Scene V.

_A Prison._

/Faust/, _with a bundle of keys in his hand and a lamp, before an iron door._

Faust. A strange cold shuddering dread comes o'er me, all The up-heaped wretchedness of time. Here dwells she now behind this damp cold wall, And dear delusion was her only crime! Fear'st thou to go to her? Tremblest to meet her eye? Quick! thy delay but brings her death more nigh.

[_He seizes the lock. Singing heard from within._

My mother, the wanton, That choked my breath![*n16] My father, the villain, That dined on my death! My sister dear, In the cool green shade My bones she laid; Then was I a glad little bird in the May; Fly away! fly away!

Faust. [_opening the door_] She dreams not that her loved one is so near, The clinking chains and rustling straw to hear.

Margaret. [_hiding herself on the bed_] Woe, woe! they come.--To bitter death they call.

Faust. [_softly_] Hush! hush! I come to free thee from their thrall!

Margaret. [_throwing herself at his feet_] Art thou a man? feel for my hapless plight.

Faust. Thy cries will wake the watchers of the night!

[_He takes hold of the chains to unloose them._

Margaret. [_on her knees_] Who gave thee, hangman, such a power To drag me from my cell at midnight hour? Have pity on me! Be not so harsh!--so rough! Surely to-morrow morn is soon enough. [_She stands up._] So young, so very young, am I, And must already die! Once I was lovely too--'twas this that caused my fall. Near was the friend, but far from me to-day; Torn lies the wreath, the flowers are scattered all. Oh tear me not so forcibly away! Spare me! what have I done to injure thee? Oh hear my prayer! for once compassion show!-- 'Tis the first time I ever looked on thee.

Faust. That I should live to see such depth of woe!

Margaret. Thou hast me now completely in thy might. Only first give me time to suckle my sweet child. I hugged it the whole weary night; They took't from me in very spite; And now they say I murdered the sweet child, And never more shall I be glad again. They sing songs on me, too! A wicked thing to do! 'Tis the refrain Of a grim old melody: Who taught them that its words were meant for me?

Faust. [_throwing himself down_] Here, at thy feet, behold who loves thee fall, To strike thy shackles, and to break thy thrall!

Margaret. [_falling beside him on her knees_] Yes! let us kneel and call upon the Saints! Beneath these steps, I hear it well! Beneath the threshold, Boileth Hell! The evil One His fury vents, With fearful yell!

Faust. [_loud_] Gretchen! Gretchen!

Margaret. [_attentive_] That was the loved one's voice! [_She springs up; the chains fall away._] Where is he? where? I heard him call on me, Now I am free! and none shall hinder me! To his neck will I fly! On his bosom lie! He called me his Gretchen! he stood at the door. Through the wild howling and hissing of Hell, Through the loud-laughing scorn and the fiendish uproar, Came the sweet voice of love that I know so well.

Faust. 'Tis I!

Margaret. 'Tis thou! O say it yet again! [_Clasping him._] 'Tis he! 'tis he! Where now is all my pain? Where all my prison's woe? my fetters where? 'Tis he! he comes to lift me from this lair Of wretchedness! I'm free, I'm free! Already the well-known street I see, Where the first time I spake to thee, And the pleasant garden, where Martha and I did wait for thee.

Faust. [_striving forward_] Come, come!

Margaret. O stay, stay! Thou know'st how pleased I stay where thou dost stay.

[_Caressing him._

Faust. Away, away! Unless we haste, Dearly we'll pay for these few moments' waste.

Margaret. How! giv'st thou me no kiss? My friend, so very short a space away, And hast forgot to kiss? Why feel I now so straitened when I hold Thee in my arms? It was not so of old, When from thy words and looks, a heaven of bliss Came down; and thou didst kiss As thou would'st smother me. Come, kiss me! kiss! Else kiss I thee! [_She embraces him._] O woe! thy lips are cold, Are dumb; Where is the love thy swelling bosom bore Whilome for me? why are thy lips so cold?

[_She turns away from him._

Faust. Come with me, sweet love, come! I'll hug thee ten times closer than before, Only come with me now! Come, I implore!

Margaret. [_turning to him_] Art thou then _he_? Art thou then truly _he_?

Faust. 'Tis I, in truth. Come, love, and follow me.

Margaret. And these vile chains thou breakest, And me again unto thy bosom takest? How canst thou dare to turn fond eyes on me? Know'st thou then, Henry, whom thou com'st to free?

Faust. Come, come! the night sinks fast; come, follow me!

Margaret. My mother slept a sleep profound! I drugged her to't; My little babe I drowned! Was it not heaven's boon to me and thee? Thee, too!--'tis thou! I scarce may deem My sense speaks true. Give me thy hand! It is no dream! Thy dear, dear hand! Alas! but it is wet! Wipe it; for it is wet With blood! O God! what hast thou done? Put up thy sword; I pray thee put it up.

Faust. Let gone be gone! Thou stabbest me with daggers, every word.

Margaret. No! thou shalt survive our sorrow! I will describe the graves to thee, Where thou shalt bury them and me To-morrow. The best place thou shalt give my mother; Close beside her lay my brother; Me a little to the side, But at distance not too wide! And my child at my right breast.-- These, and none else with us shall rest! Me on thy loving side to press, That was a heaven of blessedness! But now, I cannot do it more; I feel as I must force my love to thee, And thou didst coldly fling me back from thee; And yet 'tis thou!--as good, as loving as before.

Faust. 'Tis I, even I, come, sweet love, come!

Margaret. Out there?

Faust. Into the open air.

Margaret. If the grave be there, And death there waits, then come! Hence to my eternal home, Not a step more.-- Thou leav'st me now?--would I might go with thee?

Faust. Thou canst, if thou but wilt. I have unbarred the door.

Margaret. I may not go; no hope for me remains; They watch me close--my home is with my chains. It is so sad to beg from door to door; A guilty thing from human loves outcast, A homeless earth to wander o'er; And they are sure to find me out at last.

Faust. I will protect thee.

Margaret. Quick! Quick! Save thy poor child! Away, away! Keep the path Up the stream, Across the bridge, To the left hand, Where the plank stands, In the pond, Seize it, quick! It rises up, It kicks! it lives! O save it, save it!

Faust. Only bethink thee! One step more, and thou art free.

Margaret. Would we were past that mountain gray! There sits my mother on a stone-- I feel a hand that pulls me back As cold as clay! There sits my mother on a stone; Her head sways heavily; She winks not, she nods not, her head she may not raise. She slept so long, she never more may wake. She slept that we might our enjoyment take. O these were happy days!

Faust. Here words and prayers will only make things worse; Come! come; or I must hale thee hence by force.

Margaret. Let me alone! lay no rough hands on me! Nor with such murderous clutches seize me! Thou know'st I have done everything to please thee.

Faust. The day dawns. Come, my Gretchen, follow me!

Margaret. Day! yes, it is day! the Judgment-day breaks in! My marriage-day it should have been! Let no one know thou wert before with Margaret. Woe to my wreath! 'Tis done! oh, pain! We will meet again; But not at the dance. The thronging crowds advance With bated breath; No word is spoken; The squares, the streets, Cannot contain them all. The bell doth call, The staff is broken, They bind me with cords, they drag me away, And on the bloody block me lay; And every trembling eye doth quake At the blade that is brandished o'er my neck. Mute lies the world as the grave!

Faust. O had I ne'er been born!

Mephistopheles. [_appearing from without_] Up! or no help can save! Profitless whining, whimpering, and prating! Meanwhile my eager steeds are waiting, Snuffing the scent of the morning air.

Margaret. What's that from the floor uprising there? 'Tis he! 'Tis he! O send his hateful face Away! What seeks he in this holy place? He comes for me!

Faust. No! thou shalt live.

Margaret. Judgment of God! to thee my soul I give.

Mephistopheles. [_to_ /Faust/] Come, come! else will I leave you to your fate!

Margaret. Thine am I, Father! O shut not the gate Of mercy on me! Ye angels! ye most holy Spirits! now Encamp around me! and protect me now! Henry, I tremble when I think on thee.

Mephistopheles. She is judged!

Voice. [_from above_] Is saved!

Mephistopheles. [_to_ /Faust/] Hither to me!

Voice. [_from within, dying away_] Henry! Henry!

[The End]

FOOTNOTES.

Introduction

[i1] _De Dæmonibus, Ficini, Aldus; and Horst, Zauber-Bibliothek_, vi. p. 72.

[i2] _Giordano Bruno de Monade, numero et figura, apud Horst, Z. B._ iii. p. 70.

[i3] John xii. 31; 1 John iii. 8; and the remarks in Bretschneider's _Dogmatik_, § 108.

[i4] "The weary bitterns in the fen Are booming--never mind them." _Walpurgis-Night's Dream._

[i5] See this particularly proved of Ficinus, in Buhle's _Geschichte der Philosophie_, vi. _theil._ § 889.

[i6] Buhle, _ubi subra_, § 897.

[i7] The most deliberate attempt of this kind that I have seen, is that of _Dürr_, in the sixth volume of _Schellhorn's Amœnitates Literariæ_; where the story of Faust is called "Historiola pueris et aniculis credita;" and the hero himself, "_Doctor Faust fictitius ille et imaginarius_."

[i8] _Faust, eine Tragœdie_, von August Klingemann, Leipzig, 1815; of which there is a good account in one of the numbers of _Blackwood's Magazine_.

[i9] _Christ. Aug. Huemann's Glaubwürdigste Nachricht von D. Fausten._ In einem Schreiben an Herrn D. Haubern. _Bib. Mag._ vol. iii. p. 84.

[i10] _Die Sage von Doctor Faust_, von D. Christian Ludwig Stieglitz, in Raumer's _Historiches Taschenbuch_, 5ter Jahrgang, Leipzig, 1834. The same number contains a dissertation on Wallenstein.

[i11] _Apud_ Heumann.

[i12] From the Latin of Manlius. _Apud_ Heumann, _ut supra_.

[i13] _Wierii Opera_, Amstelodami, 1660. _De Magis Infamibus_, p. 105. He is as little favourable to our hero as Manlius. He says, indeed, that he practised magic over the whole of Germany, "cum multorum admiratione;" and that "nihil non potuit," but it was all "inani jactantia et pollicitationibus."

[i14] _Disquisit. Mag._, lib. ii. dissert. 12.

[i15] _Apud_ Stieglitz, _ubi supra_, p. 130.

[i16] I suppose Begardi alludes to the world-renowned Philippus Aureolus Theophrastus Paracelsus Bombastus von Hohenheim.

[i17] In a letter dated 20th August 1507.

[i18] Camerarius, Hor. Suceessiv. cent. 2. page 314. Conrad Gesner, Onomasticon apud Stieglitz, Sage von Faust.

[i19] The life of Paracelsus is very characteristic of the age, and may be seen in Sprengel's _Histoire de Medecine_, § 9. art. iii.

[i20] That Faust might attain universal celebrity, the fame of authorship could not be wanting. Besides being the reputed author of his own life and exploits, published by his executor Wagner after his death, there are extant magical works under his own name,--perhaps not more authentic than those ascribed to Solomon,--of which one of the most curious is reprinted by Horst, _Zauber Bibliothek_, vol. iii. p. 86, with the following title, "Doctor J. Faust's Book of Miracles, Art, and Wonders, or the Black Raven,--also called the Threefold Hell-compulsion; wherewith I compelled the Spirits to bring me whatsoever things I pleased, whether gold or silver, treasure great and small, and the springroot (a magic plant), and whatever other such things are upon the earth; all this have I brought to pass by means of this book, and was also able to dismiss the spirits as often as I pleased." The introduction to this book by Doctor Faust himself is curious, but too long for insertion. The warning, however, with which it concludes is too serious to be omitted, "_Above all things, beware of entering into compacts with these Spirits, that it may not fare with you as it has fared with me._"

[i21] Roscoe's _German Novelists_, vol. i. To which the curious may add (1.) Faust: _dans l'Histoire et dans la, Legende par Ristelhüber._ Didier. 1863. (2.) Faustus: his life, death, and doom, a romance in prose; from the German. London: Kent and Co., 1864. (3.) Auerbach's _Volksbuchlein_. München, 1839.

[i22] See notes to Manfred.

[i23] Martin.

Faust

[1] Apollyon, Beelzebub, Satan.

[2] A cant word for a sword.

[3] _Dudelsack_. A bagpipe.

[4] _Rabenstein_. Place of execution.

NOTES.

Note I. _And this mysterious magic page_ _From Nostradamus' hand so sage._

Nostradamus was born at St. Remy, a town of Provence, in 1503, and was a great friend of Julius Scaliger. He must thus have been likewise a cotemporary of the famous alchymist Cornelius Agrippa, whom, as we have seen (_Vide Introd. Remarks_), Del-Rio makes a companion of Dr. Faust. Like a worthy son of the sixteenth century, Nostradamus was convinced that he could make no progress in the art of healing bodily diseases unless he began _ab ovo_ with the study of the stars; and this it was that led him away from his own profession of medicine into the sublime regions of astronomy and astrology, to which allusion is made in the text. He was particularly famous for his prophetic almanacs, which were held in universal estimation. The title of his principal work is "_The true Prophecies and Prognostications of Michael Nostradamus, physician to Henry II., Francis II., Charles IX., Kings of France, and one of the best astronomers that ever were, a work full of curiosity and learning_." The English translation is from the hand of Theophilus de Garenciennes, a naturalised Frenchman, and Oxonian Doctor of Physic. The common edition is London, 1672.

Note II. _He sees the sign of the Macrocosm._

The macrocosm is a Greek word signifying the _big world_, the universe, as contrasted with the _little world_, the microcosm or man, made in the likeness of God, and therefore in the likeness of his great manifestation, the universe. The terms were in familiar use with the theosophists of the sixteenth and seventeenth centuries; as may be seen from the title-page of a great physico-metaphysical book by our countryman, Robert Fludd, printed at Oppenheim 1617-19, "_Utriusque Cosmi, majoris scilicet et minoris, Metaphysica, Physica atque technica Historia, in duo volumina, secundum, Cosmi differentiam divisa; auctore Roberto Fludd, alias de Fluctibus, Armigero, et in Medicina Doctore Oxoniensi_," etc. The book is rare; but the curious may find a beautiful copy in the Library of the Writers to the Signet, Edinburgh.

Note III. _The key of Solomon the wise_ _Is surest spell to exorcise._

Solomon was a magician among the Jews, for the same reason that Roger Bacon has acquired that reputation amongst us--on account of his great wisdom. The Jewish exorcists, of whom mention is made in several passages of the New Testament (Matthew xii. 27), used to invoke the evil spirit by the name of Solomon (Joseph. Antiq. 8, 2, 5, apud Bretschneider Dogmatik, vol. i. p. 764), and the cabalistic talmudists were, of course, not negligent in taking advantage of this popular belief for giving authority to their occult science of numbers. Accordingly, we find Solomon, in the Middle Ages, looked upon as the patriarch and patron-saint of the Magic Art; and many curious books, under his name, were in common circulation among its Professors. It is to the title of these books that the text alludes, "_Clavicula Solomonis_," or Key of Solomon, supposed to be of supreme power in compelling spirits to obey the will of man. They are now become exceedingly rare, but some notice of them will be found in Reichard's work _von Geistern_, and in Horst's _Zauber-Bibliothek_.

Note IV. _Let the Salamander glow,_ _Undene twine her crested wave,_ _Silphe into ether flow,_ _And Kobold vex him, drudging slave!_

Here we have the four elemental spirits, of which Mr. Pope has discoursed so learnedly to Mrs. Anabella Fermor in his preface to "The Rape of the Lock." With Silphs and Salamanders I may suppose the English reader sufficiently acquainted, as they have been almost naturalised on British ground; Undenes and Kobolds still remain more closely attached to their German soil. The former, sometimes called _Wasser-Nixen_, are a sort of Teutonic Nymphs or Sirens, familiar now to a large class of English readers, from Heine's ballad of the _Lurley_, and Fouque's beautiful extravaganza of _Undine_; the latter, seemingly from a Greek original, κόβαλος, well known to the readers of Aristophanes, are called /gnomes/ by Pope, and appear as _brownies_ in many a Scotch ballad. For special details of their character and proceedings the German work of Henning's _von Geistern_ may be consulted, p. 800, and Horst's _Zauber-Bibliothek_, vol. iv. p. 250.

Note V. _Bend thee this sacred_ _Emblem before,_ _Which the powers of darkness_ _Trembling adore._

"Jam experimento comprobatum est nullum malum dæmonem, nullum inferiorum virtutum, in his quæ vexant aut obsident homines, posse huic nomini resistere quando nomen /Jesu/ debitâ, pronunciatione illis proponitur venerandum; nec solum nomen, sed etiam illius signaculum /Crucem/ pavent."--_Agrippa de Occult. Philos._, lib. iii. c. 12.

Note VI. _The pentagram, stands in your way._

"Inter alios plurimos characteres, duo tantum sunt veri et præcipui, quorum primus constat ex duobus trigonis super se invicem ita depictis ut Hexagonum constituant. Alterum dicunt esse priori potentiorem et efficaciorem et esse pentagonon."--_Paracelsus de Characteribus apud Horst, Z. B._ vol. iii. p. 74. The figure thus accurately described by the oracular Bombastus occurs almost as frequently as the sign of the cross, in almost all the old books on magic, and is drawn thus:

[image - pentagram]

The Platonists (let Proclus serve for an example) seem to have derived from the Pythagoreans a strange mixture of religious mysticism with a great enthusiasm for the mathematical sciences; and this same pentagonal figure very probably derives not a little of its supreme efficacy from the fact of its having been transmitted to us from the most ancient times. Poetry is not the only thing that receives a sacredness from age.

Note VII. _When left you Rippach? you, must have been pressed_ _For time. Supped you with Squire Hans by the way?_

"Rippach is a village near Leipzig; and to ask for Hans von Rippach, a fictitious personage, was an old joke amongst the students. The ready reply of Mephistopheles, indicating no surprise, shows Siebel and Altmayer that he is up to it. /Hans/ is the German _Jack_."--/Hayward/.

Note VIII. _Cat-Apes._

These nimble little animals, which play such a distinguished part in this Witch Scene, are denominated in the original "_Meer-katzen_," literally "Sea-cats;" of which Adelung (in voce) gives the following account:--"A name given to a certain kind of monkeys with a cat's tail, of which there are many species,--_Cebus_, Linnæi. They are so called from coming across the sea from warm countries." I originally intended to retain the German phrase "_Sea-cat_;" but afterwards had no hesitation to adopt the happy translation given by the writer in _Blackwood's Magazine_, vol. vii. There is something mystical in the idea of an animal half cat and half ape, which agrees wonderfully with the witch-like antic character of this whole scene. Besides, the term "Cat-ape" is far more expressive of the nature of the animal than that in the original.

Note IX. _And we will strew chopped straw before the door._

A German custom prevalent among the common people, when they suspect the virginity of a bride. The ceremony is performed on the day before the marriage.--_Vide_ Adelung in voce _Häckerling_.

Note X. _And good Sir Urian is the guide._

"Sir Urian is a name which was formerly used to designate an unknown person, or one whose name, even if it were known, it was not thought proper to mention. In this sense it was sometimes applied to the devil. In the Parzival of Wolfram von Eschenbach, the unprincipled Prince of Partartois is called Urian."--/Bayard Taylor/.

Note XI. _The ointment gives our sinews might._

"According to the orthodox theory, the witches anointed their whole body with a salve or ointment prepared in the name of the fiend, murmured a few magic sentences into their beard, and then flew up, body and soul, head and hair, actually and corporeally into the air."--Horst's _Dæmonomagie_, vol. ii. p. 203.

Note XII. _Make way, Squire Voland comes._

A name of Satan, derived probably from the Latin _Volo_, through the Italian _Volante_, expressive of that agile quality of the old deceiver, whereby he is always "going to and fro on the earth, and walking up and down in it."--Job i. 7. See Reichard's _Geister Reich_, vol. i. p. 397. But I rather suspect this appellation is connected with the office of the evil one, as chief of the flies, and other volatile tormentors. In the French edition of the popular story the devil is called "Le Diable volatique," c. vi.;--or, better still, the devil is so called as being "the prince of the power of the air," and therefore a flying spirit. "Mon Valet, dis moi quel esprit es-tu?--Mon Maistre Faust, je suis un esprit Volant, qui ay mon cours dans l'air sous le ciel"--in the same French history of Doctor Faust.

Note XIII. _Who then is that?--'Tis Lilith._

_Lilith_, from _Lil_, darkness, is the name of night-monster (translated _screech-owl_ in Isaiah xxxiv. 14), who, under the deceitful form of a beautiful woman, was believed by the Jews to be most injurious to parturient women, and very often to occasion the death of young persons before they were circumcised. Buxtorf, in his Lexicon Talmudicum, gives a tolerably good account of these Hebrew _Lamiæ_; but the most complete and satisfactory information on this, as on all other subjects connected with ancient and modern superstition, is to be found in Horst, _Zauber-Bibliothek_, part vi. pp. 42 and 86.

Note XIV. _Proctophantasmist._

It is universally agreed that Nicolai, a noted Berlin publisher, who flourished about the middle and towards the end of the last century, is the person meant here. From his biography by Göcking, he appears to have been a man of remarkable mental activity and considerable literary significance in his day; but, like the Brandenburg sands on which he was located, his ideas seemed to have been somewhat flat and prosaic, and totally inadequate to grasp the significance of the great master spirits of thought, who were now asserting their rightful place on the platform of German literature. Notwithstanding the prosaic character of his mind, he became subject to a disease of seeing apparitions in clear daylight (see Dr. Hibbert's book on apparitions), an abnormal action of the optic nerves, which was cured by the application of leeches to the part of the body on which the unfeathered biped finds it comfortable to sit. Hence the name, from the Greek πρωκτός.

Note XV. _Intermezzo._

Most of the puppet personages who pop up in this curious little piece, and explain their own significance in a stanza, may be presumed to be sufficiently familiar to all readers capable of appreciating the mind of a poetical thinker such as Goethe. I confine myself to the few following notes:--

_Embryo-Spirit_.--German "_Geist der sich erst bildet_." A quiz upon young versifiers,--poetlings with whom rhyme and reason are opposite poles.

_Orthodox_.--We are indebted to the Fathers of the Church for the pious imagination that the heathen gods were devils. Milton follows the same unfounded idea. The gods of Greece were bad enough; but we need not make them worse than they were. They had their good side too. _Vide_ Schiller's beautiful poem, "The Gods of Greece," which, by the by, Frantz Horn calls "Ein unendlicher Irrthum,"--an infinite error. But a man may admire an Apollo or a Minerva without meaning to be a heathen.

_Purists_.--There are "purists" among the German grammarians; but the allusion here must be to something else--prigs and precisians, I fancy.

_Xenien_.--Epigrammatic poems published by Goethe and Schiller, which were very severe on the half-poets of the day.

_Hennings_.--I know nothing of this character. Hayward says he was one of the victims of the Xenien, and editor of two periodicals, "_The Genius of the Age_," and the "_Musaget_."

The _stiff_ man is Nicolai; he of the "old mill," _supra_, p. 251. Nicolai was a great zealot against Catholics and Jesuits; but, as Frantz Horn hints, his zeal was not always according to knowledge.--_Geschichte der Deutschen Poesie_, vol. iii.

The _Crane_, I believe, is Lavater.

Note XVI. _My mother, the wanton,_ _That choked my breath._

"This song is founded upon a popular German story, to be found in the _Kinder-und Haus-Märchen_ of the distinguished brothers Grimm, under the title of _Van den Machandel-Boom_, and in the English selection from that work (entitled _German Popular Stories_), under the title of _The Juniper Tree_.--The wife of a rich man, whilst standing under a juniper tree, wishes for a little child as white as snow and as red as blood; and, on another occasion, expresses a wish to be buried under the juniper when dead. Soon after, a little boy as white as snow and as red as blood is born: the mother dies of joy at beholding it, and is buried according to her wish. The husband marries again, and has a daughter. The second wife, becoming jealous of the boy, murders him, and serves him up at table for the unconscious father to eat. The father finishes the whole dish, and throws the bones under the table. The little girl, who is made the innocent assistant in her mother's villany, picks them up, ties them in a silk handkerchief, and buries them under the juniper tree. The tree begins to move its branches mysteriously, and then a kind of cloud rises from it, a fire appears in the cloud, and out of the fire comes a beautiful bird, which flies about singing the following song:--

"'Min Moder de mi slacht't Min Vader de me att, Min Swester de Marleenken Söcht alle mine Beeniken, Un bindt sie in een syden Dook, Legts unner den Machandelboom; Kywitt, Kywitt! ach watt en schön Vagel ben ich!'" Hayward's _Prose Translation of Faust_, _2d edition_, p. 294.

[THE END.]

TRANSCRIBER'S NOTES.

Alterations to text:

Add TOC and Dramatis Personae listing.

Relabel footnote markers and link to footnotes at end of work.

Add note markers to play and link to notes at end of work.

Minor changes to the formatting of some play elements (speaker names, stage directions, etc.).

[Act IV/Scene VIII] Change the speaker of "Who's this lies here?" from Gretchen to Margaret.

Text surrounded by /slashes/ is mixed capitals.

End of Project Gutenberg's Faust: A Tragedy, by Johann Wolfgang von Goethe