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 • • OLIVER DITSON COMPANY « e 
 
THE 
 
 DAMNATION OF FAUST 
 
 A DRAMATIC LEGEND IN FOUR PARTS. 
 
 BY 
 
 HECTOR BERLIOZ 
 
 
 FRENCH AND ENGLISH LIBRETTO WITH 
 
 
 SYNOPSIS, AUTHOR'S PREFACE, AND MUSIC 
 
 
 BOSTON 
 
 
 OLIVER DITSON COMPANY 
 
 New York 
 
 Chicago 
 
 C H. DITSON & CO. 
 
 LYON & HEALY 
 
 867 Broadway 
 
 Cor. Wabash Ave. and Adams St 
 
 Copyright, mdcccxcviii, by Oliver Ditson Company. 
 
MUSIC LIBRARY 
 
 University of California 
 Berkeley 
 
 THE DAMNATION OF FAUST. 
 
 (HECTOR BERLIOZ.) 
 
 PERSONAGES. 
 
 MARGUERITE . . Mezzo-Soprano . 
 FAUST Tenor. 
 
 MEPHISTOPHELES . Barito >.or Bass„ 
 BRANDER Bass. 
 
 CONTENTS. 
 
 Author's Preface. 
 Synopsis 
 
 PART I. 
 
 i. Introduction i* 
 
 2. Song and Dance of the Peasants 10 
 
 3. Hungarian March 28 
 
 PART II. 
 
 4. Faust Alone in his Study • • • 35 
 
 5. Easter Hymn 39 
 
 6. Drinking Chorus in Auerbach's Cellar 75 
 
 7. Brander's Song of the Rat 92 
 
 8. Fugue ("Amen ") on the Theme of Brander's Song . . .101 
 
 9. mephistopheles' song of the flea 109 
 
 10. The Banks of the Elbe (Air, Mephisto) 117 
 
 n. Chorus of Sylphs and Gnomes (Faust's Dream) 119 
 
 12. Ballet of Sylphs 175 
 
 13. Finale. — Chorus of Soldiers and Students . 184 
 
 PART III. 
 
 14. Drums and Trumpets Sounding the Retreat 212 
 
 15. Air, Faust in Marguerite's Chamber 214 
 
 16. The King of Thule, Gothic Song (Marguerite) 227 
 
 17. Evocation 233 
 
 18. Minuet of the Will-o'-the-Wisps 237 
 
 19. Serenade, Mephisto with Chorus of Will-o'-the-Wisps 248 
 
 20. Trio and Chorus (Marguerite, Faust, and Mephisto) 261 
 
 PART IV. 
 
 21. Romance (Marguerite) 303 
 
 22. Forest and Caverns, Faust's Invocation to Nature 317 
 
 23. Recitative and Hunt 322 
 
 24. The Ride to Hell, Duet (Faust and Mephisto) 330 
 
 25. Pandemonium, Chorus of Lost Souls and Demons .... ... 341 
 
 26. Heaven, Chorus of Celestial Spirits (Marguerite's Apotheosis) . 357 
 
 * The page numbers refer to the score with piano accompaniment, published by Oliver Ditson Company. 
 
 l%7 
 
AUTHOR'S PREFACE. 
 
 ML5"o 
 B + SJD3 
 
 L_. b *- ft v- «-T,, 
 
 This work, as is indicated by its title, is not founded 
 on the principal idea of Goethe's Faust, for in that 
 illustrious poem, Faust is saved. 
 
 The author of The Damnation of Faust has 
 only borrowed from Goethe a certain number of 
 scenes adapted for introduction into the plan that he 
 had laid out, scenes the beauty of which were, to his 
 mind, irresistible. But, even had he followed faith- 
 fully the idea of Goethe, he would nevertheless have 
 incurred the reproach which has been addressed to 
 him (at times with severity), of having mutilated a 
 monument. 
 
 It is a well-known fact that it is absolutely imprac- 
 ticable to set to music a poem of considerable length 
 which was not written with this object in view, with- 
 out introducing many modifications. Of all existing 
 dramatic poems, Faust is, without doubt, the most 
 impossible to sing in its entirety, from beginning to 
 end. Now, if, while adhering to the principal idea of 
 Goethe's Faust, it becomes necessary, in order to 
 make of it the subject of a musical composition, to 
 modify the masterpiece in various ways, the crime of 
 treason against genius is quite as evident in this case 
 as in the other, and is open to equal criticism. 
 
 From the foregoing, it would appear that musicians 
 should be prohibited from selecting famous poems as 
 themes for their compositions. By this rule we would 
 be deprived of the opera of Don Juan, by Mozart, 
 for the libretto of which Da Ponte has modified the 
 Don Juan, of Molière; we would be without his 
 Marriage of Figaro, in which the text of Beaumar- 
 chais's comedy has certainly not been respected ; nor 
 yet, for the same reason, should we possess The 
 Barber of Seville, by Rossini; nor Alceste, by 
 Gluck, which is simply a paraphrase of the tragedy 
 by Euripides; nor his Iphigenia in Aulis, in which 
 needless and regrettable changes have been made in 
 the verses of Racine, verses which, in their pure 
 beauty, might well have been introduced in the recita- 
 tives The numerous operas founded on the dramas 
 of Shakespeare would have remained unwritten, and 
 finally, it would be necessary to condemn Spohr for 
 having produced a work which also bears the name 
 Faust, in which arc to be found the characters of 
 
 Le titre seul de cet ouvrage indique qu'il n'est pas 
 basé sur l'idée principal du Faust de Goethe, puisque, 
 dans l'illustre poëme, Faust est sauvé. L'auteur de 
 la Damnation de Faust a seulement emprunté à 
 Goethe un certain nombre de scènes qui pouvaient en- 
 trer dans le plan qu'il s'était tracé, scènes dont la 
 séduction sur son esprit était irrésistible. Mais fût-il 
 resté fidèle à la pensée de Goethe, il n'en eût pas 
 moins encouru le reproche, que plusieurs personnes lui 
 ont déjà adressé (quelques-unes avec amertume) 
 d'avoir mutilé un monument. 
 
 En effet, on sait qu'il est absolument impra- 
 ticable de mettre en musique un poëme de quelque 
 étendue, qui ne fut pas écrit pour être chanté, sans 
 lui faire subir une foule de modifications. Et de tous 
 les poëmes dramatiques existants, Faust, sans aucun 
 doute, est le plus impossible à chanter intégrale- 
 ment d'un bout à l'autre Or si, tout en conservant 
 la donnée du Faust de Goethe, il faut, pour en faire le 
 sujet d'une composition musicale, modifier le chef- 
 d'œuvre de cent façons diverses, le crime de le lèse- 
 majesté du génie est tout aussi évident dans ce cas 
 que dans l'autre et mérite une égale réprobation. 
 
 Il s'ensuit alors qu'il devrait être interdit aux musi- 
 ciens de choisir pour thèmes de leurs compositions 
 des poëmes illustres Nous serions ainsi privés de 
 l'opéra de Don Juan, de Mozart, pour le livret duquel 
 Da Ponte a modifié le Don Juan de Molière: nous 
 ne posséderions pas non plus son Mariage de Figaro, 
 pour lequel le texte de la comédie de Beaumarchais 
 n'a certes pas été respecté; ni celui du Barbier de 
 Seville, de Rossini, parla même raison; ni Y Alceste 
 de Gluck, qui n'est qu'une paraphrase informe de la 
 tragédie d'Euripide ; ni son Iphigénie en Attlide, pour 
 laquelle on a inutilement (et ceci est vraiment coup- 
 able) gâté des vers de Racine, qui pouvaient par- 
 faitement entrer avec leur pure beauté dans les réci- 
 tatifs; on n'eût écrit aucun des nombreux opéras qui 
 existent sur des drames de Shakespeare; enfin, M. 
 Spohr serait peut-être condamnable d'avoir produit une 
 œuvre qui porte aussi le nom de Faust, où l'on trouve 
 les personnages de Faust, de Méphistophélès, de 
 Marguerite, une scène de sorcières, et qui pourtant ne 
 ressemble point au poëme de Goethe. 
 
 (iii) 
 
 813 
 
iv 
 
 PREFACE. 
 
 Faust, Mephistopheles, Margaret, and with a Witches' 
 Scene, but which, however, bears no resemblance to 
 Goethe's poem. 
 
 A reply may readily be found to the detailed criti- 
 cism which has been made on the text book of The 
 Damnation of Faust. 
 
 Why, it has been asked, has the author placed his 
 characters in Hungary? 
 
 Because he wished to introduce a piece of instru- 
 mental music, the theme of which is Hungarian. He 
 confesses this frankly. He would have placed them 
 anywhere else, had he had the least musical reason 
 for doing so. Has Goethe himself, in the second 
 Faust, not taken his hero to Sparta, to the palace of 
 Menelaus? 
 
 The legend of Doctor Faust is capable of the most 
 varied treatment; its adaptability is world wide; it 
 had been dramatized by others before Goethe; it had 
 long been known, under divers forms in the literary 
 world of Northern Europe, when he made use of it, 
 and even Marlowe's Faust had, in England, a cer- 
 tain popularity and celebrity, which, however, dimin- 
 ished and disappeared before the masterpiece of 
 Goethe. 
 
 As regards the German verses which are sung in 
 The Damnation of Faust, and which are Goethe's 
 verses with changes, they must, evidently, be as dis- 
 pleasing to the German ear, as are to the French 
 ear the verses of Racine, so needlessly altered in the 
 iphigenia of Gluck. 
 
 It must be remembered, however, that the score of 
 this work was written from the French text, which, in 
 certain places, is itself a translation of the German, 
 and that in conformity with the desire of the composer 
 to submit his work to the judgment of the most musi- 
 cal public in Europe, it has been necessary to write in 
 German a translation of the translation. 
 
 These remarks may perhaps seem somewhat puerile 
 to those powerful minds that grasp at once the whole 
 of a subject, and who think it unnecessary to have it 
 proved to them that there is no desire to dry up the 
 Caspian Sea, or to blow up Mount Blanc. Mr. H. 
 Berlioz has, nevertheless, felt it incumbent on him to 
 offer them, so much does he deprecate being accused 
 of unfaithfulness to the religion of his life, or of hav- 
 ing failed, even indirectly, in the respect due to genius. 
 
 Maintenant, aux observations de détail qui ont été 
 faites sur le livret de la Damnation de Faust, il sera 
 également facile de répondre. 
 
 Pourquoi l'auteur, dit-on, a-t-il fait aller son per- 
 sonnages en Hongrie? 
 
 Parce qu'il avait envie de faire entendre un mor- 
 ceau de musique instrumentale dont le thème est 
 hongrois. Il l'avoue sincèrement. Il l'eût mené par- 
 tout ailleurs, s'il eût trouvé la moindre raison musi- 
 cale de le faire. Goethe, lui-même, dans le second 
 Faust, n'a-t-il pas conduit son héros à Sparte, dans le 
 palais de Ménélas ? 
 
 La légende du docteur Faust peut être traitée de 
 toutes manières: elle est du domaine public; elle 
 avait été dramatisée avant Goethe ; elle circulait 
 depuis longtemps sous diverses formes dans le monde 
 littéraire du nord de l'Europe, quand il s'en empara ; 
 le Faust de Marlow jouissait même, en Angleterre, 
 d'une sorte de célébrité, d'une gloire réele que Goethe 
 a fait pâlir et disparaître. 
 
 Quant à ceux des vers allemands, chantés dans la 
 Damnation de Faust, qui sont des vers de Goethe 
 altérés, ils doivent évidemment choquer les oreilles alle- 
 mandes, comme les vers de Racine, altérés sans raison 
 dans Y Iphigénie de Gluck, choquent les oreilles fran- 
 çaises. Seulement, on ne doit pas oublier que la 
 partition de cet ouvrage fut écrite sur un texte fran- 
 çais, qui, dans certaines parties, est lui-même une tra- 
 duction de l'allemand, et que, pour satisfaire ensuite 
 au désir du compositeur de soumettre son œuvre au 
 jugement du public le plus musical de l'Europe, il a 
 fallu écrire en allemand une traduction de la traduc- 
 tion. 
 
 Peut-être ces observations paraîtront-elles puériles 
 à d'excellents esprits qui voient toute de suite le fond 
 des choses et n'aiment pas qu'on s'évertue à leur 
 prouver qu'on est incapable de vouloir mettre à sec la 
 mer Caspienne ou faire sauter le mont Blanc. M. H. 
 Berlioz n'a pas cru pouvoir s'en dispenser, néanmoins, 
 tant il lui est pénible de se voir accuser d'infidélité à 
 la religion de toute sa vie, et de manquer, même indi- 
 rectement, de respect au génie. 
 
SYNOPSIS OF 
 
 THE DAMNATION OF FAUST. 
 
 ( From the A". Y. Musical Review, January 2Ç, 1880.) 
 
 The Faust of Berlioz cannot be taken as an exact para- 
 phrase of the poem of Goethe. But, if the author makes 
 undesirable omission of some important scenes, such as in 
 the prison and in the church, and if he deprives himself of 
 the character of Valentine with its admirable episodes, he 
 treats certain situations neglected by earlier (and by later) 
 composers, and has known how to compose a poem with 
 two essential qualities, color and life. Berlioz carefully jus- 
 tifies his free use of the original poem in these words : 
 "The title of my work sufficiently indicates that it is not based 
 upon the principal idea of Goethe's Faust, for in the illus- 
 trious poem Faust is saved." Berlioz has borrowed from 
 Goethe only a certain number of scenes which entered into 
 his plan, and which seem to have attracted him irre- 
 sistibly. The very fact that he should have substituted 
 Faust's descent to hell for that portion of the German work 
 in which the hero is saved, shows a characteristic phase of 
 his genius. Berlioz, not unlike Edgar Allan Poe, took a 
 peculiar delight in the horrible; and he could not possibly 
 resist so favorable an opportunity to send a man to the 
 devil, with all the accompanying terrors. 
 
 The score of La Damnation de Faust is divided into 
 four parts, containing nineteen scenes and an epilogue. 
 The scene opens without an overture. Faust is wandering 
 amid the plains of Hungary, singing a monologue to the 
 awakening spring, accompanied by a lovely symphonic 
 picture. It is important to note in these passages fragments 
 of the march, suggesting the approach of the Hungarian 
 soldiers and of the Rondo des Paysans (introduced later) in 
 condensed rhythm, piccolo, oboes, bassoons, and horns 
 alternately intoning these fragments. The Rondo of the 
 peasants is cleverly orchestrated, so as to preserve the pas- 
 toral tone throughout. Flutes and oboes have the melody, 
 which is accompanied almost entirely by the clarionet, 
 bassoons, and horns, and only occasionally by strings. 
 
 This gayety calls from the unhappy Faust a regretful 
 sigh, breathed forth in a musical phrase of deep melan- 
 choly. Then passes a troop, with its martial sounds. This 
 is the popular Rakoczy March. Berlioz here developed the 
 theme of the Hungarian national hymn wonderfully, and 
 then arranged it for orchestra, and it is to his brilliant scor- 
 ing that the march owes its universal popularity. While 
 he himself considers its introduction here a caprice, it is of 
 deeper poetic import. For it enables Berlioz to present in 
 the first part two powerful contrasts : Faust's melancholy 
 and the peasants' mirth ; Faust's renewed gloom and the 
 boisterous joy of the Hungarian soldiers. 
 
 The second part begins. Faust is in his laboratory, eager 
 for knowledge, weary of life. As he raises the poisoned 
 death-cup to his lips, comes the sound of Easter music. 
 This scene, taken textually from Goethe's poem, is of great 
 
 beauty. The désillusion and the ardor of Faust are painted 
 with a masterhand. The Easter hymn, after a short intro- 
 duction for sopranos and altos accompanied by double 
 basses, is first sung by male voices only. When after- 
 ward sopranos and altos join, and the full orchestra 
 spreads its shimmer over the choral masses, the effect is of 
 a sublime majesty. The apparition of the demon is treated 
 in a few highly colored measures, and the concise motive 
 with which Mephistopheles is introduced, and which occurs 
 several times later on, is the earliest example of a leading 
 motive in an oratorio. The demon transports his lord and 
 master to the tavern of Auerbach. Here Berlioz has given 
 a literal rendering of the original scene and words. The 
 drinking-chorus has an irresistible entrain. Then Blan- 
 der, heavy and vinous, as suits his listeners, sings the stan- 
 zas of the Song of the Rat. Hardly has the crowd pro- 
 nounced its lamentable Requiescat, when begins a " dishev- 
 elled " fugue on the word Amen. This is a musical jest on 
 the part of the composer, who was glad thus to turn the 
 tables upon his detractors, the ardent defenders and com- 
 pilers of pseudo-classical fugues. For Berlioz himself by 
 no means underrated the power of the artistic fugue, and 
 has introduced several fugatos into La Damnation de Faust. 
 The fugue ended, the devil flings at the gaping crowd his 
 bizarre Song of the Flea. This is one of the most interest- 
 ing parts of the work. For Berlioz has described, by means 
 of clever forms in the accompaniment, the skipping of the 
 flea in various directions. Further on occurs what might 
 be described as a skipping-climax; and that part of the 
 song which mentions the slinging flea is accompanied by 
 a quick thrust on the kettle-drum. It is interesting to note 
 the fact that even Beethoven, not disdaining program- 
 music, has composed music to the same text with an equally 
 descriptive accompaniment, ending with a rapid passage, 
 whose notes are all, with Beethoven's characteristic humor, 
 marked to be run down with the thumb. To accomplish 
 this, the tip of the thumb closes on the third finger-tip — an 
 exceedingly suggestive position under the circumstances. 
 
 Under the title, Bosquets et Prairies au Bord de PElbe, 
 Berlioz has transcribed the end of the third scene, and com- 
 posed a marvel of graceful, fairy-like inspiration. The demon 
 murmurs into the ear of Faust a softly penetrating melody. 
 The Chorus of the Gnomes and the Ballet of the Sylphs der- 
 ail word-description. The slumber-chorus in this scene is 
 perhaps the most difficult number of the work. The rhythm 
 of the soft melody taken by the altos is exceedingly catch- 
 ing. It begins with a part for chorus and orchestra in | 
 time {Andante) ; then the chorus sings in % time [Allegro), 
 while the strings continue in the old tempo, so that three 
 of the bars of the chorus correspond to one bar of the 
 strings. The rest of the orchestra continues all through in 
 
 (v) 
 
VI 
 
 SYNOPSIS. 
 
 the same tempo with the chorus. In the following Bal- 
 let of the Sylphes the melody is that of the slumber-song, 
 built on the organ-point D, which the basses sound through- 
 out the entire movement. The close connection between 
 these parts and, indeed, the intimate poetic relation exist- 
 ing between all the numbers of this work, show how nec- 
 essary to its unity a complete performance is, and how ill- 
 advised it is to present only fragments of it to the public. 
 Faust perceives amid his dreams the fair image of Mar- 
 guerite, and the demon hurries him away through the groups 
 of soldiers and students, who are singing of war and of love. 
 
 The night falls; drums and clarions sound the "re- 
 treat." Faust penetrates into the young girl's chamber. 
 Marguerite enters, disturbed and troubled. She sings, to 
 distract her thoughts, an ancient ballad of archaic form, of 
 which the last words die like a soft kiss upon her lips. 
 
 Here reappears the poem of Berlioz. All the end of 
 this part, excepting the serenade and the dialogue of the 
 lovers, is his invention. At a sign of the demon, the Fol- 
 lets (will-o'-the-wisps) rome flying to Marguerite's door — 
 (this grotesque minuet is a worthy pendant of the ballet of 
 the sylphs) and Mephistopheles warbles, with his scoffing 
 voice, an enchanting serenade. At the end of the Evoca- 
 tion des Follets, which is superbly orchestrated, occurs a 
 Presto, whose melody is new, and which eventually devel- 
 ops into the serenade of Mephistopheles, as though he had 
 imbued the follets with his spirit. In the accompaniment 
 of the serenade, Berlioz has reproduced the peculiar effect 
 of the mandolin by pizzicato crescendos for violas and sec- 
 ond violins. Faust and Marguerite are alone, intoxicated 
 with the song, and Faust breathes forth his love in a phrase 
 of deepest passion. Their voices unite ; they soar together. 
 The demon enters — "Fly!" he cries, "the mother, the 
 friends are at hand ! " And the final trio and chorus close 
 in a superb sweep of passion and Satanic joy. The danger 
 presses, the tumult increases, and the demon drags Faust 
 away, leaving the defenceless, unhappy Marguerite. In 
 this end of the third part the composer's inspiration, un- 
 trammelled by an impossible theatrical representation, 
 has produced a picture above praise, taking rank with the 
 noblest examples of dramatic music. 
 
 At the opening of the fourth part, Marguerite is in her 
 chamber, weeping, despairing, hoping. She seats herself 
 at her spinning-wheel, and murmurs a melody full of 
 anguish. As Marguerite's passion awakens at the thought 
 of her lordly lover, the plaintive echo of her melody passes 
 over the orchestra, and she flies to the window. In the 
 distance is heard the song of the students, the last echo of 
 the " retreat." Nightfalls. Everything recalls to the un- 
 happy child the remembrance of the one evening without a 
 morrow. " He comes not ! " she cries, and falls, half dead 
 with remorse and anguish. In the following number For- 
 ests and Caverns, the musician has been inspired by the 
 fine Invocation to Nature, which is in the corresponding 
 scene of Goethe's poem. 
 
 The orchestral and vocal composition translates mar- 
 yelously this burning cry, this ardent aspiration after in- 
 finite happiness. But the demon appears, recounting the 
 remorse of the loved one, her crime, her imprisonment, her 
 approaching death. It will be remembered that nothing 
 has been said as yet of a compact between Faust and 
 Mephistopheles. With delicate poetic feeling, Berlioz has 
 allowed Mephistopheles to appear only as the jolly com- 
 panion, not as the tempting demon. But now, after 
 playing upon Faust's sympathies for the unhappy girl, 
 until he is seized with terrible anguish and remorse, he 
 throws off the mask; and Faust, willing to sacrifice all, even 
 eternal happiness, for his love, seals the compact. It is then 
 
 Mephistopheles calls for the black steeds of hell. " To me, 
 Vortex, Giaour ! " he cries, and, mounted on them, the 
 devil and Faust rush into space. It is a flight to the abyss. 
 Here Berlioz gives free rein to the boldest imaginings. The 
 unbridled race of the coursers of hell, the incantations of 
 witches, wild exclamations of Faust, the sneers of the devil — 
 all are depicted in a frightful unloosing of orchestral masses. 
 
 Berlioz ends the legend with two strange compositions of 
 rare energy, and sharply contrasted — Pandemonium: it 
 is hell with a sinister gnashing, with its devouring joys; 
 it is the triumph of the demon, clutching his prey in his 
 talons. Heaven: it is pure, ineffable bliss; it is the appar- 
 ition of the unhappy sinner; it is the divine, angelic con- 
 cert, calling to the abode of the blessed the repentant, 
 purified Marguerite. 
 
 La Damnation de Faust is a work of great worth. Ber- 
 lioz has been helped in his perilous attempt by the richest 
 imagination, fired by the grandeur and the ideal beauty of 
 his model. Even when he departs from the original text, 
 and, by combining several episodes, produces an entirely 
 different situation, such as the love-scene interrupted by 
 the arrival of the demon, the musician is still sustained by 
 the poet, and his inspirations pour richly, grandly forth. 
 It is a work worthy to be placed forever side by side with 
 the original drama. 
 
 From the first performance, in 1846, until 1869. frag- 
 ments of La Damnation were given twice in Paris. In 
 April, 1849, tne chorus and ballet of the sylphs and the 
 Hungarian March were given by the Conservatoire. 
 
 In April, 1861, were given other extracts — an air of 
 Mephistopheles, the chorus of sylphs during the sleep of 
 Faust, the waltz of the sylphs, and the double chorus of 
 students and soldiers. This performance met with little 
 success, and caused great commotion. Scudo, the critic, 
 always remarkable for his animosity toward the author, de- 
 clared that " such music " would never be heard again in 
 " such a place." In 1869 M. Litolff caused to be given, at 
 the Opéra concerts, the waltz of the sylphs and the minuet 
 of the follets. The public surprise at hearing these mar- 
 vels of grace is still remembered. Soon after, M. Reyer 
 produced the air of the demon and the scene of Faust's 
 sleep, at the beautiful festival, arranged in honor of Ber- 
 lioz, at the Opéra. Since that time these numbers have 
 been known and admired by all artists. In 1872 the Con- 
 servatoire gave again all the fragments played eleven years 
 before — this time with great success. 
 
 On the 18th of February, 1877, La Damnation de Faust 
 was given as a whole at the "Concerts Populaires," M. 
 Pasdeloup conducting, and won a great success. In the same 
 year the orchestra of the Châtelet was obliged, in compli- 
 ance with the public wish, to give it six times in succession, 
 always before full houses. " The work of Berlioz," says a 
 contemporary, " has not only been applauded, it has been 
 understood." On the 30th of March, 1878, the "Concerts 
 Populaires " announced the twenty-first performance of 
 La Damnation de Faust. The" Hippodrome " closed the 
 series of festivals for the year by a solemnity in honor of 
 Berlioz, given on the anniversary of his death (March 8, 
 1869), and the government took part in this manifestation. 
 
 Whoever will glance at the orchestral score of La Dam- 
 nation de Faust will recognize the genius of its composer, 
 the folly of his detractors, and the enterprise of the Sym- 
 phony Society. Berlioz's time has come at last; and soon, 
 no doubt, the Parisians who hooted and laughed at him 
 during his life, will dedicate a street to his memory. When 
 thi: occurs, it is to be hoped that "Rue Berlioz" may be 
 posted on the very house in which Scudo wrote his fanati- 
 cal opinions. 
 
DAMNATION OF FAUST. 
 
 DRAMATIC LEGEND 
 
 IN FOUR PARTS. 
 
 FIRST PART. 
 
 SCENE I. 
 
 (A Plain in Hungary.) 
 
 Faust {alone in the fields at sunrise). Now 
 
 ancient Winter hath made place for 
 
 Spring, 
 And the fountain and stream are free 
 
 again; 
 The sun, in his might, sends his countless 
 
 beams 
 To gladden with flow'rs the far-spreading 
 
 plain. 
 I feel the breath of morn through humid 
 
 airs returning, 
 I feel a purer flame within my bosom 
 
 burning. 
 Above, the wak'ning birds greet the day 
 
 with their song, 
 Mid tall slow waving reeds the swift 
 
 stream glides along. 
 Oh ! happy life, to dwell, to dwell in 
 
 restful solitudes, 
 Far from the strife and din of warring, 
 
 warring multitudes. 
 
 Orchestra. 
 
 (Mark distinctly in the horn and piccolo parts, the frag- 
 ments of the Dance of Peasants and the flourish of the 
 Hungarian March, which will soon be heard in entirety; 
 these distant rumors gradually break in on the calm of the 
 pastoral scene.) 
 
 PREMIÈRE PARTIE. 
 
 SCENE PREMIÈRE. 
 
 (Plaine de Hongrie.) 
 
 Faust (seul, da?is les champs, au lever du 
 soleil). Le vieil hiver a fait place au 
 printemps ; 
 
 La nature s'est rajeunie ; 
 Des cieux la coupole infinie 
 Laisse pleuvoir mille feux éclatants. 
 
 Je sens glisser dans l'air la brise matinale; 
 
 De ma poitrine ardente un souffle pur 
 s'exhale. 
 
 J'entends autour de moi le réveil des 
 oiseaux, 
 
 Le long bruissement des plantes et des eaux. 
 
 Oh ! qu'il est doux de vivre au fond des 
 solitudes, 
 
 Loin de la lutte humaine et loin des multi- 
 tudes ! 
 
 Orchestre Seul. 
 
 (Des fragments de la Ronde des paysans et de la fanfare 
 de la Marche hongroise se distinguent au travers de la 
 trame instrumentale. Lointaines rameurs agrestes et 
 guerrières, qui commencent à troubler le calme de la 
 scène pastorale.) 
 
 (l) 
 
DAMNATION OF FAUST. 
 
 SCENE II. 
 
 (Chorus and dance of peasants.) 
 
 The shepherd early dons his best, 
 With a posy smartly decks his breast 
 
 And a bright knot of ribbons gaily living, 
 Under the lime-tree lass and lad, there lass 
 
 and lad. 
 Now all are dancing there like mad ! 
 Ha, ha, huzza ! 
 Hip ! hip ! huzza ! 
 All around the lime-tree whirling. 
 
 Faust. Whence come those distant cries, that 
 
 distant festive sound ? 
 Already man and maid have begun the gay 
 
 round ; 
 Are dancing and singing fast and faster the 
 
 measure, 
 My mournful soul is envious of their 
 
 pleasure. 
 
 Song. Now all are swaying to and fro, 
 Ev'ry cheek has a warmer glow. 
 
 Right and left, round and round, the 
 dancers flying, 
 With quickened breath and heated brow ; 
 
 ay, with heated brow ; 
 At last they pause, they slacken now, 
 Ha, ha, huzza ! 
 Hip ! hip ! huzza ! 
 Such panting and such sighing. 
 
 Now hold your tongue, you faithless one ! 
 For vows like yours are easily won; 
 
 Lightly won, lightly won, and as lightly 
 broken. 
 And yet he drew the maid aside, 
 While from the Linden echoed wide, 
 Ha, ha, huzza ! 
 Hip ! hip ! huzza ! 
 Now take thy lover's token. 
 
 SCENE III. 
 
 (Another part of the plain. Approach of Hungarian 
 troops.) 
 
 Faust. Now with a martial sound, war-like 
 strains fill the air, 
 
 Lo ! the Danube's brave sons for the com- 
 bat prepare , 
 
 They eagerly thirst for the fray, 
 
 SCENE II. 
 
 (Danse de paysans.) 
 
 Ronde en Chœur. Les bergers quittent leurs 
 troupeaux ; 
 Pour la fête ils se rendent beaux, 
 Rubans et fleurs sont leur parure; 
 Sous les tilleuls, les voilà tous 
 Dansant, sautant comme des fous! 
 Ha ! ha ! ha ! ha ! 
 Landerira ! 
 Suivez donc la mesure ! 
 
 Faust. Quels sont ces cris, ces chants? quel 
 est ce bruit lointain? . . . 
 Ce sont des villageois, au lever du matin. 
 Qui dansent en chantant sur la verte pelouse 
 De leurs plaisirs ma misère est jalouse. 
 
 Deuxième Couplet de la Ronde. Ils pas- 
 saient tous comme l'éclair, 
 Et les robes volaient en l'air ; 
 Mais bientôt on fut moins agile : 
 Le rouge leur montait au front, 
 Et l'un sur l'autre dans le rond, 
 Ha ! ha ! ha ! ha ! 
 Landerira ! 
 Tous tombaient à la file. 
 
 Troisième Couplet. Ne me touchez donc 
 pas ainsi ! 
 — Paix ! ma femme n'est point ici ! 
 Profitons de la circonstance ! 
 Dehors il l'emmena soudain, 
 Et tout pourtant alla son train, 
 Ha ! ha ! ha ! ha ! 
 Landerira ! 
 La musique et la dance. 
 
 SCENE III. 
 
 (Une autre partie de la plaine. — Une armée qui s'avance.) 
 
 Faust. Mais d'un éclat guerrier ces cam- 
 pagnes se parent ! 
 
 Ah ! les fils du Danube aux combats se 
 préparent ! 
 
 Avec quel air fier et joyeux 
 
DAMNATION OF FAUST. 
 
 3 
 
 Their armor brightly flashing in the broad 
 
 light of day ! 
 All hearts respond, ev'ry bosom is glowing. 
 Mine alone cold and mute, while all eyes 
 
 are o'erflowing. 
 
 (Hungarian March. The troops pass. Faust retires.) 
 
 Orchestra. 
 
 (The theme of this march, developed and orchestrated 
 by M. Berlioz, is celebrated in Hungary under the name 
 Rakoczy. It is very old, the author unknown; and is the 
 war song of the Hungarians.) 
 
 Ils portent leur armure! et quel feu dans 
 
 leurs yeux ! 
 Tout cœur frémit à leur chant de victoire ; 
 Le mien seul reste froid, insensible à la 
 
 Sfloire. 
 
 (Marche hongroise 
 s'éloigne.) 
 
 Les troupes passent. F'aust 
 Orchestre skit.. 
 
 (Le thème de cette marche, qui M Berlioz a instru- 
 menté et développé, est célèbre en Hongrie sous le nom de 
 Rakoczy; il est très ancien, d'un auteur inconnu; c'est le 
 chant de guerre des Hongrois. 
 
 SECOND PART. 
 
 SCENE IV. 
 
 (In North Germany.) 
 
 Faust {alone in his study). Nothing eases 
 
 my pain ! From the beauty of nature 
 Careworn I turn'd away, 
 All unmoved, I behold each familiar feature 
 Of the ivy-clad home of my childhood's 
 
 glad day, 
 Life is naught, then, but sorrow, and the 
 
 darkness unhallow'd 
 But sheds a deeper gloom in my life over- 
 
 shadow'd. 
 Condemn'd to dwell in the bondage of woe, 
 Oh, earth, is there no joy, but only care 
 
 below ? 
 Hast no blossom or beauty for me of thy 
 
 treasure ? 
 Earth, is thy lap a grave, that hideth ev'ry 
 
 pleasure ? 
 At last I will be free ! But I tremble — 
 
 oh, no, 
 The veil that hides the truth shall obscure 
 
 it no more ! 
 Now come thou down, thou cup of stainless 
 
 crystal, 
 Come fill'd up to thy brim, — let me drain 
 
 from thy bowl 
 A draught of quiet peace to my wearying 
 
 soul. 
 
 (He raises the cup to his lips. Chimes of bells are 
 heard, and the singing of Easter hymns in a neighboring 
 church.) 
 
 DEUXIEME PARTIE. 
 
 SCENE IV. 
 
 (Nord de l'Allemagne.) 
 
 Faust (seul, dans son cabinet de travail} . 
 
 Sans regrets j'ai quitté les riantes cam- 
 pagnes 
 
 Où m'a suivi l'ennui ; 
 
 Sans plaisirs je revois nos altières mon- 
 tagnes ; 
 
 Dans ma vieille cité je reviens avec lui. 
 
 Oh ! je souffre ! je souffre ! et la nuit sans 
 étoiles, 
 
 Qui vient d'étendre au loin son silence et 
 ses voiles, 
 Ajoute encore à mes sombres douleurs. 
 
 O terre ! pour moi seul tu n'as donc pas de 
 fleurs ! 
 
 Par le monde, où trouver ce qui manque à 
 ma vie? 
 
 Je chercherais en vain, tout fuit mon âpre 
 envie ! 
 
 Allons, il faut finir ! . . Mais je tremble . . 
 Pourquoi 
 
 Trembler devant l'abîme entr'ouvert devant 
 moi ? . . . 
 
 O coupe trop longtemps à mes désirs ravie, 
 
 Viens, viens, noble cristal, verse-moi le 
 poison 
 Qui doit illuminer 
 Ou tuer ma raison. 
 
 (Il porte la coupe à sa bouche. Son des cloches. Cnants 
 religieux dans l'église voisine.) 
 
DAMNATION OF FAUST. 
 
 Easter Hymn. 
 
 Chorus. Christ is risen from the dead ! 
 Has broken the tomb, 
 Gladly hail the token, 
 Sin's fetters are broken, 
 Reversed is the doom, 
 Now the Master hath ascended. 
 Rejoice, for your bondage is o'er. 
 And the reign of sin is ended. 
 Praise Him forever more! 
 
 Alas ! those He loved can but languish 
 
 And suffer mid pain and annoy. 
 
 Oh, Master! we envy Thy joy. 
 
 In Thy joy forget not the depth of our 
 
 anguish. 
 Thy loved ones suffer, yea, but languish 
 And suffer mid pain and annoy. 
 Hosanna ! Hosanna ! 
 
 Faust. O pious strains ! On my spirit descend- 
 ing, 
 With holy soothing balm, a message from 
 
 the past ! 
 The power unending 
 Of love's resistless might its spell has o'er 
 
 me cast. 
 Once my songs ascended in holy accents 
 
 mild, 
 Its hope and joy were blended, and I a happy 
 
 child, 
 Through the sweet scented meadow, 
 In the light without shadow, 
 Softly sang as I strayed. 
 Then the kiss of the love of Heaven 
 In calm and peaceful bliss touch'd my soul 
 
 as I prayed, 
 And springs of hope and joy, hope and joy 
 
 were given ! 
 
 But ah ! why seek, ye heav'nly anthems, to 
 
 allure me 
 From the depths of my pain! 
 Vainly ye would endue me 
 With hope or peace ; go seek some happier 
 
 soul 
 To respond to your strain. 
 Yet how sweetly ye toll, 
 With the breath of the morning 
 The festal day adorning ! 
 Feal on, my bosom glows 
 And pure joy overflows ! 
 
 Hymne de la Fete de Pâques. 
 
 Chœur. Christ vient de ressusciter . . . 
 Quittant du tombeau 
 Le séjour funeste, 
 Au parvis céleste 
 Il monte plus beau. 
 Vers les gloires immortelles 
 Tandis qu'il s'élance à grands pas, 
 Ses disciples fidèles 
 Languissent ici-bas. 
 
 Hélas ! c'est ici qu'il nous laisse 
 
 Sous les traits brûlants du malheur. 
 
 O divin maître ! ton bonheur 
 
 Est cause de notre tristesse. 
 
 Mais croyons en sa parole éternelle. 
 
 Nous le suivrons un jour 
 
 Au céleste séjour 
 
 Où sa voix nous appelle. 
 
 Hosanna ! 
 
 Hosanna ! 
 
 Faust. Qu'entends-je ? . . . O souvenirs! O 
 mon âme tremblante ! 
 
 Sur l'air de ces chants vas-tu voler aux 
 cieux ? 
 
 La foi chancelante 
 
 Revient, me ramenant la paix des jours 
 pieux, 
 
 Mon heureuse enfance, 
 
 La douceur de prier, 
 
 La pure jouissance 
 
 D'errer et de rêver 
 
 Par les vertes prairies, 
 
 Aux clartés infinies 
 
 D'un soleil de printemps ! . . . 
 
 O baiser de l'amour céleste 
 
 Qui remplissais mon cœur de doux pres- 
 sentiments 
 
 Et chassais tout désir funeste ! . . 
 
 Faust. {Récitatif.) Hélas! doux chants du 
 ciel, pourquoi dans sa poussière 
 
 Réveiller le maudit? Hymnes de la prière, 
 
 Pourquoi soudain venir ébranler mon 
 dessein ? 
 
 Vos suaves accords refraichissent mon sein. 
 
 Chants plus doux que l'aurore, 
 
 Retentissez encore : 
 
 Mes larmes ont coulé, le ciel m'a reconquis. 
 
DAMNATION OF FAUST. 
 
 SCENE V. 
 
 Faust and Mephistopheles. 
 
 Mephistopheles {appearing abruptly). A 
 holy pious mood, breathing in accents 
 mild ! 
 
 Doctor Faust, I admire this religious sing- 
 ing 
 
 And the chime of the bell, 
 
 Have they made it all well 
 
 With your soul by their hymning? 
 
 Faust. Who art thou? Speak! thou who 
 
 seem'st to wrest 
 With eyes of flame ev'ry thought from my 
 
 breast ; 
 From racking doubt relieve me 
 
 And thy name now reveal me. 
 
 Mephistopheles. Forsooth ! from a sage, 
 
 sir, 
 Such a question sounds foolish ! 
 I am your friend and guardian 
 Who can do whate'er you wish. 
 But speak, and I will rain love and joy in 
 
 your life, 
 All your most ardent dreams conjured when 
 
 hope was rife. 
 
 Faust. Poor demon, cans't thou show what 
 shall prove thy pretences? 
 
 Mephistopheles. Rare enchantments I'll 
 weave to dazzle all your senses, 
 
 But first, vou must forsake these old tombs 
 for a while ; 
 
 Leave all these dusty shelves. 
 
 Come, dull care to beguile. 
 
 Faust. I consent! 
 
 Mephistopheles. Let us forth ! 
 
 Come and taste life and pleasure, 
 While every sense shall glow with a joy 
 beyond measure. 
 
 (They disappear in the air.) 
 
 Orchestra. 
 
 SCENE V. 
 
 Faust et Mephistopheles. 
 
 Mephistopheles {apparaissant brusque- 
 ment) . O pure émotion ! 
 Enfant du saint parvis ! 
 Je t'admire, docteur ! Les pieuses volées 
 De ces cloches d'argent 
 Ont charmé grandement 
 Tes oreilles troublées! 
 
 Faust. Qui donc es-tu, toi dont l'ardent 
 regard 
 Pénètre ainsi que l'éclat d'un poignard, 
 Et qui, comme la flamme, 
 Brûle et dévore l'âme? 
 
 Mephistopheles. Vraiment, pour un docteur, 
 
 la demande est frivole. 
 Je suis l'esprit de vie, et c'est moi qui 
 
 console. 
 Je te donnerai tout, le bonheur, le plaisir, 
 Tout ce que peut rêver le plus ardent désir 
 
 Faust. Eh bien, pauvre démon, fais-moi voir 
 tes merveilles. 
 
 Mephistopheles. Certes ! j'enchanterai tes 
 yeux et tes oreilles. 
 Au lieu de t'enfermer, triste comme le ver 
 Qui ronge tes bouquins, viens, suis-moi, 
 change d'air. 
 
 Faust. J'y consens. 
 
 Mephistopheles. Partons donc pour con- 
 naître la vie, 
 Et laisse le fatras de ta philosophie. 
 
 (Ils disparaissent dans les airs.) 
 
 Orchestre Seul. 
 
DAMNATION OF FAUST. 
 
 SCENE VI. 
 
 (Auerbach's cellar in Leipzig.) 
 
 Faust, Mephistopheles, Brander. 
 
 (Students, Citizens, and Soldiers.) 
 
 Chorus of Drinkers. Fill up again with 
 good Rhine wine ! 
 
 Mephistopheles. Doctor Faust, here behold 
 sons of mirth and of folly ! 
 All good fellows these, the gayest and most 
 jolly! 
 
 Chorus. When good red wine is freely flow- 
 ing. 
 
 A fig for the tempest outside ! 
 
 Fill and ne'er heed the wind that's blow- 
 ing» 
 
 By punch-bowl and pipe we'll abide ! 
 
 I love the glass that drowneth sorrow ! 
 
 Since I was born I ne'er walk'd straight, 
 
 From my gossip the trick I borrow, 
 
 He ever had a rolling gait ! 
 
 When good red wine, etc. 
 
 Some Students. Who knows a good song 
 or a story ? 
 Now our throats ai-e tuned and clear. 
 Come, Brander, sing, 
 Sing and gather fresh glory. 
 
 Brander {tipsy). I do know one, 'tis my 
 own, so hear. 
 
 All. Well, begin! we're ready! 
 
 Brander. Let me stand steady, 
 
 Then list while I sing a tale of woe. 
 
 All. Bravo! Bravo! 
 
 Song of the Rat. 
 
 Brander. Master rat lived in the cellar, 
 Fared on butter and on fat ; 
 And so stout did he grow 
 That Luther had envied the paunch of this 
 
 rat. 
 One day the cook with purpose deadly 
 Laid poison'd meats upon his track; 
 
 SCÈNE VI. 
 
 (La cave d'Auerbach à Leipzig.) 
 
 Faust, Mephistopheles, Brander. 
 
 (Etudiants, Bourgeois, et Soldats.) 
 
 Chœur de Buveurs. A boire encor ! Du vin 
 Du Rhin! 
 
 Mephistopheles. Voici, Faust, un séjour de 
 folle compagnie ; 
 Ici vins et chansons réjouissent la vie. 
 
 Chœur. Oh ! qu'il fait bon quand le ciel tonne 
 Rester près d'un bol enflammé, 
 Et se remplir comme une tonne 
 Dans un cabaret enfumé ! 
 J'aime le vin et cette eau blonde 
 Qui fait oublier le chagrin. 
 Quand ma mère me mit au monde, 
 J'eus un ivrogne pour parrain. 
 Oh! qu'il fait bon, etc., etc. 
 
 Quelques Buveurs. Qui sait quelque plai- 
 sante histoire 
 En riant, le vin est meilleur. 
 A toi, Brander! 
 
 Autres Buveurs. Il n'a plus de mémoire ! 
 
 Brander (ivre). J'en sais une; et j'en suis 
 l'auteur. 
 
 Brander. Puisqu'on m'invite, 
 
 Je vais vous chanter du nouveau. 
 
 Tous. Bravo ! bravo ! 
 
 Chanson de Brander*. 
 
 Premier Couplet. Certain rat, dans une 
 cuisine, 
 Etabli comme un vrai frater, 
 S'y traitait si bien, que sa mine 
 Eût fait envie au gros Luther. 
 Mais un beau jour le pauvre diable, 
 Empoisonné, sauta dehors, 
 
DAMNATION OF FAUST. 
 
 Oh ! he writhed as though love possess'd 
 
 him, 
 Or torn apart by wheel or rack. 
 
 Chorus. Or torn apart by wheel or rack. 
 
 Brander. So fiercely did the pangs assail 
 
 him, 
 He ran in and then ran out, 
 He scratched and claw'd, but naught 
 
 avail'd him, 
 In frantic rage he tore about. 
 With pain and dismay sadly groaning, 
 He madly rush'd in broad noon-day 
 To the kitchen and there lay moaning 
 As if in love torments he lay. 
 
 Chorus. As if in love torments he lay. 
 
 Brander. Upon the hearth in anguish writh- 
 ing, 
 Still he hoped his doom to escape, 
 And that within the oven hiding, 
 He'd find a shelter sure and safe. 
 But the cook came as he lay dying, 
 And she laugh'd and mock'd at his pain. 
 Ha ! see for love, for love he is sighing, 
 Love's torments have twitch'd him again. 
 
 Chorus. Love's torments have twitch'd him 
 again. 
 Requiescat in pace ! Amen ! 
 
 Brander. A chorale, a fugue, an amen, an 
 amen. 
 Let's improvise a good learned amen. 
 
 Mephistopheles. But lend an ear to this, 
 and, Doctor, you shall know 
 How far stupidity and foolish mirth can go. 
 
 Chorus {Fugue on the theme of Brander's 
 
 song). Amen. A men. A 
 
 men. Amen. 
 
 Mephistopheles (advancing). V faith, good 
 sirs, but your fugue is astounding, 
 
 That in truth it were fit for the skies, 
 
 Permit me to remark it, the style is really 
 grand, 
 
 Religious and sublime ; 
 
 Art has never better express'd more pious 
 sentiments. 
 
 'Tis bv some such termination 
 
 Aussi triste, aussi misérable 
 Que s'il eût eu l'amour au corps. 
 
 Chœur. Que s'il eût eu l'amour au corps. 
 
 Deuxième Couplet. Il courait devant et der- 
 rière, 
 Il grattait, reniflait, mordait, 
 Parcourait la maison entière; 
 La rage à ses maux ajoutait, 
 Au point qu'à l'aspect du délire 
 Qui consumait ses vains efforts 
 Les mauvais plaisants pouvaient dire 
 Il a, ma foi, l'amour au corps. 
 
 Chœur. Il a, ma foi, l'amour au corps. 
 
 Troisième Couplet. Dans le fourneau le 
 pauvre sire 
 Crut pourtant se cacher très-bien ; 
 Mais il se trompait, et le pire 
 C'est qu'on l'y fit rôtir enfin. 
 La servante, méchante fille, 
 De son malheur rit bien alors. 
 Ah! disait-elle, comme il grille! 
 Il a vraiment l'amour au corps. 
 
 Chœur. Il a vraiment l'amour au corps. 
 Requiescat in pace. Amen. 
 
 Brander. Pour l'amen une fugue, une fugue, 
 un choral ! 
 Improvisons un morceau magistral. 
 
 Mephistopheles (bas à Faust). Écoute bien 
 ceci ! nous allons voir, docteur, 
 La bestialité dans toute sa candeur. 
 
 Chœur. (Fugue sur le thème de la chanson 
 
 de Brander). Amen. A men. 
 
 A men. Amen. 
 
 Mephistopheles (s' avançant) . Vrai Dieu, 
 messieurs, votre fugue est fort belle 
 Et telle, 
 Qu'à l'entendre on se croit aux saints 
 lieux ! 
 
 Souffrez qu'on vous le dise : 
 Le style en est savant, vraiment religieux ; 
 On ne saurait exprimer mieux 
 Les sentiments pieux 
 
DAMNATION OF FAUST. 
 
 That pious songs should e'er be ended. 
 
 By your leaves, I would make bold to pro- 
 pose you a song, 
 
 No less pathetic than the one we've ap- 
 plauded. 
 
 Chorus. Ah ! his praises have a cynical air ! 
 Who is this person 
 Who mocks so freely ? 
 Pale visaged and red of hair, 
 Let us hear, sing, and away with care ! 
 
 Qu'en terminant ses prières l'Église 
 En un seul mot résume. Maintenant. 
 Puis-je à mon tour riposter par un chant 
 Sur un sujet non moins touchant 
 Que le vôtre? 
 
 Chœur. Ah ça! mais se moque-t-il de nous? 
 
 Quel est cet homme? 
 Oh ! qu'il est pâle., et comme 
 
 Son poil est roux ! 
 N'importe ! Volontiers. Autre chanson. A vous. 
 
 Mephistopheles. 
 
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 He now was duly drest, — 
 Had jewels rare his hat in, 
 And a star deçk'd his breast, — 
 A star of great dimensions ! 
 His kindred soon were there, 
 They got titles and pensions, 
 And courtiers grand they were. 
 
 But grievously tormented 
 Were dames and lords at court, 
 And did not dare resent it, 
 Queens and maids, ev'ry sort, 
 Howe'er our friends might rack them 
 We're afraid e'en to scratch ! 
 We scruple not to crack them, 
 And kill all those we catch. 
 
 Chorus {shouting) . Bravo ! bravo ! bravissimo ! 
 We kill all those we catch 1 
 
 Deuxième Couplet. L'insecte, plein de joie, 
 Dès qu'il se vit paré 
 D'or, de velours, de soie, 
 Et de croix décoré, 
 Fit venir de province 
 Ses frères et ses sœurs, 
 Qui, par ordre du prince, 
 Devinrent grands seigneurs. 
 
 Troisième Couplet. Mais, ce qui fut bien pire. 
 C'est que les gens de cour, 
 Sans en oser rien dire, 
 Se grattaient tout le jour. 
 Cruelle politique ! 
 Ah ! plaignons leur destin, 
 Et dès qu'une nous pique 
 Ecrasons-la soudain. 
 
 Chceur. Ah! ah! Bravo! 
 Bravissimo ! 
 Écrasons-la soudain, 
 
DAMNATION OF FAUST. 
 
 Faust. Enough ! I would begone if thou 
 canst show me nothing better 
 
 Than this vile and brutal display. 
 
 Such loud ignoble mirth fills my senses 
 with loathing, 
 
 If thou hast no softer joys, let's away ! 
 
 Mephistopheles. Oh ! all the world is ours, 
 to choose. 
 
 (They fly away through the air on Faust's mantle. ) 
 Orchestra. 
 
 SCENE VII. 
 (Bushy meadows on the banks of the Elbe.) 
 Faust, Mephistopheles. 
 Chorus of Gnomes and Sylphs. 
 
 Faust. Assez ! fuyons ces lieux où la parole 
 est vile, 
 La joie ignoble et le geste brutal. 
 N'as-tu d'autres plaisirs, un séjour plus tran- 
 quille 
 A me donner, toi, mon guide infernal ! 
 
 Mephistopheles. Ah ! ceci te déplait ! Suis- 
 moi. 
 
 (Ils parlent à travers les airs sur le manteau de Faust.) 
 Orchestre Seul. 
 
 SCÈNE VII. 
 
 (Bosquets et prairies des bords de l'Elbe.) 
 Faust, Mephistopheles. 
 Chœur de Gnomes et de Sylphes. 
 
 Mephistophei.es. 
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 ou - vri - ront . . . 
 
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to 
 
 DAMNATION OF FAUST. 
 
 Faust's Dream. 
 
 Chorus of Sylphs and Gnomes. Dream, 
 
 happy Faust, 
 For soon 'neath a veil of purple and gold, 
 Shall thine eyelids find rest. 
 Thy star shall shine in the high dome of 
 
 Heaven, 
 Dreams of delight and of love charm thy 
 
 breast. 
 
 Chorus. Behold on either hand 
 The fair scenes we discover. 
 The leaf and blossom cover 
 With beauty rare the land. 
 The trees are gently swaying, 
 And happy lovers pass 
 Beneath the shadows straying; 
 The briar and the rose 
 Have woven tangled bowers, 
 The soft vine tendrils close 
 Around the grapes and flowers. 
 See where the lovers stray 
 Forgetful of the morrow, 
 In blissful joy today, 
 Untouched by care or sorrow. 
 
 Now comes a pensive maiden, 
 And a tear shines there 
 Where love's shafts should be laden. 
 Faust, she shall be thine ! 
 
 Faust {asleep). Margaret! mine! 
 
 Chorus. The lake extends its flood 
 At the feet of the mountains ; 
 By the murmuring fountains 
 Are the green pastures woo'd. 
 There the gay laughing choirs 
 Re-echo o'er the plain ; 
 Here the music inspires 
 The dance that none disdain ; 
 For some are boldly breasting 
 The silv'ry torrent streams, 
 While milder swains are questing 
 Their love in softer dreams. 
 
 Songe de Faust. 
 
 Chœur de Sylphes et de Gnomes. • Dors, 
 heureux Faust, dors ! Bientôt, sous un 
 voile 
 D'or et d'azur, tes yeux vont se fermer; 
 Songes d'amour vont enfin te charmer, 
 Au front des cieux va briller ton étoile. 
 
 Chœur. De sites ravissants 
 
 La campagne se couvre, 
 Et notre œil y découvre 
 Des prés, des bois, des champs, 
 Et d'épaisses ramées, 
 Où de tendres amants 
 Promènent leurs pensées. 
 Mais plus loin sont couverts 
 Les longs rameaux des treilles 
 De bourgeons, pampres verts 
 Et de grappes vermeilles. 
 Vois ces jeunes amants, 
 Le long de la vallée, 
 Oublier les instants 
 Sous la fraîche feuillée. 
 
 Méphistophélès {avec le chœur). Une 
 beauté les suit 
 Ingénue et pensive ; 
 À sa paupière luit 
 Une larme furtive. 
 Faust ! elle t'aimera 
 Bientôt. 
 
 Faust {endormi) . Margarita ! 
 
 Le Chœur. À l'entour des montagnes 
 Le lac étend ses flots, 
 Dans les vertes campagnes 
 Il serpente en ruisseaux. 
 Là, de chants d'allégresse 
 La rive retentit. 
 D'autres chœurs là sans cesse 
 La danse nous ravit. 
 Les uns gaîment s'avancent 
 Autour des coteaux verts, 
 De plus hardis s'élancent 
 Au sein des flots amers. 
 Partout l'oiseau timide, 
 Cherchant l'ombre et le frais, 
 S'enfuit d'un vol rapide 
 Au milieu des marais. 
 
DAMNATION OF FAUST. 
 
 XI 
 
 Faust (dreaming). Margaret! mine! 
 
 Chorus. For e'en the timid nestling 
 Seeking shade and repose, 
 With the gay zephyrs wrestling, 
 Dares affront the sweet rose. 
 All who'd attain love's rapture, 
 Must seek through earth and skies 
 For the one star in nature 
 That dawn'd to glad their eyes. 
 The maiden who loves thee, oh Faust, 
 She shall be thine ! 
 Dream ! dream ! 
 
 Mephistopheles. 'Tis well, 'tis well, ye 
 youthful sprites, 
 Your task is at an end, 
 But still with charms the enchantment at- 
 tend. 
 
 Ballet of Sylphs. 
 
 (The spirits of the air hover silently around the slum- 
 bering Faust, then gradually disappear.) 
 
 Faust (awakening suddenly) . Oh, my Mar- 
 garet ! Is't a dream, or celestial image ? 
 Art an angel or rare maid ? 
 Where is she gone ? 
 My love array'd in beauty ! 
 Oh, heavenly visage ! 
 
 Mephistopheles. Come, then, and swiftly 
 
 shalt thou go 
 To the lowly cot where she dwelleth, 
 Where thy love sits and softly telleth 
 The fair thoughts from her soul that flow. 
 But see, a joyous throng of young students 
 
 is massing, 
 Before her door they now are passing. 
 We'll mingle with the crowd, and unper- 
 
 ceived draw near; 
 Thus shalt thou soon approach thy dear; 
 But thy transports restrain and my lesson 
 
 retain. 
 
 Tous, pour goûter la vie. 
 Tous cherchent dans les cieux 
 Une étoile chérie 
 Qui s'alluma pour eux. 
 Dors, dors! 
 
 Faust (endormi). Margarita! 
 
 Chœur. C'est elle 
 
 Qu'Amour te destina, 
 est belle 1 
 
 Regarde ! qu'elle 
 
 Mephistopheles. Le charme opère, il est 
 à nous ! 
 C'est bien, jeunes esprits, je suis content de 
 vous. 
 
 Bercez, bercez son sommeil enchanté. 
 
 Ballet des Sylphes. 
 
 (Les esprits de l'air se balancent quelque temps en 
 silence autour de Faust endormi et disparaissent peu à peu.; 
 
 Faust (s* éveillant) . Quelle céleste image! 
 Oh ! qu'ai-je vu ! Quel ange 
 
 Au front mortel ! 
 Où le trouver? Vers quel autel 
 Traîner à ses pieds ma louange?... 
 
 Mephistopheles. Eh bien, il faut me suivre 
 
 encor 
 
 Jusqu'à cette alcôve embaumée 
 
 Où repose ta bien-aimée. 
 
 A toi seul ce divin trésor ! 
 Des étudiants voici la joyeuse cohorte 
 
 Qui va passer devant sa porte ; 
 Parmi ces jeunes fous, au bruit de leurs 
 
 chansons 
 
 Vers ta beauté nous parviendrons. 
 Mais contiens tes transports et su ; s bien 
 
 mes leçons. 
 
12 
 
 DAMNATION OF FAUST. 
 
 SCENE VIII. 
 
 Finale. 
 
 Chorus of Soldjers and Students 
 Marching towards the town. 
 
 Sold i ers. Towns with their high battlements, 
 
 tower and wall, 
 Fair maids with their haughty thoughts 
 
 scorning us all, 
 To glory they call us. 
 Soon they both shall fall, no danger appals 
 
 us, 
 How glorious is our life ! 
 The trumpet that calls us our banner 
 
 beneath, 
 It summons to pleasure, or summons to 
 
 death. 
 Fair maiden and city, appeal to our pity, 
 And yield in the strife ! 
 Towns with their high battlements, etc. 
 
 Students. 
 
 Jam nox stellata velamina pandit I nunc bi- 
 bendum et amandum est! Vita brevis fu- 
 gaxque voluptas ! Gaudeamus igitur, gaudea- 
 mus!... 
 
 Nobis subridente luna, per urbem quœren- 
 tes puellas eamus ! ut eras, for tun ati Ccesares, 
 dicamus : veni, vidi, vieil Gaudeamus igitur, 
 gaudeamus!- 
 
 Chorus of Soldiers and Students. 
 with their high battlements, 
 Tower and wall, etc, etc. 
 
 Towns 
 
 Faust with Mephistopheles. Jam nox stel- 
 lata velamina, etc. 
 
 SCÈNE VIII. 
 
 Chœur D'Étudiants et des Soldats. 
 
 Marchant vers la ville. 
 
 Les Soldats. Villes entourées 
 De murs et remparts, 
 Fillettes parées, 
 Aux malins regards, 
 Victoire certaine 
 Près de vous m'attend ; 
 Si grande est la peine, 
 Le prix est plus grand. 
 Au son des trompettes, 
 Les braves soldats 
 S'élancent aux fêtes, 
 Ou bien aux combats; 
 Fillettes et villes 
 Font les difficiles; 
 Bientôt tout se rend. 
 Si grande est la peine, le prix est plus 
 grand. 
 
 Les Étudiants. 
 
 * Jam nox stellata velamina pandit; nunc 
 bibendum et amandum est! Vita brevis 
 fugaxçue vohiptas. Gaudeamus igitur, gau- 
 deamus !. . . 
 
 Nobis subridente luna, per urbetn quœrentes 
 puellas eamus! ut eras, fortunati Cœsares, 
 dicamus: Veni,vidi, vici ! Gaudeamus igitur, 
 gaudeamus ! 
 
 Les Deux Chœurs Ensemble. 
 
 Les Soldats. Villes entourées, etc. 
 (Faust, Méphistophélès et les Étudiants.) 
 Jam nox stellata, etc. 
 
 *Déjà la nuit étend ses voiles étoiles; c'est l'heure de boire 
 et d'aimer. La vie est courte et le plaisir fugitif! Réjouissons- 
 nous donc, réjouissons-nous ! Pendant que la lune nous sourit, 
 allons par la ville cherchant les jeunes filles, pour que demain, 
 heureux Césars, nous disions : Je suis venu, j'ai vu, j'ai vaincu 
 Réjouissons-nous donc, réjouissons-nous! 
 
DAMNATION OF FAUST. 
 
 *3 
 
 THIRD PART. 
 
 SCENE IX. 
 
 (Drums and trumpets sound the retreat.) 
 Faust, p sotto voce. 
 
 :H— r-± 
 
 TROISIEME PARTIE. 
 
 SCÈNE IX. 
 
 (Des tambours et des trompettes sonnent au loin la retraite.) 
 
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 Oh, wel - come.gen - tie twi-light, through this sane- tu - ary shed,Where love's de - li-cious 
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 pain is sus -tain - ed and fed. Throbs my heart in love's throe, — a soft e - mo- tion 
 
 lieux, sane • tu - ai -re in - con • nu, Où je sens à mon front glis - ser com-meun beau 
 
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 steal - ing Comes like the breath of morn and pervades ev - 'ry feel - ing, It is love, 
 
 ri - ve, Com - me les frais bais - er d'un ma - tin qui se le - ve. (Test de l'a - mour, 
 
 it is love en - thrals 
 
 c'est de l 'amour fes - pe 
 
 me. 
 re. 
 
 Here calm and or - der dwell, With con-tent in 
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«4 
 
 DAMNATION OF FAUST. 
 
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 na-ture's lov-ing hand form'dthat flow - er su-preme, Her sweet pres-ence con - strain - eth my 
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 bon - heur! 
 
 (He walks about the room examining its contents with 
 tender eagerness.) 
 
 SCENE X. 
 
 Mephistopheles {enters hurriedly). She 
 draws near ! 
 She must not see thee yet, hide thee here. 
 
 Faust. Heav'n ! my heart o'erflows with fear 
 and joy ! 
 
 Mephistopheles. I leave thee now awhile ; 
 
 farewell ! 
 The time employ to win the maid, 
 While my young sprites and I shall intone 
 
 you a song, 
 A joyful nuptial greeting. 
 
 Faust. Oh, my heart, still thy beating! 
 
 SCENE XI. 
 
 (Faust concealed. Margaret enters with a lamp.) 
 
 Margaret. 'Tis hot and sultry now ; 
 I feel, I know not how ! 
 'Tis my dream yester eve that so disturbs 
 my spirit, 
 
 (Faust, marchant lentement, examine avec une curiosité 
 passionnée l'intérieur de la chambre de Marguerite.) 
 
 SCENE X. 
 
 Méphistophélès, Faust. 
 
 Méphistophélès (accourant.) La voici, je 
 l'entends! Sous ces rideaux de soie 
 Cache-toi. 
 
 Faust. Dieu ! mon cœur se brise dans la joie ! 
 
 Méphistophélès. Profite des instants. Adieu, 
 modère-toi, 
 Ou tu la perds. 
 
 (Il cache Faust sous les rideaux ) 
 
 Bien. Mes follets et moi, 
 
 Nous allons vous chanter un bel pithalame. 
 
 (Il sort.) 
 
 Faust. Oh ! calme-toi, mon âme. 
 
 SCENE XI. 
 Marguerite, Faust caché. 
 
 Marguerite {entrant, une lampe à la main) , 
 Que l'air est étouffant ! 
 
 J'ai peur comme un enfant ; 
 
DAMNATION OF FAUST. 
 
 »5 
 
 His image haunts me still ; 
 
 Noble and fair and kind ! 
 
 My future love ! 
 
 Yes, he swore he would love me, 
 
 And my heart answer'd his. 
 
 Ah, will my dream return, return and bless 
 
 me? 
 'Tis folly ! 
 
 (She sings while braiding her hair.) 
 Marg. 
 
 C'est mon rêve d'hier qui m'a toute 
 
 troublée . . . 
 En songe je l'ai vu . . . lui . . . mon futur 
 amant. 
 
 Qu'il était beau ! Dieu ! j'étais tant 
 aimée ! 
 
 Et combien je l'aimais! 
 Nous verrons-nous jamais 
 Dans cette vie ? . . . 
 Folie! . . . 
 
 (Elle chante en tressant ses cheveux.) 
 
 
 6=13 
 
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 "* — * — 
 
 There dwelt a king once in Thule, Faithful and leal to the grave, 
 
 Au - tre • fois un roi de Thu • té, Qui jus • qu'an tom-beau fut fi - dèle, 
 
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 And a cup of red, red gold had he, Which his dy - ing mis - tress gave. No 
 
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 ev - er the tears 
 jours u - ne lar 
 
 would be ris - ing 
 
 me lé - gi ' re 
 
 Each time he from it did taste. 
 
 A sa vue Au - mec- tait ses yeux. 
 
 And when at the end he lay dying, 
 He counted each tower and town, 
 All his wealth and treasure dividing, 
 But the goblet he kept alone. 
 He sat and feasted once more, 
 His barons and knights at his knee, 
 Within his lofty father's hall, 
 In his castle on the sea. 
 
 There quaff'd he his last cup, hasting, 
 
 The royal old toper upstood, 
 
 The hallow'd goblet casting 
 
 Into the swiftly rolling flood. 
 
 He saw it whirling and drinking, 
 
 And sink deep into the sea ; 
 
 Then he felt his own eyes were sinking, 
 
 Never, oh, nevermore drank he. 
 
 Deuxième Couplet. Ce prince, à la fin de sa 
 vie, 
 Lègue ses villes et son or, 
 Excepté la coupe chérie 
 Qu'à la main il conserve encor. 
 Il fait, à sa table royale, 
 Asseoir ses barons et ses pairs, 
 Au milieu de l'antique salle 
 D'un château que baignaient les mers. 
 
 Troisième Couplet. Le buveur se lève et 
 s'avance 
 Auprès d'un vieux balcon doré ; 
 Il boit, et soudain sa main lance 
 Dans les flots le vase sacré. 
 Le vase tombe ; l'eau bouillonne, 
 Puis se calme aussitôt après. 
 Le vieillard pâlit et frissonne : 
 Il ne boira plus désormais. 
 
i6 
 
 DAMNATION OF FAUST. 
 
 There dwelt a king once ... in Thule . . . 
 Faithful and leal ... to the grave . . . 
 {Sighs deeply) Ah! 
 
 SCENE XII. 
 
 (A square before Margaret's home.) 
 
 Mephistopheles and Will-o'-the-Wisps. 
 
 Invocation. 
 
 Mephistopheles. Ye spirits of inconstant 
 fire, 
 Hasten here, on the wings of air. 
 
 Orchestra Alone. 
 
 Ye spirits of caprice and of evil, conspire 
 
 to enchant and subdue 
 And win a maiden soul. 
 Now dance, ye sons of evil ! 
 Ho ! dance in the name of the devil ! 
 Will-o'-the-wisp and gnome, 
 Dance, or away ye go ! 
 
 (The Will-o'-the-wisps dance in strange figures and leap 
 around Margaret's house.) 
 
 Minuet. 
 
 Orchestra Alone. 
 
 Mephistopheles {making" the motions of a 
 man playing the hurdy-gurdy) . To 
 this lute, I'll sing a serenade, 
 
 One that shall please the lady ; 
 
 It is moral, her taste to suite : — 
 
 Autrefois un roi . . . de Thulé ... 
 Jusqu'au tombeau . . . fut fidèle ... 
 {Profond soupir.) Ah! . . . 
 
 SCÈNE XII. 
 
 (Une place devant la maison de Marguerite.) 
 
 mephistopheles et follets. 
 
 Évocation. 
 
 Mephistopheles. Esprits des flammes incon- 
 stantes, 
 Accourez ! j'ai besoin de vous. 
 
 Orchestre Seul. 
 
 Follets capricieux, vos lueurs malfaisantes 
 Vont charmer une enfant et l'amener à 
 nous. 
 
 Orchestre Seul. 
 
 Au nom du diable, en danse ! 
 Et vous, marquez bien la cadence, 
 Ménétriers d'enfer, ou je vous éteins tous. 
 
 (Les follets exécutent des évolutions et des danses biz- 
 arres autour de la maison de Marguerite.) 
 
 Ballet. 
 
 Orchestre Seul. 
 
 Mephistopheles {faisant le geste d'un homme 
 qui joue de la vielle) . Maintenant, 
 Chantons à cette belle une chanson morale, 
 Pour la perdre plus sûrement. 
 
 Mephist 
 
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DAMNATION OF FAUST. 
 
 17 
 
 
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 Ah, heed thee well, fair lass, 
 
 Lest thy lover betray thee ; 
 
 Then good night, alas ! 
 
 From ill-hap what shall stay thee? 
 
 Then good night ! 
 
 But let thy lover prove the truth of his 
 
 advances ; 
 When the ring brightly glances, 
 Ah ! then, believe his love. 
 Oh, sweet maiden, beware, etc. 
 
 Chorus. Oh, sweet maiden, beware, etc. 
 
 Mephistopheles. Hush, now vanish all. 
 ( The spirits vanish.} 
 In silence let us see, 
 How our turtle-doves agree. 
 
 SCENE XIII. 
 
 (Margaret's chamber.) 
 
 Margaret {seeing Faust) . Great Heav'n ! 
 What see I ! 
 Is it a dream, dare I credit mine eyes ? 
 
 Il te tend les bras : 
 Près de lui tu cours vite, 
 
 Bonne nuit, hélas ! 
 Bonne nuit, ma petite. 
 Près du moment fatal 
 Fais grande résistance, 
 S'il ne t'offre d'avance 
 Un anneau conjugal. 
 
 Chœur. Il te tend les bras, etc. 
 
 Méphistophélès. Chut ! chut ! disparaissez ! 
 . . . silence ! . . . 
 
 (Les follets s'abîment.) 
 
 Allons voir roucouler nos tourtereaux. 
 
 SCENE XIII. 
 
 (Chambre de Marguerite.) 
 
 Faust et Marguerite. 
 
 Marguerite {apercevant Faust). Grands 
 dieux ! 
 Que vois-je ! est-ce bien lui ? dois-je en 
 croire mes yeux? . . . 
 
i8 
 
 DAMNATION OF FAUST. 
 
 Andante. J — 56. 
 
 a mezza voce ed appassionato assai. 
 
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 lu - min-ait mon cœur, En -fin je fa - per - çois, 
 
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 -r- 
 
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 m> n r >*— J«s- v *— Y\- 
 
 
 
 =t 
 
 —- i* e ^ P» j 
 
 — k— 
 
 ^ - 
 
 6= 
 
 saw 
 son 
 
 you 
 
 my dream, 
 je t'ai vu 
 
 Such 
 tel 
 
 as I see you now. 
 que je te re - vois. 
 
 And ev'n your 
 Je re - con 
 
 poco riten. 
 
 shall for - get you nev - er ! 
 voix, Tes traits, ton doux lan - ga • g e 
 
 I've thought of you. 
 Je fat - ten - dais. 
 
 Faust. Margaret, I adore thee ! 
 
 Margaret. Yes, my heart went before thee, 
 Ere I saw thee, was thine. 
 
 Faust. Margaret, thou art mine ! 
 
 ' Margaret. Form of my dream, thy dear 
 and noble image, 
 Before mine eyes beheld thee, 
 
 Faust. Marguerite adorée ! 
 
 Marguerite. Ma tendresse inspirée 
 Était d'avance à toi. 
 
 Faust. Marguerite est à moi. 
 
 ' Marguerite. Mon bien-aimé, ta noble et 
 douce image 
 Avant de te connaître illuminait mon 
 cœur! 
 
DAMNATION OF FAUST. 
 
 19 
 
 Usurp'd my bosom's throne ; 
 
 At last I see thee near, and from thy loved 
 
 visage 
 The jealous cloud that held thee enrapt, 
 
 now is flown. 
 
 Faust. Form of my dream, etc. 
 Margaret, I adore thee ! 
 Yield to the ardent devotion, 
 That I lay at thy feet ! 
 
 Margaret. Oh, what strange new enthral- 
 ment 
 Makes my heart softly beat ! 
 
 Margaret. Such mingled thoughts of joy 
 and fear appal me. 
 
 Faust. To endless joy, endless love do I call 
 thee, 
 
 Come ! come ! 
 
 Margaret. Why do tears arise, all unhid to 
 mine eyes? 
 
 SCENE XIV. 
 
 Faust, Margaret, Mephistopheles. 
 
 Mephistopheles {entering suddenly). 'Tis 
 late ; we must be gone. 
 
 Margaret. Who is that man? 
 Faust. A fiend! 
 Mephistopheles. Nay, a friend. 
 
 Margaret. He is one who strikes fear to the 
 heart ! 
 
 Mephistopheles. I doubt not I'm unwelcome. 
 
 Faust. Who bade thee come ? Depart! 
 
 Mephistopheles. I came to warn the maiden 
 What danger is at hand ; 
 For aroused by our song, 
 The neighbors hither come ; man and maid 
 
 troop along. 
 Laughing they call on Margaret; 
 Some her mother are warning, 
 And she will soon be here. 
 
 Enfin je t'aperçois, et du jaloux nuage 
 Qui te cachait encor ton amour est vain- 
 queur. 
 
 Faust. Ange adoré, etc. 
 
 Faust. Marguerite ! O tendresse ! 
 Cède à l'ardente ivresse 
 Qui vers toi m'a conduit. 
 
 Marguerite. Je ne sais quelle ivresse 
 Brûlante, enchanteresse, 
 Dans ses bras me conduit. 
 
 Marguerite. Quelle langueur s'empare de 
 mon être ! . . . 
 
 Faust. Au vrai bonheur dans mes bras tu vas 
 naître, 
 Viens . . . 
 
 Marguerite. Dans mes yeux des pleurs . . . 
 Tout s'efface . . Je meurs . . . 
 
 SCENE XIV, 
 
 Faust, Marguerite, Mephistopheles. 
 
 Mephistopheles {entrant brusquement). 
 Allons, il est trop tard ! 
 
 Marguerite. Quel est cet homme? 
 Faust. Un sot. 
 Mephistopheles. Un ami. 
 
 Marguerite. Son regard 
 Me déchire le cœur. 
 
 Mephistopheles. Sans doute je dérange . . . 
 
 Faust. Qui t'a permis d'entrer? 
 
 Mephistopheles. Il faut sauver cet ange ! 
 Déjà tous les voisins, éveillés par nos 
 
 chants, 
 Accourent, désignant la maison aux pas- 
 sants ; 
 En raillant Marguerite, ils appellent 5a mère. 
 La vieille va venir . . . 
 
20 
 
 Faust. Oh, horror! 
 Mephistophei.es. Come, disappear ! 
 Faust. Cruel illusion ! 
 
 DAMNATION OF FAUST. 
 
 Faust. Que faire? 
 Méphistophélès. Il faut partir. 
 Faust Damnation ! 
 
 Mephistopheles. At dawn you'll meet again ; 
 Let that consolation soothe the anguish of 
 parting. 
 
 Margaret. Till tomorrow, oh Faust ! 
 
 Though with thee is departing the bright- 
 ness of day. 
 
 Méphistophélès. Vous vous verrez demain ; 
 la consolation 
 Est bien près de la peine. 
 
 Marguerite. Oui, demain, bien-aimé. Dans 
 la chambre prochaine. 
 Déjà j'entends du bruit. 
 
 Faust. 
 
 =f= 
 
 -*-*i 
 
 1SSL 
 
 -<s> 1 
 
 Fare - well, then, bright ar - ray, 
 A - dieu donc, bel - le nuit 
 
 Of hopes that filled my 
 A pfi ■ ne com - men 
 
 bo - som ! Fare-well, thou 
 ce ■ e ! A - dieu, fes 
 
 #= 
 
 ;sr 
 
 -S»T- 
 
 
 feast 
 tin 
 
 of 
 d'a 
 
 love That mocked my long - ing heart. 
 mour Que je m'é - tais pro - mis! . 
 
 Mehpistopheles. 
 
 ■-— *■ 
 
 fel 
 
 -y— t*— fr» 
 
 -s- 
 
 •49 
 
 \ 
 
 
 From hence we must re - move ! 
 
 Par - tons, voi - là le jour! 
 
 Faust. 
 
 -<s>- 
 
 -qs-rrkjczrfe 
 
 ka= 
 
 zjz 
 
 fe±Ej 
 
 EHE 
 
 BÊÈ 
 
 -<S-î- 
 
 #fE*f=s 
 
 Oh, will 
 Te re 
 
 ye come a - gain, 
 
 ver • rai - je en - cor, 
 
 *=E& 
 
 bliss - fui fu - gi - tive hours, 
 heu - re trop fu - gi - li 
 
 =«r 
 
 :p: 
 
 £^:È 
 
 *= 
 
 { -Wf— \f 
 
 Bring-ing balm 
 Où mon â 
 
 : F-t 
 
 t5-T- 
 
 -& — ZSàL 
 
 to 
 
 
 the 
 
 pain 
 
 that 
 
 now 
 
 vie 
 
 au 
 
 bon 
 
 - heur 
 
 al 
 
 - lait 
 
 my heart de - vours ? . 
 
 en - fin s' ou - vrir? 
 
 --m=â 
 
 'l=ù 
 
 is>- 
 
 £21 
 
 {=-*-!*- 
 
 ^=Fë=?2= 
 
 E=F--t 
 
 t±5fz 
 
 Bring 
 Où 
 
 ing balm to the pain 
 mon âme au bon - heur 
 
 that 
 
 al 
 
 now 
 lait 
 
 my heart 
 en - fin . 
 
 de - vours ? 
 s' ou - vrir? . 
 
 Bring-ing 
 Où mon 
 
 -<S*- 
 
 r?2I 
 
 '&' 
 
 È 
 
 ES 
 
 4^ 0- 
 
 ~&L 
 
 ^Éi=g 
 
 balm to 
 âme ait 
 
 the pain 
 bon - heur 
 
 that now my heart de - vours, 
 al • lait en • fin s'ou - vrir, 
 
 Bring - ing balm 
 Ou mon âme 
 
 -<=ZL 
 
 to 
 au 
 
 the 
 bon - 
 
m 
 
 s£ 
 
 DAMNATION OF FAUST. 
 .rit. --,--» -a» rail. ~^ 
 
 :*=* 
 
 -<s> — s* 
 
 21 
 
 a tempo. 
 
 1SZL 
 
 H=fJ 
 
 pain that now my heart, that now my heart de - vours.that now my heart de 
 
 heur, al - lait en - fin, al - lait en • fin s'ou • vrir, al - lait en - fin s' ou 
 
 vours. 
 - vrir? 
 
 Chorus of Men and Women. 
 
 (Before Margaret's house.) 
 
 Hallo ! Mistress Martha, 
 See to your daughter's safety ! 
 The warning only conies in time, 
 If her gallant you wish to lime ! 
 Come home, good dame, or woe betide the 
 maiden's surety. 
 
 Hallo! Hallo! 
 
 Mephistopheles. The crowd isnearing; we 
 must away ! 
 
 Margaret. Heav'n ! Dost thou hear their 
 cries ? 
 Woe is me if they enter 
 And thy presence here surprise ! 
 
 Mephistopheles. Come, or they will torment 
 her. 
 
 Faust. Oh, despair! 
 
 Mephistopheles. This is folly! 
 
 Margaret. Farewell ! that little gate 
 Through the garden doth lead. 
 
 Faust. Oh, my love, cruel fate! 
 
 Mephistopheles. To the gate ! To the gate ! 
 
 ' Faust. At last I've seen thee near, fairest 
 treasure of nature ! 
 Love's delight hath appear'd and hath 
 called me to life ! 
 Fair love, thou hast enthrall'd with de- 
 light and with rapture 
 The heart that's henceforth thine ! 
 With hope my breast is rife ! 
 
 Margaret. Dearest Faust ! I do give thee 
 forever 
 My promise and my love ! 
 Even death cannot sever hearts so faithful, 
 True till death ! 
 
 Chœur de Voisins et de Voisines dans 
 la Rue. 
 
 Holà ! mère Oppenheim, vois ce que fait 
 ta fille ! 
 L'avis n'est pas hors de saison : 
 Un galant est dans ta maison, 
 
 Et tu verras dans peu s'accroître ta famille. 
 
 Mephistopheles. La foule arrive : 
 Hâtons-nous de partir ! 
 
 Marguerite. Ciel! entends-tu ces cris? De- 
 vant Dieu, je suis morte 
 Si l'on te trouve ici ! 
 
 Mephistopheles. Viens! on frappe à la 
 porte ! 
 
 Faust. O fureur! 
 
 Mephistopheles. O sottise! 
 
 Marguerite. Adieu. Par le jardin 
 Vous pouvez échapper. 
 
 Faust. O mon ange! à demain! 
 
 Mephistopheles. A demain ! à demain! 
 
 Faust. Je connais donc enfin tout le prix 
 de la vie ! 
 Le bonheur m'apparaît et je vais le saisir. 
 L'amour s'est emparé de mon âme ravie, 
 Il comblera bientôt mon dévorant désir. 
 
 Marguerite. O mon Faust bien-aimé, je te 
 donne ma vie ! 
 Pourrai-je te charmer au gré de mon 
 désir! . . . 
 
22 
 
 DAMNATION OF FAUST. 
 
 Fair love, thou hast enthrall'd with delight 
 and with rapture ! 
 To lose thee were to die ! 
 
 f Mephistopheles. Thou art mine ! And 
 now shall thy proud nature, 
 Haughty Faust, be enslaved forever ; 
 Mine, thy souFand thy life! 
 Empty hopes within thy breast are rife, 
 To me they bind thee fast — thy delight 
 and thy rapture ! 
 
 ' Faust. At last I've seen thee near, etc. 
 
 Margaret. Dearest Faust, I do give thee, etc. 
 Mephistopheles. Thou art mine ! etc. 
 
 Chorus {in the street}. Mistress Martha, 
 come home, good dame, 
 See to your daughter's safety. 
 Hallo! Hallo! 
 
 L'amour s'est emparé de mon âme ravie, 
 Il m'entraîne vers toi : te perdre c'est 
 mourir. 
 
 ' Mephistopheles. Je puis donc à mon gré 
 te traîner dans la vie, 
 Fier esprit ! Sans combler ton dévorant 
 désir, 
 L'amour en t'énivrant doublera ta folie, 
 Et le moment approche où je vais te 
 saisir. 
 
 ' Faust. Je connais donc enfin, etc. 
 
 Marguerite. O mon Faust bien-aimé, etc. 
 
 Mephistopheles. Je puis donc à mon gré, 
 etc. 
 
 Chœur au Dehors. 
 Holà, etc., etc. 
 
 FOURTH PART. 
 
 SCENE XV. 
 
 (Margaret's Chamber.) 
 
 Margaret {alone). 
 
 QUATRIEME PARTIE. 
 
 SCENE XV. 
 
 (Chambre de Marguerite.) 
 
 
 *==*PT 
 
 :*=qfc==fe 
 
 Ah me, my heart is heav - y, My peace - fui days are gone, 
 
 Z>'a - mour, I'ar - den - te flam - me, con - su - me mes beaux jours, 
 
 All in 
 
 An! la 
 
 \ b ^ ùù^-MiïLtXJL 
 
 sad - ness de-part - ed, 
 paix de mon â - me, 
 
 For - ev - er -more are flown, 
 A donc fui pour tou - jours, 
 
 poco rit. 
 
 m 
 
 For - ev - er - more are 
 
 A donc fui pour tou 
 
 Tempo lo tin poco piii animalo. 
 
 — r =— zzf: F^=l?pExl?p: 
 
 #-*• 
 
 ^F=^=-^ 
 
 J gzjfc 
 
 ^•Mfi^rfi^ 
 
 :i?«=i 
 
 flown. 
 jours ! 
 
 When my love is not near me, The dark grave do I see, 
 Son dé -part, son ab - sen - ce, Sont pour moi le cer - cueil, 
 
 And all the world is 
 Et loin de sa pré- 
 
DAMNATION OF FAUST. 
 
 2 3 
 
 
 £2= 
 
 £ 
 
 *: 
 
 ha- 
 
 
 |SE?S£ 
 
 1 
 
 changed, 
 
 chang'd, — Ah, so bit 
 Tout me pa - rait 
 
 - ly- 
 
 A - las, 
 
 my brain 
 
 is turn 
 
 ■ ed, 
 
 And 
 
 m y 
 
 deuil. 
 
 ^4 - /<?r j 
 
 ma pau - 
 
 vre tê - 
 
 te 
 
 & 
 
 <tf- 
 
 mind is distraught ; My sens 
 ran - ge bien - tôt; Mon fat 
 
 sad thought. 
 aussi - tôt. 
 
 His form so noble haunts me, 
 
 His lofty bearing high ; 
 The lip that smiled so softly, 
 
 The glance of his eye; 
 
 His voice, the magic flow, 
 
 Magic flow of his words, 
 And the bliss in the clasp of his hand, 
 
 And, ah me, ah me, his kiss ! 
 
 Ah me, my heart is heavy, 
 My peaceftd days are gone, 
 
 All in sadness departed, 
 Forever more are flown. 
 
 To greet him from my window 
 
 Do I gaze all the day, 
 I stir out, if to meet him then 
 
 I only, only may. 
 
 For him doth my bosom ever cry out, 
 
 Ever cry out and pine ; 
 Oh, if I might but clasp him, 
 
 And keep him ever mine ! 
 
 Once again to behold him 
 
 And kiss him fain were I ; 
 E'en death itself were blissful 
 
 To kiss him once and die ! 
 
 (Small Chorus behind the Scenes.) 
 
 Chorus. The trumpet that calls our banner 
 beneath, 
 ft summons to pleasure or summons to 
 
 death ; 
 No dangers appal us, how glorious is our 
 life! 
 
 Sa marche que j'admire, 
 
 Son port si gracieux, 
 Sa bouche au doux sourire, 
 
 Le charme de ses yeux. 
 
 Sa voix enchanteresse 
 Dont il sait m'embraser, 
 
 De sa main la caresse, 
 Helas! et son baiser. 
 
 D'une amoureuse flamme 
 Consument mes beaux jours. 
 
 Ah ! la paix de mon âme 
 A donc fui pour toujours ! 
 
 Je suis à ma fenêtre 
 
 Ou dehors tout le jour : 
 C'est pour le voir paraître 
 
 Ou hâter son retour. 
 
 Mon cœur bat et se presse 
 
 Dès qu'il le sent venir; 
 Au grè de ma tendresse 
 
 Puis-je le retenir ! 
 
 O caresses de flamme ! 
 
 Que je voudrais un jour 
 Voir s'exhaler mon âme 
 
 Dans ses baisers d'amour. 
 
 (Tambours et trompettes sonnant la retraite. — Chœur 
 de soldats et d'étudiants qui se font entendre dans le loin- 
 tain.) 
 
 Chœur. Villes entourées 
 
 De murs et remparts, 
 
 Fillettes parées 
 
 Aux malins regards, 
 Victoire certaine 
 
 Près de vous m'attend ! 
 Si grande est la peine, 
 
 Le prix est plus grand. 
 
2 4 
 
 DAMNATION OF FAUST. 
 
 Margaret. I hear the sounds that summon 
 all the town to repose ; 
 Those joyous strains attend and cheer the 
 
 daylight's close, 
 On such a night as this did love come to 
 my heart, 
 
 And awake it to bliss. 
 
 Chorus. Jam nox stellata velamina pandit, 
 Per urbem quœrentes puellas eamus. 
 
 Margaret. He cometh not ! He cometh not ! 
 Alas! Alas! 
 
 SCENE XVI. 
 
 (Forests and Caverns.) 
 
 Marguerite. Bientôt la ville entière au repos 
 va se rendre ; 
 Clairons, tambours du soir déjà se font 
 entendre 
 
 Avec des chants joyeux, 
 Comme au soir où l'amour offrit Faust à 
 mes yeux. 
 
 Chœur. Jam nox stellata velamina pandit. 
 Per urbem quœrentes puellas eamus. 
 
 Marguerite. Il ne vient pas ! 
 Hélas ! 
 
 SCENE XVI. 
 
 (Forêts et cavernes.) 
 
 Faust (alone) 
 ., u Very broad and sombre. 
 
 fplE^ 7 : 
 
 fi 
 
 : X-=i X ">X F 
 
 *±t=Ê 
 
 iB 
 
 yÇ5®MZ=ZMZjÊûjm 
 
 t=fc=fc: 
 
 |EEË^ 
 
 jgjg lME: 
 
 Ma - jes - tic spir - it, 
 Na-ture im - men - se, 
 
 calm andre-sist- less pow 
 im - pê - nê-tra - ble et fié 
 
 er, 
 re, 
 
 Oh, 
 Toi 
 
 Tiy P ^ r .|j.ij -.im 
 
 
 M 
 
 =t 
 
 -*-* 
 
 -X- 5 *-*-* 
 
 S3* 
 
 Na - ture, thou hast giv - en 
 
 seu - le don - nés trê - ve 
 
 peace to my tor - tured soul ! 
 à mon en - nui sans fin ! 
 
 In thy 
 Sur ton 
 
 m 
 
 =t 
 
 =*=£ 
 
 3-^— ë — F 
 
 *£Jt£i£ 
 
 
 might thou dost soothe the tu - mul - tu - ous throbbing That my bo - som 
 sein tout- puissant je sens moins ma mi -se - re, Je re - trou - ve 
 
 H 
 
 fcât- 
 
 P=3= 
 
 n: 
 
 up- heav - ed, 
 ma for - ce, 
 
 êÀ 
 
 'H-s-qV 
 
 -bfr- 
 
 3t4= 
 
 JlIX ^ 5 
 
 ^=* 
 
 call -ing me back to 
 et je crois vivre en 
 
 life. 
 fin. 
 
 Howl, 
 Oui, 
 
 S 
 
 : : ï 
 
 Se! 
 
 thou boist - er - ous storm, 
 souf-flez, ou ■ ra - gans ! 
 
 and 
 Cri- 
 
 ilfe%^^ CTffe ±Ei^^5^^^ ^ 
 
 roar, 
 
 ye might -y for 
 fo - rets pro - /on 
 
 ests, 
 des ! 
 
 With crash, with crash and wail, and wail of tan-gled 
 
 Crou - lez, crou - lez, ro - chers! Tor ■ 
 
 mm^^^^m^^ 
 
 ^z^=^z=»-^ 
 
 TX^ E 
 
 3^ 
 
 m 
 
 boughs, While foam- ing rolls the tor - rent ; 
 
 rents, pre - ci - pi - tez vos on - des! 
 
 To your sov - er -eign voice 
 A vos bruits sou- ve • rains 
 
DAMNATION OF FAUST. 
 
 25 
 
 soul, 
 ma 
 
 my 
 
 voix 
 
 #t 
 
 -=1-*- 
 
 ** 
 
 woods, 
 
 r 
 
 -=<-* 
 
 and hills, 
 r<? - chers! 
 
 -*- h ■ *— ^^ g T ' i Sa 1 - 
 
 and streams ! 
 tor - rents, . 
 
 With sheen of sil 
 je vous a - do 
 
 ver 
 re! 
 
 plfegÉEf^E^^ÉE^g^g^j^ ^^ 
 
 ris - es the clear pale moon, 
 Mon - des qui sein - til - lez, . 
 
 And mounts the heav-ens as I gaze, 
 vers vous s' 1 i- Ian- ce le dé - sir 
 
 Her ra - diant 
 D'un cœur trop 
 
 tffe 
 
 *=3: 
 
 3g= 3-4- U- 
 
 
 =F— x— *— =»- 
 
 beau - ty 
 
 shed-ding o'er my spir - it 
 et d'une â-me alté • ri - e 
 
 Ho - ly peace and calm 
 D'un bon - heur qui la 
 
 joy. 
 fuit. 
 
 Il 
 
 SCENE XVII. 
 
 Mephistopheles {appears among the rocks). 
 
 In that star-spangled vault, can you 
 discover, friend, 
 
 The orb of constant love ? 
 
 For now its influence, methinks, might 
 prove most useful. 
 
 You've forgotten, I trow, in sapient con- 
 templation, 
 Your Margaret. 
 
 Faust. Oh, cease! 
 
 Mephistophei.es. That poor damsel so trust- 
 ful, 
 You've ceased to love, I know ; 
 In a dungeon she's pining! 
 Poor soul, condemned to die, 
 While your love is declining ! 
 
 Faust. What ! 
 
 (Hunters' horns heard in the distance) 
 
 Mephistopheles. The hunters I hear who 
 are scouring the wood. 
 
 Faust. No jesting ! What saidst thou? 
 Margaret, oh, dread news ! 
 
 SCENE XVII. 
 
 Mephistopheles {gravissant les rochers). 
 A la voûte azurée 
 Aperçois-tu, dis-moi, l'astre d'amour con 
 
 stant? 
 Son influence, ami, serait fort nécessaire ; 
 Car tu rêves ici, quand cette pauvre enfant, 
 Marguerite . . . 
 
 Faust. Tais-toi ! 
 
 Mephistopheles. Sans doute il faut me 
 taire. 
 Tu n'aimes plus ! Pourtant en un cachot 
 
 traînée, 
 Et pour un parricide à la mort condamnée... 
 
 Faust. Quoi ! 
 
 Mephistopheles. J'entends des chasseurs 
 qui parcourent les bois. 
 
 Faust. Achève, qu'as-tu dit? Marguerite en 
 prison ? 
 
36 
 
 DAMNATION OF FAUST. 
 
 Mephistopheles. The tidings are unpleas- 
 ant, 
 
 To hear them dost thou choose ? 
 
 She had wander'd forlorn, wretched and 
 ill-starr'd being; 
 
 And now in a prison immur'd, 
 
 Awaits a frightful doom. 
 
 The short hours are fleeing 
 
 That withhold her from death ; 
 
 Then all her ills are cured. 
 
 Her mother's end was caused by the 
 draught that -we furnished 
 
 To ensure her repose 
 
 Faust. Treacherous monster ! 
 
 Mephistopheles. Unwitting, she gave too 
 much, and must abide. 
 
 Faust. Thou must save her, or woe betide 
 thee! 
 
 Mephistopheles. Yes, ever so, poor mor- 
 tals, 
 
 Ye the thunder would grasp 
 
 To avert what ye dread, yet listen ! 
 
 My power doth suffice to ope her dun- 
 geon portals, 
 
 And leaves the rest to thee ; 
 
 On one condition, though. 
 
 Faust. Oh, quickly speak ! 
 
 Mephistopheles. 'Tis this, — Thou shall 
 upon this parchment 
 
 Set thy hand and thy seal, 
 
 And quick as thought is Margaret free ; 
 
 For so great a service what I claim to- 
 morrow shall reveal. 
 
 Faust . What boots tomorrow, fiend ; 'tis 
 
 today thou must save her, 
 The parchment ! — {he signs) Behold, 
 
 'tis done ! 
 And now swiftly conduct me to the cell, 
 Where in fear and in sorrow she's 
 
 pining. 
 Margaret, I come ! 
 
 Mephistopheles. What, ho ! my magic 
 steeds ! 
 These horses, s>vift as light, shall bear 
 us, 
 
 Mephistopheles. Certaine liqueur brune, un 
 innocent poison, 
 
 Qu'elle tenait de toi pour endormir sa mère 
 Pendant vos nocturnes amours, 
 
 A causé tout le mal. Caressant sa chi- 
 mère, 
 
 T'attendant chaque soir, elle en usait tou- 
 jours. 
 
 Elle en a tant usé, que la vieille en est 
 morte. 
 Tu comprends maintenant. 
 
 Faust. Feux et tonnerre ! 
 
 Mephistopheles. En sorte 
 
 Que son amour pour toi la conduit. 
 
 Faust. Sauve-la, 
 
 Sauve-la, miserable ! 
 
 Mephistopheles. Ah ! je suis le coupable ! 
 On vous reconnaît là, 
 Ridicules humains! N'importe! 
 Je suis le maître encor de t'ouvrir cette 
 porte. 
 Mais qu'as-tu fait pour moi 
 Depuis que je te sers? 
 
 Faust. Qu'exiges-tu ? 
 
 Mephistopheles. De toi? 
 Rien qu'une signature 
 Sur ce vieux parchemin. 
 Je sauve Marguerite à l'instant, si tu 
 
 jures 
 Et signes ton serment de me servir 
 demain. 
 
 Faust. Eh ! que me fait demain, quand je 
 souffre à cette heure? 
 Donne. (// signe.) Voilà mon nom. 
 
 Vers sa sombre demeure 
 Volons donc maintenant. O douleur 
 insensée ! 
 
 Marguerite, j'accours ! 
 
 Mephistopheles. A moi, Vortex! Giaour! 
 Sur ces deux noirs chevaux, prorapts 
 comme la pensée. 
 
DAMNATION OF FAUST. 
 
 27 
 
 And we'll carry the prize ere fall of 
 
 night. 
 Haste away, do not tarry ! 
 
 SCENE XVIII. 
 
 The Ride to Hell. 
 
 (Night, the Open Country.) 
 
 Faust and Mephistopheles {galloping on 
 black horses) . 
 
 Faust. Through my heart her sad voice is 
 ringing mournfully. 
 
 Montons, et au galop. . . La justice est 
 pressée. 
 
 (Ils partent.) 
 
 SCÈNE XVIII. 
 La course à l'abîme. 
 
 (Plaines, montagnes et vallées.) 
 
 Faust et Méphistophélès {galopant sur 
 deux chevaux noirs) . 
 
 Faust. Dans mon cœur retentit sa voix déses- 
 pérée. . . 
 
 Alas ! and woe is me ! 
 
 Chorus of Peasants. 
 
 (Kneeling before a Crucifix.) 
 
 Sancta Maria, ora pro nobis; 
 Sancta A/agdalena, ora pro nobis. 
 
 Faust. Take heed, a pious crowd of poor 
 women and children 
 Kneel around yon cross. 
 
 Mephistopheles. Never heed them, let us 
 
 Chorus. Sancta Margarita — Ah ! ( Cry of 
 alarm.) 
 
 (The women and children disperse.) 
 
 O pauvre abandonnée ! 
 Chœur de Paysans. 
 
 (Agenouillés devant une croix champêtre.) 
 
 Sancta Maria, ora pro nobis ; 
 Sancta Magdalena, ora pro nobis. 
 
 Faust. Prends garde à ces enfants, à ces 
 femmes priant 
 Au pied de cette croix. 
 
 Méphistophélès. Eh qu'importe ! en avant!. 
 
 Chœur. Sancta Margarita, ora pro — 
 
 Ah!!! 
 
 (Cris d'effroi. Le chœur se disperse en tumults. Les 
 cavaliers passent.) 
 
 Faust. See, a hideous shape pursues us with 
 loud cries. 
 
 Mephistopheles. Thou art dreaming ! 
 
 Faust. What a host of foul birds fills the 
 skies ! 
 With dismal shriek round my head they 
 are whirling. 
 
 Mephistopheles {slackening his speed). 
 The passing bell I hear ; for Margaret 'tis 
 tolling. 
 Art afraid to go on ? 
 
 (They halt.) 
 
 Faust. Dieux ! un monstre hideux en hurlant 
 nous poursuit ! 
 
 Méphistophélès. Tu rêves! 
 
 Faust. Quel essaim de grands oiseaux de 
 nuit ! 
 Quel cris affreux ! ... ils me frappent 
 de l'aile ! . . . 
 
 Méphistophélès {retenant son cheval.) 
 Le glas des trépassés sonne déjà pour elle. 
 A s- tu peur? retournons! 
 
 (Ils s'arrêtent.) 
 
28 ' 
 
 DAMNATION OF FAUST, 
 
 Faust. No, the goal must be won ! 
 
 (They resume their course with quickened speed.) 
 
 Orchestra. 
 Mephistopheles {urging his horse). On! 
 
 Faust. On ev'ry side, dost see, spectral forms 
 are arising ; 
 There, the skeletons dance, 
 While ghastly laugh and gesture, the 
 foul horror enhance. 
 
 Mephistopheles. Think of saving thy loved 
 one, and heed not these ghosts. 
 On! on! 
 
 Orchestra. 
 
 Faust {horror struck). Our horses are shud- 
 
 d'ring, 
 Transfixed with terror, before those 
 
 dread hosts 
 The earth seems to roll and tremble 
 
 beneath me. 
 The loud crashing thunder bewilders 
 
 my soul ! 
 It raineth blood ! 
 
 Mephistopheles (in a voice of thunder). 
 Infernal cohorts triumph, 
 And let the boastful trumpet flourish ; 
 His soul is mine ! 
 
 Faust. Horror ! oh ! 
 
 Mephistopheles. For evermore ! 
 (They fall into the abyss.) 
 
 SCENE XIX. 
 
 (Faust in Hell.) 
 PANDEMONIUM. 
 
 Chorus of the Demons and the Damned. 
 
 (i) Has I Irimiru Karabraol 
 
 The Princes ok Darkness to Mephisto- 
 pheles. Hast thou conquer'd this 
 proud immortal soul, 
 
 Faust. Non, je l'entends, courons! 
 (Les chevaux redoublent de vitesse.) 
 
 Orchestre Seul. 
 
 Mephistopheles (excitant son cheval) . Hop f 
 hop ! hop ! 
 
 Faust. Regarde, autour de nous, cette ligne 
 infinie 
 De squelettes dansant ! 
 
 Avec quel rire horrible ils saluent ! 
 
 Mephistopheles (animant les chevaux). 
 Enfant ! 
 Hop ! hop ! . . . pense à sauver sa vie. 
 Hop ! . .et ris-toi des morts ! 
 
 Orchestre Seul. 
 
 Faust (de plus en plus épouvanté, et haletant). 
 Nos chevaux frémissent, 
 Leur crins se hérissent, 
 Ils brisent leurs mors J 
 Je vois onduler 
 Devant nous la terre ; 
 J'entends le tonnerre 
 Sous nos pieds rouler ! 
 Il pleut du sang ! ! ! 
 
 Mephistopheles (dun voix tonnants). 
 Cohortes infernales, 
 Sonnez vos trompes triomphales ! 
 Il est à nous ! 
 
 Faust. Horreur ! 
 
 Mephistopheles. Je suis vainqueur! 
 (Ils tombent dans un gouffre.) 
 
 SCENE XIX et Dernière. 
 
 (L'Enfer. — Faust est livré aux flammes.) 
 PANDEMONIUM. 
 
 Chœur de Démons et Damnés. 
 
 (i) Has! Irimiru Karabraol 
 
 Les Princes des Ténèbres à Méphis 
 tophélès. De cette âme si fière, 
 
 (i) Cette langue est celle que Swedenborg appelait la langue infer- 
 nale, et qu'il croyait en usage chez les demons et les damnés. 
 
DAMNATION OF FAUST, 
 And enslaved it, Mephisto, for aye? 
 Mephistopheles. I have conquer'd this soul. 
 
 Princes of Darkness Then did Faust freely 
 sign 
 The dread act that did yield up his soul to 
 our fires? 
 
 Mephistopheles. Of free will did he sign. 
 (Infernal orgies. — Mephisto's triumph.) 
 
 Chorus. 
 
 Tradioun Marexil, Jir tru diuxè burru- 
 
 dixé. 
 Fory mv Dinkorlitz O meri karin 
 O mèvixè merikariba 
 O tneri karin o mi dara caraibo 
 La kin da me rond or Dinkorlitz 
 Diff! Diff! merondor avsko! 
 Has I Has I Satan, Bclphègor, Mèphisto, 
 Has! Has! /Croix, Astaroth, Belzêbuth 
 Sat rayk irkimour. 
 
 EPILOGUE. 
 
 (On earth.) 
 Some Voices. * 
 
 And then Hell's gates were still. 
 
 The seething sound alone of the vast lakes 
 
 of fire. 
 The gnashing teeth and wail that dread 
 
 torments inspire, 
 Alone were heard above; while in the 
 
 depths profound, 
 In dread mystery drown'd, there was 
 
 wrought 
 An awful deed ! 
 
 (In Heaven.) 
 
 Seraphim Prostrate Before the Almighty. 
 Lausl Hosanna ! 
 Receive a contrite soul, oh Lord. 
 
 (Silence — Harmonious murmurs.) 
 
 A Voice From the Highest Heaven. 
 Margaret, rise ! 
 
 29 
 
 A jamais es-tu maître et vainqueur, 
 Méphisto? 
 
 Mephistopheles. J'en suis maître à jamais. 
 
 Les Princes. Faust a donc librement 
 
 Signé l'acte fatal qui le livre à la 
 flamme ? 
 
 Mephistopheles. Il signa librement. 
 
 (Orgie infernale. — Triomphe de Mephistopheles.) 
 
 Chœur. Trmdiotin mar exil Trudinxè burru- 
 
 dixe. 
 Fory my dinkorlitz H r meak omévixe! 
 Uraraikè ! 
 Muraraikè! 
 Diffl Diffl merondor mit aysko l 
 Has ! Has! Satan, Belphègor, Méphisto, 
 Has! Has! Kroïx, Astaroth, Belzêbuth. 
 Sat rayk irkimour. 
 
 ÉPILOGUE. 
 
 (Sur la terre.) 
 
 Quelques Voix. Alors l'enfer se tut. 
 
 L'affreux bouillonnement de ses grands 
 lacs de flammes, 
 
 Les grincements de dents de ses tour- 
 menteurs d'âmes, 
 
 Se firent seuls entendre ; et, dans ses 
 profondeurs, 
 
 Un mystère d'horreur s'accomplit. 
 
 Chœur. O terreurs ! . . . 
 (Dans le ciel.) 
 
 Séraphins Inclinés Devant le Très-Haut. 
 Latis ! . . . Hosanna! 
 
 Elle a beaucoup aimé, Seigneur! 
 
 (Silence. . . Murmure harmonieux.) 
 
 Une Voix dans les Hauteurs des Cieux. 
 Margarita ! ! ! 
 
30 DAMNATION OF FAUST, 
 
 Chorus of Heavenly Spirits. Chœur d'Anges. 
 
 Margaret's Apotheosis. 
 
 Ascend on high, innocent spirit ! 
 
 Once misled by earthly love, 
 
 But now restored to thy primitive beauty, 
 
 Thou shalt see the realms above. 
 
 Come, the heavenly choir 
 
 In joyous strains conspire 
 
 To greet thy ransomed soul 
 
 In the courts of the blest, 
 
 By tribulation tried, 
 
 Thy faith and hope have saved thee 
 
 From the world's raging tide. 
 
 Rise, oh Margaret, rise ! 
 
 The End. 
 
 Apothéose de Marguerite. 
 
 Remonte au ciel, âme naïve 
 
 Que l'amour égara ; 
 Viens revêtir ta beauté primitive 
 Qu'une erreur altéra. 
 Viens, les vierges divines, 
 Tes sœurs les Séraphines, 
 Sauront tarir les pleurs 
 Que t'arrachent encor les terrestres douleurs. 
 L'Eternel te pardonne, et sa vaste clémence 
 Un jour sur Faust aussi peut-être s'étendra. 
 
 Conserve l'espérance 
 Et souris au bonheur. Viens, viens, Margarita ! 
 
 FIN. 
 
14 DAY USE 
 
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