Faust | Page 5

and the rhymes arranged according to the author's will, I do not consider that an occasional change in the number of feet, or order of rhyme, is any violation of the metrical plan. The single slight liberty I have taken with the lyrical passages is in Margaret's song,--"The King of Thule,"--in which, by omitting the alternate feminine rhymes, yet retaining the metre, I was enabled to make the translation strictly literal. If, in two or three instances, I have left a line unrhymed, I have balanced the omission by giving rhymes to other lines which stand unrhymed in the original text. For the same reason, I make no apology for the imperfect rhymes, which are frequently a translation as well as a necessity. With all its supreme qualities, Faust is far from being a technically perfect work.[K]
[K] "At present, everything runs in technical grooves, and the critical gentlemen begin to wrangle whether in a rhyme an _s_ should correspond with an s_ and not with _sz. If I were young and reckless enough, I would purposely offend all such technical caprices: I would use alliteration, assonance, false rhyme, just according to my own will or convenience--but, at the same time, I would attend to the main thing, and endeavor to say so many good things that every one would be attracted to read and remember them."--Goethe, in 1831.
The feminine and dactylic rhymes, which have been for the most part omitted by all metrical translators except Mr. Brooks, are?indispensable. The characteristic tone of many passages would be nearly lost, without them. They give spirit and grace to the dialogue, point to the aphoristic portions (especially in the Second Part), and an ever-changing music to the lyrical passages. The English language, though not so rich as the German in such rhymes, is less deficient than is generally supposed. The difficulty to be overcome is one of construction rather than of the vocabulary. The present participle can only be used to a limited extent, on account of its weak termination, and the want of an accusative form to the noun also restricts the arrangement of words in English verse. I cannot hope to have been always successful; but I have at least labored long and patiently, bearing constantly in mind not only the meaning of the original and the mechanical structure of the lines, but also that subtile and haunting music which seems to govern rhythm instead of being governed by it.
B.T.
[Illustration]
AN GOETHE
_Erhabener Geist, im Geisterreich verloren!?Wo immer Deine lichte Wohnung sey,?Zum h?h'ren Schaffen bist Du neugeboren,?Und singest dort die voll're Litanei.?Von jenem Streben das Du auserkoren,?Vom reinsten Aether, drin Du athmest frei,?O neige Dich zu gn?digem Erwiedern?Des letzten Wiederhalls von Deinen Liedern!
II
Den alten Musen die best?ubten Kronen?Nahmst Du, zu neuem Glanz, mit k��hner Hand:?Du l?st die R?thsel ?ltester Aeonen?Durch j��ngeren Glauben, helleren Verstand,?Und machst, wo rege Menschengeister wohnen,?Die ganze Erde Dir zum Vaterland;?Und Deine J��nger sehn in Dir, verwundert,?Verk?rpert schon das werdende Jahrhundert.
III
Was Du gesungen, Aller Lust und Klagen,?Des Lebens Wiederspr��che, neu verm?hlt,--?Die Harfe tausendstimmig frisch geschlagen,?Die Shakspeare einst, die einst Homer gew?hlt,--?Darf ich in fremde Kl?nge ��bertragen?Das Alles, wo so Mancher schon gefehlt??Lass Deinen Geist in meiner Stimme klingen,?Und was Du sangst, lass mich es Dir nachsingen!_
B.T.
[Illustration]
[Illustration: =Dedication=]
Again ye come, ye hovering Forms! I find ye,?As early to my clouded sight ye shone!?Shall I attempt, this once, to seize and bind ye??Still o'er my heart is that illusion thrown??Ye crowd more near! Then, be the reign assigned ye,?And sway me from your misty, shadowy zone!?My bosom thrills, with youthful passion shaken,?From magic airs that round your march awaken.
Of joyous days ye bring the blissful vision;?The dear, familiar phantoms rise again,?And, like an old and half-extinct tradition,?First Love returns, with Friendship in his train.?Renewed is Pain: with mournful repetition?Life tracks his devious, labyrinthine chain,?And names the Good, whose cheating fortune tore them?From happy hours, and left me to deplore them.
They hear no longer these succeeding measures,?The souls, to whom my earliest songs I sang:
Dispersed the friendly troop, with all its pleasures,?And still, alas! the echoes first that rang!?I bring the unknown multitude my treasures;?Their very plaudits give my heart a pang,?And those beside, whose joy my Song so flattered,?If still they live, wide through the world are scattered.
And grasps me now a long-unwonted yearning?For that serene and solemn Spirit-Land:?My song, to faint Aeolian murmurs turning,?Sways like a harp-string by the breezes fanned.?I thrill and tremble; tear on tear is burning,?And the stern heart is tenderly unmanned.?What I possess, I see far distant lying,?And what I lost, grows real and undying.
[Illustration]
[Illustration: =Prelude at the Theatre=]
MANAGER DRAMATIC POET MERRY-ANDREW
MANAGER
You two, who oft a helping hand?Have lent, in need and tribulation.?Come, let me know your expectation?Of this, our enterprise, in German land!?I wish the crowd to feel itself well treated,?Especially since it lives and lets