Act II. Outside of one of the city gates. To the left is an inn,

bearing as a sign a carved image of Bacchus astride a keg. It is kermis time. There are students, among them _Wagner_, burghers old and young, soldiers, maidens, and matrons.

The act opens with a chorus. "Faust" has been given so often that this chorus probably is accepted by most people as a commonplace. In point of fact it is an admirable piece of characterization. The groups of people are effectively differentiated in the score. The toothless chatter of the old men (in high falsetto) is an especially amusing detail. In the end the choral groups are deftly united.

_Valentine_ and _Siebel_ join the kermis throng. The former is examining a medallion which his sister, _Marguerite_, has given him as a charm against harm in battle. He sings a cavatina. It is this number which Gounod composed for Santley. As most if not all the performances of "Faust" in America, up to the time Grau introduced the custom of giving opera in the language of the original score, were in Italian, this cavatina is familiarly known as the "Dio possente" (To thee, O Father!). In French it is "À toi, Seigneur et Roi des Cieux" (To Thee, O God, and King of Heaven). Both in the Italian and French, _Valentine_ prays to Heaven to protect his sister during his absence. In English, "Even bravest heart may swell," the number relates chiefly to _Valentine's_ ambitions as a soldier.

_Wagner_ mounts a table and starts the "Song of the Rat." After a few lines he is interrupted by the sudden appearance of _Méphistophélès_, who, after a brief parley, sings "Le veau d'or" (The golden calf), a cynical dissertation on man's worship of mammon. He reads the hands of those about him. To _Siebel_ he prophesies that every flower he touches shall wither. Rejecting the wine proffered him by _Wagner_, he strikes with his sword the sign of the inn, the keg, astride of which sits Bacchus. Like a stream of wine fire flows from the keg into the goblet held under the spout by _Méphistophélès_, who raising the vessel, pledges the health of _Marguerite_.

This angers _Valentine_ and leads to the "Scène des épées" (The scene of the swords). _Valentine_ unsheathes his blade. _Méphistophélès_, with his sword describes a circle about himself. _Valentine_ makes a pass at his foe. As the thrust carries his sword into the magic circle, the blade breaks. He stands in impotent rage, while _Méphistophélès_ mocks him. At last, realizing who his opponent is, _Valentine_ grasps his sword by its broken end, and extends the cruciform hilt toward the red cavalier. The other soldiers follow their leader's example. _Méphistophélès_, no longer mocking, cowers before the cross-shaped sword hilts held toward him, and slinks away. A sonorous chorus, "Puisque tu brises le fer" (Since you have broken the blade) for _Valentine_ and his followers distinguishes this scene.

The crowd gathers for the kermis dance--"the waltz from Faust," familiar the world round, and undulating through the score to the end of the gay scene, which also concludes the act. While the crowd is dancing and singing, _Méphistophélès_ enters with _Faust_. _Marguerite_ approaches. She is on her way from church, prayerbook in hand. _Siebel_ seeks to join her. But every time the youth steps toward her he confronts the grinning yet sinister visage of _Méphistophélès_, who dexterously manages to get in his way. Meanwhile _Faust_ has joined her. There is a brief colloquy. He offers his arm and conduct through the crowd. She modestly declines. The episode, though short, is charmingly melodious. The phrases for _Marguerite_ can be made to express coyness, yet also show that she is not wholly displeased with the attention paid her by the handsome stranger. She goes her way. The dance continues. "Valsons toujours" (Waltz alway!).