Faust

The Project Gutenberg EBook of Faust, by Johann Wolfgang Von Goethe
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Title: Faust
Author: Johann Wolfgang Von Goethe
Release Date: January 4, 2005 [EBook #14591]
Language: English
Character set encoding: ISO-8859-1
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[Illustration: Faust]?[Illustration]?[Illustration]?[Illustration: Have you not led this life quite long enough?]
FAUST
by
Johann Wolfgang von Goethe
WITH ILLUSTRATIONS BY
Harry Clarke
TRANSLATED INTO ENGLISH, IN?THE ORIGINAL METRES, BY
Bayard Taylor
An Illustrated Edition
THE WORLD PUBLISHING COMPANY
CLEVELAND, OHIO NEW YORK, N.Y.
PRINTED IN THE UNITED STATES OF AMERICA
[Illustration]
[Illustration]
CONTENTS
PREFACE?AN GOETHE?DEDICATION?PRELUDE AT THE THEATRE?PROLOGUE IN HEAVEN
SCENE I. NIGHT (Faust's Monologue)
II. BEFORE THE CITY-GATE?III. THE STUDY (The Exorcism)?IV. THE STUDY (The Compact)?V. AUERBACH'S CELLAR?VI. WITCHES' KITCHEN?VII. A STREET?VIII. EVENING?IX. PROMENADE?X. THE NEIGHBOR'S HOUSE?XI. STREET?XII. GARDEN?XIII. A GARDEN-ARBOR?XIV. FOREST AND CAVERN?XV. MARGARET'S ROOM?XVI. MARTHA'S GARDEN?XVII. AT THE FOUNTAIN?XVIII. DONJON (Margaret's Prayer)?XIX. NIGHT (Valentine's Death)?XX. CATHEDRAL?XXI. WALPURGIS-NIGHT?XXII. OBERON AND TITANIA'S GOLDEN WEDDING?XXIII. DREARY DAY?XXIV. NIGHT?XXV. DUNGEON?[Illustration]
FAUST
[Illustration]
[Illustration: Preface]
It is twenty years since I first determined to attempt the translation of Faust, in the original metres. At that time, although more than a score of English translations of the First Part, and three or four of the Second Part, were in existence, the experiment had not yet been made. The prose version of Hayward seemed to have been accepted as the standard, in default of anything more satisfactory: the English critics, generally sustaining the translator in his views concerning the secondary importance of form in Poetry, practically discouraged any further attempt; and no one, familiar with rhythmical expression through the needs of his own nature, had devoted the necessary love and patience to an adequate reproduction of the great work of Goethe's life.
Mr. Brooks was the first to undertake the task, and the publication of his translation of the First Part (in 1856) induced me, for a time, to give up my own design. No previous English version exhibited such abnegation of the translator's own tastes and habits of thought, such reverent desire to present the original in its purest form. The care and conscience with which the work had been performed were so apparent, that I now state with reluctance what then seemed to me to be its only deficiencies,--a lack of the lyrical fire and fluency of the original in some passages, and an occasional lowering of the tone through the use of words which are literal, but not equivalent. The plan of translation adopted by Mr. Brooks was so entirely my own, that when further residence in Germany and a more careful study of both parts of Faust had satisfied me that the field was still open,--that the means furnished by the poetical affinity of the two languages had not yet been exhausted,--nothing remained for me but to follow him in all essential particulars. His example confirmed me in the belief that there were few difficulties in the way of a nearly literal yet thoroughly rhythmical version of Faust, which might not be overcome by loving labor. A comparison of seventeen English translations, in the arbitrary metres adopted by the translators, sufficiently showed the danger of allowing license in this respect: the white light of Goethe's thought was thereby passed through the tinted glass of other minds, and assumed the coloring of each. Moreover, the plea of selecting different metres in the hope of producing a similar effect is unreasonable, where the identical metres are possible.
The value of form, in a poetical work, is the first question to be considered. No poet ever understood this question more thoroughly than Goethe himself, or expressed a more positive opinion in regard to it. The alternative modes of translation which he presents (reported by Riemer, quoted by Mrs. Austin, in her "Characteristics of Goethe," and accepted by Mr. Hayward),[A] are quite independent of his views concerning the value of form, which we find given elsewhere, in the clearest and most emphatic manner.[B] Poetry is not simply a fashion of expression: it is the form of expression absolutely required by a certain class of ideas. Poetry, indeed, may be distinguished from Prose by the single circumstance, that it is the utterance of whatever in man cannot be perfectly uttered in any other than a rhythmical form: it is useless to say that the naked meaning is independent of the form: on the contrary, the form contributes essentially to the fullness of the meaning. In Poetry which endures through its own inherent vitality, there is no forced union of these two elements. They are as intimately blended, and with the same mysterious beauty, as the sexes in the ancient Hermaphroditus.