New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1870-12-30


That : not enough: must believe thereon
FAUST
MARGARET.
Would that had some inhutncel
Then, too. thou hOuorcst not the Holy sacramento
FAUST.
MARGARET.
Desiring no possession ,
It long since thou hast been 10 mass or TO CONCESSION
FAUST.
My darling, who shall dare
81 believe in Cod" to sayf
Ask priest or sage the answer TO declare,
And IL will seem a mocking play,
a sarcasm on the asker.
Then thou believest noti
FAUST.
Hear me not falsely, sweetest countenancel
Who dare express INN
And who profess Him,
Saying: believe IN Hin,
Who. feeling, seeing,
saving: believe Him noti
The Alleniolding.
The AlluphOldng,
Folds and uphOlds he not
Thee. me, Himself
Arches not there the sky above usi
Lies not beneath W. firm, the earthi
And rise not, on us shining,
Friendly, the everlasting starsf
Look not, 10 eye, on thee
And feest not thrOngnC
To head and heart, the force,
Still weaving its eternal secret
Invisible, visible, round thy lifel
Vast az it is iii with that force thy heart,
And when thou in the feeling wholly blessed art,
u, II.
Call it Bliss Heart Love! God!
have no name 10 give IL!
Feeling is all I'm all:
The Name is sound and smoke.
ObscurDG Heavens clear gov.
MARGARET.
All that is fine and good, to hear it so:
Much the way the preacher spoke,
Only with slightly different phrases
The same thing, in all places,
All hearts that beat beneath the heavenly day
Each IN It's language-Say;
Then why not j, Ia NINE, as weHf
MAEGABLT.
To hear it thus 1t may seem passabe;
And vet, some hitch in Z there must bc
For thou hast no Christianity
Dear love!
As the solemn tragedy hastens 10 its consumma-
ton We are introduced to the scene i'll which Mar
garet pours forth the agoncs of her soul in prayer
before a shrine of the Mater Doorosa. The literal
translation by Mr.. Hayward which we subjoin will
Illustrate the exactness with which Mr.. Taylor has
reproduced this wall of unutterable pathos.
MARGARET.
Incline, o. Maiden,
Thou sorrow laden,
Thy gracious cOuntenancc upon my pam!
The sword Thy heart in.
With anguish smarng,
IEou louhest up To where TIDY son Is SIAM
Thou seest the Father;
Thy sad signs gather,
And bear aot Thy sorrow and His pain!
An, past guessing
HeyOnd pressing,
The pangs that wiring my flesh and bone
Why this anxious heart so bumcth,
Why it trcmbeth. why it yearneth,
knoweSt Thou, and Thou alone
Where'er 90. what sorrow,
What woe. what and sorrow
Within bosom aches
Alone. and all unslocping,
Ina wtcIing, weeping, weeping,
The heart within me breaks.
The pots before my window,
Alas /. tears did wet,
A. in the early morning
For thee these flowers set
Within my lonely chamber
The morning sun shOne rcd
sat, in utter sorrow,
Already on my bed.
Help rescue NE from death and stain
Maiden
Thou sorIOw- laden,
Incline Thy countenance upon my palni
uAYwAKDs PROSE TRANSLATION.
All. incline,
Thy cOuutenance graciousy TO my distress.
The sword In thy heart,
With thousand panGs
UIlOokest thou 10 thy Sons death.
To the Father look'st thou,
And sendcSt signs
AoIt for lis and thy distress.
Who feels
MY torment TO the quicki
How the poor heart IN me throhheth,
How it trcmbeth, how it ycsrneth,
kLOwtSt thou, ana thOu alone!
whitberso'cr go.
Grows within my bosom here
Hardly alas, am alone,
weep, weep weep,
My heart IS bursting WITHIN me!
The nowcr-pots on my WindowsiIl
Believed with my tears alas!
When at mornings dawn
Piucked these flowers for thee.
When brightly in my chamber
The rising suns rays shCnc,
Already, in all WTetchedncss,
Was sitting up III my bed.
4
An, incline,
Thou full If pain.
Thy countenauce graciously 10 my distress!
The notes which Mr.. TAYLOR has appended 10 the
translation. though without any parade Of erndtion
are ample and sufficient, marked alike by excellent
taste and sound common sense. They are less of
scholastic than popular character and are valuable
as illustrations of many points of literary history
apart from their hearing on the significance Of the
tragedy. The passages which refer TO the connection
of different parts of the drama with the biography of
Goethe are copious in their details and possess pc
culiar interest. The definition OF poetry the ut
terancc of whatever in cannot be uttered in any
other than rhythmical fom' which Mr.. Taylor
gives in the preface is certainly compact and per-
completeness What is it that not be uttered eX-
cept in a rhythmical form is question which
perfect anal ysis is bound 80 answer 4 common ee-
ment must be pointed out in the various kinds of
poetry before any definition can be accepted as ulti
mate. Mr.. Taylors standard would seem to exclude