that in "A Dramatick Entertainment," called the "Necromancer or Harlequin Doctor Faustus," as performed at the Theatre Royal in Lincoln's Inn Fields, which was published in 1731 and is to be found in the British Museum, Charon also comes upon the scene, but towards the close of the piece, and complains that the shades of Hero and Leander, conjured up by Faust for the amusement of some students, are detaining his skiff. Still more striking, in this connection, is the opening scene of the old English play, "Grim, the Collier of Croydon," 21. Ancient British Drama," vol. iii. In spite of the fact that the "vorspiel" can boast the support of Goethe's and Lessing's names, it seems to me that the dramatic interest of the play is diminished by an introduction, in which Faust's fate is discussed and settled in heaven, or hell, before Faust himself appears upon the stage. It is, however, always to be borne in mind, that Goethe's immortal work is less of a drama than of a dramatic poem; and as such, of course, it may claim a latitude that would be denied to a play written solely for representation; nor would the world willingly have lost the superb song of the Angels, with which Goethe's "Faust" opens, for anything it could have gained in exchange. My view may not be correct, but it has, at all events, this in its favour, that "Faust," whether Goethe's or another's, is never represented, as far as I am aware, with a prelude; nor would any theatrical manager dream of bringing Pluto and his infernal myrmidons before an audience nowadays, unless in a pantomime or harlequinade. It would be interesting, if it were not foreign to the present purpose, to inquire in how far the demons, and sprites, and scenes of the nether regions, which still linger on our stage at Christmas, are derived from the old play of Dr. Faustus on the one hand, or from the still older miracle-plays on the other.

Goethe's Vorspiel opens, as is well known, in heaven, with a scene the leading theme of which is to be found in the first

chapter of the Book of Job. Lessing's Vorspiel differs totally from Goethe's, and it differs considerably, as might have been expected, from the rude preludes of the Puppet-play, although, like these, it deals with the devils in council assembled. As Lessing's "Fragment of Faust" is not generally known in this country, and as it is of historical interest in the development of the Faust legend, I have ventured to translate it. It is necessary to preface it with a few words of explanation. Lessing's finely critical intellect appears to have been deeply impressed by the old play of "Faust," and, like Goethe, whom in this respect he anticipated, he seems to have long revolved the project of founding upon it a great drama of his own. In 1759 he wrote a letter (Siebzehnter Brief. Aus den Briefen, die neueste Literatur betreffend) full of scathing criticism upon the attempts of a Professor Gottsched to elevate the German drama. His denunciations were mainly hurled at the unlucky Professor for turning to French instead of to English models. Towards the close of this letter (which at the present day, when our stage is being flooded, not with French classics, but with French indecencies, said to be adapted-how ill it is unnecessary to say-would well repay perusal'), Lessing says: "That our old plays have really had much that was English I could prove to you circumstantially with little trouble. To mention the best known of them only, Doctor Faust has a host of scenes which a Shakespearian genius alone could have created. And how enamoured Germany was, and to some extent still is, of its 'Doctor Faust'! One of my friends preserves an old sketch of this tragedy, and he has communicated to me one of the scenes, which assuredly abounds with much that is great. Are you curious to read it? Here

Since this was written the English stage has begun to show a tendency to rely again more upon works by native playwrights. May the tendency continue, and lead to a vigorous and wholesome revival of the English drama.

it is. Faust longs for the swiftest of the spirits of hell to serve him. He goes through his incantations; there appear seven spirits before him; and now the third scene of the second act begins." (Here followed Act II. sc. iii. rendered below.) The letter then concludes: "What say you to this? You would like a German play full of such scenes? So would L." This scene is the only complete scene from Lessing's pen that we possess. It bears, as will be observed, close resemblance to the spirit-scene of the Puppet-play. Whether it was intended to be taken for a genuine relique by Lessing, or as a scene which he meant to incorporate in the play of Faust, which he then had in contemplation is, I imagine, a matter for conjecture. That Lessing subsequently completed a play we have upon good authority, but by some deplorable mischance the manuscript seems to have been lost in transmission by a carrier. What more we know of the play in question is made up of scraps and shreds pieced together from the information of intimate friends of the great critic. It only remains to add that Lessing is said to have devised at least one other plan than that disclosed in the following sketch.

D. FAUST.

I.

PRELUDE.

Interior of an old cathedral. The sexton and his son, who are about to toll the hour of midnight. Assembly of the devils, sitting unseen upon the altars and in council over their affairs. Various devils, returning from missions, appear before Beelzebub to give account of their doings. One who had set ' a city on fire, and another who had sunk a whole fleet in a storm, are derided for such contemptible achievements by a third, who boasts of having seduced a saint, whom he persuaded

to become drunk, and in drink to compass adultery and murder. This gives an opportunity to speak of Faust as one who might not be so easily led astray. The third devil undertakes the task, and even promises to deliver him to hell in four and twenty hours.

"At this moment," says the first devil, "he sits consuming the midnight-oil, and poring over the mysteries of truth." "Too great a thirst after knowledge is a weakness, and from one weakness, when it is too much indulged, all our vices may spring." After this deliverance the devil who undertakes to seduce Faust sketches his plan.

ACT I.

SCENE I.-Duration of piece from midnight to midnight.

Faust among his books beside the lamp. Struggles with various doubts from the philosophy of the scholastics. Recollects that a learned man once conjured up the devil by means ⚫ of Aristotle's Entelechie. He, too, had often tried it, but in vain. He will try it once more; it is just the right time; he recites a formula of conjuration.

SCENE II.

A Spirit rises from the earth, with a long beard, veiled in a mantle.

Spirit. Who disturbs my repose? Where am I? Is not that light which I perceive?

Faust is affrighted, but collects himself and addresses the spirit.

Faust. Who art thou? Whence art thou? At whose command dost thou appear?

Spirit. I lay and slumbered and dreamed; to me it was neither well nor ill; there came to me, so I dreamed, a voice

from afar; it came nearer and nearer; Bahall! Bahall! I heard, and at the third Bahall I stand here.

Faust. But who art thou?

Spirit. Who I am?

Let me think.

I am I am, to be

brief, what I am. Of this body, of these members, I have a

dim recollection; now, etc.

Faust. But who wert thou?

Spirit. Wert thou!

Faust. Ay, who wert thou heretofore—formerly?.

Spirit. Heretofore! Formerly!

Faust. Canst thou summon up no memories of aught before thy present state, and that over which thou darkly broodest? Spirit. What sayest thou to me? Yes, now it flashes in Once on a time I have had some such memories. Wait, wait; if I can but find the thread again.

upon me.

Faust. I will try to help thee. What is thy name?
Spirit. I am called-Aristotle.

What has come over me?

Yes, that is my name.

He feigns now to have recovered perfect recollection, and makes reply to Faust's acutest questions. This spirit is none other than the devil who undertook to seduce Faust. "But," he says, finally, "it tires me to force my mind back into its former confines. Of all thou askest me I may speak as a man no longer, and as a spirit I can hold no converse with thee. Release me, I feel it, I am sinking to sleep again," etc.

SCENE III.

He vanishes; and Faust, full of amazement and delight that the conjuration had effect, makes another attempt to call up a demon.

SCENE IV.-A Devil appears.

Who is the mighty one, whose call I must obey? Thou? A mortal! Who taught thee these potent spells?