CHORUS OF THE ANGELS. "Christ is arisen! Hail the glad day, Ye children of clay, Who are but the prey Of weakness and sorrow." P. 39. It is the morn of Easter, and the distant sound of this chaunt is finely conceived to arrest his guilty purpose. The opening of the second scene exhibits mechanics and labourers pouring forth before the city gate, to enjoy their holyday. Faust mixes with them, and receives their thanks for the condescending familiarity manifested by one so learned, and for the benevolent relief which the skill in medicine, possessed by his father and by himself, had enabled them to dispense during the rage of an epidemic disease. Faust sickens at this praise; and nurses his morbid appetite by reflecting upon the uncertainty of Physic. After this, to his honest Secretary's great terror, he renews his wonted invocations to the Spirits of mid-air. The good-hearted scribe warns him of his danger; for he, like Čaliban, is acquainted with all the fiends who ride upon the winds of the four quarters; but his skill does not lead him to detect the incarnation of Mephistopheles, who attaches himself to Faust while they are talking in the shape of a black poodle dog. Faust notes the "lizard circles," which he winds round their steps; he marks a track of fiery light, which follows him, while the simple Wagner sees nought but a very poodle, who will fetch and carry, and swim in the river for a cane. Faust entices the dog to his study, and in his company at midnight, he sits down to the strange task of correcting his translation into German of the first chapter of the Gospel of St. John. While he writes, the poodle howls and bellows, till the philosopher opens the door to get rid of him. The poodle then grows long and broad, and shews a wondrous shape, which confirming Faust's original suspicion, induces him, by means of a powerful spell, to call him forth in human shape; and at last, after much resistance, "Mephistopheles appears from behind the stove, dressed as a travelling student." After a short explanation of his qualities and pursuits, he requests permission to depart, from which, as it seems, he is hindered by a pentagram, which Faust had placed on the threshold to guard himself against evil dæmons. It is a law, by which Hell is bound, that no Spirit can retire, unless by the same road at which it entered. The poodle had crept through an unguarded corner, but he is unable to repass it now, and Faust seems inclined to retain him in his hold. Mephistopheles, in order to escape, cheats the magician into the acceptance of a spiritual song, and having lulled him as it is most natural he should do, into slumber by its soothing melody, he employs a rat to gnaw the parchment scroll, and disappears at a bound. In their second interview they come to terms. Mephistopheles proffers his services as valet on a travelling tour, provided that Fanst, if they meet again in another world, should agree to assume a similar character. The contract is regularly signed in blood; but its terms are somewhat obscurelet the reader judge for himself. "FAUST. "Should my soul once partake the body's rest, If with one instant's self-approval blest, The next convicts the author of the lie. That moment in enjoyment past That moment, let it be my last! This is my wager. "MEPHISTOPHELES. "Done !" Faust's wishes are not very moderate. 66 FAUST. P. 95. "Hear me! I do not ask for happiness. I wish concenter'd in this single form: And, like yourself, be blasted at the end." P. 99. A scene of keen irony follows, in which Mephistopheles, under the disguise of Faust, lectures a scholar applying to him for instruction, and caustically reviews the several Faculties, in one of which his tyro is anxious to graduate. After this, spreading their mantles to the wind, the fiend and his master, commence their rambles. Their coup d'essai is among some drunken citizens in a Leipsig cellar, where Mephistopheles practises a few juggling tricks. They next visit a witch's kitchen, and in this a wildness of imagination is dis played, which borders upon the ladicrous; take the stage direction as a sample. "The WITCH's Kitchen. "A great caldron is boiling on a fire, which is seen blazing on a low hearth. In the smoke that rises from it various figures are ascending. A Meerkatze (an animal between a cat and a monkey) sits by the caldron, skimming it so that it may not boil over. The male, with his family, is warming himself." P. 131. The Meerkatzen, when asked after their mistress, reply in nursery rhyme While they sing "The old sinner, Gone out to dinner, "[The kettle, which the cats have neglected, begins to boil over: it takes fire, and blazes up the chimney. The WITCH comes down howling and shrieking through the flume. "WITCH. "Ough! ough! ough! ough! Infernal hellcat! cursed sow! Curse on the careless brutes, to allow The pot to boil over, and singe me now!" P. 139. Mephistopheles discovers himself, and the witch, after sundry mummeries, presents Faust with a cup of her mysterious wine; in the mean time, in an enchanted mirror, he has had the first vision of Margaret. It was for this purpose, that the visit to the witch was designed, for he soon afterward is thrown in the way of the reality of this vision, the innocent Margaret, so pure, that the priest who absolved her could not send her back more perfect than she approached his confessional, so beautiful, that the first glance inflames Faust to madness of passion. Mephistopheles guides the clue, and is now sure of his prey. He places rich gifts in the chamber of the maid, which she naturally enough attributes to the bounty of some concealed lover. By the aid of a female friend, Martha, well calculated to act as procuress, he then personally introduces Faust, who easily inspires a mutual affection. Mephistopheles describes M VOL. XX. AUGust, 1823. her love in some lines, in which, for once, the poet has forgotten the bitternes which lurks under all the other descriptions of the fiend. They are unmixedly sweet. "How slow for her the steps of time must fall! She looks through the casement's chequer'd glass; • Were I a bird, to flee away, Soon would I spread my wings'- She has sparkles of joy which soon subside, P. 195. Faust's passion is of a fiercer nature, and shews a fine contrast. FAUST. What are the joys her love can give? Without repose, without an aim? My course has been like cataracts that leap, The rush of waters, and the torrent's roar,› And into ruin hurl'd! She and her joys were swept away. P. 197. We need scarcely add, that through himself, and the Devil to boot, Faust is a too successful lover. Margaret, however, in spite of her blindness, sees reason to suspect his religious propensities. He does not share in mass and confession, and she questions him closely on his faith. His reply must be given entire. FAUST. Ask the religious, ask the wise, And all the priest or sage replies "MARGARET. "Faith, then, you have none. "FAUST. "Do not distort my answer, lovely one. Who could himself compel To say he disbelieves The being whose presence all must feel so well? The All-creator, The All-sustainer, Does he not uphold Thyself, and me, and all? Does not yon vaulted Heaven expand Round the fast earth on which we stand ? Do we not hail it, though from far will. P. 204. The noble translator has here done full justice to his author, and it must indeed be admitted, in general, that he has the rare merit of always succeeding best in the most prominent passages. The hymn to the Mater Dolorosa, which our limits forbid us to extract, might be cited in evidence of our assertion. In order to gain access to her, under her mother's roof, Faust presents Margaret with a phial of sleepy potion, with which Mephistopheles has furnished him, and she consents to administer it. The mixture is poison! and of this it seems Faust was ignorant. Margaret's brother, a gallant soldier, hears her shame, and hastens to revenge himself on the seducer. He is murdered at her door by Faust and his fiendish associate. Long as it may be, we cannot forbear to extract the fine scene which follows. |