteifterftucf, 
 
 2Bo Gin ritt taufenb gdben regt, 
 1925 )ie (Sd^tfflein tyeriiber fyiniiber fcfytefjen, 
 
 S)tc $dben ungefefjen fliefjen, 
 
 Gin @$Iag taufenb 33erbinbungen fdjldgt : 
 
 SDer ^^ilofo^^ ber tritt ^erein, 
 
 Unb betoeif t eud^, e miiBt' fo fein : 
 1930 S)a @rft' tear' fo, ba 3 toeite f/ 
 
 llnb brunt ba 2)ritt' unb SSterte fo; 
 
 Unb toenn ba 6rft' unb 3toett' nid^t todr' / 
 2)ritt' unb $Btert' tear' nimmerme^r. 
 ^reifen bic filler atter Drten, 
 1935 @inb aber leine 2Seber getoorben. 
 
 2Ber toil! h?a SebenbigS erfennen unb befd^reiben, 
 
 6ud^)t erft ben eift ^>erau ju tretben, 
 
 2)ann ^>at er bie l)eile in feiner ^Qanb, 
 
 ^ef)It leiber ! nur ba geifttge 33anb. 
 1940 Encheiresin naturae nennt'S bie Gfyemie, 
 
 ^ottet i^rer felbft unb toeifj nid^t toie. 
 
 c ii I e r. 
 d9 nid^t eben ganj toerftefyen. 
 
 toirb ndc^ften fc^on beffer ge^en, 
 SBenn i^r lernt aHe rebuctren 
 1945 Unb gefyorig claffifidren. 
 
 <3 c ii I e r. 
 
 9Jlir toirb bon atte bem fo bumm, 
 21I ging' mir ein 3JZii^Irab im
 
 86 goufl. Srfter ljetf. 
 
 2ft e j> $ i ft o p fy e I e g. 
 ^acfyfyer, toor alien anbern adjen, 
 3Jtufjt ifyr eitdfj an bie SRetapfytyfi! madden ! 
 S)a fefyt bajj ifyr tiefftnnig fafct, 1950 
 
 2Ba in be SRenfcfyen irn nid^t ^a^t ; 
 $iir h)a^ brein gel>t unb nicfyt brein ge^t, 
 @in prad^ttg S&ort 511 SDienften fteE>t. 
 
 Dorerft biefe ^aI6e ^a^r 
 ja ber beften Drbnung toa^r. 1955 
 
 tunben ^abt t^r jeben ^ag ; 
 <Seib brinnen tnit bem lodenfd^Iag ! 
 
 eud) border too^I bra^artrt, 
 
 toofyl ctnftubtrt, 
 S)amit ii)r nad^^er befjer fe^t, 1960 
 
 er ni$t fagt, aU toa im 93u$e fte^t ; 
 
 eud? be <Sd^reiben ja beflei^t, 
 9(Ig bictirt' eud? ber eilig' eift ! 
 
 <5 c it I c r. 
 
 5Da foUt i^r mir nid^t gicetmal fagen ! 
 $$ benfe mir h)ie biel e3 nii|t ; 1965 
 
 enn, toa man fd^h)arj auf iuei^ befifct, 
 man getroft nad^ aufe tragen. 
 
 3JI e to i) \ ft o p f) e I e g. 
 toafylt mir eine ^flcultdt ! 
 
 it I e r. 
 
 fann idj> mi$ nid^t bequemcn. 
 
 3JI e p ^ i ft o to ^ e I e g. 
 
 fann e eucfy fo fe^r ni$t itbel nefymen, 1970 
 
 toei^ toie e urn biefe Se^re fte^t.
 
 tubiqimmer. 87 
 
 @ erben ftdj efe|' unb 
 2Bie eine eto'ge $ranffyeit fort ; 
 <5te fcfyleppen toon efrfjledfyt ftcfj $um 
 1975 Unb rticfen facfyt toon Drt ju Drt. 
 SSemunft hrirb Unfinn, 
 SBefy bir, bafc bu ein @nf el bift ! 
 SSom Stedjte, ba mtt un geboren tft, 
 SSon bent tft letber ! nte bte ^rage. 
 
 d^ it I e r. 
 
 1980 3Jietn 2l6fc^eu toirb burcp eud? toermeljrt. 
 D glii(!lid9 ber ! ben tfyr belef>rt. 
 
 mod^t' id) nun Stf>eologie ftubtren. 
 
 2)? e p ^ t ft o p ^ e I e 8. 
 toiinfd^te ntc^t eud? trre ju fii^ren. 
 
 btefe 2Btffenfc^aft betrtfft, 
 
 1985 6 tft fo fc^ir>er ben falfc^en 2Beg gu meiben, 
 @ Itegt in ifyr fo biel berborgne tft, 
 Unb toon ber Slrjenet tft'3 fount gu unterfd^eiben. 
 2(m beften tft'S auc^) ^ter, loenn tfyr nur 6inen 
 Unb auf be 3Jletfter SBorte fc^toort. 
 1990 3>m anjen ^altet eucfy an SBorte ! 
 2)ann ge^t t^r burd^ bte ftc^re ^Bforte 
 3um Xem^el ber etot^ett ein. 
 @ d) ii I e r. 
 j/ocfj ein 33egriff mufj bet bent SBorte fein. 
 
 3Ji e p ^ t ft o $ I) e I e 8. 
 
 @con gut ! -Kitr mujj man ftc^ ntd^t attju dngftltd^ qualen ; 
 1995 )enn eben too Segriffe fef)Ien, 
 
 35a fteUt ein 9Bort jur recfyten 3^it ftd^ ein. 
 3Kit 2Borten lafet ftd? trefflia; ftreiten,
 
 88 gawp- 
 
 SHit Shorten ein tyftem bereiten, 
 
 2fn SBorte lafjt fid) trepd; glauben, 
 
 33on einem 2Bort lajjt fid) !ein $ota rauben. 
 
 d) ii I e r. 
 
 t, id) fyalt' eiid^) auf mit bielen 
 2lffein id^ mujj eud^ nod^ bemiit)n. 
 SSottt ifyr mir Don ber SJiebtcin 
 ^tcfyt aud^ ein frdftig 2Bortc^en fagen? 
 SDrei ^a^r i(t eine lurje 3^it/ 2005 
 
 Unb, ott J'baS ^elb ift gar 311 toeit. 
 SBenn man einen ^tngerjetg nur fyat, 
 fd^on efyer tueiter fii^Ien. 
 
 9JJe^^iftopf)eIe far ftd). 
 bin be trocEnen on nun fatt, 
 toteber recfyt ben ^eufel f^ielen. 2010 
 
 ?out. 
 
 eift ber 9Jlebicin ift leicfyt gu faffen ; 
 ^5^>r burc^ftubirt bte gro^' unb fleine 2BeIt 
 Urn e am @nbe ge^n ju laffen, 
 2Bie'g ott gefattt. 
 
 SSergebenS ba i^r ringium iDiffenfd^aftlic^ fd^toeift, 2015 
 @in jeber lernt nur tca^ er lemen lann ; 
 
 ber ben 2lugenbIidE ergreift, 
 
 ift ber redjte 5CRann. 
 ^5^r feib nod) jiemlid) too^Igebaut, 
 2ln ^uf>nl)eit tmrb'S eud; aud; nid;t fe^Ien, 2020 
 
 Unb toenn if>r eud; nur felbft bertraut, 
 3Sertrauen eud) bte anbern eelen. 
 SefonberS lernt bie 2Beiber fiif>ren ;
 
 tubirgimnter. 89 
 
 @8 tft tfyr etoig SSelj unb 21$ 
 2025 o tcmfenbfad;) 
 
 2lu inem $unfte gu curiren, 
 
 Unb toenn tfyr fyalbtoeg efyrbar tfyut, 
 
 3)ann fyabt tfyr fte aE' unter'm ut. 
 
 (Sin ttel mu^ fte erft bertraulidj madden, 
 2030 3)a^ cure unft biel ^iinfte iiberfteigt ; 
 
 3um SBiEfomm' ta^pt i^r bann nad? alien tebenfad^en, 
 
 Um bie etn anbrer biele ^a^re ftrei^t, 
 
 SBerfte^t ba $ullein too^I 311 briiden, 
 
 Unb faffet fte, mtt feurtg fd^Iaiten Sltrfen, 
 2035 SSo^I um bie fdjlanfe iifte fret, 
 
 3u fe^n, tote feft gefd^niirt fte fet. 
 
 d^ ii I e r. 
 2)a fte^t fd)on beffer au ! 3Jian ftefyt bod^ too unb tote? 
 
 3fteptftopfyele. 
 rau, t^eurer ^reunb, i(t atte S^eorie, 
 Unb griin be SebenS golbner 33aum. 
 
 d^ it I e r. 
 
 2040 ^d^ f4)toor' eitd^ ju, ntir iff als toie etn Xraum. 
 2)urff td^ eud^ toof>I ein anbermal befd^toeren, 
 3Son eurer SSei^^eit auf ben runb gu 
 
 td^ bermag, foH gern gefcfyefyn. 
 
 c^ it I e r. 
 
 ^d^ lann unmdgltcfy toteber ge^n, 
 2045 S^ mu fc euc ^ nod^ mein tammbud^ itberreicfjen. 
 onn' cure unft mtr biefeS 3eid^en !
 
 90 gaufl. (Srfter 
 
 (r fdjreibt unb gibt'8. 
 
 <$ il I e r liest. 
 
 Eritis sicut Deus, scieTites bonum et malum. 
 2ftad)t'8 efjrerbietig ju unb empfteljlt ftdj. 
 
 3ft e p I) i ft o p ^ e I e 8. 
 
 ' nur bent alten @^ru^ unb metner yRufyms ber flange, 
 Itrirb gett)i| einmol bei beiner ottafynlicfyfeit bange ! 2050 
 
 gaufi tritt ouf. 
 
 Sauft. 
 foil e nun ge^n ? 
 
 SJie^^tfto^^eleg. 
 . * 2Bol)m e bit gefdttt. 
 
 2Btr fe^n bie Heine, bann bie grofje SBelt. 
 3Rit toeldjer ^reube, toeld^em 9iu^en, 
 SBirft bu ben Gurfum burd^fd()maru|en ! 
 
 gauft. 
 2tUetn bei meinem langen SBart 2055 
 
 mir bie leicfyte Seben^art. 
 ioirb mir ber SSerfud) nid^t gliidfen ; 
 loufete nie mid^ in bie SBelt ju fd^idEen, 
 anbern fiifyP id^ mi4) fo !Iein ; 
 ^d^ hjerbe ftet berlegen fein. 2060 
 
 W e p ^ i ft o ^ ^ e I e . 
 9Jiein guter greunb, ba toirb fid^ atte geben ; 
 obalb bu bir bertrauft, fobalb toeijjt bu ju leben.
 
 tubirgimmer. 91 
 
 2Bte fommen hnr benn au3 bcm 
 
 2Bo fyaft bu $ferbe, necfyt unb SSagen? 
 
 2065 3Bir Breton nut ben 2RanteI au, 
 
 35er foH un burd^) bte Siifte tragen. 
 5Du nitnmft bet biefem fiif>nen d^ritt 
 3^ur leinen grofjen 33iinbel mit. 
 @in Bi|d^en ^euerluft, bte id^ beretten toerbe, 
 
 2070 ebt un be^enb bon btefer @rbe. 
 
 Unb ftnb n)ir letcfyt, fo gef^t e fc^neU fytnauf ; 
 3d gratulirc btr jum neiten 2ebenlauf.
 
 teller in 
 
 3ed)e Jixfllger efeUen. 
 
 ^rofc^. 
 
 2Bttt f etner trinlen ? letner lad)en ? 
 3>d) hriH eud) lefyren efid^ter macfyen ! 
 ^5^r feib ja fyeut it)ie naffe^ tro^, 2 75 
 
 Unb brennt fonft immer Itd^terlo^. 
 
 S3 r a n b e r. 
 
 Itegt an bit ; bu fcringft ja nia;t fyer&et, 
 eine Summ^eit, feine (Sauerei. 
 
 gie^t il)m ein Ia iGBein fiber ben 
 ^aft bu beibe^ ! 
 
 S3 r a n b e r. 
 
 h)ottt e ja, man foil e fein ! 
 
 @ i e b e I. 
 
 ^t>iir ^inau toer fid) entgtoett ! 
 lit offner SSruft fingt Slunba, fauft unb ft^rett ! 
 2luf !
 
 Better in Seipgig. 93 
 
 21 1 1 m a \) e r. 
 
 2Be^> tnir, icfj bin toerloren ! 
 Saumtooffe fyer ! ber $erl fyrengt tnir bie Dfyren. 
 
 i e 6 e I. 
 2085 gBenn bag etoolbe toiberfcfyattt, 
 
 $iifylt man erft red^t be 33affe runbgetoalt. 
 
 Srofc^. 
 
 @o red^it, ^inaui mit bent ber ettoa iibel nitnmt ! 
 21 ! tara lara ba ! 
 
 21 1 1 m a ty e r. 
 21 ! tara lara ba ! 
 
 8ff<$- 
 
 finb geftimmt. 
 
 @ingt. 
 2090 2)a liebe IjeiPge 9fiom'fcf)e 
 
 2Bie fyalt'S nur nod^ jufammen ? 
 
 33 r a n b e r. 
 
 @in garfHg Sieb ! $fui ! @in ^olitifd^ 2ieb 
 (Sin leibig 2ieb ! S)an!t ott mit jebem SJlorgen, 
 25a^ ifyr nid)t braud^t fiir'S Stom'f^e Ifteicfy ju forgen 1 
 2095 3$ ^alt' e h)enigften fiir reidfjlicfyen eh)inn, 
 id? nid^t $aifer ober Tangier bin. 
 mufj aud; un ein Dber^ati^t nicfyt fe^Ien ; 
 Sir Gotten einen $apft erit>a^Ien. 
 ^v h)i^t, toelcfy eine Dualitat 
 2) en 2luf$Iag gibt, ben gjiann er^o^t. 
 
 $ r o f $ fmgt. 
 * bid^ auf, ^rau -ftacfytigall, 
 ' mir mein Siebd^en jefyentaufenbrnal.
 
 94 .gaitfl. erfter 
 
 i e 6 c I. 
 )em Stebcfyen !einen rufj ! icf) toitt babon nidfjtg fyoren ! 
 
 3-rofd}. 
 2)em Siebdljen rufj unb ufj ! bu hnrft mir'3 nid^tbertoefyren! 
 
 ingt. 
 
 Spiegel auf ! in [titter 9?ad}t. 2105 
 
 Stiegel auf ! ber Siebfte iuad^t. 
 SHiegel ju ! be SKorgeng frity. 
 
 i e b e I. 
 
 %a., jtnge, fmge nur, unb lob' unb riii)me fie ! 
 %<fy h)itt ju meiner 3^it fd^on lac^en. 
 (Sic fyat mic^ angefii^rt, bir h)irb fie'S aud^ fo madden. 2II 
 3um Siebften fei ein ^obolb ifyr befd^ert ! 
 25 er mag mit i^ir auf einem ^reujtoeg fcfya'fern ; 
 (Sin alter $80$, toenn er bom 33Iodfberg le^rt, 
 Sftag im alobto noa^ gute 5lad^t it>r ntedfern ! 
 @in bratoer ^erl toon extern ^Icifd^ unb Slut 2115 
 
 3ft fur bie SDirne i>iel ju gut. 
 3$ toitt toon leinem ru^e imffen, 
 21I i^r bie ^enfter eingefd;miffen ! 
 
 S3 r a n b e r auf ben Xiffl fc^Iagenb. 
 ^a^t auf ! ba^t auf ! efyorcfyet mir ! 
 3^r >errn gefte^t, id^> toci^ ju lebcn; 2120 
 
 Cerliebte Seute fi^cn fyter, 
 Unb biefen mu^, nac^ (StanbSgebufyr, 
 3ur guten ^Raa^t id^ toa jum Seften geben. 
 ebt Sltt^t ! @in Sieb bom neuften d&nittl 
 Unb fingt ben 9tunbreim Iraftig mit ! 2125
 
 2luerbarf)8 $eCer in Seipjtg. 95 
 
 (r ftngt. 
 
 @ toar eine SRatt' im Merneft, 
 Sebte nur toon $ett unb Suiter, 
 atte fid) ein Stanjlein angemaft't 
 Site toie ber doctor Sutler. 
 2130 SMe ^od;in ^att' if)r tft gefteUt ; 
 
 a toarb'S fo eng ifyr in ber 3BeIt, 
 Slfe ^attc fte Sieb' im Seibe. 
 
 6 1^ o r u 2 jaut^jenb. 
 ate ^atte fie 2ieb' im Seibe. 
 
 iB r a n b e r. 
 
 <Sie fu^r Return, fie fu^r fyerauS, 
 2135 Unb foff auS atten ^fii^en, 
 
 3ernagt', jerfra^t' ba ganje ^au, 
 
 SBottte nid;t i^r Butfyen nii^en ; 
 
 ie t^cit gar mandjen ^fngftef^rung, 
 
 SBalb ^atte ba arme 2;^ier genung, 
 2140 2H ^dtt' e Sieb' im Seibe. 
 
 6 fy o r u 8. 
 Site atf e 2ieb' im Seibe. 
 
 33 r a n b e r. 
 
 @ie lam bor Slngft am F>effen Stag 
 SDer ^iid;e jugelaufen, 
 ^iel an ben erb unb judEf unb lag, 
 2145 Unb ti>at erbarmlid? fd;naufen. 
 
 S)a Iad)te bie 3Sergifterin nod) : 
 ! fie pfeift auf bem le^ten Sod), 
 ^atte fie Sieb' im Seibe.
 
 96 ^"fl* (Srfler l)etl. 
 
 G 1) o r u g. 
 2tt fyatte fie Sieb' im Seibe. 
 
 i e b e I. 
 
 2Bie ficfy bie flatten SBurfcfye freuen ! 21 S 
 
 @ ift tnir eine recfyte $unft, 
 2)en armen fatten ift gu ftreuen ! 
 
 S3 r a n b e r. 
 ie ftefm too^I f ei)r in beiner unft ? 
 
 21 1 1 m a \) e r. 
 
 2)er d^merbauc^ mit ber fallen ^latte ! 
 SDag llngliic! mac^t ifyn ja^m unb milb ; 2I 5S 
 
 6r fiei>t in ber gefcfytooftnen 
 (Sein ganj natilrlid^ benbilb. 
 
 gauji unb 3Jtep 
 
 3JI e p ^ t ft o p I> e I e . 
 ^d) mu^ bid^) nun bor atten ingen 
 ^n luftige efeUfc^aft bringen, 
 
 bu fiefyft iuie Ieirf)t fic^'g leben Idfjt. 2160 
 
 SSolle ^ier itttrb jeber Stag ein geft. 
 toenig 3Si^ unb btel SBefyagen 
 
 jeber fic im engen 
 9Bie junge ^a^en mit bem 
 
 2Benn fie nicfyt iiber ^o^ftoe^ Ilagen, 2l6 s 
 
 (So lang ber SSirti> nur toeiter borgt, 
 (Sinb fie bergniigt unb unbeforgt. 
 
 33 r a n b e r. 
 
 35ie lommen eben bon ber Steife, 
 3Jlan fiefyt'3 an i^rer h)unberlid()en 2Beife ; 
 @ie finb nic^t eine tunbe ^ier. 2170
 
 2tuerbacf)S better tn Seipjtg. 97 
 
 SBa^aftig bit tyaft SRed&t ! 3Kein Seiftig lob' id^ mir ! 
 @ ift ein llein $ari, unb btlbet feine eute. 
 
 i e 6 e I. 
 fte^ft bu bie gremben an ? 
 
 mid^ nur ge^n ! Sei einem boffen lafe, 
 2175 3^ id^), toie einen ^inberjafyn, 
 
 S)en 33urfd^en lei^t bie 2Biirmer au ber 
 @te fcfyeinen mir au einem eblen au, 
 <5ie fe^en ftolj unb unjufrieben au. 
 
 33 r a n b e r. 
 9Jiar!tf d^reier finb'g getoijj, id^ toette ! 
 
 21 1 1 m a \) e r. 
 2180 
 
 SCeufel f^iirt ba SSoIfc^en nie, 
 Unb h)enn er fie bei'm $ragen t^atte ! 
 
 ^auft. 
 eib un gegrii^t, i^r errn ! 
 
 <5 i e b e I. 
 
 SBiel 2)anl gum egengru^. 
 Seife, 9Hep^ifto^eIe8 Oon ber cite anfeljenb. 
 2Sag ^inlt ber ^erl aitf inern
 
 98 
 
 3ft e p $ i ft o p fy e I e s. 
 
 3ft e erlaubt, un aucfy ju eu$ 511 feijen? 2l8 5 
 
 tatt eine guten !runl3, ben man nicfyt I>aBen lann, 
 @ott bte efeltf^aft un erge^en. 
 
 31 1 1 m a ty e r. 
 S^r fd^eint ein fefyr bertooi>nter 3Jlann. 
 
 feib too^I f^at toon 9ttppa$ aufgebrocfyen ? 
 
 r mit ^erren an no^ erft 511 yiafyt gef)3eift? 2I 9 
 
 eut finb toir i^n borbei gereif t ! 
 2Bir ^aben i^n bag lettfemal gef^rod^en. 
 iBon feinen SSettem iuu^t' er biel ^u fagen, 
 SSiel ru^e I)at er un an jjeben aufgetragen. 
 (Sr neigt jtt^ gegen 5 r W- 
 
 21 1 1 m a ty e r leife. 
 bu' ! ber tterfte^t'g ! 2195 
 
 i e b e I. 
 
 in Vfiffiger patron ! 
 
 , toarte nur, icfy Irieg' i^n fd^on ! 
 
 23enn ic^ nic^t irrte, fybrten n>ir 
 eiibte ttmmen 6^>oru fingen ? 
 etoifi, efang mu^ treffltcfy ^ier 
 SSon biefer 2B5Ibung toiberllingen !
 
 2tuerbac^ better in ?etyjig. 99 
 
 at4 
 
 @eib ifyr toofyl gar em SSirtuoi ? 
 
 2ft e $ $ i ft o $ 1) e I e 3. 
 D item ! bie &raft ift fcfytoad), attein bie Suft tft grofc. 
 
 211 1 m a ty e r. 
 ebt un ein Sieb ! 
 
 Bknn i^r bege^rt, bie 9Jienge. 
 Siefcet 
 
 d^ em nagelneue tiidE ! 
 
 3JI e ^ ^ i ft o ^ fy e I e 8. 
 2205 2gi r fommen erft au panten juriirf, 
 
 S)em fd^onen Sanb be 2Bein unb ber efcinge. 
 
 @ingt. 
 
 toar einmal ein $onig, 
 3)er ^att' einen gro^en $Iofy 
 
 @inen $Iofy ! abt i^r ba too^I gefa^t 
 
 2210 @i n gio^ ift mir ein faubrer aft. 
 
 3Jie^^ifto^^>eIe fmgt. 
 (S toar einmal ein ^onig, 
 2)er fyatt' einen gro^en ^lo^, 
 2) en liebt' er gar ntd^t toenig, 
 31I toie feinen eignen @o^n. 
 
 22I 5 25 a rief er feinen d^neiber, 
 
 2)er @dneiber fam ^eran : 
 2)a, nti^ bem punier &Ieiber, 
 Unb mi^ il)m ofen an !
 
 100 
 
 33 r a n b e r. 
 
 SBergefjt nur nidjt bem cfyneiber einjufdjarfen, 
 25af5 er mir auf genaufte mijjt, 222 
 
 Unb ba, fo lieb fein $opf ifym ift, 
 2>ie $ofen feine fatten toerfen! 
 
 m e ^ ^ i ft o p ^ e I e 3. 
 $n 6ammet unb in eibe 
 3Sar er nun angetfyan, 
 
 atte SBanber auf bem ^leibe, 2225 
 
 att' aucfy ein ^reuj baran, 
 Unb toar fogleid^ 3Jiinifter, 
 Unb I^att' etnen gro^en (Stern. 
 SDa tourben feine efcfytoifter 
 
 grofje errn. 2230 
 
 Unb errn unb $rauen am 
 S)ie toaren fe^r ge^Iagt, 
 3)ie ^onigtn unb bte 3ofe 
 eftod^en unb genagt, 
 
 Unb burften fie nid^t !nic!en, 22 3S 
 
 Unb toeg fie jucfen nicf)t. 
 SSir fnidfen unb erfticfen 
 gleid^i toenn einer ftict. 
 
 jaud^jenb. 
 2Bir fnirfen unb erftidcen 
 
 toenn einer ftidjt. 22 4 
 
 Srabo ! Srabo ! 2)ag toar faon !
 
 2luerbacf) better in Setyjig. 101 
 
 <5 i e b e I. 
 
 (So fott e jebem $lofy ergefyn ! 
 33 r a n b e r. 
 pi^t bie finger unb bacft fte fein ! 
 
 2U t m a ty e r. 
 @ lebe bie gteifyett ! 3 lebe ber 2Bein ! 
 
 m e b I) i ft o p ^ e I e . 
 
 22 4S ^rf) trdnfe gern ein Ia, bie ^rei^eit ^od^ 311 efyren, 
 SSenn eure 2Beine nur ein bi^en beffer toaren. 
 
 @ i e b e I. 
 UBir tnogen ba nid^t toieber ^oren ! 
 
 3K e p ^ t ft o ^ ^ e I e 3. 
 3c^ fiird^te nur ber 3Birt^) befd^toeret fic ; 
 onft gab' irf> biefen tuertF)en often 
 2250 2i u unferm better toag gum SBeften. 
 
 i e b e I. 
 ftur immer fyer ! ic nef>m' auf mic. 
 
 ^rofc?. 
 
 d^affl i^r ein gute lag, fo tooUen h)ir eu$ loben. 
 5iur gebt nid^t gar $u Heine ^Broben ; 
 SDenn toenn id^ jubiciren foil, 
 2255 SSerlang' itf) aud? ba Sftaul red^t boff. 
 
 21 1 1 m a ^ e r leifc. 
 @ie finb bom Sl^eine, toie idf) fbiire. 
 
 3Ji e ^) fy i ft o b ty e I e g. 
 <Sdafft einen Sourer an !
 
 102 
 
 33 r a n b e r. 
 
 2Ba fott mit bem gefdljeljm ? 
 2$r fyabt bocfy nicfyt bie gaffer bor ber fyitre ? 
 
 21 1 1 tn a ty e r. 
 SDafyinten fyat ber SBirtl) ein ^orbc^en 2Ber!geug fteijn. 
 
 9Jie^t>ifto^eIe nimmt ben Sourer. 3" ^f^- 
 fagt, toa toiinf d^et i^r ju fcf)me(!en ? 226 
 
 2Bie meint ifyr ba ? abt it>r fo mancfyerlei ? 
 
 3)1 e pfy i ft o ^ e I e 3. 
 $cfy ftelF e einem jeben fret. 
 
 2Htmatyer gu groj^. 
 2l^a, bu f angft fcfjon an bie i)3^en abjulerfen. 
 
 ut, h>enn id^) toafylen foH, fo tottt id? - 
 
 SSaterlanb berleiijt bie aHerbeften aben. 2 "- 6 5 
 
 tnbem er an bem ^ptafc, tto grofd^ ft^t, ein fot^ in ben Stjdjvanb bo^rt. 
 SSerfd^afft ein toenig SBadgg, bie ^fro^fen gleid) 511 madden ! 
 
 31 1 1 m a v e r. 
 2ld> ba ftnb 2;afd^enf^ielerfaden. 
 
 9Jie^^)iftD^eIe gu Sranber. 
 Unbi^r? 
 
 33 r a n b e r. 
 
 ^d^> toill 6f>am^agner SSein, 
 Unb rec^t muffirenb foil er fein !
 
 $luerbad)8 better in ?eipjig. 103 
 
 3Kepb,tjtopl)ele8 boljrt; einer Ijat inbeffen tie 2Bad)8pfropfen gentad)t 
 unb toerftopft. 
 
 S3 r a n b e r. 
 
 fann nicfyt ftet ba ^^embe metbcn, 
 
 ute liegt un oft fo fern. 
 @in ed^ter beutfd^er 2Rann mag feinen grangen leiben, 
 S)oc ifyre 2Beine trinlt er gern. 
 
 @i ebel 
 
 inbem |i(^ 2JiepI)ifiop^eteS jeinem $tae no^ert. 
 ^c^ mu^ gefteF)n, ben fauem mag irf) nid^t, 
 2275 ebt mir etn Ia bom ed^ten fii^en ! 
 
 3Ke^^ifto^)^eIeg bo^rt. 
 foil fogletd9 2;ola^er fltefjen. 
 
 21 1 1 m a ty e r. 
 
 , erren, feF)t mir in' efid9t ! 
 3d) fef)' e ein, ifyr ^abt un nur jum Seften. 
 
 9Jie^ifto^^eIe. 
 (Si ! @t ! 5Rit f olcfyen eblen aften 
 2280 sngar' e ein bi^en biel getoagt. 
 
 efcfynrinb ! 5Rur g'rab' ^erau gefagt ! 
 JJlit toeld^em 9Beine fann id? bienen ? 
 
 jebem. 5lur nid;t lang gefragt. 
 
 bie ?b(^er alle geboljrt itnb oerftopft ftnb, 
 3Re^^tft0^el*d mit fettfamen ebarben. 
 
 3;rauben iragt ber 2Beinftocf ! 
 2285 Corner ber
 
 104 Bf*. ^fter SIjeiL 
 
 $er SSetn ift faftig, olj bie Steben, 
 $>er fyoljerne ifcfy !ann SBetn aucfy geben. 
 @in tiefer SBIicf in bie Sftatur ! 
 ier ift ein 2Bunber, glaubet nur ! 
 ftun jie^t bie ^fropfen unb genie^t ! 
 
 8 It* 
 
 tnbem ftc bie ^fropfen jie^en, iinb jebem ber erlangte SBein 
 
 tn'S Ia8 lauft. 
 D fd)oner 33runnen, ber un flie^t ! 
 
 3K t p $ i ft o p $ e t e 0. 
 
 3fiur ^tttet eud^, ba^ ii>r mir nid^tg bergie^t ! 
 @ic trinfen njieber^ott. 
 
 21 II e fmgen. 
 
 Un ift gang lannibaltfc^ toofyl, 
 2II n)ie fiinf^unbert auen ! 
 
 9R e p $ i $.0 $ el;*& 
 
 33ol! ift fret, fe^t an, toie too^I'8 ifym ge^)t ! 2295 
 
 3>rf> ^atte Suft nun abjufa^ren. 
 
 m e ^ ^ i ft o p $ e I e 3. 
 ib nur erft 2l$t, bie Seftialitdt 
 2Birb fid^) gar ^errlic^ offenbaren. 
 
 t e b e I. 
 
 trtnft unorfid)tig, ber SSetn flie^t oitf bie (Srbe itnb h)trb 
 $elft ! geuer ! elft ! S)ie 5Ee brennt !
 
 better in Seipjig. 105 
 
 JftepfyiftopfjeleS bie glamme beforedjenb. 
 2300 @ei rufyig, freunblid) Element ! 
 
 3u bent efetten. 
 $ur btejjntal tear e nur em ropfen $egefeuer. 
 
 @ i e b e I. 
 
 2Ba fott ba f em ? 2Bart' ! ^j^r be^a^It e t^euer ! 
 6 fc^einet, ba^ t^>r un nic^t fennt. 
 
 @r un bag gum jtoeitenmale bleibcn ! 
 
 21 1 1 m a ty e r. 
 2305 $$ bacfyt', tnir ^ie^en t^n gang facfyte feittoartS ge^n. 
 
 i e 6 e I. 
 
 2Baerr? (& toitt ftcfc unterfte&n, 
 Unb ^ter fein ocu^ocu treiben ? 
 
 2ft e p $ i ft o j> $ e I e . 
 titt, alteS SSetnfa^ ! 
 
 @ i e b e I. 
 SefenfticI 1 
 35u toiUft un gar nod^ grob begegnen ? 
 
 S3 r a n b e r. 
 2 3 10 2Bart' nur ! @ fotten d^Iage regnen ! 
 
 ie^t eincn ^Pfropf au bent ifdj, e fpringt i^nt geuer entgegen. 
 ^d^ brenne ! id? brenne ! 
 
 @ i e b e I. 
 3auberet ! 
 
 tojjt ju ! ber ^ert tft bogelfrei ! 
 @ie jieljen bie 3Ke(fer unb ge^en ottf
 
 106 gauft rfler 
 
 fyeleg mit ernftljafter ebarbe. 
 
 ebilb unb 2Bort 
 SBeranbern inn unb Drt ! 
 (Seib fyier unb bort ! 2 3'5 
 
 @ie ftefyn erftaunt unb feljn einanber an. 
 
 21 1 1 m a ty c r. 
 2Bo bin icfy ? 2BeIc^eg fc^one 2anb ! 
 
 g r o f dj. 
 SOBeinberge ! @c^' id^ re$t ? 
 
 i e b e I. 
 
 Unb rauben gleicfy jur ^anb ! 
 S3 r a n b e r. 
 
 ier unter biefem griinen Saube, 
 efyt, toeld^ ein torf ! 6efyt, toeld^e SCraube ! 
 Sr fajjt iebeln bei ber 9Jafe. 2)ie anbern t^un e tt)e(^fetfeitig 
 unb fyeben bie 3Jieffer. 
 
 3Jie^^ifto^)^eIe tt)ie oben. 
 
 ^rrt^um, Ia^ Io3 ber Slugen 33anb ! 2320 
 
 Unb merit eiid) loie ber Steufel f^a^e. 
 (Sr erf(^n)inbet mit g o u ft, bie efetten fasten au8 einanber. 
 
 i e 6 e I. 
 
 21 1 1 m a t) e r. 
 2Bie?
 
 uerbac!j tfeHer in 2eipjig. 107 
 
 33ranb er 
 
 Unb beine fyab' icf) in ber anb ! 
 
 21 1 1 m a \) e r. 
 
 @ tear ein cfylag, ber ging burcfy aHe lieber ! 
 2325 djafft einen 6tulj>l, id? ftnfe nieber ! 
 
 ein, fagt mtr nur, toa ift gefd^ie^n? 
 
 i e b e I. 
 
 2Bo ift ber ^erl ? SSenn ic^ i^n friire, 
 <r fott mir nid^t lebenbig gefyn ! 
 
 21 1 1 m a \) e r. 
 
 3<fy ^>ab' i^n felbft ^>inau jur ^ettert^ure 
 2 33 3luf einem gaffe reiten fe^n 
 
 (S& liegt mir bleifd^toer in ben ^iifjen. 
 
 <>ii) nac^ bem i[d)e wenbenb. 
 3Jlein ! (Sottte toofyl ber 28ein nod^ flie^en? 
 
 t e b e L 
 Setrug mar alleg, 2ug unb djein. 
 
 bauble boc^ al tranf id^ 2Bein. 
 
 33 r a n b e r. 
 2 335 3lber hue tear e3 rnit ben ^rauben? 
 
 21 1 1 m a ty e r. 
 fag' mir ein, man foH fein S&unber glauben !
 
 9luf einem niebrigen erbe ftefyt ein grower $effet fiber bent ^euer. 3>n bent 
 S)ompfe, ber bauon in bie olje fteigt, jeigett ftcf) berfdjiebene eftatten. 
 (Sine 2Jteerfae ftijt bet bent $effel unb fcfjaitntt ib,n, ttnb forgt ba er 
 nid^t iibertauft. er 2fteerfater nttt ben 3ungen ft^t barneben unb 
 Warmt ftd). 2Banbe unb S)edfe fmb nttt bent feltfantften 
 augefc^ntudft. 
 
 SfaufL 
 
 ioiberfte^t bag totte 
 SBerf^rid^ft bu mir, id^ foil genefen, 
 3n biefem 2Buft toon 9fia[erei? 
 
 SSerlang' \<fy ^atl? toon einem alien HBeibe? 2340 
 
 Unb fd^afft bte @ubelforf)eret 
 
 brei^tg ^a^re nttr bom Seibe ? 
 mtr, tt>enn bu nid^t Sefjerg toeifet ! 
 tft bte ^offnung mir berf^ihjunben. 
 bte -ftatur unb ^at etn ebler etft 2345 
 
 trgenb etnen SBalfam aufgefunben? 
 
 m e ^ $ t ft o b f) e I e 8. 
 9Jietn greunb, nun f^rtd^j't bu toieber ftug ! 
 2)ic^ gu toerjungen gtbt'g aud^ etn natiirli^ SWittel ; 
 3lUetn e fte^t in einem anbern SBud^, 
 Unb tft ein hjunbetlic^ a^itel. 2350 
 
 (108)
 
 109 
 
 hriH e hriffen. 
 
 ut ! (gin fitter, o^ne clb 
 Unb Slrjt unb 3auberet ju fyaben : 
 33egib bicfy gleicfy fyinauS auf'S $elb, 
 $ang' an ju fyatfen unb ju graben, 
 
 2355 Grfyalte bid^ unb beinen inn 
 $n einem ganj befd^rdnften ^reife, 
 (Srnafyre bid? mtt ungemifc^ter S^etfe, 
 2eb' mtt bem 55te^ al 3Sie^ unb o^f c nid^t fur 
 3)en 2tdfer, ben bu emteft, felbft ju bitngen; 
 
 2360 2>a ift ba befte 9JtttteI, glaub', 
 Stuf ac^tjig ^a^r btcfy ju beriungen ! 
 
 bin id? nid^t getoo^nt, icfy lann mic^ nid^t bequemen, 
 S)en (S^aten in bte anb ju nef>men. 
 S)a enge Seben ftefyt ntir gar nic^t an. 
 
 m e $ \) i ft o $ $ e I e . 
 2365 @o mujj benn bod^ bie eje bran. 
 
 gauft. 
 
 SBarum benn juft ba alte SBeib ! 
 ^annft bu ben Xranf nid^t felber brauen ? 
 
 3)1 e p I) t ft o }) $ e I e 8. 
 $>a h)ar' ein fd^oner 3citbertreib ! 
 Jycf) tooUt' inbe too^I taufenb Sriicfen bauen. 
 2370 ybfyt Sunft unb 2Bijfenfd?aft aUein, 
 ebulb tcitt bei bem 2Serfe fein.
 
 110 goujl. (Srjter Xljeil. 
 
 in ftitfer eift ift ^afyre long gefcfyciftig ; 
 
 3)ie 3eit nur macfyt bie feine afyrung fraftig. 
 
 Unb aUe toa bajit gefyort, 
 
 3 finb gar tounberbare ac^en ! 2375 
 
 3)er SCeufel ^>at fie'S jtoar gelei)rt ; 
 
 SlUein ber 2;eufel !ann' nici^t madden. 
 
 ie S^tere erbticfenb. 
 @ief>, toeld^ ein gierlidjeS efd^Ied^t ! 
 ift bte 2Kagb ! ba ift ber ne$t ! 
 
 3u ben l)ierett. 
 f^eint, bie grau ift nid^t ju aufe? 2380 
 
 S3ei'm d^maufe, 
 2lu bem 
 
 3)1 e )) ty i ft o i) fy e I e . 
 9Bie lange ^flegt fie too^I ju fd^todrmen? 
 
 @o lange toir un bie ^Pfoten toarmen. 2385 
 
 5Ke^^ifto^^e 
 SBie finbeft bit bie garten 
 
 o abgefc^marft al i$ nur jemanb 
 
 2ft e p $ i ft o ^ ^ e I e . 
 
 ^Rein, ein 35igcourg h)ie biefer ba 
 
 3ft g'rabe ber ben ic$ am liebften fiUjre 1
 
 $ej:en!fidje. Ill 
 
 3u ben I)teren. 
 2390 o fagt mir bocfj, berflucfjte 
 
 2Ba quirlt .ifyr in bem 23rei fyerum? 
 
 $ \ e r e. 
 2Bir foc^en breite SBettelfuppen. 
 
 i ft o $ $ e I e 8. 
 25a ^abt i^r ein grofj ^Bubltcum. 
 
 2)er ^ater 
 macfjt ftd^ ^erbei unb fc^mei^elt bem 2Jlepf|tjiopI)ele8. 
 
 D toiirfle nur gleidfj, 
 2395 Unb mad^e mid^ retcfy, 
 
 Unb Ia^ mid^ getoinnen ! 
 ar frf)lect ift'8 beftellt, 
 Unb toar' ic^ bei elb, 
 o toar' ic^ bet innen. 
 
 2400 2Bte gliidlli^ toiirbe ftcfy ber 2(ffe 
 
 ^onnt' er nur aud) in' Sotto fetjen ! 
 
 Snbeffen ^aben bte jungen aKecrlo^d^en tnit einer groen $ugel gefpielt 
 unb roCen fie Ijeruor. 
 
 Set 
 
 2)a ift bte 2BeIt ; 
 @tc ftetgt unb fdttt 
 Unb roflt beftdnbtg ; 
 2405 ie fltngt ioie lag ; 
 
 2Bie balb brid^t bag ! 
 3ft &o^I intoenbtg. 
 ter glcin^t fie fe^r, 
 Unb fyter no(^ me^r,
 
 112 gouft. (Srjler SHjeil 
 
 %tf) bin lebenbig ! 2410 
 
 SOtein lieber ofyn, 
 
 alf bid} batoon ! 
 
 SDu tnujjt fterben ! 
 
 @ie ift toon ^on, 
 
 @ gi&t d^erben. 2415 
 
 Set $ater l^ott e tjerunter. 
 
 SBarft bu ein ^ieb, 
 9BoHt' \<fy bid; gleid; erlennen. 
 @r lauft jitr ^a^in itnb la^t fte burdjfeljen. 
 
 rfennft bu ben SDtefc, 2420 
 
 Unb barfft i{>n nicfyt nennen ? 
 
 ftc^ betn geiter na^ernb. 
 UnbbieferSo^f? 
 
 ^ater unb ^a^in. 
 cr alberne Xro^f ! 
 Gr lennt nid)t ben opf, 
 6r lennt nid^t ben Sleffel ! 2425 
 
 m e p $ i ft o ^ ^ e I e 8. 
 
 2)er ^ater. 
 2)en SBebel nimm bier, 
 Unb f efc' bid3 in cjfcl ! 
 @r notljigt ben SWe^ijlop^eteS gu ftfcen.
 
 113 
 
 toeldjer biefe eit fiber tior einem pieget geftanben, jtd) ilrat batb 
 genafjert, balb fid) eon ifjm entfentt f)at. 
 
 2Ba feb, ' id> ? SBeld) ein fn'mmlifd) Silb 
 2430 $eigt fid) in biefem gauberfpiegel ! 
 
 D Siebe, lei^e mtr ben fdjneHften beiner 
 Unb fitfyre mtd^ in it>r efilb ! 
 21$ toenn i$ nid)t auf biefer (SteUe bleibe, 
 2Benn id) e iuage na^> gu gefyn, 
 2435 ^ann i$ fie nur al3 toie im ^ebel fefyn ! 
 fcfionfte S3ilb toon einem 2Beibe ! 
 moglicfy, ift ba 2Beib fo fc^on? 
 id) an biefem fyingeftretften Seibe 
 en ^nbegriff toon aHen ^immeln fe^n? 
 2440 o ettoa finbet fi$ auf @rben ? 
 
 iuenn ein ott ft$ erft fe^ Jage plagt, 
 Unb felbft am @nbe brabo fagt, 
 5Da mu^ e toa efd^eibtel toerben. 
 gitr bie^mal fieb, bid) immer fatt ; 
 2445 3$ toeife i> fo e w (Sc^a^^en au^ufpiiren, 
 Unb felig toer ba gute d^idEfal Ejat, 
 2H 33rciutigam fie b, eim ju fiifyren ! 
 
 gaup ftct)t immerfort in ben Spiegel. aKepIjtftopljeteS, jt^ in bem 
 effet be^nenb unb ntit bem SBebet fpietenb, fa^rt fort ju jprec^en. 
 
 ier fi^' id? toie ber ^onig auf bem Sfyrone, 
 
 center b,alt' id) fn'er, e fe^It nur nod) bie rone. 
 
 2)ie Stb, iere 
 
 roefdje Bi^er afferlei iounbertidje SBemegungen burd) einanber gemad^t 
 , bringen bem 2Jiep^iftoptjele cine ^rone mit grofjem efc^ret.
 
 114 
 
 D fei bo$ fo gut, 2450 
 
 5!Jiit cfytoeife unb ntit Slut 
 )ie $rone gu leimen ! 
 @ic gefyn ungefd)idt mtt ber $roite ntn unb jerbredjen jte in jttei @tii<fe 
 
 tnit fteldjen fte Ijerumftmngen. 
 Kun ift e gefcfyefyn ! 
 2Bir reben unb fefyn, 
 2Str ^oren unb reimen ; 2455 
 
 ^ a u ft gegen ben @piege(. 
 niir ! id^ toerbe fester berrurft. 
 
 Ji e $ $ \ ft o p f) e I e auf bte Jljtcre beutenb. 
 fangt mir an faft felBft ber ^o^f ju fd^toanlen. 
 
 2) i e X^ier e. 
 Unb toenn e un gliidt, 
 Unb toenn e fid) fcfyirft, 
 @o finb e ebanlen ! 2460 
 
 $ a u ft tote often. 
 
 SRetn S5ufen fangt mir an ju fcrennen ! 
 (Sntfemen totr un nur gef djtoinb ! 
 
 2Re^^ifto^^eIe in obiger @tettung. 
 , irenigften^ mufs man Belennen, 
 
 aufricfytige ^Soeten finb. 
 
 er ^effet, tuetdjen bie f atjin bib,er au^er 2ld)t getaffen, fangt an iiberju* 
 
 laitfen ; e8 entfteh,t etne grofje ^tamme, tt)etcf)e glint @d)ornftein IjtnaiiS 
 
 jdjtagt. i e e y e fommt burd) bie ^lamme mtt entje^lid)em efdjrei 
 
 tyerunter gefa^ren. 
 
 2)ie eje. 
 
 2lu! 2Ui! 2lu! 2lu! 2465 
 
 SSerbammteS Sfyier ! SSerfluc^te au !
 
 115 
 
 SBerfaumft ben $ef[el, toerfengft bie 
 25erflud;te Sfyier ! 
 
 gauft unb 2ftepl)ijtot)f)ele8 erblidtenb. 
 
 SQ3a8ift baggier? 
 2470 28 er feib ifyr fyier? 
 2Ba toottt ifyr ba ? 
 2Ber fc^Iic^ ftd& em ? 
 
 @ie fd^rt mit bem djaiimtoffet in ben ^effct unb fpri^t glantmen 
 gauft, 3Kep^iftop^eIe unb ben S^ieren. ie St^iere nnnfeln. 
 
 ttielc^er ben SBebet, ben er in ber anb l)olt, umle^rt unb unter bie lafer 
 unb 5pfe fc^Iagt. 
 
 2475 ntjtoei! entjtoei ! 
 35a Itegt ber Srei ! 
 
 tft nur @^ 
 ct, bit 
 2480 3 U beiner 9Jietobet. 
 
 3nbetn bie eje ot( rimnt unb Sntfe^en jurudttritt. 
 
 @rf ennft bu mid) ? erippe ! d^eujal bu ! 
 rfennft bu beinen >errn unb SJieifter? 
 9Ba ^alt tntcfy ab, fo fd^Iag' t^ gu, 
 3erfd^mettre bid^ unb beine aens@eifter ! 
 2485 aft bu bor'm rotten 2Bamm nic^t me^>r 9tefyect? 
 ^annft bu bie a^nenf eber nicfyt erfennen ? 
 
 ic^ biefe 2Ingefic^t berftec!t? 
 
 id) mid? ettoa felber nennen?
 
 116 
 
 2) ie er. e. 
 
 D >err, toergeifyt ben rofyen rujj ! 
 <Sefy' icfy boc^ f'einen $ferbefujj. 2490 
 
 2Bo ftnb benn eure beiben 9laben ? 
 
 $ur biefcmal fommft bu fo batton ; 
 !Denn freiltcfy ift e etne ^Beile fd)on, 
 
 tcir un nid^t gefefyen ^>aben. 
 
 bie 6ultur, bie aHe SBelt BeledEt, ' 2495 
 
 >at auf ben ^eufel ficfy erftrec!t. 
 2)a norbifd^e ^^antom ift nun nicfyt me^r ju fcfyauen ; 
 2Bo fie^ft bu Corner, d^toetf unb ^lauen? 
 Unb ttm ben ^u^ betrifft, ben ify nict miffen fann, 
 2)er toiirbe mir bet Seuten fc^aben ; 2500 
 
 SDarum bebien' id micf), h)te manner junge 9Jlann, 
 (Sett totelen ^a^en falfd^er 2Baben. 
 
 > i e e j e tanjenb. 
 inn unb SSerftanb berlier' td^) fcfyter, 
 ' id; ben ^unfer (Satan toieber 
 
 3)en -Women, SSetb, berbitt' id) mir ! 2505 
 
 2) i e e E e. 
 ffiarum? 2Ba ^at er eud get^an? 
 
 r ift fd^on long in'3 gabelbuc^) gefd^rieben ; 
 
 SlUein bie 2Renfcfyen ftnb nicf)t beffer bran. 
 
 S)en SBofen finb fie lo, bie 33ofen ftnb geblieben. 
 
 3)u nennft mid) err Saron, fo ift bie adtje gut ; 2510 
 
 %<fy bin ein (Sabalter, toie anbre Sabaliere.
 
 gtoeifelft nicfyt an meinem eblen Slut ; 
 fyer, ba ift ba 28atoben, ba id) fiifyre ! 
 @r mad)t eine unanftanbige ebarbe. 
 
 $) i e e j e fodjt unmafjig. 
 >a ! 3)a ift in eurer 3Irt! 
 
 , loie ifyr nur immer toart. 
 
 , ba lerne too^I berfte^n ! 
 ift bie 2lrt mit ejen umjugefyn. 
 
 fagt, ifyr erren, n?a i^r fd^afft. 
 
 (Sin gute Io toon bem befannten aft, 
 2520 jDod^) nwjj id^ euc| um' alt'fte bitten ; 
 2)ie ^a^re bo^eln feine ^raft. 
 
 S)ie eje. 
 
 ar gern ! >ier I>ab' id^) einc ^lafcfye, 
 2lu ber ic felbft jutoeilen nafde, 
 S)ie aud9 nicfyt me^r im minb'ften ftin!t ; 
 2525 ^309 toitt euc9 gern etn IdSd^en geben. 
 
 Seifc. 
 
 SDorf) toenn e biefer 9Jiann unborbereitet trinft, 
 @o lann er, toijjt i^r too^I, nic^t eine (Stunbe leben. 
 
 3Jle^^iftob^eIe. 
 
 @ ift ein guter ^reunb, bem e gebeifyen fott ; 
 ^jd gonn' iljm gern ba 33efte beiner 
 2 53 3i e ^ beinen ^rei, tyrid) beine 
 Unb gib ifym eine Saffe boU !
 
 118 gaiijl. (Srfier Sfytl. 
 
 S5ie >ere, tntt fettfatnen ebarben, gieljt einen $rei unb fteHt munber- 
 bare acfjen fotnein ; tnbeffen fangen bte lafer an gu flingen, bte $effet gu 
 tbnen, unb madjen SDluftf. 3 u * e fct bringt fte ein grofjeS S3uc^, ftellt bie 
 in ben ^rei, bte iljr gum ^ult bienen unb bie gatfel Ijatten 
 ntiiffen. @ie minlt gauften, gu i^r gu treten. 
 
 % a u ft gu 
 
 fage tntr, h)a foU ba iuerben? 
 toUe 3 eu 9/ ^i e tafenben ebdrben, 
 abgefd^macftefte 33etrug, 
 inb mir befannt, ber^a^t genug. 2535 
 
 t, ^ofjen ! S)a ift nur jum Sadden ; 
 <Sei nur nid^t ein fo ftrenger -JRann ! 
 ie mufe al 2lrjt ein ocu^)ocu madden, 
 2)amit ber aft bir h)o^I gebeifyen lann. 
 
 @r not^igt ganften in ben ^reis gu treten. 
 
 mit grower (Smptjaje fangt an au8 bent S3u(^e gu bectamiren. 
 
 SDu mu^t berfte^n ! 2540 
 
 Unb 3n>et lafe g 
 Unb 'Drei mac^' 
 o Btft bit ret4). 
 SBerlier' bte SSier ! 2545 
 
 nf unb @e$, 
 fagt bie $es', 
 
 ieben unb arc^t, 
 o ift'g boUbrad^t : 
 
 Unb neun ift 6in, 2550 
 
 Unb 3efyn ift Icing. 
 ift ba
 
 119 
 
 li$ biinft, bie Sllte fbric^t tm gieber. 
 
 3Jt e b fy i ft o b f> e I e 8. 
 ift nocfy lange nicfyt boriiber, 
 2 SSS 3$ f enn ' e ^ too^l/ fo tlingt bag ganje 
 %$ ^abe mand^e 3^it bamit berloren, 
 3)enn etn boHfommner SEiberf^rud^ 
 Sleibt gleid^) ge^eimni^bott fiir ^luge tote fur 
 2Jiein ^reunb, bie $unft ift alt unb neu. 
 2560 @ toar bie 2lrt ju aEen 3^i^n/ 
 
 5Durc^ SDrei unb @in, unb @in unb >rei 
 ^rrt^um ftatt SBa^r^eit ju berbretten. 
 @o fc^tod^t unb lefyrt man ungeftort ; 
 2Ber toitt fid^ mit ben S^arrn befaffen ? 
 2565 etoo^nlid^ glaubt ber SJtenfcfy, toenn er nur Sorte 
 @ miiffe fid^) babei bocfj aud^ toa benlen laffen. 
 
 2) i e e | e fd^rt fort. 
 SDie ^o^ie ^raft 
 2)er SSiffenfd^aft, 
 S)er ganjen 2BeIt berborgen ! 
 2570 Unb toer nid^t benft, 
 
 2) em toirb fie gefd^enlt, 
 @r fyat fie o^ne Sorgen. 
 
 3=auft. 
 
 2Ba fagt fte un fiir Unfinn bor ? 
 @ toirb mir gleicfy ber ^obf jerbred^en. 
 2575 SJiid^ biinft, \<fy ^or' ein ganged G^or 
 SSon f|unberttaufenb barren fbrecfyen. 
 
 3)leb^tftob^ele. 
 enug, genug, o trefflid()e ib^IIe ! 
 ib beinen ranf ^erbei, unb fiitte
 
 120 
 
 SDte cfyale raf$ bi an ben 9tanb fyinan; 
 )enn meinem ftreunb hnrb bieferrun! nidjt fcfyaben : 2580 
 6r ift ein 2Rann bon toielen raben, 
 2)er tnancfyen guten cfyluc! getfyan. 
 S)ie ejfe tnit Dieten Serentonien, fdfjenft ben rcmf in cine 
 ttrie fte gauft an ben 9ftunb bringt, entfteljt eine leid^te glamntc. 
 
 ^inunter ! 
 6 hnrb bit gletc^ ba $erj erfreuen. 
 Sift tnit bent Xeufel bu unb bu, 2585 
 
 Unb toiHft bid^i bor ber ^lamme fcfyeuen? 
 
 ie eje toft ben $ret8. gauft tritt Derails. 
 
 5UI e p ^ t ft o p ^ e I e 8. 
 
 )it barf ft ni^t ru^n. 
 
 ba <5cfylucf$en tro^I be^agen ! 
 
 Unb fann i^ btr h)a ju efatten 
 
 @o barfft bu nuY< nur auf 2Bafyurgi fagen. 2590 
 
 ift ein.Sieb ! toenn i^r' gutoeilen fingt, 
 toerbet il^r befonbre 2Bir!ung f^uren. 
 
 nur gefcfynnnb unb la^ bid^) fii^ren ; 
 2)u mu^t notl>h)enbig tranlf^iriren, 
 amit bie ^raft burc %nns unb $ufjre bringt. 2595 
 5)en eblen SRii^tggang le^r' id^) ^ernacfj bid) fcfya'^en, 
 Unb balb em))finbeft bu mit innigem @rgeen, 
 SSie fidlj (Supibo regt unb ^in unb Urieber f^ringt.
 
 121 
 
 afj mi$ nur f djneH nod) in ben (Spiegel fd)auen ! 
 2600 2)a graitenbilb tear gar ju fd^Sn! 
 
 ! $u foHft ba 3Kufter affer grauen 
 3fiun &alb leib^aftig bor bir fefyn. 
 
 2)u fte^ft, mit btefem 2:ranf im SeiBe, 
 33alb ^elenen in jebem SBeibc.
 
 t r a 
 
 $011 fl. SJiargarete Doritber geljenb. 
 
 % au ft. 
 
 2Kein fcfyoneS $raulein, barf idfj toagen, 2605 
 
 2Jteinen $lrm unb eleit 2$r anjittragen? 
 
 Margaret e. 
 
 Sin toeber ^raulein, toeber fd^on, 
 ^ann ungeleitct nad^ aufe ge^n. 
 @ie tnoc^t ftc^ log unb ab. 
 
 gauft. 
 
 S3ei'm immel, biefeS ^inb ift fd^on ! 
 @o ettoa3 ^ab' ic^> nie gefe^n. 2610 
 
 @te ift fo fitts unb tugenbreid^ r 
 Unb ettoaS fd^ni^^ifd^ borf) jugleid^. 
 2)er Stype 9tot^, ber SBange Sic^t, 
 S)ie 3:age ber 2BeIt toergeff td^'g nic^t ! 
 2Bie fie bie Slugen nieberfd^Idgt, 2615 
 
 at tief ftdtj in mein erj gepra'gt ! 
 3Bie fie lurj angehmben tear, 
 ift nun jum ntjttdfen gar ! 
 
 tritt auf. 
 
 , bu mujjt mir bie 2)irne fc^affen !
 
 trofee. 123 
 
 2620 5Run, toelcfye? 
 
 @ie ging juft borbci. 
 
 2)a bie? <2te !am toon ifyrem ^faffen, 
 er fprad; fie atter (Siinben fret ; 
 $$ fd^Iid) mid^ fyart am 6tu^I borBei, 
 6 tft ein gar unfc^ulbtg Sing, 
 2625 a eben fiir ntd^t gur iBetd^te gtng ; 
 
 ilber bte >ab' td^ !eine etoalt. 
 
 3ft iiber bter^e^n ^a^r boc alt. 
 
 3)u f^ria^ft ja tote an Steberltd^, 
 2)er begefyrt jebe Itebe 33Iitm' fiir ft$, 
 2630 Unb biinfelt tf>m e tndr' fetn' 6^ 
 
 Unb unft bte nid^t ju ^fliicfen toaY; 
 aber bod^ ntd^t tmmer an. 
 
 3Jietn ^err Sftagifter Sobefan, 
 Safe (Sr mtdf? mtt bem efe^ in 
 2635 Unb ba fag' td^ %t)m lurj unb gut, 
 
 2Benn ntdbt ba fiifee junge S3Iut 
 eut 9la$t in metnen 2lrmen rufyt, 
 o ftnb toir um 9Kittemaa)t gefd^ieben. 
 
 3K e $ I) i ft o $ f? e I e 3. 
 Sebenft h>a ge^n unb fte^en mag !
 
 124 
 
 %tf) braucfye toenigftenS tnerjefyn ag, 2640 
 
 iftur bie elegenfyeit auSjuftouren. 
 
 5 a u ft. 
 
 att' icfy nur fteben 6tunben Dlulj, 
 Sraucfyte ben eufel nicfyt baju, 
 @o ein efcfyopfcfyen ju berfii^ren. 
 
 3Ji e p $ i ft o $ b e I e 8. 
 
 Sfyr fprecfyt f cfyon faft h)te etn ^ranjoS ; 2645 
 
 >ocfy bitt id^', Iafet'3 eud^ nid^t berbrie^en : 
 2Ba gift's nur grabe ju geniefjen? 
 3)ie greub' ift lange nicfyt fo gro^, 
 21I toenn il)r erft ^erauf, ijerum, 
 
 atterei Srimborium, 2650 
 
 ii^^c^en gefnetet imb jugerid^t't, 
 
 le^ret manege toalfd^e 
 
 gauft. 
 d of^ne ba. 
 
 t o^ne (Sc^im^f unb o^ 
 
 fag' eu^, mit bem fcfyonen ^inb 2655 
 
 em* fiir aHemal nidpt gefd()h)inb. 
 JJlit <3titrm ift ba nic^t einjunefymen ; 
 9Bir miiffen un jut 2ift bequemen. 
 
 t^auft. 
 
 f' mir ettoa bom @ngelfda^ ! 
 id9 an ii)ren 3tu^ebla| ! 2660 
 
 mir ein altucfy toon ibrer 33ruft, 
 6trumpfbanb meiner 2iebeIuft !
 
 125 
 
 2)amit ifyr fefyt, bafj id? eurer $ein 
 2BiU fdrberlicb, unb bienftlicfc, fein ; 
 2665 2SoUen toir leinen 2lugenblicl berlteren, 
 SBitt eud^ notf) fyeut in i^r 3^^cr fii^ren. 
 
 Unb fott fte fe^n? fie fya&en? 
 
 3K e )> ^ i ft o ^j Ij e I e . 
 SKein! 
 
 @ie h)irb Bet einer -ftacfy&arin fein. 
 ^nbeffen lonnt i^r ganj aUein 
 2670 2ln atter offnitng fiinft'ger greuben 
 3n i^rem SDunftfreiS fatt euc^ toeiben. 
 
 gfoufL 
 
 h)ir 
 
 @ ift nod? ju frii^. 
 gauft. 
 
 org' bu mir fiir ein efcfyenf fiir fte ! 
 316. 
 
 2ft e p ^ i ft o $ i) e I e 8. 
 
 Iet$ fc^enfen? 2)a ift brab! 35a toirb er reflfftren! 
 2675 %$ fenne mancfyen fd6nen 
 Unb mand^en alt bergrabnm 
 3<^ ntujj ein bt^en rebibiren.
 
 Wettb. 
 
 in IletneS r e i n I i cfy e 3 i m m e r. 
 
 2ftargarete ifyre 3Pf e fletfytenb unb cwfbinbenb. 
 Btargarete. 
 
 $cf) gab' ttm brum, toenn id) nur tt)il^t' 
 
 3Ber ^eut ber err getoefen ift ! 
 
 @r fa!^ getoi^ rerfjt toatfer au, 2680 
 
 Unb ift au einem eblen au ; 
 
 fount' id^ if>m an ber time lefen 
 U)dr' auc^> fonft nict fo !ed getoefen. 
 
 erein, ganj leife, nur fyereiu ! 
 
 ^ a u ft nad^ einigem @ttEf(^rt)etgen. 
 ^^> bitte bid?, lajj mid affeiu ! 2685 
 
 ^ic^t jebe 3Jldbd^en fyalt fo rein. 
 
 2lb. 
 
 ^ a U ft rings auffdjaitenb. 
 SBiHIontmen fitter 3)dmrnerfd^ein ! 
 2)er bu bie eiligt^um burcfytoebft. 
 (Srgreif mein erj, bu fujje Siebe^ein!
 
 SIbenb. 127 
 
 2690 >ie bu bom f)au ber offnung fdEjmac^tenb lebft. 
 SOSie atfymet ring efiifyl ber (StiUe, 
 25er )rbnung, ber gufriebenbeit j 
 2>n biefer 3lrmut^) h>eld)e giiUe ! 
 2>n biefem Verier toelcfye eligleit! 
 
 (Sr toirft ftd) auf ben lebernen effet am S3ette. 
 
 2695 nimm midj> auf ! ber bu bie SSortoelt fd^on 
 
 Set ^reub' unb cfymerj im offnen 2lrm empfangen ! 
 
 2Bte oft, acl^ ! fyat an biefem SSdter=^^ron 
 
 <5djon etne (Sd^aar toon ^inbern ring geE>angen ! 
 
 SSteHetd^t ^at, banfbar fiir ben ^eil'gen 6rtft, 
 2700 3Kein Sieba^en ^ter, mit boffen ^inbertoangen, 
 
 !Dem 2(^n^errn fromm bie toelfe anb gelu$t. 
 
 ^d^ fiifyr, o SJlabd^en, beinen eift 
 
 SDer ^iitt' unb Drbnung urn rnirf) fdufeln, 
 
 2)er miitterlid^ bid^ taglicfy untertoeif't, 
 2705 3)en Jep^i4) auf ben Xifcf? btcf) reinlic^ breiten fyeifjt, 
 
 ogar ben (Sanb ju beinen ^ii^en Ira'ufeln. 
 
 D liebe anb ! fo gottergleid^ ! 
 
 2)ie iitte toirb burd^ bid) ein immelreid;. 
 
 Unb fytt ! 
 
 6r ^ebt einen Setttior^ang auf. 
 
 fa^t mid^ fiir ein 2Bonnegrait ! 
 2710 $ivc mocfjt' itf) botte (Stunben fdumen. 
 
 ftatur ! ier bilbeteft in leidfyten 2;rd'umen 
 
 2)en eingebornen 6ngel au3 ; 
 
 ier lag ba $inb ! mit toarmem Seben 
 
 3)en jarten 33ufen angefiittt, 
 2715 Unb fyier mit ^eilig reinem SBeben 
 
 Snttoirfte fia) ba otterbilb !
 
 128 
 
 Unb bu ! 2Ba3 f>at bid; fyergefiifyrt ? 
 
 2Bie innig fufyl' id) mid) geriifyrt ! 
 
 2Ba totUft bu fyier ? 2Ba toirb ba erj bit fd;toer ? 
 
 2lrmfel'ger $auft ! ic^ lenne bt^ nic^t me^r. 2720 
 
 Itmgibt tntcfy ^ier ein 
 
 5Rid^ brang'S fo g'rabe ju geniefeen, 
 
 Unb fii^Ie mid^ in SiebeStraum jerflte|en ! 
 
 6inb tt)ir ein piel toon jebem S)rudE ber Shift? 
 
 Unb trdte fie ben 2lugenbli<f ^erein, 2725 
 
 2Bie toitrbeft bu fiir beinen ^reuel biifjen! 
 2)er gro^e ^>an, ac^t toie fo !Iein ! 
 Sag', fyingefcfymoljen, if>r gu 
 
 3Ji e )) ^ i ft o p ^ e I e 8. 
 efdjtoinb ! $$ fe^)' fie unten fommen. 
 
 gort ! lycfy !e^>re nimmerme^r ! 2730 
 
 ift ein ^aftdjen leiblid; fd;h)er, 
 too anberS ^ergenommen. 
 l>ier nur immer in ben <3d;rein, 
 Sdj fd)h)5r' eud;, i^r berge^n bie innen; 
 ^d; t^at eud; @ad;eld;en ^inein, 2735 
 
 Urn eine anbre gu getoinnen. 
 3toar ^inb ift $inb unb |>icl ift 
 
 5 a u ft. 
 Sd; toei^ nid;t foil id;?
 
 Sbenb. 129 
 
 3ft c $ *> i ft o p ^ e I e 8. 
 
 gragtityr biel? 
 
 !0letnt ifyr inetteicfyt ben (Scfyaij ju hmbren? 
 2740 ann ratty' icfy eurer Stifternfjett, 
 
 3)ie liebe fcfyon* StageSjeit 
 Unb mir bie toeitre 2J?u^ jit fyaren. 
 ^d^ boff nid^t ba^ ifr geijig feib ! 
 ^d^ frat}' ben ^o!j3f, reib' an ben anben 
 6r fieltt ba8 ^aftd^en in ben d)rein unb briirft ba @<^to^ wiebcr ju, 
 2745 9?itr fort ! gefcfynnnb ! 
 
 Urn eud^) ba3 fii^e junge ^inb 
 Watf) erjen SSunfc^ unb SSiH' ju toenben ; 
 Unb t^r fe^t bretn, 
 2llg fotttet i^>r in ben ^orfaal ^inein, 
 2750 31I [tiinben grau leib^aftig Dor eud ba 
 
 ?P^fil unb 3Retaj)^fica ! 
 9tor fort ! 
 
 216. 
 
 SWorgarete mit einer ?ampe. 
 
 SJiargarete. 
 @ ift fo fcfytoiil, fo bum^fig tyie 
 
 @ie mad^t ba genjler auf. 
 Unb tft boc eben fo toarm ntd^t brau^'. 
 2755 (53 nnrb mir fo, id^ ioeijj nid^t toie 
 
 3d9 toottt', bie Gutter fa'm' nac^ ^aug. 
 SJtir lauft ein d^auer iiber'n ganjen Seib 
 33in bocfy ein t^orid^t furd^tfam 2Beib ! 
 @te fangt an ju fmgen, inbem fte ftt^ aitgie^t. 
 
 (S3 toar ein ^onig in Stfyule 
 2760 ar treu bi an bas rab,
 
 130 5o u P- (Srfler Sljetl. 
 
 2)em fterbenb feme 
 inen golbnen SBecfyer gab. 
 
 @ ging ifym nirf;t bariiber, 
 
 6r leerf ifyn jeben (ScfymauS ; 
 
 2)ie 2(ugen gingen if>m iiber, 2765 
 
 @o oft er tran! barauS. 
 
 Unb al er lam ju fterben, 
 
 3ai)It' er feine tcibt' im 9letc, 
 
 onnt' atte fetnem rben, 
 
 S)en Seeder nid^t jugleid^. 2770 
 
 Gr fa^ bei'm 
 
 S)ie Slitter um i^n {)er, 
 
 2luf fyofyem Waters Saale, 
 
 2)ort auf bem <Srf)lofc am 3Reer. 
 
 2)ort ftanb ber alte 3 e ^ er / 2775 
 
 'Zrant letjte Sebenglutf), 
 Unb toarf ben fyeittgen 
 inunter in bie 
 
 (5r fa^> i^n ftiirjen, trinfen 
 Unb finlen tief in' SReer, 2780 
 
 S)ie Slugen tE>aten ifym ftn!en, 
 2;ranl nie einen $ro!pfen me^r. 
 
 @ic erbffnet ben djrein, i^rc ^teiber etnguraumen, unb erfcttcft ba 
 @(f)tnu(ffaftd)en. 
 
 !ommt ba fd^one ^aftd^en ^ier ^eretn ? 
 fcf)Iofe boc^) gang getoijj ben Serein.
 
 Sbenb. 131 
 
 2785 S ift bod? ttmnberbar ! 2Ba mag tool)! brinne fein? 
 
 SBietteidit 6rad?t'3 jemanb al ein $Pfanb, 
 
 Unb meine Gutter liel) barauf. 
 
 5Da fyangt ein @d)luffeld?en am SBanb, 
 
 !^d) ben!e n)ol?l id? mad?' e auf ! 
 2790 2Ba ift ba ? ott tm 
 
 <So lra ^ab' id) mein' 
 
 Gin @d)mucf ! 9Hit bem lonnt' eine belfrau 
 
 2lm fyocfyften geiertage geF)n. 
 
 2Bie fotttc mir bie flette ftel)n? 
 2795 5S^m mag bie errlid;f eit ge^oren ? 
 
 @ie pu^t ftc^ bamit auf itnb tritt ttor ben @piegeL 
 
 jBenn nur bie D^rring' meine toaren ! 
 
 3Jian fteE>t bod? gleid? ganj anber brein. 
 
 2Ba (>ilft eud? 6d;on^eit, junge Slut? 
 
 3)a ift too^I atte fd?on unb gut, 
 2800 Stttein man lafji'S aud) atteS fein ; 
 
 2Jian lobt eud) ^>aI6 mtt (Srbarmen. 
 
 9^ad) olbe brangt, 
 
 2lm olbe ^>angt 
 
 Sod; aHeg. 2ld) toir 2lrmen !
 
 in ebanfen auf unb ab gefyenb. 3" 
 
 33ei after toerfcfytnafyten Siebe ! SBei'tn ^ottifd^en lemente ! 2805 
 3$ tooHt' id& toiifjte toa 3lrger, bafe ic^'S flucfyen fonnte ! 
 
 2Ba $aft? h?a Inei^t btd^ benn fo fe^r? 
 @o f ein eftc^t fafy ic^ in meinem Seben ! 
 
 3K e ^3 ^ t ft o j) ^ e I e . 
 
 ^c modjt' mid^ gleic^ bem 5CeufeI iibergeben, 
 
 SBenn ic nur felbft fein SCeufel h)ar' ! 2810 
 
 at ftc^ bir toa im ^opf berfd^oben? 
 3)id9 f leibet'S, iotc ein 9taf enber 311 toben ! 
 
 2W e )) & i ft o }> & e I e 3. 
 
 2)en!t nur, ben (Sd^tnucf fiir retdfjen angefdafft, 
 S)en ^ at ein $faff i) iniDeggerafft ! 
 3)ie SRutter Iriegt ba 2)ing ju fcfyauen, 2815 
 
 letc^ f angt'3 i^r ft, eimlid^ an ju grauen : 
 5Die ^rau ^at gar einen fetnen 
 immer im ebetbucfy,
 
 pajiergang. 133 
 
 Unb riedjt'S einem jeben 2ftbbel an, 
 28 2 o D6 ba SDing I) eilig ift ober profan ; 
 
 Unb an bent <2rf)murf ba ftoiirt fie'S liar, * 
 
 35afe babei nicfyt toiel egen toar. 
 
 SJietn $inb, rief fie, ungererf)te lit 
 
 Sefangt bie eele, je^rt auf ba Slut ; 
 2825 SSotten'g ber Gutter @otte hjei^en, 
 
 2Sirb un mit ^tmmelgs^Ranna erfreuen ! 
 
 3JlargretIetn jog ein fd&tefeS S^aul, 
 
 ^ft ^alt, bad)t' fie, ein gefd^en!ter aul, 
 
 Unb toafyrltd) ! gottlo ift nicfyt ber, 
 2830 S)er tyn fo fein ge&radfyt tjier^er. 
 
 S)ie Gutter Ite^ einen ^Pfaffen fommen ; 
 !aum ben <5paJ5 bernommen, 
 ben 5InbIidE h)D^)I Be^agen. 
 
 @r f!j)ra<^ : <5o ift man red)t gefinnt ! 
 2835 2Ber itberiuinbet ber getoinnt. 
 
 S)ie ^ird^e ^at einen guten SRagen, 
 
 at ganje Sanber aufgefreffen, 
 
 Unb bod^ norf) nie fidj> iibergeffen ; 
 
 2)ie $irc&/ attein, meine lieben ^rauen, 
 2840 $ann ungerecf>te ut berbauen. 
 
 ift ein attgemeiner Sraucfy, 
 ' unb ^onig !ann e aud?. 
 
 trid? brauf ein pange, ^ett' unb 3fJing', 
 21I h)dren' eben ^fifferling', 
 2845 2)an!t' nid^t toeniger unb nidjt me^r, 
 
 21I ob' ein orb bott 5Ruffe tear',
 
 134 
 
 23erfprarf> tfwen alien ^tmmlifd^en 2oljm 
 Unb fte toaren fefyr erbaitt batton. 
 
 5 a u ft. 
 Unb@retd)en? 
 
 m e $ f) i ft o p & e I e 8. 
 
 it nun unrufytooH, 
 
 SBeifj tt>eber h>a fie h)iE nod) foil, 2850 
 
 2)enlt an' efc^meibe Xag unb SZac^t, 
 me^r an ben ber' i^r gebrac^t. 
 
 Stebd^enS Summer tl^ut mir letb. 
 ajf' bu tl^r gleicfy ein neu efd^meib' ! 
 2lm erften toar ja fo nicfyt toiel. 2855 
 
 3JI e $ fy t ft o p ^ e I e 8. 
 D ja, bem errn ift atteS 
 
 Unb macfy', unb rid^t'8 nad^ metnem inn, 
 
 ang' bid an ifyre 9iac^barin ! 
 
 @ei Xeufel bod) nur nicfyt toie 33rei, 
 
 Unb fdjaff einen neuen c^mud Ijerbei ! 2860 
 
 W. e p ^ i ft o j> ^> e I e 8. 
 
 ^a, gndb'ger err, toon er$en gerne. 
 gaufi ab. 
 
 2)? e $ % i ft o $ $ e I e 8. 
 o ein berliebter fyor toerpitfft 
 @ud) onne, SRonb unb atte terne 
 
 bem 2iebd;en in bie 2uft. 
 86.
 
 SWartlje atlein. 
 
 2865 ott toerjeify'S meinem lieben Sftann, 
 
 6r fyat an mir nicfyt iuo^I getfyan ! 
 efyt ba ftradte in bte SSelt ^tnetn, 
 Unb Ici^t mic^ auf bent <Stro^ aHein. 
 %f)at tfyn bod^ tt)a^rlid nic^t betrilben, 
 
 2870 Sfyat i^n, toei^ ott, red^t ^erjlid^ lieben. 
 
 @ie wetnt. 
 
 SBieHeirfrt ift er gar tobt ! D 
 a'tt' id) nur einen Xobtenfc^ein ! 
 9Kargarete !ommt. 
 
 Margaret e. 
 
 reteld^en, toa jott'S? 
 3Jiargarete. 
 ftn!en mir bie $niee nieber ! 
 2875 a f^' ^ f e ^ n $flftd?en toieber 
 
 ^n meinem (Sd^rein, bon (Sben^olj, 
 Unb (Sadden i>errlic^ gang unb gar, 
 SBeit reiser al ba erfte luar. 
 
 (35)
 
 136 ftaufi- r f ter 
 
 m a r t $ e. 
 
 mufj 6ie nid^t ber Gutter fagen ; 
 at's toieber gleid^ jur Seidfjte tragen. 2880 
 
 Margaret e. 
 2lcfy f efy' @ie nur ! ad^ fcfyau' @ie nur ! 
 
 3Jt a r 1 1) e pufet fte auf. 
 D bu gliicffePge Sreatur ! 
 
 Dtargarete. 
 
 mid^, leiber, nicfyt auf ber affen, 
 in ber ircfye mtt feF>en laffen. 
 
 bu nur oft ju tnir ^eriiber, 2885 
 
 Unb leg' ben (Sd^mudv ^ier Ijetmlici) an ; 
 <S^)ajier' em tiinbcfyen long bent @^iegelgla boriiber, 
 JBir ^aben unfre ^reube bran ; 
 Unb bann gibt'3 einen Slnlajj, gibt'g ein eft, 
 3Bo man's fo nac^ unb nac^) ben Seuten fefyen la^t. 2890 
 (Sin ^ettcfyen erft, bte ^erle bann in'! Dfyr ; 
 5Die Suiter fie^t'S n)of)l nid^t, man madjt i^r aud^) n)a ttor. 
 
 UJtargarete. 
 
 SBer !onnte nur bte beiben $a'ftcf>en bringen? 
 ge^t nicfyt ju mit rec^ten SDingen ! 
 
 SWargarete. 
 
 9 ott ! mag bag meine Gutter fein? 2893 
 
 3R a r t fy e bura)' 3Sorf)angeI gudfenb. 
 
 ift ein frember >err erein ! 
 
 tritt ouf.
 
 S)er 9?ad)baritt au. 137 
 
 23in fo fret g'rab' fyerein ju treten, 
 SRujj bei ben ^rauen SSerjeifm erbeten. 
 
 rttt eljrerBiettg or 2ftargareten juriidE. 
 JBoEte nad^ ^rau SRartfye (Scfeioerbtietn fragen ! 
 
 2900 ^d^ btn', toa b,at ber err ju fagen? 
 
 3JUpb,tft0pb,eIe leife au i 
 3^ fenne ie je^t, mtr ift ba genug ; 
 @ie ^at ba gar bornefymen 5Be[uc^i. 
 SSersei^t bie ^reib, ett bie id^ genommen ! 
 2SiH 9?ad^mittage toteber fommen. 
 
 laut. 
 
 2905 Senf, inb, urn atteS in ber 2BeIt! 
 3)er err bidp fur ein ^raulein fyd'lt. 
 
 Margaret e. 
 %d) bin ein arme junge 33Iut ; 
 2lc^ ott! ber err ift gar gu gut: 
 
 unb efd^meibe ftnb nicfyt mein. 
 
 2910 2ld^, e ift nid^t ber d^mucf aUein ; 
 
 <Sie F)at ein 2Befen, einen Slid fo fc^arf 1 
 2Bie freut mid^' ba^ icfj bleiben barf. 
 
 gjlart^e. ' 
 2Ba bringt r benn ? SSerlange fe^r 
 
 gjle^^ifto^j^ele. 
 t' icr) ^att' eine frob,ere
 
 138 
 
 fyoffe @ie lajjt mtcfy'3 brutn nid;t biijjen: 2915 
 
 3Jtonn ift tobt unb lajjt <Sie gritjjen. 
 
 3ft tobt? bag treite erg ! D 
 SJtein 3ftann ift tobt ! 2Tc^ i$ 
 
 SJiargarete. 
 2ld^ ! Itebe ^rau, berjtoeifelt ntd^t ! 
 
 <3o ^ort bie traurige efd^ic^t'! 2920 
 
 3Jiargarete. 
 
 3^) modjte brum mein' Stag' ni4)t lie&en ; 
 2Burbe mic^ SSerluft ju obe betriiben. 
 
 ' mufc Seib, 2etb tnu^ ^reube fyaben. 
 
 ^art^>e. 
 mir feineS SebenS 
 
 Sr Uegt in ^abua begraben 2925 
 
 Sei'm ^eiltgen 2(ntoniu, 
 
 2ln einer toofylgetoeifyten tcitte 
 
 3um etoig lifyhn 3tufyebette. 
 
 3R a r t $ e. 
 abt ii/r fonft ni$t an mid^ gu bringen? 
 
 3a, einc S3ittc, grofi unb f djtoer ; 2930 
 
 Saff @ic bod? ja fiir ifyn breibunbert SReffen fingen ! 
 3m iibrigen finb metne Xafd^en leer.
 
 2>er SRadjbarin au. 139 
 
 2Kartb,e. 
 
 efdjmeib'? 
 
 jeber anbioer!&urfdj im runb be arfell fyart, 
 2 935 3 um Stngebenfen aufbetoafyrt, 
 
 Unb lieber Ijungert, IteBer bettelt ! 
 
 SRabam, e t^ut mir ^erjlid^ leib ; 
 2lUein cr fyat fetn elb toa^r^afttg nicfjt berjettelt. 
 2lud^ er bereute feine ^e^Ier fe^r, 
 2940 ^a, unb bejammerte fein Ungludf nod^ biel me^r. 
 
 SRargarete. 
 
 2ld^) ! bafj bie 9Jtenfd^en fo ungludflid^ ftnb ! 
 
 toiH fiir if)n tnand^ Requiem nod^ beten. 
 
 %fy todret toert^), gletcfy in bie 6^ ju trcten : 
 3b,r feib ein Iiebentoiirbig ^inb. 
 
 9Jiargarete. 
 2945 2ld^ nein, ba geb,t je^t nod^) ni$t an. 
 
 t' nic^t ein SJlann, fei' bertoeil' ein alan. 
 '^ ift cine ber grbfeten ^immel^gaben, 
 (So ein lieb 2)ing im 2lrm gu l>aben. 
 
 Margaret e. 
 ift be^ 2anbe nic^t ber 
 
 2950 Sraucfy ober nict ! 63 gibt ft$ aud^i.
 
 140 
 
 mir boclj ! 
 
 3$ ftanb an feinem terbebette, 
 @ tear toa beffer al bon 9JHft, 
 33on fyalbgefaultem trofy ; attein er ftarb al3 Sfyrift, 
 Unb fanb ba^ er toeit me^r no^ auf ber gedje ^atte. 
 2Bic, rief er, mujj id^> mid^ toon runb au ^affen, 2955 
 (So metn etoerb, tnein 2Beib fo ju berlaffen ! 
 2td^ ! bie rinnrung tobtet mid. 
 SSergab' fie mir nur nod^) in bief em 2eben ! 
 
 3K a r t f) e ttjeinenb. 
 gute 3Jiann ! i4) fyab' tym Idngft bergeben. 
 
 2lffein, n)ei^ ott ! fie toar me^r <3d;ulb alg id^. 2960 
 
 3JUrtf>e. 
 liigt er ! 2Ba ! am 9lanb be rab $u. liigen ! 
 
 6r fabelte geti^ in letjten 
 
 2Benn \tf) nur fyalb ein tenner bin. 
 
 ^jd^ fyatte, f^rac^ er, nid^t jum ,3ettbe$reib ju gaffen, 
 
 (Srft ^inber, unb bann 33rot fur fie ju fc^affen, 2965 
 
 Unb Srot im attertoeit'ften inn, 
 
 Unb fonnte nicfyt einmal metn ^^>eil in ^rieben effen. 
 
 3JI a r t $ e. 
 
 er fo aHer ^reu', fo atter 2ieb' bergeffen, 
 2)er ^Jladerei bei Stag unb
 
 S)er SRadjbarin au8. 141 
 
 2970 %l\<fyt bod), er fyat eitdj ^erglid^ bran gebacfjt. 
 
 r fbracf) : 2113 icfy nun toeg bon SRalta ging, 
 2) a betet' icfy fiir ftrau unb $inber briinftig' ; 
 Un tear benn aiicfy ber immel giinftig, 
 )ajj unfer d^iff etn tur!ifc^ ^-afyrjeitg fing, 
 
 2975 S)a einen @$a be gro^en ultang fill^rte. 
 S)a toarb ber ^a^ferleit i^r 2ol)n, 
 Unb ic^ ent^fing benn aucfy, h)te fid^ gebii^rte, 
 9Jiein toofylgemeff ne 'Xfyeil babon. 
 
 3)1 a r t $ e. 
 i hne ? (gi too ? at er'g mettetrf)t bergraben ? 
 
 2980 2Ber toet^, too nun e bte bier SStnbe baben. 
 @tn fd^one ^raulein naf>m fic^ feiner an, 
 2113 er in 3^abel fremb um^erfbagierte ; 
 <Sie fat an ifym biel 2ieb unb re 
 er'S bi an fein felig nbe fbiirte. 
 
 m a r t fj e. 
 
 2985 S)er (Sc^elm ! ber 3Meb an feinen ^inbern ! 
 attel (Slenb, atte 3totb 
 t' nid^t fein fd^anblic^ Seben ^inbern ! 
 
 ^a fefyt ! bafiir ift er nun tobt. 
 SSdr' id nun je|t an eurem 
 2990 Setraurt' ic^ if>n ein juc^tig ^a^r, 
 
 SSiftrle bann untertoeil' nad^ einem neuen
 
 142 goufl. (Srfter feil. 
 
 Slrf) ott ! hne bo$ ntetn erfter tear, 
 
 ginb' icfy ni$t leidjt auf biefer 2BeIt ben anbern ! 
 
 6 fonnte !aum etn fyergiger ^arrc^en fein. 
 
 r liebte nitr ba aHjubtele 2Banbern, 2995 
 
 Unb frembe SSetbcr, unb fremben Sein, 
 
 Unb bag berflucpte 2BurfeIfpieI. 
 
 , nun, fo lonnt' e gei>n unb ftefyen, 
 2Benn er eud^) ungefd^r fo biel 
 
 S3on fetner <Sette nad^gefei>en. 3000 
 
 %3) fd^n)5r' euc^ gu, mil bem Sebtng 
 SSed^felf icfy felbft ntit euc^ ben 
 
 D e beltebt bem errn ju fd^erjen ! 
 
 3)1 e p ^ i ft o $ I) e I e 3 fur ftrf). 
 ftun macfy' id^ mid bet 3dten ^ ort j 
 2)ie fytelte too^I ben Steufel felbft bet'm 2Bort. 3005 
 
 3u rett^en. 
 2Bte fte^t e benn mit 3$retn Bergen? 
 
 3Jiargarete. 
 2Ba^ metnt ber err bamit ? 
 
 3JI e p ^ i ft o p ^ e I e fiir ft^. 
 
 $u gut unfcfyulbtgS 
 Saut. 
 2ebt toofyl il>r ^raun ! 
 
 3Jlargarete. 
 Sebt
 
 S)er ftadjbcmn au. 143 
 
 m a r t b, e. 
 
 D fagt mir bocb, gefcb, toinb ! 
 %< mocfyte gern ein 3eugnifj fyaben, 
 
 3010 2Bo, tote unb ttmnn mein cfyats geftorben unb begraben. 
 $$ bin bon je ber Drbnung ^reunb getoefen, 
 t' tfyn auc tobt int SSoc^enblattd^en lefen. 
 
 ^a, gute 
 
 2Birb atferioegS bie 3Ba^rI>eit lunb ; 
 3015 abe nod^) gar etnen feinen efetten, 
 
 3)en tottt id^ eucfy bor ben Stic^ter fteEen. 
 S^> bring' i^n ^er. 
 
 D tfyut bag ja ! 
 gftetofyiftopfyeleS. 
 Unb ^)ier bie ^ungfrau ift aitd? ba ? 
 @in bratoer ^nab'! ift biel gereift, 
 3020 $rautein atte ^oflic^leit ertoeift. 
 
 JJtargarete. 
 2JZufete bor betn erren fcfyamrotb, toerben. 
 
 3Ji e b I) i ft o b b, e I e . 
 SBor leinem ^onige ber rben. 
 
 3Rartb,e. 
 
 3)a ^inter'm au in tneinem arten 
 SBotten toir ber >errn ^eut 2lbenb toarten.
 
 t r a ft e. 
 
 gauft. 
 
 gauft. 
 2BtetfTg? SBUTgfBrbern? 2BiIT balb gefyn ? 3025 
 
 3Ji e p fy i ft o p fy e I e g. 
 2l!> Brabo ! ^inb' tcfy eu4) in 
 3n lurger 3^it tft retd^en euer. 
 
 2lbenb fofft ii)r fie bei 3fia4) 
 
 ift ein 2Beib tote auSerlefen 
 3um ^u^Iers unb giQeunertoefen ! 3030 
 
 5 o u ft. 
 @o red^t ! 
 
 toirb auc toa toon un bege^rt. 
 
 Sauft. 
 in 3)ienft ift too^I be anbern toertlj. 
 
 Sir legen nur ein gtiltig 3^ugni nieber, 
 
 ifyreS (S^errn auSgeredtte lieber 
 $abua an ^eil'ger tatte ru^n. 3035 
 
 flug ! 2Bir toerben erft bie 3teife macfjen miijfen ! 
 
 (144)
 
 trage. 145 
 
 3ft e j> I) i ft o p fy e I e 3. 
 
 Sancta Simplicitas ! barum ift' nidjrt ju tfyun ; 
 Sejeugt mtr ofyne biel ju ftriffen. 
 5 a it ft. 
 2Benn @r nicfyts 33effer fyat, fo ift ber tylan jerriffen. 
 
 3R e j> | i ^ o i ^ e I e 8. 
 3040 D ^eil'ger SRann ! 2)a n>drt i^r'^ nun ! 
 $ft e ba erftemal in eurem Seben, 
 r falf^ B^9 n iB abgelegt? 
 r bon ott, ber 2BeIt unb toa f:d^ brin betoegt, 
 SBom SRenfd^en, toa fid^ i^m in $opf unb erjen regt, 
 3045 )efinitionen nid^t mit grower $raft gegeben? 
 9Kit fred^er time, fiifyner Sruft? 
 Unb tnottt i^r recfyt in'^ ^ nnre S^^n, 
 
 ifyr baton, i^r mii^t e g'rab' gefte^en, 
 biel al toon ^errn d^ioerbtlemg SCob getoufjt ! 
 
 3050 2)u bift unb bleibft ein Siigner, ein 
 
 ^a, toenn man's nicfyt ein bi^en tiefer toiifjte. 
 S)enn morgen toirft, in alien fyren, 
 2)a arme retdjen nicfyt betfioren, 
 Unb aCle eelenlieb' il)r fd^inoren? 
 
 3055 Unb gtoar oon 
 
 ut unb fd^on ! 
 2)ann h)irb oon ehnger Xreu' unb Siebe,
 
 146 goufh (Srfler 
 
 SBon einjig uberaEmcid)fgem riebe 
 2Birb ba3 aud) fo bon erjen gefyn? 
 
 Safe bag ! (B totrb! SSenn ic^ empfinbe, 
 
 giir ba efii^I, fiir ba etoii^l 3060 
 
 9Zad^ Seamen fucfye, fetnen finbe, 
 
 2)ann burc^ bte 2BeIt tnit aUen innen fcfytoetfe, 
 
 Wad) atten ^oc^ften SSorten gretfe, 
 
 Unb biefc Iiit^, toon ber \$ brenne, 
 
 UnenbUd^, eioig, eirng nenne, 3065 
 
 3ft bag etn teuflift^ Sugenf^iel? 
 
 tyab' boc^ 
 
 6r' ! mer!' bir bie^ - 
 3$ bitte bid), unb fd)one metne 2unge 
 9Ber 3fied)t be^alten toitt unb fyat nur eine 3 un 9 e / 
 S3e^alt' getoijj. 3070 
 
 Unb lomm, id) fyab' be @d)it>aen liberbru^ 
 S)enn bu fyaft S^edjt, borjuglid; lt>eil id) mufj.
 
 a r t e tt. 
 
 iKorgarete an gaujlens 2lrm, 2ftartlje tnit 
 p I) e I e 8 auf unb ab fpajierenb. 
 
 SRargarete. 
 
 P c toofyl, bafe micfy ber ^>err nur fd^ont, 
 ftdj Ici^t, mid^ ju befd^amen. 
 3075 @tn 9letfenber ift fo getooljnt 
 2lu uttgfeit fiirlieb gu nefymen ; 
 3<^ ttei| ju gut, bajj fold^ erfa^rnen 9Jiann 
 JUletn arm efprac^ nid^t unter^alten fann. 
 
 n SUcf bon bir, n SOBort me^>r unter^dlt, 
 3080 21I atte SBetS^eit biefer SBelt. 
 
 6r fufet i^re anb. 
 
 SJiargarete. 
 
 ^jncommobirt euc^ nid^t ! 2Bte !onnt t^r fte nut luffen ? 
 
 @ie ift fo garfttg, ift fo rau^> ! 
 
 2Ba I>ab' id^ nidt f cfyon atte fc^affen miiffcn ! 
 
 2)ie Gutter ift gar ju genau. 
 
 eljn oorflber. 
 
 3085 Unb ifyr, mein err, i^r reif't fo immer fort? 
 
 (t47)
 
 148 8<"ift- Softer l)eil. 
 
 21$, bajj etoerb' unb $fli$t un baju treiben ! 
 3Jlit tote bid djimerg toerlafet man man$en Drt, 
 Unb barf bo$ nun einmal ni$t bleiben ! 
 
 ^n rafc^en ^a^ren ge^t'g toofyl an, 
 (So um unb urn fret burd) bte 2BeIt ju ftretf en ; 3090 
 
 2)o$ lommt bte bofe 3^it ^eran, 
 Unb ft$ al ^ageftolj attetn gum rab ju f$Ieifen, 
 letnem too^I getl>an. 
 
 3ft e p ^ t ft o Ij e I e . 
 3Jitt raufen fefy' i$ ba toon toetten. 
 
 9ft art I? e. 
 
 , toert^er err, Berat^et etidj in 3etten. 3095 
 
 e^n Dorii&er. 
 
 3Jiargarete. 
 , au ben 2lugen, au bem inn ! 
 
 te ^ofli$lett ift eu$ gelduftg ; 
 2lttetn i^r ^abt ber ftreunbe ^aufi 
 @te jinb berftcinbtger ate t$ bin. 
 
 D Sefte ! glaube, toa man fo toerftdnbig nennt, 3100 
 3ft oft me^r (gitelfeit unb 
 
 2Jiargarete. 
 
 2Bie?
 
 arten. 149 
 
 fjauft. 
 
 21$, bafj bie (Stnfalt, bafj bie Unfcfyulb me 
 id; felbft unb ifyren fyeil'gen 2Bertfy erlennt ! 
 3)afj SDemutf), -ftiebrigfeit, bie fyb'djften aben 
 3105 2)er liebetooE autfyeilenben Sftatur 
 
 JDtargarete. 
 
 2)enft i^r an micfy ein 2lugen6Iidfa;en nur, 
 $30; toerbe 3^ S^nug an eud^ jit benlen ^aben. 
 
 S^r feib toofyl btel attein? 
 
 SJiargarete. 
 
 3a, unfre SBirt^c^aft ift nur Ilein, 
 3110 Unb bocfy h)tH fte berfefyen fein. 
 
 2Bir ^aben feine 2ftagb ; mu^ lod^en, fegen, ftrtden 
 Unb nd^n, unb laufen friify unb f^at ; 
 Unb ntetne Gutter ift in aUen tiiden 
 @o accurat ! 
 
 3115 9^tc^t ba^ fie juft fo fefyr ftd^ einjufd^rdnfen ^at; 
 SBir fonnten ung toeit e^'r al anbre regen : 
 Bfein 3Sater fyinterliefj ein ^iibfd^ SSermbgen, 
 Gin dud)en unb ein drta;en bor ber <tabt. 
 SDoa^ F>ab' id) jefct fo jiemltd; ftitte Xagc ; 
 3120 -Bfein SBruber ift olbat, 
 
 a;n)efterd^en ift tobt. 
 ^atte mit bem ^inb tooty! meine liebe 
 iibernd^m' id; gern nod^ einmal atte 
 lieb toar mir ba ^inb. 
 
 gauft. 
 
 (Sin Gngel, toenn bir'S
 
 150 Sauft (Srfter 
 
 Margaret e. 
 
 %fy gog eg auf, unb fyerjltcfy liebt' eg midlj. 3125 
 
 @g tear nadfj) metneg 2Sater ob geboren. 
 
 2)ie Gutter gaben fair berloren, 
 
 @o elenb tote fie bamalg lag, 
 
 Unb fte erfyolte ficfy fe^>r langfam, nad^ unb nadB,. 
 
 2)a fonnte fie nun nicfyt bran benfen 3130 
 
 2)a3 arme SSurma^en felbft ju trdnfen, 
 
 Unb fo erjog ic^' gang attein, 
 
 mt gjiilc^ unb SBaffer ; fo toarb'g mein. 
 
 2luf metnem 2lrm, in meinem cfyooS 
 
 freunblid?, ja^elte, toarb grofj. 3135 
 
 ^aft gehnfj ba reinfte liid em^funben. 
 
 Margaret e. 
 aud) getot| gar manege fd^loere tunben. 
 
 Siege ftanb j 
 2ln meinem Sett, e burfte laum fidj regen, 
 Sar i$ ertoa^t ; 3140 
 
 33alb mu^t' i$' tranfen, balb e ju mir legen, 
 SBalb, ittenn'g nict fd^toieg, bom Sett aufftefyn, 
 Unb tanjelnb in ber Hammer auf unb nieber gefyn, 
 Unb frii^ am age fd^on am 2Bafdtrog fte^n ; 
 3)ann auf bem 3Jlarft unb an bent erbe forgen, 3145 
 Unb immer fort hrie fyeut fo morgen. 
 35a ge^t', mein err, ni$t immer mut^ig ju ; 
 fdr>med:t bafitr bag @ffen, f$medEt bie 
 eljn Doruber.
 
 arten. 151 
 
 3K a r t fy e. 
 
 !Die armen 28eiber ftnb bocfy iibel bran : 
 3150 Sin ageftolj ift fcfjtoerlirf) ju befefyren. 
 
 2ft e p ty i ft o & $ e I e . 
 6 fame nur auf ureSgleicfyen an, 
 id^ eine Sefjern 311 belefyren. 
 
 (Sagt g'rab', mein err, ^>abt i^r nod^ nt$t gefunben? 
 at ftri^ ba erj nid^t irgenbtoo gebunben? 
 
 3155 $)a prid^toort fagt : n etgner erb, 
 
 Sin brabeg -JBeib, ftnb olb unb ^8etlen toertfy. 
 
 SWart^c. 
 %<$ meine, ob ifyr niemal Suft befommen? 
 
 2JI e p ^ i ft o p ^ e I e S. 
 9Kan ^at mic^ iiberatt rec^t ^oflid^ aufgenommcn. 
 
 m a r t fy e. 
 5$ toottte fagen: toarb'g nie @rnft in eurem erjen? 
 
 3Jle^^ifto^>^eIe. 
 3160 2Rit grauen foH man fi$ nie unterfte^n ju fderjen. 
 
 m a r t ^ c. 
 21$, ifyr berfte^t mi$ nidfjt ! 
 
 tbut mir fyerjUcfy leib! 
 i$ berftefy' ba^ i^)r fe^r giittg feib. 
 ebn ooriiber.
 
 152 gaufl. erfter Sljeit. 
 
 %**$ 
 
 u fannteft micfy, o fleiner Sngel, toieber, 
 leicfy aU \3) in ben arten lam ? 
 
 Margaret e. 
 ifyr e nicfyt? i$ fd^Iug bie Slugen nieber. 3165 
 
 Unb bit bersct^ft bie $reifyeit, bie id^> na|m, 
 2Ba fid^ bie gted^^eit unterfangen, 
 21I bu jitngft au bent 3)om gegangen? 
 
 Margaret e. 
 
 ^5^> ioar Befturjt, mir tear ba nie gefcfyefyn ; 
 
 @ lonnte niemanb toon mir ftbels fagen. 3170 
 
 2ld), bad^t' id^, ^at er in beinem SBetragen 
 
 red^eS, UnanftanbigeS gefef)n? 
 fe^ien i^n gleidj nur 
 it biefer 3)irne g'rabe ^in 311 
 eftefy* ic|' bod;> ! 3^? hntjjte nid^t toa fid^ 3175 
 
 3u eurem 3Sorti>eil ^ier ju regen gleidj begonnte ; 
 Slttein getoife, \fy toar red^t bof auf micfy, 
 id^ auf eucfy nid^t bofer h>erben fonnte. 
 
 Siebdjien ! 
 
 3)largarete. 
 
 Safct einmal ! 
 @te ppcft erne ternblitme unb gupft bie ^Blotter ab, ein nac^ bcm anbern. 
 
 bag? @inen @trau|?
 
 orten. 153 
 
 3180 yitin, e foH nur ein 
 
 Sie? 
 
 JJlargarete. 
 
 efyt, ifyr lad&t mi$ au3. 
 @ie rupft unb tnunnctt. 
 
 ^auft. 
 SBaSmurmelftbu? 
 
 3Jiargaretc Ijatb taut. 
 
 @r Itebt mid^ Ue&t mid^ nid^t. 
 
 gaufr 
 SDu ^olbe ^tmme&^i0efU^i ! 
 
 3Jiargarete faf)rt fort. 
 SieBt mid? 9tt$t SieBt mid? 9ttd?t 
 
 2)a te^te S3Iatt ausrupfenb, tnit 
 @r liebt mid? ! 
 
 ^3 a, mein inb ! Safe btefe S3Iumentoort 
 3185 2)ir otteraufi)rud? fein. @r liebt bic^ ! 
 
 SBerjle^ft bit, toa ba ^eifet? 6r liebt bid? ! 
 (Sr fot iljre Beiben anbe. 
 
 3Jiargarete. 
 id? iiberlauft'S ! 
 
 D fc^aubre nid?t ! Safe biefen 
 Safe biefen >anbebrucf bir fagen,
 
 154 gaujt (Srfler 
 
 unauSfprecb, Itcb, ift : 3190 
 
 icfe, fyinjugeben gang unb eine 2Bonne 
 $u fufylen, bie etoig fein mufi ! 
 @n)ig ! 3b,r @nbe tottrbe 23ertoeiflung fein. 
 ftein, fein @nbe ! $ein @nbe ! 
 
 SKargarete briidft il)tn bie anbe, mad^t ftd^ Io unb lauft rteg. 
 @r fie^t einen Sdtgenblicf in ebanfen, bann folgt er i^r. 
 
 9JI a r t $ e fommenb. 
 2)te 9la(^t bric^t an. 
 
 3K e p ^ i ft o }) ^ e I e 3. 
 
 50, unb toir tooften fort. 3 J 95 
 
 3Rart^e. 
 
 ^^ bat' eudj longer ^ier ju bleiben, 
 SlUein e iji ein gar ju bbfer )rt. 
 @g ift als b, atte niemanb nid^)t ju treiben 
 Unb ni^t ju fcfyaffen, 
 
 21I auf be 9?ad^barn cfyritt unb SCritt gu gaff en, 3200 
 Unb man fommt in' ereb', h)ie man fid^ immer ftettt. 
 Unb unfer ^ard^en? 
 
 m e $ b, i ft o $ $ e I e 8. 
 
 sft ben ang bort aufgeflogen. 
 ^Jiut^tDitt'ge (Sommerbogel ! 
 
 3ttartb, e. 
 
 @r fd^eint ib,r getoogen. 
 
 gJle^^ifto^b.eleg. 
 Unb fie ib,m aud). 2>a ift ber 2auf ber SSelt.
 
 t n artenljau3rf)en. 
 
 i 
 
 3ttargarete ftmngt Ijeretn, ftecft ftdj Ijinter bie !)ur, Ijatt bie 
 fpifce an bie Sippen nnb gucft biird) bie 3iifee. 
 
 3Jiargarete. 
 
 3205 @r fotnntt ! 
 
 g a u jt fommt. 
 
 21^, d^elm, fo nedEft bu mid^ ! 
 
 3;rcff ' id? bid? ! 
 
 (Sr fii^t fte. 
 
 9Kargarete t^n faffenb unb ben $ujj guriidgebenb. 
 
 Sefter 9Jlann ! toon Bergen Ueb' ic bid) ! 
 SKep^ijlop^eleS Hopft an. 
 
 % a u ft ftompfenb. 
 SOBerba? 
 
 ut greunb ! 
 
 ift toofyl 3dt ju fc^eiben. 
 (ss)
 
 156 8MI 
 
 2ft a r 1 1) e lonrntt. 
 
 3JUrt$e. 
 ^a, e tft fyat, mein err. 
 
 Srau|*. 
 
 3)arf idj eud^ nid^t geleiten ? 
 
 Margaret e. 
 2)ie Gutter toiirbe mid^) 
 
 id^ benn 
 Sebt 
 
 2lbe! 
 
 Margaret c. 
 
 2luf balbig 2Bieberfef>n ! 3210 
 
 g a u ft unb Wl c p 1) i fi o ^ ^ e I e ab. 
 
 Margaret e. 
 2)u lieber ott! lt?a fo etn SRann 
 
 , afle benfen lann ! 
 
 nur fte^>' id^> Dor i^m ba, 
 Unb fag' ju alien Sadden ja. 
 
 S3tn bo<^ etn arm untoiffenb ^inb, 3215 
 
 Segreife nicfyt h)a er an mir finb't.
 
 SSatb iinb 5I)Ie. 
 
 go uft allein. 
 
 gfaufr 
 
 Grb,abner eift, bu gabft mir, gabft ntir aKe, 
 2Barum id) bat. )u fyaft mir nid)t umfonft 
 3)ein 2lngeftd;t tm $euer jugetoenbet. 
 
 2220 abft mtr bie ^errlid^e ?Zatur jum 
 $raft, fie ju fii^Ien, ju gemejjen. 
 ^alt ftaunenben S3efud^ erlaubft bu nur, 
 SSergonneft mir in ifyre tiefe Sruft 
 2Bie in ben 33itfen einel greunbS ju fd^auen. 
 
 3225 2)u fii^rft bie SReifye ber Sebenbigen 
 
 SSor mir borbei, unb Ieb,rft rnici^ meine Sriiber 
 ^m ftitten 33uf4), in 2uft unb 2Baf[er lennen. 
 Unb toenn ber (Sturm im 2BaIbe brauf t unb Inarrt, 
 S)ie 3faefenfid;>te ftiirjenb 9^ad^bardfte 
 
 3230 Unb ^ad^barftamme quetfc^enb nieber ftreift, 
 Unb ifyrem ^aE bum^f b, ob, I ber ugel bonnert ; 
 2)ann fiib,r[t bu mid) jur fid)ern ob,le, $eigft 
 2Rid) bann mir felbft, unb meiner etgnen Sruft 
 e^eime tiefe SBunber offnen ftd). 
 
 3235 Unb fteigt Dor metnem 33Iic! ber reine 3Jionb 
 Sefdnftigenb ^eriiber : fcb, ioeben mir 
 5Bon gelfentoanben, au^ bem feudpten S3ufd), 
 
 (-57)
 
 158 goufl. Erfler S^eiL 
 
 2)er SSortoelt ftlberne eftalten auf, 
 Unb Itnbern ber 23etra$tung ftrenge Suft. 
 
 D baft bent 5)?enfa;en nirf)t SBofflomtnneS toiro, 3240 
 mfinb' idl? nun. >u gabft gu biefer SSonne, 
 3)ie micfy ben ottern nafy unb nd^er Bringt, 
 3Jitr ben efafyrten, ben id^ fc^on ntd^t meljr 
 (Sntbe^ren !ann, toenn er gleidf), !alt unb fred^, 
 9Jiic^ Dor mir felbft erniebrigt, unb gu ntd^t, 3245 
 
 9Jiit einem SBortfyaudO, beine aben toanbelt. 
 @r fac^t in meiner 33ruft ein totlbeS geuer 
 5iad^ jenem fcfyonen 23ilb gef4)dfttg an. 
 (So taitml' ic^ Don SBegierbe ju enufc, 
 Unb im enu berfc^mad^t' id) nacfy Segierbe. 3250 
 
 tritt oiif. 
 
 r nun balb ba 2eben g'nug gefiifyrt? 
 2Bte lann'^ eud^) in bie 2ange freuen? 
 ift toofyl gut, ba^ man' einmal probirt ; 
 2)ann aber toieber ju toa 5Reuen ! 
 
 8 a u ft. 
 
 ^jd^ hjottt', bu fyatteft mei)r ju t^un, 3255 
 
 2tl mid^ am guten ag ju ^lagen. 
 
 3Ji e p ^ i ft o j> ^ e I e . 
 37un nun ! id; laff bid^ gerne ru^n, 
 S)u barfft mir'S nic^t im (grnfte fagen. 
 ?ln bit efeUen un^olb, barfd? unb tott, 
 ^ft hjaljrlid^ toenig ju berlieren. 3260 
 
 3)en ganjen Xag E^at man bie >dnbe boH !
 
 2BaIb unb oljte. 159 
 
 ifcm gefattt unb toa man laffen foil, 
 $ann man bem errn me an ber 5ftafe fpiiren. 
 
 ftauft. 
 
 35a<S ift fo juft ber red)te Son ! 
 3265 (Sr toitt nod} )anf, bajj er m\3) ennu^trt. 
 
 W, e $ $ i ft o p ^ e I e 3. 
 2Sie ^att'ft bu, armer Srbenfofyn, 
 25etn Seben o^ne mid? gefiif)rt? 
 3Som ^riblrab ber imagination 
 ab' id) bid; bod) auf geiten Jang curirt ; 
 3270 llnb todr' id? nid;t, fo toarft bu fdBon 
 3Son btefem rbbatt abf^ajiert. 
 
 ^aft bu ba in iQofylen, ^elfenri^en 
 h)ie ein d^u^u ju berfiljen ? 
 fd)Iurfft au bumpfem ^lloo^ unb triefenbem eftein, 
 3275 2Bie eine ^rote 5KaF)rung ein? 
 @in fd)oner fitter ^cittoertreib ! 
 2)ir ftedt ber 2)octor nod) im 2eib. 
 
 grattfL 
 
 SSerfte^ft bu, hm fiir neue 2eben!raft 
 2Jttr biefer SSanbel in ber Dbe fd^afft? 
 3280 ^50, ioiirbeft bu e a{)nen lonnen, 
 
 2)u toareft 5teufel g'nug mein liitf mir nid)t ju gonnen. 
 
 2e^^ifto^^ele. 
 - (Sin iiberirbi|d)e SSergniigen ! 
 %n 9^ad;t unb S^au auf ben ebirgen liegen, 
 Unb @rb' unb immel ironniglio) umfaffen, 
 3285 ,3u einer ott^eit fid; auffd)toetten laffen, 
 
 >er @rbe 2Rarf mit 2(l)nungbrang burdjinii^Ien,
 
 160 
 
 2Itte fecfy Xageiuer!' im SBufen fiifylen, 
 
 3>n ftoljer raft icfy toeifj nidjt lr>a geniefjen, 
 
 SBalb liebetoonniglidj in aHe iiberfliejjen, 
 
 JBerfdjftwnben gang ber Csrbenfofyn, 3290 
 
 Unb bann bie fyobe ^ntuition 
 
 2)iit einer ebcirbe. 
 ^d^ barf ntci^t fagen toie ju fd^Iie^en ! 
 
 . Sfauft. 
 ^Pfut iiber bid^) ! 
 
 9Ji e j> $ i ft o ^ $ e I e . 
 S)a toiH eud^ nic^t Be^agen ; 
 
 abt ba 3^ed^t gefittet ^>fui ju fagen. 
 
 barf ba nic^t bor leufd^en Dfyren nennen, 3295 
 
 leufd^e erjen nic^t entbe^ren lonnen. 
 Unb lurj unb gut, id gonn' ^fym ba 3Sergnugen, 
 elegentlid? fid^ ettoaS borjuliigen ; 
 2)oc^ lange Ijalt r ba nici^t au. 
 2)u bift fd^on iuieber abgetrieben, 3303 
 
 Unb, toafyrt eg longer, aitfgerteben 
 ^n ^Dttf>eit ober 2lngft unb rau. 
 enug bamtt ! 2>etn Siebc^en ft|t babrinne 
 Unb aQe toirb t^r eng unb trub. 
 
 2)u lommft i^r gar nid^t au bent inne, 330^ 
 
 <5ie ^at bicb iibermad^ttg lieb. 
 6rft lam beine SiebeStDut^ iibergefloffen, 
 9Bie bom gefd^moljnen <Sdnee ein SBacfylein ilberfteigt ; 
 2)u ^aft fie ifyr in' erj gegoffen ; 
 
 ift betn Sdd^lein toieber feid;t. 3310 
 
 biinft, anftatt in SBcilbern ju t^ronen, 
 Stefj' e bem grofsen ^erren gut,
 
 2Balb unb 5I)Ie. 161 
 
 crnne affenjunge Slut 
 
 $iir feme Siebe gu belofynen. 
 3315 25ie 3eit toirt, ty r erbdrntltdfy lang ; 
 
 <Sie [tefyt am gtnfter, ftefyt bie SBolfen jiefyn 
 
 tiber bie alte tabttnauer {>tn. 
 
 2Benn i$ etn 33oglein ioar'! fo gefyt i^r efang 
 
 Xagelang, ^albe 9tacfyte lang. 
 3320 inmal ift fte munter, meift betriibt, 
 
 Gtnmal recfyt augeh)eint, 
 
 !55ann toieber ru^ig, ftne'3 fd^emt, 
 
 Unb immer berliebt. 
 
 flange ! 
 
 3Ji e p ^ i ft o J> ^ e I e 3 far ftdj. 
 3325 elt ! ba^ id^ bid? fangc ! 
 
 gauft. 
 
 SSerrud^ter ! fyebe bid^ Don ^innen, 
 Unb nenne nirf)t ba fc^bne 2Beib ! 
 Sring' bie Segier gu i^rem fii|en 2eib 
 
 toieber bor bie ^albberriirften (Sinnen ! 
 
 3)1 e $ \) i ft o J) ^ e I e 8. 
 
 3330 2Ba fott e benn ? <3te meint, bit feift entflo^n, 
 Unb ^alb unb ^alb bift bu e fd^on. 
 
 ^auft. 
 
 %<fy bin ifyr nab, unb iuaV idfj nod^ fo fern, 
 ^d^ fann fte nie bergeffen, nie berlieren ; 
 ^a id^> beneibe f$on ben 2eib beg errn, 
 3335 2Benn i^re Sibben i^n inbefj berii^ren.
 
 162 ftouft- (Srfter ljeil. 
 
 3ft e j> fy t ft o p & e I e 3. 
 or toofyl, tnetn gteunb ! ^dtj ^ a &' eu $ 
 r, ba unter 9fofen iueibet. 
 
 fd)im^ft itnb id^) mu^ lacfyen. 
 ott, ber 33ub= unb ^abd^en fd;uf, 
 rfannte gleid? ben ebelften S3eruf, 3340 
 
 fel&ft elegenl^eit ju macfjen. 
 fort, e ift etn grower jammer ! 
 foHt in eure 2ie6d)en hammer, 
 ettwa in ben 
 
 gauft. 
 
 2Ba ift bic ^immelgfreub' in ifyrcn Strmen ? 3345 
 
 2a^ micfy an iijrer Svuft eriwarmen ! 
 ^ttfyr id^ nic^t immer ifyre ytofy ? 
 33in ic^> ber ^liidjtling nid^t? ber Unbel^aufte? 
 2)er Unmenjd^ ofjne 3^e<f unb 3Utfy, 
 2)er h)ie etn SBafferfturj toon $el3 gu ^elfen braufte, 3350 
 SBegierig h)iit^enb nad^ bem 2lbgrunb 511? 
 Unb feitiuart? fie, mit ItnbItC9 bum^fen innen, 
 ^m wttcfyen auf bem fletnen Sll^enfelb, 
 Unb aft ifyr IauItc^e SBeginnen 
 
 Umfangen in ber Ileinen SSelt. 3355 
 
 Unb idE), ber otttoeri)a^te, 
 atte nidt genug, 
 2)a^ idp bie ^elfen fafete 
 Unb fie ju 3:riimmern fd^Iug ! 
 ie, ifyren grieben mu^t' idp untergraben ! 3360
 
 SGBalb unb bf)te. 163 
 
 e 7 mujjteft biefeS Dpfer tyaben ! 
 ilf, Steufel, mir bie t\t ber 2lngft berfurjen ! 
 2Sa mu| gefd^efjn, mag' gleid^i gefcfyefyn ! 
 SJlag i^r efd^td auf mid^ jufammenfturjen 
 3365 Unb fte mit mir 511 runbe gefyn. 
 
 toieber ftebet, toteber glii^t ! 
 e^> ein unb trofte fte, bu 2^bor ! 
 2Bo fo ein ^opfd^en feinen 2lugang fte^t, 
 teUt er ftdj gleid^ ba @nbe bor. 
 3370 6 lebe irer ftd^ tafcfer ^dlt ! 
 
 u bift bocfy fonft fo jiemlid^ eingeteufelt, 
 
 2lbgef^mac!terg finb' ic^ auf ber 2BeIt, 
 einen 2;eufel ber berjtoeifelt.
 
 ret(^ett tufie. 
 
 r e t cf) e n am pinnrabe aKctiu 
 
 r etcfy en. 
 3Reine 9tufy ift fn'n, 
 
 9ftein erj ift f$n>er ; 3375 
 
 5$ finbe fie trimmer 
 Unb nimmerme^r. 
 
 9Bo id) ifyn nid 
 
 3ft mir ba rab, 
 
 2)ie ganje SBelt 3380 
 
 3ft mir bergattt. 
 
 SJieitt armer 
 
 3ft mir berriirft, 
 
 2Rein armer inn 
 
 3ft mir jerftudt. 3385 
 
 Dieine 9lu^ ift tyin, 
 SKein erj ift fd^toer ; 
 3$ finbe fie nimmer 
 Unb nimmermefyr. 
 
 m nur frfjau' id^> 3390 
 
 3um genfter fyinauS, 
 
 (164)
 
 OretdjenS tube. 165 
 
 ifym nur gel)' i 
 bem 
 
 (Sein fyofyer ang, 
 3395 <&etn' eble eftatt, 
 
 (Seiner Slugen eioalt, 
 Unb fetner 9tebe 
 
 3400 <Setn >anbebrucf, 
 
 Unb ad^ fein 
 
 ift ^in, 
 ift fd?h)er 
 ^d^ finbe fie nimmer 
 3405 Unb nimmermefyr. 
 
 SJlein Sufen brangt 
 <3ic| nacf) ii>m ^in. 
 2ld> burft' id? faffen 
 Unb 
 
 3410 Unb liiffen it>n 
 
 (So toie id? tuoEt', 
 Sin feinen liiffen 
 JBerge^en fottt' !
 
 SftartljettS artett. 
 
 aWargorete. gaufl 
 
 Margaret e. 
 SSerfyrtcfy mir, einridj ! 
 
 2-aufi. 
 
 2Ba icfy lann ! 
 
 Margaret e. 
 
 9hm fag', toie fyaft bu' mtt ber Religion? 3415 
 
 3)u bift ein ^erjltd^ guter TOann, 
 Slffetn id^ glaub', bu i>alt'ft nicfyt mel babon. 
 
 g a u ft. 
 
 Sa^ ba, metn ^inb ! 3)u fiifylft id^ bin bir gut ; 
 giir tneine Steben Ite^' id) Seib unb 33Iut, 
 SBtH niemanb fein efii^I unb feine $trcfye rauben. 3420 
 
 Margaret e. 
 ift nidfjt rec|t, man mu^ bran glauben ! 
 
 ^auft. 
 
 Ulargaret e. 
 
 2lc| ! toenn idj eth)a auf bid^ fonnte ! 
 el>rft aud^ nid^t bte ^eil'gen acramente. 
 
 (166)
 
 3Jtortl)en arten. 167 
 
 
 
 $auft. 
 %$ efyre fte. 
 
 Etargarete. 
 3)ocfy ofyne SBerlangen. 
 
 3425 3 ur SJicffe, jur Seicfyte bift bu lange nic^t gegangen. 
 Iaubftbuan@ott? 
 
 Sauft. 
 
 3Jlein Siebdjen, ioer barf fagen : 
 8$ glaub' an@ott? 
 2Ragft ^riefter ober 2Beife fragen, 
 Unb iF>re 2lnttoort fd^etnt nur (S^ott 
 343 liber ben $rager ju fein. 
 
 Dtargarete. 
 
 <So glaubft bu nid^t ? 
 
 or' mid^ nid^t, bu f^olbe^ Slngeftc^t ! 
 2Ber barf ifyn nennen? 
 Unb toer befennen : 
 %fy glaub' i^n? 
 3435 2Ber em^finben 
 
 Unb ftd^ untertoinben 
 
 3u fagen : tc^ glaub' ifyn nidt ? 
 
 S)er SlUitmfaffer, 
 
 5440 ^a^t unb erfyalt er nid^t 
 
 JBdlbt fic^ ber immel ntd^t babroben? 
 Stegt bie @rbe nic^t fyterunten feft?
 
 168 
 
 Unb ftcigen freunblicfy bltdenb 
 
 trnge Sterne nidfyt fyercwf ? 3445 
 
 cfyau' \<fy nicfyt 2lug' in 2luge bit, 
 
 Unb brangt nidjt aHe 
 
 Sftacfy >aupt unb erjen bir, 
 
 Unb toebt in etoigem efyetmntfj 
 
 Unfidgtbar fid^tbar neben bit ? 345 
 
 rfiitt' babon bein erj, fo gro^ e ift, 
 
 Unb toenn bit gang in bem efiifyle felig bift, 
 
 bann toie bu toittft, 
 
 Kief! erj! Siebe! ott! 
 5$ ^)abe leinen Seamen 3455 
 
 2)afiir ! cffi^I tft 
 3tame tft d^att unb 
 Umnebelnb 
 
 9Jiargarete. 
 
 ift atte redt fd^on unb gut ; 
 Ungefafyr fagt ba ber ipfarrer auc^i, 3460 
 
 mit ein bi^en anbern SBorten. 
 
 @ fagen' atter Drten 
 
 Sttte erjen unter bem f>immlifrf;en 
 
 ^$ebe in feiner ^rad^e ; 
 
 2Barum nidt ic^ in ber tneinen ? 3465 
 
 9Jiargarete. 
 
 2Benn man' fo fyort, mod^t'S leiblicf) fd^einen, 
 te^t aber bod^ immer fcfyief barum ; 
 2)enn bu fyaft fetn 6I;riftent^um.
 
 9KortIjen orten. 169 
 
 gfauft. 
 2ieb 8mb ! 
 
 2Jlargarete. 
 @ tfyut mir lang fd?on toefy, 
 3470 Safj id? bid? in ber efettfcfyaft felj'. 
 
 $auft. 
 2Bie fo? 
 
 3Jtargarete. 
 
 35 er 9ftenfd?, ben bu ba bei bir ^aft, 
 Sft mir in tiefer innrer >eele berfyajjt ; 
 @ at mir in meinem Seben 
 @o nic^t einen <5ticfy in' ^erj gegeben, 
 3475 2U be 3Jlenfd?en toibrig efid^t. 
 
 Siebe ^u^e, fiird^t' ifyn 
 
 3Jiargarete. 
 
 eine egentoart beiwegt mir bag 33Iut. 
 %d) bin fonft atten 3Kenfd^en gut ; 
 3lber, toie id? mid? fefyne bid? ju fd?auen, 
 3480 a &' id? bor bem 2ftenfd?en ein ^eimlid? rauen, 
 Unb fyalt' i^n fiir einen <Sd?eIm baju ! 
 ott berjei^> mir', toenn id? i^m Unredjt t^u' I 
 
 ftauft. 
 g mu^ aud) fold?e ^duje geben. 
 
 Margaret e. 
 
 2Bottte nid?t mit @einegleid)en leben ! 
 3485 $ommt er einmal jur fyiir ^erein, 
 er immer fo tyottifd? bretn,
 
 170 8" "ft- 
 
 Unb fyalb ergrimmt ; 
 
 3ftan fte^t, bafe er an nicfyts feinen Slntfyeil nimmt ; 
 
 @ ftefyt ifym an ber tint' gefcfyrieben, 
 
 3)afj er nicfyt mag eine eele lieben. 3490 
 
 2Rtr h)irb' fo mofyl in beinem Slrm, 
 
 <So fret, fo ^tngegeben tuarm, 
 
 Unb feine egentoart fd^nitrt mtr bag ^nnre ju. 
 
 bu! 
 3Jiargarete. 
 
 iibermannt micfy fo fe^r, 3495 
 
 r too er nur mag ju un treten, 
 2Rein' id^ fogar, tcfy liebte bid^) nid^t me^r. 
 2lud) loenn er ba ift, lonnt' id^ nimmer beten, 
 Unb ba fri^t mir in' erj fytnein ; 
 IJiir, ^einrid), mu^ e auc^) fo fein. 3590 
 
 gauft. 
 2)u ^aft nun bte Slnti^at^ie ! 
 
 Margaret e. 
 ^d^ mu^ nun fort. 
 
 Sauft. 
 
 3ld fann icfy nie 
 
 (Sin tiinbd^en ruf>ig bir am SBufen ^icingen, 
 Unb SBruft an 33ruft unb eel' in eele brdngen? 
 
 SRargarete. 
 
 2ldf> h)enn \fy nur atleine fd^Iief! 3505 
 
 %<f) lie^' bir gern fyeut 9iad^)t ben 9tiegel offen ;
 
 2Rartf)en arten. 171 
 
 tnetne Gutter fd&Iaft nicbj tief : 
 Unb toiirben fair Don ibr betroffen, 
 %<fy toar' gleid^ auf ber teHe tobt ! 
 
 ftauft. 
 3510 2>u ngel, ba ^at feme Wotf). 
 
 ier tft ein $Iaf$$en ! rei 3:roj)fen nur 
 
 ^n i^ren 2^ran! um^iitten 
 
 3Kit tief em c^laf gefattig bte g^atur. 
 
 JlJiarg arete. 
 
 2Ba t^u' id^ nicfyt um betnetiottten ? 
 3515 (g totrb t^r ^off entltd^ ntd^t fcaben ! 
 
 auft. 
 2Burb' idp fonft, Ste&cfyen, btr e ratten? 
 
 2Rargarete. 
 
 <Sefy' ic^ bid^, befter 9Jiann, nur an, 
 2Betf} ntrf)t loa micfj nad) beinem SBiffen treibt ; 
 scf> F>abe fcf)on fo biel fitr bio) get^an, 
 3520 2)af5 mtr jit tb,un faft nicfytS mel;r iibrig bleibt. 
 
 tritt auf. 
 
 2Ke^^ifto^b, 
 ra^aff' ! iji er toeg ? 
 
 aft toieber f^ionirt? 
 3JI e p b, i ft o p ^) e I e . 
 ^d) ^ab' auSfii^rlid) mob, I bernommen, 
 err doctor h)iirben ba !ated;ifirt ;
 
 172 
 
 off' e foil ^s^nen toobl befommen. 
 
 SDie labels finb bocfy fefyr intereffirt, 3525 
 
 )b einer fromm unb fd^Itc^t nacfy altem 33raucfy. 
 
 <Sie ben!en, bucft er ba, folgt er un eben aud^. 
 
 8?ufb 
 
 S)u Unge^euer fte^ft nid^t ein, 
 
 2Bie biefe treue liebe (Seele 
 
 SSon i^rem lauben boU, 3530 
 
 SDer ganj aUein 
 
 felig tnadjenb ift, fid^ ^eilig quale, 
 fte ben liebften SRann berloren fatten foff. 
 
 3K e p ^> i ft o )> ^> e I e 8. 
 2)u iiberfinnltc^er finnlid^er ^eier, 
 in 2JiagbeIein nasfii^ret bic^. 3535 
 
 2)u ^ottgeburt bon 2)recl unb 
 
 3JJ e p ^> i ft o p ^ c I e . 
 
 Unb bie $^^9 nom ^ e berftei>t fie meifterlid^. 
 
 ^n meiner egentoart totrb'g tf>r fie twei^ nicfyt n>te, 
 
 2Retn 3Kdl!d)en ba toeisfagt berborgnen inn ; 
 
 @ie fitfytt, ba^ id^ ganj fic^er ein enie, 3540 
 
 SSietteid^t \vofyl gar ber eufel bin. 
 
 ge^t bid?' an? 
 e to ^ i ft o to ^ e I e 3. 
 ' id? bod^ meine $reube bran ! '
 
 21 m SBrunnett 
 
 r e t d) t n unb ? i e 8 dj e n mit $riigen. 
 
 i e 3 $ e n. 
 aft ntcfjts toon Sarbeld^en gefyort? 
 
 r et d^ en. 
 3545 ^etn 2Bort. %$ lomm' gar toenig unter Scnte. 
 
 SieSd^ en. 
 
 etoife, Oi^He fagt' mir'S ^eute ! 
 3)ie f>at ft$ enblid^ auc^ betljort. 
 2)a ift ba SSome^mt^un ! 
 
 r etcfy en. 
 
 2Biefo? 
 2 i e 3 rf) e n. 
 
 @ fttnft ! 
 @ie fiittert jtoet, h)enn fte nun i^t unb trinft. 
 
 r e 1 3) e n. 
 3550 21$ ! 
 
 SieSdjen. 
 
 @o tft'3 tfyr enbltd^ red^t ergangen. 
 2Bie lange F>at fie an bem $erl ge^angen ! 
 tear etn pajieren, 
 
 (173)
 
 174 
 
 2Iuf orf unb 
 
 JRufjt' ii&eratt bie rfte fein, 3555 
 
 Gurtefirf ifyr immer mit ^aftetdfyen unb SQBein ; 
 
 SBilb't' ficfy toa auf ifyre cfyonfyeit ein, 
 
 SBar bo(f) fo e^rlo ftc^) nicfyt ju fd^awen 
 
 efd^enfe bon ifym an^une^men. 
 
 2Bar ein e!of unb ein ef$Ie<f ; 3560 
 
 2) a ift benn aud^ ba SMiimcfyen tceg ! 
 
 r e t dj> e n. 
 >a arme ing ! 
 
 2t e d^ en. 
 Sebaucrft [te nocfy gar ! 
 2Benn unfer ein am pinnen tear, 
 Un -ftacfytS bte SRutter mct ^inunterlie^, 
 (Stanb fie bei i^rem Sullen fitfj, 3565 
 
 2luf ber ^^iirbanf unb tm bunleln ang 
 SOSarb ifynen feme tunbe ju lang. 
 a mag fie benn ficfe bucfcn nun, 
 ^m iinberbembd^en ^trd^bu^' tfyun ! 
 
 r e t $ e n. 
 @r nimmt fie getot^ ju feiner $raii. 3570 
 
 S i e $ e n. 
 
 6r tear' ein 9farr ! Sin flinf er 3 un 9' 
 at anberh)art nod; Suft genung. 
 @r ift aud^ fort. 
 
 r e t cfyen. 
 )a ift nicf)t fc^on ! 
 
 Si e ad) en. 
 ^riegt fie i^>n, foU' iijr iibel ge^n.
 
 2tm Srumten. 175 
 
 3575 25ag ^ranjel reifjen bie SBuben ifyr, 
 Unb >arferling ftreuen toir bor bie 
 
 r e t d; e n nad) aiife ge^enb. 
 SSte lonnt' id) fonft fo tapfer fd;ma^Ien, 
 SBenn t^at ein arme SJJagblein fefylen! 
 SSie fonnt' id; iiber anbrer <2iinben 
 
 3580 5Rid;t SBorte g'nug ber 3 un 9 e finben ! 
 
 2Bie fd;ten mir' fd^tDarj, unb fdjtoarjt'S nod; gar, 
 3Jiir' immer bod; nid;t fd;toar3 g'nug h)ar, 
 Unb fegnet' mid; unb t^at fo groft, 
 Unb bin nun felbft ber Siinbe blofe ! 
 
 3585 25od; aHe h)a baju mid; trieb, 
 ott ! tear fo gut ! ad; toar fo lieb !
 
 3 to t n g e r. 
 
 3n bet 2RcmerIjof)te etn 2(nbacf)t8!6ilb ber Mater dolorosa, 23hnnenfriige 
 batoor. retdjen fledtt frifd)e 33Iutnen in bie $riige. 
 
 retcfyen. 
 
 2)u 
 
 2)ein 2lntli| gnabig metner 
 
 djtoert im ^erjen, 3590 
 
 9Jiit taufenb cfymerjen 
 S3Iidft auf ju betneS 
 
 3um 5Bater Blufjt bit, 
 
 Unb eufjer f^idft bu 
 
 ^inauf um fein' unb beine Woty. 3595 
 
 SSer fii^Iet, 
 
 2)er d^merj mir im efcein? 
 2Ba mein arme erj ^ter banget, 
 
 jittert, h>a berlanget, 3600 
 
 nitr bu, nur bu attein ! 
 
 c mmer 
 2Ste toe^, tote toe^, lote 
 
 (76)
 
 3inger. 177 
 
 SBirb mir im 33itf en 
 3605 3$ Bin ac faum atfeine, 
 
 !gd) toein', icfy toein', i$ toeine, 
 jerbrtd^t in mir. 
 
 !iDic c^erben bor meinem $enfter 
 Set^aut' td^ mit 3:^ranen, aclj ! 
 3610 21I id^ am friiljen 9J?orgen 
 
 25ir biefe SBIumen brad^. 
 
 c^ien ^ett in meine hammer 
 35ie onnc frii^ fyerauf, 
 <Sa^ \<fy in aHem jammer 
 3615 ^n meinem Sett fcfjon auf. 
 
 ilf ! rette mid) Don cijmacfj unb 
 2ld neige, 
 
 Sein Slntli^ gnabig metner
 
 trafce bor retdjenS SCI? it re. 
 
 SB a Ten tin @olbat, vetdjenS SBrttber. 
 
 33 a I e n 1 1 n. 
 
 SBenn id; fo fafe bei etnem elag, 3620 
 
 9Bo manner fid? beriifymen mag, 
 Unb bie efetten mir ben %\oi 
 35er SRagblein laut gepriefen bor, 
 SJtit tooflem Ia ba Sob berfd;iDemmt, 
 2)en ttenbogen aufgeftemmt 3625 
 
 a| id) in meiner fid;ern 3fiu^, 
 ort' aU bem d^toabroniren ju, 
 Unb ftreid;e lad^elnb nteinen 33art, 
 llnb frtegc ba botte Ia jur anb 
 Unb fage : atte nad; f etner Slrt ! 3630 
 
 3(ber ift ine im ganjen 2anb, 
 2)ie meiner trauten retel gleid;t, 
 2)ie meiner d;n)efter ba SSaffer reid^t? 
 2:ob ! Stop ! Iing ! ^lang ! ba ging ^erum ; 
 2)ie einen fd;rieen : er fyat Sled^t, 3635 
 
 <Sie ift bie $ier jjom ganjen efd;Ied;t ! 
 2)a fa^en atte bie Sober ftumm. 
 Unb nun ! um 'g aar fid; au^uraufen 
 Unb an ben SBanben fyinauf ju laufen ! 
 9Jiit (Stid;elreben, ^aferiimbfen 3640 
 
 @oH jeber @d;urfe mid; befd;imbfen ! 
 
 (178)
 
 Stedjt. 179 
 
 oH tote cm bofer djulbner fttjen, 
 SBei jebem 3ufatttoortd)en f<f>hnen ! 
 Unb mod?t' id) fie juf ammenf djmeifjen ; 
 3645 $6nnt' id) fie bod) nid;t Stigner fyetfjen. 
 
 2Ba fommt fyeran ! 2Ba fd)Ieid)t fyerbei? 
 ^rr' id) md;t, e finb ifyrer jtoei. 
 3fk er', gleirf; |>adP id) i^n bei'm 
 ott nid)t lebenbig bon ber teUe ! 
 
 3650 9Bie toon bem genfter bort ber acriftet 
 
 2luftoart ber <Sd)ein be eto'gen 2ampd)en jTdmmert 
 Unb fd)ioad) unb fd)toad)er feittoartS bammert, 
 Unb ^infterni brangt ringiim bei ! 
 @o fleet's in meinem SBufen ndd^tig. 
 
 2ft e p ^ i ft o ^ ^ e I e 3. 
 3655 Unb mir ift'S toie bem ^d^Iein f^macfytig, 
 
 2)a an ben ^euerleitern fd)Ieid)t, 
 
 id) leif ' bann um bie 9Jiauern ftreid)t ; 
 
 2Rir ift'S gang tugenblid) babei, 
 
 @in bifjd)en SiebSgeliift, ein bi^d)en 9tammelei. 
 3660 o fpuft ntir fd)on burd) atte lieber 
 
 fommt un iibermorgen toieber, 
 man bod; toarum man n>ad)t. 
 
 g a u ft. 
 
 tool)l ber d)a^ inbeffen in bie 61)', 
 3665 2)en id) bortfyinten flimmern fe^' ?
 
 180 
 
 3ft e p fy i ft o p fy e I e 3. 
 fannft bie $reube balb erleben, 
 
 efjielcfyen fyerau^ufyeben. 
 %<$ fcfyielte neulid^ fo ^tnein, 
 inb I>errlt^e Sotoent^aler bretn. 
 
 em efd^metbe, nid^t em Sting, 3670 
 
 2Jteine Uebe SBufyle bamtt ju jieren ? 
 
 2ft e p ^ t ft o jj ^ e I e 8. 
 $$ fa^ babei too^I fo ein 2)mg 
 2U tote eine 2lrt toon ^Berlenfdjniiren. 
 
 (So ift e re$t ! 9Ktr t^'ut e toefy, 
 
 SSenn td^ o^ne efd^enle ju i^r ge^'. 3675 
 
 3JZ e $ i ft o p ^ e I e . 
 6 fottt' eud? eben nidjt berbrie^en 
 Umfonft aud^ ettoaS 511 genie^en. 
 ^e^t ba ber tmmel boffer teme glii^t, 
 @oHt i^r ein toa^reS ^unftftucf fyoren : 
 ^d? fing' i^r ein moralifd} Sieb, 3680 
 
 Urn fte getoijfer ju bet^oren. 
 
 @ingt gur Sitter. 
 SBa ma6ft bu mir 
 SSor iebc^en 2:^iir, 
 d^en, fyter 
 
 ^em2;agebli(fe? 3685 
 
 , lafe e fein ! 
 lafet bt<$ ein
 
 181 
 
 ein, 
 
 nicfyt juriitfe. 
 
 3690 -ftefymt eudji in 2ld;t ! 
 
 Sft e bollbrad&t, 
 S)ann gute -ftacfyt 
 $r armen, armen linger ! 
 abt t^r eu<^ Iteb, 
 
 3695 fyut leinem 3)ieb 
 
 tnit bem Sting am finger. 
 
 23 a I e n t i n tritt Dor. 
 
 SSen lodfft bu tyier? bei'm element ! 
 SSermalebeiter Sfattenftinger ! 
 3700 3 um ^eufel erft bag ^nftrument ! 
 
 3um eufel ^tnterbrein ben anger ! 
 
 2ft e p ^> i ft o $ 1) e I e 3. 
 SDie Sitter ift entjtoet ! an ber ift ni$t ju 
 
 S3 a I e n t i n. 
 fott e an ein <3$abelfpalten ! 
 
 err jDoctor nid^t 
 3705 art an mi$ an, toic id^ euc fiifyre. 
 erau mit eurem 
 iftur jugefto^en ! 
 
 S3 a I e n t i n. 
 ^arire ben !
 
 182 
 
 SSarum bennntcfyt? 
 
 33 a I en tin. 
 2ludEj ben ! 
 
 etoife ! 
 
 33 a I en tin. 
 
 3$ glaub', ber Seufel ftct ! 
 2Ba ift benn ba? cfyon tpirb bie anb mir lafym. 3710 
 
 ju gaujl. 
 
 Valentin fattt. 
 D 
 
 ift ber 2ummel 
 aber fort ! 2Bir miiffen gleid^ berf^ioinben : 
 
 2)enn fd^on entfte^t ein morberlicfy efc^rei. 
 
 3^ toei^ mid^ trefflidj mtt ber ^olicei, 
 
 mit bent Slutbann fd^Ied^t mtc abjuftnben. 3715 
 
 3)iart^e amgenfier. 
 erau I erau ! 
 
 retd^en am genfter. 
 erbei ein Sid^t ! 
 
 3Ji a r t f) e nrie oben. 
 2Ran fd^ilt unb rauft, man fc^reit unb fidjt. 
 
 58 oil. 
 2)a Itegt f $on einer tobt !
 
 183 
 
 2R a r t fy e IjerauStretenb. 
 >ie SRorber finb fie benn entflo^n ? 
 
 r e t $ e n Ijeraitstretenb. 
 3720 2Ber Uegt In'er ? 
 
 Sol!. 
 
 2)einer Gutter 6ofyn. 
 
 r etcf) en. 
 2lIImadjttger ! toelcfye 5Rot^ ! 
 
 23 a I en tin. 
 
 3$ fterbe ! ba ift balb gefagt 
 
 Unb balber nod^ get^an. 
 
 2Ba fte^t ifyr SBeiber, ^eult unb !Iagt? 
 3725 $ommt f>er unb i>ort micfy an ! 
 
 2lUe treten urn i^n. 
 
 SJiein retcf)en fie^> ! bu 6ift nod^> jung, 
 
 33ift gar nod^ nic^t gefc^eibt genung, 
 
 Kacfyft beine ad^en fd^led^t. 
 
 Jgd) fag' bir'S im 3Sertrauen nur : 
 3730 2)u btft bocl) nun einmal eine ur' ; 
 
 (So fei' aud^ eben recfyt. 
 
 ret 3) en. 
 
 3Jiein Sruber ! ott ! 2Bag foil mir ba ? 
 SSalentin. 
 
 Sajj unfern err ott au bem <5pafc. 
 efc^el)n ift leiber nun gefcfyefyn, 
 3735 ^ n ^ to eg 9 e ^ n ^ ann ' f toirb'g gefyn. 
 2)u fingft mit @inem fyetmlicfy an,
 
 184 Sfcwfl. er f* cr 
 
 SBalb fommen ifyrer mefyre bran, 
 Unb toenn btdfy erft ein u$enb fyat, 
 (So fyat bicfy audl) bie ganje tabt. 
 
 SOBenn erft bie dfyanbe toirb geboren, 3740 
 
 2Birb fte ^etmltd^ gur SBelt gebradjt, 
 
 Unb man gie^t ben deleter ber Wafyt 
 
 %fr uber opf unb D^ren ; 
 
 ^$a, man mod)te fie gern ermorben. 
 
 2Bacfy'ft fie aber unb madt ftcfy gro, 3745 
 
 2)ann ge^>t fie aurf) bei 2^age blo^, 
 
 Unb ift bodj nid^t f^oner getoorben. 
 
 ^e ^a^Ii^er toirb t^r eftd^t, 
 
 ^e me^r fud^t fie be Staged 
 
 eF>' toafyrfyaftig fd^on bie 3eit, 3750 
 
 aHe brabe S3urgerIeut', 
 2Bie toon einer angeftetften Seid^en, 
 SSon bir, bu SJie^e ! feitab toeicfyen. 
 Sir fott ba erj im Seib berjagen, 
 2Benn fie bir in bie 2lugen fe^n ! 3755 
 
 ottft feine golbne $ette me^r tragen ! 
 ^n ber $ircfye nic^t me^r am 2Utar fte^n ! 
 ^n einem fcfjonen ^i^enlragen 
 S)id^ nic^t bei'm Sanje luo^Ibe^agen ! 
 ^n eine finftre ^ammeredfen 3760 
 
 Unter Settler unb riitofcel bid^ berftecfen, 
 Unb toenn bir benn auc^ ott berjeifyt, 
 2luf @rben fein bermalebeit ! 
 
 Dttartfye. 
 
 Sefe^It eure eele ott 511 naben ! 
 SSottt ifyr noc^ ^aftrung auf eud^) laben? 3765
 
 185 
 
 SB a I e n t i n. 
 
 $5nnt' i<$ bit nut an ben biirren 2ei&, 
 $u fdjanbltd} lupplerifce 2Betb ! 
 35a fyofft' id^ atter meiner iinben 
 SSergebung reid^e !Ka ju finbcn. 
 
 r et d^en. 
 3770 3Kein Sruber ! SEeld^e otten^ein ! 
 
 SB a I en tin. 
 
 %<fy fage, lafe bte Sfyranen fein ! 
 a bu bt$ f^rad^ft ber @^re Io, 
 abft mir ben fdE>toerften 
 3$ gefye burd^ ben 
 
 3775 3" ott ein al olbat unb brab. 
 
 tirbt.
 
 SDotn. 
 
 21 m t, D r g e I unb e f a n g. 
 r e t (f) e it unter Dielcm SSolfe. 33 o f e r e i ft f)inter retdjen. 
 
 S3 5 f e r e t ft. 
 2Bie anber, retd^en, tear bir', 
 Sllg bu noc^) bott Unfc^ulb 
 ier gum 2lltar trat'ft, 
 2lu bem bergrtffnen 33iid^eld^en 
 ebete lattteft, 3780 
 
 ott tm 
 retd^en ! 
 
 n beinem ^erjen 3785 
 
 Set'ft bu fur beiner Gutter eele, btc 
 
 SDitrdji bid^) gur langen, langen $etn ^i 
 
 Sluf beiner cfytoeUe tocffen Slut? 
 
 Unb unter beinem erjen 3790 
 
 Sflegt fid'3 nid^t qutUenb fd^on, 
 
 Unb cingftet bid^i unb fic^ 
 
 egeniuart?
 
 187 
 r e t dj e n. 
 
 3795 SBar' id) ber ebanten Io, 
 
 3)ie mir fyeruber unb I)iniiber gefyen 
 SBiber mid? ! 
 
 6^ or. 
 
 Dies irae, dies ilia 
 Solvet saeclum in favilla. 
 Drgdton. 
 
 S 5 f e r e t ft. 
 
 <8oo rttnm fa^t bid) ! 
 
 2)ie ^Sof aune tont ! 
 S)ie raber beben ! 
 Unb bein 
 
 3805 
 
 SBieber aufgefd^affen, 
 S3ebt auf ! 
 
 r etdj en, 
 
 2Btir' id) fyier toeg ! 
 IDiir ift al ob bie Drgel mir 
 3810 3)en Stt^em 
 
 efang mein 
 ^tn Slicfftcn Idrte. 
 
 <S I) or. 
 
 Judex ergo cum sedebit, 
 Quidquid latet adparebit, 
 3815 Nil inultum remanebit.
 
 188 
 
 r e t rf> e n. 
 ltr hrirb fo eng ! 
 SDie 3Jtauern-^feiIer 
 Sefangen mid) ! 
 etoolbe 
 
 id^ ! 2uft ! 3820 
 
 33 o f c r e i ft. 
 
 SSerbirg bid^ ! @iinb' unb @d;anbe 
 SBIeibt nid^t berborgen. 
 Suft? 
 bir ! 
 
 Quid sum miser tune dicturus? 3825 
 
 Quern patronum rogaturus? 
 Cum vix Justus sit securus. 
 
 SB o f e r e i ft. 
 $fyr 3lntlt^ tuenben 
 SSerllcirte i>on bir ab. 
 
 3)te ^anbe bir ju reic^en, 383o 
 
 ben 9teinen. 
 
 Quid sum miser tune dicturus ? 
 
 ret d^ en. 
 
 6uer 
 @ie faUt in
 
 irg. egenb bon cfyierle unb lenb. 
 
 3835 SBerlangft bu nicfy t na$ einem 33efenftiele ? 
 $d? toiinfcfyte tntr ben atterberbften SBocf. 
 2luf biefem SBeg finb h)tr no^ toeit bom 
 
 gauft. 
 
 @o lang id^ mic^ nod^) frifd^ auf metnen 33etnen fit^Ie, 
 
 eniigt mir biefer ^notenftodf . 
 3840 2Ba gift's ba^ man ben 3Seg berfurjt ! 
 
 ^m 2ab^rint{) ber Staler ^injufc^Ieic^en, 
 
 2)ann biefen $elfen ju erfteigen, 
 
 SSon bem ber Duett ficfy etoig fbrubelnb fturjt, 
 
 35a ift bie 2uft, bie folcb, e ^Sfabe murjt ! 
 3845 $>er ^rii^Iing toebt fc^on in ben 33ir!en 
 
 Unb felbft bie gicfyte fu^It ib,n fd?on ; 
 
 ottt' er nid;t aud9 auf unfre lieber toirlen? 
 
 id^ fbiire nidE>t& babon ! 
 3Jlir ift e tointerlia^ tm Seibe ;
 
 190 ftauft. Srfter Sfjeit. 
 
 $$ toiinfcfyte dfmee unb $roft auf meiner Salrn. 385 
 
 2Bie traurig fteigt bie unbottfommne d>eibe 
 
 SDeS rotfyen 9J?onb mit footer lutl) fyeran, 
 
 Unb leucfytet fcfylecfyt, baft man bet jebem cfyritte, 
 
 33or einen SBaum, Dor einen ^elfen rennt ! 
 
 drlaub' ba^ tc^ em ^rrltc^t bitte ! 3855 
 
 SDort fe^' id) ein, ba eben luftig brennt. 
 
 e ba ! mein greunb ! arf icf> bid^ ju un fobern ? 
 
 28a iDtttft bu fo t>ergeben lobern ? 
 
 ei boc^ fo gut unb leiicfyf un ba fytnauf ! 
 
 Srrlid9t. 
 
 3lu fyrfurcfyt, f>off' id^, foH e mir gelingen, 3860 
 
 9Jietn leic^teg Matured u jluingen ; 
 i<%ac! gef)t getoo^nlic^ unfer Sauf. 
 
 @i ! @i ! @r benft'g ben SJlenfcfyen nac^jua^men. 
 
 ef)' @r nur g'rab', in' Steufel^ 9^amen ! 
 
 onft blaf td^ ^j^m em glacfer^Seben au. 3865 
 
 ^3) merfe n)of>I, ii>r fetb ber >err bom 
 
 Unb nritf mid) gern nac^ eud) bequemen. 
 
 2lttein beben!t ! ber S3erg ift fjeute jaubertott, 
 
 Unb Icenn ein ^rrlid;t euc^ bie 2Bege Jreifen foil, 
 
 o mii^t tfyr'3 fo genau nicf)t nei?men. 387 
 
 rrt m 
 ^n bie Straums unb 3cwfo r fyfycire 
 inb toir, fd^eint e, eingegangen. 
 giifyr' un^ gut unb mad/ bir
 
 191 
 
 toir bortodrts balb gelangen, 
 3875 ^n ben toeiten oben 9tdumen. 
 
 eb/ bie Sdutne fyinter SBdumen, 
 2Bie fie fdrmett boriiber riicfen, 
 Unb bie $libtoen, bie fid^ biicfen, 
 Unb bie langen ^elfennafen, 
 3880 2Bie.fie fcfynarcfyen, toie fie blafen ! 
 
 3)urcf) bie teine, burd^ ben Siafen 
 Silet 33ad^ unb Sdd^Iein nieber. 
 or' id^> 9taufrf)en? ^or' icfy Sieber? 
 01^ id? i)olbe SiebeSflage, 
 S^S timmen jener immeltage ? 
 
 28a h)ir ^offen, h)a toir lieben ! 
 Unb ba (Srf)o, toie bie <Sage 
 2llter 3^ te "/ affet toiber. 
 
 Ub,u ! cfyuljw ! tbnt e nd^er, 
 3890 $auj unb ^ibi unb ber db,er, 
 
 <Sinb fte atte toacfy geblieben ? 
 
 inb ba Mcfye burd^'g eftrdud^e? 
 
 Sange Seine, birfe 33dudi)e ! 
 
 Unb bie 3SurjeIn, toie bie d^langen, 
 3 8 95 SSinben fid? aul ^ell unb anbe, 
 
 tredren tounberlid^e SBanbe, 
 
 Un ju f d^reden, un ju fangen ; 
 
 2lu belebten berben SRafern 
 
 trecfen fie ^Bol^enfafern 
 3900 3iad9 bent -JBanbrer. Unb bie 5ERdufe
 
 192 3 au fl- Srfter Sfjeil. 
 
 Xaufenbfdrbig, fcfyaarentoeife, 
 
 SDurcfy ba 9Jloo unb bitrcfy bie eibe 1 
 
 Unb bie $un!enft>itrmer fliegen, 
 
 3ftit gebrdngten d^todrme^ws^^ 
 
 3um bertoirrenben eleite. 3905 
 
 Slber fag' mir ob h)tr ftefyen, 
 Dber ob U)tr toeiter gefyen? 
 
 , atte fd^eint ju brefyen, 
 
 unb Sdume, bie eficfyter 
 Sc^neiben, unb bie irren Sifter, 391 
 
 2)ie ftd^) me^ren, bie ftrf) bidden. 
 
 ^affe toatfer meinen 
 
 ier ift fo ein SRittelgi^fel, 
 
 2Bo man mit Grftaunen fiel^t, 
 
 2Bie im 33erg ber 2Rammon glii^t. 3915 
 
 Sauft. 
 
 2Bie feltfam glimmert bttrrf) bie riinbe 
 @in morgenroti)Ii(^ triiber (Serein ! 
 Unb felbft bi in bie tiefen c^Iiinbe 
 2)e3 2lbgrunb toittert er ^inein. 
 &a fteigt ein 35am^f, bort giefyen c^tcaben, 3920 
 
 ier leud^tet Iittfy aul 3)unft unb ^lor, 
 SDann fd)Ieic^)t fie toie ein garter $aben, 
 2)ann brid^t fie toie ein Dueff Berber. 
 ier fcfylingt fie eine ganje trecfe, 
 m\t ^unbert aibern, fic^ burc^'g fyal, 3925 
 
 Unb I)ier in ber gebrdngten @cfe
 
 SBafyurgiSnadjt. 193 
 
 SSereinjelt fie ficfy auf einmal. 
 2)a fpriifyen gunfen in ber 
 2Bie ausgeftreuter golbner <5anb. 
 3930 3)oc&, fcfyau' ! in ifyrer ganjen o^ 
 Gntjiinbet fid? bie ^elfenloanb. 
 
 rleucfytet nidbt ju biefem 
 err Gammon ^rdc^tig ben 
 (Sin liicf bap bu' gefeben Iaft ; 
 3935 %<fy tyiire [c^on bie ungeftiimen afte. 
 
 gaujl. 
 
 2Bte raft bie 2Sinbbraut burc^ bie Suft ! 
 3Rit toelcfyen ScBIdgen trifft fie meinen -ftacfen 
 
 alte 
 
 onft ftiirjt fte bid^ ^inab in biefer cfe, liinbe ruft. 
 394 gi n gjefcel berbid^itet bie 5^acf)t. 
 
 6re h)ie' burc^ bie SSalber fradjt ! 
 
 3lufgefd^euc^t fliegen bie Gulen. 
 
 or', e f^Iittern bie dulen 
 
 6h)ig griiner ^Jaldfte. 
 3945 irren unb Sred^en ber Slfte ! 
 
 2)er (Stamme mdd^tigeg 2)ro^nen ! 
 
 2)er SBurjeln ^narren unb dfynen ! 
 
 ^m fiirc^terlic^ bertoorrenen 
 
 liber einanber Irad^en fie atte, 
 395 Unb burrf) bie iibertrummerten 
 
 3ifcf)en unb ^eulen bie Siifte.
 
 194 gaufl. Srfier 2f>eil. 
 
 orft bu titnmen in ber 6fye ? 
 
 $n ber gerne, in ber ^tafyc ? 
 
 Ijja, ben ganjen Serg entlang 
 
 (Stromt ein toiitfyenber $aubergefang ! 3955 
 
 e r. e n im G fy o r. 
 2)ie >er.en ju bem Srorfen jie^n, 
 S)ie to^el ift gelb, bie aat ift griin. 
 5Dort fammelt fid^ ber grojje auf, 
 ^err Urian fi^t oben auf. 
 
 <So ge^t e uber <3tein unb (Stodf, 39 60 
 
 @3 f t bie ^eje, e ft t ber Serf. 
 
 @ t i m m e. 
 
 ie alte Skufco fommt attetn ; 
 ie reitet auf einem SRutterfc^toein. 
 
 (So 6^re benn, n)em 
 
 grail Saubo bor ! unb angefii^rt ! 3965 
 
 @in tiid^tig d^toein unb Sautter brauf, 
 
 S)a folgt ber ganje ejenf)auf. 
 
 <S 1 i m m e. 
 SBelc^en SSeg lommft bu tyer? 
 
 t i m m e. 
 
 tiber'n ^Ifenftein ! 
 
 a gucft' iep ber (Me tn'8 3^eft I)inein. 
 3)ie mac9t' ein $aar Slugen ! 
 
 t i m in e. 
 
 D fafyre jur offc. 3970 
 
 reit'ft bu fo
 
 195 
 
 <S t i m m e. 
 fyat fte gefdjwnben, 
 S)a ftel) nur bie 28unben ! 
 
 e r. e n. @ fy o r. 
 2)er 28eg ift breit, ber 2Beg ift long, 
 3975 2Ba3 ift ba fur ein totter SDrang ? 
 
 te abel fticfyt, ber 33efen fra^t, 
 3)a ^inb erfttcft, bie Gutter ^Ia|t. 
 
 ejentneifter. albeg 6^> 
 2Btr fc^Ieid^en Juie bie @$necf im 
 S)ie 2Seiber aUe ftnb toorau. 
 3980 SDenn, geF)t e 311 be^ SBofen au, 
 
 2)a 2Beib f>at taufenb c^ritt boraug. 
 
 2tnbre ^alfte. 
 2Bir neF)men ba nid^t fo genait, 
 3JJit taufenb Britten mad(>t' bie $rau; 
 2)0^, toie fte audj fid^ eilen fann, 
 3985 -Kit einem grunge mad^t' ber 3ftann. 
 
 t i m m e oben. 
 ^ommt mit, fommt mit, bom ^elfenfee ! 
 
 t i m m e n on unten. 
 SSir mocfyten gern mit in bie olj. 
 2Bir n)afrf>en unb blan! ftnb toir ganj unb gar ; 
 Slber aud; etoig unfrud^tbar. 
 
 Seibe 61>ore. 
 
 3990 gg fa^iioeigt ber 2Sinb, e^ flieb^t ber tern, 
 
 2)er triibe 2Ronb berbirgt fia; gem.
 
 196 ftauft. rfter 
 
 ^m aufen fpriifyt ba<3 
 SSiel taufenb geuerfunfen 
 
 <S t i tn tn e on itntcn. 
 
 <S t i m m e toon obeti. 
 2Bcr ruft ba au ber gelf enfyalte ? 3995 
 
 @ t i tn m e uttten. 
 micf) mit ! ^ie^mt midj mit ! 
 
 ^5^ fteige fdjon brei^unbert ^a^r, 
 Unb lann ben tpfel ntd^t erreic^en. 
 ^ toare gern bet 3JietnegIetc^en. 
 
 SBeibe Gfyore. 
 
 @ tragt ber Sefen, tragt ber torf, 4000 
 
 2)ie abel trcigt, e tragt ber 33od; 
 28er ^eute fid^) nid;t ^eBen lann, 
 ^ft eh)ig ein berlorner SJiann. 
 
 ^> a 1 6 e r, e iinten. 
 
 $d) trt^iple nadE), fo lange 3^ '> 
 
 2Bie finb bie anbern fd)on fo h)eit ! 4005 
 
 %<fy f>ab' gu ^aiife feine 9tui>, 
 
 Unb fomme ^ter bocfy ntc^t baju. 
 
 (5i)or ber >er,en. 
 
 2)te albe gtbt ben er.en 5Rut^ 
 
 @tn Sum^en ift jum egel gut, 
 
 in gute <3rf)iff ift jeber Strog ; 4010 
 
 2)er flieget nie, ber fyeut nid;t flog.
 
 2Batpurginadjt 197 
 
 33eib e 6^6 re. 
 llnb toenn totr um ben ipfel ^teljm, 
 <So ftretcfyet an bem 23oben fyin, 
 Unb becft bie eibe toeit unb brett 
 4015 2Rit eurem d^toarm ber 
 
 @ie laffen ftd) nteber. 
 
 brcingt unb fto^t, ba ruf cbt unb f lappert ! 
 jtf d^t unb quirlt, ba jiefyt unb plap^ert ! 
 leucfytet, fpriibt unb ftinft unb brennt ! 
 (Sin toabre ejenelement ! 
 4020 -ftitr feft an mir ! fonft ftnb toir gletcfy getrennt. 
 
 a u f t in ber gtrne. 
 
 i ft o ^ ^ e I e . 
 
 2Sa! bort fa^on ^tngeriffen? 
 hjerb' id^ aured?t braud)en miiffen. 
 
 ! punier SSolanb fommt. ^S(a^ ! fufeer 
 ^ier, doctor, faf[e midj ! unb nun, in @inem 
 4025 Sa^ un au bem ebrdng' enttoeia^en ; 
 @ ift }u toll, fogar fur 5Reineggleicfyen. 
 
 neben leucfitet ica mtt ganj befonbrem d^ein, 
 jie^t mid) h)a nac^ jenen trtiucfyen. 
 , fomm ! toir fa^lujjfen ba l>tnein. 
 
 4030 SDu ei[t be 2Biberf^rud^ ! 9?ur ju ! bu magft mtc^) fii^ren. 
 3d^ ben!e bocfy, ba iuar rea)t f lug gemacgt ;
 
 198 
 
 3um 23roden toanbeln toir in ber 28afyurgtnad;t, 
 Urn un beliebig nun fytefelbft ju ifoliren. 
 
 fiefy nur it>eld;e bunten $lammen ! 
 i(t ein muntrer Glub beifammen. 4035 
 
 $leinen ift man nid;t aUetn. 
 
 broben mocfyt' ic| lieber fetn ! 
 (Sd^on fei>' id) httfy unb 2BtrbeIrau$ v 
 S)ort ftromt bie 3Jienge 311 bent 335|en ; 
 3) a mu^ ft$ man$e ^atfyjel lofen. 4040 
 
 3Ji e $ I) \ ft o $ $ e I e 8. 
 man$e 9iatfyfel fnii^ft fidj> au$. 
 bu bie grojje SBelt nur faufen, 
 SBir tooHen ^)ier im titten faufen. 
 ift bo$ lange ^ergebrad^t, . 
 
 2)afe in ber gro^en 2BeIt man Heine SBelten ma$t. / 4*545 
 3) a fel)' id) junge eE$en nacft unb blo^, 
 Hnb alte bie fid; flug berfyutten. 
 eib freunblid;, nur um meinettoitten ; 
 ie 9)Ju^ ift Ilein, ber 6^a^ ift gro^. 
 ^d; fyore h)a toon ^nftrumenten tonen ! 4050 
 
 ^erflud;t ef$narr ! 2Ran mu fid; bran getoofynen. 
 ^omm mit ! ^omm mit ! @ !ann nia;t anberS fein, 
 ^5$ tret' I>eran unb fiifyre bid; ^erein, 
 Unb id; berbtnbe bid; auf neue. 
 
 2Ba f agft bu, ^reunb ? bag ift letn f leiner ^aum. 4055 
 2)a fiet) nur I)in ! bu fiefyft ba @nbe !aum. 
 Sin unbert ^euer brennen in ber Steifye ;
 
 2Batpurginad)t. 199 
 
 Bfan tanjt, man fdfjtoattf, man focfyt, man trinft, man liebt ; 
 9hm fage mir, too e toa 23effer gibt? 
 
 8faufr 
 
 4060 2Bttt(t bu bidfy nun, um un fyier einjufiiljren, 
 2113 $aubrer b er cuf el probuctren ? 
 
 3n)ar bin idj fe^r geioo^nt incognito ju gefyn, 
 
 3)oc^ la^t am alatag man feinen Drben fe^n. 
 
 @in $nie&anb jeicfinet mid^ nid^t au, 
 4065 2)oc^ ift ber ?Pferbefu fyier ei>renbott ju aul. 
 
 (Sie^ft bu bie (Sd^necEe ba? @ie !ommt ^erangefroc^en ; 
 i^rem taftenben eftcfyt 
 fte mir fc^on toa abgerod^en. 
 
 SBenn id^ auc^ toiU, berldugn' id^ bter mid() nicfjt, 
 4070 ^omm nur ! Don geuer geEjen h)ir ju geiter, 
 
 ^d^ bin ber 2Serber unb bu bift ber ^reier. 
 
 3u einigen, bie um toergUmmenbe $ol)Ien ft^cn. 
 
 3^r alten errn, toa mad|>t i{>r ^ier am G?nbe?' 
 
 %<fy lobt' euc^, toenn icfj euc^ ^iibfd^ in ber 2Ritte fanbe, 
 
 3Son @au umjirft unb 
 4075 enug aUein ift jeber ja 
 
 e n e r a I. 
 
 2Ber mag auf -ftationen trauen ! 
 5Ran ^abe nod) fo btel fiir fte getfyan ; 
 !J}enn bei bem SSoIf, toie bei ben ^rauen, 
 tefyt immerfort bie ^ugenb oben an. 
 
 2K i n i ft e r. 
 
 4080 3>et ift man toon bem SRecfyten atfjutoeit, 
 34> lobe mir bie guten 2llten ;
 
 200 5of*- ^fter 
 
 3)enn freilid), ba fair afre galten, 
 35a. toar bie recite golbne geit. 
 
 *P arto enu. 
 
 2Bir toaren toafyrlid) aud) nid)t bumm, 
 Unb tfyaten oft hmS toir nid;t foUten ; 4085 
 
 SDodj je^o le^rt fid? atte urn unb urn, 
 Unb eben ba fair's feft erfyalten toottten. 
 
 2Ber mag toofyl iiberF)au))t je|t eine @d)rift 
 
 SSon ma^ig Ilugem ^n^alt lefen ! 
 
 Unb toa ba Itebe junge 3SoI! betrifft, 409 
 
 a ift nod? nie fo nafetoeiS getoefen. 
 
 JI e ^3 ^ i ft $ e I e ber auf einmaf fe^r ott erft^eint. 
 
 3um jiingften Xag fiif)!' id) ba SSoIf gereift, 
 
 3)a id) gum le^tenmal ben ^ejenberg erfteige, 
 
 llnb, toeil mein ^a^en triibe laitft, 
 
 o ift bie 2Belt aitd? auf ber ^Jleige. 4095 
 
 ^5^>r ^erren ge^)t nid)t fo toorbei ! 
 
 2a^t bie elegertfyeit nid)t fa^ren ! 
 
 2lufmer!fam blitft nad) meinen SBaaren ; 
 
 @ ftei)t bat>ier gar mand)erlei. 
 
 Unb bod^ ift nid)t in meinem 2aben, 4100 
 
 SDem feiner auf ber @rbe gleid)t, 
 
 nifyt einmal jum tud^t'gen @d)aben 
 
 3Jlenfa)en unb ber 2SeIt gereid)t. 
 
 ift ^ier, bon bent nid)t 33Iut gefloffen, 
 }, au^ bem fid) nid&t, in ganj gefunben 2eib, 4105
 
 SJBalpurgignodjt. 201 
 
 SBerjefyrenb fyetfjeS tft ergoffen, 
 $etn dfytnuc!, ber nicfct etn Itebenstoiirbig 2Bei& 
 SSerfufyrt, lein djtoert, ba ntcfyt ben 23unb gebrod)en, 
 9iirf)t ettoa ty interriidte ben egenmann burcfyftodfyen. 
 
 3Jt e j> fy i ft o ^j ty e I e 3. 
 
 4110 ftrau 3Jiu^me ! @ie berftefyt mtr fc^Iec^t bie 
 etfyan gefc^e^n ! efc&e^n get^an ! 
 SSerleg' @ie ftc^ auf -ifteuigfetten ! 
 9Jeuigfetten jie^n un an. 
 
 mid^ nur ntcfyt felbft bergeffe ! 
 4115 etjj' id^ mir ba bod) eine -Uteffe ! 
 
 SJiep^iftop^eleg. 
 35er ganje trubel ftrebt nad; o&en ; 
 2)u glaubft ju fcfyieben unb bu totrft gefd^oben. 
 
 ftauft. 
 2Ber tft benn ba ? 
 
 W e p ^ i ft o $ \) e I e 3. 
 
 33etradEjte fte genau ! 
 tft ba3. 
 
 2R e p ^ i ft o ^ ^ e I e 3. 
 
 2lbam' erfte ^rau. 
 
 4120 5Zimm btd^ in 5lc^t bor tbren fd^onen aaren, 
 SSor btefem <5d?mucf, mit bem fte etnjtg fcrangt. 
 2Benn fte bamtt ben jungen 2Rann erlangt, 
 <o la^t fte tfyn fobalb nidbt luieber fafyren.
 
 202 Scmft. Srjler ljeil. 
 
 3) a fitjen jtoei, bie 2tlte mit ber ^ungcn ; 
 
 3)ie fyaben fcfyon toa 9tecf)t gefyrungen ! 4125 
 
 91 ep$ij*0j> cleft. 
 
 fyat nun fyeute leine 9tu^. 
 gefyt jum neuen ^anj ; nun lomm ! h)ir greifen ju. 
 
 3 1 a u ft mit ber 3ungen tangenb. 
 tnft ^att' ic^ einen fcfyonen 5lraum ; 
 35a fa^ idj einen 2l^felbaum, 
 3h)ei fd^one 2fyfel gldn^ten bran, 4130 
 
 @ie reijten mid^, ic^ ftieg ^inan. 
 
 2) i e c^ 5 n e. 
 SDer Sfyfeldjen bege^rt it>r feF>r 
 llnb fdjon bom ^Sarabiefe ^er. 
 SBon ^reuben fii^I' ic^ micf) betoegt, 
 2)ajj aud^ mein arten fold^e tragt. 4135 
 
 3JI e ^ fy i ft o ^) $ e I e mit ber 2ttten. 
 Gstnft i>att' icfy einen toiiften ^Craum ; 
 2)a fa^> id^ einen gef^altnen S&aum, 
 2)er ^att' ein --- ; 
 (So e tear, gefiel mir'S bod^. 
 
 35 ie 211 te. 
 
 ^dfj biete meinen beften ru^ 4140 
 
 3>em Siitter mit bem ^ferbefu^ ! 
 $alt' (5r einen -- bereit, 
 2Benn @r --- nidjt fcljeut. 
 
 unter(tel;t i
 
 28alpurgtSnad)t. 203 
 
 4145 at man eucb lange ntcfyt betoiefen, 
 
 @in etft ftefyt nie auf orbentlid^en $ufjen? 
 ftun tanjt ifyr gar, un anbern 3Jienfc^en gleid? ! 
 
 25 i e 6 $ 5 n e tanjenb. 
 2Ba toitt benn ber auf unferm 23att ? 
 
 $ a u ft tanjenb. 
 
 @t ! ber tft eben uberatt. 
 4150 SSa anbre tanjen tnufe er fd^a^en. 
 
 ^ann er nid^t jeben a^ritt befd?h)a|en, 
 
 o tft ber (Sdjritt fo gut al ntc^t gefd^e^n. 
 
 2(m meiften argert i^n, fobalb h)tr bortoart geljn. 
 
 9Benn i^r eud? fo im $reife bre^en tooUtet, 
 4155 2Bie er' in feiner alien 5RU^Ie t^ut, 
 
 a bie^' er aEenfatt nod^ gut ; 
 
 93efonber toenn i^r ii>n barum begrii^en foHtet. 
 
 feib nofy immer ba ! 3^ein ba ift uner^ort. 
 SSerfd;h)inbet bod^ ! 2Btr ^aben ja aufgellart ! 
 4160 >a ^Teufel^adE e fragt nacfy feiner S^eget. 
 3Sir finb fo Hug unb bennodj) fpu!t' in Segel. 
 9Sie lange f>ab' iog nic^t am S08al>n ^in 
 llnb nie h)irb' rein, ba ift bocfy uner^ort ! 
 
 ) t e < c o n e. 
 60 fyort bod^ auf un fyier gu ennu^iren ! 
 
 4165 3d) fag'3 eud; eiftern in'3 efid^t, 
 
 1)en eiftebe^otigmu leib' id} nid;t; 
 3)iein eift fann ifyn nid;t ejerciren. 
 fottgetangt.
 
 204 
 
 $eut, feb, ' icb,, ioitt mir nid) t gelmgen ; 
 
 SDocfy etne SfJeife nefym' id) immer mit 
 
 Unb fyoffe nocb,, Dor meinem leijten cfyritt, 4170 
 
 3)ie eufel unb bie Sifter gu bejluingen. 
 
 3Ji e j> I> i ft o $ ^ e I e S. 
 @r totrb fic^ glei$ in eine ^fii^e fe^en, 
 2)a ift bie 2lrt toie er fid? foutagirt, 
 Unb toenn Slutegel ft$ an feinem @tei^ ergetjen, 
 ^ft er toon eiftern unb "oon etft curirt. 4175 
 
 3 ^ a u |1, ber au bent San$ getreten ift. 
 
 laffeft bu ba fdjone 3Kdbd;en fasten, 
 
 bir jum S^anj fo Ueblid^ fang? 
 
 2ld^> ! mitten im Gkfange f^rang 
 
 Qin tot^eg 3Jiaud^en ifyr au bem 2Runbe. 
 
 ift toa S^ed^tg ! 2)a3 ntmmt man m$t genau ; 4180 
 enug bie 3Jlau3 toar bo4) nid^t grau. 
 2Ber fragt banacfy in einer 6daferftunbe ? 
 
 $auft. 
 3)ann f al^ i$ 
 
 eplMfto^eleS. 
 Ba? 
 
 au ft. 
 
 o, fie^ft bu bort 
 (Sin blaffeS fd)one ^inb attein unb feme fteb, en ? 
 ie fdjiebt fi$ langfam nur bom Drt, 4185 
 
 @ie fceint mit gefdjloffnen gii^en ju gef>en.
 
 2Batpurgtttad)t. 205 
 
 mttfe befennen, bajj mir bdttd)t, 
 fte bem gitten retd^en gleid?t. 
 
 3ft e p b, t ft o $ $ e I e 8. 
 
 Safj ba nur ftefm ! 2)abei toirb'S niemanb toofyl. 
 4190 ( ift ein gauberbilb, ift Ieblo, eiu ^bol. 
 3^nt gu begegnen ift nid^t gut ; 
 SSom ftarren Slid erftarrt be 2Kenfc^en Slut, 
 Unb er hrirb faft in @tctn to erf eft, rt, 
 SSon ber 3Jiebufe b,aft bu ja ge^ort. 
 
 4195 ^iirtoafyr e fmb bie 2(ugen etner 
 35te etne liebenbe anb nic^t fd^Io^. 
 2)a ift bie Sruft, bie retd^en mtr geboten, 
 25 a ift ber fii^e Seib, ben id? geno^. 
 
 ift bie 3aitberei, bit [ e id)t berfitbjter 
 4200 3)enn jebem tommt fie toie fein 2iebd)en Dor. 
 
 & au ft. 
 
 2Beld) eine 2Bonne ! toeld? em Setben ! 
 3d) fann toon biefem Slid; nid)t fd)eiben. 
 SBic fonberbar mufe biefen fd;onen al3 
 (Sin einjig rotb,e @d;niird)en fd)miid:en, 
 4205 9iid)t breiter aU ein 3Jiefferriid:en ! 
 
 JRepfyiftopfyeleS. 
 anj red^t ! id) feb, ' e ebenfatt. 
 ie fann ba au^t aud) unter'm 2lrme tragen ; 
 2)enn ^erfeu b, at'g ib,r abgefd)Iagen. 
 9iitr immer bief e 2uft jum 2Bab, n !
 
 206 
 
 ba ^ugeld^en fyeran, 4210 
 
 ier tft'8 fo lufttg hne im prater ; 
 Unb fyat man ntir'3 nid)t anget^an, 
 (So fefy' id^ iua^rlid^ ein Sl^eater. 
 gibf 8 benn ba ? 
 
 fdngt man h)teber an. 
 @in neue tiid, ba lete tiic! toon fieben ; 4215 
 
 (Som'el ju geben ift aHfyier ber SBraud). 
 (Sin jDilettant fyat e gefc^rieben, 
 Unb jDilettanten fpielen'S aud). 
 
 i^t tl>r errn, toenn tc^> berfa^totnbe ; 
 
 biletttrt'S ben 93or^ang aufjujie^n. 4220 
 
 SBenn id) eud^ auf bem S3Iocfberg finbe, 
 finb' i$ gut ; benn ba gefyort ii>r ^>in
 
 ober 
 
 D b e r o n unb i t a n i a o I b n e o $ j e i t. 
 Sntermeyo. 
 
 Xfyeatermeifter. 
 eute rufyen toir etnmal 
 5ftiebing toacfre <S5fnte. 
 4225 Sllter 33erg unb feud)te %fyal, 
 
 ift bie ganje cene ! 
 
 erolb. 
 
 bie ^od^jeit golben fei 
 ott'n funfjig ^afyx fein Doritber ; 
 2lber ift ber trett Dorbei, 
 4230 3) a golben ift mir Iteber. 
 
 D ber on. 
 
 (5eib ifyr eifter too icfy bin, 
 o jeigt'g in biefen tunben ; 
 ^onig unb bie ^onigin, 
 @ie ftnb auf neu berbunben. 
 
 4235 Stommt ber ^?u(! unb bre^t fid? quer 
 
 Unb fd^Ieift ben gufj im
 
 208 
 
 ^unbert fommen fyinterfyer 
 i$ aucfy mit ifym 511 freuen. 
 
 Sir i el. 
 
 Slrtel betoegt ben (Sang 
 
 $n fyimmlifd} reinen 5nen ; 4240 
 
 SStele $raen lodt fetn ^lang, 
 2)od^ locft er au^ bie d^onen. 
 
 D ber on. 
 
 atten, bie fid^ bertragen tooUen, 
 2ernen' toon un beiben ! 
 
 SBenn fid^ gtoete lieben fatten, 4245 
 
 Sraud^t man fie nur 511 fdjeiben. 
 
 2;itania. 
 
 d^mottt ber 3ftann unb griHt bie ^rau, 
 <So fa^t fie nur befyenbe, 
 gii^rt mir nad^i bent -Dtittag 6ie, 
 llnb ^^n an -ftorbenS @nbe. 4250 
 
 D r % e ft e r X u 1 1 i. 
 
 Fortissimo. 
 
 ^liegenfcfynauj' unb 9Jluc!ennaf' 
 3Jiit ifyren 2lnberh)anbten, 
 f^rofd^ im Saub unb rill' im ra 
 finb bie 3Jlufifanten ! 
 
 Solo. 
 
 ba fommt ber 2)ubelfadf ! 4255 
 
 ift bie eifenblafe. 
 ben 
 feine (tumpfe
 
 * 
 2Batpurgi8nad)ttraum. 209 
 
 eift ber ft dj erft bilbet. 
 pinnenfufc unb $rbtenbaucfy 
 4260 Unb $lugel$en bem SBicfytdEjen ! 
 
 3toar ein fyierdE)en gibt e ni$t, 
 gibt e ein ebi$t$en. 
 
 in $P a r d) e n. 
 Kleiner d^ritt unb ^o^>er (Sprung 
 3)urd) ^onigtl?au unb S)iifte ; 
 4265 3^ ar ^ u trip^elft mir genung, 
 
 5Dod? ge^t'S nid^t in bie Siifte. 
 
 5Reugiertgcr 3fleifenber. 
 
 3ft ba nid^t 3J?aferaben=6^ott? 
 ott idf) ben 2lugen trauen, 
 Dberon ben fcfyonen ott 
 4270 2lud^ fyeute ^ier ju fd^auen? 
 
 Drt^obojc. 
 
 $lauen, leinen 
 
 bleibt e aufe 
 (So toie bie otter 
 o ift aucfy er ein 2;eufel. 
 
 3?orbif<$er ^iinftl 
 
 4275 Sa idp ergreife ba ift F>eut 
 
 nur ffigjentoetfe ; 
 id? bereite mid) bet t\t 
 3ur italidn'fd^en 3fleife. 
 
 P u r i ft. 
 
 3ld^> ! tnein Ungliid fiiF)rt mic^ 
 4280 2Bie n)irb nic^t fyier gelubert !
 
 210 
 
 Unb toon bem gangen 
 <5inb jtoeie nur gepubert ! 
 
 35er $uber ift fotote ber Nod 
 
 gur alt' unb graue 28eib$en ; 
 
 2)rum fi$' id) naclt auf tneinem S3od 4285 
 
 Unb jeig' ein ber6e 
 
 9JI a t r o n e. 
 
 2Bir ^aben ju biel Sebengart, 
 Um l)ier mit eitcfy ju tnaulen ; 
 %)o<S) fyojf i^i, fottt i^>r jung unb gart, 
 (So h)ie ifyr feib, berfaulen. 4290 
 
 S a p e U m e i ft e r. 
 
 ^Uegenfcfynauj' unb 9ftttcfennaf' 
 Umfd^iDdrmt mir nidjt bte 9?acEte ! 
 ^rofc^) im Saub unb rift" im raS, 
 60 bleibt bod^ auc^ im Xacte ! 
 
 Sffiinbfa^ne nac^ ber einen @eite. 
 
 efellfc^aft tote man toiinfdjen fann. 4295 
 
 SBa^r^aftig tauter Svaute ! 
 
 Unb ^unggef eUen, 3Jtann fur 3Jiann ! 
 
 2)ie fyoffnungSboIIften Seute. 
 
 2Binbfai>ne nad^ ber anbern @eite. 
 
 Unb ttiut ftc^ nidjt ber Soben auf 
 
 @ie atte ju berf4>Iingen, 4300 
 
 @o toitt id^ mit be^enbem 2auf 
 
 leicfy in bie 5He fpringen.
 
 SBatyurgiSnadjtStrcmm. 211 
 
 36 en i en. 
 
 2ll ^nfecten finb toir ba, 
 Wit fleinen fdarfen @$eren, 
 4305 (Satan, unfern >errn ^Bapa, 
 
 2BUrben 311 berefyren. 
 
 efyt! tote fie in gebrdngter djaar 
 ^aii) jufammen fcfyerjen. 
 2lm @nbe fagen fie nocfy gar, 
 43 10 @ie fatten gute Bergen. 
 
 3JJ u f a g e t. 
 
 ^d^ tnag in biefem eenf)eer 
 ^lid^ gar 511 gern berlieren ; 
 3)enn fretlid) biefe toii^t' id^ e^'r, 
 21I 3Rufen anjufii^ren. 
 
 Ci-devant eniug ber Qtit 
 4315 9Jlit red^ten 2euten toirb man 
 
 ^omm, faffe meinen ,3tyfd ! 
 3)er SBIodte&erg, iuie ber beutfd^e 
 at gar einen breiten i^fel. 
 
 fteugieriger Sleifenber. 
 @agt lt>ie f>et^t ber fteife 3Jlann? 
 4320 @r gefyt mit ftoljen Britten. 
 
 @r fcfmopert toa er fd^ino^ern lann. 
 , f @r fpilrt nad^ ^efuiten." 
 
 $n bem ^laren mag id^) gern 
 Unb aud^> im Xriiben fifdjen ;
 
 212 frnift. Grfter 
 
 2)arum fefyt ifyr ben frommen >errn 4325 
 
 <3td) aucfy mit eufeln mifcfyen. 
 
 2B e 1 1 1 i n b. 
 
 $a fiir bie frommen, glaubet mir, 
 3ft atteg ein SSefcifel; 
 @ie bilben auf bem 33IodEberg ^>ier 
 ar mand^e Gonbentifel. 4330 
 
 % a n j e r. 
 
 S)a fommt ja toofyl ein neue 
 5$ fyore feme Strommeln. 
 9^ur ungeftort ! e fmb im 
 2)te unifonen Sommeln. 
 
 SEanjmeifter. 
 
 2Bte jeber bod^ bie Seine lupft ! 4335 
 
 <3ic^ h)ie er !ann ^er 
 2)er $rumme f^ringt, ber 
 Unb fragt nic^t h)ie 
 
 eler. 
 fcfytoer ba 
 
 Unb gab' fid? gern ba 
 6 eint fte i^ier ber SDubelfacf, 4340 
 
 SSie Dr^^eu 2eier bie Seftjen. 
 
 2)ogmati!er. 
 
 3d) laffe micfy nic^t trre fc^retn, 
 bitrd? &ntit nod? Stoeifcl. 
 Xeufel mu^ boc^ etoa fein ; 4345 
 
 SBie ga'b' benn fonft audg Xeufel?
 
 2Balpurginad)t8traum. 213 
 
 3 b e a I i ft. 
 
 )ie $I)antafte in meinem (Sinn 
 !^ft biejjmal gar ju f)errifd). 
 $iirh)al)r, toenn id) ba atte bin, 
 4350 o bin id) fyeute ndrrifd). 
 
 3t e a I i ft. 
 
 >a 2Befen ift mir recfyt jur Dual 
 Unb mu mid) 6a^ berbrie^en ; 
 ^d) ftefye ^)ier gum erftenmal 
 3^id)t feft auf meinen gii^cn. 
 
 u^crnaturaltft. 
 4355 9ftit biel SSergniigen bin icf) ba 
 
 Unb freiie mid) mit biefen ; 
 2)enn toon ben Steufeln fann id) ja 
 3luf gute eifter fd^Iiefeen. 
 
 I e p t i f e r. 
 
 <Sie gef>n ben glcimmd)en auf ber @^ur, 
 4360 Unb glaub'n ftd) naf> bent rfjaije. 
 
 Sluf ieufel reimt ber ghmfd nur ; 
 2)a bin id) red)t am ^5la^e. 
 
 Gapellmeifter. 
 grofd) im 2aub unb riH' tm ra 
 SSerfludjte ^ilettanten ! 
 4365 gliegenfdjnauj' unb ^udEennaf 
 
 3^r feib bod? 9JJufi!anten ! 
 
 2)ie eh)anbten. 
 <Sanfouci fo tjei^t ba eer 
 3Son luftigen
 
 214 
 
 3luf ben $ujjen gefyt'S ni$t mefyr, 
 
 3)rum gefyn fair auf ben $opfen. 4370 
 
 3) i e llnbefyitlflicfyen. 
 <3onft Ijaben toir mandjen Stffen erfd^ranjt, 
 Jhm aber ott befo^Ien ! 
 Unfere d^u^e finb burd^getanjt, 
 2Bir laufen auf nacften o^Ien. 
 
 ^S r r It $ t e r. 
 
 SSon bem (Sumpfe fommen loir, 4375 
 
 2Borau h)ir er[t entftanben ; 
 2)od^ finb fair gletd^ im S^ei^en ^)ier 
 2)ie gldnjenben alanten. 
 
 iernfc^nu^pe. 
 2lu ber >5I)e f<^o^ td^ ^er 
 3>m terns unb ^euerfd^eine, 4380 
 
 Siege nun im raje quer, 
 SSer i)ilft mir auf bie Seine? 
 
 3>ie ^Jiaffiben. 
 ?pla^ unb ^pla^! unb ringS^erum^ 
 @o ge^n bie ragmen nieber, 
 eifter fommen, eifter audj 4385 
 
 @ie I;aben plumpe lieber. 
 
 Sretet ni^t fo maftig auf 
 
 2Sie le^^antenlalber, 
 
 Unb ber plumpft' an biefem ag 
 
 @ei ^ucl ber berbe felber. 4390
 
 2Bafyurginad)tetrcmnt. 215 
 
 SCriel. 
 
 ab bie liebenbe -ftatur 
 @ab ber eift eudj) 
 ^olget tneiner leid^ten (Spur, 
 2luf gum ^ofen^ugel! 
 
 D r dj e ft e r. 
 
 Pianissimo. 
 
 4395 SSoIfenjug unb -ftebelflor 
 
 r^etten fid^ toon oben. 
 Suft im 2aub unb 2Binb im 
 Unb aHe i(t jerftoben.
 
 SriiBer 
 
 g a u ft. 
 
 ftauft. 
 
 $m Slenb ! SSerjtoeifelnb ! Gsrbdrmlicfy auf ber @rbe lange 
 toerirrt unb nun gefangen! 2H 3ftiffetfyaterin im Verier gu 
 entfetjlicfyen Qualen eingefperrt ba fyolbe unfelige efcfjbpf ! 
 23iS ba^in ! bafyin ! SSerrat^ertfd^er nicfytn)iirbiger eift, unb 
 ba Ijaft bu mir ber^eimlid^t ! <Stefy nur, ftef) ! 2Batje bte 5 
 teuflif^en 2lugen ingrimmenb im $opf ^erum ! @te^ unb 
 trutje mir burc^) beine unertraglicfye egentoart! efangen! 
 ^m unh)ieberbringlid^en @lenb ! SBofen eiftern iibergeben 
 unb ber ricfytenben gefii^ttofen 3Jtenfd^f>eit ! Unb micfy toiegft 
 bu inbefc in abgefd^madten 3er[treuungen, berbirgft mir ifyren 10 
 h)ad;fenben jammer unb laffeft fie ^itlflog berberben ! 
 
 3Ji e ^ f) \ ft o ^ $ e I e . 
 @ie ift bie @rfte nid^t. 
 
 ^auft. 
 
 unb! ab[c^euli(^e Unifier! SBanble ifyn, bu unenbs 
 liefer eift ! toanble ben 2Burm toieber in feine unbgeftalt, 
 ioie er ficfy oft nad^tlid^er SBeile gefiel toor mir ^ergutrotten, bem 15 
 fyarmlofen 2Sanbrer bor bie ^iipe ju fottern unb fid^ bem nie= 
 berftiirjenben auf bie dpultern ju t)dngen. SBanbl' i^n twieber 
 
 in feine 2ie6Ungbilbung, ba| er toor mir im 6anb auf bem 
 
 (316)
 
 Sriiber Sag. gelb. 217 
 
 frieze, i$ ifyn tntt gatfjen trete, ben toertoorfnen ! 
 20 $)ie @rfte ntcfyt! gammer ! jammer! toon feiner 2ftenfd(jens 
 feele 511 faffen, bafj mefyr alg ein efc^opf in bte iefe biefeg 
 lenbeg fcerfanf, bafc ni$t ba erfte genug tfyat fitr bte c^ulb 
 aEer ii&rigen in fetner tninbenben XobeSnot^ toor ben 2lugen 
 be etotg SBerjei^enben ! 9J?tr toit^It eg 9Jkr! unb Se6en 
 25 bag @Ienb btefer tngigen ; bu grmfeft gelaffen itber bag 
 fal bon Xaufenben fyn I 
 
 Wl e $ f) i ft o p ^ e I e 3. 
 
 Jhm finb toir fc^on toieber an ber renje unfereg SBt^eg, ba 
 
 too eitd!) SJienfd^en ber inn ii&erfdjmato&t. 2Baritm mad^ft bu 
 
 emetnfd^aft mit ung, toenn bu fie ntcfyt burd^fii^ren fannft? 
 
 30 SSittft fltegen unb bift bor'm (Sd^toinbel nicfyt ftd^ier? 2)rangen 
 
 toir ung bir auf, ober bu bid? img ? 
 
 gletfd^e betne gefrafjigen 3^ ne m & f entgegen ! 
 
 efelt'g ! rojjer ^errlic^er etft, ber bu tnir ju erfd^etnen 
 
 toiirbigteft, ber bu mein erj fenneft unb meine eele, toarum 
 
 35 an ben cfyanbgefeUen mid^ fc^mieben, ber ficfy am d^aben 
 
 tuetbet unb am 2Serberben fi^i 
 
 @nbigft bu? 
 
 gfait;^, 
 
 3tette fie ! ober h)efy bir ! 2)en grd^Iid^ften glud^) itber bicfy 
 auf ^a^rtaufenbe ! 
 
 m e p $ t ft o p ^ e I e g. 
 
 4 o ^cf) !ann bie Sanbe beg 9iad&erg nid^t lofen, feine ^Riegel 
 nic^t offnen. 9tette fie ! SfSer toar'g, ber fie in'g Serberben 
 fturjte? 3
 
 218 8afl- Srfter 
 
 fcticft ftntb itmljer. 
 3ft e b 6, i ft o to b, e I e g. 
 
 reifft bu nacfy bent Conner? 3Bofyl, baft er eudEj elenben 
 terblidjen ntcfyt gegeben toarb ! !Den unf^ulbig (Sntgegnenben 
 ju jerfcfymettern, ba ift fo ^rannens2lrt ficfy in SSerlegens 45 
 ^eiten Suft ju madden. 
 
 gauft. 
 Srtnge mid) fyin ! @ie foil fret fein ! 
 
 W e $ $ t ft o |> ^ c I e 8. 
 
 Unb bte efaijr ber bit bid? aufeeft? SBtffe, nod^) liegt 
 auf ber tabt Slutfd^itlb toon beiner anb. liber be @r= 
 fd^Iagenen tatte fd^toeben rad^enbe eifter unb lauern auf 50 
 ben toteberfefyrenben Berber. 
 
 ba bon btr ? 5Korb unb ob einer 2BeIt iiber bt$ 
 Unge^euer ! ^ii^re nttd^ fyin, fag' id^, unb befrei' fie ! 
 
 3JUp&,iftopfyele. 
 
 ^d^ fii^re bidtj unb ioa td^ tb,un fann, fyore ! abe id^ aHe 
 SRad^t im tmmel unb auf Srben? 2)e ^^urnerg (Sinne toitt 55 
 id^ umnebeln, bemac^tige bid? ber d^liiffel unb fii^re fie ^er= 
 aug ntit 5Renfd^enE>anb. $cfy n^ad^e! bte ^au^cr^ferbe finb 
 bereit, id^> entfit^re eud^. S)ag berntag id^. 
 
 8fa'1l. 
 
 2luf unb babon !
 
 Dffcn gelb. 
 g; a ii ft 2ftepljiflo|)I)eIe8, auf fdjtoarjen ^ferben baljer braufettb. 
 
 ftauft. 
 
 2Sa toeben bie bort urn ben Slabenftein? 
 
 3nej}^iftoj)^elcg. 
 4400 SBeifj nid^t lua f:e fod^en unb fd^affen. 
 
 Sauft. 
 (Sd?toebcn auf, f^toeben ab, neigen ftd^, beugcn ftd^. 
 
 2J?e^^if 
 (Sine ^erenjunft. 
 
 g 
 <Bte ftreuen unb hjei^en. 
 
 3Ke 
 Sorbet! SBorbei!
 
 e r f e t. 
 
 g o it jl mit einetn S3unb djtiiffel mtb eincr 2ampe, ttor einem eifenten 
 
 fafet em langft enttoofynter cfyauer, 4405 
 
 -Jftenfcfjfyeit ganger jammer fa^t mid^ an. 
 it)of>nt fie ^tnter btefer feucf)ten SRauer, 
 Unb i^r SSerbrerfjen toar ein guter SSa^n ! 
 2)u gauberft ju i^r ju gefyen ! 
 
 3)u fiird^teft fie toieber ju fe^en ! 4410 
 
 $ort ! 3)ein 3 a S en 3D0ert ben 2^ob ^eran. 
 (Sr ergreift ba8 @d^Io. @ ftngt intoenbig. 
 meine Gutter, bie ut', 
 3)ie mid^ umgebrac()t ^>at ! 
 JJlein SSater, ber (Sc^elm, 
 
 S)er micfj geffen I>at ! 4415 
 
 9Jiein cfytoefterlem Iletn 
 u& auf bie 33 ein', 
 2ln einem Itt^Ien Drt ; 
 2)a h>arb id^ ein fcfyoneS SBalbbogelein; 
 ^liege fort, fliege fort ! 4420 
 
 g ail ft auffcEiUefeenb. 
 <5ie a^net nic^t, ba^ ber eliebte laufd^t, 
 2)ie ^etten !Iirren fyort, bag @tro^>, ba raufd^t. 
 (Sr tritt ein.
 
 tferfer. 221 
 
 2ft a r g a r e t e fuf) auf bent ?ager toerbergenb. 
 SSeb, ! 2Beb, ! ie lommen. SBittrer ob ! 
 
 g a u ft teife. 
 tiU ! tiU ! ^cfy !omme bid^ ju befreien. 
 
 2R a r g a r e t e fid) ttor i^n Ijintoaljenb. 
 4425 Sift bu ein 2Renfc&,, fo ftib, Ie meine 
 
 toirft bie SBac^ter au bent (Sd^Iafe fd^reten ! 
 (Sr fagt bie ^etten, fie a 
 
 2R a r g a r e t e auf ben $nieen. 
 
 2Ber ^at btr $en!er btefe SKacfyt 
 
 liber rntd^ gegeben ! 
 
 S)u ^olft mtdp fd)on um -iDitttemadjt. 
 4430 (Srbarme btcb; unb lafc mtc^ leben ! 
 
 Sft'S morgen frill) nidjit getttg genung ? 
 @ie fle^t auf. 
 
 S3in \<fy bod^ nod^ fo jung, fo jung ! 
 
 Unb foil fcb, on fterben ! 
 
 c^on tear tc&, auc^, unb ba.lcar metn SSerberben. 
 4435 Wat) iuar ber $reunb, nun tft er toett ; 
 
 3erriffen Itegt ber ^ranj, bie 33lumen jerftreut. 
 
 gaffe mic^ nid)t fo getoaltfam an ! 
 
 cb, one ntid^ ! 2Ba^ t>ab' icb, bir get^an ? 
 
 a^ mic&, ntcb, t bergeben fleb,en, 
 4440 ab' id^ bicb, boc^ mein' 2:age nid^t gefeb, en ! 
 
 ftauft. 
 2Berb' \fy ben jammer iiberfteb, en !
 
 222 
 
 Jftargarete. 
 
 3d) bin nun ganj in beiner 2Racf)t. 
 Safe mid; nur erft ba $inb nod) tranfen. 
 3$ fyerjt' e biefe ganje -iftadjt ; 
 
 <3ie na^men mir'g, urn midj ju Iranfen 4445 
 
 Unb fagen nun, id^> ^att' e umgebrac^t. 
 Unb niemaU toerb' id) toieber fro^. 
 @ie fingen 2ieber auf mid; ! @g ift bog Don ben Seuten! 
 (Sin alte 9Jla^rd)en enbigt fo, 
 SBer ^ei^t fie' beuten ? 4450 
 
 $ a u ft nrirft jtd| nieber. 
 
 (gin Siebenber liegt bir gu gii^en 
 
 ie ^ammerfned^tfdjiaft aufjufd;Iie^en. 
 
 9Kargarcte hiirft ftt^ 311 iljm. 
 D Ia^ un fnien bie eil'gen anjurufen ! 
 <2iefy ! unter biefen tufen, 
 
 Unter bet <Sd)h)ette 4455 
 
 iebet bie 
 
 3Jlit furd^tbarem rimme, 
 9}Jad)t ein etofe ! 
 
 ^ a u ft taut. 
 retd)en ! retdjen ! 4460 
 
 SJiargarete aufmerffam. 
 
 2)a toar be 5 reun i> eg timme ! 
 
 @ie fpringt ouf. 2)ie ^etten fatten aB. 
 
 SBoifter? ^dj ^ab' il>n rufen fjoren. 
 $d) bin frei ! 2Jttr foil niemanb iue^ren.
 
 223 
 
 2ln fetnen al toiH id) fliegen, 
 4465 2ln feinem 23ufen liegen ! 
 
 @r rief retd^en ! @r ftanb auf ber <Sd)toeHe. 
 2Ritten burl's eulen unb $lappen ber J6He, 
 3)urd) ben grimmigen teuflifc^en ^>o^n, 
 rfannt' id^ ben fii^en, ben liebenben Xon. 
 
 gauft. 
 4470 3$ Mn'8! 
 
 Margaret e. 
 2)u Biff 8 ! D fag' e noo? etnmal ! 
 
 3^n faffenb. 
 
 riff 3! @rtft'8! SBo^in ift atte Dual ? 
 2Bo^in bie Stngft be ^erfer? ber ^etten? 
 u Bift'3 ! ^ommft mic^ ju retten ! 
 ^d^ bin gerettet ! 
 4475 S$on ift bie @traf$e toieber ba, 
 
 2luf ber id) bid) gum erftenmale fafy, 
 
 Unb ber i>eitere arten, 
 
 2Bo id) unb SHart^e beiner toarten. 
 
 5 a u ft fortftrebenb. 
 ^omm mit ! $omm mit ! 
 
 SJlargarete. 
 
 D toeile ! 
 
 4480 2SeiI' id? bod) fo gern too bu toeileft ! 
 Siebfofenb. 
 
 9Benn bu nid)t eileft, 
 
 9Berben toir'g t^euer bu^en miiffen.
 
 224 
 
 Margaret e. 
 
 2Bie? bu fannft nidjt mefyr fiiffen? 
 3Jiein greunb, fo !urj bon mir entfernt, 4485 
 
 Unb fyaft '* ftftffen berlernt? 
 SBarurn toirb mir an beinem alfe fo Bang? 
 2Benn fonft Don beinen SBorten, beinen SItdEen 
 (Sin ganger ^immel micp iiberbrang, 
 Unb bu mtcfj fii^teft al toottteft bu mid) erfttdm 4490 
 ^uffe mid? ! 
 onft ittjf' id) bid; ! 
 
 @ie itmfat il^n. 
 
 D toe^ ! beine Sip^en finb fait, 
 (Sinb ftumm. 
 
 2Bo ift bein Sieben 4495 
 
 eblieben? 
 2Ber brad^te mid; brum ? 
 
 @ie toenbet ftc^ Don i^m. 
 
 mir ! Siebd)en, faffe 
 bid; mtt taufenbfad;er 
 folge mir ! $d; bitte bid; nur biefj ! 4500 
 
 SJiargarete 311 iljm gemenbet. 
 Unb bift bu'g benn ? Unb bift bu'S aud; 
 
 ^auft. 
 ^d; bin's ! otmn mit ! 
 
 Margaret e. 
 
 S)u mad;ft bie g-effcln log, 
 S'Zimmft toieber mid; in beinen @d;oo.
 
 flerfer. 225 
 
 2Bie lommt e, bajj bu bicfy bor mir nidjt f d^euft ? 
 4505 Unb toeifet bu benn, mein $reitnb, toen bu befreift? 
 
 $omm ! lomm ! <3$on toeidEjt bie tiefe -ftacfjt. 
 
 JKargarete. 
 
 SJieine 3Jtutter ^ab' id^ umgebrad^t, 
 
 Dtein ^inb t)ab' id^ ertrdnft. 
 
 2Bar e nidt bir unb mir gefcfyenft ? 
 4510 Sir audj. 2)u bift'S ! icfy glaub' e laum. 
 
 ib beine anb ! @ ift fein ^raitm ! 
 
 Seine liebe anb ! 2ld^ aber fie ift 
 
 S&ifcfye fxe ab ! 2Bie micfy baud^t 
 
 3ft Slut bran. 
 4515 2ld) ott ! 2Ba fyaft bu get^an ! 
 
 6te<f e ben 35egen ein ; 
 
 3<^ bitte bid) brum ! 
 
 ba SSergangne bergangen fetn, 
 S)u bringft mid9 urn. 
 
 SRargarete. 
 4520 9Zein, bu mufet iibrig bleiben ! 
 
 3^> h)itt bir bie raber befd^reiben. 
 giir bie mufjt bu forgen 
 
 morgen; 
 
 3Jiutter ben beften ^3Ia| geben, 
 4525 3Jieinen SBruber fogleid^ barneben, 
 3Kid) ein toenig bei <5eit', 
 nid;t gar ju toeit !
 
 226 gouft (Srfter 
 
 Unb ba $leine mir an bie recite SBruft. 
 Sftiemanb toirb fonft bei mir liegen ! 
 
 an beine <5eite ju fcfymiegen 4530 
 
 toar ein fiifjeS, ein fyolbeS lurf ! 
 Slber e Jt>iH mir nid^t mefyr gelingen ; 
 2Rir ift' al mii^f id^ mtd^ jit bir jtoingen, 
 31I ftie^eft bu mi$ toon bir juriirf ; 
 Unb bodj> 6ift bu' unb blicfft fo gut, fo fromm. 4535 
 
 bu bafe idj e bin, fo lomm ! 
 
 Margaret e. 
 SDafyinattS? 
 
 Margaret e. 
 3ft ba rab braufe', 
 Sauert ber 2;ob, fo lomm ! 
 
 SSon ^ier in' ehrige Sfiu^ebett 4540 
 
 Unb toeiter feinen djritt 
 u ge^ft nun fort? D ^einrid?, fonnf i$ mit! 
 
 ^auft. 
 S)u f annft ! (So tooHe nur ! SDie 2:^iir fte^t offen. 
 
 Margaret e. 
 
 3$ barf nidjt fort ; fiir midb ift ni^t gu fyoffen. 
 2Sa2 ^ilft eg fliei)n ? <3te tauern bod? mir auf. 4545 
 @ ift fo elenb betteln ju miiffen, 
 Unb nocfy baju mit bbfem etoiffen ! 
 @3 ift fo elenb in ber ^urnbe fdjtoeifen, 
 Unb fie toerben mid^ bod^ ergreifen !
 
 tferfer. 227 
 
 gouft. 
 
 4550 3$ bltib* bet btr. 
 
 SRargaretc. 
 efdjtoinb! efd&toinb! 
 
 9tette bein arme 
 $ort ! ^mtner ben 28eg 
 2lm %$a<fy ^tnauf, 
 4555 tiber ben teg, 
 
 ^n ben 2BaIb fytnetn, 
 2inf too bie ^Ian!e ftetyt, 
 
 ' e nur 
 4560 6 toitt ftd^ 
 
 @ ja^pelt nodf> ! 
 SRette! 9^ette! 
 
 0-auft. 
 
 Seftnne bid^ bod^) ! 
 9^ur (Sinen d^ritt, fo btft bu fret ! 
 
 SDlargarete. 
 
 4565 2Bdren totr nur ben SBerg borbei ! 
 
 35a ft^t meine 2Rutter auf etnem (Stein, 
 
 6 fa|t micfy fait bet'm c^opfe ! 
 
 2)a fi^t meine Gutter auf etnem <3tetn 
 
 Unb toadEelt mit bent opfe ; 
 4570 <5te toinft nic^t, fie ntcft nid^t, ber opf tft i^r fd^toer, 
 
 <5ie fd^Itef fo lange, fte toac^t ntc^t me^r. 
 
 @te fd^Iief, bamtt totr un freuten, 
 
 @ toaren gliic!lide
 
 228 SauP- ffl 
 
 gfauft. 
 
 ilft fyier !ein $lefy en, fyilft !ein 6agen ; 
 @o toag' icb/g bicb, fyintoeg $u tragen. 4575 
 
 Uiargaret e. 
 
 Safj tnicb, ! -ftem, 14) leibe !eine etoalt ! 
 $affe mid^ nid^t fo tnorberifd^ an ! 
 onft fyab' t^> bir ja atte ju 2ieb' get^an. 
 
 ^aup. 
 2)er Sag graut ! Sie&cfyen ! ie&d)en ! 
 
 Margaret e. 
 
 Sag ! $a e toirb Sag ! bet Ie$te Sag bringt ^erein ; 4580 
 
 3Jiein ^oc^jeittag foHt' e fein ! 
 
 @ag' niemanb bafj bu fa^on 6ei retaken toarft. 
 
 SBe^ meinem 
 
 ( ift eben 
 
 28tr toerben iin toteberfe^n ; 4585 
 
 2lber nid^t bet'm Sanje. 
 
 S)ic 9Jlengc brangt fic, man ^ort fxc nic^t. 
 
 S)er ^Ia|, bie affen 
 
 $6nnen fie ntci^t faffen. 
 
 2)ie locEe ruft, ba @tabc$en brid^t. 4590 
 
 3Bie fie micfr, btnben unb ^aden ! 
 
 3um iBIutftub,! bin id^ fd^on entriidft. 
 
 @con judt nad^ jebem ;fta<fen 
 
 S)ie d^cirfe bie nad? meinem jiicft. 
 
 (Stumm liegt bie SBelt h)ie ba rab ! 4595 
 
 ftauft. 
 D h)dr' io) nie geboren !
 
 Verier. 229 
 
 erfdjeint braufjen. 
 2luf ! ober ifyr feib berloren. 
 
 2JZeine ^Sferbe fcfyaubern, 
 4600 >er 3Jlorgen bammert auf. 
 
 Bfargarete. 
 
 2Sa ftetgt au bem 23oben ^erauf ? 
 2)er ! ber ! <3$tcf t^n fort ! 
 2Ba ft)iH ber an bem fyetltgen Drt? 
 (5r hriU mid^ ! 
 
 gauft. 
 S)u foUft leben ! 
 
 SRargarete. 
 4605 eridjit otte ! 2)ir ^ab' t$ mid^ iibergebcn ! 
 
 3Jle^^ifto)3^eIegu gauft. 
 ^omm ! fomm ! %<$ laffe bic^ mit i^>r im 
 
 2Jiargarete. 
 
 35ein bin idfy, SSater ! S^ette mid9 ! 
 3$r @ngel ! ^^r fyeiltgen d^aaren, 
 Sagert euc^ uml>er, mid) gu betoa^ren ! 
 4610 einricfy ! 2Rir graut'S bor bir. 
 
 9ft e p ^ i ft o p ^ e I e . 
 ie tft gerid^tet ! 
 
 t i m m e on obeiu 
 3ft gerettet !
 
 230 goujt. (Srfler 
 
 er ju tnir ! 
 SSerfdjnrinbet mit g a u ji. 
 
 t i m m e on imten, tier^attenb.
 
 NOTES,
 
 ABBREVIATIONS. 
 
 Cf. Compare, see. 
 
 C.M. Christlich Meynenden Faust-book (Intr. p. xvii). 
 
 D.M. Deutsche Mythologie (see under Grimm, Appendix I). 
 
 Fgm. Fragment of 1790 (Intr. p. xliv). 
 
 G.-J. Goethe-Jahrbuch. 
 
 Intr. Introduction. 
 
 1. line. 
 
 p. page. 
 
 Par. Paralipomena (see under Strehlke, Appendix I). 
 
 U. Urfaust, Gochhausen Faust (Intr. pp. xxxix, xl). 
 
 V. L. Vierteljahrschrift fur Litteraturgeschichte. 
 
 Wb. Worterbuch. 
 
 Werke. Goethe's Works, Weimar Edition (Intr. p. x, foot-note). 
 
 Werke H. " Hempel " " " " 
 
 equivalent to. 
 
 -* passing into, becoming. 
 
 + ensuing stage-direction. 
 
 Other common abbreviations, including those of familiar grammatical and 
 philological terms, books of the Bible, etc., do not require explanations. Where 
 a work is referred to by the author's name only, consult the bibliographical list in 
 Appendix I.
 
 3 u e t g n un g. 
 
 THESE fine stanzas, written, as we now know from Goethe's diary, 
 on the 24th of June, 1797, are in no sense a part of the drama of 
 Faust, but simply an ' occasional ' lyric. The poet, now in middle life, 
 has determined to resume work upon Faust. In ' dedicating ' himself to 
 the task he gives expression to the feelings that come to him as he thinks 
 of his youth when the work was begun. Cf. Intr. p. lix. The meter, a 
 regular eight-line stanza with feminine rimes a, c, and masculine rimes b, 
 combining according to the system abababcc, was a favorite one with 
 Goethe in pensive, elegiac moods. 
 
 1. fdjttwnfcnbc @ eft alt en, 'wavering forms'; Faust, Mephistopheles, 
 Gretchen, etc., conceived as air-phantoms. Goethe often alludes to his 
 poetic musings under the image of communing with spirits. Cf. his Tasso, 
 1. 562. In a letter to Schiller of July i, 1797, he speaks of the 'air- 
 phantoms of Faust. 1 SBiebcr, ' again,' with allusion to their first ap- 
 proach in the poet's youth. 
 
 2. triibcn, 'dim'; his early vision was not yet clear. 
 
 4. SBafytt ; not exactly ' illusion,' nor ' delusion,' but ' fantastic idea,' 
 viz., the early project of dramatizing the Faust-legend. To the Goethe of 
 1797 this project, as he had long ago conceived it, appears quixotic, based 
 on illusion. Cf. Intr. p. lix. 
 
 5. tttfigt iljr WOltcn, 'you may have your way.' 
 
 6. 2Bie il)r . . . . ftetgt. At the noontide of his life the poet has 
 reached a clear height, from which the youthful Faust and its mental asso- 
 ciations present themselves as a region of ' foggy mist.' Cf. the letter to 
 Schiller of June 22, 1797, where, as here, 2)unfl llltb 9iebel is a hendiadys 
 for -Jiebelbuitfl. From out this dim medium the ' forms ' rise about him 
 and mutely insist upon a renewal of the earlier comradeship. He resolves 
 to yield to their importunity. 
 
 (33)
 
 234 NOTES. 
 
 8. umnrittcrt. The verb means 'to encompass' in the form of an 
 atmospheric influence. The ' forms ' are surrounded by a magic aura, at 
 the touch of which the poet is thrilled with the old youthful agitation. 
 
 10. Srfjntteit ; visions of youthful friends now dead, or otherwise lost 
 to view. 
 
 12. crftC ie& T ttnb j5rcunbfl^aft. If we attempt to think of any one 
 in particular, which is not at all necessary, it should probably be of 
 Friederike Brion and the friendships of 1772-1775. There had been ear- 
 lier loves and friendships, but these were the ' first ' of the awakened, lib- 
 erated Goethe, the Goethe of Faust. Still, Schroer sees here an allusion 
 to the Frankfurt Gretchen of Werke, XXVI., 266 ff. Cf. Intr. p. Ixxxi. 
 The bad rime auf : berauf was probably deliberate. Rimes to auf are 
 scarce in German. Vischer, G.-J., IV., 9, calls the apparent negligence un 
 tterbefferlid) fdjon. 
 
 13. .UlllflCf 'mourner's plaint.' 
 
 18. ^tC Scclcil .... fang. The friends from far and near to whom, 
 in Frankfurt and later in Weimar, Goethe was wont to read his Faust. 
 Cf. Intr. p. xxxviii. 
 
 21. iictb. The early Faust is conceived as a record of 'suffering,' a 
 common image with Goethe for his poetic confessions.' Cf. Thomas's 
 Goethe's Tasso, Intr. p. xlix ff. On the reading Sieb cf. Appendix II. 
 tutbcfomttcn SJicngC ; the general public, the ' unknown multitude,' who 
 have read the printed Fragment of 1790, and will read the new scenes 
 that are to be added. They may praise the art of the poem, but they will 
 not feel for the ' suffering ' that underlies it. 
 
 22. ntad)t . . . . bang, 'makes my heart misgive me.' To an English 
 ear the dat. sounds unnatural, but it is the historically correct construction 
 e8 ift mir, tbitt mir, ntadjt tntr bang, just like e tbut tnir toobt. 
 
 3<f) bin bang, C8 mac^t mein erj bang, are comparatively modern. 
 
 23. \DQ f 'they who'; here, like the e8 in 1. 24, of persons. This is 
 a common use of the neut. sing, pronoun to refer to ' several persons in a 
 general way ' (Hart). Cf. Schiller's Tell, I, 3 : a fcblenbert foie bie 
 djnedten, 'those fellows dawdle like snails.' fiieb refers to the early 
 Faust, or perhaps to Goethe's youthful singing generally. With erfreitet 
 supply bat, rather than batte, taking jonft in the sense of ' formerly' rather 
 than in that of ' else.'
 
 NOTES. 235 
 
 26. dfetftemtdj ; the ' spirit-realm ' of departed friends. 
 
 28. Hfpelltb Stcb ; of this Dedication. As the poet surrenders him- 
 self to the memories of his youth, the rush of feeling overcomes him and 
 the hitherto clear notes of his lyre die away in ' plaintive ' (lifpelltb), ' un- 
 certain ' tones like those of an /Eolian harp. 
 
 29. (Spotter, 'feeling of awe.' XJjrfitte folflt bc Straiten; metri 
 gratia for hrane folgt ber brane. So in 1. 4658 we find SBunfdj um 
 SMnjdje, for SBimjdj um SSimfd), ' wish after wish.' 
 
 SSorfpiel aitf bem Sweater. 
 
 The Prelude is a dialogue in which the function of the playwright is 
 considered from three different points of view : that of the Manager, who 
 wishes to draw the crowd and make money; that of the Comedian, who 
 wishes to provide amusement for the young; and that of the Poet with his 
 ideal notions of art for art's sake. The fiction, which makes no claim to 
 naturalness, is this : A company of players have arrived in a German city, 
 set up their temporary theater of boards, and announced a play. But, 
 though the audience has already gathered, the play has not yet been com- 
 posed; even its general character is quite undetermined. So the Manager 
 and the ' Merry-Andrew,' the actor who takes the part of the funny man, 
 advise the Poet how to go to work. At the end of the conference we must 
 imagine the Poet to improvise the play of Faust. Of course the Poet is 
 Goethe, but so is the Manager and the Comedian. As director of the 
 Weimar theater Goethe was quite familiar with the manager's point of 
 view, while in his youth he had written several farces and satirical plays 
 the chief aim of which was amusement ' for the present.' The Prelude is 
 not meant to imply that Faust embodies only the austere views of the 
 Poet, that he follows his own bent and pays no attention to the advice of 
 the other two; the humorous point of the whole is that all three get their 
 demands complied with. Faust is as full of action, as motley, as spectacu- 
 lar, as free-and-easy in its technique, as the Manager could wish ; it con- 
 tains enough humor and hocus-pocus to satisfy the Comedian, while it is
 
 236 NOTES. 
 
 after all a work of art, made not for the crowd or for the moment, but for 
 the best and for the ages. It has been thought that the Prelude was sug- 
 gested by the Hindu drama Cakuntala, a translation of which by Forster 
 appeared in 1791 and greatly interested Goethe. The Cakuntala has a 
 prelude in which the Director converses with an actress about the play 
 that is to be given. 
 
 The meter of the Prelude is irregular (yers irreguliers, cf. Bartsch in 
 G.-J., I., 131). It consists of rimed iambic lines of four or five feet, with 
 occasional alexandrines. The rimes are either crossed or consecutive, and 
 masculine rimes alternate with feminine. Consecutive pairs of the same 
 gender do not occur. Alexandrines are lines 55, 104, 117, 119, 126, 129, 
 140, 148, 165, 180, 181 and 225. No special significance attaches to their 
 use; that is, they are not employed deliberately for any specific effect. 
 
 The Prelude was probably written in June- July, 1797. 
 
 35. ttt beittfdjett SanbCtt; not to be taken as implying that the players 
 come from abroad (an interpretation forbidden by the imferit of 1. 231), 
 but only as indicating that Goethe has in mind the specific conditions of 
 Germany. As noted above, the fiction of the Prelude makes no pretence 
 to being natural or realizable. 
 
 39. ^Sfoftett ; the ' posts ' supporting the stage. 2tufgefcf)Iagen, 
 ' thrown up '; implying hasty or temporary construction. 
 
 41. 2tugenfjraUtten. The original and now usual form is Stligert* 
 brauen, which Goethe also uses. 
 
 43. tterfol)ttt, 'conciliates.' 
 
 48. ttttt ^ebciltuitg, 'while having some significance,' 'while not 
 trivial.' 
 
 51. SBetyett, ' throes.' The spasmodic surgings of the crowd are lik- 
 ened to birth-pains. So at least Sanders Wb., sub voce 2Bei). 
 
 52. CHge Itobettyforte ; in allusion to the ' strait (i. e. narrow) 
 gate,' arevj) TIT AT?, of Matt, vii, 13. 
 
 53. Dor SBierett, 'before four o'clock.' The declined plu. SSiere oc- 
 curs only in certain set phrases, e. g., mtt SSieren, ' with four horses '; ttllf 
 alien SSierert, 'on all fours'; urn 33iere, ' at four o'clock.' The plays at 
 Weimar usually began at six or half-past-five p. m. 
 
 55. The simile was suggested, no doubt, by what had lately been going
 
 NOTES. 237 
 
 on in Paris. See Carlyle's French Revolution, bk. 6, the chapter "In 
 Queue." 
 
 59-74. The Poet speaks at first in the stanza of the Zueignung. 
 With the sentiment expressed cf. Goethe's Tasso, 1. 454 : 
 2>ie Wenge inadjt ben flitnftler itr' unb fdjeu. 
 
 60. U1t .... etttfttel)t, ' our wit forsakes us.' 
 
 62. tritbel, ' vortex ' of vulgarity. 
 
 63. ftillen $immeI3ettge, 'quiet, celestial nook' of personal affection 
 and sympathy. The thought is that the best incentive to good work is the 
 desire to please the friends whom one loves. Cf. Thomas's Goethe's Tasso, 
 11. 447-8, and the editor's note. 
 
 64. 280 twr, ' where alone,' the nilt being metri gratia for aDein. 
 The phrase tt)0 ttur commonly means 'wherever.' Of course mtr can not 
 be taken with idjter. 
 
 66. (BiJtterhattb. In compounds, otter* is often used without poly- 
 theistic tinge in the sense of divine. (JrpflCfJCtt is a rare verb quoted in 
 Grimm Wb. for this passage only and defined curare. The er= gives the 
 force ' to nurse effectively,' ' nurse into health and vigor.' 
 
 68. fcfjitrfitcnt BorgcIrtUt, ' timidly stammered out.' The poetic artist 
 is thought of as ' timid ' about entrusting the child of his love to the wild 
 waves of contemporary opinion ; his work is ' stammered forth ' because 
 he feels that it is an imperfect utterance of his thought. 
 
 69. 9)iijjrntf)Clt geluttgen, ' miscarrying now, and now perhaps 
 
 succeeding,' according as the poet is more or less lucky in his attempt at 
 utterance. On the force of the participles see Brandt, 295. 
 
 70. be .... (iJetDflU. By the ' power of the wild moment ' is meant 
 the distracting interests of the time. These ' engulf ' the poem, i. e., cause 
 it to be overlooked or ignored for a season. 
 
 71-2. The thought is that a poet's work may be before the world for 
 years before it is recognized for what it really is. No reference to the long 
 incubation of the subject in the poet's mind. 
 
 79- (ScgCttWart, ' present,' not ' presence,' as Taylor has it. SruUCtt 
 Snabcit, ' lusty lad.' 
 
 80. ift tttuner Wa, ' counts anyway for something also.' 3mmer 
 
 is here a strengthening particle used to enforce an assertion in view of 
 opposition. Cf. Goethe's immer etit jdjott @tii(f 2lrbeit, ' undeniably a
 
 238 NOTES. 
 
 handsome piece of work '; intmer eilt fiubfd)er S3ltrfd)e, ' a pretty fellow 
 certainly.' @d)0n ftiaS, means 'at least something,' i. e., something, 
 with emphasis. 
 
 81-4. Directed against the words of the Poet in 11. 59 ff. The thought 
 is that a poet who knows how to please will not feel bitter toward the 
 people.' On the contrary, he will prefer a large public that he may be 
 more sure of producing a great effect. 
 
 83-4. @r ttWltfl^t erfcfyiittertt ; less briefly expressed : (gr tt>iinfd)t 
 
 ftd) einen grofjen Diet tnefir al einen fleitten $rei8, urn feinen $reis ge* 
 toiffer JU erfcfjuttent. The argument is not that among many there will 
 be more to feel the poet's power, but rather that the small circle of inti- 
 mate friends who know the poet in his daily walk are less likely to be 
 thrilled through and through by his work. 
 
 85. fcratt, ' accommodating.' SKttftCtljflft, ' exemplary ' (from the 
 speaker's point of view). 
 
 90. 2Kon fommt Jit fdjatttt. Cf. the quotation from Lessing, Intr. 
 p. xx. 
 
 93. 4?nbt gCttlonnen, ' you have forthwith won in the world-at- 
 large,' i. e., you are the idol of a great public. So Goethe speaks of per- 
 sons gerjtreut in ber SBreite ber 2Bdt. Cf. Grimm Wb. sub voce S3reite. 
 Taylor's ' by sheer diffuseness' is wrong; that would require blird) bie 
 SBreite. 
 
 99. gletd) ttt (Stflrfcn, ' right in pieces,' i. e., straightaway, without 
 bothering about the harmony of the ' piece.' 
 
 100. JHugout, 'stew.' 
 
 102. cin 011563, ' an artistic whole.' 
 
 IO 3- Serpfliicfeit, ' pick to pieces '; not however in the sense of ' find 
 fault with.' Each spectator will pick out, without regard to the poetic 
 harmony of the whole, the separate parts that suit him best. 
 
 104. fei. The subjunctive of indirect question, not now usual after a 
 present tense, is common in Goethe. Cf. 11. 272, 1543, 2321, 3532. 
 
 106. ^cr .... ^Jfufffyerct, ' the botchwork of those nice fellows.' 
 )te fcmberett >erren (joubcr of course sarcastic) are the popular play- 
 wrights who make sensational spectacular dramas of the kind just com- 
 mended by the Manager. Perhaps Goethe may have thought of Kotzebue. 
 
 107. s j){urimc, ' sovereign rule ' (Lat. maxima regula}. 
 112. feljt .... tyttt; i. e., at the assembled audience.
 
 NOTES. 239 
 
 114. fi6erttf(tytett SJlofyle, 'overloaded table.' ifd) comes from Lat. 
 discus and meant at first ' dish,' whence tifdjert (but usually Oltftifdjen), ' to 
 serve, or set out dishes ' for a meal, and iibertifdjen, ' to supply dishes in 
 excess.' An iiberttjdjteS 2Jfabl is thus ' a feast over-supplied with dishes." 
 
 115-6. The play-goer who has just been reading the papers is pre-occu- 
 pjied with the news of the day. 
 
 119. ttm SBeftett gebett, ' contribute.' On this line the commentators 
 quote Ovid's Ars Amatoria, I., 99 : 
 
 Spectatum veniunt, veniunt spectentur ut ipsae, 
 
 which may well have been in Goethe's mind in view of his early fondness 
 for Ovid. 
 
 120. fptclcit .... tttit, ' join in the play without wages.' Fine toilets 
 in the audience, as well as the acting upon the stage, draw the crowd and 
 swell the profits. 
 
 122. 2Bu3 tttttcfjt .... ftol) ? ' Why does a full house make you 
 glad ? ' That is, do you proudly imagine that the crowd is here out of 
 regard for high art ? 
 
 131. ttertnimtt, 'bewilder.' 
 
 132. At the end of this line the Poet makes a sign of impatience. 
 136. SJJcitf rf)Cltrcd)t. The poet's ' natural right,' as appears from what 
 
 follows, is his right to follow his artistic instinct for harmony. 
 
 139. jebe3 (i'lcmcut, 'every element'; not of society, but of nature, 
 as in 1. 1278. The poet is a magician. 
 
 140-9. The ideal poet is here conceived as one who takes up into his 
 own being the unharmonious facts of nature (juriicffdjUttgeit, 'devour,' 
 as in 1. 8665), and gives them forth again in harmonious form. The whole 
 passage will appear clearer from a comparison of Tasso, 11. 160 ff. 
 
 ein Dr oemhnmt ben (Sinllang ber Dlatur; 
 2Ba<5 bie ef$i$te reicfjt, bag Seben flibt, 
 ein SBufen nimmt eS glei$ unb toiUifl cuf : 
 S)a roett Qetftitute fammelt fein emiit^ 
 Unb fein eftif)l betebt ba3 Unbclcbte. 
 
 The doings of nature are ' monotonous '; she winds her endless thread 
 upon the spindle, indifferent to the steady, unvarying hum. Or, her work 
 is ' discordant ' ; the totality of her creations make a universal ugly jangle. 
 It is the Poet who measures off (tbeilt ab) this monotonous round, gives
 
 240 NOTES. 
 
 life to that which without him were lifeless (belebettb; cf. the betebt bag 
 Unbelebte of Tasso), and imparts to the whole a rhythmic movement. 
 
 146. bie ftteftenb tmmcr glctrfje SReilje = bie immer gteidj fliefcenbe 
 SReibe. 
 
 148. 933er tttft .... 28ctf)C, ' who summons the isolated fact to the 
 general solemnization ? ' Nature becomes through the poet a grand, sol- 
 emn symphony, in which each single, separate fact is duly related to the 
 whole and so made a note in the universal harmony. 
 
 150. 28e* Ififtt . . . . UWtljen? 'Who causes the tempest to rage to 
 (the accompaniment of human) passions ? ' The poet leads us to see our 
 own moods in the aspects of nature passion in the storm and pensive 
 calm in the sunset. 
 
 154. flatter; the laurel wreath. 
 
 156. 28ct jtrfjcrt .... fitter? ' Who assures Olympus and shows gods 
 assembled?' The climax culminates here in the thought that we owe 
 heaven itself to the poet. Goethe uses the terms of Greek polytheism, but 
 his thought is of wider application. Not only has the poet a noble office 
 in dealing with the highest interests of this world, being the interpreter of 
 nature (11. 146-51), the singer of love (11. 152-3), and the herald of all 
 meritorious achievement (11. 154 5 5), but as seer, vales, he gives us a vision 
 of divine things beyond. Sidjcrt belt DItymp is to be taken in the sense 
 of 'gives the assurance of heaven.' By the 'uniting' of the gods is not 
 meant the reconciling of their discords, but more simply the poetic revela- 
 tion of them as a divine assemblage, or ottctoerein such a revelation 
 as Homer gives us. 
 
 158-83. The speaker will have the Poet take the evolution of an ordi- 
 nary love-affair as a model in the conduct of his ' poetical business.' The 
 love-affair begins accidentally, proceeds of itself, with little need of plan- 
 ning or artistic motivation, and consists of a rapid succession of interesting 
 situations that appeal to the general sympathy particularly of the young. 
 
 163. ttJtrb e3 attgefodjteit, 'it is touched by adversity.' 
 
 167. (Steift .... Ijtncilt; lit. 'thrust in your hand.' Changing the 
 figure, one might say : Just plunge into the full current of human life. 
 
 168-69. Th e thought is: Every one lives 'the life of man,' but few 
 have thought about it so as to know it objectively as it is. Hence, when 
 real life is presented on the stage, it seems at once familiar and novel, and
 
 NOTES. 241 
 
 so is always interesting. ^tttcrcff Ottt here with secondary accent on the 
 antepenultima. Fr. interessant. 
 
 170. UJCJttjJ ; apparently = ein ttJettig, rather than mtr tDCnig. 
 
 1 80. s Ji*od), 'as yet'; i. e., they are not too old. 
 
 181. SdjttMUg, 'soaring flight' of feeling or imagination. @d)ettt, 
 ' illusion.' 
 
 182. 2Bet fettijj iff, 'one who has done with growing'; in antithesis 
 to the following ein SBerbenber. 
 
 184-97. I n these lines the Poet is very evidently the middle-aged 
 Goethe recalling his own youth. 
 
 188. Cf. bem triiben S3Ud in 1. 2. 
 
 193. ett 2>rong .... Xtltg, 'the bent for truth and the fondness 
 for illusion.' The contradiction is only apparent. ' Truth ' is here used in 
 the sense of ' fidelity to nature,' while ' illusion ' refers especially to the 
 counterfeit presentments of ' the boards that signify the world.' 
 
 206-13. The logic of the passage is this: Though youth may be 
 necessary for the soldier, the lover, the athlete, the reveller (11. 198-205), 
 still (bod)) it is not so for the poet as such. Even in riper years, when his 
 harp has become an old story, he can yet by dint of resolution strike the 
 familiar strings with spirit and sweetness. The flood of song may no longer 
 well up spontaneously as in his youth (cf. 11. 186-7), hut he can still set 
 himself a poetic goal and move toward it, though slowly, perhaps, and with 
 much digression. Nor will the world think less of him for his slow, mean- 
 dering pace, or ascribe it to the weakness of age ; since what people call 
 the childishness of age is only a survival of real childhood. The speaker 
 here ignores the fiction that the audience is waiting. There is really no 
 time for ' sauntering.' The lines may be taken as a quiet pro domo of 
 Goethe in defence of his own leisurely gait in the composition of Faust. 
 
 209. nut bolbettt ^itf Ctt, ' with winsome deviation.' 
 
 218. Stimmiutflr 'mood.' There has really been no talk of 'mood' 
 in the Prelude, but one acquainted with Goethe will understand the ques- 
 tion here asked. He knew very well what it was to make resolution do 
 duty for the favor of the Muses. What the Manager says in 11. 218-30 is 
 not mere Philistinism, and not altogether satire upon those who ' expect a 
 poet to furnish verses to order' (Hart). There is, of course, a touch of 
 humorous brutalite in the idea of ' commanding one's poetry ' as if it were
 
 242 NOTES. 
 
 a body of soldiers; but underneath the humor there is a true and serious 
 side to what the Manager says. For, after all, a great poem is a matter of 
 high resolve and long-continued, strenuous toil; and the poet has no 
 better right than any other brain-worker to be the bond-slave of his mood. 
 
 224. brant uncrsuo,U(J| bruit, ' go at the brew without delay.' 
 
 228. Bctttt @l!)0pfe foffen, 'seize by the forelock.' Cf. our 'take 
 time by the forelock,' for 'go at a thing at once.' 
 
 229-30. The mere fact that one has begun is a strong incentive to 
 continue. 
 
 231-2. The thought is : There are with us Germans no rigid dramatic 
 standards to prevent one from experimenting ad libitum. 
 
 234. <profpecte, 'scenery.' 
 
 235. boS groft' nnb fleine $immeMtif)t ; the sun and moon. 
 
 238. Sin Xljier unb SSiJgeln; for an l)ieren itnb SBogeln. The omis- 
 sion of the ending in the first of two words having the same ending and 
 connected by itltb is a frequent license with Goethe. 
 
 242. SBflttt .^Htltntcl .... ,iille. This phrase merely explains what 
 the Manager means by ' traversing the whole circle of creation.' He has 
 a choice collection of stage properties for the representation of scenes 
 earthly, celestial and infernal, and he wants to have them used for a grand 
 spectacular variety-show. He does not mean to prescribe that the action 
 shall begin in heaven and end in hell, but only that heaven and hell as 
 well as earth shall be included in the spectacle. He has in mind the scope 
 rather than the termini of the action. Many years after the Prelude was 
 written, namely, May 6, 1827, Goethe said to Eckermann: "People come 
 and ask what idea I have embodied in my Faust. As if I knew myself 
 and could express it ! ' From heaven through the world to hell,' that 
 might answer if need were, only that is not an idea, but rather the course 
 of the action." But here, too, the phrase aitg bet anblling can refer 
 only to the scope, not to the goal, of the action; for the First Part, which 
 alone existed in 1827, does not end in hell, nor does the Second Part as 
 afterwards completed. Nor was there ever any thought of having it so 
 end. Hell is however represented toward the end of the Second Part, and 
 since the whole begins and ends in heaven, we see that the Manager's pre- 
 scription is exactly complied with. Loeper is hardly right in thinking 
 that there is here an allusion to the old mystery-stage with its (fictitious) 
 three stories representing heaven, earth and hell.
 
 NOTES. 243 
 
 g tm immel. 
 
 This portion of the drama was also written, probably, in June-July, 1797. 
 For a brief discussion of the Prologue in its relation to the general plan 
 of Faust, see Intr. p. Ixviii. Some of the extant puppet-plays begin with a 
 prologue in hell, and if this was the case with the one, or ones, which 
 Goethe saw in his youth, he may have got from that source the hint for a 
 scene defining the relation of Faust's career to the supernatural world, 
 though his plan clearly called for a prologue in heaven rather than in hell. 
 There is, however, no positive evidence that the idea of the Prologue ante- 
 dates the year 1797. On resuming Faust at that time, Goethe saw the 
 need of foreshadowing the general character of his work in its ethical and 
 theological aspect. The subject was a familiar one connected in the mind 
 of the public with certain definite traditionary associations, but he pro- 
 posed, while following the tradition in many details, to depart from it radi- 
 cally in the conception of Faust's character and final destiny. He had not 
 indicated this purpose in the Fragment of 1790, nor would it appear at all 
 clearly from the action of the First Part. Hence the need of a prologue 
 which should serve to put the reader or spectator on the right track at the 
 outset. 
 
 The chief interest of the Prologue, apart from the matchless poetry of 
 the opening chants, centers in the mild Pelagian theology that is put into 
 the mouth of the Lord. Cf. Intr. p. xxxvi. Faust is not looked on as at 
 variance with his Maker; he is no doomed sinner needing to be saved by 
 a miracle of grace, but a being who is passing through a natural course of 
 development, like a young tree for whose flowers and fruit the gardener is 
 willing to wait. In other words, he is a 'servant of the Lord'; and if his 
 service is now somewhat ' confused,' he is going to see more clearly soon. 
 This, taken in connection with what we subsequently learn of Faust's 
 character, with the compact in 11. 1692-1706, and with the saying of the 
 angels in 11. 11936-7 : 
 
 ,,28er immer ftrebenb fi$ bemiib,t, 
 Den tonnen TOUT erlofen," 
 
 can only mean that all ' striving,' i. e., all idealism that looks beyond the 
 egoistic pleasure of the moment, is at bottom 'service of the Lord'; ser-
 
 244 NOTES. 
 
 vice which may be more or less ' clear ' and so may occasion less or more 
 of error, but will not fail of divine approval at the last. To accord with 
 this conception, the devil must be an enemy of idealism. Mephistopheles 
 is accordingly introduced in the Prologue as one of the spirits of negation, 
 a humorous ' wag ' whose divinely appointed office it is to spur men to 
 activity for their own good, and thus unwittingly work out the Lord's pur- 
 poses. His incentive is not greed for the souls of dead men, but the 
 pleasure of leading men ' in his way ' while they are alive. Hence he pro- 
 fesses not to care for Faust's soul after death, though later, as legendary 
 devil, he does manifest an interest in it. 
 
 The dramatic setting of the scene was suggested by the book of Job, in 
 which we read (i. 6), that ' there was a day when the sons of God came to 
 present themselves before the Lord, and Satan came also among them.' 
 In the Hebrew poem the Lord calls attention to his ' servant Job, an up- 
 right man,' but Satan thinks that Job's uprightness is due to his prosperity. 
 To test the matter, Satan is given permission to try to turn Job from the 
 service of the Lord by means of affliction. Mephistopheles is to try the 
 same experiment upon Faust by means of pleasure. In both poems the 
 devil fails and the word of the Lord is verified. Cf. the address of J. 
 Landsberger, Das Buck Hiob und Goethe's Faust, Darmstadt, 1882. 
 
 242+. $>ie IjiininHfdjen ^jeerfdjaaren. The Eng. ' heavenly host ' of 
 
 Luke ii. 13, cf. Acts vii. 42, translates the Gr. arpanu. 'army.' 9WeJ)I)i= 
 ft0pl)de. The origin of the name is still a moot question. Its earliest 
 known occurrence is in the first Faust-book of 1587, where it appears as 
 Mephostophiles. Of course, however, the author of the Faust-book did 
 not invent the name, but took it from an earlier learned tradition. Most 
 likely the word is a Hebrew compound worked over under the influence at 
 Greek words in -Qihriz. Most plausible, perhaps, is Seydel's derivation 
 (G.-J., V., 353) from Hebrew mefiz-tofel, ' destroyer-liar,' or, perhaps, ' forger 
 of lies ' (G.-J., VII., 310). That the word was originally a Greek compound 
 pTj-ipavaTo-Qitye ' no friend of Faust,' or ^-0wTO-0iAj?f ' no friend of light,' 
 is not probable : one who knew enough to write such Greek would know 
 too much to write it. Little is to be said, too, for the derivation proposed 
 by A. Rudolf (G.-J., I., 335), namely, Hephaistophiles, ' Hephaestus' friend,' 
 ' devil's friend,' as antithesis to Theophilus, ' God's friend.' For yet other 
 guesses see G.-J., III., 340, and IV., 432; also a learned Latin essay by A.
 
 NOTES. 245 
 
 Hagemann: Mephistophelis nomen uncle ortum, etc., Graudentz, 1872. 
 Goethe discusses the word in a letter to Zelter of Nov. 20, 1829, giving i' 
 a ' fantastic origin contemporary with that of the Faust-legend.' In tb 
 letter he encloses an extract from Fausfs Hollens?wang of 1612, in whicL 
 are found some scores of spirit-names like Osphadiel, Dirachiel, Kirotiel, 
 Mephistophiel. Unless these names are also capable of being explained 
 from the Hebrew, it would seem possible that Goethe is exactly right in 
 ascribing to the word a ' fantastic origin.' As to the form of the name, the 
 earlier Faust-books and Pfitzer followed the original, though Marlowe 
 changed it to Mephostophilis, with a vocative Mephosto, and Shakespeare 
 made it Mephistophilus. The form Mephistopheles was used in the Christ - 
 lich Meynenden Faust-book and became then the usual one with writers 
 of the eighteenth century. $)te brci rjCttflCl. Raphael is not men- 
 tioned in the Bible, but appears in the apocrypha (Tobit xii. 15) as 'one 
 of the seven holy angels which go in and out before the glory of the Holy 
 One.' Gabriel is mentioned in Daniel and also in Luke i. 19 ('lam 
 Gabriel that stand in the presence of God'). Michael is mentioned in 
 Daniel, Jude and Revelations, and he only is called an ' archangel ' in the 
 Bible (Jude 9). In the book of Enoch we hear of ' four great archangels,' 
 viz., Gabriel, Michael, Uriel, and Suriel or Raphael. S)ie bret treten Dot 
 need not be taken as implying that there are just three archangels in 
 heaven, but only that the three most illustrious ones, the three who are to 
 take part in the scene, present themselves before the Lord. 
 
 243. tOttt, ' makes music '; in allusion, probably, to the ancient Py- 
 thagorean doctrine of spheral harmonies produced by the motion of the 
 heavenly bodies. Somewhat different is the biblical conception of stars 
 singing for joy. Cf . Job xxxviii, 7, ' The morning stars sang together,' and 
 Isaiah xliv. 23, ' Sing, O ye heavens.' 
 
 244. SBrubcrfpljoren; presumably the planets, rather than the fixed 
 stars. The syntax is as if we had the compound 33ruberjpharen=2Bett 
 gefang. 
 
 246. Tottttcrgttltg, ' thunder-march.' The course of the sun through 
 space is conceived as swift, majestic, and attended by a roar like that of 
 thunder. Klopstock describes God as moving, 
 
 SBenn er bent 3iele ftdj nct^t, nut bent S)onnergang bet @ntfd)eibung. 
 
 347. $1)1 Stnblitf, ' its aspect.'
 
 246 NOTES. 
 
 248. SBetttt fetlter .... Ittllfl, ' though no one can fathom it.' By 
 ' fathoming the sun,' is meant the comprehension of it as a phenomenon; 
 tttdg in its original meaning of ' can.' 
 
 255. Jytiijfcit; not the waves nor the tides, but seething ' floods ' into 
 which the waves break and recoil as they are driven up against the rocks. 
 
 261-2. Inlbcit .... iHtrfltltfl, ' form in their fury a chain of deepest 
 effect.' The seaward and landward winds produce far-reaching conse- 
 quences. Fichte shows in one of his lectures that if a grain of sand on the 
 beach were to lie a few inches from where it does lie, the whole antecedent 
 history of the world must have been different. So Emerson calls all 
 
 Nature 
 
 A subtle chain of countless rings. 
 
 263-4. ftottttttt .... f Of. Aside from the exigencies of meter there 
 is a subtle, untranslatable difference between eg flamntt bent $fabe Cor and 
 e8 ftontmt or bent ^Sfabe. The compound gives a finer poetical effect. 
 
 265. 0d). The logic is this : Grand as are the phenomena of storm, 
 thunder and lightning on earth, still it is the gentle movement of the day 
 that most excites the reverence of the angels. SBotett = u/ye/lot, ' angels.' 
 
 268. 2>0 f 'since.' Schroer thinks it concessive, like the correspond- 
 ing luenit of 1. 248, but that is hardly possible. S5d is not once quoted 
 in Grimm Wb. in the sense of ttientt fiiu1), though it is common in that of 
 toemt, tt)enn ttielleidjt. Strehlke Wb. gives it the meaning of bo tt)0. But 
 the thought is rather, that since the Lord's nature is unfathomable, the 
 contemplation of his works affords the angels an ever fresh source of 
 strength. What one understands perfectly becomes in time an old story. 
 
 271. Itnllft. Mephisto's buffoon humor expresses itself in the conceit 
 that the Lord is a genial householder who appears now and then in the 
 servants' quarters to inquire how things are going. In fact, the Lord does 
 not ' approach,' but only permits an approach. For in view' of the words 
 ber >itttmel fdjliefjt, 1. 349+, we must think of the Lord as occupying a 
 ' most holy place ' which is veiled from the celestial host, the veil being 
 however drawn aside to admit the favored ones into the divine presence. 
 
 275. 1)01)6 SSortC tttadjett, ' make fine phrases,' as the archangels have 
 just been doing. 
 
 277. 9)fettt $dtl)0, 'pathos from me'; 'pathos' in the sense of 
 serious feeling earnestly expressed.
 
 NOTES. 247 
 
 280. fldj, ' themselves,' not ' one another.' 
 
 282. SBltttberlid), ' singular.' Notice that 1. 282 parodies 11. 250 and 
 270. 2U tt)ie is a frequent pleonasm with Goethe. Cf. 11. 359, 2129, 
 2214, 2294. 
 
 285. SBcrnUttft, 'reason.' When used in its philosophical sense, as 
 here, or expressly contrasted with SSerftanb, ' understanding,' ' sense,' $er= 
 tllinft means the faculty by which we apprehend the ' connection of truths' 
 (Wolff, as quoted by Sanders Wb.). In other words, it is the faculty with 
 which we grasp general and abstract ideas. Thus SBentUltft is, or was held 
 by German philosophers to be, the attribute that distinguishes man from 
 the lower animals, these having at best only SJerjlanb. (But when SSer 
 ttimf t is used popularly, or without thought of SJerftanb, it may be ascribed 
 to brutes. Cf. Schiller's Tell, L, i : ag bier Ijat aiidj SSernunft.) In 
 nemtt'S, the e8 = baS fcJjeinbar himmlijdje id)t. 
 
 286. -JJttr merely strengthens atletn, giving the sense of ' to no other 
 end than.' But the collocation is very unusual. The devil's theory is 
 this : Man's ' reason ' does nothing for him but give him an absurd conceit 
 of himself, which leads him to plume himself on his superiority to the 
 brutes that perish. When, therefore, he does act like the brutes, his con- 
 duct is worse than theirs, because they make no fine pretensions. They 
 never talk of truth, beauty, righteousness, immortality, etc. 
 
 287. mtt Scrlaitb .... ttabett, ' with your Grace's permission.' (5tt>. 
 is for Slier, historically a gen. plu. (Slier naben is a stereotyped form 
 constant for all cases. 
 
 288. Gicafccn, 'grasshoppers,' not 'cicadae.' On the point of the 
 comparison, see Intr. p. Ixxvi. 
 
 290. glctrf), ' straightway.' The attempt to fly fails forthwith. 
 
 292. The meaning is: Not only can man not fly very high or very 
 long, but when he sinks back to earth, he is not even content with the 
 cleaner media of an animal existence. 
 
 298. felbft; to be taken with id), not with bie armen. 
 
 300. cud). Ordinarily the change from bll to 3hr is in the direction 
 of greater respectfulness; here, since the Lord is addressed, it has the ex- 
 actly opposite effect. 
 
 302. ie Sljruttg, ' the ferment ' of his soul.
 
 248 NOTES. 
 
 308. ticrmorrctt, 'confusedly'; like one wandering in the dark or in 
 ' misty fog.' 
 
 310. gfitltt, ' shows signs of life.' 
 
 314. HtCtltC Strflfjc; ace. of the way. Mephisto's 'way' is that of 
 egoistic pleasure. 
 
 315-6. The implication clearly is, that when Faust's life on earth is 
 over, Mephistopheles is to have no further right to trouble him. 
 
 318. fl, ' there,' i. e., so far as that restriction is concerned. 
 
 319. JQttb 1 id) . . . . IicfctJtgCJt, ' I have never cared to concern myself.' 
 For the use of befangen as = befdffen, Grimm Wb. quotes only this 
 case from Goethe, but several from Richter. As to Mephisto's pro- 
 fessed indifference to dead men, cf. Intr. p. Ixxi-ii. 
 
 320. Heb T id) Ittit. Siebeit with reflexive dat. is much used by Goethe. 
 It means ' to like,' ' to have a fancy for.' 
 
 325. crfoffCtt, ' get hold of.' 
 
 327. Another intimation that Mephistopheles is to be baffled. He 
 is to ' stand abashed ' and ' confess.' 
 
 328-9. @tn guter .... fiettW^t, 'a good man in his vague striving 
 is quite conscious of the right way.' An important, difficult, and famous 
 passage. Obviously etlt guter SKetlfdj can not mean ' a good man ' in the 
 ordinary sense. Of course a good man is ' conscious of the right way ' and 
 tries to follow it ; that is the very nature of ' goodness.' Goethe uses 
 guter in about the sense of tiicfjtiger or bodjftrebettber, meaning one who 
 is ' good ' for something; one who has ideals and tries to realize them; 
 or, in different words, one who possesses that ' good will ' which Goethe 
 calls the ' foundation in matters of right conduct.' (2)d8 aitptfltnba= 
 tnent be8 itttidjen ijl ber gute SBtQe; Werke, H., XIX., 77.) For an 
 exactly similar use of the phrase cf. Werke, H., VIII., 198: 
 
 35enn roa ein guter SWenfdj erreidjen lann 
 
 3ft nicfit tin engen SRaum be SeBen }u erreidjen, 
 
 where it is applied to an artist and can, therefore, have nothing to do with 
 conventional ' goodness.' The phrase in fetnem bunflen S)ronge is not 
 easily translatable. Grimm Wb., defines vattg for this passage as 2lru 
 reijung, itmerer rieb, impetus, impuhus. >un!Ien means ' not fully 
 understood,' hence ' vague.' The point involved is, at bottom, the old 
 issue between the Augustinian and the Pelagian theology : the question
 
 NOTES. 249 
 
 whether a man, if he follows his natural bent, will surely and finally go 
 wrong or not ; whether he is of himself a helpless wanderer in the dark, 
 requiring to be put upon the right way by a miracle of divine intervention, 
 or whether he has that in him which will enable him to find the right way 
 and follow it. Goethe takes the Pelagian view, but only on the supposition 
 that the man is eitt gitter 2J?enfd) from the first. For Faust is by no means 
 a representative of humanity, as he is sometimes called, but only of that 
 portion of it who strive, whose will is good. It may be noted, finally, 
 that no formal confession of discomfiture, like that here foreshadowed, ever 
 comes from Mephistopheles. He is, however, discomfited, for Faust's 
 idealism proves invincible. 
 
 3345. The allusion is to Genesis iii. 14, where God says to the ser- 
 pent, ' dust shalt thou eat all the days of thy life.' By ' eating dust with 
 delight ' the devil means being satisfied with egoistic pleasure. 
 
 336. tt borfft .... erfd)eitten, ' there too thou mayest act thy part 
 quite unhindered ' ; dud) ba, in boasting over the Lord as well as in trying 
 to lead Faust astray; mir with fret in the sense of 'not otherwise than,' 
 ' quite.' Observe that erfdjettteit does not mean to appear ' = videri, 
 which would call for jc^einen, but ' to show one's self,' ' play one's part.' 
 
 339. djfllf, ' wag.' Mephistopheles is given this name as a being 
 who acts in a spirit of cynical humor, for the fun of the thing, so to 
 speak. The Lord's work is to him a field for practical joking. Those 
 other unnamed spirits which are more troublesome to the Lord would 
 doubtless be such as carry on the work of negation, opposition and de- 
 struction in a spirit of bitter, malignant earnest. That Mephistopheles is 
 here a spirit, but later (1. 1338) the spirit of negation, or (1. 2181) the 
 devil, need occasion no surprise. The devil is a theological abstraction. 
 What history gives us first is many devils of different national characters 
 and different names, which names and characters were then blended in the 
 conception of the devil. Cf. Intr. p. Ixxv. Thus Goethe treats his Mephis- 
 topheles at pleasure either as one in a kindred hierarchy of devils, making 
 e. g. the tempter of Genesis his ' cousin ' (1. 335), or as a personification of 
 a part of the negative principle of darkness that is at war with light 
 (1. 1335), or again as the spirit of negation, the devil. The witch calls him 
 Junker Satan (1.2504). On the Brocken he calls himself Junker Voland 
 (1. 4023), while the devil on the throne is Herr Urian (1. 3959). In
 
 250 NOTES. 
 
 the puppet-plays the devil is sometimes called Pluto. In the original 
 legend Mephistopheles is an envoy of Lucifer. 
 
 3403. The doctrine is that men thrive by opposition. Cynical criti- 
 cism and obstruction bring out our best qualities and incite us to work for 
 the realization of our ideals. 
 
 341. @r liefit fid). Cf. l. 320, note. 
 
 343. 2>er tcigt . . . . fdjoffen, 'who stimulates, exerts influence and 
 must, as devil (i.e., by virtue of his devilish nature), be doing.' But some 
 take the last clause to mean 'must, though devil, produce'; i. e., though 
 his work is destruction, by stimulating man to productive activity, he be- 
 comes in spite of himself a producer. 
 
 344 ($8tterfi)I)lte f ' sons of God,' as in Genesis vi. 2, and Job i. 6. 
 The reference is of course to the archangels. Cf. 1. 66, note. 
 
 345-9. This passage defies translation and resists close logical anal- 
 ysis, but the general import is this : Mephistopheles is to go to earth to 
 carry on his opposition to the Lord's purposes, but the angels are to 
 remain at the center of creative power, beholding with joy and love the 
 beautiful creation that is ever realizing itself about them, and seeing in 
 every transient phenomenon a manifestation of the eternal thought of God. 
 2>fl3 293crbettbe f ' the evolving world,' is creation considered not as a fact, 
 but as a living process, the ever progressing realization of the divine plan. 
 2Ba3 ttt frfjttwnfettber @rfd)Ctnung fdjttJCllt, ' what floats in unsteady phe- 
 nomenal manifestation,' e. g., suns, planets, storms, man's earthly life 
 all things that come and go as parts of the phenomenal world. SBefcfttjJct 
 ntit bdUernbett ebattfeit, 'fix, i. e., hold steadfast, with enduring 
 thoughts.' But Strehlke Wb. gives befefUgeit as = ftarfen, ficfyertt. All 
 that ' appears ' is a manifestation of the Eternal Thought. The angels are 
 invited to participate in this thought, or, in Spinozan phrase, to view the 
 world sub specie aternitatis. 
 
 349+. >cr .<ptmmd, the 'most holy place.' Cf. 1. 270, note. 
 
 350. $ett s JUtcu, 'the old man,' 'the governor.'
 
 NOTES. 251 
 
 This scene, up to Wagner's exit, belongs to the oldest stratum of Faust. 
 On its subjective side it is rooted in Goethe's youthful disgust with aca- 
 demic learning and in the fantastic feeling for ' nature ' to which he had 
 been led by his study of the alchemists and mystics, and by the influence 
 of Herder. See Intr. pp. xxiii-xxxv. In beginning with a soliloquy of 
 Faust, Goethe follows the puppet-plays (but see above, the general note 
 upon the Prologue), which in turn follow Marlowe. In the puppet-plays, 
 Faust's success in conjuring is always dependent on a certain book which 
 is brought him by two or more students. In Goethe, Faust has the book 
 of Nostradamus from the first, and nothing is said of its provenience. This 
 book is conceived as possessing occult properties such that the mere con- 
 templation of its symbols produces wonderful effects upon the beholder's 
 mental state, while the appropriate ' utterance ' of one of the symbols 
 causes the corresponding spirit to appear in visible form. 
 
 In 1885 the late Wilhelm Scherer published an essay (G.-J. VI., 231), 
 in which he drew attention to, and endeavored to account for, certain 
 logical difficulties presented by 11. 354-521. The case is in brief this: 
 The play begins with a passage [i], 11. 354-385, in which Faust describes 
 his trouble and states that he has devoted himself to magic in the hope of 
 relief. His tone toward the end is one of hope and confidence, so that 
 we naturally expect him to proceed at once with his conjuring. Instead 
 of that, however, he breaks out into a poetic strain of repining over his 
 past misery, his impotence, and his ' unnatural ' surroundings (passage [2], 
 11. 386-427). He gives us the impression that he is going to escape with 
 his book into the open air, since ' dry meditation ' in the study is futile. 
 Then, when we are expecting him to seize the book and rush forth, he 
 suddenly declares that there are spirits near him and implores them to 
 answer if they hear. Then follows a passage [3], 11. 430-467, in which 
 Faust looks at the symbols and describes their effect upon him. After this 
 comes a passage [4], 11. 468-521, in which he evokes and converses with 
 the Earth-Spirit, whom he addresses as erflefyter etji, though he has not 
 yet ' implored ' the Spirit at all.
 
 252 NOTES. 
 
 Scherer further showed that these passages differ greatly in meter and 
 style. In [i] we have soulless metrical prose. The rhythm is irregular, 
 the language popular, and the technique clumsy, since Faust is made to 
 tell himself, as in the puppet-plays, what he has been doing. On the other 
 hand, [2] is all poetry. The rhythm is regular, the style noble, and the 
 dramatic technique faultless. As a result of his study, Scherer was led to 
 conjecture that Goethe wrote [ I ] having in mind a Faust who has decided 
 to devote himself to magic, but has not yet the book needed for evoking 
 spirits; that the poet's intention was to introduce a scene which should 
 put Faust in possession of ihe book, the opening of which was then to be 
 followed by the magic effects of [3] ; after which was to come an unsuc- 
 cessful attempt to evoke the Earth-Spirit, and then finally a renewed and 
 successful attempt, with the dialogue as in [4]. As for [2], Scherer sup- 
 poses that to have been written as a substitute for [ i ] ; i. e., it was in- 
 tended to begin the play, and to begin it on the assumption that Faust has 
 the book but can do nothing with it in his study, and must therefore take 
 it into the open air. Lastly, Scherer supposes that Goethe, after he had 
 decided to retain the original opening, instead of rejecting [2] inserted it 
 where we find it and bridged the awkward gap between [2] and [3] with 
 the words : 
 
 3b,r fdjroebt, i6,r eifter, neben mir ; 
 Stnttoortet ntir, roenn ib,r tnicf) IjBrt ! 
 
 The argument of Scherer is ingenious and proves at any rate that the 
 four passages did not proceed from a continuous creative impulse, but cor- 
 respond, in part at least, to different moods and to different phases of poetic 
 feeling and of artistic power. It is not proved, however, that the poet 
 ever changed or forgot his fundamental presupposition with regard to the 
 book, or the place of the conjuring, or that he ever intended to write, and 
 then failed to write, any passages that are necessary to the logic of the 
 action. We may well suppose that in Goethe's earliest musings on the 
 Faust-theme, the locus of his hero's conjuring may have occasioned some 
 thought, some balancing of alternatives; for in the Faust-books the con- 
 juring takes place in the woods at night, whereas in the puppet-plays it 
 takes place in Faust's study. But by the time that he began to write 
 Goethe had settled the question in favor of the study. Nor did he have 
 any occasion to explain dramatically the provenience of the book; for the
 
 NOTES. 253 
 
 'two students' of the puppet-plays are at best but a clumsy device, being 
 no less mysterious than the book they bring to Faust. They come and 
 go; we hear no more of them, and never learn how they themselves came 
 by the wonderful volume. It was just as well, therefore, simply to assume 
 that Faust has the book from the outset. 
 
 On these suppositions the text can be explained as follows : In writing 
 [l], Goethe had in mind a Faust who ' has devoted ' himself to magic only 
 in the sense that he has learned the rudiments of the art. He has not yet 
 tried his hand at conjuring, but is just about to try it with the book of 
 Nostradamus, of which he has high hopes. In accordance with this con- 
 ception, Goethe first wrote in 1. 379, as we now know, not tt>iirbe but 
 ttiei'be, giving the sense : ' I have devoted myself to magic to see whether 
 many a secret will not be revealed to me.' We may now suppose an in- 
 terval to have elapsed before [2] was composed. It need not be a long 
 interval, nor presuppose a radically different Goethe, but only a different 
 mood. During this time he conceives the idea of laying a little more stress 
 upon Faust's previous studies of magic (studies carried on with other 
 books than that of Nostradamus), and of representing the futility of these 
 past studies as a part of his hero's general disappointment and pain. This 
 idea, he sees, will permit him to give utterance to certain feelings of his 
 own, respecting the folly of poring over books under the study-lamp instead 
 of seeking illumination directly from Nature. He had also, for this feature 
 of his plan, good legendary grounds. The narratives make Faust study 
 magic books for some time before trying his first successful experiment. 
 So the Schwiegerling puppet-play introduces Faust as having pondered 
 upon magic for ' countless years ' before the right book comes into his 
 hands. 
 
 With this idea in mind Goethe composed passage [2], throwing into it 
 the pathos of his own personal feeling, and so continuing as genuine poetry 
 what he had begun as prosaic doggerel. He has in mind here a Faust 
 who has spent long nights poring over magic books (1. 390, note) ; who 
 has learned to recognize and imitate their symbols, and to know what to 
 expect from each; who has tried to evoke spirits, tried to evoke the Earth- 
 Spirit, but in vain, the reason being, of course, that he has not had the 
 right book. In his own mind, however, the magician has framed a dif- 
 ferent theory to account for his failure, viz., that the symbols will not do
 
 254 NOTES. 
 
 their proper work amid the ' dust and mold ' of the study, but need to be 
 taken out into the open air. So he prepares to leave his study in the belief 
 that the symbols of Nostradamus will prove as impotent there as the others 
 have proved. Still, as magician he knows that there are spirits near him, 
 and so, by way of giving them one final trial before rushing out into the 
 night, he exclaims : 
 
 Wntroortet ntir, roenn tfjr tnid) Ijort ! 
 
 He then opens the book, and this time, of course, the symbols do their 
 work. What follows is then all in order. 
 
 Subsequently, in revising for the Fragment, Goethe noticed that the 
 ItJCrbe of 1. 379 was not quite in harmony with his final conception, whence 
 the change to roiirbe, giving the sense : ' I have been devoting myself to 
 magic (for some time) to see whether many a secret would not be revealed 
 to me.' 
 
 Scherer's essay has provoked much discussion of which no account 
 can be given here; cf. especially Schmidt, Introduction to the 3d edi- 
 tion of the Gochhausen Faust ; Collin, Goethe's Faust *' seiner dltesten 
 Gestalt, and Niejahr in Euphorion, IV, 273. All these writers and more 
 that might be named have each his own way of dealing with Scherer's 
 difficulties. This of itself shows that the difficulties are real. The ex- 
 planation offered above has not escaped criticism, but thus far (1898) 
 no other has been proposed which seems to the editor less open to ob- 
 jection. Two things only are clear : First, the passage did not take 
 shape aus einem Gusse ; secondly, the evidence that has been adduced 
 to prove it a patchwork of essentially different ' plans ' is altogether 
 inadequate. 
 
 354. .^>ltbc. Supply id). The omission of the subject is colloquial 
 and characteristic of the free-and-easy Hans Sachs style. In the older 
 portions of Faust it is common in the sing., somewhat less so in the plu. 
 s $l)UDf0pI)te, ' philosophy,' but not in the strict technical sense. It is, 
 rather, a broad term for the studies belonging to the ' philosophical faculty' 
 of a university. 
 
 355- Suriftem; contemptuous for 3uriprubeng. 
 
 356. Icibcr flltd). Faust is primarily a theologian (cf. 1. 372-3), and 
 in making him especially dissatisfied with theology, Goethe follows the 
 legend. The ' science of God ' is the study from which a seeker after ulti-
 
 NOTES. 255 
 
 mate truth would naturally expect the most; whereas Faust has been led 
 by it only to doubts that have destroyed his peace of mind. Cf. 1. 370. 
 357- ^Urdjtttt^; here = blird) llttb bltrd), i.e., 'thoroughly.' 
 
 360. SKflgifter, 'Master' of Arts; the second degree in the sequence 
 bachelor, master, doctor. U. has here : eijje ocftor llttb ^Srofeffor gar. 
 The reason for the change is not quite obvious, since Faust is very certainly 
 to be thought of as a professor. Was it because C. M. states expressly that 
 Faust received the degree of ' Master ' at Ingolstadt, or because the magi- 
 cian was popularly known as ' Doctor ' Faust ? 
 
 361. fd)0tt. As to Faust's age, cf. Intr. p. xlvii. 2Jn is unaccented, 
 i. e., does not go with Jtebe, but with bie gebeit 3ab,r, to denote approxima- 
 tion; 'well-nigh these ten years.' The older jeljCtt, M. H. G. zehen > 
 zen, is often used by Goethe in his youth, even where no metrical consid- 
 erations require it, e. g., Briefe, I., 133, 187. ^Saljt \ pl u - with -e omitted, 
 as it was very often omitted, in all sorts of words, in the South-German 
 dialect of the youthful Goethe. 
 
 365. $o3 ticrbrcnttCtt, 'that (insight) is just about consuming 
 
 my heart as with fire.' On nutt, cf. Brandt, 267, 6. @d)ter = ' all but,' 
 'just about'; not the Eng. 'sheer,' nor the fdjierof Luther's Bible, mean- 
 ing ' soon.' 
 
 366. JJaffeit, ' ninnies '; used collectively of the classes mentioned in 
 1. 367. 
 
 367. Sd)reU)Cr, ' scribes,' or ' notaries,' learned in the law; not ' ec- 
 clesiastics,' nor ' students of theology.' 
 
 370. 2>dfur r ' as an offset to that,' ' on the other hand.' The thought 
 is that Faust has won liberty at the expense of peace. This sense of bafiir 
 is not noted in Grimm or Strehlke, but is common in Goethe's early writ- 
 ings. Cf., e. g., Briefe, I., 181 (letter to Oeser) : >ie (Eabiltette bier ftttb 
 groar ftein, bafiir ftnb fte battftg unb aiiSgefudjt. Cf. also 1. 2988. 
 
 371. toa8 s Jied)t3, ' anything worth while.' Cf. 11. 1879 and 4125. 
 374-5. This vulgar motive for Faust's study of magic does not appear 
 
 in the oldest Faust-book, but is as old as Widman, who says (Cap. 13, 
 Scheible, II., 359) : 2>iett)eU er Weber getbt, fofl nod) fpeijj unb anbreS 
 b,abe, fo bab er aud) ftd) fiirneljmUd) bent Seitfel ergeben. 
 
 377. $flb T ergcbett. On the import of the tense, see the intro- 
 ductory note above.
 
 256 NOTES. 
 
 378. cifitC 9)htttb; seemingly a hendiadys for burd) ben fraftU 
 
 gen 2ttunb etneS etfteS, ' through some mighty spirit-voice.' The omis- 
 sion of the article is peculiar but not unique in Faust. Cf. SBerge8ljoh(e, 
 1. 394, and rabe liftadjt, 1. 747. 
 
 379- toiirbe. U. has luerbe. See introductory note above. 
 
 380-1. Not that Faust now thinks to give up teaching if he succeeds 
 as magician. He wishes to teach with better insight. 
 
 382-4. Faust wishes to comprehend the central power that sustains 
 the order of nature, to gaze upon the formative energy that pervades the 
 world, and to behold the primordial substances (@amen) out of which all 
 things have grown. Take @anten as a plu. with atte repeated. The word 
 is common in Welling (see Intr. p. xxvii). Believing the various forms of 
 existence to be more or less interconvertible, the alchemists reached the 
 conception of certain fundamental substances which are the basis of all 
 things that are. These they called ' seeds.' 
 
 385. tljlt' f mitten, ' do business.' The use of thlin as a peri- 
 phrastic auxiliary, like Eng. ' do,' is a South-German provincialism which 
 is frequent in Faust; cf. 11. 2145, 2781, 2869 etc.; also Brandt, 274, 6. 
 
 386. 9)J0Jtbeufd)Ctn; now usually SJionbjdjetn or SDZonbeSfdjetn, but 
 the old weak decl., especially in composition, is common in the classics. 
 
 389. IjcrrtHijCUJllrfjt; an intransitive used transitively. Sanders Wb. 
 gives the meaning as fo lange tt>ad)en, bis ba Dbjeft erfdjeint. But does 
 it not rather mean 'to watch mounting' the sky? Cf. fteigt heran in 1. 
 3851-2, and fteigt fyeriiber in 1. 3235-6. 
 
 390. SJitdjmt. U. and Fgm. have S3ud)er. The change was made, 
 seemingly, to bring out more clearly the thought intended, viz. : ' Thy 
 beams have found me sitting here over my (magic) books and papers." 
 Kogel, V. L., I., 55, thinks the books and papers on the shelves are meant, 
 and that the ace. is requiredf But in that case one can not realize the 
 picture. The books and paper are not those of 11. 402, 405, but the tools 
 with which Faust has been engaged in a futile study of magic (the ' paper ' 
 for drawing) . Cf. the ' night -brooding magus ' letter of Goethe, JBriefe, I., 
 200, in which he speaks of himself as etngefperrt, allein, Gurcfel, papier, 
 geber unb 2)inte, unb gttei 23iid)er, mcin ganjes 9tiift$eug. 
 
 394. $Bcrgc3!)pl)le. The omission of the article is harsh. Cf. 1. 378, 
 note.
 
 NOTES. 257 
 
 396, 2Btffett3<JUaIm, ' choke-damp of learning.' 
 
 397- flCfttltb .... tabett, ' bathe to health '; factitive predicate. 
 
 402. SScfdltOttft turn, ' bounded by'; pple. with 2ftaiierlodj. 
 
 403- SBiirmc; the regular M. H. G. plu., familiar to Goethe from Lu- 
 ther's Bible. But he also uses the modern SBiirmer. Cf. 1. 605. 
 
 405. (Silt .... Itmftcrft ; a curious expression that has been variously 
 understood. Probably it refers to the strips of paper placed upon the 
 shelves and hanging down over the books to prevent the dust from 
 settling upon them. Cf. Euphorion, III, 476. U. has : 2JHt Cingeraudjt 
 Rapier beftedEt, which was rejected on account of the undeclined dat. 
 angercmdjt. 
 
 408. breilt geftopft; ace. abs. with ail8ratb. The three preceding 
 pples., on the other hand, go with SJlauerlodf). 
 
 411. id) bang Hcmmt, ' falters oppressed ' (Taylor). 
 
 415. 2)0 Wott . . . . IjtltCtU, 'whereinto God created men'; colloquial 
 for in tt?etd)e ott bie 2ftcnfd)en binetnfdjuf (Hart). For a similar ' whither' 
 construction after a ' where ' verb, cf. 1. 943. 
 
 420. yioftrabiunuo; the Latin name of Michel de Notredame, a noted 
 French astrologer and physician, born in 1503. His most famous work 
 was a collection of rimed prophecies published in 1555 under the title of 
 Centuries. He wrote no book of the kind here ascribed to him. Goethe 
 uses his name as that of a representative astrologist contemporary with 
 Faust, who might thus have a manuscript of his. See note, to 1. 993 ff. 
 
 422. rfcntteft; erfennen here = einfefien, begreifen. 
 
 424. getyt ttttf, ' is revealed.' 
 
 426-9. On the logical connection, cf. the introductory note above. 
 
 429+. 3etd)Ctt be3 2)fafrofo3ntu3. Macrocosm, from post-classical 
 Gr. (uiKpoKocfio^, ' great world,' (lit. ' long world ') , was a name given by 
 medieval astrologers and philosophers to the universe-at-large, conceived 
 as an ordered whole consisting of variously interrelated parts. The Gk.- 
 Lat. cosmus is opposed to chaos and means order,' whence macrocosmus 
 = ' great order,' or ' great harmony.' By the ' sign ' of the macrocosm we 
 are to understand a geometrical figure possessing the magic power to give 
 Faust a beatific vision of the ' grand harmony." It is not likely that Goethe 
 was thinking of any particular figure, but pictures more or less like what 
 he had in mind are found in Welling, pp. 9, 97, 171 etc. Cf. Intr. p. xxviii.
 
 258 NOTES. 
 
 431. tttltCtt; old weak plu. of @tmt, as in 11.479, 1436, 1633; the 
 usual strong plu. itttte, in 1. 6ll. 
 
 437. Xrieb; here in about the sense of 'potency,' 
 
 440. ^itflClt, ' lines'; the traces of Nostradamus's pen in the pictures. 
 
 443-6. The quotation has not been identified beyond a doubt. Very 
 likely it is only the thought that is quoted, the language being Goethe's 
 own. The thought is, that no impassable barrier separates the spirit-world 
 from the spirit of man. There is a revelation, and if we do not perceive it, 
 it is because of the inertness of our faculties. Scherer, Goethe's Friih- 
 zeit, p. 7 1 ff ., argues that the ' wise man ' is Herder. In Herder's Alte- 
 ste Urkunde des Menschengeschlechts we find a chapter headed ' Unter- 
 richt unter der Morgenrothe.' Herder here describes in rhapsodical 
 language the effect of the dawn upon primitive races, especially the He- 
 brews. They saw in the dawn a direct and glorious revelation of divin- 
 ity, and this revelation, he contends, we may still see and feel, if we 
 will. One passage reads : ' Come forth, young man (cf. @d)iiler in 1. 
 445), into the open fields and give heed. The most ancient, most glori- 
 ous revelation of God appears to thee every morning as a fact.' More 
 recently, however, the ' wise man ' has been confidently identified with 
 Swedenborg, whose jargon of the spirit-world and of man's relation to 
 it is in places very similar to that here employed. Cf. E. Schmidt's 
 Introduction to the Gochhausen Faust, p. xxxviii, where interesting 
 quotations are given. 
 
 445. ttlttierbroffett, ' undismayed,' i.e., undisturbed by any doubts 
 or misgivings as to the reality of the revelation. 
 
 447-53. On Faust's mystical vision of the macrocosm, cf. Intr. 
 p. xxviii ; also Scherer, Goethe's Friihzeit, p. 73 ff. and Collin, p. 36 ff. 
 Faust sees the world as a manifestation of energy, unity, spirituality, 
 and harmony. The parts of the macrocosm weave themselves into a 
 whole. Nothing is isolated : one component lives and works in every 
 other. This All is animated by ' celestial powers that ascend and descend, 
 handing to one another the golden vessels.' These powers are conceived 
 as angels with ' wings that exhale blessings ' ; at the same time, however, 
 they are impersonal essences for they permeate the earth and fill it with 
 an all-pervading music. The passage must not be taken too seriously, or its
 
 NOTES. 259 
 
 imagery scrutinized too closely, in the hope of getting out of it a clear, 
 coherent mental picture. Still less should we, as do some of the commen- 
 tators, think to find in this mystical jargon an adumbration of Goethe's 
 maturer views respecting the evolution and interconnection of organic 
 forms. It has, however, some striking resemblances to a jocose cosmogony 
 found in Goethe's farce Satyros, act iv. The passage is as follows : 
 
 9Bie fid) a{j unb Sieb' gebar, 
 llnb ba 2in nun ein anje roar, 
 Unb ba @anje Hang 
 3n lebenb tetrfenbem Gbengefang; 
 Sid) tljate flraft in flraft oerjeb.ren, 
 id) tfiate raft in ftraft oermeljren, 
 Unb auf unb ab ftd) roUenb ging, 
 3)a3 att unb ein' unb eroig S5ing, 
 Smnter oeranbert, immer beftSnbig. 
 
 450. (Sinter. The provenience of the conception has not been clearly 
 made out. Diintzer is reminded of the Manichaean doctrine that angels 
 transport the souls of the dead in golden vessels. More likely Goethe had 
 in mind some, as yet unidentified, picture. 
 
 454 fT. The change of tone and meter, and the abrupt transition to a 
 totally different order of thought and feeling, suggest that this passage was 
 not composed continuously with the preceding, but corresponds to a dif- 
 ferent phase of the young Goethe's nature-sentiment. Cf. Scherer, Goethe's 
 Fruhzeit, p. 74. Faust, who has just been likening himself to a god, turns 
 impatiently from the object of his enthusiasm, because it is ' only a spec- 
 tacle,' whereas he desires food for his soul, nourishment from the breasts of 
 mother Nature. The biblical imagery of 11. 455-9, suggestive of supreme 
 spiritual happiness (cf. Isaiah Ixvi, 11-12), corresponds to the rapturous 
 feeling for nature which meets us in Werther. Cf. the letters of May 10 
 and May 17, 1771, in which Werther speaks of all baS ttwnberbare e 
 fiibf, tnit bent mem erj bie -Katur umfafjt. 
 
 458. ttette Stttft, ' pining breast.' 
 
 459- if)* ttttttft, 'ye give to drink,' i. e., ye have nourishment to offer. 
 
 459+. @rbgciftC. The Earth-Spirit is an invention of Goethe which 
 owes nothing discoverable to any particular myth, still less to any man. 
 On the genesis- of the conception, cf. Intr. pp. xxviii, xxix and xxxv. The 
 Spirit takes the place of the ' prince of hell ' in C. M., but is not for that
 
 260 NOTES. 
 
 reason a devil. He is rather the personification of terrestrial nature on the 
 side of that awfulness and sublimity which seem to tell of a being that is 
 too great to sympathize with man or be comprehended by him, but is 
 nevertheless the giver of all things that come to him. Cf. Intr. pp. xli and 
 xlv. In truth, this being is neither cruel nor benignant, but only seems 
 the one or the other, according to the mood of the man, or the degree of 
 his culture. Faust longs for a sympathetic mother, but the spirit that 
 comes at his call is the one of whom Tennyson sings : 
 
 Thou makest thine appeal to me. 
 I bring to life, I bring to death. 
 
 Later, in 3217 ff., the same Spirit is invoked by Faust as the beneficent 
 giver of all good gifts. In Par. p. 3, Goethe characterizes the Spirit as 
 2Bdt= unb 2;hatengeniit. 
 
 461. uiif)cr. Faust feels himself nearer to the earth than to the cosmos, 
 to the (Srbengott than to the SBeltgott. Cf. Intr. p. xxviii. 
 
 463. JlCUCm; equivalent to frifdjem. 
 
 464-7. The magic effect of the symbol of Nature's energy is a sudden 
 acces of energy, of the will to do and dare, on the part of Faust. 
 
 468-74. These lines are rhythmic prose with no trace of meter, save 
 that 11. 468 and 469 would go together as an alexandrine. There are sev- 
 eral such passages imbedded in the verse of Faust (11. 514-7, 3183-94, 
 3437-58), all of them expressive of intense excitement. Scherer, Goethe's 
 Fruhzeit, p. 76 ff., regarded them as remnants left standing from an orig- 
 inal prose version; but U. gives no hint that its verse is translated prose. 
 It is more likely that the verse which appears in U. was verse from the 
 beginning, and that the prose passages were due to a feeling, more or less 
 conscious, that prose was better adapted than rime to the expression of ex- 
 treme emotion. This idea was a part of the Klopstockian revolt against 
 rime. It may be added that the quasi-metrical form of the prose passages 
 in Faust corresponds to that of the contemporary Wanderer and Prome- 
 theus. 
 
 473- <Sd)fltter, 'horror.' Faust experiences a sudden dread which 
 seems to him to descend, like an invisible spirit, from the vaulted ceiling 
 and lay hold of him. 
 
 475- erfleljter Cift. The language implies that Faust kpows about
 
 NOTES. 261 
 
 the Spirit and has ' implored ' him before. See above, the introductory 
 note, and also G.-J., VI., 257. 
 
 477- Wie T 3 .... retftt, ' what a rending there is.' 
 
 479- fid) crnritf)len, 'burst forth.' The verb means to ' burst open ' as 
 the result (er=) of an inner commotion (ttwblen.) Cf. the lines from 
 Goethe's ballad Der untreue Knabe ; 
 
 llnb wie er tappt unb rote er ful)lt, 
 ic unter im bie <rb' ernwfylt. 
 
 481+. After ^lamme U. has the phrase in nrieberlidjer eflaflt, 'in 
 repellent form,' though Erich Schmidt (U. p. xxv) thinks ttrieberltd) may 
 have been used in the sense of jdjrecf Urf), ' terrible.' But the sense ' repel- 
 lent ' is quite in harmony with Goethe's original conception. Later, when 
 the Spirit had taken on the character of the beneficent giver of all things 
 (11. 3217 ff.), he erased the phrase, which he could do with good reason, 
 since a spirit appearing ' in the flame ' must needs be ' repellent.' The 
 ' flame ' is found in all the Faust -books, where it pertains naturally to the 
 devil. For the stage, Goethe directed that the Earth-Spirit should be ' a 
 gigantic face emerging from behind cloud and filling the entire back- 
 ground.' 
 
 482. Q5eftd)t, ' sight,' ' apparition,' rather than ' face.' 
 
 484. long; in allusion to preceding attempts, which are left to the 
 imagination, to get into communication with the Spirit. 05cf ogcn, ' tried 
 to draw nourishment.' 
 
 486. erotfjmcnb, ' panting.' 
 
 490. ilfjcrmcnfdjcn, 'superhuman being'; in sarcastic allusion to 
 Faust's presumption. er CCle SJttf, ' thy soul's summons.' The 
 sense is : What has become of thy grand courage ? 
 
 495. fid) brttng; common in Goethe for the now more usual fid) 
 brcingte. Cf. 1. 2722 and ' Dismal Day,' 1. 30. 
 
 496. untttJtttert. Cf. 1. 8, note. 
 
 498. etn .... SBufttt, ' a worm that wriggles away in fear.' 2Begge 
 friimmter is reflexive, in the sense of ber ftd) roeggefriimmt bat; in allu- 
 sion t<f Faust's cowering posture. 
 
 501-9. The conception is not of a spirit moving up and down, in the 
 form in which he appears to Faust, amid the ' floods of life and the storm 
 of deeds,' but the Spirit is the floods and the storm. The rise and fall of
 
 262 NOTES. 
 
 the waters (ailf Uttb ab), the driving hither and thither of the storm (l)in 
 Itnb b,er), are manifestations of his activity. That is, the in and int of 1. 
 501 mean 'in the form of,' 'under the aspect of,' and the nouns eblirt, 
 tab etc. are in apposition with i(f). 
 
 509. $leib. The 'garment' of the Deity consists of the visible forms 
 of nature. 
 
 512. etft. One would expect a more definite promise to send Me- 
 phistopheles. Cf. 11. 3241 ff. and the scene 'Dismal Day,' 11. 33-6. It is 
 pretty clear that when he wrote these lines Goethe did not intend that this 
 interview should be the end of all relation between Faust and the Earth- 
 Spirit. There was to have been, in some way, a renewal of intercourse, if 
 not a reappearance of the Spirit as dramatis persona. As it is, we have 
 to imagine such a renewal in order to understand the scene ' Dismal Day ' 
 and the soliloquy in ' Forest and Cavern.' The seemingly final rebuff' 
 however, was necessary to the early Faust-plan as rendering Faust des- 
 perate and so preparing him for an alliance with the spirit of lower order. 
 The rebuff also fitted in well with the revised plan of 1797. See Intr. 
 p. hoc. 
 
 518. J^ainutltS; a professor's assistant; in earlier days, a student who 
 lived in his teacher's house and performed various duties, more or less 
 menial, in return for free tuition. 
 
 519. Instead of this incongruous line, U. has the perfectly natural 
 
 9lun roerb i$ ttefer tief }u ni<$te. 
 
 Rational grounds for the change are hard to discover. It seems most likely 
 that Goethe, in revising, wished to get rid of the expression tiefer tief and 
 rewrote the line without thinking of the immediate connection. He meant 
 to say, that is, that any intercourse with spirits was bliss as compared to a 
 dialogue with the commonplace Wagner, but he forgot that Faust has just 
 ' sunk down ' in mortal despair and ought not, in the next breath, to be 
 speaking of the results of his conjuring as his ' fairest happiness.' 
 
 520. JvitUc. The ' plenitude ' must refer to the 'celestial powers' of 
 1. 449 and the Earth-Spirit. 
 
 521. $er trorfnc djleidjer, 'the humdrum poke.' U. ha* 2)er 
 
 trofne @d)ft>armer, which is fatal to the common conception of Wagner 
 as a soulless pedant. Cf. Intr. p. Ixxix. The change was made, probably, 
 to avoid the strange collocation 'humdrum enthusiast.'
 
 NOTES. 263 
 
 522. bcclnmiren. Wagner has heard the sonorous, measured speech, 
 or chant, of the Earth-Spirit. 
 
 525. bo3; i. e., ba gitte Seclamiren. 
 
 528. The preacher is a comedian if he mouths over words without 
 having his heart in what he says. 
 
 530. ittufcum: = tubirjunmer. At an earlier date the word was 
 common in this sense, but it is now archaic or humorous, as is the term 
 SUhlfenjobn, applied to a student. The abode of a SKufenjobn is naturally 
 a 2Jlufeum, or ' home of the muses.' 
 
 531. J'Ctcrtag. The ace. of time is here not quite natural; cf. Brandt, 
 208, and 208, I. The gen. was forbidden by the rime. 
 
 532. Don njctten, ' from afar '; roeitert being the old dat. plu., M. H. G. 
 witen. 
 
 534-5. The thought is: If you do not feel what you are saying, you 
 will not gain your object by chasing after fine phrases. The ' its ' are em- 
 ployed somewhat vaguely. 3&r tnerbet'8 nicfyt erjagen should be taken as 
 apodosis to both the clauses with toentt. 
 
 536. iirf rcifttgem Schagen, ' the spell of native vigor.' 
 538-41. The speaker who is not in earnest, who has nothing of his 
 own to say, but depends upon art and borrowing, is held up to contempt 
 under three distinct images : that of one pasting together scraps of quota- 
 tion, that of a cook preparing a stew from the remnants of a banquet, and 
 that of a person trying to blow a flame out of a heap of ashes. The point 
 of the last metaphor is that, the speaker's heart being cold and having in 
 it no fuel, he tries to produce the semblance of flame by ' blowing.' 
 
 542. ISBettmnbrung; in loose apposition to what precedes. 
 
 543. buritdd) fteljt, ' inclines that way.' 
 
 546. 21Uein, ' but,' rather than ' alone.' See, however, G.-J., V., 388. 
 
 548. (5r. (r is often used in Faust, as pronoun of address, where 
 3br would be too formal or polite and 2)11 too familiar. In Goethe's youth 
 it was still freely used by parent to child, teacher to pupil, and between 
 gossips; it being regarded as somewhat more respectful than 2)U. Thus 
 Marthe and Gretchen use both 2)it and @ie (3d. sing.) to each other, and 
 Faust uses, on occasion, all three pronouns in addressing Wagner. If the 
 speaker has been using 3hr, the change to @r conveys, as here, a touch of 
 frigidity and temper; if he has been using @r, the change to 3)u is familiar
 
 264 NOTES. 
 
 and gemiithlich (cf. 1. 2882). rebltrfjCtt Cttrittlt, 'honest gain.' Some, 
 e. g., Schroer, suppose that Faust actually means to advise Wagner to learn 
 a trade; but in that case why does he go on advising him about oratory? 
 The meaning is rather: Be honest with your hearers; do not seek to gain 
 glory (be 9tebner liicf) through shams. 
 
 549. frljcllcnlUUtcr, 'bell-tinkling'; in allusion to the bells worn by 
 court-fools. 
 
 555- djttttyel frfiufelt, ' prink up humanity's leavings,' or, perhaps, 
 ' twist gewgaws for men ' ; a much discussed and still somewhat doubtful 
 expression. Herder, whose influence is discernible all through this dia- 
 logue, makes use, in his essay An Prediger, of the expression gefraujelteS 
 djniljttJerf for the rhetorical flourishes with which preachers hide the 
 truth. But djnitjlDerf is not quite the same as @d)met, nor is Herder's 
 metaphor clearer than Goethe's, when we try to realize the picture. Most 
 likely there is a reference to the business of making paper ' Manschet- 
 ten ' for candles, or the like. The preacher's fine flourishes are made 
 out of shreds of thought which he has taken from humanity's waste- 
 basket (the commonplaces of the past) and crimped and twisted into 
 ornamental forms. Cf. G.-J., VI., 309, and V. L., I., 56 and 526. 
 
 558-9. The saying 'life is short, but the art is long' 6 ftioq /?pa^i)c, 
 r) 6e ri%v7} /za/cp^, begins the Aphorisms of Hippocrates, who had refer- 
 ence to the healing art. The adage was a favorite one with Goethe. In 
 a letter of Nov. 15, 1774, he writes: 2)ie Stage jtnb ^itrj linb bie $unft 
 tang. Cf. 1.1787. 
 
 560. fritifdjem 23eftre6en, 'critical (i. e., philological) pursuits'; the 
 study of ancient documents in order to determine questions of authorship, 
 date, priority, etc., in theology. 
 
 561. UOT, 'in the region of,' 'in,' rather than 'concerning,' though the 
 latter is the common meaning of lint with bang. 
 
 562. tttrfjt; pleonastic, as often in exclamations. Thus Goethe writes : 
 2Bie jeib ihr md)t jo gut, 'how good you are '; ttrie erfcljraf fte nirfjt, ' how 
 frightened she was.' SKittel means rare or expensive books, containing 
 original sources (OueHen) of information. 
 
 564. bett IjrtlliCH 20cg r ' half the way ' toward becoming a great 
 scholar. 
 
 570-85. This dialogue needs to be read in the light of Herder's revo-
 
 NOTES. 265 
 
 lutionary pamphlet, Auch tine Philosophie etc., of the year 1774. Herder 
 there pours his scorn upon the fashionable practice of looking at the past 
 de haut en bas and treating it as a text for self-complacent reflections on 
 the wonderful progress of the ' age of enlightenment.' Goethe puts Her- 
 der's views into the mouth of Faust, and makes Wagner represent the con- 
 ceited Aufklarungsphilosophen (vaguely referred to in 1. 578 as ber erreit, 
 cf. ber failbem erren in 1. 106), whom Herder attacks. Cf. Suphan in 
 V. L., I., 527. 
 
 576. S3udj iegeltt; cf. Rev. v. i. 
 
 580. tft T 3. The eS refers to the literary work of the 'gentlemen' 
 their fine historical ' portraits,' that make allowance for the darkness of the 
 past and show how ' we in our day ' have grown so much wiser and better. 
 
 581. Cltd); ethical dat. 
 
 582. $ef)Hd)tfaft .... 9iUttM)Clfatttmcr, ' refuse-tub and lumber-attic.' 
 The historical ' portraits ' with their commonplace moral reflections are 
 likened to a household receptacle for worthless odds and ends. 
 
 583. 4?OlM)t= Utt & taatSdCtum; a name given to a kind of dramatic 
 performance that became popular in the seventeenth century. The plays 
 dealt with ' state ' affairs (bloody tyranny, revolution, political intrigue 
 etc.), and so were called taatSactionen. Such a play was called a 
 ^jauptflCtiott, ' principal performance,' to distinguish it from the farce 
 given on the same evening. The two titles were then combined. In time 
 the plays became notorious for their spectacular extravagance, their bom- 
 bast and their crude, obtrusive moralizing. It is this last quality of them 
 which furnishes the point of the comparison in the text. 
 
 584. prufllttatifdjeit, ' didactic.' The puppet-plays were also somewhat 
 given to moralizing comment. 
 
 588. ttlflg .... l)ett, 'what is popularly called knowing.' The logic 
 of the reply is : How little do they really know of the human heart who 
 talk thus glibly of ' understanding ' it ! And if one does attain to some 
 real insight, he had better be silent, lest he be put to death. Cf. Intr. pp. 
 xxx, xxxi. Schroer cites appositely the following passage from a letter of 
 Goethe to Sophie von Laroche, written Dec. 23, 1774: 'To-day I have 
 got back a copy of Werther that I had loaned. On the fly-leaf was writ- 
 ten : Tais-tot, Jean-Jacques, ils ne te comprendront point. This affected
 
 266 NOTES. 
 
 me very strangely, since the passage in Amilt had always seemed remark- 
 able.' 
 
 589. backtab; the truth, as discovered by men of exceptional insight. 
 
 596. I)0tte .... fortgcnwrfjt, 'should have liked to keep right on sit- 
 ting up.' U. and Fgm. have the more importunate batte gent 6i8 tnorgett 
 friif) geroadjt. 
 
 598. al3, 'as being,' 'since it is.' The lines 598-601 are not found in 
 U. or Fgm. They were evidently added to forecast the Easter walk and 
 to give more point to the following words of Faust. 
 
 605. With this line U. and Fgm. break off abruptly. On the Second 
 Monologue, as related to the general plan of the poem, cf. Intr. pp. Ixi, 
 Ixii. While the text as we have it is clearly the work of 1797-1801, yet it 
 contains certain peculiar thoughts and expressions which can be parallelled 
 very closely from Goethe's pre-Weimarian writings. These may be only 
 the result of a conscious attempt on the poet's part to return to the mental 
 associations of his youth, or he may have elaborated the scene from an 
 early * concept ' preserved either in memory or in writing. 
 
 607. eifterfMe. Cf. note on gutte, 1. 520. 
 
 613. fottte, 'was fated,' 'could but'; almost = mufjte. 
 614-22. Faust here describes the neue efiible of 1. 478. 
 
 615. bent Spiegel. Divinity is thought of as a dazzling mirror reflect- 
 ing back a celestial radiance upon the beholder. The conception may owe 
 somewhat to the account of Moses and the Lord in Ex. xxxiii, xxxiv. 
 
 616. cut fel&ft, ' himself; ' fein the genitive with geniefjert. 
 
 617. ttbgeftretft ben (SrbCttfoIjtt, ' had stripped off mortality.' Supply 
 Ijotte. 
 
 618. nteljr al (fljcrub. The cherub is a passive servant of divinity; 
 Faust had dreamed of a free, godlike activity (fdjaffenb, 1. 620) . 
 
 621. id) . . . . bcrmaft, 'presumptuously dreamed.' 2ll)mtngrjoK 
 means ' bodeful,' usually of ill, here of good. 
 
 622. $onnerttii)rt ; the rebuff in 11. 512-13. 2ftid) Ijittwcggcrnfft, 
 ' swept me away,' viz., from the place of my high dreams. 
 
 631. jcncnt 'Jirang; the impulse to seek help from the spirit-world. 
 632-3. Our 'deeds' interfere with the course of our life when their 
 effects leave us no longer free to pursue a given line. Faust has evoked
 
 NOTES. 267 
 
 the Spirit, thus performing a bold and in one sense successful ' deed,' but 
 the sequel was such that he feels debarred from trying again. 
 
 634-5. ^Cttt 4?errlt(fyftett in, 'foreign and ever more foreign 
 
 matter crowds itself upon the noblest conceptions of the mind ' ; i. e., we 
 are not faithful to the thoughts of our supreme moments; lower ideals, 
 compromises, doubts, anxieties crowd in. From this point Faust's soliloquy 
 becomes a series of mournful reflections on the weakness of human nature 
 and the misere of life. 
 
 635. frctnb itnb frcmbcr; probably a bold substitute for frember itnb 
 imtner fremberer, which in turn = itnmer frembcrer uttb fremberer. Cf. 
 1. 238, note. In the predicate and adverbially Goethe often uses fern unb 
 ferner (Tasso, 1. 917; cf. the fern unb fo roeiter fern of Faust, 1. 9866), 
 ftertl) unb roertBer, etc. ; but this case is probably unique for an attributive 
 adj. Strehlke Wb. thinks both adjectives are positive, as one might say 
 Ute8 unb Ute8 tfyun. E. Schmidt calls fremb an adv., and cites 1. 3242. 
 
 639. rftarren, ' grow torpid.' 
 
 644. @orge, 'anxiety,' 'worry.' In I. 11384 bie @orge is introduced 
 as a gray old hag who makes man a prey to morbid solicitudes. QHeiti) 
 = fogletd), ' forthwith,' ' straightway.' 
 
 647-51. A man worries about his property, his wife, and children; 
 he dreads death from fire, dagger or poison, and is thus continually 
 trembling at the blow that may fall, but probably never does fall. 
 
 656. 3ft eS toWCttjjet, ' is it not dust, that which narrows in this 
 high wall with its hundred compartments (au8 = beftebenb OU8) about 
 me ? ' With Derenget cf. befdjrcintt in 1. 402. 
 
 658. Xdtttl, 'frippery.' 
 
 666. Icttfjtcn. If this is what Goethe wrote, the meaning is ' buoyant,' 
 ' making flight easy,' in contrast with the following fdjroer. But F. M. von 
 Waldeck, G.-J., I., 384, conjectures plausibly that Goethe wrote lidjten, as 
 in 1. 672, and that Ieid)ten is the mistake of a type-better whose mind was 
 preoccupied with the antithesis teidjt fdjroer. 
 
 668. frcUirf); here used, apparently, in the earlier sense of 'certainly,' 
 surely ', as if there might be some doubt about the skull's mocking. The 
 modern concessive meaning ' to be sure,' ' forsooth,' gives no sense here. 
 
 669. ^Salft unb 23itgel, 'roller and (stirrup-shaped) handle.' 
 
 671. CJier .... froilS, 'your web is intricate.' The S3art of a key is
 
 268 NOTES. 
 
 the part on which the bits and wards are cut or cast, the part that revolves 
 in the lock; Eng. ' web.' 
 
 672. WdjCtmmfjUoU; adj. with Sftatur. As scientific thinker, Goethe 
 held that the < secrets of nature must be divined from contemplation of 
 objects as they are; that scientific progress must come always in the form 
 of an aperfu, or intuition, the mind in nature speaking directly to the 
 mind of man. To seek help from instruments seemed to him like doing 
 violence to nature. So he says of his early botanical studies : ' Cutting up 
 and counting were not in my nature.' On this unscientific prejudice of 
 Goethe and its bearing upon his scientific work, cf. Du Bois-Reymond, 
 Goethe und kein Ende, p. 22 ff . 
 
 676. erotlje; the Urtmter auratb, of 1. 408. 
 
 678. JHollc; some roll of parchment. Diintzer refers it to the lamp- 
 pulley, but that would hardly show smoke enough to attract attention. 
 
 682-3. 993a3 bit .... fcefi^eit, ' what thou hast, as an inheritance 
 from thy fathers, earn it in order to possess it.' This sounds like nonsense, 
 but the meaning depends largely on a Goethean distinction between baben 
 and bejt^ert. >aben means ' to have,' beft^en ' to own and feel the worth 
 of.' Thus in Goethe's K'unstlers Erdewallen the artist apostrophizes the 
 picture he is painting, which he loves as his very own, and says of the pro- 
 spective rich purchaser: er beftljt bid) Itirfjt, er bat bid) mir, 'he will 
 merely have thee, not possess thee.' Cf. Tasso,\. 114 and the editor's 
 note. (StttJtrfi t means ' make it thy own ' (by using it) . The sense 
 is then : Use thy inheritance if thou wouldst feel it to be thy very own. 
 ^>ttft is not an auxiliary. 
 
 685. 9tltr ttm .... ItitljCM, 'only what the moment creates can the 
 moment use.' The meaning of this oracular saying is that one can turn to 
 account at any time only that which is the fresh .result of one's own pro- 
 ductive activity. The proposition hardly holds good of old furniture, but 
 it does apply to the intellectual legacies of the past, and this is what the 
 poet really has in mind. I can turn to account the wisdom of Solomon or 
 Shakespeare only when I have personally traveled Solomon's or Shake- 
 speare's ground, and so made his creation mine. 
 
 690. ^l)tolc, ' phial,' in the sense of ' long-necked glass bottle.' 
 692. ^Jicitfri)CHll)tt Uttb Ultft. Faust is proud of the knowledge and 
 skill which have enabled him to make the deadly opiate.
 
 NOTES. 269 
 
 698. $>C3 etfteS ^fatfjftrom. The flood-tide of the spirit ' is the 
 intense excitement under which he has been laboring. The sight of the 
 poison suddenly brings a calmer mood. 
 
 699. U)erb r id) fytlUWdgettliefett, 'I am beckoned out'; more accu- 
 rately, ' I am shown the way,' ' directed.' The fateful transition is con- 
 ceived not as a voyage upon the ' high sea ' which separates this life from 
 the other, but as a translation through space out over it. 
 
 702. ^euertoagcn; in allusion, no doubt, to Elijah's chariot of fire, 
 2 Kings ii. 1 1 . 
 
 705. rcincr, ' pure,' i. e., undisturbed by any galling sense of limitation. 
 
 707. erf* twdj, ' but lately.' Cf. 1. 653. 
 
 710. Dertneffc ; metri gratia tor Dermtfj. But Goethe uses the weak 
 imperative occasionally, even when meter does not require it. 
 
 712 ff. Suicide is here thought of as an act of supreme courage, the 
 assertion of man's independence. The very gods can not compel him 
 to live if he will not. The moral aspect of self-destruction was a ques- 
 tion much debated in the eighteenth century. Cf. Werther's Leiden, 
 letter of Dec. 20, and E. Schmidt, Richardson, Rousseau und Goethe, 
 p. 228. Hell is imagined, after the early Christian artists, as a place of 
 horrible torment, situated underground or hi a mountain and approached 
 by a passage (Sitrdjgang) from the mouth of which smoke and flames 
 belch forth. Jptnjufireben, L 716, does not imply that Faust courts 
 damnation, but only that he is in a mood to go boldly and confront 
 these imagined horrors. In reality he thinks them old wives' tales (1. 369). 
 
 719. in'3 9Jid)t. Du Bois-Reymond, p. 16 ff., objects that Faust, who 
 has just seen a spirit, has no right to be skeptical about the reality of the 
 life beyond. But there are many passages in the poem in which the mod- 
 ern skeptic peeps out from under the legendary mask of Faust. It may be 
 observed, too, that the existence of spirits does not of itself prove man's 
 immortality; and also, finally, that the Faust-books, puppet-plays and 
 Marlowe all make Faust doubt the reality of heaven and hell. Cf. Intr. 
 p. xiii. 
 
 720. Sd)0lc. We have to think of a costly goblet decorated with 
 pictures. The game alluded to below was like this : One person, filling 
 the beaker, would pledge his neighbor, calling on him for an impromptu 
 rime in explanation of the pictures. In case of failure, the person pledged 
 had to drain the glass at one draught.
 
 270 NOTES. 
 
 723. JytCUbcufcftC ; the sing, metri gratia for the plu., since no par- 
 ticular festival seems to be referred to. 
 
 725. JUiJcbrurfjt ; in the technical sense of 'pledging' a health, as in 
 1. 736. 
 
 736+. (TI)or bet G'ltfld. The choruses in this scene are to be 
 thought of as part of an Easter celebration taking place in a neighbor- 
 ing church. Singers personate the angels of the resurrection, the mourn- 
 ing women and the disciples. Such a service, held in the night before 
 Easter, was once common in the Catholic church. Cf. Euphorion, 
 III, 391. 
 
 737- (I)rift ift erftttttbcit ; the beginning of an old medieval Easter- 
 song, whence the archaic GEfyrifl for <l)riftu3. 
 
 739-41. 'JJCtt . . . . Utnnmitbcn, 'whom baneful, insidious, hereditary 
 shortcomings (those of human nature) entwined.' 
 
 742. iicfcx' 3ltmmcit, the bells ringing here and there in the city; 
 tyeller ott, the chorus close by. 
 
 747. llltt (9robe3 Wod)t, 'about the darkness of the tomb.' llm'8 
 <$rabe -ftadjt would be mor$ natural; but cf. 33erge8=oljle in 1. 394. 
 The line refers to the words ' he is not here, but has arisen,' spoken by the 
 ' two men in shining garments ' whom Mary Magdalene and her companion 
 found at the sepulcher. See Luke xxiv. i ff. According to John xx. I, 
 Mary Magdalene came to the tomb very early in the morning, ' when it was 
 yet dark.' 
 
 748. Okroi^fyctt SBlUtbe, ' (giving) confirmation to a new cove- 
 nant.' ettrifjfyett is best explained as a kind of ' cognate' ace. with f tang. 
 Cf. Brandt, 202. The ' new covenant ' is the diadqici} via, of Hebrews 
 xii, 24. 
 
 749-56. 6I)Ot bet SBcificr. None of the evangelists states that the 
 body of Christ was wrapped, anointed, and laid in the tomb by women; 
 the office is uniformly represented as performed by Joseph, or by Joseph 
 and Nicodemus, the women watching from a distance. Matthew makes 
 the two Marys come on the morning of the third day, simply ' to see the 
 sepulcher.' According to Mark and Luke, they come with spices, intend- 
 ing to anoint the body, but they do not find it. Goethe adapts the details 
 of the gospel narrative to his own purposes. 
 
 762-3. 2Bfl3 fttd)t .... Staulic, 'why seek ye me in the dust, ye potent 
 and soothing heavenly tones '? 2lm @tailbe differs from im tailbe (1.
 
 NOTES. 271 
 
 654) in that it means ' cleaving to the dust.' In some verses of the year 
 1 766 (Briefe, I., 46) Goethe writes : 
 
 Za foil) id) erfi, ba| tnein erfjabner ^vlug, 
 SBie er tnir fdpien, nid)t roar al ba Semiiljn 
 3)e SSurmS im t a u b e , ber ben abler fiebt 
 3ur Sonn' ft<& fc&roingen unb roie ber binauf 
 id) fefjnt. Gr firaubt empor unb toinbet ft(fi,, 
 ttnb dngftlid) fpannt er oUe Dtcroen an 
 Unb bleibt am Staub. 
 
 So here, Faust ' cleaves to the dust,' feeling that the lofty flight of religious 
 feeling is not for him. 
 
 764. IDCtrfjC ; not 'weak' in a contemptuous sense, but 'susceptible,' 
 ' soft-hearted.' 
 
 766. The more common and orthodox theory is that faith is the child 
 of miracle. 
 
 771-8. In these reminiscences of Faust we hear Goethe describing the 
 religious experiences of his own youth. Cf. Intr. pp. xxvi, xxvii. 
 
 771. $ttfj j here of the mystic kiss, the benediction, of divine love. 
 
 780. ^freie (iiliitf . This free happiness ' of the spring festival 
 (Easter) is described in 11. 903 ff. 
 
 785-96. gljor ber ^jmtgcr. The general sense is: While the risen 
 Lord is happy in heaven, we here on earth can but mourn our loss, though 
 our loss is his gain. The first six lines are protasis and concessive, the 
 last six apodosis, the Uefj er of 1. 793 simply continuing the inversion ftnb 
 ft)ir in 1. 792. 
 
 787. e6enb rljubene ; = ber auf ber <5rbe lebenb Srbabene, i. e., 
 ber fdjon auf Srben ein erhaberteS eben fiibrte. 
 
 789. SBerbduft, 'joy of transition,' i. e., the joy of entering upon a 
 new existence. 
 
 799. SBunbClt; the 'bonds' of sorrow and depression. 
 
 801-5. The participles go with eild) in 1. 806, and denote condition. 
 ' If you live praising him by your actions (tbatig) etc., he is near you.' 
 
 SSor bent Sljor. 
 
 This scene is not found in U. or Fgm., but there are several good rea- 
 sons for thinking that it had an early origin. Cf. Kogel in V. L., II., 558
 
 272 NOTES. 
 
 ff. (l) The scenery is, even down to minute details, that of Frankfurt; 
 cf. the note to 1. 807-)-, below. (2) The language is in general that of 
 Goethe's youth. (3) The scene is of a kind that he was more fond of 
 depicting in his youth than in his later years. (4) The song in 11. 949-80 
 is known to have been in existence as early as 1783. But the early plan 
 seems to have had in view a holiday in May or June, rather than on Easter 
 Sunday, which latter would have been too early for the peasant-dance 
 under the linden, for sitting comfortably in the open air (11. 1022-3), and 
 for the 'green-girt huts' of 1. 1071, which can hardly be anything else 
 than vintagers' huts amid the growing vines. It seems probable, therefore, 
 that 11. 903-40, with their explicit reference to Easter, were inserted in 
 1797-1801, after the decision had been reached to let Faust be recalled by 
 the Easter music from his thoughts of suicide. This is probable, too, on 
 other grounds; for the monologue in question, with its accurate scientific 
 observation, its eye for the picturesque, its allusion to the sun as landscape- 
 painter, etc., suggests Goethe's later rather than his earlier manner. 
 
 It is also very certain that the original plan did not contemplate the 
 introduction of Mephistopheles as the casual unmotivated outcome of an 
 afternoon walk. Instead of that, we may guess that something of this 
 kind had been thought of: After the Earth-Spirit's rebuff, Faust was to be 
 somehow recalled from thoughts of suicide by the appearance of Mephis- 
 topheles in poodle form, as a being of lower order whom he could ' com- 
 prehend.' (Certain passages of the text as we have it still connect Me- 
 phistopheles, in a way that is left quite mysterious, with the occasion of 
 Faust's suicidal purpose; cf. 11. 1579-82 and 11. 3270-71.) Then a friendly 
 relation was to spring up between the two and an interval of time to elapse 
 before Faust's definitive abandonment of his professorship for the role of 
 a 'homeless wanderer' (11. 3348-9). During this time the devil, first as 
 poodle, then in human shape, was to associate with Professor Faust as 
 familiar spirit, visiting him often, accompanying him on his walks, etc. In 
 this interval there were to be several pictures showing Faust in his profes- 
 sional environment. One of these pictures we have in the student scene, 
 another was to be a holiday scene which should exhibit the brooding pro- 
 fessor in contact with the happy, naive people. Faust, at war with himself 
 and with the scholar's life, was to take an afternoon walk with his famulus 
 and the tricky poodle, and come back at nightfall, refreshed and calmed
 
 NOTES. 273 
 
 by the soothing aspects of nature. Then, in due time, very likely in con- 
 sequence of an express petition of Faust to the Earth-Spirit ( cf. the scene 
 'Dismal Day,' 11. 13 ff.), the poodle was to be given human shape. 
 
 Why these features of the early plan were discarded on the final revision 
 is not hard to discover. The poodle-devil as dramatis persona was quite 
 unmanageable in a serious connection. A canine interlocutor, or the 
 hocus-pocus incident to his anthropomorphization, would have made com- 
 edy out of the suicide scene. Seeking for something that would preserve 
 the poetic dignity of the scene, the poet hit fortunately upon the Easter 
 motive which not only preserves but heightens it. This brought with it 
 the idea of changing the summer holiday into Easter-Sunday. So the 
 monologue, 11. 903-40, with Wagner's reply, was inserted in the interest of 
 the new chronology, but the tell-tale evidences of the earlier intention were 
 either not noticed or deliberately ignored. Moreover, having now, in 1 797- 
 1801, decided to drop the Earth-Spirit and to introduce Mephistopheles as 
 the devil, acting on his own responsibility under a quasi permission of the 
 Lord in heaven, there was no better plan than to let Faust come upon the 
 poodle seemingly by accident in the course of his Easter walk, and then, 
 in a new scene so constructed as to bear the comedy, convert the dog, by 
 means of the necessary hocus-pocus, into a man. 
 
 807+. 2?0t bent XfjOf. The scene as identified in great detail by the 
 late Friedrich Zarncke, V. L., II., 556, is just outside the Sachsenhausen 
 Gate (Affenthor) south of and across the Main from Frankfurt. Here in 
 Goethe's time there was a convergence of the highways leading east to 
 Offenbach, south to Darmstadt and southwest to Mainz. At this point, 
 presumably, the beggar of 1. 852 sits with his hand-organ. Here also the 
 'prentices separate. Some of them wish to go to the ' Forsthaus ' (in 
 Goethe Jagerhaus) some two miles southwest, others to the ' Gerbermiihle,' 
 lying a mile or more up the river to the east. The ' river inn ' is a short 
 distance southeast of the ' mill,' but the way to it lies through low, treeless 
 ground (1. 812). ' Burgdorf ' means the village of Oberrad, about a mile 
 southeast, and back from the river, whence the ' up ' of 1. 814. The name 
 is changed because Goethe did not wish to make his topography explicit : 
 university students and Faust and Wagner would be out of place in Frank- 
 furt. Faust and Wagner walk southeast up toward Oberrad and pause on
 
 274 NOTES. 
 
 a height where they can hear the tumult of the 'village' ahead (1. 937) 
 and also have a good retrospect of the city, with the people emerging from 
 the Affenthor, and of the boats on the river. The ' mountain ' of 1. 935 
 refers to the heights of the Taunus in the far northwest across the river. 
 
 816. ^pattbel, 'rows.' 
 
 818. 5Uttt brittCttmcI. 'Prentice no. 3 has lately been in two fights 
 at Burgdorf. 
 
 821+- (r ftC ; i.e., erjkS ienftmabdjeit, the natural gender being 
 followed instead of the grammatical. 
 
 824. ^loit, 'platform' for dancing; a South German usage of the 
 word. 
 
 827+. Sdjitlcr ; in the sense of the modern tltbettt. tubent is the 
 word regularly used in U., but in Fgm. it appears uniformly changed to 
 
 830. fcetgettber o6lf. S3eigen is a weak factitive of beiftett and 
 meant originally 'to make bite,' now usually 'to macerate' or 'pickle.' 
 But betjenb often means, as here, ' pungent.' 5obacf is the older form, 
 from Sp. tobacco, through the Eng. The now usual Sabdf has the vowel 
 of the Fr. tabac. Goethe uses both forms. 
 
 831+. SBitrgerntabdjeit ; girls of the citizen class, intermediate be- 
 tween ' servant-girls ' and ' young ladies.' But the latter will do for a 
 translation. 
 
 841. licljtttcn .... ttttt, 'will take us with them too, though, after all.' 
 
 842. $tfj JJCtttrt, ' I don't like to be under constraint.' The com- 
 pany is too high-toned for him. 
 
 844. <3amftag3; South German for @otmabenb. 
 
 846. SBurflemetfter ; a dialectic survival of M. H. G. burgemeister. 
 Goethe seems to have preferred it both early and late to the now more 
 usual Siirgermetfter. 
 
 853. burfcnrotJ), 'with flushed cheeks'; rotbbttdig = 'ruddy-cheeked' 
 (Schroer). 
 
 856. Ictertt, 'grind.' The 'lyre' is here a guitar-like instrument, 
 the strings of which are moved by a wheel turned by a crank, the so-called 
 SSaurenleier or beutfc^e Seier ; cf. Grimm Wb., VI., 682. 
 
 863. fyinten, ttJCit, ' away back.' 3n ber Stiitfei alludes to the Russian- 
 Turkish war of 1 767-74.
 
 NOTES. 275 
 
 872. btt$ .... Slut, 'the handsome young creatures.' 3unge8 33Iut, 
 for 'girl,' is a favorite expression with Goethe. Cf. 11. 2636, 2907, 3313, 
 and Grimm, sub voce 93Iltt. It is here applied to both the girls. 
 
 874. Q tft fdjOtt gilt, ' it's all right,' i. e. : / know what kind of 
 thoughts are hidden under that proud coquettish air. The ' young ladies ' 
 had been last year's customers of the old fortune-teller. 
 
 876. 3fgcttlje; the name of one of the girls. 
 
 878. 3ttttCt 2lnbrea3 9larfjt. On this night, Nov. 29, German girls 
 were wont to consult the oracles and the fortune-tellers with regard to 
 their future lovers or husbands. For the folk-lore on the subject, see 
 Grimm, D. M., II., 936, and III., 454, 470. 
 
 880. iirijftott; in allusion to the practice of ^rtyftallfehen; cf. Grimm 
 Wb., V., 2482, and D. M., III., 431. The fortune-tellers had their cus- 
 tomers look at a crystal, a poor mirror, a sword-blade, or other object re- 
 flecting the light dimly or confusedly, and imagine that they saw there what 
 they wanted to see. The operator professed to do his wonders by conjur- 
 ing the indwelling spirit of the crystal. 
 
 883-902. SolbatCtt. A company of soldiers march by, singing a song 
 expressive of the soldier-ideal. 
 
 892. 2Berbett; supply Ult8 as object. ' We let the trumpet woo us,' 'we 
 follow the trumpet-call.' 
 
 895-6. The thought is: See how we go storming through the world! 
 This is life. 
 
 905. offttung3=@lu(f. Cf. Goethe's Gotz, V., 14 : >ie 23tiume trei* 
 ben $nopen rntb aQe 2Selt Ijofft. 
 
 909. OI)ttmad)ttge @ife3, 'impotent gusts of sleet.' 
 
 912. SBUbllltg UUb Strebeu, 'formation and growth'; vegetation is 
 everywhere starting up and taking shape. 
 
 913. Wilt, ' is trying.' The sun is personified as a landscape-painter. 
 
 914. JHettter, ' landscape '; originally, ' district along a river-bank,' It. 
 riviera. The scene being on the banks of the Main, Goethe may use the 
 word in its original sense. 
 
 929. bctyettb, 'speedily'; bebe'ltb from M. H. G. bi hende, 'by hand.' 
 940. $ict .... fciu. It is not meant that the people use these words, 
 but that their shouts are so interpreted by Faust, for whom a ' human be- 
 ing ' is a person enjoying life in free contact with nature.
 
 276 NOTES. 
 
 941-8. Wagner feels edified by Faust's talk, but not by the scene that 
 has inspired it. 
 
 943. mid) tyer tierlieren = bierber fommen imb mid) toerlieren. 
 
 945. iii?i]Cl|rf)icl)CH, ' nine-pin bowling.' Instead of balls for bowling, 
 it was formerly the custom to use disks which were shoved; hence the term 
 $egelfd)ieben. 
 
 949-80. This song is mentioned in Meister's Lehrjahre, II., II, as a 
 ' song which we can not present to our readers because they might find it 
 absurd or even improper.' The part of Meister containing the allusion 
 was finished before Nov. 12, 1783; see Goethe's Briefe, VI., 210. 
 
 973. tI)U r Wtr. hut mir would correspond to the jeib tticfjt of 1. 964. 
 The girl's dignity has melted somewhat. 
 
 984. .S;>orf)i)clnl)rtcr. From the Middle Ages down into the 1 8th cen- 
 tury, elabrter existed side by side with elebrter without appreciable 
 difference of meaning. Since then, etafjtter has been provincial or 
 slightly humorous, like Eng. ' larned.' 
 
 987. bring U)n 511. Cf. 1. 725, note. 
 
 988. ttidjt mtr. The natural correlative foitberit Ciudj is omitted. 
 
 993 ff. The legend makes Faust's father a peasant. But the father of 
 Paracelsus was a physician, and Nostradamus (cf. 1. 420, note) acquired 
 great distinction for his services during the plague. We have here a blend- 
 ing of data derived from different sources. Cf. Intr. p. xxxi. 
 
 looi. Stud) iinntttK" ityr ; = aud) ibr bantals. 
 
 1020. toeing .... bemjtcu, ' it lacks little of their bending.' The syn- 
 tactical logic is : @ie braudjten bid) nur ein roenig tnebr gu tierehren, fo 
 beugten fie u.j. tt). 
 
 1021. btt^ ^CUCVabtlc ; the holy host, or sacred wafer symbolizing 
 the body of Christ. In Catholic countries the host is borne before solemn 
 processions, and the devout are expected to prostrate themselves before it. 
 Cf. Schiller's Tell, 1. 1751. 
 
 1034. bunt Icr (t-ljrcttmann, * obscure gentleman.' 
 
 1035. $reife; in the sense of $reiiaufe, circuits,' or very nearly 
 what we now call ' processes.' So Goethe speaks of UltfereS afeittS 
 $reije, ' the circuits of our existence.' 
 
 1037. Mtit flrtllenljitfter 3Jlit^e, 'with cranky zeal'; i. e., without in- 
 telligent method.
 
 NOTES. 277 
 
 1038. 5lbcptC!t, 'adepts,' in the earlier sense of one expert in alchemy; 
 lit., ' one who has found ' the panacea, Lat. adipiscor. 
 
 1039. frfinior.^C $tiid)C, 'laboratory.' Out of Gr. vepo/zvreta, i. e., the 
 art of divining by calling up the ghosts of the dead, medieval popular ety- 
 mology made nigromantia, 'black-divining,' as a general term for the 
 ' dark,' ' occult ' arts. Whence ' black art,' and ' black kitchen ' for the 
 place where it was carried on. 
 
 1040. JHcceptett, 'recipes.' 
 
 1041. bdS SBUtrige seems to mean 'the incompatible,' i. e. sub- 
 stances chemically ' opposed ' to one another. 
 
 10427. The technical jargon of these lines seems to be partly Goethe's 
 invention; at least nothing just like it has been found in the books of 
 alchemy, though much of the imagery can be pretty closely parallelled from 
 Welling and Paracelsus. Cf. Intr. pp. xxvii, xxviii. The theory was that 
 the panacea would be produced, in the form of a bright -colored precipitate, 
 by mixing two substances in a tepid medium and then treating the mixture 
 in heated retorts. But the fantastic brains of the alchemists conceived the 
 chemical union as a marriage and the precipitation as a birth or offspring; 
 hence they gave to the ' parents ' symbolical names of living organisms. 
 In this case the father is ' the red lion ' and the mother 'the lily,' but some- 
 times the mother was called ' the white eagle,' and the name ' lily ' was 
 given to the offspring, i. e., the panacea itself, which is here called ' the 
 young queen.' It is not likely that Goethe, who knew nothing of chemis- 
 try, was thinking here of any particular chemical bodies; but inasmuch as 
 mercury was, with the alchemists, a favorite substance for these experi- 
 ments, it is easy to imagine that the 'panacea' would in very fact often 
 turn out to be a deadly poison. 
 
 1044. mit offltem J-IammcnfCUCr ; i. e., the retort was heated in a 
 free flame. 
 
 1053. ben (Sift ; usually ba ift, but now and then ber ift in 
 Goethe. Schiller also makes it masc. in Kabale u. Liebe V., 7 : 9?od) jpur/ 
 id) ben tft ttid)t. The word is hardly, as Schroer thinks, used in the spe- 
 cific sense of ' dose,' though that was the original sense of the word. 
 
 1055. lobt; in allusion to 11. 995 ff. 
 
 1056-63. Here, as in 11. 570 ff., Wagner represents the self-complacent 
 Aufkl'drungsphilosoph, whose watchword is ' the progress of the race.' 
 
 1064-7. The logic is : Alas for these fine hopes of yours, that by add-
 
 278 NOTES. 
 
 ing ignorance to ignorance through successive generations, men will ever 
 get their heads above the waters of uncertainty, when we have no founda- 
 tion of positive, useful knowledge on which to build. 
 
 1072. <Sie riirft ttttb UiCttfjt, 'it moves and recedes,' i.e., it is gradually 
 disappearing. 
 
 107688. Faust dreams of flying away after the sun, and enjoying from 
 the upper air a prolonged sunset view. 
 
 1078. l>erul)tflt, ' hushed ' in the evening shadows. 
 
 1079. U&erbadj in gottme trfimc. The great rivers (@trbme) 
 would appear ' golden ' in the floods of sunlight, the brooks reflecting less 
 light, 'silvery.' 
 
 1082. tttit cnufirmtcn 23ud)ten. The heat of the spring sun would 
 already have ' warmed ' the shallow ' bays ' of the sea. 
 
 1084. OJOtttli; the sun. Faust imagines his flight slackening at the 
 sea-shore and the sun as about to sink from his view after all. Then a 
 ' fresh impulse ' comes and sends him out after it over the 'ocean. 
 
 1092-9. This dream of flying like a bird meets us often in Goethe's 
 youthful writings; e. g., in Werther ( Werke, H., XIV., 59) : ' Oh, at those 
 times how often have I longed for the wings of a crane that was flying 
 over me, to soar away to the shore of the boundless sea,' etc. Again, in 
 the Briefe aus der Sckweiz (Werke, H., XVI., 226), flying is spoken of 
 as one of those ' bodily powers which we are not permitted to develop in 
 this life.' The floating clouds inspire him with a ' desire to plunge into 
 infinite space,' and the soaring eagle makes him ' draw deeper and deeper 
 breaths ' in his longing to fly. 
 
 1095. frfjlttetternb, 'shrill- warbling.' 
 
 1108. ^erijautcn; the same as ^Jergament, in 1. 566. It comes from 
 Gr. (xuprrj) Trepya^v^ through Lat. (charta} pergamena, ' paper of Per- 
 gamos'; but the form with t, as if from Lat. *pergamcntum, is the pre- 
 vailing one even in M. H. G. (permint, permit, perment, etc.). 
 
 1114. bCfbcr fitebe^luft, ' gross amorous desire.' 
 
 1116. 2>llft, 'dust'; a little-used Low German loan-word. It occurs 
 again in 1. 6758. 
 
 1117. (Beftlbett tyoljer Stfjncn, 'abodes of high ancestors.' The Greek 
 imagination, and not the Greek only, gave a home in the sky to the an- 
 cestral heroes of eld. 
 
 N 1127. fid) iiberfcreitet ; = ftd) iiberaE ouebreitet.
 
 NOTES. 279 
 
 1130. bet fdjarfe etfterjatyn. The 'bite' of the north wind is attrib- 
 uted by Wagner to the sharp tooth of one class of weather-spirits. 
 
 1133. ttofyrettfid) fiuttgeiU In Germany the east wind is ore- 
 
 vailingly dry, and a dry wind seems to make breathing difficult. 
 
 1134. SSitftC, 'desert'; the Sahara presumably. 
 
 1136. erft crqitirft. The ' refreshing ' coolness that precedes a shower 
 is viewed by Wagner as a malicious trick of the spirits to usher in pleas- 
 antly the subsequent disagreeable ' drenching.' 
 
 1147. aat ttttb toppd ; @aat, the freshly starting grain; toppet, 
 the ' stubble ' of last year's crop. 
 
 1154. ^ycucrftrubcl, 'fiery whorl.' When this was written, Goethe 
 probably intended nothing more by his ' fiery whorl ' than to intimate (for 
 the benefit of the reader or spectator) that the dog was no ordinary dog. 
 We learn further on (1. 1377) that fire is the devil's own element. Later, 
 however, the poet tried to fit the passage into an optical theory of his to 
 the effect that dark and light are so related that when a dark or bright 
 object comes quickly before the eyes in a dim light, there is an instantane- 
 ous after-sensation of the opposite color. He himself claims to have seen 
 a trail of light following a poodle that ran by his window at dusk. See the 
 Nachtrage zur Farbenlehre, Werke, H., XXXVI., 517, where 11. 1147-57 
 are quoted and said to have been written down cm8 bid)terifd)er Sljnung 
 and in ' semi-consciousness ' of a scientific truth which he was able in due 
 time to verify. 
 
 1166. Ijter ; = hierfier, the converse of the license in 1. 943. 
 
 1167. pubelniimfd), 'poodle -silly'; i.e., having the characteristic 
 silliness of poodles. So the German has pubettreu, ' faithful as a dog,' 
 pllbetliacft, ' stark naked,' pilbelnafj, ' wet as a drowned rat ' (wet as a dog 
 coming out of the water), etc. 
 
 1173. eift ; in the double sense of 'spirit '= 'supernatural being,' 
 and 'spirit' = 'intelligence.' 
 
 1177. bcr Stubcntcn color. Wagner supposes that they have 
 
 found the trained trick-dog of some student. color, from Lat. scolaris, 
 1 scholar,' ' pupil,' is pedantic (but here also metri gratia) for 2d)iiliT.
 
 280 NOTES. 
 
 r (i). 
 
 THERE is little room for doubt that this scene also combines old matter 
 with new, though no portion of it is found in U. or Fgm. The lines that 
 relate to Faust's flood-tide of religious emotion, to the closely following 
 ebb and the consequent resort to written revelation, suggest the youthful 
 Goethe and correspond to phases of his early religious feeling. They pre- 
 suppose a Faust who is not yet prepared for an utterance like that in 1. 765. 
 On the other hand, the interjected remonstrances with the poodle, the con- 
 juring, and very certainly the dialogue, are of late origin, dating probably 
 from the year 1801. Cf. Intr. p. Ivii. 
 
 The hocus-pocus of the scene is partly invented, partly based on the 
 legend. C. M., after telling how Faust had evoked a spirit in the woods 
 at midnight and secured the promise of a visit at his house next day, pro- 
 ceeds as follows (Scheible, II., 79) : ' Which promise likewise the spirit 
 kept, coming to the house at noon, after long and anxious waiting on the 
 part of Faust, and posting himself in different positions behind the stove; 
 until after another conjuration by Faust, he exhibited a human head and 
 made a deep bow, refusing, however, to come further, on the ground that 
 he was near enough already. Whereat Faust is said to have become wroth 
 and to have threatened a stronger conjuration; which appeared to dis- 
 please the accursed spirit, seeing that he at once became obedient, save 
 that he caused him (Faust) fresh anxiety when he beheld the room full of 
 fire and the spirit with the aforesaid human head, but with a body shaggy 
 like that of a bear, so that Faust was constrained to ask him once more to 
 retreat behind the stove.' 
 
 1180. nl)mtnrj)?ollcm .... OJraitcn, 'bodeful, solemn sense of awe.' 
 
 1181. tterft. The subject is ttefe Sftddjt. After Bebecft supply unb 
 a somewhat harsh asyndeton, since the object Me is not repeated. 
 
 1182. tUtlbe Xriebc, 'wild impulses,' e.g., the desire to fly. 
 
 1187. fttjiuipcrft. @d)nop(p)evn is the same as fd)nob(b)ern, and akin 
 to fdjrtuffetn, ' sniff,' ' snuffle.' The occasion of the poodle's snuffling at the 
 threshold is explained further on, 11. 1395 ff. 
 
 1200-1. The language is that of strong religious feeling, and the inv
 
 NOTES. 281 
 
 agery is biblical. Cf. Ps. xxxvi. 9, For with thee is the fountain of life '; 
 Jer. xv ; i. 13, 'The Lord the fountain of living waters'; Rev. xxi. 6, 'the 
 foun air of the water of life.' God being thus the fountain-head, the 
 ' brooics of life ' are the outflowing streams of divine peace. 
 
 1212. bet tram; the stream of religious peace that ' wells forth ' from 
 his own soul. Cf. 11. 568-9. 
 
 1215. btefer 2)iangel erfetjeit, 'this failure can be made good.' 
 
 The thought is, that when the spontaneous inner spring of religious feeling 
 begins to run low, then we turn for compensation to the supernatural, to 
 formal written revelation. 
 
 1220. ruttbtegt, 'the fundamental text,' i. e., the Greek original. 
 
 1224-37. The question here turns upon the proper rendering of the 
 word Aoyof in John i. I (ev apxv ijv 6 Aoyof), as that which ' was in the be- 
 ginning ' and ' by which all things were made.' Faust argues that a ' word' 
 can not have been ' in the beginning,' because a word is the expression of 
 a 'thought,' which, therefore, must have come first^ But thought can not 
 have made the world, there must have been ' power,' and yet power is 
 nothing unless it is put forth in a ' deed.' He is thus brought around to 
 the position of Gen. i. I, which puts a ' deed ' of creation at the beginning. 
 Strictly he should reject this also, for a 'deed' implies a doer. 
 
 1244. bic 3 c Ue BteibCtt, 'leave the room.' 
 
 1249. Sdjdttett, 'phantom,' 'unreal apparition.' 
 
 1256. ^n 6ift Dtir gcttJtfj, ' I'm sure of you,' ' I can manage you,' 
 ' you're my game.' 
 
 1257. f)0fbc ^iJUettbrut, ' semi-infernal progeny.' Faust assumes that 
 the being before him is of a mixed order, partaking somewhat of the in- 
 fernal nature, but without being a full-fledged spirit of hell. He decides 
 therefore to try first a spell of minor potency. 
 
 1258. Salomonti* Sdjliiffd. 'Key of Solomon,' Clavicula Salomo- 
 nis, is the name of a conjurer's book containing spells and directions for 
 the evocation and exorcism of spirits. Saga makes the wise Solomon a 
 magician. 
 
 1258+. Ctftcr. A supernatural chorus of spirits, minions of Me- 
 phistopheles, who have come to help their imprisoned master, if opportu- 
 nity offers. 
 
 1260. Ijaufjen = Ijie aufjen.
 
 282 NOTES. 
 
 1262. jagt, 'lingers in dismay.' 
 
 1271. begcgttcn, 'to meet,' i. e., ' to deal with.' 
 
 1272. (Sprud) bet SBiere, ' formula of the four' elements, earth, air, 
 fire, and water; i. e., a formula intended for dealing with an elemental 
 spirit. 
 
 1273-6. Faust here reads or recites from the ' Key.' Salamanders are 
 spirits of fire, undines, or undenes, of water, sylphs of air, and kobolds of 
 earth. The meaning is that a salamander should manifest his true nature 
 by glowing like fire, an undine by making a sinuous motion of swimming, 
 like a fish or a mermaid, a sylph by vanishing in air, a kobold by making a 
 show of being at work. (The kobolds are subterraneous busy-bodies, 
 Eng. 'gnomes.)' 
 
 1277-82. Faust soliloquizes, congratulating himself upon his knowl- 
 edge of elemental spirits. 
 
 1283-91. The first having had no effect, Faust recites a second 'for- 
 mula of the four/ differing somewhat from the other and presumably more 
 potent as being in more mandatory form. 
 
 1285. JHaufdjCJtb, 'with a gurgling sound,' like that of flowing water. 
 
 1289-90. If the spirit is one whose character it is to 'be busy,' 
 he is to make the motions of helping about the house-work. The Romans 
 gave the name incubus, or incubo, both to the nightmare and to the mali- 
 cious sprite supposed to cause it by resting upon (incumbere) his sleeping 
 victim. Later, the name was applied to house-spirits without regard to 
 this malicious propensity, and in that sense came near to the German ko- 
 bold, which might also be a house-spirit. Whence the substitution of In- 
 cubus for the $obotb of the first formula. 
 
 1291. @d)lltf?, 'end'; viz., of the disguise. 
 
 1295. SEBety. Since the spirit does not wish to come out of his dis- 
 guise, any thing that compels him to do so may be said to ' hurt ' him. 
 
 1300. bie3 ^cidjClt; a conjurer's diagram (cf. 1. 429-!-, note) contain- 
 ing a symbol of Christ. 
 
 1306. me (Smtfproffttett, 'never-born'; i. e., eternal. 
 
 1307. ltuttltviicfurocl)iteit, 'ineffable.' 
 
 1308. ^lltd) .... Cgoff ttClt, 'diffused through all space'; i. e., 
 omnipresent. 
 
 1309. 2fre&etUlidj 2)urd)ftod)nett, ' wantonly pierced ' (John xix, 34).
 
 NOTES. 283 
 
 1319- $>H# fitdjt. The 'trebly glowing light ' is a sign of the 
 
 Trinity; perhaps a triangle with divergent rays symbolizing the 'holy 
 flame ' of divine love, which will ' burn ' the devil, as do the roses of divine 
 love in 11. 11710 ff. 
 
 1321+ . fdljrettber ifyolaftiCttS, 'traveling scholar'; i. e., scholastic 
 vagans, a name given in the Middle Ages to the vagabond students who 
 traveled from one university to another and lived by their wits. 
 
 1322. 28o ftcljt . . . . XicitftCtt, 'what does the gentleman want'? 
 2)em errtt is a polite circumlocution for eud), a use of ert which was 
 common in the 1 7th century, as it still is in Swedish. See Grimm, Wb., 
 under err. 
 
 1326. Wetbltrf), 'vigorously.' The sense is: You've made it lively 
 for me. 
 
 1328. $er .... DCrat^tct; in allusion to 1. 1226. 
 
 1330. XtCfC .... trucfjtet, 'delves into the depths'; Xiefe being ace. 
 Strehlke Wb., gives the meaning of tradjtet more exactly as fldj Bemiibt, 
 bort hinein gu gelangen. 
 
 1331- 23ei .... 4?errtt f ' i n case f you (infernal) gentlemen.' Faust 
 knows that he has to do with a devil, since it was the holy symbols that 
 brought him to terms. 
 
 1334- 3?KegettflDtt, Serber&er, fifigner. The first translates Beelze- 
 bub, the name of a Philistine god worshiped at Ekron. The name means 
 'lord of the fly,' the god having been probably at first an averter of insect- 
 pests, like the Greek Zetif anopvtof. In some MSS. of the New Testament 
 the name is given to Satan, the prince of devils. SSerberber translates 
 Apollyon (AiroA&iiuv), the ' Destroyer ' of Rev. ix. 1 1, where it is Greek for 
 the Hebrew Abaddon. Jiigner is not a translation of any devil's name, 
 but in John viii. 44, we read that ' the devil is a liar (ipevarr/f) and the 
 father of it ' (i. e., of lying) . 
 
 1336. Mephistopheles means that in doing what men call 'the bad' 
 (cf. 11. 1342-3) he is doing what is, in his own opinion, a good and 
 rational work. He must by no means be understood as admitting that his 
 mischief-making is overruled for good by a higher power. 
 
 1347. bte HcittC SRorrettttiett, 'the little fool-world'; a humorous 
 transposition of bie ttdrrijdje Sleintrjelt, ' the foolish little-world,' ' the silly 
 microcosm,' i. e. man.
 
 284 NOTES. 
 
 1349-52. Mephistopheles here speaks as Prince of Darkness, a quality 
 which he derives from the Persian Angra-Mainyus, or Ahriman. Cf. Intr. 
 p. Ixxv. 
 
 1353-8. The argument is : Light has no original independent exist- 
 ence of its own, being a mere parasite of ' bodies.' (Light is manifested 
 only in connection with bodies that emit or receive it.) But bodies are 
 destined to dissolution. The final result must be, therefore, that light will 
 perish, leaving primeval darkness in possession of the field. 
 
 1354- S5erl)aftet Hcbt, ' cleaves fast.' 
 
 1360. tm rofteit, ' on a grand scale.' 
 
 1364. plltntpe, ' clumsy.' Mephistopheles has no eye for the world as 
 a cosmos. 
 
 1365. fo Did .... untcrnommett, ' much as I have already under- 
 taken,' i. e., in spite of all my past exertions. 
 
 1366. tljt betSttfotmttett, ' to affect it,' 'to do it any harm.' 3br re- 
 sumes the antecedent part of ft)a in 1. 1363, but takes the gender of SBelt. 
 
 1368. ($eruf)tg ; = rufitg. 
 
 1370. beitt anjufya&en, ' there's no getting the better of it.' 
 
 1374. $er Sttft; dat. of separation with jtd) entttnitben, ' start forth.' 
 I 377- SffoBlttte. O n ty i n the fire does no life exist. Mephistopheles 
 can ignore salamanders, for they are of his household. 
 1378. 2Ipart; adj. from Fr. a part, 'apart,' 'private.' 
 1382. ttcrgcbcit'J .... fcoflt, ' clenches with vain malignity.' 
 1386. 2>te ttiJd)|tenmale, ' on future occasions.' Mephistopheles as- 
 sumes already that they are to see more of each other, but ' this time,' for 
 some unexplained reason, he wishes to be excused. Cf. the introductory 
 note to the next scene. 
 
 1392. @in .... getwfj, ' a chimney is also a sure reliance for you.' 
 
 1393. @efteV td)'3 Itltf, 'just let me confess'; imperative subjunc- 
 tive. Cf. Brandt, 284, I. 
 
 1395. ^rubettfttfi, 'drude's foot '; a magical symbol in the shape of 
 a five-point star (pentagram, pentalpha), designed to keep away evil 
 spirits. The drude of German mythology was a female incubus or night- 
 mare that injured people, especially children, in their sleep. (Later, the 
 name became = Hexe or Unhold.) To keep her off, the magic pentagram 
 was carved or painted on the cradle, bedstead or threshold. As the drude
 
 NOTES. 285 
 
 had swan's feet, the pentagram was called ' drude's foot,' from the resem- 
 blance to her footprints. Cf. Grimm Wb., II., 1454-5. The Pythagorean 
 pentagram, says E. B. Tylor, is a ' magic symbol still to be seen in every 
 country from Ireland to China.' 
 
 1404. imirft bentt bit, ' can it be then that you are? ' Dubitative sub- 
 junctive. The efficacy of the pentagram depends on the perfect closure of 
 the angle that is presented to the spirit. 
 
 1405. btt ift . . . . gellingett, ' that's a lucky accident.' The thought 
 is the same as in 1. 1403, but that refers to the imperfection in the penta- 
 gram, this to its effect in imprisoning the devil. 
 
 1413. 5Red)te f Maws.' 
 
 1416. rein, ' undiminished,' 'in full.' 
 
 1417. dbgejttiaift, 'nipped off,' 'subtracted.' 
 
 1418. ' bo3 ift $tt fttffCtt, 'that (i. e., such an inviolable agreement) 
 
 is not to be dispatched so quickly.' For the use of fdffen, cf. : 3d) ttierbe 
 mid) furj faff en, ' I shall be brief; ber 33rief ijt fur$ jit faffen, ' the letter 
 is to be made short.' 
 
 1420. bttt T id) . . . . fyiJdjft, ' I really do entreat you.' The adverb bod) 
 Itttb bod)ft has the force of a superlative to fetjr in id) bitte febr. It is of 
 very rare occurrence. 
 
 1423. mir .... fdgen, 'to tell me the news.' lite SKabr', M. H. G. 
 guotiu nicer, lit., ' good tidings,' is a stereotyped phrase for the entertain- 
 ing ' news ' a visitor may have to relate. 
 
 1438. (Jincrlct, ' monotonous round.' 
 
 1441. leered 3auberftel, 'empty trick of magic.' The meaning is 
 that Faust will not only hear the music of the spirits, but will see the pic- 
 tures they describe, smell the grapes, taste the wine, and experience a sen- 
 suous ecstasy. 
 
 1445. DorUtt, 'in advance'; here = ttorljer. 
 
 1446-)-. eifter; the same spirits as in 1. 1258+. The opportunity 
 they have been waiting for (11. 1264 ff.) has now come. Their song is an 
 @injd)ltiferungHeb, or ' lullaby.' They put Faust asleep with their music, 
 and at the same time conjure before his vision a series of entrancing pic- 
 tures that melt together like the visions of a dream. What they sing he 
 sees while sinking into a dreamy trance. As the magic takes effect, the 
 walls of the dingy study seem to vanish and he is under an open sky of
 
 286 NOTES. 
 
 supernatural loveliness. The air fills with hovering angels, and the land- 
 scape becomes a great vineyard, with pensive vintagers exchanging love- 
 vows among the vines. From numberless wine-presses rivulets of wine 
 fall, broaden to rivers and flow away toward the ' isles of the blest,' whence 
 come sights and sounds suggestive of boundless happiness. 
 
 1448. SJBolfuntgctt; the vaulted ceiling of Faust's Gothic study (cf. 
 
 I- 353+)- 
 
 1449. WciftCttber; not 'more charming' than the 'arches,' for they are 
 not charming at all (cf. 11. 6928 ff.). The comparison is between the be- 
 clouded sky, as it appears at first, and the blue ether. 
 
 1455. 2J?ilbere, 'milder,' i. e., shining with a softer light than the 
 natural sun. These suns do not hide the stars. 
 
 1456. botcin; 'in' upon the scene; not here = barilt. 
 
 1459- 23eugUltg; a loose appositive to @d)otte. The angels, as they 
 float past, seem to bend over the dreamer as they hover above him, exciting 
 in him a longing to follow them. 
 
 1482. (^cititflCn, 'satisfaction,' 'delight.' ' About the delight of ver- 
 dant hills ' = about the delightful verdant hills. So Grimm Wb., IV., 
 3512. Strehlke's urn tie geniigenb tior&anbenen iiget is too tame. 
 
 1483. Wcftiigcl; the birds in the air. A sip of the wonderful wine 
 sends them away in an ecstatic flight toward the source of all blessedness. 
 
 1487-8. fyellett $nfellt, 'the bright isles'; i. e., the isles of the blest. 
 
 1490. Woitflcitb, ' moving up and down,' in rhythmic spell. 
 
 1505. .wlb; gen. dependent on eme. As Faust's vision ends in 
 dreamless sleep, and the figures pass from his view, they seem to be moving 
 off, in their several ways, toward the far-away stars, which are for them 
 sources of life, love and gracious protection. 
 
 15167. Folk-lore associates the devil with pestiferous, ugly and 
 uncanny animals, especially those of nocturnal habits. 
 
 1522. bttUltte. The tense refers back to 1. 1393. The 'point' really 
 'confines' him still, until the rat has done its work. Cf. note to 1. 1404. 
 
 1525. J^-auftc; the Lat. vocative, used, as in the puppet-plays, with a 
 touch of humor. 
 
 1526. abettttdld, ' again '; his first disappointment was with the Earth- 
 Spirit. 
 
 1527. ber flciftcrrctdjc 'Strung = ba retcfce (jablreicfce) ebrdnge bet
 
 NOTES. 287 
 
 viz., those he has just seen in his vision. The meaning of the 
 somewhat obscurely phrased thought in 11. 1527-9 seems to be: Was 
 there no reality behind all this except a dream and the actual escape of * 
 poodle-dog ? 
 
 tubtrjimmer ( 2 ). 
 
 This scene, taken in connection with the preceding, suggests certain 
 dramaturgical questions. The main object of the preceding scene is of 
 course to pave the way to the compact. Why, then, when Mephistopheles 
 has come on purpose to find an opportunity to lead Faust ' in his way ' (1. 
 314), should he suddenly assume (1. 1387) the role of reluctant prisoner 
 and in the same breath (1. 1386) take it for granted that he and Faust are 
 to meet frequently, when he has not yet been invited to come again ? And 
 when the subject of a compact is brought up, why should he be eager to 
 postpone it (1. 1420) and beg to be excused for this time without giving 
 any reason for his desire? Why should he resort to a trick to effect his 
 release and then voluntarily return? And since Faust is perfectly willing 
 that he should go (11. 1390-3), why the elaborate hocus-pocus of the pen- 
 tagram, the lullaby and the rat? 
 
 Add to this the fact that ' Study ' (2) assumes all along that Faust 
 and Mephistopheles are old acquaintances. Mephistopheles knocks like 
 any ordinary visitor and assumes a familiar hectoring tone (1. 1531). Faust 
 recognizes the knock and concludes that he is to be 'plagued again,' 
 though we have heard of no plaguing before. He submits to the teasing 
 like one accustomed to such nonsense, and is not in the least surprised to 
 see his visitor. Nothing is said about the trick that had so strangely ended 
 their recent interview. Mephistopheles knows that Faust is subject to the 
 blues' (1.1534), and has come, dressed as a gay young squire, to drive 
 them away. But in the preceding dialogue Faust's characteristic riHen, 
 as we know them, do not appear; his talk is sober and sensible. Mephis- 
 topheles knows of Faust's having meditated suicide (1. 1580). Each has 
 definite and particular knowledge of the other's character and ways. Faust 
 knows what kind of diversions the devil will have to offer (11. 1678 ff.). It
 
 288 NOTES. 
 
 is assumed (1. 1 746) that Mephistopheles knows about the Earth-Spirit as 
 a being of rank superior to his own. The devil is perfectly familiar (11. 
 1835 ff.) with Faust's professional life. In short, one can hardly read the 
 scene without feeling that the author of it must have had in view a Faust 
 and a Mephistopheles who have had much more to do with each other 
 than is now provided for in the text. 
 
 The explanation is, no doubt, that the substance of ' Study ' (2) took 
 shape before 'Study' (i) was written. We have seen already that the 
 early plan contemplated a number of pictures occupying the interval be- 
 tween the poodle's first appearance and Faust's abandonment of his pro- 
 fessorship. 'Study' (2), but without the compact as we now have it, 
 was conceived on the presupposition that a friendly relationship between 
 Faust and Mephistopheles has been for some time established. It assumed 
 that the devil has the entree of Faust's house, has become familiar with his 
 master's life, character and pursuits, and has had an opportunity to exhibit 
 his ' arts.' Then, one day, he comes as gay young squire and persuades 
 Faust to give up the scholar's life and ' see the world.' 
 
 Again : In the early plan Faust was thought of as constraining the 
 reluctant devil to his service by the power of magic, and the devil was a 
 tormentor; while in the revised plan of 1797 Mephistopheles was to come 
 to Faust of his own accord and be a seducer. Cf. Intr. p. Ix. 
 
 Now what we have in the latter part of ' Study' (i) is an attempt to 
 blend, as well as might be, these contradictory conceptions and to provide 
 the necessary presuppositions. The poet cuts the Gordian knot by simply 
 letting both parties assume (11. 1385-92), without obvious grounds on 
 either side, that they are to be familiar friends, and then imputing to Me- 
 phistopheles a capricious desire to be ' excused for this time,' in order that 
 an occasion may be provided for an exhibition of his ' arts.' 
 
 In making this adjustment, Goethe doubtless calculated that people 
 would not scrutinize too closely the motives of the devil, or wonder much 
 at his knowing things that a common mortal in his position would not 
 know. Moreover, his sudden desire to be excused might be construed as 
 due to a feeling on his part that Faust's religious mood was unfavorable to 
 the tempter's purposes. Then, too, the lullaby might be taken as a dia- 
 bolical lure pointing to the pleasures of time and sense.
 
 NOTES. 289 
 
 1535. Cblct ^littler, ' noble squire.' In introducing the devil as a gay 
 cavalier, Goethe follows the popular Faust-drama. Creizenach, p. 143, 
 conjectures that the practice began in Catholic Vienna, where the devil as 
 monk, in accordance with the original legend, would not have been accept- 
 able. But 3itnfer Seiifel, Suttfer atari, etc., are found even in Luther 
 and his contemporaries. 
 
 1536. iHeibe, ' coat.' 
 
 1546-7. The thought is: I am too old to enter upon a frivolous world- 
 tour as man of fashion, and too young to have reached the apathy of age; 
 I have desires which I know that the ' world ' can not gratify. 
 
 1549. @ttt6c^rett follft bit, 'thou shalt do without.' When Faust's 
 ' confusion ' is cleared up, he will learn to meet this ' eternal song ' with a 
 voluntary renunciation of the things one must ' do without.' Cf. 11. 1 1441 ff. 
 
 J 559- eigettftttttigettt Srittel, 'peevish caviling.' Grimm, Wb., V., 
 2338, states that the word occurs here for the first time in German litera- 
 ture. Schroer thinks that Goethe may have got the term from Fraulein 
 von Klettenberg, who is known to have used it in the form $ritttel. 
 
 1561. Seliett^fraijett, 'goblins of life'; the petty cares and annoy- 
 ances of daily existence, that disturb and irritate one, destroying the seren- 
 ity of the mind, and rendering productive work impossible. These trials 
 are conceived as tormenting goblins. That this is the meaning of the 
 word appears from Eckermann, III., 162: 'On the Second Part of my 
 Faust I can work only in the early hours of the day .... when the goblins 
 of daily life (bte S ra fe elt & e $ taglidjen SebenS) have not yet confused me.' 
 
 1562-5. Seemingly a reminiscence of Job vii. 13-14. 
 
 1569. ttfld) OUfjett, 'outwardly,' 'in the outer world.' 
 
 1573-8. The theme is : Happy he who dies in some moment of su- 
 preme excitement. 
 
 1583. Q5enmt)Ic, 'frenzy.' 
 
 1584. fflj? bcfonnter on; the Easter music. 
 
 1588. of= ttttb aufdWCrf, 'alluring jugglery.' The ideals that 
 men pursue appear to Faust in his bitterness like pleasing phantasms that 
 ' confine ' the soul in this ' cave of gloom ' because, were it not for them, 
 we should voluntarily leave it. 
 
 1591. f}ot)C s UJctUUltg ; man's high opinion of his own worth and 
 destiny.
 
 290 NOTES. 
 
 1595. WttS .... hcurfjelt, 'what cheats us in dreams.' 
 
 1604. jeiter ; in the sense of Lat. ille, ' that well known.' 
 
 1607-26. A difficult and much disputed passage, the question being 
 whether the spirits are good or bad. If they are bad, why do they ' mourn 
 over lost beauty'? If good, why does Mephistopheles claim them in 
 1. 1 628 ? Probably the dilemma is best met in this way : Goethe imagines 
 an order of spirits whose function it is, when there is an act of destruction, 
 to bear the remains of that which was over into the realm of that which 
 is not. As attendants upon the work of destruction, they are in one sense 
 minions of the destroyer; at the same time they are not in sympathy with 
 destruction, but are rather nature's pall-bearers and mourners at the funeral 
 of beauty. They do their work while deploring the occasion of it. So 
 Faust's curse, involving as it does a complete break with the moral order, 
 is. construed as a destruction of the world of beauty. The little sprites 
 bewail the act and pray him to make good the damage by rebuilding the 
 beautiful world in his own breast. This he can do by recovering his faith 
 in life and in ideals of life. 
 
 1612. ^gwlbgott, ' demigod.' To the ' little ones ' the deed of Faust is 
 like that of a Hercules with his club. 
 
 1614. Sritmntent ; usually Sriimmer as plurale tantum from ba8 
 rum. But the fern, sing., bie Sriinttner, is very common, and the weak 
 plu. Sriimmern not rare. 
 
 1619. ^JrSdjttgCr; factitive predicate with fie. 'Mighty son of earth, 
 rebuild it more splendid.' 
 
 1625. Steber; i- e., songs of congratulation on the part of the spirits. 
 
 1629-34. Mephistopheles deliberately perverts the counsel of the spirits 
 in 11. 1622-3. The ' new course of life ' they would have Faust ' begin ' is 
 a change of heart, of moral attitude. But Mephistopheles distorts their 
 meaning into : Give up the professor's life and try the world. 
 
 1633. 2B0 .... ftorfcn, ' where senses and juices stagnate '; i. e., where 
 the senses and the blood become torpid. 
 
 1640. ^Sttrf, 'rabble.' 
 
 1641. fetttCr Don ben tofcen, 'none of the great ones,' i. e., only a 
 subordinate. Such was in fact Goethe's early conception of Mephis- 
 topheles. 
 
 1647. tnad) T id) btr'3 djt, 'if I suit you.'
 
 NOTES. 291 
 
 1652. urn otteSttJtHen, 'gratuitously.' 
 
 1661. Sdjlfigfit btt . . . . Sritmmern, 'when you first demolish this 
 world,' i. e., the present earthly life. The end of life is conceived as an 
 act of world- demolition; cf. 11. 1608 ff. 
 
 1665. 5iantt. The verb has a strange sound, since it seems to imply 
 that Faust is anxious to end his earthly life, joys, sorrows and all (for ibnen 
 can not well refer to Setbeit exclusively) , whereas the connection requires 
 the line to mean simply : ' When I have done with this world.' Unless 
 we resort to Diintzer's too easy solution, that fann is a misprint for tltll, 
 foil or loerb', we shall have to regard fann id) erjl as used loosely for bin 
 icf) ittt @tanbe, ' when I am in a position,' ' when the time comes.' 
 
 1667-70. Logically Faust's indifference to the life beyond is out of 
 place in a dialogue with the devil. What we really hear in these lines, 
 however, is the youthful Goethe arguing in the tone of his time against the 
 religious Jenseitigkeit, which busies itself with curious speculations about 
 the life to come. It is noteworthy, however, that the Faust of the legend 
 is at the same time intensely curious about hell and its denizens, and a 
 skeptic with regard to the existence of hell. Cf. Intr. pp. xiii, xiv. 
 
 1678. !0dj fjttft btt, ' but you have, haven't you? ' With the question- 
 mark after 1. 1685, 11. 1678-85 must be read with a sarcastic rising inflec- 
 tion. Faust rehearses ironically the stock-in-trade of jugglers' tricks with 
 which he assumes that Mephistopheles will try to amuse him : sham food, 
 illusory liquid gold, sleight-of-hand gambling games, and phantasms of 
 love and glory. It is worth noting that Mephistopheles does actually pur- 
 vey the most of these pleasures. Thus we have sham wine in 1. 2291, 
 sham gold in 11. 5711 ff.; while Faust as husband of Helena and transient 
 king of Arcadia gives us the phantasms of love and honor. 
 
 1686-7. 3 C *8 T - The mood is sarcastic: 'Come now, show me your 
 wonderful trees,' etc. In C. M. (Scheible, II., 84) we read that ' Faust's 
 pleasure-garden was almost like paradise; for the foliage and grass, min- 
 gled with all sorts of trees, kept green the whole year long. The trees too 
 would suddenly, in a moment, put forth fruit different from their natural 
 fruit.' 
 
 1691. V>a ttt, 'something good'; i. e., something really satisfying 
 and not a mere sham or phantasm. 
 
 1692. Jydlllbett, ' bed of ease,' ' lazy couch '; ' Laying one's self upon
 
 292 NOTES. 
 
 a bed of ease ' is a symbol of perfect satisfaction with the egoistic pleasure 
 of the moment. 
 
 1694. ttttd) .... liclugcit, 'beguile me with blandishments.' 
 
 1698. op, 'agreed'; usually opp. djlttg Oltf djtofl means 
 ' shake again.' Faust offers his hand twice. 
 
 1700. JBertteUe bod), ' pray tarry.' Faust uses these words in 1. 11582, 
 but not to the passing moment and not while stretched upon a ' bed of 
 ease.' On the compact, cf. Intr. pp. Ixxi, Ixxii. 
 
 1705. bet 3ctgcr fatten. Some of the early water-clocks were so 
 constructed that the hour-pointer would rise steadily along a bar for 
 twenty-four hours and then drop back. The 'falling of the hand ' thus 
 marked the end of a fixed period. 
 
 1710. 2Bie id) beljom, = fobalb id) befiarre, 'as soon as I stagnate' 
 I am a slave anyway, i. e., no longer a free, self -determining man. 
 
 1712. *oct0rfd)mnu ; the supper given by a student on taking his 
 doctor's degree. As the text stands, we are left to imagine the scene; but 
 in Par. p. 1 1 ff . we find a sketch of a doctoral disputation, which would 
 naturally have been followed by a @d)mttU. This was one of the profes- 
 sional scenes at one time contemplated by Goethe and then dropped; for 
 the reason, probably, that a third episodical picture of university life (in 
 addition to the Wagner dialogue and the student scene) appeared unneces- 
 sary. Or perhaps he found that the scene did not work out well. 
 
 1714. Ultt .... ttliHett; a formula used in asking for a written agree- 
 ment, and meaning, according to Grimm Wb., VI., 417, fiir aCe ffiQt, * e ' 
 ' to provide for all contingencies,' ' to guard against accidents.' 
 
 171630. The logic of this difficult passage seems to be this : The 
 word of a man is as good as his bond. It is indeed strange that we should 
 be held to our course, in the tempestuous flood of this life, by so slight a 
 thing as a promise, but so it is. This curious notion of honor is implanted 
 in us, and I have no desire to be rid of it. It pays to follow it at any cost. 
 But most men reverence a formal document; very well, then, how will you 
 have it ? The formal written agreement is made much of in the Faust- 
 books, in Marlowe, and in the puppet-plays. So also Faust's honesty is 
 emphasized. An Erfurt legend (Scheible, V., 488) makes a certain monk 
 named Klinge endeavor to convert him at the last, promising to say mass 
 for him. Faust replies : ' Mass begone ! . . . . The devil has honestly kept
 
 NOTES. 293 
 
 his word with me, and so I will also keep my word and written agreement 
 with him.' Whereat Scherer, Faust-Buch, p. xn, is reminded of the saying 
 of Tacitus : ' So great even in a bad cause is German tenacity. They them- 
 selves call it fidelity.' 
 
 1719. fd)altcn (mit), 'govern,' ' be a law unto.' 
 
 1722. btefcr 2BflI)H, 'this strange conceit'; i. e., this sense of honor, 
 of reue. 
 
 1728. ( )a SBott .... ^feber, 'the word dies in the very act of writ- 
 ing.' The somewhat fanciful thought is, that when an agreement is ' re- 
 duced to writing,' the seat of potency is at once transferred in the minds 
 of men from the impalpable word of honor, where it ought to be, to the 
 parchment on which it is written and the wax with which the document is 
 sealed. 
 
 1737. rityfrf)eit 23lttt. So in the legend and the puppet-plays; but 
 the custom of confirming solemn agreements with blood is much older than 
 the Faust-legend. Loeper says that its use in compacts with the devil is 
 a parody of the blood in the Christian sacrament. 
 
 1739. gfraljC, ' mummery.' The thought is: Let the farce be carried 
 out. 
 
 1741-59. Faust would in a sense 'break the agreement,' if he were to 
 hold back and give the devil no chance to satisfy him. So he gives his 
 assurance that he will do his best to carry out his part of the program; 
 i. e., that he will cut loose from his present existence and engage with all 
 possible fervor in the business of ' seeing what life is.' 
 
 1748. The sense is: As thinker I have reached the end of my course. 
 
 1752-3. The thought is: Produce your marvels; I'll take them as 
 they come and not play the rationalist with you. 
 
 1759. !Wur .... SOlonn, ' without any cessation the (true) man keeps 
 doing.' 2)er 2JJcmn here = ber ed)te, tiidjtige 2JJann, as in >a riifjre ftd) 
 ber 2Jtann. Cf. the numerous examples in Grimm Wb., VI., 1562. The 
 general thought is well illustrated in a saying of Dicht. u. Wakr., Werke, 
 XXVII., 12: @r batte mir mir fagen burfen, bag e im eben btofj auf' 
 &im anfomme, baS eniefeen unb eiben finbe ftd) toon felbfl Wur 
 limits taftloS; ' not otherwise than restlessly,' i. e., without any cessation 
 whatever. 
 
 1763. The thought is: May the program which so pleases you now in 
 anticipation suit you when you come to carry it out.
 
 294 NOTES. 
 
 1765-75. Faust hastens to correct the impression, very natural from 
 what he has just been saying, that he hopes for enjoyment from the new 
 career. It is to be a wild 'reel ' through the world in quest of experience, 
 the painful as well as the pleasant. He expects to be bored and to suffer, 
 but he will accept that as a part of his destiny, for his desire is to feel in 
 his own being all that men have ever felt anywhere. Cf. Intr. p. 1. 
 
 1766-7. fdjmergHdjftem ____ SBerbritft. The triple oxymoron contains 
 this sense : I will play the role of pleasure-seeking sensualist and suffer 
 pain and hate myself in so doing. Soulless sensuality indulged in, as a 
 matter of experience, by a man capable of deep feeling, becomes ' enamored 
 hate ' rather than love, and ' exhilarating disgust ' rather than true enjoy- 
 ment. 
 
 1770. With this line Fgm. begins abruptly, though a large part of what 
 precedes must also have been in existence in 1 790. As to Goethe's prob- 
 able reasons for publishing the lines 1770-1867, while suppressing what 
 goes before, see Intr. p. 1. 
 
 1774. erWcttcrn, This idea of infinite self-expansion was a favorite 
 conception with the youthful Goethe. Cf. the lines, addressed to Nature, 
 from his poem Kunstlen Abendlied, written in 1774: 
 
 2Birft atte meine flrftfte ntir 
 3n metnem Sinn erljeitern, 
 Unb hiejeS enge S5afetn l)ier 
 erroettern. 
 
 So also in Prometheus, I., the hero says: SSermogt iljt mid) 
 bebnen, ju erttmtertt ju einer SBelt? Cf., again, Faust, 11. 641, 3285, and 
 3289. 
 
 1 775- .S^fdlCttertt. C" n tne meaning of this word in relation to the 
 compact, cf. Intr. p. lix. 
 
 1 776-84. To Faust's grandiose talk of a world-embracing experience, 
 Mephistopheles replies humorously that he has been acquainted with the 
 world a long time and has discovered that only God can know it as a whole. 
 Other beings must be content with limitations. The hopeless task of 
 knowing the world as a whole he conceives under the image of attempting 
 to digest a mass of indigestible leaven (' sour dough '). 
 
 1784. ttttb Cttdj .... 9?adjt, ' and for you only day and night (i. e., the 
 alternation of day and night) is suited.' Duntzer quotes from Meister,
 
 NOTES. 295 
 
 Werke, M., XVII., 372 : SBo ifl tor tbm (ott) etnm obe ober Siefes, 
 ettnaS etle ober 5>uttlle8? 2Bir nur haben ein Dben unb Unten, einen 
 Sag unb eine 9?ad)t. 
 
 1785. $>a3 la^t fid) Ijurcit, ' that sounds plausible.' 
 
 1789-1800. The thought is: The only way to be all-things-in-one is 
 to become the theme of a poet. 
 
 1792. GljfClt'Sdjeitel, 'honorable pate'; vertex honoratus, says 
 Grimm, Wb. 
 
 1804. s Kfcitfd)l)Ctt .... crrtttgett. To 'win the crown of humanity' 
 is evidently from the context, only a new phrase for Faust's dream of 
 partaking personally in the experience of all mankind. 
 
 1816-7. tJjf fcf)t .... ftcfyt, 'you see things as people just see them '; 
 i. e., you see things as they appear, you take a superficia' view. The logic 
 of what follows is : Out upon your repinings over human limitations ! To 
 be sure, you have the bodily organs of a man, and you can not be anything 
 but a man. But, after all, that is yours which serves your pleasure, and 
 pleasure, not speculation, is what life is for. 
 
 1825. bic mctne ; for the rime's sake instead of bie meineit. 
 
 1830. Serl bet tyeculirt. Cf. Scherer, Goethe's Fruhzeit, p. 69, who 
 quotes from Herder : peculation al8 auptgefd)afte be8 2eben8 meld) 
 elenbes efdja'fte ! 
 
 1832. bbfcit (Scift. It is familiar Germanic folk-lore that animals may 
 be bewitched by elves and dwarfs. See Grimm, D. M., I., 381. 
 
 1837. $>ie SttttJjeiS. T^ 6 L w German plu. in -s (see Brandt, 60) 
 occurs several times in Faust. Cf. gti-'uleinS in 1. 3020, and 2ftobel8 in 
 
 1838. Witdjlmr 28aitft, 'neighbor Paunch'; Mephisto's name for a 
 commonplace, fat and self-complacent pedagogue. 
 
 184041. Because he would be driven from his position for heterodoxy. 
 There is evidence that Goethe at one time thought of representing Faust 
 as suffering in that way. Cf. 11. 590-3 6230-8, and Intr. p. xxxi. 
 
 1842. Icid), ' this moment.' 
 
 1844. UmrtCt ImtflC. Apparently tho boy has but just arrived. We 
 are to imagine, probably, that he had called earlier and been asked to wait 
 outside until Professor Faust should be at leisure. 
 
 1851-67. On this soliloquy cf. Intr. p. li. It has underlying it the 
 early conception of Mephistopheles, and was written before the compact
 
 296 NOTES. 
 
 had taken shape. The devil that speaks here is a tormentor who is quite 
 sure of his victim and not at all concerned to win Faust by satisfying him. 
 His program is not to satisfy, but to stupefy. In retaining the soliloquy, 
 Goethe of course counted upon the interpretation that Mephistopheles here 
 speaks his true character, having been playing the hypocrite hitherto. The 
 fact is, however, that we shall hear very little henceforth of the devil who 
 speaks here, or of the program thai he lays down for himself. 
 
 1852. oHerI)M)fte Staft. The devil of the Prologue (1. 284) thinks, 
 or professes to think, that man's reason ' is a delusion. 
 
 1861. Utt&ebeutettljett, ' insignificance '; for Unbebeiltenbbett, after the 
 analogy of 2lntt>ejertb.eit, 33eftommenfieit, etc. 
 
 1862. gapjjeltt, ftarren, fle&ett, ' struggle, relax effort, stick fast.' The 
 verbs denote three stages in the progress of a man becoming gradually ac- 
 customed to contact with something vile or dangerous. 
 
 1863. Uncrfiittltrf)!ett. The dat. means ' for ' in the sense of ' for the 
 delusion of,' ' as a decoy for.' 
 
 1866. iibcrflCbcit. The Faust of the early plan was to ' give himself 
 over ' to the devil, but the Faust of the compact simply makes a wager with 
 the devil. 
 
 1867. The meaning is : A man of such insatiable and ungovernable 
 desires must have gone to ruin morally, even without a formal surrender to 
 the devil. 
 
 1868-2050. On the early version of this scene and the revision for 
 Fgm., cf. Intr pp. xxxix and li ; also p. 1, footnote. Otto Pniower, in V. L., 
 IV., 317, makes it appear probable that the original scene, as it appears in 
 U., consists of two parts separated in their composition by a considerable 
 interval, the juncture being at what is now 11. 1903-4. The first part was 
 comparatively vulgar and burschikos, while the second dealt more with the 
 intellectual side of student life and contained satire of a higher order. On 
 the revision, this first part was in the main omitted and the second consid- 
 erably expanded. These changes have left traces upon the text as it now 
 stands. For the original text of U. see Appendix II. 
 
 1868. (till)icr = bier. The word was archaic even in Goethe's youth. 
 The student tries to talk like a book. 
 
 1874. 4?obt tljf tttngetljon, ' have you been about elsewhere,' i.e., 
 have you called on any other professors? U. has hier, i. e., in this city, 
 instead of fonft.
 
 NOTES. 297 
 
 1875. The student, full of his momentous errand, does not answer the 
 question put to him. 
 
 1879. tt)0 JRed|t3. Cf. 1. 371, note. JjterauffCU, 'out here.' The 
 student comes from another ' land ' (kingdom, duchy, principality) than 
 that in which the university is situated. 
 
 1896-7. In U. this question comes much later (after a dialogue about 
 the besetting dangers and trials of student life), and the boy in reply an- 
 nounces that he is going to study medicine. Here he replies more vaguely 
 so as to give an opportunity for a satirical review of all four faculties. 
 
 1901. J&Hffcufrfjaft itltb yjotttt, 'science and nature,' correspond 
 roughly to what we should now call the historical and the natural sciences. 
 But the student does not himself know just what he means. 
 
 1903. The thought is : You must not waste your time. 
 
 1904. bobct, ' in for it.' 
 
 1908. bet 3 c tt. The gen. with gebraudjen, common in the classics, 
 is now well-nigh obsolete. 
 
 1909. Ofbnitng, ' system.' As Leipzig freshman writing to his friend 
 Riese {Briefe, I., 14), Goethe prefaces a list of his dissipations with the 
 remark : 3d) brcmdje Sitnft urn fletfHg ju fetn. 
 
 zgix. (aHcQtU!tt iiogicitnt, 'course in logic.' Mephistopheles here 
 gives the ' correct ' professorial advice. Logic was at this time regarded 
 as a drill study of especial value as a general propaedeutic. In U. this 
 whole speech comes right after the student's announcement that he is to 
 study medicine. 
 
 I 9 I 3- fpfltttfdjC (Sticfdtt. The plu. is now usually strong. The 'Span- 
 ish boot ' was an instrument of torture that found favor with the Inquisition 
 (hence the name ' Spanish'). It consisted of an iron case which enclosed 
 the leg and compressed it, wedges being driven between the leg and the 
 boot. 
 
 1914. &ebtt<f)tifler, ' more deliberately.' 
 
 1916. bic SfCUJ ttttb ClUCt, 'hither and thither'; a fem. substantive 
 made by taking the adverbs freuj and quer together as one word and form- 
 ing from them a noun upon the analogy of bie Olierc. The construction 
 is ace. of the way, with hinfdjteidje. , 
 
 1918-41. The point of the satire is that logic, while parading itself as 
 the science of thought, does not teach one to think new thoughts, but only
 
 298 NOTES. 
 
 to unravel the thoughts one already has. ' In logic it struck me as odd,' 
 writes Goethe in speaking of his Leipzig experiences, ' that I was expected 
 thus to pull to pieces, simplify and, as it were, destroy those mental opera- 
 tions which I had performed from youth on with the greatest ease, and to 
 do this in order that I might understand the right use of them '; Werke, 
 XXVIL, 53. 
 
 1919. nuf CtttCtt Sdjlflg, 'at a stroke,' i. e., all at once, without any 
 analytic process. 
 
 1934. oiler DrtCtt, 'everywhere'; adv. gen. of place, Dtten being the 
 old weak plu. 
 
 I 935- The thought is: Logic makes unravelers, not weavers. 
 
 1940. Encheiresin naturae, ' encheiresis (manipulation) of nature.' 
 The Gr. eyxeiprjaie, ' taking in hand,' was used as a medical term = ' treat- 
 ment.' In early modern chemical treatises it was much employed (but not 
 in connection with naturae) in the sense of ' operation.' Cf. Kopp, Aurea 
 Catena, p. 6, who translates it cleverly by anbgreif{id)ttiad)Ung. From 
 some such book Goethe took the word, adding naturae (as objective gen.) 
 to give the meaning ' tactual investigation of nature,' ' art of getting at 
 nature's secrets by manipulation.' The idea is that the chemists, like the 
 logic-choppers, fancy that they are getting at the secrets of nature, are ex- 
 plaining the organic process by which she produces a living thing, when 
 they take the thing to pieces and thus destroy at the outset that which is 
 the real object of interest, namely, the 'life,' the mysterious 'vital bond' 
 which gives the thing unity and distinguishes it from the sum total of its 
 inanimate parts. By cherishing this notion and calling their folly by a 
 high-sounding name, they make themselves ridiculous. This idea was 
 a favorite one with Goethe, who looked at things from an artistic or 
 aesthetic point of view. ' Spare me,' he writes in a letter of July 14, 
 1770, 'the joy-deadening empiricism which kills butterflies and anat- 
 omizes flowers.' Cf. also the note to 11. 672-5. 
 
 1941. fpottet iljrer felfcft, U. hasbobrt fid) felbft einen (gfel, 'makes a 
 fool of itself.' 
 
 1950-53. The thought is that metaphysic is a matter of high-sounding 
 names for ideas so very profound that the human brain can not understand 
 them. 
 
 1955. 9?eJ)mt nmtyr, 'take note of, 'give heed to'; Drbnung gen.
 
 NOTES. 299 
 
 1956. tyfllit tljt; not 'you have,' but 'take,' i. e., I advise you to take. 
 U. has nefimt. 
 
 X 959- ^5flragratlIjO$; the sections or paragraphs into which the text- 
 book is divided. The form is a Lat. ace. plu., to be pronounced 
 
 1961. Ct; the lecturer. We have to think of academic lectures con- 
 sisting of comment upon a printed text-book. 
 
 1962-3. It was one of Goethe's grievances at Leipzig that he was ex- 
 pected to listen to and write down what he already knew. 
 
 1963- bcr 4petH{J T Ctft ; an archaic phrase preserving the old unin- 
 flected adj. There is really no elision. 
 
 1972-79. These lines upon the study of the law are not found in U. 
 Cf. Intr. p. li. The charge is that jurisprudence is the study of precedents 
 rather than of justice or natural right. The student must occupy his mind 
 with laws that originated far away in time and space (German jurispru- 
 dence is based upon the Roman law) and have survived the conditions 
 that gave them birth; so that legislation which was once reasonable and 
 beneficial may be absurd or even harmful. The nature of the study here 
 described appears clear from a passage of Dicht. u, Wahr. ( IVerke, XXVII., 
 235), in which Goethe speaks of the contrast between the universities of 
 Leipzig and Strassburg. At the latter his mentor said to him : ' It is not 
 asked (here in France) how and where a law originated and what was the 
 inner or outward occasion of it; we do not inquire how it has been modi- 
 fied by time and custom, or how far it may have been actually perverted 
 by false interpretation or wrong judicial usage. In such investigations the 
 learned quite properly spend their lives; but we concern ourselves with 
 that which is at present.' 
 
 1972. efe^ r Itttb JHcdjtC, 'statutes and laws' (leges et jura). 
 
 1986. UCrborijltCCi dHft, 'hidden poison'; heterodox views which the 
 student is in danger of absorbing into his system unawares. 
 
 1998. fiereiteit, 'prepare,' 'devise.' 
 
 2000. ^ota: a dissyllable. 
 
 2008. fififjt .... fiihleu, ' one can the sooner feel his own way further.' 
 
 2012. J}ro^ T Uttb Heine ZBelt; here simply a phrase for 'all the uni- 
 verse.' In 1. 2052 it is used more definitely. 
 
 2019. nod), 'moreover.'
 
 300 NOTES. 
 
 2024-6. The meaning is that woman's ills all have their seat in her 
 sexual nature. It is here that Mephistopheles begins to ' play the genuine 
 devil ' (1. 2010). 
 
 2029. @in Xitel; i. e., you must first become an M. D. 
 
 2031. glint SiHfOtttttt r <Sie&enffld)en, ' then by way of welcome 
 
 (i. e., at the very outset) you have only to reach out your hand for all sorts 
 of favors.' Goethe conceived SBiHfomm' as an abbreviated SBiflfommett. 
 
 2039. Wriin, golbner. The colors seem contradictory, but Goethe is 
 fond of using gotten in the sense of 'lovely,' 'precious.' Thus Frau von 
 Stein is addressed as golbtte ^rcni. rim is, of course, the color of the 
 living tree, as grait is that of ashes and death. 
 
 2048. Eritis .... malum, ' ye shall be as God, knowing good and 
 evil'; part of the serpent's promise in Gen. iii. 5, where, however, the 
 Vulgate has dii, ' gods,' instead of Goethe's Deus. Schroer supposes the 
 change due to Luther's translation, which has : 3I)r tterbet fein fine ott. 
 
 2049-50. The meaning is : Let yourself be beguiled by the devil (as 
 Adam and Eve were) into forming fine hopes of the wonderful knowledge 
 you are to acquire, and you will be disappointed as they were. The lines 
 can be scanned after a fashion as hexameters, but the rime indicates that 
 they were not consciously intended for hexameters. Bartsch, G.-J., I., 133, 
 is probably right in calling them defective alexandrines. 
 
 205172. These lines, not found in U., were inserted in Fgm. to fur- 
 nish the needed introduction to ' Auerbach's Cellar.' 
 
 2052. $>ie Heine bie grofje 2BeIt. The ' little world ' is the world 
 
 of common life, the ' great world ' the Emperor's court. 
 
 2055. 6ei, ' with.' Fgm. has mit. 
 
 2056. IcidjtC iJebcn^art, ' easy way-of-the-world,' savoir vivre. 
 2069. Jeucrluft, 'hydrogen'; the 'inflammable air' of Cavendish's 
 
 early experiments. The first hydrogen balloon was sent up at Paris Aug. 
 27, 1783, in which year Goethe's letters several times allude to his interest 
 in the new art.
 
 NOTES. 301 
 
 rbad) teller. 
 
 For the original form of this scene, see Appendix II.; respecting 
 the revision of 1 790, see Intr. pp. xxxix, li. On the strength of a letter 
 (Briefe, II., 292), in which Goethe speaks of having just 'made ' a scene 
 of Faust, and in the same connection compares himself to a poisoned rat, 
 it has been supposed that ' Auerbach's Cellar' was written Sept. 17, 1775, 
 the date of the letter referred to. But the prose of the scene as it appears 
 in U., its crude art, its vivid Leipzig reminiscences, above all its undevel- 
 oped Faust, who is simply the self-complacent magician of the legend, all 
 point to a much earlier date for the composition of the scene. The letter 
 just spoken of may mean only that a part of the scene, say the rat-song 
 itself, was written at this time, or that the poet now first committed to 
 paper what he had long been carrying in his mind. Or it may refer to an 
 entirely different scene. 
 
 Auerbach's Hof as known to Goethe was a large, old building (it was 
 begun in 1530) designed especially for the accommodation of traders who 
 came to the great Leipzig fair. The ' Keller,' which still thrives under the 
 old name, was a wine-room in the basement. Just how old the tradition 
 is which connects Faust with this place, can not be stated. The Spies 
 book of 1587 does not mention Leipzig among the places visited by Faust. 
 In Widman, however, who is copied by C. M., we find (Scheible, V., 499) 
 a story of Faust's visiting the Leipzig fair with several companions. They 
 pass a wine-cellar (name not given), where some workmen are trying to 
 get up a cask of wine. Faust's party laugh at their efforts, whereat the 
 men become angry and abusive. Then the host promises the cask to any 
 one who will bring it up alone. At this Faust seats himself on the cask, 
 rides it up out of the cellar, and then taps it for the benefit of his friends. 
 This exploit was soon localized by the saga at Auerbach's Keller, where in 
 Goethe's time, as still to-day, various mementos of the famous ride are 
 preserved. Chief among these are two pictures, one showing Faust astride 
 the cask in presence of his wondering friends, the other representing the 
 subsequent drinking-bout. 
 
 Widman (Scheible, II., 511) also tells the story of the wine conjured 
 from four gimlet-holes bored in the edge of a table, but describes the
 
 302 NOTES. 
 
 occurrence as taking place at the house of a friend of Faust at Erfurt. The 
 trick of the grapes is not reported by Widman, but is found in the Centu- 
 riae of Philip Camerarius, which appeared in 1602. From this Latin work 
 it found its way into various books, some one of which must have been 
 known to Goethe. The substance of the story in Camerarius is that Faust, 
 being once in a company of revelers, who ask to see a specimen of his 
 powers, promises to make a vine full of ripe grapes grow out of the table. 
 After charging them to remain quiet until he shall permit them to cut off 
 the grapes, he produces his illusion. They all draw their knives and wait 
 for the word. Then Faust breaks the spell, and they find they have pre- 
 pared to cut off each others' noses. 
 
 2072+. ,8 Cf f) e Ittfttgcr efetteit. That the jolly fellows' are students 
 is not expressly stated, but so we must doubtless regard them. In U. Alt- 
 mayer is called Alten, and Siebel is referred to as a married man. 
 
 2074. Idjrcu eftd)ter madjen. The thought is : Out upon those sol- 
 emn faces of yours ! 3d) roilt bid) leljrett is a formula of reproach. Thus 
 Goethe writes to his sister, Briefe, I., 32 : 3d) roiU bid) lehrett fo unfleiftig 
 git fettt, i. e., ' fie upon your laziness ! ' So in Eng. an angry parent says : 
 4 I'll teach you to disobey me,' meaning, ' I'll teach you not to.' 
 
 2076. ltdjtcrlol), 'with bright flame '; from Ud)ter ol)e taken as gen. 
 of manner. 
 
 2079. boppclt Srfjltiein, 'doubly hog'; viz., once for the 'stupidity' 
 of the trick and once for its ' nastiness.' U. has (Sfel ! <E>d)roein ! To 
 which Frosch replies : SDiufj man mil eiidj ntdjt bet)be jetyn. 
 
 2082. Wuitbrt. The word is a musical summons to ' join in ' a song 
 (SRltnbgefdltg). Several old German songs have the refrain ' runda, runda, 
 runda, dinella.' 
 
 2088. 91 totO ItttO bli; a sort of preliminary do-mi-sol-do. 
 
 2091. The lack of unity and cohesion in the Holy Roman Empire was 
 a favorite theme for satire in Goethe's day. 
 
 2099. Qufllttfit; an obscene allusion to the legend of Pope Joanna and 
 the precautions taken in the college of cardinals after her time to prevent 
 the election of a woman to the papal chair. Cf. V. L., II., 596. 
 
 2101-2. An old folk-song begins with the exact words of 1. 2101, and 
 another runs :
 
 NOTES. 303 
 
 SladjtigaD, ic6 b. or' bid) ftngcn, 
 p" mein dpa$$en taufenbmal. 
 
 1105-7. These lines seem to be Goethe's own. The waiting lover 
 entreats admittance to the room of his sweetheart, who is to bolt the door 
 after his departure in the morning. 
 
 2112. Oltf Ctttem ^reujmeg. A cross-road is, in German folk-lore, an 
 uncanny place. Cf. Schiller, Jungfrau, 1. 112 : 
 
 .... trttt auf ben ftreujtoeg b,tn unb pflegt 
 Oe&eime 3eifpra<$ tnit ber Suft be 8erge. 
 
 2113. ^torfsberg; the Bracken, to which on Walpurgis-Night (cf. note 
 to the scene of that name) witches ride on the backs of devils (33ub,lteufel) 
 in the form of rams, he-goats, etc. 
 
 2120. id) rocif? 311 Icbcn, 'I know what's what.' 
 
 2122. nad] 3tanbs?gebiif)r, ' according to the requirements of (their) 
 position.' The song is to be a love-song for lovers. 
 
 2123. 3 ur fltttCtt 9!ad)t, ' as hoping for a jolly night.' Brander does 
 not intend a good-night song thus early. The gu is used as in trinfen tt)it 
 etn jur gliicfUdjen SReife. On jum Seften gcben, cf. 1. 119, note. 
 
 2138. tljfit; indicative. The form is a dialectic survival of M. H. G. 
 tete ->-tet(\. and 3. sing. pret. ind.). The a of the modern tbat belonged 
 originally only to the plu. For other examples of tbat as ind., cf. 
 11. 2145, 2869-70, 3578. 
 
 2139. geitling. Goethe often uses genuitg, instead of gertitg, not only 
 in verse where the rime requires it, but in his letters; e. g. f Briefs, I., 
 231. 253. 
 
 2147. feift ____ 0dj. 2luf or au8 bem lefcten god) pfetfen is a figure 
 derived from blowing a flute, and means ' to be at the end of one's wind,' 
 ' to be at the last gasp.' 
 
 2172. eitt flcitt ^urtd. In Goethe's time the Leipzig people plumed 
 themselves on their refinement and savoir vivre. The city is called ein 
 fleilt ^3ari8 in a book on Leipzig published in 1 768 by a theological stu- 
 dent who styled himself Baron von Ehrenhausen. See Leipzig und seine 
 Universitdt vor hundert Jahren (Leipz. : Breitkopf u. Haertel, 1879), 
 p. IX. 
 
 2174. S5et Ctncm HoflCtt lafc ; not a form of asseveration. Frosch
 
 304 NOTES. 
 
 means that one glass will loose the tongues of the two strangers and enable 
 him to ' pump ' them, i. e., find out where they come from and what their 
 business is. 
 
 2184. fytttft. The devil has one human foot and one horse's foot 
 (cf. 11. 2490 and 2502), which makes him limp. Or, his lameness is due 
 to his fall from the sky. Hinkebein, Lame-leg, is one of his names; cf. 
 Grimm, D. M., II., 829. So Goethe's Satyros is a bittfenber SBalbteufel. 
 Hephaestus- Vulcan was also lame. 
 
 2189. iRtypdd) ; a village a few miles southwest of Leipzig. In 
 Goethe's day its name was used like our American ' Wayback.' Hans, or 
 Hans Arsch von Rippach is John Lubber of Lubberton. The jest is at 
 least as old as 1710; cf. G.-J., I., 435. 
 
 2192. bfl$ tcfttcmal, i. e., on occasion of our last preceding visit. 
 
 2214. 20t)tt J to be pronounced @olj, thus riming with ^fafy- The 
 dropping of the n is South German dialect. Cf. met @ob, for meitt @ob.tt, 
 quoted in Zelter's letter to Goethe of Oct. II, 1827. 
 
 2237. tt)ir ; i. e., we common people, who are not bound by court 
 forms, or subject to the tyranny of parvenu court-favorites, we can get 
 rid of the fleas that trouble us. 
 
 2243. feitt, 'deftly.' 
 
 2255. and) red)t = fdjon rerfjt; fcfyott redjt oofl, 'right well filled.' 
 
 2256. Altmayer takes the strangers for wine-dealers from the Rhine. 
 2293-4. To be taken, seemingly, as the beginning of a catch familiar 
 
 to the company. ficutltibalifd) ttJ0l)l, ' savagely, inordinately, happy.' 
 
 2304. @r, cf. note to 1. 548. 
 
 2305. The sense is : I should think we'd better quietly get rid of him. 
 2323. fa,atl T id). In view of toar in 1. 2322 one might expect batte. 
 
 But we must suppose that Brander and Siebel hold each other's noses a 
 second longer than the other pair, and that these words are spoken during 
 the SluSeinanberfabren of 1. 2321+. 
 
 2332. SJleitt, ' well now '; a common exclamation of wonder. Grimm 
 Wb., VI., 1919, supposes it to come from mein efefle. But other phrases, 
 like metn Ueber ^reunb, or mein ott, may also have had to do with its 
 origin. 
 
 2336. einS ; = jemonb. So again in 1. 7196.
 
 NOTES. 305 
 
 THE relation of this scene to the general plan of the poem is discussed 
 in Intr. p. xlvii. The only occasion for the scene, from a dramaturgic point 
 of view, was to explain the astonishing change that was to take place in 
 the character of Faust. It is easy to see, however, that the love-philtre 
 did not necessitate a long and elaborate scene like the one we have. Me- 
 phistopheles might have been made to furnish the magic potion himself, 
 as is hinted in 11. 2367 ff. But, since the brewing of love-potions was 
 looked upon by popular superstition as peculiarly the business of witches, 
 and witches are servants of the devil, it seemed plausible to take Faust to 
 a witch for the needed elixir. This idea once adopted, the poet gave the 
 rein to his fancy and worked out a very simple dramatic motive into an 
 , elaborate genre-picture. It suited his humor to abstract himself from the 
 associations of classical art in Italy and let his imagination disport for a 
 time among the grotesque superstitions of the North. 
 
 The details owe nothing whatever to the Faust-legend, but are the work 
 of Goethe's imagination aided only by the general literature of witchcraft, 
 and also, as commentators think, by certain paintings of the Flemish artists 
 Teniers and Breughel. The ' baboons ' of Teniers were famous, and in one 
 of his pictures some of these animals are depicted as rolling a huge world- 
 ball. There is no considerable amount of genuine folk-lore connecting 
 apes with witches; but since the devil caricatures the works of God, and 
 the ape is a caricature of man, it seemed logical to regard the ape as be- 
 longing to the devil's kingdom. So Goethe's apes imitate men, and, natu- 
 rally enough, their talk and actions contain here and there a touch of 
 satire. But we are not called upon to ponder very deeply over this satir- 
 ical mimicry, or the glass ball, or the witch's multiplication-table. Goethe 
 had from youth on a propensity for humorous mystification. He was fond 
 of dressing up nonsense, or mingling sense and nonsense, in such a way as 
 to convey a suggestion of portentous wisdom. The reader of Faust needs 
 often to be on his guard against finding too much ' meaning ' in the play 
 of its author's poetic humor. 
 
 2338- fltttefeit, ' recover.' Imagine Mephistopheles to have been say. 
 ing that Faust's brooding reserve is a malady that requires a magic cure.
 
 306 NOTES. 
 
 2342. breifttg $af)re. See Intr. p. xlvii. 
 
 2347. Hug, 'sensibly'; because at the last (11.2345-6) Faust seems 
 disposed to take the question of rejuvenation more seriously. 
 
 2349. nubcttt; ' other ' than that of magic. 
 
 2351-61. This somewhat irrelevant banter means that 'nature' (cf. 1. 
 2345) provides no way of making a man young except to make him and 
 keep him a child in experience. One who leads a simple, eventless life 
 under primitive conditions remains ' young ' until he is rsady to die. 
 
 2358. ad)t e3 'Jtaufc, ' do not feel above.' giir SRaub ac&ten 
 
 means ' to regard as a robbery, i. e., derogation, from one's dignity.' In 
 Luther's Bible it translates the Gk. apirayftbv qyeladai of Phil. ii. 6. Goethe 
 writes to Schiller, Apr. 29, 1798: ^reitttb 2ftet)er roirb e aucf) fur feinen 
 9faub adjten, ju biefer barbarifdjen ^robuction (goiift) 3 e id)nungen 3 U 
 toerfertigen. 
 
 2361. 3tuf adjtgig .... ttcrjiingCtt, 'to (make and) keep you young 
 to your eightieth year.' 
 
 2369. 23riirf Ctt. The devil of Germanic folk-lore builds bridges, some- 
 times that he may reach some object of his lust, sometimes at the request 
 of men, in which case his reward is the soul of the first, or of every thir- 
 teenth, person that crosses the bridge. Cf. Grimm, D. M., II., 853. 
 
 2392. 23cttdfltpJ)CH, ' soup for beggars.' The point of the satire ap- 
 pears from a passage in a letter of Goethe to Schiller, written July 26, 
 1797, in which he speaks of a then popular play as 'genuine beggars' soup, 
 such as the German public loves.' Whence we see that brcttc means 
 'thin,' 'watery.' 
 
 2397. frfjledjt ift'S beftettt, ' it (i. e., the distribution of wealth) is 
 badly ordered.' 
 
 2398-9. The ape means that he only needs money to give him a repu- 
 tation for ' sense.' 
 
 2401. itt'S fiottO fe^Ctt, ' take a risk in the lottery.' 
 
 2410. $d) 6iw Icbcnbig, ' I am alive,' i. e., lively, spry. The ape jumps 
 out of the way of the ball and advises his son to do likewise, lest it burst 
 and kill him. 
 
 2417-8. These lines allude to the art of coscinomanqy or divination by 
 means of a sieve. It was employed commonly in Germany in the i6th 
 and 1 7th centuries for the detection of thieves. A witch or other expert
 
 NOTES. 307 
 
 would take the sieve between the two middle fingers, speak an incantation, 
 and pronounce the names of suspected persons. At the mention of the 
 right name the sieve would begin to turn. There were also other methods. 
 Cf. Grimm, D. M., II., 927. 
 
 2428. itt Cffcl ; for in'n, i. e. in ben effet. The contraction does 
 not occur elsewhere in Faust, but is found in Gotz repeatedly; e. g. : 3b.r 
 ttmrft fte bent geinb an $opf ; folljl bu nidjt in treit both from the 
 first act. 
 
 2429-40. Ijimtttlifd) Silb. Mephistopheles seeks to excite Faust's sen- 
 suality by showing him a vision of female beauty. There is no occasion to 
 think of Helena, much less of Gretchen. 
 
 2442. braDO; in allusion to Gen. i. 31. 
 
 2452. Icintcn. The crown is as yet only cracked. The apes want the 
 play-monarch to mend it, just as real monarchs mend their broken crowns, 
 with sweat and blood those of their subjects, 
 
 2464. aitfrttfjtigc. The ape-poets are called 'honest ' because of their 
 frank admission that ideas are with them a secondary consideration, a mat- 
 ter of luck. They chatter and rime, and may happen, now and then, to 
 express a thought. The lines are aimed at jingling rimesters who have 
 nothing to say. 
 
 2483. 2Ba3 fyalt 511; roa bait mid) bauon ab, bag id) ju 
 
 fdjlage. Cf. 1. 1020. 
 
 2491. JHabcit. The Norse god Odin had two ravens, Huginn and 
 Muninn (Thought and Memory), who brought him tidings of what was 
 going on. Mephisto's ravens actually appear further on, in 1. 10664. 
 
 2504. punier gaton. Cf. 1. 1535, note. 
 
 2507-9. A side thrust at the Age of Enlightenment. Men look on 
 Satan as a myth ; they have got rid of the Evil One, but not of the evil 
 ones. 
 
 2518. fdjdfft; the weak verb fdjaffen, in the sense of befeblen, is South 
 German dialect. 
 
 2540-52. From behind her ape-pulpit, with ape-candelabra on either 
 side, the witch, as priest, declaims from her big Bible unctuous non- 
 sense. 
 
 2543. flfcidj, ' even ' i. e. an even number. 
 
 2556. tttandje 3 c ^r an unusua ^ expression for Diet
 
 308 NOTES. 
 
 2561-2. The devil refers here to the doctrine of the Trinity. Said 
 Goethe to Eckermann, Jan. 4, 1824, in speaking of the world's reception 
 of his ideas : ' I believed in God and nature, and in the victory of the noble 
 over the bad. But that was not enough for the pious souls; I was also to 
 believe that three are one and one three. But this was opposed to my in- 
 stinctive feeling for truth.' 
 
 2563-6. The logic is : So they babble on, and no one interferes with 
 them, because it is the nature of man to assume, when he hears words 
 spoken, that they must have some meaning, though he does not under- 
 stand it. 
 
 2567-72. The witch, still parodying the priestly tone, insists that her 
 wisdom is not the wisdom of the world, but transcends reason. No use to 
 think about it, it must be received by faith. 
 
 2581. (Mtobett ; not academic, but something like masonic, 'degrees.' 
 The thought is simply : He is no novice. 
 
 2591. iHcb. The witch gives Faust an incantation which will inten- 
 sify the effect of the potion. Schroer sees an allusion to the distributors 
 of religious tracts. 
 
 2601. SBhtfter Otter gfroiten; the Helena of the legend. But of course 
 Goethe was thinking of Gretchen. 
 
 2604. ^elencn. Goethe makes the name e'lene, as here, or ele'nc, 
 according to the exigency of the meter. 
 
 t r a ft e. 
 
 WITH regard to the Gretchen scenes in general, their earliest form and 
 sequence, the names ' Margarete ' and ' Gretchen,' the omissions of Fgm., 
 and the revisions and additions of the final version, see Intr. pp. xxv, xl, 
 xlii-iv, lii-iv, Ixii-vii, and Ixxx ii. The scenes are nowhere distinctly local- 
 ized, but we may suppose that Goethe had in mind his native city. 
 
 2606. lUictHClt Stritt Itttb Clett. Present approved usage would re- 
 quire 2ftetneu 9lrm unb mein eleit. U. has 2ftein, i. e. 2Mn'n. 
 Respecting $ljr as pronoun of address, cf. note to 1. 548. 
 
 2607. $raulcitt. For Gretchen the word means ' fine young lady.' It
 
 NOTES. 309 
 
 was formerly applied only to persons of noble rank or high station. When 
 its use was extended, gitfibigeg was prefixed to give the implication for- 
 merly given by ^raiilein alone. SBebcr toebcr, for toeber nodj, is 
 
 colloquial. 
 
 2611. fttt= ttttb tugettbretcf), 'modest and virtuous'; a very dubious 
 compound = fittfant linb tltgenbreid). There is no such word as ftttreidj, 
 while jttteitreidj would not give the required meaning. 
 
 2614. btC Sogc ber SBelt, 'while the world lasts '; ace. of duration. 
 
 2617. furj dttgcbunbcn, 'snappish'; an expression derived, according 
 to Grimm Wb., from the practice of giving savage animals a short tether. 
 ' To be tied short ' thus came to mean ' to be cross and unapproachable.' 
 It is thus much the same as fdjntppifd) above. 
 
 2623. t)0f bet. U. has faerbei, giving the sense of ' crept up by,' instead 
 of ' crept past.' The first seems better since he would hardly hear so much 
 in merely creeping past. 
 
 2628. JQanS iiieberltd), 'Jack Profligate.' The adj. occurs in various 
 phrases as the name of a dissolute person, i. e., iBruber SieberUcf), 5 rau 
 Jieberlich, 2ftonfteur Sieberlid). 
 
 2630. bitufclt U)ttt, 'he fancies conceitedly'; a denominative verb 
 from 3)iinfet, ' conceit.' 
 
 2633. 9Kogtftcr fiobefdlt, 'Master Worshipful.' Jobefttlt, changed 
 from Sobefam, 'laudable,' was appended to a title at first as a serious, or 
 mock serious, title of respect. Thus, err Slitter Sobefatt (Wieland), 
 deafer SRothbart Sobefan (Uhland), ein jungeS SSeibdjen ?obejan (Biirger). 
 SJiagijler Sobefatt early became stereotyped as a sarcastic form of address 
 to an academic graduate who showed himself inclined to dogmatize and 
 'lay down the law ' (cf. efetj in 1. 2634). 
 
 2639. Wa .... mag, ' what is possible.' 
 
 2642. ftcbctt Stunbcn. U. has fieben Sage. The ground of the 
 change and the nature of Faust's pressing business are not apparent 
 
 2650. SBnmboriunt, 'fol-de-rol'; a Latinization of Fr. brimboriotu, 
 ' trifles,' ' knick-knacks.' 
 
 2652. uwlfdjC efd)idjt T ; in allusion to lubricious French novels, or 
 perhaps to Italian tales in the manner of the Decamerone of Boccaccio. 
 
 2654. oljtte ^impf pofe, 'joking and jesting aside'; an old 
 
 alliterative phrase preserving the original meaning of djimpf, i. e., 'jest,' 
 ' pleasantry.'
 
 310 NOTES. 
 
 2659. ($ltftClf(f)ai?, 'heavenly creature '; one fit to be the sweetheart 
 of an angel. 
 
 2674. reiifftreit, 'succeed'; Fr. reussir. 
 2677. reotbitett, 'reconnoitre '; Lat. revidcre. 
 
 SUenb. 
 
 2699. IjeU'gett Gljrift, ' Christmas gift.' The German fiction is that 
 the gift comes from the Christ-child, so that the gift itself is called a hetlU 
 get Sbrift, or (briftfinbd)en; so we sometimes speak of a child's Christ- 
 mas-gift as his Santa Claus. 
 
 2706. bett Sitltb f riiufcllt \ in allusion to the practice of sprinkling 
 sand on the floor after scrubbing. Dainty house-keepers make orna- 
 mental patterns of the sand, hence fraufelt. 
 
 2709. SBottltegrauS, ' rapturous awe.' 
 
 2711-2. ter bilbeteft (bit) ttn$ t 'here (i. e., in the bed) thou 
 
 didst bring to perfection the angel born here'; etngeboren in the sense of 
 innatus, ' native ' to a particular place. 
 
 2716. ClttUiirftC ftrf), ' wrought itself out.' The preceding SJBeben des- 
 ignates the silent, mysterious formative process by which the work was 
 accomplished. It is doubtful whether a metaphor of weaving a tapestry- 
 figure is intended. 
 
 2727. J)et gtO^e $dttd, ' the grand gentleman.' The phrase was much 
 used in the i6th and 1 7th centuries in the sense of 'rich man,' 'gentle- 
 man,' in contrast with fleitier an8 or $leittb,an, ' common man.' Now 
 it usually means a ' tall fellow.' 
 
 2732. tt)0 nnber3, ' in another place.' Mephistopheles makes a mys- 
 tery of the source of his treasures. 
 
 2736. The sense is clear from U., which has 
 
 Urn eine ^ilrftin }u geroinnen. 
 
 2737. 3^11? . The logic seems to be : With such costly trinkets you 
 might win a high-born ' child ' (all women being children in their love of 
 finery), instead of a humble, ignorant girl. To be sure, though, one is as 
 good as another for our game.
 
 NOTES. 311 
 
 2748. f el)t brctu ; not, ' you look on,' but simply, ' you look.' The 
 verb is often so used by Goethe, e. g., in 1. 2797. Cf. Grimm Wb., II., 773. 
 
 2759-82. In Dicht. u. Wahr., Werke, XXVIII., 287, Goethe says that 
 he recited 'The King of Thule' to Jacobi in the summer of 1774 as one of 
 his ' latest ballads.' The poem was published, with music by Seckendorff, 
 in 1782, the text agreeing in the main, but not exactly, with that now 
 found in U., in which the first two stanzas run : 
 
 S3 roar ein fionig in Jule 
 Cinen golbnen Sedjer er Ijett 
 tnpfangen non feiner Sule 
 Sluf i^rem ZobteSbert. 
 
 $er S3e$er war iljm lieber 
 
 Zrant brau<3 Beij jebetn S^mauS. 
 ie Slugen gingen ib,m iiber 
 So offt er trant barauS. 
 
 These two stanzas, it will be seen, underwent a radical revision for Fgm., 
 the others remained substantially unchanged. 
 
 2759. Jfjltlc ; the ultima Thule of the Romans, best identified with 
 Mainland of the Shetland Isles. 
 
 2763. Q3 gtttg buriibcr, ' he prized nothing more highly.' 
 
 2790. <2rf)OU T ; South German dialect for fteb. 
 
 2791. tnein r ugc f 'in my life'; ace. of duration. 
 
 2800. man Ifi^t T 5 Olldj fetn, ' people pass it all by just the same.' 
 
 IN U. the scene is headed 31 II e e. 
 
 2806. baft ify$ jhldjen fiinntc; not 'curse it,' but ' use it to swear by.' 
 
 2808. So fcin cftd)t = fein joldjes eft^t. 
 
 2817. gar cincn feittcn = einen gar feinen. 
 
 2824. SBcfattgt, ' makes befangen,' i. e., ' perturbs,' ' deprives of peace.' 
 3el)rt Oltf , ' consumes,' is to be taken literally. The mother believes 
 that the possession of ill-gotten gains causes the body to wither. 
 
 2828. Ijatt ; a South German expletive having such meanings as frei
 
 312 NOTES. 
 
 lift), bod), eben, ttobl, getmft, or, in Eng., 'indeed,' 'to be sure,' 'you 
 know,' ' don't you see?' cfdjCttftet ($(Ull. The German adage of the 
 ' gift-horse ' runs : (ginem gefdjenften aul fieht man nidjt in'8 3JtouI. 
 
 2835. An allusion to Rev. ii., where blessings are promised 'to him 
 that overcometh.' 
 
 2838. iifiergeffen. effen, for geeffen, is the earlier pple. of effen, ge 
 geffett having come into use as late as the lyth century. The form used 
 here presupposes a separable ftd) iibereffeit, pres. id) e[fe irttd) fiber ; but 
 id) iibereffe mid) is usual. 
 
 2843. <Strtd) ein ; from einfkeidjen, ' to bag.' 
 
 2857. tttadj r , 'hurry!' So in Lessing's Nathan: mad)', erjal)!', er= 
 3abte. 
 
 2858. $Oltg T bid) Ott ; like our colloquial ' get in with.' 
 
 2859. SBtCt. Porridge is thick and moves slowly. 
 
 $)er 9? a ci) Bar in 
 
 2868. atlf bcm tro^, ' on the straw '; i. e., bed of straw. 
 
 2880. Xljfit'S; here subjunctive. 
 
 2882. btt. Cf. note to 1. 548. 
 
 2890. geiltett fetyen Ifi^t. The dat. is a Gallicism, Fr. faire voir a 
 guefyu'un. 
 
 2892. ntfllt lltrtrijt .... tior, 'we can also invent some story for her.' 
 
 2894. @3 jjcl)t . . . . 2)tngCtt, 'there's something wrong about it'; 
 more literally : ' It does not happen with things that are right.' Cf. Clavigo, 
 act v. : (8 miijjte mit bent Seufet gugeben, ' the devil would have to be 
 in it.' 
 
 2895+. !l'orl)iijtgcl; the curtain before the peep-hole in the door. 
 
 2906. ^raulctn ; cf. l. 2607, note. 
 
 2926. 9ltttoittu3. The finest of the Paduan churches is the famous 
 basilica of St. Anthony, where the bones of the saint rest in a splendidly 
 decorated chapel. Hence the humor of giving the drunken vagabond 
 Schwerdtlein a resting-place close to St. Anthony. 
 
 *933- djuuftiirf ; = @djaumiinge, ' medal.' 
 
 2936. bcttclt. Supply ol e ttjeggibt.
 
 NOTES. 313 
 
 2954. bfl cr . . . . IjttttC, ' that he would deserve a worse fate still.' 
 (StrodS Ollf ber 3ed)e babett is ' to have something on the score ' against 
 one. atte is potential subj. The sense is : He found that if he were to 
 have his deserts he would be ' booked ' for a worse fate than dying on a bed 
 of filth. 
 
 2970. cud) ; ethical dat. U. has instead redjt berjlicf). 
 
 2981. cin ftpneS ^raulein ; i. e., a courtesan. The following lines 
 are a gross allusion to the ' Neapolitan evil ' as the cause of Schwerdtlein's 
 death. 
 
 2982 . 9tapc(, from Italian Napoli, is used by Goethe also in Tasso, 1. 
 3137, and in the Romische Elegien. The usual form is 92eapel, from 
 
 2991. Stftrtc = ouSfpaben, 'I should look around.' 
 3020. ftrottleittS. Cf. 1. 1837, note - 
 
 t r a e. 
 
 3025. SBtlTS forbcm, 'is it going to work?' 
 
 3028. 9Zad)bar T SUlartfjctt ; i. e., 9?ad)bar8 2Jtortb.en, which is the 
 reading of Fgm. This manner of designating a neighbor's wife (or daugh- 
 ter) is common in popular speech. Thus Freytag writes : aft bll beut 
 ttietteidjt 9?ad)bar8 9to8d)en gejproc^en? And Matthison : Sen $ag, tt)o 
 S'io^barS Sotte gur SSeil^enlefe fam. U. has 9tod)baar SJtart^en. 
 
 3030. 3 UOT ^tflCltncrttJCfcn, ' for the business of a gypsy go- 
 between' (hendiadys). The gypsy fortune-tellers were consulted espe- 
 cially in love-affairs. 
 
 3037. Sancta Simplicitas, 'sacred simplicity'; the words spoken by 
 the martyr Huss when, at the stake, he saw an old woman throwing a 
 fagot into the flames. 
 
 3040. ttfirt lfyt'8 ttttn, ' in that case you would be one indeed,' 
 i. e., if you were to insist on going to Padua. 
 
 3050. 20pI)tftC. Mephisto's sophistry consists in his implication that 
 the honest mistakes of the theological professor are on a par with delib- 
 erate falsehood. 
 
 3056. 2Birb; supply bie SRebe fein.
 
 314 NOTES. 
 
 3069. Wcrfjt fidjalteit, ' to maintain that one is right,' ' to have the 
 last word ' in an argument. 
 
 3072. tpcil t(f) tttttfj. In saying that he ' must ' consent to the false- 
 hood, Faust means that he is so under the domination of his passion 
 for Gretchen that he can not help himself. He must have her, can 
 not live without her ; and as the proposed deceit promises to accom- 
 plish his desire, he can not allow himself to be balked by scruples of 
 conscience. 
 
 a r t e n. 
 
 3081. $ttC0mmobtrt .... tttrfjt, 'don't put yourself out' by conde- 
 scending to kiss such a hand. 
 
 3089. roftfjeit, 'active.' 
 
 3098. bet 3freitttbe hftufttj, ' many friends.' The construction is rare, 
 if not unparallelled, and seems due to a blending of bte j^reuttbe (ace.) 
 fyailftg (i. e., haitfentrjeife, ' in large numbers ') habeit, and bet 5 reltn ^ e 
 bide baben. 
 
 3114. UCCUrat, ' economical.' 
 
 3116. tegett, 'make a stir.' 
 
 3118. Dot bet Stafot, 'in the suburbs '; but Gretchen and her mother 
 live in the city. 
 
 3122. mciltc Uefce s Jf OtI), ' my blessed trials.' ?ieb is used with a touch 
 of irony in various phrases, like bte Uebe ett)obnbett, ' blessed habit,' ba8 
 Uebc Sinertet, 'the blessed routine.' So Goethe writes, Brieft, I., 233 
 (he has been speaking of his past illness and the trouble it gave to his 
 friends : )od) id^ berbjente SDtitleiben; id) batte aud) meine Uebe Soft 
 
 3173. (3 fdjiett .... nu^uuiaubcln, ' it just seemed to come over him 
 all at once.' 
 
 3174. fl'rabe l^ttt JU bottbeln, ' to act his pleasure,' ' do as he pleased.' 
 3176. bcgontttc. In Goethe's youth this was the preterit form of 
 
 begmnen that came most naturally to him; in the latter part of his life, 
 begann. Cf. Grimm Wb., I., 1297. 
 
 3188-94. On the prose cf. note to 11. 468-74.
 
 NOTES. 315 
 
 3198. tttetnoitb tttd)t. The double negation is colloquial, but is some- 
 times used by Goethe in dignified prose ; e. g., in the Campagnc in Frank- 
 reich, Werke, H., XXV., 60: 3n biefen 2tugenbUrfen, too 9ttemanb ttidjts 
 gu effen batte u. f. to. 
 
 This scene is really a part of the preceding one, the summer-house 
 being in Martha's garden. Escaping, half in frolic, half in maidenly alarm, 
 from Faust's passionate declaration (11. 3188-94), Gretchen runs into the 
 summer-house, and is at once followed by Faust. There is no change of 
 time, place or actors. That the scene has a separate heading (which it 
 has in U. also) is probably due to the fact that it took shape as a dramatic 
 picture by itself. There are also two other indications that, when it was 
 composed, the garden scene was not vividly present to Goethe's conscious- 
 ness. (i) In 1. 3206, instead of t>0tt erjeit fteb' id) bid), Gretchen is made 
 to say, in U., fdjon lange lieb id) bid). (2) At the end of the scene, 11. 
 3213-4, Gretchen chides herself for standing 'abashed' before Faust and 
 saying ' yes ' to all his wise talk. In fact, however, Faust has not talked 
 'wisely' at all (as he does later in the following scene), and she has been 
 loquacious. It is Faust who has said ' yes ' to her. One is hardly satisfied 
 to call this a touch of nature and say that Gretchen only imagines that she 
 has appeared stupid. As to the textual change, Goethe would hardly have 
 put the comparatively neutral and tame Don $erjen in place of the more 
 significant fdjoit lange, had he not felt the latter as an incongruity, in view 
 of the close sequence of the two scenes. 
 
 SSatb itnb 51)1 e. 
 
 The idea and genesis of this scene, its original position after the scene 
 ' At the Well,' its later transposition to where we now find it, and the diffi- 
 culties thus created, are discussed at some length in Intr. Hii-iv and Ixii-iii. 
 
 3217. tt flflbft- This ' giving ' can not of course refer to the occasion 
 of the Spirit's appearance in 11. 482-513, where nothing is given or prom-
 
 316 NOTES. 
 
 ised. Nor is it likely that Goethe, so late as when these lines were written 
 (1788-9), was planning a second citation of the Spirit by Faust. The 
 right understanding of the matter is rather this : The Earth-Spirit is a 
 symbol of nature, who gives to man all things that come to him. For this 
 'giving,' no appearance in personal form is necessary just as Goethe 
 thought that the best worship of Nature was a spiritual communion for 
 which no visible symbol was needed. Cf. Intr. p. liii. 
 
 3222. fait ftauttenbeit SBefltd) ; the perfunctory visit of the gazing 
 tourist. 
 
 3226. JHCtltC Sriiber. The sense of man's kinship with all living 
 things was with Goethe at first a mere poetic sentiment a part of his 
 youthful nature-worship. Cf. Werther's second letter : ' When I lie down 
 
 in the tall grass by the falling brook, and, closer to earth, feel nearer 
 
 to my heart the thronging multitude of the little world, the countless, in- 
 scrutable forms of worms and gnats, and feel the presence of the Almighty 
 who created us in his image, etc.' Later, the sentiment became a 
 serious scientific opinion. Cf. the letter to Knebel, of Nov. 17, 1784: 
 ' Man is most closely related to the lower animals,' etc. 
 
 3231. tljrcnt gfall, 'at its fall'; a kind of responsive dative. 
 
 3238. filiicrnc Oicjtaltctt. The ' silvery forms of the earlier world ' are 
 the oreads (ttort 5 e lf en roSnben) and dryads (cm bem feudjtett 23ltfd)) of 
 the Greeks. 
 
 3249. Wcituj?. Cf. Intr. p. Ixiii, foot-note. 
 
 3254. Wcncit ; metri gratia for Uieuent. 
 
 3256. am guteti ag; = an etnem guten ag, ' on one of my good 
 days.' 
 
 3265. t>aj? cr Ittidj eitttUtyirt, ' for boring me'; Fr. ennuycr. 
 
 3268. $lftl)ifral)3, ' hodge-podge,' ' confused medley.' 
 
 3270-1. The meaning is: If I had not called you away from your life 
 of solitary brooding and morbid introspection, you would have committed 
 suicide ere now. But see also the introductory note to the scene ' Before 
 the Gate.' 
 
 3272-3. 2Ba tyaft .... ticrfiljcn, ' what is the matter with you to be 
 sitting out your days like an owl ' ? 
 
 3277. Doctor. A ' doctor ' might be spending his time thus in the 
 interest of science.
 
 NOTES. 317 
 
 3285-90. On the imagery, cf. 11. 614 ff. 
 
 3286. ttttt .... burdjttitljlen, ' permeate with bodeful impetuosity.' 
 
 3287. tyifle fed)3 ogett>crI T ; i. e. ' all creation.' 
 3290. bet (Stbettfoljtt ; nominative absolute. 
 
 3294. geftttet ; to be taken as adj. with pfili. The sense is: It's all 
 very well for you to pronounce your high-moral ' shame ! ' 
 
 3298. (SJelecjentlid) .... toorttliigett, ' to delude yourself a little now 
 and then '; namely, with these grand self-communings in the woods. 
 
 3300. nbfjctrictiClt, ' exhausted.' The word is sometimes applied to a 
 horse tired from over-driving, or a wild beast exhausted by the chase. The 
 idea is that human wit can not endure very long a life of solitary brooding 
 and Faust is already ' again ' (i. e., as in 11. 1544-1606) at the point of ex- 
 haustion. 
 
 3301. flufgeriefjett, ' used up.' The meaning is : You will be reduced 
 to sheer insanity. 
 
 3312. Hejj ? t, 'it would become.' 
 
 3313. nffcitjuiti'jc; quoted in Grimm Wb. only for this passage and 
 denned Btutjung, i. e. ' very young.' It would seem as if btt8 affettjunge 
 S3Iut were a comical transposition of ber btlttjunge Slffe, ' the young 
 ninny.' In 1. 3521, Gretchen is called a raSaffe. 
 
 3318. 293etttt id) . . . . tofir T > the beginning of a well-known folk-song 
 which continues : 
 
 ttnb aud> 3et glttgletn IjStt', 
 gldg' icf) ju btr. 
 
 3325. ett, ' indeed ! ' ' right you are ! ' 
 
 3334- ficifi bC)8 ^Ctrn; the holy wafer of the sacrament. 
 
 3337- 3wUH tt 8^1' a( H r t in allusion to Song of Solomon iv. 5. 
 
 3345-69. These lines occur in U. in another connection, being spoken 
 by Faust when on his way to visit Gretchen at night the visit which was 
 to result in Valentin's death. 
 
 3346. Sfljj; conditional imperative. 
 
 3352. bltmpf CH ' dim,' ' vague.' 
 
 3360. ntufjtc. On the original implication of the tense cf. Intr. pp^ 
 liv, Ixiii. 
 
 3367. ($el) ettt. When it was first written this meant ' go into Gret- 
 chen's house '; now it means ' go into the city.'
 
 318 NOTES. 
 
 3369. er; i. e., $oj)f, implied in $opfdjen. U. has eg, 
 3371. CtngctCttfcW, ' diabolized.' 
 
 retd)ett tube. 
 
 These stanzas are probably to be taken as a lyric monologue rather than 
 a song. They seem to have been written originally as one in a crescendo 
 of such monologues picturing Gretchen alone with her shame and sorrow; 
 for the lines read naturally only on the presupposition that Gretchen has 
 already fallen and been, at least temporarily, deserted by her lover. This 
 desertion is now sufficiently provided for by ' Forest and Cavern,' and this 
 may have been one of the reasons for inserting that scene where we now 
 have it. On the other hand the scene stands in U., as in the final version, 
 just before the ' catechization'; which requires it to be read under the 
 presupposition of Gretchen's innocence. It appears possible that the 
 scene was given its position originally in order to break the succession of 
 three scenes in Martha's garden. 
 
 2ftartl)en3 artett. 
 
 In writing this scene the poet evidently presupposed a longer acquaint- 
 ance between Faust and Gretchen than is implied in what precedes. 
 Gretchen has had opportunity to find out that her lover does not go to 
 church and is not devout in her way. She has ' long ' been troubled 
 (1. 3469) at seeing him in the company of Mephistopheles, etc. 
 
 In what Faust here says of religion we of course hear the youthful 
 Goethe. In Kestner's Goethe und Werther, p. 35 ff., there is a description 
 of Goethe as he appeared to Kestner after a short acquaintance at Wetzlar 
 in the summer of 1772 a description which, so far as it concerns reli- 
 gion, coincides remarkably with Faust's utterances. For example, Kestner 
 >vrites : ' He doesn't go to church nor to communion (cf. 11. 3423-5) ; he 
 is not what is called orthodox, but not from pride or caprice .... he does 
 not like to disturb others in their settled ideas (cf. 1. 3420) ; he honors
 
 NOTES. 319 
 
 the Christian religion (cf. 1. 3424), but not in the form in which our theo- 
 logians present it (cf. 11. 3428-9) ; he is eager for the truth, but cares more 
 for the feeling than the demonstration of it' (cf. 11. 3451-8). All this sug- 
 gests (one can hardly say proves) that the catechization may be a poetic 
 rendition of religious conversations at Wetzlar, with the imaginary triad 
 Faust-Gretchen-Mephistopheles replacing the real one Goethe-Lotte-Merck. 
 Cf. Mertens in G.-J., IX., 237. 
 
 34.14. .ftcttmd). In the legend Faust's name is Johann, but this name 
 had been made vulgar and ridiculous by the associations of the popular 
 Faust-drama and the puppet-plays. See Intr. p. xx. Hence the change 
 of the name. The choice of ' Heinrich ' is either purely arbitrary or, per- 
 haps, a compliment to Goethe's friend Friedrich Heinrich Jacobi. Cf. 
 Minor in G.-J., VIII., 232. 
 
 3415. ttJtC Ijoft btt'3 mit, ' how do you feel about '? 
 
 3422. SBetttt id) . . . . fiwnte, 'if I could influence you a little '; 
 h>enn id) etroaS iiber bid) ermod)te. 
 
 3428-30. The meaning is that the ' priest ' or ' sage ' will answer with 
 formal statements, propositions, names etc., which are all ridiculously in- 
 adequate to express the infinite content of feeling that ought to be implied 
 in the word ' God.' This and the following speech of Faust need to be 
 read in the light of Goethe's first letter to Auguste Stolberg, written Jan. 
 26, 1775. It begins: 2Jteine eure id) toil! 3bnen feinen Sfabmen 
 geben, bemt roa8 ftnb bie 9M)men greunbinn, @d)tt)efier, eltebte, 53raut, 
 attin, ober etn SBort ba einett Sompley on aH benen Cabmen begriffe, 
 gegen ba unmittdbare efiih,!? .... 3d) fiible @ie fonnen ibn tragen, 
 btefen jerfludten, ftammelnben 2lubru(f, tcenn ba8 93ilb be UnenbHdjen in 
 un roublt. Unb ttaS i|l ba al8 Siebe ! 
 
 3434. fllaitb' it)U ; == glaub' an ibn. Thus also in Meister Goethe 
 writes : @o gtauben @ie fein @d)idfat ? 
 
 3438-58. The thought may be paraphrased in plain prose thus : The 
 Infinite is all about us and within us, in sky and earth and star and in 
 the mysterious thronging emotions of our hearts. If we but/<r*/ the great- 
 ness of this omnipresent Divinity, that is enough. Names'and formulae are 
 are of no importance. On this passage cf. G.-J., I. 20 1. 
 
 3451. fo jjroft C3 iff, L e., your whole heart. 
 
 3460-1. The priest says also that God is omnipresent and that religion 
 is a matter of the heart.
 
 320 NOTES. 
 
 3488. tttdjt3 fctnctt. Cf. 1. 3198, note. 
 
 3511. Jyliifrf)rf)en. The only natural presumption is that Faust has 
 brought the opiate in order to be prepared for this very contingency. 
 
 3512. in Ujrett Xrcuf ; supply gegoffen. 
 
 3521. rdaff T . Cf. 1. 3313, note. The lexicographers do not ex- 
 plain the word, but it seems to have been suggested by monkeys frolicking 
 in the grass. Heyne Wb., quoting this passage calls, it a @d)impftt>ort, but, 
 Goethe sometimes uses it as a term of jocose endearment, applying it e. g., 
 to Lili as married woman and to the children of Frau von Stein. Trans- 
 late ' kitten.' 
 
 3523. Untrbctt ; 'plu. of majesty,' with a title. Cf. Brandt 311, 2. 
 
 3524. yUjHCH. Mephistopheles addresses Faust with bit, (Sr, or iftr, 
 but never elsewhere with @ie. The latter is used here only on account of 
 the preceding err 2)OCtor ttmrbett. 
 
 3525- 9KabcI3. Cf. l. 1837, note. 
 
 3532. Ijctltg ; to be taken in the dialectic sense of fefir, ganj befotu 
 betS like Eng. ' awfully.' 
 
 3536. pottgctmrt; = @pott erregenbe eburt, ' monstrous progeny.' 
 
 51 m 23 r it tine tt. 
 
 The final revision of Faust requires us to presuppose for this scene 
 that on the night mentioned in 1. 3541, Gretchen carelessly gave her 
 mother too much of the opiate (1. 3511) and so caused her death. This 
 scene takes place after a lapse of some time, during which Gretchen has 
 led a quiet life (1. 3545) alone with her shame and remorse. When the 
 scene was first written, however, the presupposition was somewhat differ- 
 ent. See the introductory note to the scene ' Cathedral.' 
 
 3546. 3tl)l)((c ; probably the name of some girl friend. 
 
 3556. Glirteftrt, ' courted.' 
 
 3560. ($cfd)lecf ; vulgar for efiiffe. 
 
 3561. S3lihttrf)Clt ; the flower of maidenhood, Lat./?oj. 
 
 3569. Sitn!)Cl'l)Clut>rf)eit f 'sinner's smock'; an allusion to the practice 
 of requiring public penance, deprecatio publica in templo, in a garb sym- 
 bolical of humiliation.
 
 NOTES. 321 
 
 3575- retften ; in the sense of jerretfjen. 
 
 357 6 - ^>fitferling, 'chopped straw' instead of the flowers which a 
 chaste bride would receive. 
 
 3581. fdjttwrst'S 0d) gar. ' I actually even made it black.' 
 3584. bet iSitltbe bloft, 'given over to sin'; bfofj in the sense of 
 blofjgeftettt, preiSgegeben. See Grimm, Wb. II., 146. 
 
 3 ID i n g e r. 
 
 The term ' Zwinger,' applied first to the space between the main wall of 
 a castle or city and the encompassing moat, means here the unoccupied 
 space between the wall and the nearest buildings within. In the wall is a 
 shrine containing an image of the Sorrowing Mother gazing at her Son 
 upon the cross, her heart pierced by a sword (Luke ii, 35). At this shrine 
 Gretchen is wont to worship. 
 
 With reference to the final revision of Faust we -nay suppose this scene 
 either to follow very closely upon the preceding or to be separated from it 
 by an interval of weeks. Originally, however, there can be little doubt that 
 it was meant to be taken as expressing Gretchen's first agony of remorse 
 on finding that she had caused the death of her mother. Cf. the intro- 
 ductory note to the scene ' Cathedral.' 
 
 Writing Oct. n, 1775, to Frau La Roche, who was just then anxious 
 about her son, Goethe uses the expression : ' Alas that fate thrusts such 
 swords at the hearts of mothers!' This has led to the conjecture that the 
 scene ' Zwinger ' may have been of contemporary origin with the letter. Cf. 
 D. Jacoby in G.-J., I., 187. 
 
 3599. 2Ba : cognate ace. with the intransitive bangeit. The mean- 
 mg is: Thou only knowest my poor heart's distress, its trembling, its 
 longing. 
 
 On this scene cf. Intr. pp. lii and Ixiii. Only the opening 11. 3620-45 
 and the 11. 3650-9 are found in U., but the greater part of the scene is
 
 322 NOTES. 
 
 quite certainly of early origin, (i) The general style in its vivid, popular 
 realism is that of Goethe's pre-Weimarian period; (2) specific phrases 
 point to an early date of composition (cf. the notes to 11. 3706, 3760); 
 (3) Faust is here an uneasy libertine on his way for one of his habitual 
 visits to his paramour (11. 3674-5). On the other hand the reference to 
 Walpurgis-Night, in 1. 3661, is undoubtedly a late intercalation. 
 3620. fo, ' you know,' ' as I often did.' 
 
 3622. t$I0r, ' blooming beauty." 
 
 3623. lout gepriefett tour. Construe : SBetm . . . . bie efeflen laiit 
 Dorgepriefen fatten. 
 
 3624. ticrfdjluemtttt, 'washed down'; the construction like that of ge= 
 priefett. 
 
 3633. Staffer reidjt ; like our idiom ' hold a candle to.' 
 
 3634. op! is an expression of approval = ' right you are.' $Iittg ! 
 .ftlflitg J describes the clinking of glasses in token of assent. 
 
 3638-9. The sense is: It's enough to make one tear out one's hair 
 and (try to) rush up the walls, as a caged beast does in his impotent 
 rage. 
 
 3644. jufammettfdjmeiftett, ' smash their heads together.' 
 
 3650. (SoCftftei. The dialogue is to be thought of as taking place while 
 the speakers walk along the streets of the city on their way to Gretchen's 
 house. @OCriftei, usually 'vestry-room,' but here apparently a chapel 
 pertaining to some church, probably the ' cathedral ' of the next scene. 
 
 3651. etp'gett i!iimpd)Clt ; an altar-lamp burning night and day. 
 
 3655. frt)iuiid)ttg, not 'lean' but 'languishing,' in a coarse sense. 
 M. H. G. smahtec meant ' hungry.' 
 
 3656. (ycitcrlcttcrn, 'fire-escapes.' 
 3659. Wammelei, ' lustfulness.' 
 
 3661. SBafyttrgiSnadjt. Since the Walpurgis-Night comes on the 
 eve of May-day, the date of this scene, in view of iibermorgen in 1. 3662, is 
 April 29 ; and since the action of Faust begins at Easter all the preceding 
 scenes must be thought of as taking place in the month of April. But see 
 the introductory note to the next scene. 
 
 3664. 2d)ttty. German folk-lore taught that a phosphorescent light 
 near the ground betokens a subterraneous treasure just below; or, as 
 Goethe here conceives the superstition, that a treasure is trying to make 
 its way up to the surface.
 
 NOTES. 323 
 
 3869. ViitUCtttljalcr, 'lion-dollars'; in allusion to the 'dollars' first 
 coined in Bohemia, in the I5th century. They were called 3oaif)ittt8tbaler 
 rrom the Joachimsthal where they were first made, and SolDenthttler 
 because stamped with the royal lion of Bohemia. 
 
 3678. boiler. See Brandt 219, 1. 
 
 3682-97. The song is adapted from Ophelia's song in Hamlet, IV., 5. 
 Of this innocent theft Goethe said to Eckermann, Jan. 18, 1825 : 'Thus 
 my Mephistopheles sings a song of Shakespeare, and why shouldn't he? 
 Why should 1 take the trouble to invent one of my own, when Shake- 
 speare's was just the thing and said what was needed '? 
 
 3698. lict'ltt (VlcJHCUt J a very common imprecation which no lexico- 
 grapher has explained. 
 
 3699. JJiottCttfongcr ; possibly suggested by Shakespeare's ' Tybalt, 
 you rat-catcher, will you walk ? " in Romeo and Juliet, III, i. 
 
 3702. an fcer .... Ijalteit ; = barouf ift nidjts gu balten, ' that's of no 
 use.' 
 
 3706. (yfcberroifdj, 'duster'; a cant term for 'sword.' In Goethe's 
 Claudim, as finished in April-June, 1775, are introduced 'three 
 vagabonds standing at a table and playing dice.' One of these, Crugantino, 
 with sword at his side and cithera in hand, sings a song in which occur the 
 words : 
 
 'SRou, feurifl, ifrif$ 
 Sen gieberiDifdj ! 
 
 This points to an early origin for the Faust- Valentin encounter. Cf. Jacoby 
 in G.-J., I., 197. 
 
 3714-5. The meaning is, according to Loeper, that Mephistopheles can 
 trick the police, they being a purely human institution; but the criminal 
 court (33lutbann), having jurisdiction in capital crimes and deriving its 
 authority from God, is harder for the devil to manage. 
 
 3760. ^ontntererfcn ; the old weak ace., M. H. G. ecken. 
 
 3769. SSergcbung reidjc 2Knft. 2ftafe is the obsolete fem., bie SUtofj 
 'measure,' and the construction a sort of appositional ace.; as one might 
 say in Eng. ' forgiveness plenty,' for ' abundant pardon.' But reidje 
 really performs the function of the adverb retdjer 2Jtofjett.
 
 324 NOTES. 
 
 On this scene cf. Intr. pp. lii and Ixiii ff. As is there noted, the scene 
 has in U. the heading ' Obsequies of Gretchen's Mother,' which fact, taken 
 with 11. 3790-3, shows that the swoon in the cathedral can not have been 
 thought of at first as occurring soon after the time referred to in 1. 3542. 
 The chronology was rather conceived in this way : Gretchen's first trial of 
 the opiate was to leave the mother uninjured, and then the experiment was 
 to be repeated at subsequent visits. There would then be an interval 
 during which Gretchen, conscious of her shame, would ' go but little among 
 people ' (1. 3545), and here would come the scene ' At the Well.' After a 
 lapse of months there was to be a visit of Faust, in anticipation of which 
 Gretchen, now perhaps grown careless, should give too much of the poison 
 and so cause her mother's death. On the morning of the next day but 
 one would come the scene ' Zwinger ' with Gretchen's agonized prayer to 
 be saved from ' shame and death,' and then, on the day of the funeral, the 
 scene ' Cathedral.' This was then to be followed by the visit which should 
 result in Valentin's death (for in U. the Valentin scene comes after ' Ca- 
 thedral ') and give occasion for Faust's flight and long absence. The 
 ' dismal day ' of the prose scene would then be a day of the ensuing year. 
 
 On the final revision, however, this chronology was hopelessly confused, 
 so that it is not now possible to make the love-tragedy read naturally on 
 any supposition whatever. The confusion seems to have had two sources : 
 first, the introduction of the fixed dates, Easter and Walpurgis-Night ; and, 
 secondly, a purpose never thoroughly carried out, to ennoble the character 
 of Gretchen by letting it appear that she had sinned but once. Cf. Intr. 
 p. Ixiii. Goethe's final intention seems to have been to have it understood 
 that the opiate proved fatal on the first night. Then, since the scene ' Ca- 
 thedral ' presupposed a considerable lapse of time, he omitted the heading 
 which told that the occasion was the funeral of the mother. Moreover, 
 since the Valentin scene was to prepare the way for the Walpurgis-Night, 
 it had to come before instead of after 'Cathedral'; and this adjustment 
 being made, 1. 3789, with its allusion to Valentin's death, was intercalated 
 in the final draft. 
 
 But now these presuppositions require us to assume that Gretchen in
 
 NOTES. 325 
 
 the scene ' At the Well ' is already burdened with the guilt of her mother's 
 death; which makes her gossipy conversation with Lieschen appear un- 
 thinkable. Again, ' Cathedral ' can not on account of 11. 37903, come 
 naturally before Walpurgis-Night; unless indeed it were to be the Night 
 of the ensuing year, a supposition which is made impossible by the liber* 
 morgen of 1. 3662. 
 
 3775+- retrf)en utttcr trident Solfc. U. has, instead, retgen atte 
 33ertt>anbte. The Sofer etjt is a personification of Gretchen's tormenting 
 conscience. 
 
 3779. ttergriffttClt, ' well-worn ' from handling. U. has tierblfitterten. 
 
 3780. Ojebcte lallteft, 'prattled prayers.' U. has beinen ebeten 
 narfjlatttejt. 
 
 3791. JRejjt ftd) . . . fd)0tt, ' is there not already a quickening stir? ' 
 
 3792. fid). The child is assumed to share and to increase the mother's 
 agitation. 
 
 3796. mtr, ' for me,' i. e., ' in my mind ' : a loose dat. of interest. 
 
 3797- SBtber mid), ' accusing me.' 
 
 3798-9. Dies irae . . . favilla. ' Day of wrath, that day shall dissolve 
 the world in ashes'; the opening lines of the famous 'sequence' Dies 
 Irae, composed by Thomas Celano in the I3th century. 
 
 3800-7. The Evil Spirit here voices Gretchen's dread of the resurrec- 
 tion. 
 
 3806. SBieber aufgcfdjaffen, ' brought forth anew.' 
 
 3810. ben 9ttt)cm Derfeljte, ' were choking me.' 
 
 3813-5. Judex . . . remanebit. ' When therefore the Judge shall be 
 seated, whatever is hidden shall appear, nothing shall remain unpunished.' 
 
 3821. SBcrbtrg bid) ; ironical, ' Wouldst hide thyself? ' 
 
 3825-7. Quid sum . . . securus. ' What then shall I say in my 
 wretchedness ? What protector shall I invoke when scarcely the just man 
 shall be secure ? ' 
 
 3833. As Diintzer observes, it is not obvious why the chorus should 
 repeat the preceding stanza instead of beginning the next one. Probably 
 a mere inadvertence on Goethe's part. 
 
 3834. 3flafd)d)ett, ' smelling-bottle.'
 
 326 NOTES. 
 
 A dated manuscript in the Royal Library at Berlin indicates that this 
 scene was begun in Nov., 1800, and finished in Feb., 1801. Its drama- 
 turgical aspects are discussed at length in Intr. pp. Ixiv ff. 
 
 Walpurgis, or Walpurga, was an English nun who died Feb. 25, 779 as 
 abbess of a Benedictine convent in Bavaria. Her day in the calendar falls 
 on May I, a day connected among the ancient Germans with various po- 
 litical and religious observances. Cf. Grimm D. M., II., 878. As the old 
 heathen conceptions lingered on under new forms, Walpurga's Day, or 
 rather the night preceding it, came to be associated with various supersti- 
 tions pertaining to the 1st of May, but especially with that of a great an- 
 nual conclave of witches. The tradition of such a conclave on the Brocken, 
 the highest point of the Harz Mts., goes back at least as far as the I5th 
 century, and is famous in German folk-lore. The Brocken, Lat. mons 
 Bructerus, rises some 3600 ft. above the sea. Its summit is treeless and 
 covered with granite blocks (whence, presumably, the favorite popular 
 name of ' Blocksberg,') among which the modern tourist is still shown a 
 Hexenkanzel or -altar, a Hexentanzplatz and a Hexenwaschbecken. 
 For the literary sources of Goethe's witch- and devil-lore see Wit- 
 kowski, p. 18 ff. 
 
 The Faust-legend does not connect its hero in any way with the May 
 carnival; but a poem on the Walpurgis-Night, published in 1756 by J. F. 
 Lowen, introduces Dr. Faust upon the Brocken and gives him a seat at 
 the left hand of Beelzebub. As Goethe refers to Lowen's poem in the 6th 
 book of Dicht. u. Wahr., it is fair to presume that he may have got from 
 that source the suggestion of taking his own Faust to the Blocksberg fes- 
 tival. In Dec., 1777, Goethe paid a visit to the Brocken which gave him 
 familiarity with the place, but Schroer's conjecture that he was thinking of 
 Faust at this time is unsupported by any positive evidence. 
 
 3834+. <5d)ierfe ttnb (lcitb. These are two neighboring villages 
 lying southward from the Brocken. From Schierke, the higher of the two, 
 it is an easy walk of about two hours to the summit. 
 
 3851-2. On Feb. 26, 1824, Goethe said to Eckermann, that while he 
 had been able to portray Faust's world-weariness and Gretchen's love by 
 ' anticipation,' it required some observation of nature to write these two 
 lines.
 
 NOTES. 327 
 
 The ignis fatuus, Eng. Jack-o'-Lantern or Will-o'- 
 the-Wisp, is regarded in Germanic folk-lore as an evil spirit that delights 
 in luring travelers from their way and leading them to destruction. It is 
 thus, naturally, a minion of the devil. 
 
 3863. Mephistopheles means that Will-o'-the-Wisp's zigzag is pat- 
 terned after the devious course of men through life. 
 
 3871-3911. The distribution of the solos was not indicated by Goethe, 
 and has been matter of much discussion. The third clearly belongs to 
 Faust and the fourth to Mephistopheles. The fifth, on account of the allu- 
 sion to the irren id)ter, which would hardly be so noteworthy to Irr- 
 licht himself, seems also best assigned to Faust. As to the first, the fcfjeint 
 e8 of 1. 3872 seems to indicate a mental uncertainty, which would not be 
 expected of Mephistopheles, who must be supposed to know the locality 
 perfectly. On the other hand, the mandatory fiihr' un of 1. 3873 suggests 
 Mephistopheles rather than Faust. In any case, the second strophe must 
 be assigned to Will-o'-the-Wisp. The songs represent a swift transition by 
 magic, just as in 11. 9078 ff. 
 
 3876. <5eI) T ; i. e., idj fehe. 
 
 3880. fri)narrf)Clt. Two granite rocks near Schierke have long borne 
 the name of bic djttarcJjer, ' the Snorers.' 
 
 3885-6. Faust sings in elegiac tone, as if ' those heavenly days ' of 
 youthful hope and love were far away, as they actually were for the poet 
 who penned the lines. The words, like the whole scene, were written with 
 little concern for the inner requirements of the Gretchen-tragedy. Cf. 
 Intr. p. Ixv. 
 
 3889. U1)U ! 3d)ltf)U ! here an imitation of the night-owl's hoot. The 
 words are also onomatopoetic names of the owl. 
 
 3892. s JDJol(i)C. We may think either of actual salamanders abroad, as 
 minions of the devil, on the uncanny mountain, or only of something that 
 looks like salamanders. The idea of the song is, in part at least, to voice 
 the weird fancies one has in going through a wild region in the night 
 Thus the mice of 1. 3900 may be the moonbeams glancing here and there 
 upon the ground. But bright-colored mice belong to the devil's kingdom. 
 Cf. 1. 4179. 
 
 3898. bclcbtett berbeit 9)iafern, ' from massive living tree-warts,' S3e 
 lebt means that they seem like living things.
 
 328 NOTES. 
 
 3906-11. The trio have been moving swiftly by magic; as they 'slow 
 down,' Faust is giddy and confused. 
 
 3913. fo ettt v .l>itttcli]ipfcl, 'one of these mid-way peaks.' They are 
 not yet at the top. 
 
 3916-31. Cf. the note to 1. 3664 for the idea of subterraneous gold 
 manifesting its presence by a light above ground. So Mammon, conceived 
 on account of the familiar personification in the New Testament (Matt. vi. 
 24), as a devilish Lord of Wealth, is represented as lighting up his moun- 
 tain-palace for the great festival. 
 
 3919. Wtttcrt Ct fytncitt, 'penetrates with its gleam. 1 
 
 3936. SBmbsbrewt ; a very ancient (O. H. G. winte$ brtif) and not fully 
 explained name for 'tempest,' 'whirlwind.' See Grimm, D. M., I., 525. 
 
 3950. ulicrtriimmcrteit; bridged over with the debris of fallen trees. 
 
 3959- Urtatt; a name for the devil. It is the same as UrhattS, 'Old 
 Jack.' 
 
 3962. iSaitbo; a nurse of Demeter, who tried to divert the goddess 
 from her sorrow by obscene antics. The story can be found in Arnobius. 
 In Werke, H., XVI., 328, Goethe applies the name to an immodest merry- 
 maker in the Roman carnival. As a type of bestial shamelessness, Baubo 
 is an appropriate leader of the ribald witches. 
 
 3968. ^(fenftetn; a high rock a few miles northeast of the Brocken. 
 
 3977. So great is the crowd that the unborn child is squeezed to death 
 and the mother to bursting. 
 
 3987-9. In these witches that wash and wash but remain sterile and 
 so can not mount into the air, we have a bit of nonsensical mystification, 
 which it is hardly worth while to try to interpret seriously. Cf. introduc- 
 tory note to ' Witch's Kitchen.' 
 
 4003. .^julbJjCJC. A ' half-witch ' seems to be a person who would like 
 to be a witch, but cannot. 
 
 4023. 2?olanb ; a name of the devil; M. H. G. valant. The word is 
 thought by Grimm to be a pres. pple. of a verb meaning ' to seduce.' 
 
 4033. bcltcbijj, 'at will,' i. e., 'capriciously.' 
 
 4076-91. These gentlemen, who have withdrawn from the crowd, are 
 different types of the old fogy, the laudator temporis acti, who can see no 
 good in the new generation. 
 
 4095+. robefl)eje ; a witch who deals in Srobet, i. e., old curiosi- 
 ties- Taylor has ' huckster-witch.'
 
 NOTES. 3^9 
 
 4119. 9lbattt Cffte ftfrail. According to a rabbinic tradition, Adam's 
 first wife, the 'female' of Gen. i. z-j, was named Lilith. Being superseded 
 by Eve, she became a ghost-like being that delights in seducing men and 
 doing harm to children. The word occurs in the Hebrew Bible in Isaiah 
 xxxiv. 14, where it is rendered, in the King James version, 'screech-owl,' 
 with the alternative ' night-monster.' 
 
 4121. Cttt^tij ; as if an adj. with @d)ttUt(f. 
 
 4143+. $rnftoj)l)attta:intft, 'rump-visionary.' The name and the 
 following lines to 1. 4175 allude to Friedrich Nicolai, who, though at one 
 time the friend and co-laborer of Lessing, afterwards made himself some- 
 what ridiculous as an apostle of common sense in literature. Goethe and 
 Schiller looked upon him as the type and embodiment of tedious dictatorial 
 mediocrity. In 1 799 Nicolai read to the Berlin Academy a paper entitled 
 'Example of the Appearance of Several Phantasms.' In this paper he 
 reported how he had been troubled with visions, and had been cured by 
 the application of leeches to that portion of his person called by the Greeks 
 
 4159. aufjjcflcirt. The Age of Reason, i. e., the age of Voltaire and 
 Friedrich the Great, is called in German ba8 QeitalteT ber 2lllf!ltintng. 
 
 4161. Xcgd J a place near Berlin, the home, in Goethe's time, of the 
 brothers Humboldt. In the above-mentioned paper of Nicolai he discussed 
 a ghostly apparition reported to have been seen at Tegel in 1 797. 
 
 4169. Uictfe. Among Nicolai's tedious commonplace writings was a 
 long-winded book of travels entitled Beschreibung einer Reise durch 
 Deutschland und die Schweiz. 
 
 4173. foitlagirt, ' gets relief; Fr. se soulager. 
 
 4179. rotl)C3 SJZSu^djett. According to Grimm, D. M., II., 905, there 
 is folk-lore to the effect that red mice sometimes run out of the mouths of 
 sleeping witches. 
 
 4181. food) IttlJjt grtttt ; i. e., it was not an ordinary mouse. 
 
 4182. djaferftttltbC, ' amorous hour.' 
 4186. gcf^ioff'ncn, 'fettered.' 
 4190. 3>bol, 'phantom'; Gr. eldutov. 
 
 4194. 2Jlebltfe ; the Gorgon whose serpent hair changed all who 
 looked at it to stone. 
 
 4211. prater ; the name of a famous park at Vienna.
 
 330 NOTES. 
 
 4314. @ert)ibtlt3 ; a servant, or ' super,' employed about the stage. 
 4220. 9Jitd) bUetttrt'S; patterned comically after It. mi diktta, 'it 
 delights me.' 
 
 SB a l it r g t tt a cf) t tr a itm. 
 
 INTERMEZZO. 
 
 The ' Walpurgis-Night's Dream ' is the ' new piece ' mentioned in 1. 4215 
 as just about to be performed at the dilettante theatre which is the sum 
 total of its connection with Faust. The title was suggested by Shake- 
 speare's Midsummer Nighfs Dream, in which Oberon and Titania, the 
 king and queen of the fairies, after having quarreled about the possession 
 of an Indian boy and become alienated from each other by jealousy, are at 
 last reconciled. Goethe introduces them as celebrating their golden wed- 
 ding, which is conceived, at the same time, as a festival of reconciliation. 
 The orchestra consists of buzzing insects, frogs, crickets, etc. As guests 
 or spectators and critics we have a multitude of persons and personifica- 
 tions who give vent to their feelings in the form of comment upon what 
 they see and hear. Goethe's diary, Tagebucher, II., 72, shows that he was 
 working on the ' Golden Wedding ' June 5, 1797. But it was not then 
 connected in his mind with Faust. In the summer of 1 796 Goethe and 
 Schiller began together the composition of a collection of epigrams to 
 which they gave the ancient name of Xenia, or 'gifts of hospitality.' 
 Some four hundred were published at once in Schiller's Almanack. The 
 next summer Goethe sent in a fresh collection of similar character under 
 the title of Oberon and Titania' s Golden Wedding. Schiller saw reasons 
 for not publishing them (see his letter of Oct. 2, 1797), whereupon Goethe, 
 having now doubled the original number of verses, decided to make a 
 place for them in Faust (letter of Dec. 20, 1797). 
 
 This decision is to be regretted, first, because no intermezzo was needed 
 after the Walpurgis-Night; and, secondly, because the scene has nothing to 
 do with the legend, and does not, for the most part, embody genuine folk- 
 lore. Finally, the stanzas are not very interesting in themselves. 
 
 4224. Sftiebtttgd. Mieding was a highly esteemed stage-decorator 
 who died at Weimar in 1 782.
 
 NOTES. 331 
 
 4227-30. The thought is that it is the reconciliation rather than the 
 lapse of fifty years which makes the festival ' golden.' 
 
 4239. StricI; the Ariel of Shakespeare's Tempest. 
 
 4247. Jjrillt, ' is freaky.' 
 
 4257. Sdjttcrfcfcfjttirfeflfinaif; a word coined to describe the music 
 made by the soap-bubble bag-pipe. 
 
 4259-62. Whether these lines are to be understood as spoken by the 
 inchoate ' Geist ' himself or by some one of the performers about him, is 
 Uncertain. So is the ' point ' of the nonsense, if it has any. 
 
 4273- Otter riedjenfattbS. In 1788 F. L. Stolberg published a 
 narrow-minded attack upon Schiller's poem Die Cotter Griechenlands, 
 charging the author with blasphemy, etc. 
 
 4274+. !Worbtfd)er ftiinfiler. Here one thinks of Goethe himself 
 who was actually planning a journey to Italy, when the lines were written. 
 
 4279-82. The ' purist' as we see is a typical stickler for propriety. 
 4294+. 28utbfahue. The ' weather-vane,' that first praises and then 
 condemns, is evidently a symbol of turn-coats. That anybody in particu- 
 lar is alluded to is at least not clear. 
 
 4302+. Xetticn. Goethe several times refers to the Xenia under the 
 image of annoying insects. 
 
 4306+. ^>etUtittg3. Hennings was the editor of the journal Genius 
 der Zeit, in which he attacked the Xenia violently. This journal, called by 
 Loeper a umtttefyta UJireifer 2)idjterUnge, was especially disliked by 
 Goethe. 
 
 4310+. 93Zufagct, ' Leader of the Muses.' Under this name Hennings 
 published, in 1 798-9, some numbers of a poetic journal intended to rival 
 Schiller's Almanack. 
 
 4314+. Ci-devant; 'quondam.' The Genius der Zeit was discon- 
 tinued in 1803. 
 
 4318-!-. 92engieriger JKcifenbcr; Nicolai again. See 1. 4143, note. 
 
 4322. Nicolai was famous for his opposition to the Jesuits. The line 
 is to be taken as a comment by the crowd in explanation of the ' traveller's ' 
 continual snuffling. 
 
 4322+. ftramd). The ' crane ' is Goethe's old friend Lavater, of whom 
 he said to Eckermann Feb. 17, 1829 : ' Lavater was a genuinely kind man, 
 but subject to powerful illusions, and the strict, exact truth was not his af-
 
 332 NOTES. 
 
 fair; he deceived himself and others, whence there came a complete rup- 
 ture of our relations. His gait was that of a crane, for which reason he 
 appears as ' crane ' on the Blocksberg.' 
 
 4326+. SSeltfiltb. In the summer of 1774 Goethe dined with Lavater 
 and Basedow at Coblenz. In a poem suggested by the occurrence are 
 found the lines : 
 
 2>a 3Belttiiib in ber Dlitten. 
 So Goethe himself is probably the SBeltfittb here on the Blocksberg. 
 
 4328. Siichif el; ' vehicle of profit,' ' means of grace.' 
 
 4334. 2>0mmefa, 'herons'; usually Sftofirbommeltt. The droning 
 herons are the philosophers who appear below. 
 
 4335-8. A dancing master on the stage comments on the approaching 
 crowd of dancing herons. 
 
 433 8 +- gfibeler; a puzzling word. Diintzertakesittobe gibeler, from 
 the adj. ftbet, Lat. fidelis, used in student-dialect for ' jolly.' The word 
 was certainly familiar to Goethe, but there seems to be no point in introducing 
 a ' jolly good fellow ' here. The connection rather requires a ' fiddler ' to 
 go with the ' dance-master.' There is, as Loeper shows, good and abun- 
 dant authority for the spelling ftbdtt, $ibel, ^ibler, but as a matter of fact 
 Goethe usually wrote giebel fiebettt, etc. Schroer thinks gibeler a printer's 
 mistake for giebler. Cf. G.-J., I. 435, and II. 439. 
 
 4340. boS fReftdjen geben, ' do to death,' ' settle.' 
 
 4342+. ^ogtttfttifer; ' dogmatist,' in the sense of a philosopher who 
 bases his doctrine on received dogmas. This ' dogmatist,' however, falls 
 out of his role in the last two lines, since instead of accepting the devil's 
 existence on faith and trust, he proceeds to argue it on the ground that 
 there are ' devils ' among men. 
 
 4349. SBcnit td) . . . Jin. ' Idealist ' is used here in the technical 
 Fichtean sense of one who holds that the Not-Me is the creation of the 
 Me. Thus he is compelled to believe that all he sees on the Brocken is 
 'Me.' 
 
 4359. @ic gefyett ; i. e., the supernaturalists, who are likened to cred- 
 ulous persons seeking for treasure from the light it emits. Cf. 1. 3664, note. 
 
 4366+. (tyctOlUtbtcn ; the ' clever ones ' are the lucky dogs who 'get 
 along ' by hook or by crook. They call their army ' sanssouci,' i. e., ' free 
 from care ', because no scruples trouble them. They are pococurantists.
 
 NOTES. 333 
 
 4370+ ItnBeljuIfUdjett ; the ne'er do week ' whom help never helps. 
 4382+- $>te 9Jtaffit)cn, 'the coarse crew.' (gin tnafffoer ferl is the 
 same as ein grober 33urfdje. . 
 
 4384. True spirits would not crush the grass (Loeper). 
 
 Among the Paralipomena and dating presumably from the period 1797- 
 1801, are found various fragments of a scene that was to come after the 
 Intermezzo and represent the court of Satan on the summit of the Brocken- 
 Cf. 11- 3959> 4 37-9 and 4116. Satan was to make a speech from the 
 throne, give audiences, confer fiefs and receive the homage of his subjects. 
 A chorus was to sing his praise. At the end there was to be a symbolical 
 decapitation of the ' eidolon' (1. 4190) with comments by spectators from 
 which Faust was to learn of Gretchen's fate. For some reason Goethe 
 failed to carry out this plan, so we are left to imagine how Faust gets his 
 knowledge and to make the return as best we can from the phantasms of 
 the Blocksberg to the intense realism of the love-tragedy. 
 
 The scene ' Dismal Day ' is found in U. substantially as it appears here. 
 Its wild extravagance of diction, the work of a youthful writer who has not 
 yet mastered his art, points to an early origin, probably the year 1772. 
 Cf. Scherer, Goethe's fruhzeit, p. 81. The more important dramaturgical 
 questions suggested by the scene are discussed in Intr. p. bciii ff. Cf. also 
 the introductory note to the scene 'Study,' (l). 
 
 6. titflrimmcitb ; = ingrimmig. There is no verb tngrimtnen and 
 this form is probably unique. 
 
 g. ber rtdjtettben gefithflofcn ; = ber gefiiblloS ridjtenben. 
 
 10. $crftr CHUltgen. It is quite doubtful what ' diversions ' Goethe 
 had in mind when these words were written. 
 
 13. SBonblc tljn. When this was written the presupposition was that 
 the devil had associated with Faust for a time in poodle form before being 
 given human shape. Accompanying Faust on his evening walks, the 
 poodle would divert his master by rolling in the path in front of pedestrians 
 so that they might fall over him. Scherer, Goethe's Friihzeit, p. 81, re-
 
 334 NOTES. 
 
 gards this passage, strangely enough, as evidence that the devil was not to 
 appear first in poodle form. 
 
 16. follcttt, 'roll in a heap,' or ' turn somersaults.' 
 
 28. ii&erf djnoppt, ' snaps from over-tension.' 
 
 30. XrnitjlCH totr . . . wt$? When the scene was written the presup- 
 position was that Faust had taken the initiative toward an alliance with the 
 devil. So in 1. 1414 the first suggestion of a compact comes from Faust, 
 though he says in 1. 1426 : $3) babe bir ttidjt ttachgefteEt. But the Prologue 
 gives us to understand that the devil seeks out Faust. 
 
 49-50. be3 @rfd)lageiteit ; evidence that the murder of Valentin and 
 Faust's flight in consequence were a part of Goethe's earliest plan. 
 
 57. tttit s jJ{citfd)CHf)(Uti>. The assumption is that Mephistopheles can 
 not spirit Gretchen out of her prison-cell by magic. He can take Faust to 
 the spot speedily and can befool the guard, but the removal must be effected 
 by the ' hand of mortal.' ^auberpferbc. The magic horses, as a meana 
 of locomotion, are found only in this early scene. In the later ones the 
 pair usually travel by means of a magic mantle (cf. 1. 2065, and 1. 6983). 
 
 This short scene in rhythmical prose, found in U. precisely as here, falls 
 of course on the night following the preceding ' Dismal Day.' As Faust 
 and Mephistopheles sweep through the air on their black horses, they 
 pass a 'raven-stone,' or place of execution (Sfabettfteitt is properly the 
 'block' of masonry built under a gallows), at which a bevy of witches are 
 engaged in their characteristic employments of 'cooking,' 'strewing' and 
 ' devoting ' to the powers of evil. The scene was conceived as an uncanny 
 picture that should serve to adumbrate the fate of Gretchen. But this is 
 now done sufficiently by the ' eidolon ' on the Brocken (11. 4203-5) .
 
 NOTES. 335 
 
 In U. this scene is in prose, (for the text see Appendix II), the sub- 
 stance differing but slightly from what is found here. It was probably 
 written in 1772 or 1773 and put into verse in 1798. See Intr. p. Ivi. 
 
 4405. Iftttgft ClttlDOljIttcr djaiter. The presupposition is, or was, 
 that Faust has been away from Gretchen several months and during that 
 time has been a stranger to deep, sincere emotion, @d)auer = ' feeling of 
 awe.' Later Goethe preferred enttt>ob,Iten to entWobneit. Cf. 1. 25. 
 
 4406. er 2Henfd)l)ett jammer. Cf. U. 1770-3, and Intr. p. 
 
 bcxiii. 
 
 4411. ^Ofjcrt . . . hcrfllt, 'lingers death more near' (Taylor); an in- 
 transitive verb used transitively, as in 1. 389. 
 
 4412-20. Gretchen in her distraction sings a coarse song as does 
 Ophelia in Hamlet. The song itself is based on the Low German legend 
 of the juniper-tree, which is found in Grimm's Marchen. The story runs 
 thus : A bad stepmother serves up her step-son as a meal for her husband. 
 A little sister gathers up the bones and buries them under a juniper-tree. 
 The bones become a little bird that sings the song : Min Moder de mi 
 slachft, Min Vader de mi att, etc. 
 
 4413. ^te , demonstrative. 
 
 4417. Scin r = $nod)en. 
 
 4449-50. The meaning is : They mock me by singing an old ballad of 
 a mother that killed her child; who bids them apply it to me? 
 
 4489. titterbrang, ' came over me.' 
 
 4501. audj \ unaccented, in the sense of ' really,' ' indeed.' 
 
 4512. fcilrf)t j in allusion to the killing of Valentin. 
 
 4520. itbrig blcibctt, ' continue to live '; the preceding ' you'll kill me,' 
 being taken literally. 
 
 4532. The thought is : I can no longer bring back the old feeling. 
 
 4567. @3 fat .... 8d)0pfc, ' it's as if a cold hand seized me by the 
 hair.' 
 
 4569. It) a (felt J in recollection of her mother's fatal drowsiness. 
 
 4584. (&$ tft Cbeit flCf djcfjCIt, ' it is e'en a thing of the past.' 
 
 4590. It was once the custom at public executions to toll the church
 
 336 NOTES. 
 
 bell while the culprit was on the way to the block, and also to break a 
 white wand over the condemned person's head in token that his life was 
 forfeit to the law. 
 
 4593-4- .Surfeit nn & ftitrfen are variants of the same word and both 
 mean ' to move with a flash,' ' to dart swiftly.' The on-looker is supposed 
 to shrink from the fatal blow as if it were meant for his own neck. 
 
 4611. Mephistopheles means: She is beyond the reach of judge and 
 executioner; her ' doom ' has already come. It was apparently to forestall 
 the possible interpretation ' she is doomed to perdition,' that Goethe added 
 the supernatural ' voice from above ' declaring that ' she is saved.'
 
 APPENDIXES, 
 
 (137)
 
 APPENDIX I. 
 
 BIBLIOGRAPHY. 
 
 A complete Faust-bibliography would treble the size of this volume. For a work fairly 
 complete down to 1884 the student is referred to Engel's Zusa-mmenstellung ; for the 
 time since then the successive volumes of the Goethe-Jahrbuch are the best source of 
 information. The following list comprises the more important works used in the making 
 of this edition. A few that do not belong strictly to Faust-literature, are included either 
 because they are referred to in the preceding pages or because they contain matter of 
 exceptional value for the study of Faust. In general, however, the histories of German 
 literature and the biographies of Goethe are omitted. So also are the great mass of 
 literary essays, magazine articles, translations and popular expositions. 
 
 Baumgart, H. OoetbeS gft 11 !* al einljeitUdje S5idjtung erlautert. (Srfler 
 
 33anb. b'mg6erg. 1893. 
 Biedermann, W. von. oetlje^orjdjitngert. granffurt a. 3ft. 1869. 
 
 oetb.e=orfd)ungen. 9faue golge. Ibid. 1886. 
 Bielschowsky, A. )a @d)ttrieger.Iingfd)e ^3uppenjpiel Dom oftor gaufl. 
 
 23rieg. 1882. 
 Boyesen, H. H. Goethe and Schiller : Their Lives and Works. Includ- 
 
 ing a Commentary on Goethe's Faust. New York. 1882. 
 Carriere, M. ^ au fl- i ne Sragobie Don oetbe. 2fttt inleitung unb 
 
 (Srrauterung. ?eipjtg. 1869. 
 Collin, J. oetbes gaufl in feiner attefhn eflolt. granffurt a. 3ft. 
 
 1896. 
 
 Coupland, W. C. The Spirit of Goethe's Faust. London. 1888. 
 Creizenach, W. SSerfuc^ einer ejd)id)te be 3Sottf(i)aufpiel9 om Sector 
 
 gauft. ^otte. 1878. 
 
 2)ie S3iif)nengef^id)te be oetbe'|d)en gauft. granffurt. 1881. 
 Devrient, 0. oetheS gaujl. gur bie 2tuffubrung al 3K^jlerium in 
 
 groei Sageroerfen eingeri^tet. Sarlsrube. 1881. 
 Dingelstedt, F. (Sine gaufttrilogie. 2)ramaturgifd)e Stable. S3ertin. 
 
 1876. 
 
 Du Bois-Reymond, E. oetbe unb fein (Snbe. 9tebc bci Slntritt u. \. w. 
 1883. 
 
 (339)
 
 340 APPENDIX I. 
 
 Diintzer, H. oetfyeS ftanft. Softer unb jfoeiter Sfjeit. 3um erfien 
 
 2Jiat fcolfftanbig erfautert. Seipgig. 1857. 
 
 oetb,e8 iftauft erlautert (b,fe. 19-21 in ,,@rlauterungen 511 ben beutfdjen 
 Sfafftfern.") Seipgig. I. b,eif, 4. Stuff. 1882 ; II. Ijeit, 3. Stuff. 
 1879. 
 oettjes SSerfe, gttoffter SljeU. gaujl. (33b. 93 in tiirjdf)ner ,,3)eut* 
 
 fd^e SRattonalsSitteratur* 1 ). Berlin. (Ca. 1882). 
 3ur oet^eforfc^ung. S'Jeue iBeitra'ge. (Stuttgart. 1891. 
 Eckermann, J. P. efprcidje mit oetlje in ben lefcten 3a^ren feine 
 
 ?eben. 4. luff. 2'etygig. 1876. 
 Ehrlich, M. gauft (33b. 3. in 2. eigerS,, S^eue ittuftrtrte StuSgaBe" Oon 
 
 oetljeS SBerfen). S3erftn. 1883. 
 Engel, K. 3 u ^ antineit f lte: tt un S be* gauft=@d^riften bom 16. Saljrf). bi 
 
 SKttte 1884. Ofbenburg. 1885. 
 
 S)aS SSoIfgf^aufpiel Sector 3ot)amt ^auft. 2. luff. Olbenburg. 1882. 
 Fischer, K. oetfyeS $anft. Wati) feiner Sntfte^ung, 3bee unb (Sompoft* 
 
 tion. 2. Stuff. (Stuttgart. 1887. 
 
 Goethe. <Sd)riften. (S3b. 7 gauft. <5tn fragment.) Seipjig. 1790. 
 28er!e. (S3b. 8 er Sragobie (Srfhr Sfjeif, <r/AVw princeps). 2;ubin= 
 
 gen. 1808. 
 Berfe. SSoCftanbige Sluggabe tester anb (33b. 12 gaufl, erfler Sfjeil). 
 
 tuttgart. 1829. 
 2Ber!e. 92acf) ben toorjiiglitfiften Ouetfen rebibtrte SluSgabe. SSerfin 
 
 (etnpel). 1868-79. 
 SSerfe. erau8gegeben im Sfuftrage ber ropergogin opfjie t?on 
 
 adfjfen. SBeimar. 1887- 
 @oet&,e=3ab,rbit<t). eraugegeben tion 2. eiger. granlfurt a. 2JZ. 
 
 1880- 
 Grimm, H. oetlje. iBorfefungen gefjalten u. f. it). 2. Stuff. Serlin. 
 
 1880. 
 Grimm, J. .SDeutfdje 9Kt)tb,ofogie. SSierte Stuff, beforgt on (S. $. SPie^er. 
 
 Berlin. 1875-8. 
 
 Grimm, J. and W. S>eutfdje SBorterbudf). Jei^ig. 1854-. 
 Gwinner, W. oetfjefi gauftibee nadf) ber urfpriinglicfjen Conception auf* 
 
 gebectt unb nadjgertJtefen. granffurt a. 2Ji. 1892. 
 
 Hagemann, A. Mephistophelis nomen unde ortum esse et quam signifi- 
 cadtionem habere videatur. Graudentz. 1872. ^-
 
 APPENDIX I. 341 
 
 Hart, J. M. Goethe : Faust Erster Theil. Edited with an Introduc- 
 tion and Notes. New York. 1877. 
 Herbst, W. oetbe in SBefelar. otb,a. 1881. 
 Holland, W. L. oetbeS gcmft. (Sin fragment. 3n ber urfprunglirfjen 
 
 eftalt neu berauggegeben. greiburg. 1882. 
 Horst, J. W. gauberbtbliotljef ; ober on 3auberei, b,eurgie unb 3Kan= 
 
 tif, 3auberern, eren unb erenproceffen, SJamonen, ejpenflern unb 
 
 efpenflererjd)einungen. 2Kaing. 1821-25. 
 Huther, A. ic erfd)iebenen $(ane im erjlen eile on oetbe gaufi. 
 
 Sottbug. 1887. 
 Keller, A. von. gaufts Seben 6on . $R. 2Bibman(n). Siibingen. 1880. 
 
 (A reprint of Pfitzer's edition of the Widman Faust -book). 
 Kopp, H. Aurea Catena Homeri. Braunschweig. 1880. 
 Kostlin, K. oetbe gauft. eine ^ritifer unb 2luIeger. Subingen. 
 
 1880. 
 Kiihne, A. S)a attcjle gaujibud). SBortgetreuer Sbbrurf ber Editio 
 
 Princeps be @pte'jd)en gauftbudjeS rjom 3abre 1587. 3Rit (Sinlei* 
 
 tung unb 5lnmerfungen. Bertft. 1868. 
 Ueber bie gauftjage. 3erbfi. (Ca. 1866). 
 Leutbecher. tleber ben gaufl toon @oetb,e. 9?urnberg. 1838. 
 Lee, J. Faust. By Goethe. With an Introduction and Notes. Part I, 
 
 followed by an Appendix on Part II. London. 1886. 
 Levy. Faust, Tragedie de Goethe. Avec une Introduction et un Com- 
 
 mentaire. Paris. 1884. 
 Loeper, G. von. gauft. (Sine Sragobie on oetbe. SKit ginleitung 
 
 unb erflarenben Slnmerfungen. 2. Searbeitung. SSerlin. 1879. 
 Marbach, 0. oetb,e gaufi, erfier unb jweiter jtbeil, erfldrt. tutt- 
 
 gart. 1881. 
 
 Mertens, T. Stte .Kerferfcene au8 oet^eS gaufl. ^)annoer. 1873. 
 Meyer, E. tubi^t ju oetb.eg 5 au P- SHtona. 1847. 
 Oettingen, A. von. oet^e* gaufl, erfier unb gweiter Zb,eiL ert unb 
 
 (Srlduterung in SSorlefungen. (Srlangen. 1880. 
 Pfitzer, C. N. (See under Keller.) 
 
 Riemer, F. W. 2Rtttb,eilungen fiber oetb,e. Berlin. 1841. 
 Roskoff, G. efd)id)te be SeufelS. Seipjig. 1869. 
 Rbssler, C. S)te ^ntfte^ung be gaup. (A series of articles in the 
 
 Grenzboten for 1883).
 
 342 APPENDIX I. 
 
 Sanders, D. SBorterbud) ber beutfdjen pradje. SJetpjig. 1861-65. 
 Scheible, J. 2)a8 Softer, tuttgart. 1845-50. 
 Scherer, W. 2lu8 oetbeS griibgeit. trafjburg. 1879. 
 3)a ottefte gauft=S3ud) mit einer (Sinleitung. ^Berlin. 1884. 
 Slufjafce iiber oetbe. Serttn. 1886. 
 efd)td)te ber beutfdjen Siteratur. 33ertin. 1883. 
 Schmidt, E. oetbeS auft in urfpriingUdjer eftalt nad) ber 
 
 ^aufenfd)en 5lbfd)rift t)erau8gegeben. 3. 3tbbrud. SBetmar. 1894. 
 Schreyer, H. oet!^e gauft al8 einfyetttidje td)tung erldutert itnb toer= 
 
 tetbigt. atte. 1881. 
 
 Schroer, K. J. alt fl toon oet^e. 3J?it (Sinteitung unb fortlaufenber 
 
 (grflarung. eitbronn. I. h,eil, 2. luflage 1886 ; II. fc,eU 1881. 
 
 ie Stuffii^rung be8 ganjen 5 au P ait f bent SBiener 53urgtb,eater. eil 
 
 bronn. 1883. 
 
 Sengler, J. oet^eS gauft, erfter unb jtueiter Zfyil S3eriin. 1873. 
 Stiller, 0. oeth,e8 (gntwurfe gum gauft. Berlin. 1891. 
 Strehlke, F. SBorterbud) gu oet^eS gauft. tuttgart. 1891. 
 ^Paratipomena gu oet^eg gauft. (Sntmiirfe, Itgjen, SSorarbeiten unb 
 
 gragmente, georbnet unb erlautert. tuttgort. 1891. 
 Suphan, B. erber8 jammttidje SBerfe. ^Berlin. 1877-82. 
 Taylor, B. Faust: A Tragedy by Goethe. Translated in the Original 
 
 Metres. Boston. 1879. 
 Vischer, F. oetbeS gauft. 9ieue Seitrage gur ^rittl be8 ebidjts. 
 
 tuttgart. 1875. . 
 ?atee unb 5Reue. tuttgart. 1881. 
 Vollmer, W. i8rieftt)ed)fel jtt)tjd)en @d)itter unb oetbe. 3. 2lug. 
 
 tuttgart. 1870. 
 Weisse, C. H. ^ritif unb Srlauterung be oetbefdjen gaufi. Setpjig. 
 
 1837. 
 Welling, G. Opus Mago-Cabbalisticum et Theosophicum. Frankfurt a. 
 
 M. 1760. 
 
 Weltrich, R. oetbeS goufl in ber od)baufen'fd)en 2tbfd)rift. (A long 
 series of articles in the Magazin fur Litteratur dcs In- und Auslan- 
 des for 1888.) 
 
 Widman, G. R. See under Keller. 
 
 Witkowski, G. S>ie 28olpurgi3nadjt im erften Seite Don oetbeS 
 Setpgtg. 1894.
 
 APPENDIX II. 
 
 THE TEXT. 
 
 THE critical student of the text of Faust is referred to Goethe's Werke, 
 XIV., 247 ff., where can be found a full account of the manuscripts and 
 prints compared in the recension of the Weimar text, together with a full 
 list of variant readings. The Weimar text is followed in this edition, but it 
 is not thought necessary to reproduce here its entire critical apparatus. 
 The fundamental principle is to follow the Ausgabe letzter Hand except 
 where there is clear and cogent reason for departing from it. The pur- 
 pose of the following notes is twofold : first, to comment briefly on those 
 textual questions that have an important bearing on the sense, and sec- 
 ondly to give in full those passages of U which differ radically from the 
 final version. U means 'Urfaust'; S, the Fragment of 1790; A, the 
 editio princeps of the completed First Part (1808); C, the Ausgabe letzter 
 Hand (1829). 
 
 21. ?etb. So AC. The Sieb of many later editions is probably a mis-' 
 taken correction, trtlriaUftrenbe djHmmbefferung as it is called by 
 Schmidt, the Weimar editor of Riemer, who noted in the back of 
 Goethe's diary for 1809 that Seib was a misprint for ?ieb. By oversight, 
 seemingly, the reading ?ieb crept into a few copies of a Cotta print of 
 1825 and was then adopted in the Riemer-Eckermann quarto edition of 
 1836-7. The reading eib in C indicates that Riemer's note was without 
 Goethe's authorization. 
 
 379. SBiirbe. U has rtJerbe. Cf. introductory note to scene Night/ 
 
 390. 23iid)ertt. US have 33iicf)er. Cf. note. 
 
 481+. After gtantme U has in nrieberUcfjer eftollt. Cf. note. 
 
 503. SBebe. USA have ttiebe; C ttelje. Changed apparently on ac- 
 count of the ensuing SBebett and 2Bebftul)l, and also for the sake of the 
 parallelism ?ebenf(utb>n: 2BalT = ijjatenfiurm: 2Beb,e. 
 
 (343)
 
 344 APPENDIX II. 
 
 519. U has 9hm tt>erb id) tiefer ttef ju nidjte. Cf. note. 
 521. @d)teid)er. U has djwarmer. Cf. note. 
 532-3. Instead of these lines U has : 
 
 2fton ttieis nid)t eigentlid) nne fie ju guten 2)ingen 
 
 2)urd) Ueberrebung binjubringen. 
 546-7. In U Wagner's speech consists of the single line : 
 
 Mein ber SSortrag niijt bent Stebner triel. 
 to which Faust's reply runs in U : 
 
 548-51. 2Bo8 SSortrag ! ber ift gut im ^uppenfpiel 
 
 2ftein err SDiagifter b,ab er $rafft ! 
 
 @e^ er fetn t^ettentauter Zfyoic ! 
 
 Unb greunbfdiafft, Siebe, Sruber^afft, 
 
 ragt bte ftcf) nic^t don ^elber bor. 
 596. mir intmer fort. US have bis tnorgen frii!^. 
 1867+. In U the heading (cf. Intr. p. 1, foot-note) is: 2Jtepb 
 im @d)lafrod cine grofe ^3errii(fe aitf. tubent. 
 
 1882-95. These lines are lacking in U, the following being found 
 instead : 
 
 @iebt aH fo trocten rtnggiim au 
 
 31IS fa eibunger in iebetn au. 
 SO? e p b : SBitt eutf) ! bran eud^ md)t luetter feb,rt f 
 
 ier at(e8 ftd) tiom tubenten nabrt. 
 erft, too toerbet ib^r logiren? 
 
 @ t u b e n t. SSBoEtet mic^ fubren 
 
 SBin toarrtid) ganj ein irre8 ?amtn. 
 SDiogt gern ba gute fo attsufamm, 
 SKogt gern ba8 bofe mir att ttom ?eib, 
 llnb gre^ett, and) njobl 3^itoertreib, 
 SJibgt and) babei ftubiren tief, 
 3)o ff mir8 iiber ^?opf unb Obren lief ! 
 O err belft baff meiner @eel 
 2lm guten SBefen nimmer febl. 
 
 SDi e p h i : irajt M. ^ein Jogie b,abt ibr ? nne ib,r fagt. 
 
 @ t u b e n t. ab nod) ntdjt 'mat barnad) gefragt. 
 
 SKein SBirthgbouS nabrt mid) leibltd) gut, 
 geine 2)JagbIein brinn aufroarten tl)Ut.
 
 APPENDIX 
 
 345 
 
 @ t u b e n t 
 2ft e p 1) : 
 
 m e p b; : Seljiite ott ba f ub,rt eudj roeit ! 
 
 daffee unb Sillarb ! SBeb, bem piel I 
 2)ie UKagblein ad) fte geilen &iel ! 
 SSertrippUftreidjelt cure 3eit. 
 >agegen felm nrir3 leiblid) gent, 
 Staff alle tubioft nab, unb fern 
 Un tuenigfienS einmal bie 2Bo(^en 
 ^ommen unterit Slbfa;} gefvodjen. 
 SBiU etner an itnferm peidjel ft^ lejjen 
 >en t^un ttiir 311 unfrer 9ted)ten fej^en. 
 3Mir rtirb ganj grculic^ toorm (Seftdjt ! 
 S)a jdjabt ber guten adje nidjt. 
 S)ann forberfamfi mit bem ogie 
 SBiifet id) cud) njo^l md)t befferS ^ie, 
 2118 ge^t ju grau pri^btcrlein morgen 
 2Bei8 tubiofos gu cerforgen. 
 at au8 toon oben bis unten bott, 
 Unb Berfkljt ttjetblid) iua fte foIL 
 
 ar faubrer gefadjt, 
 ijt einmal fo b,ergebrad)t. 
 3^r jaljlt um6 anbre Dor end) ja^Iten 
 S)te ib,ren 9tab,m auf au marten. 
 
 t n b e n t. SBtrb mtr fafi jo eng um8 $erj b,erum 
 2118 ju au8 im (Eolegium. 
 
 SK e p ^ : (Suer Sogie roar nun befleUt 
 
 5l?un euren Jifd) fur letblid) elb ! 
 
 @ t u b e n t 2Rid) bu'nft ba8 gab ftd) aHe nad), 
 
 2Ser erfi on eift (Srroeitrung fprad) ! 
 SJiein @d)a^! ba8 roirb eud) roofyl 
 Sennt nid)t ben etfl bcr Slfabemien. 
 3)er SKutter ifd) mufet ib,r Bergeffen, 
 ^lar SSaffer gcjdjiebne Gutter freffen. 
 @tatt opfen ^eim unb iung emil, 
 enieffen mit S)anf Srenneffeln fii, 
 ie tljun einen anfe jhib,lgang tretben, 
 fiber eben brum nidjt baff betleiben, 
 pommel unb Salb !iib,ren ob,ne Gnb,
 
 346 APPENDIX n. 
 
 HIS tme unferS err ott girmoment. 
 
 >od) galjlenb roirb Bon eud) ergfingt 
 
 2Ba8 @d)U)armertan tior eud) gefdjwanjt. 
 
 2Riifft euren SBeutel tt>obl Berforgen, 
 
 SBefonberS feiuem gteunbe borgen 
 
 2lber rebtid) gu aUen SUtealen 
 
 SBirtb, @d)tteiber itnb ^kofeffor gatjlen. 
 <S t u b e n t. $od)ttwrbger err ba8 ftnbet ftd). 
 
 Slber nun bitt id) leitet mid) ! 
 
 2Jttr fteb,t bo8 gelb bcr SBeie^eit offen, 
 
 SBare gern fo grabe gn geloffen, 
 
 Slber fte^t brinn jo bunt nnb IrauS 
 
 Stud) jetttoarts roiijl unb troden ou. 
 
 gevn ttjat ftdj'8 mir'bor bie @innen fiellen, 
 
 2116 ttrie ein Sempe tioll frifdjer OneEen. 
 1898-1901. In U the Student's reply runs : 
 
 @ott gtoar ein 3JJebi3iner werben 
 
 >od) njiinfdjt id) rings oon alter Srben, 
 
 93on aHem immel unb aU ^fatur, 
 
 @o oiet mein eift bermogt gu faffen. 
 1941. U has : S3obrt jtd) einen Sjel unb ei8 nidjt h)ie, 
 2079. From this point on the scene reads in U : 
 33ranber (SfeU djwein! 
 
 g r o f d) 9Jiug man mit eud) nid)t betjbeS fe^n. 
 iebel. 3)ret) jTeufet! rubt! unb ftngt runba ! unb brein gejoffen 
 brein gefrifdjen. otta be ! 2(uf ! e ba ! 
 
 21 1 1 e n. S3aumrooUe ber ; ber jprengt un8 bie Obren. 
 @ i e b e I ^)ann id) batior baff baS oerfluctjt niebrige ewolbe fo tt>ieber 
 fdjaUt. @ing. 
 
 ^ r o f d). 21 ! ara ! Sara ! lava ! bi ! eftimmt ift ! Unb tt)a8 nun ? 
 [Here 11. 2090-91]. 
 
 S3ranber. ^fut) ein garfiig Sieb ! @in politifd) ?ieb, ein leibig ieb. 
 2)auft ott baff eud) bag hetlige romifdje 9teid) nidjtS angeb,t. 2Btr tootten 
 einen S 45a^ft mahlen. 
 grofd) [11. 2101-2], 
 
 @ t e b e I 2Better unb Sobt. rit mein iHebgen ! (Sine ^ammel* 
 mauSpaftete mit geftopften biirren Sidjenblcitteru oom S3toctberg, burd)
 
 APPENDIX n. 347 
 
 einen gefdjiuibnen aajen mit bem ab,nenfoj)f iiberjdjidft, uitb teinen ru 
 Bon bcr 9?ad)tigaH. att fte mid) nidjt SKeinen tujbart unb atte Slppar- 
 tinengien hjnter bie bfire geroorfen roie einen ftumpfen SSejen, unb ba8 urn 
 3>ret) eufel ! Seinen ru8 jag id) al8 bie genfler eingejdjmiffen ! 
 
 g r j d) (ben flrug auf ben tf<$ ftoffenb) Stub, iejt ! (Sin tteit ?ieb am. 
 meraben, ein alt ?ieb tuenn ib,r njottt ! Slufgemerlt unb ben SRunbreim 
 mit gefungen. %n\fi) unb ^ocf) auf! [Here 11. 2126-49, but with dashes 
 in place of S)octor Jutber, 1. 2129]. 
 
 tebeU llnb cine biuldnglidje portion 9tattenpuloer ber tot^m in 
 bie @nppe. 3t^ bin nit mitleibig, aber jo eine 9tatte lonnte einen @tein 
 erbarmen. 
 
 S r a n b e r. elbfl 9Jatte ! 3(^ mogte ben @db,meerbaud) jo am ^eerbe 
 jein eelgen auSblajen jebn ! 
 
 gaufl, 
 
 9Ji e $ b,: S^uu jd^au wte jte'8 bier treiben ! SBenn btr gefaUt, berglet- 
 tb,en ojieta't jt^aff id) bir 9?ad)t nacf)tH<^. 
 
 g a u ft uten Slbenb ibr ^erren. 
 
 31 He (SrojcnSanf! 
 
 iebel 2Ber i ji ber tordjer ba ! 
 
 S3 r a n b e r. @ttH ! ba ifl was ttomebme tulognito, jte tjaben jo tt>a 
 unsufriebne boje im eftdjt. 
 
 '&> i e b e I ^al) ! Sommobianten roenn b,ot^ tommt 
 
 3Ji e p b : (teife) SKerfS ! ben Seufel Dermutfyen bie ^erl nte jo itaty er 
 ib,nen immer ift. 
 
 g r o j d). 3d) roiQ 'en bie SBurme jd)on au ber 9?aje jieb,n, roo fie b,er- 
 fommen ! 3fl ber SBeeg Don 9tippad) b,eriiber jo jd)limm, baff tb,r jo ttef 
 in bi? 5Rad)t b,abt reijen mufjen. 
 
 g a u fl 2Btr fommen ben SBeeg nit 
 
 g r o j d). 3d) meinte etnja ibr b,attet be^ bem berub,mten $au bruben 
 gu SRittag gejpeit. 
 
 g a u ji. 3d) fenn ib,n nidjt (bie anbem la^en). 
 
 g r o j d). O er ifl eon altem ejd)led)t. $at eine weitlaupge gamilie. 
 
 2ft e p b,: 3b,r jet)b roobt jeiner Settern einer. 
 
 SB r a n b e r (Uife ju Srof). @tect8 ein ! ber Be rflebt ben 9tumme(. 
 
 g r o j d). iBet) SBurjen ifi8 fatal, ba mug man jo lang auf bie gabre 
 maudjmal iuart^eu.
 
 348 APPENDIX II. 
 
 g a u ft. @o ! 
 
 @ i e b e I (letfe). ie lommen ait bent 9?eid)e man fleets 'en an. Safft 
 fte nnr erft fibcl roevben. et)b ib,r ^veunbe won cittern fyergljaften djlud ! 
 >erbet) mit end). 
 
 9K e p b, : 3mmer gu. (fte fto&en an unb trinten). 
 
 ^r o f d). Stan ernt etn Siebgen. giir einen $rug ein Siebgen, ba8 ifi 
 biIUg. 
 
 g a u ft 3d) fyabe leine timme. 
 
 2ft e p b, : 3d) fing etn fiir mid), giuet) fiir nteinen Samnteroben, t)itnbert 
 roenn it)r tuollt, wir fontmen au8 panien wo s Jiad)t8 \o tiiel Sieber gefnitgen 
 toevben al terne am ^intinel fteb,n. 
 
 S3 v a n b e r >a Derba't id) mtr, id) I)affe ba8 clltmpere, auffer wettn 
 id) einen 9taufd) ^abe, nub fdjlafe ba bie 3Belt imtevgeb,en biivfte. giir 
 Heine 2JJdbgen ift8 fo tt>a8 bie nit fdjtafen fonnen, nnb ant nft er ftetyen 
 2JJonben Su^lung einjjttfurfeln. 
 
 ajiepb,: [11.2207-8]. 
 
 @ i e b e I @tiEe ! ord) ! @d)5ne Marital ! jd)bne 2iebh,aberei) ! 
 s J?od) ein mal)I. 
 [11. 2211-18]. 
 
 @iebet aBoh,! gemefeen ! SSob,!! (fte fdjlagen in ein OeW^ter au) 
 
 fte nur feiite fatten n>erfen ! 
 
 3epb,: [11. 2223-40.] 
 
 einanber. S3rao ! SSratto ! d)5n unb trefftid) ! S'Jodj 
 ein paav ^riige ! ?{od) ein paar Sieber. 
 
 g an ft. $feine erren ! 2)er SBein gcljt an ! ef)t an ttne in ?eip;ig 
 bie 255eine alle angeb,n mu[fen. od) biindft mid) if)r wiirbet erlaubcn bag 
 man end) an8 einem anbern gaffe gap fte. 
 
 @iebet abt i^r einen eignen ileUev? ^anbett ib,r mit SBeinen? 
 @eib ih,r teEeid)t Won benen djelmen an 'in 9ieid) ? 
 
 2tlten. iffiart ein biffgen (er fte^t auf) 3d) b,ab fo eine ^robe, ob id) 
 Weiter trinfen barf. (r tna^t bie 2lugen ju unb fteljt eine Sffieile) 9f tin ! nun! 
 ba SbpfgeH fd)tt>ancft fdjon ! 
 
 @ i e b e t $al) ! eine ^ a f^ e ! 3d) n>iE or ott tierantroorten unb or 
 beiner gra"w. (Suren SBein ! 
 
 g a u ft. djafft mir einen 33ob,rer. 
 
 ^ r o f d). 3)er SBirtb, I)at fo ein Corbel mit SBerrfjeng in ber (Scte ftel)n. 
 
 g a u ft. (nimmt ben Sourer) ut ! 2Ba8 ueclangt itjr fiir SBein ?
 
 APPENDIX n. 349 
 
 g a u ft 2Ba fur ciit laSgen mogtet ib,r trinfcn ? 3d) fd)aff eudj ! 
 g r o f d). e ! e ! o ein la 9Mnroein adjten ftierenfteiner. 
 
 g a 11 ft Ut ! (er bofcrt in ben 2ifd an grofaenS Seite) 9?un fdjafft 2Bad) ! 
 
 31 1 1 e n 2)a ein tferjen ftitmpfgen. 
 gaufl @o! (er ftopft ba 20$) alt ieyo ! unb ib,r? 
 iebel 3Jiufaten SScin! pauifdjen 3Bein ?onfl leinen Sropfen. 
 3d) toiU nur fe^n wo ba ^inauS laufft. 
 
 g U ft (bo^rt unb nerflopft) 2Ba beliebt cud) ? 
 
 a 1 1 e n 9totb,en SBein ! (Sincn granjSfdjen ! ie graujojen fann id) 
 md)t leiben, fo grojen 9tefpecft id) or iljren SBein b,ab. 
 
 % a u ft (wie oben) 5Run it>a3 f djafft ib,r ? 
 
 S3 r a n b e r att er un f iir'n Barren ? 
 
 g a u ft @d)neU err nennt einen SBein ! 
 
 S r a n b e r oclat)er bann ! @oU er bod) ntdjt QU bem 2ifd)e laufen. 
 
 g a u ft title iunger err ! 9iun aufgefdjaiit ! S)ie lafer unterge. 
 ^alteu. Seber giefye ben SBad)Spropffn b,erau ! >aff aber fein Xropfen an 
 bie (Srbe fallt, fonft giebts ein Unglud ! 
 
 21 1 1 e n 5Df tr trb unb,eimlid). S)er b,at ben Xeufel. 
 
 g a u ft Stugge^ogen ! 
 
 (Sie )ieb.n bie ^fropfen, jebem laufft ber oerlangte Bein in'S SlaS.) 
 
 g a ii ft 3 u 9 e PPf t - Unb nun erfud)t ! 
 
 @ i e b e 1 2Bob,l ! trefflid) U)ob,I ! 
 
 SI 1 1 e 2Bob,l ! ^ajeftatifd) wojjt ! SBiUfommner aft 
 
 (fie trinfcn n>ieberb,oli) 
 
 3Ji e p b, : @ie ftnb nun eingefdjifft 
 g a u ft eb,n raiv ! 
 SDfepfy : 9?od) ein 2JJoment. 
 
 2( 1 1 e ftngen [H. 2293-4.] (ie trinfen wieber^olt, Stebel I8ffl ben $fropf faDen. 
 e3 flieSt auf bie Stcine unb roirb }ur ,>lamme bie an Siebcln ^inauf lobcrt.) 
 
 i e b e I. ^)oUe unb Xeufel ! 
 S3ranber ^auberet) ! ^anbere*)! 
 
 g a U ft Sagt id) eud) Ilidjt. (er cerftopft bie Deffnung unb fprid^t einige 
 SBorte, bie glamme flte^t-) 
 
 @ i e b e 1. ^>err nnb atan ! 3Ke^nt er, rr burft iu eb,rlid)e efettfdjaft 
 fid) uiadjen unb fein $blli)'d)e $>ofupofu tveibcn. 
 g a u ft tiQe SKaftfdjroein ! 
 i e b e 1. 5Diir djwein ! 2>u SBcfenftiel ! 33rubcr ! djlagt ib,n jnfain-
 
 350 APPENDIX II. 
 
 men, tost iljn niebcr ! (fie jieijn bie 5Btefier) Gin gauberer ift SSogelfret) ! 
 ben 9tci(f)Sgefe<jen SBogelfrel). 
 
 (@ie rooHen ttber gauften b,er, er hrinrft, fte fteljn in froljetn rftaunen auf eintnal unb 
 fefyen einanber an.) 
 
 iebel 2Ba fef) id) ! SBeinberge ! 
 S3 r a n b e r Srauben urn biefe 3ahr8 jeit. 
 21 1 1 e n SBte reif ! rtne fd)on ! 
 
 g r f cf) ^alt ba8 tft bte flfjonfte ! (fie gmfen ju, Iriegen etnanber 6e? ben 
 iRafett, unb ^eben bic SKeffer) 
 
 % a u ji alt ! eb,t unb fcfjlaft euren 9tauf^ au ! 
 
 (Jauft unb TOep^ : ab. (S3 ge^en i^nen bie Slugen auf, fie fafyren tnit (SeWre^ au einanber.) 
 
 tebel arteine ^Jfafe ! 2Bar bag beine ?Jaje ? SBaven baS bie Srouben? 
 28o ift er ? 
 
 S3 r a n b e r govt ! (S8 tuar ber euf el jelbjl. 
 5^ r o f d) 3c^ b,ab iljn auf einent gaffe l^inaiiS reiten feb,n. 
 31 1 1 e n ajl bit ! >a ifi gewig auf bem SPiavcft nit ftcb,er 2Bie lorn* 
 men rotr nad) aufe. 
 
 ^Branber iebel gef) gu erfi ! 
 tebel ^ein Sftarr. 
 
 grofd). Sommt wir mecten bie afd)er nnterm 9tatb,au8, fitr ein 
 Srindtgelb ttjun bie roob,l tb,re cljulbigleit. gort! 
 
 i e b e I ollte nioljt ber SBcin nod) taufen. (er oifitirt bie ipfropfen.) 
 21 1 1 e n 23tlbt bir nidjt ein ! rocfeu rcie olg ! 
 g r o ]" d) gort ih,r 33urfd)e ! gort ! (afle ab.) 
 2609-10. U has : 
 
 3)a ifl ein fyerrlid) fd)6ne ^tnb 
 
 te b,at a8 in ntir angejiinbt. 
 2674-77. U has : 
 
 @r tb,ut als War er ein giirften o^n 
 
 att Sujtfer fo ein Sugjenb ^Jriujen 
 
 2)ie follteu ib,m fdjou iua oermiingen 
 
 2lm Snbe friegt' er eine (Sommiffton. 
 2735-6. U has : 
 
 3d) fag eud) e ftnb adjen brein 
 
 llm cine guvftin 311 gen)iunen. 
 2760-64. Cf. note. 
 
 2785. U has : 2Ba8 ucfgucf mag babrinne fein? 
 2814. Between this and 1. 2815 U. has :
 
 APPENDIX n. 351 
 
 einer aud) (Sngelgblut im Setbe, 
 <5r njfirbe ba gum $eering SBeibe. 
 
 3031-2. U has : 
 
 gait ft. @ie ifl mir Iieb. 
 
 2ft e P lj : od) geb,t8 nirfit gang umfiinft, 
 
 (Sine unfl ift roertf) ber anbern unft. 
 3346-7. U has : 
 
 3)a burd) erfdjiittern burdjerroarmen ? 
 
 SSerbrangt e biefe @ee(en 9iotb. 
 3483. U has : 
 
 @8 ifl ein f <m$ n)ie' mebv noc^ geben. 
 
 3775+- The heading is in U : 2)om. Gjequien ber Sautter retgen. 
 retgen aUe SSemanbte. Slmt, Orgel unb efang SBofer eift binter 
 retgeiu 
 
 3780. U has : S)etnen ebeten nad)laQtefi. 
 3791-2. U. has : 
 
 @d)lagt ba nidjt quittenb fd)on, 
 
 S3ranbfd)anbe 3Kaalgeburt ! 
 4405-612. The text of this scene reads in U : 
 
 Verier. 
 
 5 a U fl mil etnem Sunb $iaf)el unb einer Sompe an etnem eifernen Zflrgen. 
 @8 fafft mid) langft Dcrwoljnter djauer. 3nnere8 rauen ber 2Wenf(^ 
 belt. ier ! ier ! Slttf ! 2)ein 3agen gogert ben obt beran. 
 
 (er fafft ba @4Ioff e r"8t innjenbig.) [U. 4412-20.] 
 
 jt a II ft (jittert n>on(t ermannt ftc unb fc^Iiegt auf , er $ort bie Hetten flirren unb baS 
 gtro^ raufc^en.) 
 
 3Ji a r g a r e t b e (ft^ oerbergenb auf i^rem Eager.) SBeb,! SBeb ! fte fornmen. 
 SBittrer Sobt ! 
 
 ft a It ft (letfe) @tifl ! 3d) fomme bid) JU befretjn. (erfafft i^re etten fte auf. 
 jufdjlteffen) 
 
 SJiarg: (roebrenb) 2Beg ! Um 2ftitternad)t ! Render ift bir' tnorgrn 
 friibe nidjt jeitig gnug. 
 
 goitft 8affl 
 
 SDiarg: (maist fta> oor i&n bin) (Srbarnte bid) mein unb lafj mid) leben! 
 3d) bin fo iung, fo iung, unb groar fdjon unb bin ein armed hinges SRabgen. 
 @icb, nur etnmal bie 25lumeu an, fte^ nur etnmal bie Sron. (Srbarme bid) 
 mein ! 2Ba3 bab id) bir getban ? ab bid) mein Sage nid)t gefebn.
 
 352 APPENDIX II. 
 
 ^ a it ft. @ie berirrt unb id) tiermagg ntrfjt. 
 
 2ft a r g : @icb, ba3 $inb ! 2ftuff itf)' bod) tranfen. 3)a Ijatt id)' eben ! 
 2)a ! 3d) b,ab8 getrandt ! @ie natjmen mir, unb fagen id) b,ab e umgebradit, 
 itnb ftngen Siebgcr aitf raid) ! @ ift nid)t rcafyr e8 ift ein 2JJargen ba8 
 ftd) fo enbigt, e ift md)t auf mid) bag @ie'3 ftngen. 
 
 a II ft (ber ft* ju i&r Ijinnrirft) retgen ! 
 
 3ft a r g r : (bie firf> aufretst) SBo ift er ! 3d) b,ab ib.n riifen tjoren ! cr rief 
 retgen ! (Sr rief mir ! 2Bo ifl er ! 9td) burd) aE ba8 euten unb ,3al)n* 
 Happen erlenn id) th,n, er ruft mir : retgen ! (St$ oor i^m nieberroerfenb) 
 2Jiann ! 2JZann ! ieb mir ib,n fdjoff mir ib/a ! 2o ift er I 
 
 5 a U fit (erfafjt fte routenb urn ben aI5) 2JJeine i'iebe ! 2Mne Siebe ! 
 
 9JJ a r g r : (ftnctt i^r ^aupt in feinen <Hcf)oo nerbetgenb) 
 
 g a u ft 5lnf meine i'iebe ! ein 2Jiorber rcirb bein Sefretjer. 2lnf ! 
 (r f^liefft iiber i^rer SBetaubung bie 2lrm fiette auf) ^omm, nrir entgeljen bem 
 jdjrodUdjen @d)idfaal. 
 
 2ft a r g r (angeie^nt) Mffe mid) ! ^iiffe mid) ! 
 
 i5 a u fl 'Xaufenbmal ! 9Jitr eile retgen eile ! 
 
 Sftargr: fiiffe mid)! ifannfl bu md)t meljr liiffen? 2Bie! 2Ba8! 
 33ift mein einrid) unb b,aft'8 liiffen Berlernt ! SBie fonft ein gather tm 
 met mit beiner llmarmung geroaltig itber mid) etnbraug. SBie bit Fitffteft 
 at ttjotlteft bu mid) in mollitfttgem Xob erfticfen. ^etnrid) fitffe mid), fonfl 
 f iiff id) bid) (fte faat t^n an) SBeb, ! beine Sippen ftub lalt ! obt ! Slntroorten 
 nidjt! 
 
 g a u jl gotge mir, id) b,erje bid) mit taufenbfadjer tut. 5Ritr folge mir. 
 
 3Ji a r g r : (6ie |e|t ft* unb btetbt eine Seitlang ftitte) etnrid) btft blt'8 ? 
 
 g a u ft 3d) bin'8. $omm mit. 
 
 2arg: 3d) begreiffs ntd)t ! u? ie geffeln Io ! efre^fl mid). 
 2Ben befre^fl bu ? SBeift bu'8 ? 
 
 gauft. Contra! Contra ! 
 
 2JJorgr: 2Jieine 9Kutter b,ab id) umgebradjt ! 3Jiein finb tjab id) 
 ertrandt. 25ein $tnb ! einrid) ! rofer ott im ^imniet foE baS fetn 
 Sraum fet)n ! beine anb einrid) ! @ie ift feudjt SBifdje fte ab id) 
 bitte bid) ! @ ift S3lntbron tecfe benSegen ein ! 2Mn$opf ift oerriictt. 
 
 g a u ft. u bring ft mid) um. 
 
 2Ji a r g r : -Kent bu foUjl iiberbtetben, itberbteiben won aEen. 28er 
 jorgte fiir bie raber ! @o in eine SRetfye id) bitte bid), neben bie SUhtttcr 
 ben S3ruber ba ! iDHd) bal)in unb mein $teine8 an bie redjte 23ruft. ieb 
 ntir bie anb brauf bit bift mein einrid).
 
 APPENDJX n. 353 
 
 ^ a 11 ft (roia fe roeg si$en) giib,Ift bu mid) ! orft bll mid) ! fomm id) 
 bins id) befretye bid). 
 
 2Ji a r g r : 3)a b,inaus. 
 
 g a u ft gret)b,eit ! 
 
 2ftargr: 2>a b,inau! 9Ud)t urn Me SBelt. 3ft ba rab brans, 
 fomm ! Sauert ber Sobt ! fomm. Son b,ier in'S enMge 3tub,e Sett tueiter 
 nid)t einen djritt. 2ld) einrid) fount id) mit bir in aHe SBelt. 
 
 g a it ft. 2)er ^erfer ift offen faume nic^t. 
 
 2R a r g r : @ie lauren auf mic^ an ber trafe am SBalb. 
 
 gauft. inau! tnau8! 
 
 2Jt a r g r : Unt8 Seben nic^t @ieb,ft bu'S jappcln ! SRette ben armen 
 SSurnt er jappelt nod)! gort! gefcfjroinb! 9Jnr itbern @teg, gcrab in 
 SBalb Ijinein Itnf am eid) roo bie s ^Ianfe ftetjt. gort ! rette ! rette! 
 
 gauft 9tette! SRette bit^l 
 
 2Ji a r g r : SSaren wir nitr ben S3erg borbet), ba fij$t meine 2Rutter auf 
 einem @tein unb njadelt mit bem $opf ! @ie roincft nia^t fte nicft nid)t, tb,r 
 ^opf ift ib,r fdjroeer. ie follt fd)lafen ba roir fbnnten madjen unb un8 
 itenen bet)fammen. 
 
 g a n ft (ergreift fte unb join fte roegtragen) 
 
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 g a u ft er Sag grant. ) Stebgen ! 2iebgen ! 
 
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 Sag ! @ag8 niemnttb baff bu bie ^ad)t orb,er be^ vetgen hiarfl. 
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 pfen nur iiber bie affrn! orfl bu! ^ein lante SBort. 2>ie Olode 
 ruft! ifrarf ba tabgen bridjt! e gurft in iebem 9tacfen bie ajarfe 
 bie nad) meinem jucft ! 2)ie lode b,or. 
 
 2Ji e p b, : erf^eint. 3luf ober ib,r fetib Derlob,ren, meine ^ferbe fdjaubern, 
 ber 2ftorgen bdmmcrt auf. 
 
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 nimmermeb,r ! 2luf ereig lebe rooljt. J?eb roob,! ^einrid). 
 
 g a u ft fte umfaffenb. 3d) laffe bid) nid)t ! 
 
 3R a r g r. 3b,r Ijeiligcn (Sngel beroafyret meine @eele mir grants tor 
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 3Ji e p b, : @ie ift gertdjtet ! (er oerf$inbet mit gaufl, bie $Wre raffelt ju man 
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