) I
agree with Hayward, "the meaning probably is, that our Saviour enjoys, in
coming to life again," (I should say, in being born into the upper life,)
"a happiness nearly equal to that of the Creator in creating.
agree with Hayward, "the meaning probably is, that our Saviour enjoys, in
coming to life again," (I should say, in being born into the upper life,)
"a happiness nearly equal to that of the Creator in creating.
Faust, a Tragedy by Goethe
" The commentators do not seem quite agreed
whether "den Alten" (the old one) is an entirely reverential phrase here,
like the "ancient of days," or savors a little of profane pleasantry, like
the title "old man" given by boys to their schoolmaster or of "the old
gentleman" to their fathers. Considering who the speaker is, I have
naturally inclined to the latter alternative. ]
[Footnote 5: "Nostradamus" (properly named Michel Notre Dame) lived
through the first half of the sixteenth century. He was born in the south
of France and was of Jewish extraction. As physician and astrologer, he
was held in high honor by the French nobility and kings. ]
[Footnote 6: The "Macrocosm" is the great world of outward things, in
contrast with its epitome, the little world in man, called the microcosm
(or world in miniature). ]
[Footnote 7: "Famulus" seems to mean a cross between a servant and a
scholar. The Dominie Sampson called Wagner, is appended to Faust for the
time somewhat as Sancho is to Don Quixote. The Doctor Faust of the legend
has a servant by that name, who seems to have been more of a _Sancho_, in
the sense given to the word by the old New England mothers when upbraiding
bad boys (you Sanch'! ). Curiously enough, Goethe had in early life a
(treacherous) friend named Wagner, who plagiarized part of Faust and made
a tragedy of it. ]
[Footnote 8: "Mock-heroic play. " We have Schlegel's authority for thus
rendering the phrase "Haupt- und Staats-Action," (literally, "head and
State-action,") who says that this title was given to dramas designed for
puppets, when they treated of heroic and historical subjects. ]
[Footnote 9: The literal sense of this couplet in the original is:--
"Is he, in the bliss of becoming,
To creative joy near--"
"Werde-lust" presents the same difficulty that we found in note 3. This
same word, "Werden," is also used by the poet in the introductory theatre
scene (page 7), where he longs for the time when he himself was
_ripening_, growing, becoming, or _forming_, (as Hayward renders it.
) I
agree with Hayward, "the meaning probably is, that our Saviour enjoys, in
coming to life again," (I should say, in being born into the upper life,)
"a happiness nearly equal to that of the Creator in creating. "]
[Footnote 10: The Angel-chorusses in this scene present the only instances
in which the translator, for the sake of retaining the ring and swing of
the melody, has felt himself obliged to give a transfusion of the spirit
of the thought, instead of its exact form.
The literal meaning of the first chorus is:--
Christ is arisen!
Joy to the Mortal,
Whom the ruinous,
Creeping, hereditary
Infirmities wound round.
Dr. Hedge has come nearer than any one to reconciling meaning and melody
thus:--
"Christ has arisen!
Joy to our buried Head!
Whom the unmerited,
Trailing, inherited
Woes did imprison. "
The present translator, without losing sight of the fact that "the Mortal"
means Christ, has taken the liberty (constrained by rhyme,--which is
sometimes more than the _rudder_ of verse,) of making the congratulation
include Humanity, as incarnated in Christ, "the second Adam. "
In the closing Chorus of Angels, the translator found that he could best
preserve the spirit of the five-fold rhyme:--
"Thatig ihn preisenden,
Liebe beweisenden,
Bruderlich speisenden,
Predigend reisenden,
Wonne verheissenden,"
by running it into three couplets. ]
[Footnote 11: The prose account of the alchymical process is as follows:--
"There was red mercury, a powerfully acting body, united with the tincture
of antimony, at a gentle heat of the water-bath. Then, being exposed to
the heat of open fire in an aludel, (or alembic,) a sublimate filled its
heads in succession, which, if it appeared with various hues, was the
desired medicine. "]
[Footnote 12: "Salamander, &c. " The four represent the spirits of the
four elements, fire, water, air, and earth, which Faust successively
conjures, so that, if the monster belongs in any respect to this mundane
sphere, he may be exorcized. But it turns out that he is beyond and
beneath all. ]
[Footnote 13: Here, of course, Faust makes the sign of the cross, or holds
out a crucifix.
whether "den Alten" (the old one) is an entirely reverential phrase here,
like the "ancient of days," or savors a little of profane pleasantry, like
the title "old man" given by boys to their schoolmaster or of "the old
gentleman" to their fathers. Considering who the speaker is, I have
naturally inclined to the latter alternative. ]
[Footnote 5: "Nostradamus" (properly named Michel Notre Dame) lived
through the first half of the sixteenth century. He was born in the south
of France and was of Jewish extraction. As physician and astrologer, he
was held in high honor by the French nobility and kings. ]
[Footnote 6: The "Macrocosm" is the great world of outward things, in
contrast with its epitome, the little world in man, called the microcosm
(or world in miniature). ]
[Footnote 7: "Famulus" seems to mean a cross between a servant and a
scholar. The Dominie Sampson called Wagner, is appended to Faust for the
time somewhat as Sancho is to Don Quixote. The Doctor Faust of the legend
has a servant by that name, who seems to have been more of a _Sancho_, in
the sense given to the word by the old New England mothers when upbraiding
bad boys (you Sanch'! ). Curiously enough, Goethe had in early life a
(treacherous) friend named Wagner, who plagiarized part of Faust and made
a tragedy of it. ]
[Footnote 8: "Mock-heroic play. " We have Schlegel's authority for thus
rendering the phrase "Haupt- und Staats-Action," (literally, "head and
State-action,") who says that this title was given to dramas designed for
puppets, when they treated of heroic and historical subjects. ]
[Footnote 9: The literal sense of this couplet in the original is:--
"Is he, in the bliss of becoming,
To creative joy near--"
"Werde-lust" presents the same difficulty that we found in note 3. This
same word, "Werden," is also used by the poet in the introductory theatre
scene (page 7), where he longs for the time when he himself was
_ripening_, growing, becoming, or _forming_, (as Hayward renders it.
) I
agree with Hayward, "the meaning probably is, that our Saviour enjoys, in
coming to life again," (I should say, in being born into the upper life,)
"a happiness nearly equal to that of the Creator in creating. "]
[Footnote 10: The Angel-chorusses in this scene present the only instances
in which the translator, for the sake of retaining the ring and swing of
the melody, has felt himself obliged to give a transfusion of the spirit
of the thought, instead of its exact form.
The literal meaning of the first chorus is:--
Christ is arisen!
Joy to the Mortal,
Whom the ruinous,
Creeping, hereditary
Infirmities wound round.
Dr. Hedge has come nearer than any one to reconciling meaning and melody
thus:--
"Christ has arisen!
Joy to our buried Head!
Whom the unmerited,
Trailing, inherited
Woes did imprison. "
The present translator, without losing sight of the fact that "the Mortal"
means Christ, has taken the liberty (constrained by rhyme,--which is
sometimes more than the _rudder_ of verse,) of making the congratulation
include Humanity, as incarnated in Christ, "the second Adam. "
In the closing Chorus of Angels, the translator found that he could best
preserve the spirit of the five-fold rhyme:--
"Thatig ihn preisenden,
Liebe beweisenden,
Bruderlich speisenden,
Predigend reisenden,
Wonne verheissenden,"
by running it into three couplets. ]
[Footnote 11: The prose account of the alchymical process is as follows:--
"There was red mercury, a powerfully acting body, united with the tincture
of antimony, at a gentle heat of the water-bath. Then, being exposed to
the heat of open fire in an aludel, (or alembic,) a sublimate filled its
heads in succession, which, if it appeared with various hues, was the
desired medicine. "]
[Footnote 12: "Salamander, &c. " The four represent the spirits of the
four elements, fire, water, air, and earth, which Faust successively
conjures, so that, if the monster belongs in any respect to this mundane
sphere, he may be exorcized. But it turns out that he is beyond and
beneath all. ]
[Footnote 13: Here, of course, Faust makes the sign of the cross, or holds
out a crucifix.
