PREFACE.

It seemed so presumptuous an act on the part of a foreigner to appear before the English public as editor of a work of which there already exist no less than two and twenty English translations, every one with notes more or less copious, that it was not till after a most carefu' perusal of the whole of the different editions, and a conscientious study of our most celebrated German commentators, that I was convinced that I should not be altogether guilty of carrying "owls to Athens" in bringing before the public another annotated edition of so celebrated a work as "Faust." It is, however, usual for a foreigner to excuse himself when writing in a language which he has scarcely acquired; in making my apology, I feel that I shall place myself on the safest ground in claiming the indulgence of the reader in Goethe's own words. He demands, in the notes to his Westöstliche Divan," "to be placed on the same footing as a traveller, of whom it is praiseworthy if he accommodate himself to the manners of the country he visits, appropriate its language, share its views and adopt the style of their inhabitants; when he has done his best to master all these, he is sure to be excused though his accent may still be

* I must mention especially the works of Rosenkranz, Düntzer, Schubart Gervinus, Leutbecher, Weisze, Rötsher, Carus, &c.

peculiar, and though an unconquerable nationality may every now and then betray his foreign extraction." This indulgence I feel will not be denied to me by any, for scholars will forgive, because I know them to be judicious, and amateurs, less disturbed by faults and peculiarities, will accept what is offered to them. without prejudice.

To give a biographical sketch of Goethe would be altogether superfluous, when England possesses so excellent a "Life" as that written by Lewes ; and it may here be remarked without flattery, that the English being of a more objective nature are undoubtedly far superior as Biographers to the Germans, who, with their placid subjectivity, are more apt to put forward their individual views of an object than to give the reader a clear, simple notion of the object itself. Any one who wishes to become acquainted with this part of the subject cannot do better than peruse Lewes' "Life of Goethe," where he will find all the information he can desire.

We have selected the first part of Faust as the subject of our comments, as being decidedly the finest of Goethe's poetical compositions. Its beauties certainly surpass everything we have met with in modern literature, the mystery of its variegated allusions, the stern morality of its didactic poetry, the fervour of its dithyrambic effusions, the bitter mockery of its satire, and the deep feeling of its lyric songs are as yet unequalled. Under the ablest symbols the various philosophical systems are introduced and their tenets commended or exposed; Idealism, Realism, Spiritualism, and the rest are exhibited in their true colours; and though the whole abounds with apparent anomalies and paradoxes, yet we can always readily set our

feet on the firm ground of truth; though we may at first feel ourselves lost in a very ocean of metaphysical speculation, yet we have but to look steadily around us to discover that the simple and impressive tone of the work has in reality been wafting us safely to the haven of the purest Christianity. But it is to the great scope--the universality we might say of the subject, that this dramatic poem owes the irresistible fascination which it has always exercised on those who have not contented themselves with a mere superficial reading, but have studied it thoroughly and so appreciated its general as well as particular meaning.

We must look on poetry as we look on the productions of nature; for, like them, poetry is but the outgrowth of climate, time, religion, nationality, civilization, and so many outward and inward influences. Works of poetry must therefore be considered with pure objectiveness as organic wholes entirely as they present themselves; and each observer must be allowed to draw from them what conclusions may seem to him the fairest.

To one man, a piece of chalk is merely a means of joining stones- -a cement; to another it is a part of those tertiary rocks of the flotz-formation, that carry back the mind to the antediluvian period; a third observer sees the same chalk hardened into the calcareous spar, whose countless crystallisations are so many proofs of the powers of an Almighty. So it is with every poetical work; we must not be surprised, therefore, that in Faust one man should see the most dangerous tendencies, a second a harmless effort of speculation, while another may feel convinced that it is a work likely to exert the most bene

ficial influence on mankind, as a thoroughly Christian book; and did we dare to flatter ourselves that there is any merit in our notes, we feel that it must arise from our having taken this latter view, and having attempted throughout to show how the various characters, their sayings and their doings are calculated to conduce to the enlargement of our mind, the improvement of our morals; in a word, to the elevation of our whole nature.

It is certainly a most extraordinary feature in the history of European literature, that in Germany, above all other countries, every poetical composition should not only serve as a landmark on the road of civilization, but also exercise a very decided influence on progress: thus being the case we must expect to find this peculiarity more than usually prominent in Faust, which is but a dramatic representation of Humanity itself: and in fact we find that while representing humanity as the battlefield of the hostile inclinations of our divided nature-the evil and the good, it is placed as a mirror, in which may be seen reflected the period when it was conceived, and has always exerted the most beneficial influence on Germany's civilization.

We shall endeavour before pointing out the general features of the poem, to glance briefly at the times and circumstances under which it was composed.

From the earliest ages of German poetry, we find that one of its constant features is the conflict of two opposing principles. These antagonistic elements vary in different. epochs. In the times of Heathen Mythology-Day and Night are the opponents; each is represented as a deity, the one the source of joy, the other of sorrow; the one sends