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It is partly because Luther's often coarse bu.. Faust is one of the relatively few great books that is not only profound and inexhaustible,but also readable, enjoyable, and fun.
Nothing in previous German literature equals the bold conception and the concentrated power of that draft, and the final scene may well be the high point of German drama, not barring the later version which the poet deliberately made less stark.
When he wrote the Urfaust, Goethe was by no means unknown. His storm-and-stress drama, Gotz von Berlich- Introduction 5 ingen and his novel on Werther were in..
Werther's suicide actually inspired many lovelorn young men and women, in France as well as Germany: Well before he was thirty; Goethe had proved himself a master of the drama, of the novel, and of lyric poetry as well.
He needed only to repeat himself to enjoy perpetual acclaim.. No s 6 Introduction only nve dramatis personae and are studies in restraint. Tasso himself is, in Goethe's later words, "an intensified Werther"; but there is no longer any need to add the motto that Goethe had inserted in later editions of Werther: Having climaxed classicism, Goethe flnallypublished, also 'in , Faust: Around the turn of the century he took up work on Faust again, and in he finally published Part One.
The follOWing year, he published another novel, Elective Affinities; another ten years later, the orientalizing poetry of his West-Eastern Divan, including a large number of first-rate poems in an altogether new vein.
This work profoundly influenced not only all subsequent studies of Goethe but our whole approach to artists and the intricate relations between life and work.
Before Goethe, at- y 7 Introduction tempts to understand an individual had not been so strongly based on the idea of development.
He continued to write scientific essays, poetry,. Reacting against the trad. A little seamstress is seduced and made unhappy; a great scholar in all four branches of learning is the evildoer.
But for Goethe even this idea was still too terrible. His mild heart could not help putting the little seamstress, "the good soul who forgot herself but once,' close to the saints after her involuntary death; indeed, by a trick played on the devil at the decisive moment, he even brought the great scholar to heaven at just the right time- the good man' 4 8 Introduction "1th the cdark1ing aspiration'l And there, in heaven, the lovers find each other again.
Goethe once said that his nature was too conciliatory for the truly tragic. Second Part of the Tragedy," it is certainly no tragedy in the narrower, now prevalent sense of that word.
Nor is Dante's Commedia a comedy in the sense now current. And, more to the point, many. As Mephistopheles says of Gretchen: We never see him hunted by the furies, like Orestes: Rather, he loses his sight when he is a hundred years old, just before he dies in a moment of elation.
Faust's suHerlngs are incidental. In Faust, tragedy engulfs not the hero but representatives of unheroic, nono Aphorism , pp.
Introduction 9 outstanding, suffering humanity: The death of Philemon and Baucis in the fifth. It is another episode, no more. The drama is epic, the effect cu..
In all these respects Faust is distinctly un-Greek, nonAristotelian, modern. It reminds us of Ibsen! Happily, one need not choose; but the case for Faust must certainly depend upon a very different conception of the drama from the one Nietzsche derided.
But Goethe himself knew that. As if I myself knew that and could express it! When, however, ,I' did for' once wish as a poet to represent an idea, I did it in' shorter poems.
The only creation of larger scope in which I am aware of haVing worked with some central idea might be my Elective Atfinities.
That made the novel comprehensible to the understanding; but I should not say that this made it better.
My opinion is rather this: The m01'e incommensurable and incomprehensible fo, the understanding a poetic creation may be, the better.
With their profound thoughts and ideas, which they seek everywhere and project into everything, they make life harder for themselves than they should.
Almost everybody hies to be profound; where the Germans in the "nineteenth century sought ideas, the twentieth-century American seeks recurring images and symbols.
Goethe, however, was not heartless. He laughed at the scholars; but he took pity on them. In a Conversation -he remarked: Indeed, one should indulge in such jokes more often while one is young.
What is truly astonishing about 4 Historical background.. A vast amount of scholarship has been devoted to those ancient andmedieval legends which in tiP1e caIne to.
The reason for nevertheless sketching a few high points is twofold. Some possess considerable human interest. And the claim that Goethe's play is much more modern than is usually supposed should not be based QD Introduction 13 a complete refusal to consider the historic background of his drama.
The historic Faust was born, it seems, in Knittlingen, Wiirttemberg, about In those days, magic was also taught at the Universities of Salamanca and Toledo.
There are reports that Faust dis.. Needless to add, Luther and Melanchthon regarded Faust with horror and contempt. Others, more impressed by him, induced him to teach school, but it is said that he molested the boys entrusted to his care and, found out, had to flee to escape punish: Many traditions connect him with the city of Erfurt.
The story goes that at the university there he lectured on Homer,. But I have gone further than you think and have pledged myself to the devil with my own blood, to be his in eternity, body and soul.
How, then, can I return? Or how could I be helped? I have deliberately despised God, have committed perjury and faithlessness against him, have believed and trusted in the devil more than in 14 Introduction God; so I cannot come back to rumor console myseH with his grace" wruch I have lost.
Nor would it be honest or honorable if it had to be said about me that I had gone against my letter and seal, which after all I signed with my blood.
The devil has kept faithfully what he promised me; so I, too, want to keep faithfully what I have promised and pledged to him.
Another story relates that Faust rode out of Auerbach's Keller in Leipzig ona barrel-in , to be exact. Melanchthonwas among those who claimed that the devil accompanied Faust in the shape of a.
Faust is said to have died in Staufen im Breisgau in The mst I'Faust Book" appeared in It was written in German, and the title page announced: Johann Faust, the widely acclaimed magician and black artist, how he pledged himself to the.
Compiled and prepared for the printer in several parts out of his own literary remains, as a horrible example and sincere warning for all conceited, clever, and godless people.
Submit to God, resist the devil, and he will flee from you. Cum Gratia et Privilegio. Printed in Frankfurt am Main by Johann Spies.
Then Spies published a second edition, a version in low German appeared in Lubeck, a rhymed version in Ttibingen, a Danish translation came out in , and a History of the Damnable Life and Deserved Death of Dr.
John Faustus made its appearance in England. Introduction 15 Christopher Marlowe was the first great poet to take up the theme.
Ah, Faustus, Now hast them but one bare hour to llu8, And then thou must be damn'd perpetually! Oh, Pll leap up to my Godl Who pulu medownP Seei see where Christ's blood streams in the firmamentl One drop would save my soul-half a drop: Ah, half the hour is pastl 'twill all be past anonl Introduction 16 o God.
Why wert thou not a creature wanting soul? Or why is th18l. Now, body, turn to air. Ot Lucifer will bear thee qUick to hell.
Godllook not so fierce on mel Enter DevO,s. If there must be tragedy, he would bring it about without benefit of the clergy: It is even arguable that Goethes ending, at least in the Urfaust-in the later version he added, after Mephistoplleles' "She is judged," a voice from above proclaim..
In Goethe's play, the question whether she is "judged': Goethe retained much of. For it was part of Goethe's genius that he could be serious with..
For a genius can be sparked only by a genius; and best of all by one who seems to owe everything to nature alone and thus does not repel by the troublesome perfections of art," Even if we invoke the ancients as models, Shakespeare is a far greater tragic poet than Comeille, although the latter knew the ancients very well and the former hardly at all.
Doctor Faust contains a lot of scenes which only a Shakespearean genius was capable of conceiving. You wish for a German play full of such scenes?
Of the ending, the letter says: Dot triumphl' the angel shouts at them; cyou have not vanquished humanity and. Engel, informs us that in the,. Everything that happens to this phantom is a dream vision for the real Faust who is asleep: But Lord Byron is great only as a poet; as.
Thus he does not know either how to. Introduction 21 The question remains: The marvel of Faust is, first of all, that in a relatively small space it reflects the poet's whole career from his twenties to his eighties-the whole range of his impressions: Most of his other works reflect a single stage of his development, one or at most two styles, and thus give no idea of his versatility and his, sustained growth.
Faust is the whole opus in microcosm. Next, the immense power of Goethe's characters should be noted.
Faust leaps out of the book. Millions of young men decided they were like Faust, and some found the German destiny inbound;. Schopenhauer, in The World as Will and Representation , considered such striving as the essence not merely of man but qf the cosmos.
It is, moreover, one of the devices by which Goethe makes Mephisto an engaging personality in spite of everything.
Even as Shakespeare enlists our sympathy for Lear and Coriolanus-although they behave repulsively in many ways-by wisely choosing their antagonists, Goethe forces us to sympathize with Mephistopheles.
Unlike Faust, Mephisto has a sense of humor and is even capa. It may well be that Mephistopheles is Goethe's greatest single creation, and that he has come into his Introduction own only in the twentieth century, after, Heine and Kierkegaard, Dostoevsky and Nietzsche, Freud and Shaw, Gide and Joyce, Mann and Sarb;e-who would hardly be offended at being called Mephisto's progeny -had changed our sensibilities.
It is a commonplace that Goethe's Prologue in Heavenis modeled on the first two chapters of the Book of Job, but it has not been widely noted how much his Mephisto owes to the few lines spoken.
Does Job fear God for nothing? U And after God has. All that a man has he will give for his life; but put forth your hand now and touch his bone and his flesh" and he will curse you to your face.
And it was Goethe, too, who fused this nihilism with his own inimitable sense of humor, now broad and earthy, now acidly penetrating.
Some critics still lament the fact that some of Heine's tenderest poems are punctured in the last line by a ruth-. They do not deny that this is specificaJly modem, but it is an aspect of modernity that they oppose.
It was partly for this reason that the early twentiethcentury poet Stefan George, and his very influential "Circle," considered Heine an arch-villain.
They had other reasons, too; for example, Heine's immensely witty but nasty polemic against the poet Platen, though written in , was in many ways applicable to Stefan Georgenot only as a man but also as a poet.
George's followers, ranging all the way from the perceptive Friedrich Gun.. They considered him the ancestor of modern journalism. But it seems far more just to see him as a link between Goethe and Nietzsche as Nietzsche himself saw Heine -a link between Faust and the twentieth century.
Goethe realized the limitations of romanticism and its questionable character even before romanticism had become the style of an age.
The very figure of Faust which inspired romantic poets, philosophers, and composers, and was accepted by the German people as their own ideal prototype-this poetic but unscrupulous titan who, for all his noble sentiments, becomes involved in brutal deeds The function of Mephistopheles resembles that of Heine's sudden sarcasms: Thus Goethe"s Faust is closer to Ulysses than to the Odyssey.
It is one of the first and greatest works of modern literature. A German commel'ltator complains that "Methistophe.. Kommentar und Erlauterungen, 4th ed.
The commentary is scholarly and helpful. The other characters in Faust are of much smaller scope-and meant to be-even Gretchen. Lieschen has orily a single, very short scene; so does Valentine.
Drafts for both scenes were included in the Urfaust; so was the characterization of Wagner, earlier in the play, and the de..
What a contrast to the great lengths of Part Two in which it single notion is again and again spun out for pages-for example, Mephistopheles' invention of paper money and, also in the first act, the manner in which the women find fault with Helens apparition, while praising Paris to the skies, and the men do just the opposite.
Goethe, like Shakespeare and most great artists, was not always at his best. But in almost all of Part One and in the last act of the Second Part as well, his economy is as impressive as his wonderful array of char..
Another feature of the play that approximates perfection is the craftsmanship of the construction.
We seem to be confronted with an "epic theatre" over a hundred years before Bert Brecht. Even Part One appears loose l , Introduction 26 and episodic: There are choruses of many different kinds, some serious, some whimsical; and the variety of styles is extreme.
Moreover, the saucy quatrains of the. Oddly, the text becomes much less obscene. One gathers that the publisher. The exchange between Mephisto and the old witch, with whom he dances, was bowdlerized in the same way: But these are trifles.
Faust has Hed after killing Valentine; Gretchen is alone The play is not called "Margaret" but Faust; so Gretchen's agony is slcetched,inbrieHy with a fe: At the Well, City Wall, and Night have alhbut brought it to a c1: But where is Faust while Gretchen's misery passes endurance?
At the WalPllrgis Night; seeking forgetfulness, not quite succeeding. Even insofar as Faust is a representative character and not only an individual in a play, the contrast between Gretchenl's agony and Faust's Walpurgis Night bears the stamp of genius.
The Walpurgis Night's Dream is more probiematic. Clearly, he didn't; and the "Dream" Introduction helps to remind us of that.
These two scenes contain some allusions which may stump the modem reader. None of them is important, and the reader who ignores them does not miss much.
Elend, in the initial stage direction, is the name of a. Proldophantasmist means "Rump-ghostler,'" and the character so deSignated is a caricature of Friedrich Nicolai He also published some travel books.
The Prater is a famous park in Vienna. In the Intermezzo the reference to Mieding, in the second line, pays tribute to J. Mieding of the Weimar theatre, on whose death, in , Goethe had written a long poem.
The Xenien, like the Intermezzo, can be enjoyed without erudition: Two examples may show what is meant. The first was written by Schiller: Do you desire to please the.
Give us a picture of lust-and the devil beSide it. The second was one of Goethes Xenien: When you blasphemed the gods of the Greeks, Apollo hurled you From Mount Parnassus; but you are assured of heaven.
After the Xenien have had their say, Hennings appears. August Adolf von Hennings had published a journal, entitled Genius of the Age, and had attacked Schiller in it.
In , he changed the title to Genius of the. Goethe evidently thought that Hennings had not been kissed by the muses and might as well have invoked witches.
If what he derided made sense only when applied to some of his contemporaries, then the Intermezzo might indeed be out of place here.
Vollstiindige Ausgabe letzter Hand. The- first 40 volumes had appearedtlllder Goethe s own editorship, beginning in The first attempt to stage nearly the whole of Part One came in , under the direction of Otto Devrient.
He was also the: But these figures give no adequate idea of! The relative unpopularity of Part Two is due to many factot: Goethe never gave it the ruthless.
You may say that in that way it was after all the prod.. Goethe was ahead of his time: Though at times he forced himself to.
For the translator, who must dwell carefully on every line, Part Two contains enonnous lengths, and what lies between the first scene and the last act is not altogether tempting.
To let Goethe speak English is one thing; to transpose into English rus attempt to imitate Greek poetry in German is another.
Those who wish to study Part Two but have no German should find the Victorian archaisms of existing English versions one of the lesser ob..
It is my hope that those who would like to enioy Goethe's Faust-as opposed to those who want to be able to say that they have read it, all of it-may find the present version readable from beginning to end, and as faithful as any.
Part One and the first scene of Part Two are oHeredwitbout omissions. So is the final act. Some readers may appreciate a sUmmary of the intervening scenes.
Obviously, any such synopsis is hound to be almost farcical: The following summary begins with the second scene of Act One of Part Two.
The court of the Emperor lines S The Emperor asks about his fool and is told that he collapsed,. The discussion turns to the serious shortage of money at the court.
Christians wish they weren't. That's how the well-trained mind 18 known to me. The Emperor, not interested in the dispute, is eager to get money, and Mephisto tells him that whatever lies Introduction 33 under the Emperor's land is his.
Mephistopheles is told to produce money; but meanwhile, everybody is looking forward to a carnival and masked ball.
Everybody leaves, except Mephisto, who speaks the often quoted words: The way desert and fortune blend, The fools will never comprehend.
Large room, decked out for a masked ball lines This scene is as long as Part One from Faust's opening monologue to Mephistopheles' first speech, or from "The Neighbor's House" to the "Walpurgis Nighr' ; but it is not distinguished either by many striking lines or by any magnificent characterizations, and it contributes little to the action.
Faust and Mephistopheles perfQrm some magic. Pleasure garden lines The invention of paper money is completed, with notes announcing that they are worth a thousand croWDS, backed up by the security of the buried gold.
Gloomy gallery lines Faust iriforms Mephistothat the Emperor wants to see Helen and Paris, without delay. Mephisto explains that the ancient pagans are not his business because they dwell in a hell of thea own; "but there, is away.
He must touch the tripod with the key, the tripod will then follow him on the way back; and once he has that, he will be able to conjure up Helen and Paris.
Brightly illuminated halls lines A blonde, a brunet, a lady, and a page boy crowd around Mephistopheles to receive his advice, in turn. In the first three cases, he relies on magic; but to the boy he says: Look for an older paramour.
Hall of knights lines The court has assembled to see Helen and Paris, and Faust appears to conjure them up in the name of the Mothers.
When Helen appears, Mephisto is the first to comment: So that is she! The men are enraptured; the women find her head tOG small, her feet too plump-and don-t consider' her good enough for Paris.
Paris,however, embraces her and lifts hel'ofI the ground to carry her away. Faust, consumed with jealousy, resolves to stop PariS, rushes toward him, and touches him with the key.
There is an explosion, Faust falls to the ground, the spirits pf Paris and Helen evaporate, and Mephistopheles picks up -Faust, as the act ends in darmess and tumult.
High-vaulted, narrow Gothic room, once Fausfs den, unchanged lines' Mephisto emerges from behind a curtain and, as he looks back, one sees Faust lying on a bed, still unconscious.
A Famulus enters; he has taken Wagner's place, while Wagner has taken Faust's; but Wagner has left Faust's study untouched be..
Mephisto wants to see Wagner, but the Famulus hesitates to dishub him. Almost as soon as the Famulus leaves, a Baccalaureus enters-none other than the student whom Mephisto ad..
Introduction 35 You do not seem to know how rude you are. In German, this line is often quoted, as is the retort: When you're polite in German, you are lying.
At that point, Mephisto, whose chair has casters, rolls forward to the front of the stage and addresses the audi.. Up he,e, I fear, I'm quite unpopular; Will you g,ant me asylum, if he becomes too trying?
The Baccalaureus continues to denounce the old and suggests that a man pa. When the latter appeared in , Schopenhauer was just over thirty, and in any case the half-ba.
In a few yea,s the young man wUl have changed; There is no danger, he may turn out fine: Although the must behaves as if deranged, Eventually we get a wine.
To the younger spectators in the orchestra, who do not applaud: My words appear to leave you cold; You child,en need no reprimand: You see, the devil is quite oldG,ow old and you will understand.
Laboratory, in the medieval style, with elaborate 36 Introduction and clumsy machinery for fantastic purposes lines Wagner is at work and informs Mephi..
And whatpair in passion H: If animals still like that kind of prank, The human being with his gifts must win Henceforth a purer, nobler origin.
Soon Homunculus, the little artificial man, comes to life in his test tube, eager to be active. A side door is opened, Faust is seen on his bed, and Homunculus is asked to show what he can do.
Mephistopheles sees nothing, and Homunculus derides him because he comes from the north and lives In a sad mess of knights and popery; How could your eye, my friend, be freeP You are at home only in gloom.
They decide to leave Wagner behind, though he is afraid that he will never see HomuD,culus again. The scene ends as Mephisto says, ad spectatores: In the end, we are dependent Upon creatures we have made.
First we see "Pharsalian Fields," and Fausfs first words are: UWhere is sher Soon he leaves and the scene shifts to the Upper Peneios, where Mephisto, soon joined again by Faust, encounters sphinxes and sirens.
Then weare taken to the Lower Peneios where Faust engages in a long dialogue with Chiron. Back at the Upper Peneios, we even..
Socratic philosophers, arguing whether water or fire has played the decisive role in shaping the earth. B elore the palace 01 Menelau8 at Sparta lines Helen appears, and speaks: Phorkyas appears, and a heated argument develops.
Eventually the scene shifts to the 2. Inner Courtyard lines ! Here Faust appears at long last and addresses Helen: Instead of the most festive greeting owed you" Instead of a respectful welcome, I Present in chains to you a servant who Betrayed his duty, cheating me of mine.
In Act Three, too, he speaks in rhymes, while the other characters still Hellenize, and he explaihs movingly how Helen's beauty so stunned him that he forgot to signal her arrival.
Helen forgives him, Faust offers her all he has, and soon she expresses her admiration for Lynceus' mode of speech-the way one word follows the other to caress it.
And she begins to complete Faust's sentences with rhymes. Soon both abandon the Greek mode and speak in rhymes, but Phorkyas enters to warn them that Menelaus is approaching, with his army.
Faust instructs his armies to repulse the attack and th. Arcadia lines After the chorus and Phorkyas have held the stage for a while, Helen, Faust, and their son Euphorion appear.
Introduction 89 Should I view it from a distance? No, I share their grief and pain. An ancient word, alas, applies also to me: That beauty and good fortune are not long united.
Persephonia, accept thou the boy and mel "She embraces Faust, her body vanishes, dress and veil alone remain in his arms. Phorkyas, in the proscenium, raises herself to gigantic height, steps down, takes off mask and veil, and shows herself as Mephistopheles in order to of..
A cloud approaches, parts, and Faust emerges. After a fine soliloquy, 1. The boots stride on rapidly. Mephisto spices his remarks with quotations from and allusions to Ephesians 6: Faust explains his desire to win land from the sea: At that moment martial music is heard, and Mephisto explains that it will be easy to gratify Faust's wish: N ow every child likes knightly storie8.
The three men, Faust, and Mephistopheles descend, as the scene moves to 2. The Foothills lines 10,;10, After the three are dispatched, Mephisto enters.
In the end, Faust and Mephisto win the battle by magic. The end of this scene may be reproduced without omission because it is the part of the play that Goethe finished last.
Having been written after the end of Act Five, it leaves no doubt about Goethe's unchanged attitude toward the church. Unlike some of the romantics-and Richard Wagner fifty years later-Goethe never abandoned his hostile attitude.
The point would not need laboring if the conclusion of the play had not been mis- 41 Introduction understood at times.
What bitter pain I feel, as I nnd i9. Both God our Lord, and our dear father Pope you're mocking. And when the latter hears it,.
He has not yet forgotten how at the jubilee, When you were crowned, you set the sinful wizard free. Harming Christianity, it was from your high place That his accursed head was first redeemed by grace.
Therefore, beat now your breast; of your sinful delight Give to the sanctuary a tiny little mite. That wide strip of the Inountains, where your tent was erected, Where evil spirits joined by whom you were protected, Where to the Prince of Lies you listened willingly, Introduction 42 Give, piously instructed, to our sanctuary; The hills and the thick forest, as far as they extend, The.
Thus your repentance wills it, and thus you shall find grace. I am so frightened by my sin, I must submit: The desecrated region where all these sins were done Must be turned over now to serVe the Holy One.
In rnymihd's eye, the walls leap up like flames of fire, The sun's rays, when he rises, aheady hit the choir; The church now forms a cross and grows into the sky, The faithful are delighted, the nave grows long and high; And through the mighty portal, they stream in pious legions, As for the mst time now the bell peals through these regions; It sounds from the high tower, they seek God's altitude, Repentant comes the sinner to find his life renewed.
The day of consecration-oh, that it might come soonl- Introduction 43 Shall from your presence, sire, receive the highest boon.
May such a glorious work proclaim my pious mind And praise God, our Lord, while I forgiveness find. My mind is lifted aheady and feels free.
As chancellor I now ask a mere formality. A formal document to give the church this treasure, Present when you are ready, and I shall sign with pleasure.
Then you give for the church, while it originates, All income of the land: For worthy preservation Requires much; so, too, a good administration.
For the construction, then, on such forsaken soil You give us some odd gold out of your bounteous spall.
Moreover, one will need-I cannot help but sayWood, lime, and slate, and things that come from far away. The people do the driving, as our priests request; The church will bless the man who drives at her behest.
The sin that I incurred is grievous, I confess; The fatal magic folk cause me severe distress. Forgive, my LordI You gave the ill-reputed man 44 Introduction The imperial beach; the church will answer with the ban, Unless you give the church, with a repentant.
The land is not yet there, it is the ocean's ground. Who has the right and patience, his time will come around. For us your solemn word shall keep its ancient power.
Thus I might sign away my empire in an hour. As much of the pre.. Not only are there. In the Prelude in the Theatre, one expects poetry ,only from the Poet-not from the Director and the Clownand the Prelude sets the tone for the whole drama.
Goethe does not say '''priest: O'ccasionally,Goethe employs unrhymed lines and pas.. Goethe also often employs -impure rhymes, in lyrical.
Part One and the portions of Part Two offered here are eminently -readable and offer no great difficultiesthough for anybody inclined toreHection there is surely a great deal to think about.
Edgar Allan Poe once remarked that a long poem is almost a contradiction in terms, and he explicitly denied that 6'there is, in extent, any advantage to counterbalance the loss of unity which attends it.
Of course, Faust did not simply t 10 Translations. No translation of ,a world-historic poem equals the original. Those who sing FitzGerald's praises do it, in effect, by insisting that the original of Omar Kbayyam 'was no major work; and that FitzGerald's quatrains are really not translations at all.
When we tupl to poems with which Faust invites comparison, the case is clear. No translation of Dante's Commedia rivals the orig.. We also ask that you: If you are conducting research on machine translation, optical character recognition or other areas where access to a large amount of text is helpful, please contact us.
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Google Book Search helps readers discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web at http: The poets are not divided into the schools in which they are usually classed by German historians of literature , but arranged simply according to priority of birth.
As to the poets selected, it was a matter of some difficulty to choose from several hundreds without doing injustice to the fame of some.
The reader, who is at all acquainted with the poetical literature of Germany, will find that many poets of reputaticm have been omitted. Nor must the young English reader, as yet unacquainted with German literature, estimate the fame of many of the poets hy tiie number of their poems here given.
It was necessary to confine the selection to lyrical poems , and it is not on their lyrical poetry that the fame of a Lessing, a Iceland, a Herder, a Voss, a Schlegel, and a Simrock has been founded.
With the living poets the difficulty of selection was increased, but the Author is more inclined to fear that he has admitted some who will not stand the severe test of time than that he has been guilty of any serious omission.
The original text has been placed on the opposite page that the book may be useful to students of both languages, though, it is feared, it will at the same time act as a mirror, and reflect with increased vividness the defects of the translations.
How difficult this is can be known only to those who have endeavoured to accomplish the task. In every case the metre of the original has been adhered to, even to the ancient hexameter and penta- meter for which, according to Bulwer, "The English language has no musical analogy.
We must confess that we do not agree with this opinion. In proof of his assertion he gives the following celebrated distich of Schiller, as translated by Coleridge.
In our humble opinion he must have an unmusical ear who can discover no music in these lines, which, we think, prove that the English language is equally capable of this metre with the German.
It is true, we have had no Schiller, or Goethe, to familiarise our ear with it, though, in later times, Long- fellow has done much towards it.
XI Klopfltock here given, are, it is believed, now traLskied for the first time in the original metre.
From his scholastic duties he has turned into any other modem language. Germany's great poets have clothed sublime thoughts in hexameter verse, but they have not succeeded in rendering it popular, in the true sense of the word.
What German schoolboy, when he has to learn m piece of poetry, chooses one in hexameters? And how many millions know the long ballads of Schiller, BOrger and others by heart?
Perhaps the best reason for not making too frequent a use of them is given by Schlegel: To conclude, the Author returns his sincere thanks to the ahle corrector of the press, Dr.
Marienburg, near Cologne, December Amdt, EmftKoziti, bom December Brtntaao, Clemens, born September 9. Wanderlied The Wanderer's Song. Abschled 81 Welcome and Parting.
Eagedom, Friedrioh yon, bom April Oorm der Alte Old King Oorm George, bomatStuttgardt, May AbendOed Lied eines Verbannten.
Hdlderlin, Friedrioh, born at Lauffen, on the Neckar, Harch Condemned to perpetual imprisonment for his share in the revolution of Baden, he escaped firom prison November 7.
Lob der Qottheit 4 Praise of the Godhead. Schwertlied The Song of the Sword. She wrote poetry in llusaian, German and Italian, and was acquainted with eleven languages, eight of which she spoke.
Der Bliti 2S4 The Lightning Mein Hen ist am Bhein. Ffarrinii Gustay, bom at Heddesheim, near Ejreaznacb, December Wie es den Sorgen erglng "What happened to Care.
Dst Grab im Busento. Der Eichwald The Foreet of Oalu SeraSna 29 Semflna 29 Schmers der Trennung. The lark soars upwards and sings. The stork comes flapping its wingty The chattering starlings appear.
How cheerful are shepherds and sheep t Sweet flowers awake from their sleep ; The world is so lively and gay. Now Zephyr with Flora allied, Selected her wisely as bride, And the changes of nature begot.
And jealousy parteth them not. The buds and the rushes are seen, The garb of the forest is green, Stem vrinter his sceptre must yield t The stream, with its quickening waves.
Now ripplee and playfully laves The forest, the plain, and the field. Mdchte doch, mich su erfreu'n, 8prach ee, dieser schdne Stein Nur ein Weizenkdmchen sein.
How wooinglj, gentle, and kind, Now gloweth the westerly wind O'er mountains and valleys and trees t Love, youthful and wanton, reveals The charm of the longing it feels.
The charms of the flattering breeze. The rustic his maiden doth lead In movements so nimble around. More cheerful, more active, or brave, Ko Sabine of old did e'er wave The bonnet of freedom on high.
Te villages full of delight, O the envy of cities excite! Who with rustics in courage can vie? A hungry hen, in time of dearth. Picked up a diamond of worth.
And buried it agidn in earth. Sfmy bovts exalt by thousands my Creator's pomp and might, And his Wisdom's works are lauded by the hesTen's wfikmrn of light ; Oceans, mountains, forests, ravines, which existed at his nod, Do but trumpet forth the loye , but trumpet forth the mighl of God.
Shall I then alone be silentP Shall I sing no hymn of praise? Thou dost bid the hand of Spring deck with a carpet earth below ; Thou dost bid the sheaves with gold, the clusfring grapa with purple glow ; Thou fill'st all the world with Joy, when vanquished by the cold it weeps, When it, swathed in flaky whiteness, like a tender infant, sleeps, 4 XLEI8T.
E'en misibrtune's self exalts us, and endows our life with soul. Say, who in storm and tempest roars? Doubter, speak I who rolls the billow, when it like a moun- tain soars?
Thunder, sea, and tempest call to thee with loud resound- ing shout, O, audacious earthbom creature, this is God! Lord, the praises of thy deeds for ever from my lips shall flow.
But do thou unto the weakness of a worm indulgence show! Thou who prob'st the heart, th' emotion of the soul with grace behold, Which it feels, 'tis true, but which no human accents can unfold.
If I e'er, by glory crowned , before thy throne should bow my head, Then will I with nobler hymns exalt Uiy Majesty so dread. O ye moments long, long wished for, speed your flight with winged haste.
A enckoo to a starling said, Who from the eity's din had fled. A ftither left behind two heirs, His Christopher was clever, George was dull and weak.
Ere fast approaching death dissolved his cares. With grief on Christopher he looked, then thus did speak, "My son, a melancholy thought torments my mind; "Thou 'st talent, how wilt thou in future fare?
Der Sohn enchrack und stutzte lange, Achy Vater! Von ungefiihr muss einen Blinden Bin Lahmer auf der Strasse finden, Und jener hofft schon freudenvoll, Dass ihn der andre leiten soil.
Entschliesse dich, mich fortzutragen, So will ich dir die Stege sagen ; So wird dein starker Fuss mein Bein, Mein helles Auge deines sein.
One day a blind man chanced to meet A lame one limping in the street ; The former hoped with fond delight, The latter woidd conduct him right.
Die dit Natur fOr mich erwfthlte: Der Kenner sagt ihm frei heraus: Dass ihm das Bild nicht ganz gefallen woUte, Und dass es , um recht schdn zu sein, Weit minder Kunst verrathen sollte.
Plague not the gods with wail and ery t The gifts which they to thee deny. And give another, profit thee; We need but sociability.
Who painted less for lore of gain. Than crowns of laurel to obtain. The judge spoke freely what he thought. The painter failed not to reply, And, though the critic blamed with skill.
Was of the same opinion still. Then in the room a coxcomb came. To scan the work with praise or blame. He with a glance its worth descried, "Ye Gods!
Nun, sprach er, bin ich uberfiihret; Ihr habt mir nicht zu viel gethan. Der junge Geek war kaum hinaus, So strich er seinen Kriegsgott aus. So ist es Zeit, sie auszustreichen.
What ikm, what art in light and thado, Both in the helmet and the shield. Men and beasts were wrapt in slumlxsr, E'en the house's prophet slept, When of longtailed guests a number From the neighbour's house-top crept.
In a rich man's hall assembled, They their tuneful lay began ; E'en the very stones 'twould more them. And to madness worry man. Puffed and blowed to keep in ehiie.
Tbt Ptof try of GernaKy. In the danee then wildly flittmg. Such a din and noise they make, Hissing, howling, scratching, spitting Till the landlord they awake.
The brook is small, but crystal clear. Beside the cot there stands a tree. That partly liides the cot from thee; And they who dwell within it find A safe retreat from storm and wind.
And on the tree a nightingale So sweetly chants her plaintive tak That he who passes lingers long, And lists in silence to her song.
Bosen pflacke, Rosen blahn, Morgen ist nicht heut! Keine Stunde lass entfliehn, Flachtig ist die Zeit! Sieh, es ist Heut Gelegenheit!
Weisst du, wo du morgen bist P FlQcbtig ist die Zeit! Aufscbub einer guten Tbat Hat scbon oft gereut! Hurtig leben, ist mein Ratb, FlQcbtig ist die Zeit!
Mein Hen ist, du Midebeo, VonLiebeso voll! Wie stebt dir die Earbe Der Unichuld to wohl! O gather roses while they blow. To morrow's not to-day ; Let not one moment vainly flow, Hme fleeth fiftst away.
Fill up the goblet, kiss the fair. For fortune smiles to day ; Where shalt thou be to-morrow? Time fleeth fast away. Sweet maid from the country Thou fair village queen!
Thine equal in cities I never have seen. Wie fand icb's so wenig For Flitter yon Gold! Sanfter erbebt mein Hera Und main Qebein. Ich filhl', ioh mhl' et, Dass du auch bier, wo ich weine, Gott!
Who merfts every praise that man on him b attai w A lOBg of praiae did 1 compose. And quake my limbs. I feel, 1 feel it, Present art tHbu also here, wirere 1 weep.
What thought to thought in whispering accents aai'. Dass sich mein Mund vor dir darf Offnen, T6ne des Menschen herabzustammehi!
To the tJbfmf Behold, ye are likewise tkeiel And trembling should they flee to iDfinity; Tea, e'en in the Illimitable Ye, the all-knowing, would there behold them I And should they take the wings of the seraphiin.
And, upwafds soaring, to the bright oonolaTea flee. That, Lord, with thee my soul may sweet eonTorse hoM! As now thou dost behold, hast thou ofttimes seen My lingering hours in rapturous weeping pass.
Thou art who e'er thou wast, Jehova Called, but dust of the dust are my bonet. EindrSogdiidHeerl doch Eine ward kerrliebar Vor alien andem!
Der meine Seele ganz sich entgegen giesst Mit alien Thrftneu, welche sie weinen kann, Die voile Seele ganz zustrdmet! Fdhrst du sie mir, die ich liebe, Gott, wog!
Weg, durch dein Schicksal, welches unsichtbar sioh Dcm Auge fortwebt, immer in's Dunkl're webt! One was exalted queen Ver all the rest ; 'twas Love, the last amd Holiest feature of thine own image.
Thou doo dost feel it, though as Eternal God; The holy angels, made by thy hand divine, Rejoicing, feel this. Love, tiie last and Holiest feature of thine own image.
In whom my soul its fulness of rapture pours, Towards whom, with all the tears of its depths unknoviip My soul, o'erflowing, streameth ; from me Takest thou her whom I love, O Lord Ood!
Snatched by thy destiny, which, invisible. E'er weaveth on its thread, yet in daricness weaves. Far from my arms outstretched to clasp her, But not away from the heart that trembles!
Yet knowest thou full weU what thy mind conceiTed, AVhen to existence calling, thou didst create Souls more susceptible of feeling.
And for each other more fitted i 1ft KLonrocK. Das miitt da, Sokdpfer! Werth, auoh den bftngsten Schraers lu bestoftigen!
Oleicb der Unsterblichkeit Dehat, was ein Hauch war, fUrchterlich mir sicb aust Ich seh', ich sehe meine Schmerzen, Orenxenlos dunkel, vor mir Terbreitet!
Lass Gott, dies Leben, leicht wie den Hauch entfliebn! Kein, das niohtl gieb mir, die du mir gleich erschuht! Ach, gieb sie mir, dir leicht zu geben!
Gieb sie dem bebenden, bangen Hersen! Dem sQsaen Schauer, der ihr entgegenwallt! The labyrinth, Father of Destiny, Thou once wilt thread ; then Destiny is no mora I Ah, with the bliss of recognition, Soul unto soul wilt thou render back then.
Thought, worthy of the soul and eternity I The keenest anguish worthy of soothing, too! My mind conceives thee in thy greatness But to the life do I cling too firmly That here I lire.
What seemed but breath extendeth so fearfully. Dark and so boundless spread out before me. Then let this life, God, like that breath eseape!
O give her me, for thee 'twere easy! Render her back to my heart desponding! Andacht, Dir um die ewige Kuhe flehte.
Von ihr geliebet, will ich die Tugend schOn Und selig nennen 1 will ich ilur bimmlisch Bild Mit unverwandten Augen anschaun, Kuhe nur das und nur Gidck das nennen.
Was sie mir zuwinkt! Aber o frOmmere, Dich auch, o, die du ferner und h5her wohnst, Als unsre Tugend, will ich reiner, Unbekannt, Oott nur bemerket, ehren.
Von ihr geliebt, will ioh dir feuriger Entgegenjauchzen! Thou givest with a nod, and thou takeat from The worm, to whom a moment is like an age, His fleeting bliss, the worm called man, who Waxeth and bloometh, then, drooping, dieth.
Belov'd by her, will I with more glowing leal 'Mid songs of gladness, hail thee; my swelling heart More fervent hymns and hallelujahs. Father Eternal, to thee shall offer.
Then when with me she lauds fhy exalted ftuiie. To Heaven weeping, praying with eves that beam With tears of melting rapture; vnth her Here will I taste of that life more holy.
Hermann I so hat dich Niemals Thusnelda geliebt! Rest, that I from thy brow may wipe the sweat-drop, And the blood from thy cheek! Thy cheek, hew glowing!
Tbusnelda Never hath loved thee as now. Stopping, I already beheld thee With immortality crowned. O proclaim, in grove and forest, That e'en now with his gods Augustus, trembling, Drinketh nectar, that Hermann Wears a more durable crown!
When I wake from oat that slnmbeiv Death in human accents called, And behold that fairer morning.
By life's cares no more enthralled t Other far will wake my soul, Life's career will reach its goal i Pilgrim's sorrows are but dreams.
Grant that not one day may answer, It hath been profaned by me! That I gladly may before me See them, when the last appears! When to the dark vale I journey.
And my friend laments in tears. Then, O soothe death's agony. And let me the strongest be. Vior iVF nn isez mm tun. Des Menschen treuem Hater!
Mit gOttlichem Erbarmen Bedecktest du mich Armen! Befalaf, sprachst dn, ohne Granen! Die Sonne sollst da schauen! Du selber wollst roir rathen, In alien meinen Thaten!
O thanks, rise to his throne! All honour, worship, praise! O hear my prayers to thee! Begleice mieh mit Segen Auf alien meinen Wegen!
Dein Wort sei meine Speite Auf meiner Pilgerreise. Der Feind ist da! Heil dir Held und Maoa Im eisemen Gefild! Thy word my thirst assuage Upon my pilgrimage!
The fight beginti Come on to victory! The bravest hero leads us on, In all our fatherland. The sickness feels he not to-day, There bear they him along.
Thou sabre, in the emperor's hand Flash fearfully around, That every deadly missile laonehad May harmlessly pass by! O welcome, death for Fatherland!
Wenn vor urns wird ein. Da kommen Bve, Die KriegesgOtter, her! Sie stritten in der heiasen Schlacht Auoh fUr uns beide mit!
And but the dead behold Around us, conquer then will wa With fame for fatherland. Then we with lofty step will oW The corpses round us tread; Then will our shouts of victory Thrill through eaeh nerve and vein.
Wenn ich im Orabe Oenug geeohlummert habe, Erweokst du mich! Der mOden Pilger Leiden Bind dann nicht mehr!
Immortal liveth The soul the maker giveth. To rise and bloom again my seed he eowti The Lord of harrests goes, And, like unnumbered Sheaves, gathers us who slumbered.
O day of tearful joy! O grateftii dayl O ihou, my maker's day! My days when numbered. And I enough have slumbered, Thoult wake me up.
O then 'twill seem but like a dream so firiri With Jesus we wUl share His holy pleasure, Then will the pilgrim's measure Of grief be drained.
Then will my guide be to the holiest My Mediator's hand. On high then living HI praise him with thaftktgniog. Was gescheh'n ist, ist geadiabeni Dies nur kann ieh Qbersehmi, Was gesoheh'n kann, weist ioh tMM Wer nicht fortgeht, geht surflcke.
And wherefore not to-day f to-morrow For thee will also be too narrow. To every day its task allot! Whatever is done, is done for ever, Thus much I know ; but what so evw May hap to-morrow know I not.
The use we make of present hours; For can I call the future mine? Be every day alike employed! Hit oiirly hair with powder shines, lake wreaths which hoary Winter twiMi The glistening trees around.
His eye heams brightly from afar. And twinkles as at eve a star ; His cheeks like apples glow. O feel the liands of Fabian! Boft as the bosom of a swan, Whose wing is not so white.
His form rich silken vestures deokt In colour like the pigeon's neck. And like a mirror bright. In all Uiat drink and lore then, we The first of these three kingdoms set.
The plants the second kingdom are, But lower in creation far; They do not love, but yet they drink. In all that drink, but love not, we The second of these kingdoms see.
Here diamonds with sand are classed No stone feels thirst, or soft desires. No love, no draught its bosom fires. In all that drink not, love not, we The last of these three kingdoms see.
For without love, or wine, now own! Lieber Tod, verschone mich! Out, wenn das ist, magst du lebeat Buft er. Nur sei mir ergeben.
Lebe, bis du satt gekasst, Und des Trinkens made bist. To his health he drank it up, Smiling then replaced the cup.
Pleased that I should now be free, He renewed his threats to me: Bj the God of wine! Gentle slumbers, Baining down from Heaven, Veiled the eyes of the Lord's betrothed i And a deep, deep silence.
Like the grave's repose. And for every virtue Of a mother, — but, alas! Condemned in barren solitude to tigh, Uncomforted, the spring of life away!
Roses were become Burning fire-coals beneath her; For, alas! Ko more, No more shall she find sweet repose. She calls, to soothe her sorrow's pain.
Upon the God of sleep in vain, And sleeplessly her eyelids close. She saw, she saw the man. Who, of aU men, was but for her created ; One transient glance!
Their breasts with trembling thrilledt Soul yearned to soul, and in each other beamed. But what availed it? Him, too, a holy prison Encompasseth, bound indissolubly By adamantine oaths!
Every comfort of the grief-o'erladen, Every sweet deception Of the sick phantasy are ye denied. Night follows evening, and the long, long, niglit Is by the mom succeeded, but, nor night, Kor morning brings you peace; And Time, physician to the sickly soul.
Hath for your pain No sooUiing balm. Last ihm o sei dem Flehen Der firommen Liebe mild! But the chaste goddess granted not her puy tr.
A veil of cloudy shadows Withdrew her orb from SeraflnaN gaxe. Du bist ein Engel, bringst mir Frieda, Ich littre nicht yor dir.
Her wandering ejet To Heayen timidly with anguish turnings Seeks she comfort, And finds it not. Wohin, Bethfirte, schweift Dein frevelhafter Wahn?
Du siehst in's Grab hinab, uud schauderst nicht? Der Himinel ist vor dir verschlossen, Und zQrnend wendet sich dein Engel von dir weg.
Ich fordre nichtt, Erwarte nichts von diezem Leben. Veneih, Terzeih den allzumftchtigen Trieben Der triumphirenden Natur!
At every whisper From dusky grove, When flaps her airy win;? The turtle dove, How beats my heart! My ear I strain, And when I list and wait Day after day — how great la then my pain!
Der Spott, mit dem sie stecheOf Itt scharf wie Nadelspits: Sohwite An mir 'ne brave Frau. The raillery they sting with Is like a pointed lance ; The wit that they discourse witll Is taken firom romance.
For trifling, writing, reading All turn a maiden's head ; The man for me elected Will read for me instead. Fair youth, art thou from SwabiaF Dost lore thy fatherland?
Und wie ein Geist schlingt um den Hala Daa Liebchen sich herum: WilUt mich verlassen, liebes Hen, Auf ewig? Up, up, ye brothers!
To some, grey headed parents bid A last adieu, while some Caress a brother, sister, friend, Who pale their weeping ftoes wend From us, while all are dumb.
SI Lebt wobi, ibr Fteunde! So streeken wir empor die Hand, Undjaucbzen: Und alles dankt und singt. Wtr leben drauf in femem Laad Als Deutscbe brav und gut, Und sagen soil man weit und breil.
Eternal is sweet friendship's power. And Ood is every where. And ere we quit onr natire shore With earth we'll fill our hand, And kiss it all, in gratitude For thy abundant care and food.
We'll onwards sail, deroid of care. And when amid the rapours blue The Table-mountain looms. Well liye then in a distant land. As Germans, brave and true.
And they shall say, both near and flv. And mix with tears our wine. I will sing, O my Creator, Cheerfully to thee will sing.
And my song, like forest musio. Where thou art, O God, shall ring. Wake, O mind, in nte, exulting, Melt in song with holy seal, Sound as doth the bell of silver, Echo like the organ's peal!
Spirits, God's high throne surroundings Like the fire's surging flame. Angels, men, O sing together, Aid me to exalt his name! But not loud enough ye sing.
Beasts in forest, fish in ocean, Birds in air, in grove, and wood. Praise him aU ; ye Christian teardrops Stream with joy and gratitude!
See the gloomy walla around I Lo! And before thee 1 am dumb! Swiftly from the metal cavern Flies the life-destroying lead. How brightly and serenely She takes her nightly round!
Who in yon starry chaplet Is thus with beauty crowned f How modestly she wanders. Hab' NichtSy mich dran so fireues. IHfs labour she rewardeth, And bids the eyelids close, The sons of earth inviting To silent night's repose.
Thou, who to us hast giyen Her sweet and friendly light. Thou in a life of gladness Must surely take delight. Er wichst nicht Oberall im deutschen Reiche; Und viele Berge, hdrt!
Thtlringens Berge, snm Ezempel, bringen Oewftchs, sieht aus wie Wein, Ist's aber nieht; man kann dabet nieht singen, Dabei nicht frOhlich sein. Vitus feteh bis wint 'TIS more than we will do.
How oould it else be generous and mild. Dem Zaudemden erscheint sienie. Your talk of moods kindles no flame, The waverer always waits and loses; If you are poets as you claim, Then prove that you command the muses.
You know just what we need, I think: We want a potent brew to drink. Concoct it now without delay I Tomorrow we still miss what is not.
Die drei crzengel treten "or. The three Archangels step forward. The sun intones, in ancient tourney With brother spheres, a rival air; And his predestinated journey, He closes with a thundrous blare.
His sight, as none mn comprehend it, Gives strength to angels; the array Of works, unfathomablysplendid, Is glorious as on the first day.
And rival tempests roar and ravage From sea to land, from land to sea. Da flammt ein blitzendes Verheeren Dem Pfade vor des Donnerschlags.
Der Anblick gibt den Engeln Starke. Da du, 0 Herr, dich einmal wieder nahst U nd fragst, wie alles sich bei uns befinde, Und du mich sonst gewohnlich geme sahst, So siehst du mich auch unter dem Gesinde.
Von Sonn und Welten. Ein wenig besser wiird er leben, Hatt'st du ibm nieht den Schein des Himmel- slichts gegeben; Er nennt's Vemunft und braucht's allein, Nur tierischer aIs jedes Tier zu sein.
U nd lag er nur noch immer in dem Grase! In jeden Quark begrabt er seine Nase. Hast du mfr weiter nichts zu sagen? Prologue in Heaven 85 Deeply destructive energy..
There Hames a flashing devastation To clear the thunder's crashing way; Yet, Lord, thy herald's admiration Is for the mildness of thy day.
The sight, as none can comprehend it, Gives strength to angels; thy array Of works, unfathomably splendid, Is glorious as on the first day.
The small god of the world will never change his ways And is as whimsical-as on the first of days. His life might be a bit more fun, Had you not given him that spark of heaven's SUD; He calls it reason and employs it, resolute To be more brutish than is any brute.
He seems to me, if you don't mind, Your Grace, Like a cicada of the long-legged race, That always flies.
Can you not speak but to abuse? Nein, Herrl Ich find es dort, wie immer, herzlich schlecht. Die Menschen dauern mich in ihten J ammertagen, Ich magsogar die armen selbst nicht pIa gen.
Kennst du den Faust? Fiirwahrl Er client Euch auf besondre Weise.. Nicht irdisch ist des Toren frank noch Speise. Prologue in Heaven Do you come only to accuse?
Does nothing on the earth seem to you right? I find it still a rather sorry sight. I have no wish to cause him further woe. Do you know Faust?
He serves you most peculiarly, I think. His spirit's ferment drives him far, And hehaH knows how foolish is his quest: From heaven he demands the fairest star, Lol And from the earth all joys that he thinks best; And all tha s near and all that's far Cannot soothe the upheaval in his breast.
Though now he serves me but confusedly, I shall soon lead him where the vapor clears. The gardener knows, however small the tree, That bloom and fruit adom its later years.
What will you hetP- Youlllose him yet to me, If you will graciously connive That I may lead him carefully. As long as he may be alive, So long you shall not be prevented.
Man errs as long as he will strive. Nun gut, es sel dir iiberlassenl Zieh mesen Geist von seinem U rquell ab Und fiihr ibn, kannst du ihn erfassen, Auf deinem Wege mit herab Und steh beschamt, wenn du bekennen muBt: Mir ist fiir meine Wette gar nicht bange.
Du darfst auch da nur frei erscheinen; leh habe deinesgleichen nie gehaBt. Von allen Geistem, die verneinen, Istmir der Schalk am wenigsten zur Last.
Er liebt sich bald die unbedingte Rub; Drum geb ich gem ihm. Be thanked for that; rYe never been contented To waste my time upon the dead. When corpses come, I have just left the house- I feel as does the cat about the mouse.
Enough-I grant that you may try to clasp him, Withdraw this spirit from his primal source And lead bim down, if you can grasp him, Upon your own abysmal course- And stand abashed when you have to attest: A good man in his darkling aspiration Remembers the right road throughout his quest.
Enough-he will soon reach his- station; About my bet I have no hesitation, And when I win, concede your stake And let me triumph with a swelling breast: Dust he shall eat, and that with zest, As my relation does, the famous snake..
Appear quite free on that day, too; I never hated those who were like you: Of all the spirits that negate. The knavish jester gives me least to do.
For man's activity can easily abate, He soon prefers uninterrupted rest; To give him this companion hence seems best Who roils and must as Devil help create.
Altengem Und biite mich, mit ihrnzu brechen. Es ist gar hiibsch von einem groBen Herm, So menschlicb mit dern Teufel selbst zu sprechen. Prologue in Heaven 91 That fortify with everlasting thought.
The heavens close, the Archangels disperse. I like to see the Old Man now and then And try to be not too uncivil.
It's charming in a noble squire when He speaks humanely with the very Devil. Called Master of Arts, and Doctor to boot, For ten years almost I confute And up and down, wherever it goes, I drag my students by the nose- And see that for all our science and art We can know nothing.
It bums my heart. Of course, I am smarter than all the shysters, The doctors, and teachers, and scribes, and Christers; No scruple nor doubt could make me ill, I am not afraid of the Devil or hell- 94 Der Tragodie Erner Teil Bilde mir nieht ein, was Reehts zu wissen, Bilde mir nicht ein, ieh konnte was lehren, Die Mensehen zu bessem und zu bekehren.
I also have neither money nor treasures, Nor worldly honors or earthly pleasures; No dog would want to live longer this wayt Hence I have yielded to magic to see Whether the spirit's mouth and might Would bring some mysteries to light,.
That I need not with work and woe Go on to say what I don't know; That I might see what secret force Hides in the world and rules its course.
Envisage the creative blazes Instead of rummaging in phrases. Full lunar light, that you might stare The last time now on my despairl How often I've been waking here At myoId desk till you appeared, And over papers, notes, and books I caught, my gloomy friend, your looks.
Oh, that up on a mountain height I could walk in your lovely light And float with spirits round caves and trees, Weave in your twilight through the leas, Cast dusty knowledge overboard, And bathe in dew until restored.
Still this old dungeon, still a molel Cursed be this moldy walled-in hole Where heaven's lovely light must pass, And lose its luster, through stained glass.
Ihr schwebt, ihr Geister, neben mir; Antwortet mir, wenn fur mich hortl Er schlagt das Buch auf und erblickt daa Zeichen des Makrokosmus.
War es ein Gott, der diese Zeichen schrieb, The First Part of the Tragedy And on the walls, up to the dome, A smoky paper, spots of rust; Enclosed by tubes and jars that breed More dust, by instruments and soot, Ancestral fumihtre to boot- That is your worldl A world indeedl And need you ask why in your breast Your cramped heart throbs so anxiously?
Life's every stirring is oppressed By an unfathomed agony? Instead of living nature which God made man for with holy br;eath, Must stifles you, and every niche Holds skulls and skeletons and death.
Though dry reHection might expound These holy symbols, it is dreary: You float, oh spirits, all around; Respond to me, if you can hear me.
What jubilation bursts out of this sight Into my senses-now I feel it Howing, Youthful, a sacred fountain of delight, Through every nerve, my veins are glowing.
Was it a god that made these symbols be 98 Der Tragodie Erster Teil Die mir The First Part of the Tragedy That soothe my feverish unrest, Filling with joy my anxious breast, And with mysterious potency Make nature's hidden powers around me, manifest?
Am I a god? Light grows this page- In these pure lines my eye can see Creative nature spread in front of me. But now I grasp the meaning of the sage: Rise, student, bathe without dismay In heaven's dawn your mortal head.
Passing the golden pails from hand to handl Bliss-scented, they are winging Through sky and earth-their singing Is ringing through the world.
Yet but a play, however vast! Where, boundless nature, can I hold you fast? And where you breasts?
Wells that sustain All life-the heaven and the earth are nursed. The wilted breast craves you in thirst- You well, you still-and I languish in vain?
I look and feel my powers growing, As if I'd drunk new wine I'm glowing, I feel a sudden courage, and should dare To plunge into the world, to bear All earthly grief, all earthly joy-compare With gales my strength, face shipwreck without care.
Now there are clouds above- The moon conceals her light- The lamp dies down. Red light rays dash About my head-a chill Blows from the vaulting dome And seizes me.
I feel you near me, spirit I implored. Though I should have to die.. Bist du es, der, von meinem Hauch umwittert, In allen Lebenstiefen zittert, Em furchtsam weggekriimmter Wurm?
Du gleichst dem Geist, den du begreifst, Nicht mirl Verschwindet. You have implored me to appear, Make known my voice, reveal my face; Your sours entreaty won my grace: And where the breast that even now had fashioned A world to bear and nurse within-that trembled thus, Swollen with joy that it resembled us?
Where are you, Faust, whose voice pierced my domain, Who surged against me with his might and main? Could it be you who at my breath's slight shiver Are to the depths of life aquiverll A miserably writhing worm?
Should I, phantom of fire, fly? In the Hoods of life and creative storm To and fro I wave. And birth and grave, An eternal sea, A changeful strife, A glowing life: At the roaring m of the ages I plod And fashion the life-giving garment of God.
You that traverse worlds without end, Sedulous spirit, I feel close to you. Peer of the spirit that you comprehend Not mine! Nicht dirl Wem denn?
Ich Ebenbild der Gottheitl Und nicht einma! Faust wendet sioh unwillig. Verzeihtl lch hor Euch deklamieren; Ihr last gewiB ein griechisch Trauerspiel?
In dieser Kunst mocht ich was profitieren, Denn heutzutage wirkt das vieI. Ich hah es ofters rtihmen horeD, Ein Komodiant konnt einen Pfarrer lehren.
J a, wenn der Pfarrer ein Komodiant ist; Wie das denn wob! Ach, wenn man so insein Museum gebannt ist Und sieht die Welt kaum einen Feiertag, Kaum durch ein Femglas, nur von weiten, Wie soIl man sie durch Oberredung leiten?
Wenn fur's nioht ftihlt, ihr werdef's nicht erjagen, Wenn es nicht aus der Seele drlngt U nd mit urkraftigem Ber..
I, image of the godheadl And not even yourst A knock. FAUST turns away in disgust. Forgivel I hear your declamation; Surely, you read a GreciantragedyP rd profit from some work in this vocation, These days it can be used effectively.
I have been told three times at least That a comedian could instruct a priest. Yes, when the priest is a comedian for all his TeDeum. As happens more often than one would own.
Ah, when one is confined to one's museum And sees the world on holidays alone, But from a distance, only on occasion, How can one guide it by persuasion?
Die Kunst ist lang, U nd kurz ist unser Leben. Wie schwer sind nicht die Mittel zu erwerben, Durch die man zu den Quellen steigtl U nd eh man nur den halben Weg erreicht, MuB wohl ein anner Teufel sterben.
The First Part of the Tragedy Compelling every listener's heart. Children and apes may think it great, If that should titillate your gum, But from heart to heart you will never create.
If from your heart it does not come. Oh, let him look for honest gain! Let him Dot be a noisy fooll All that makes sense you can explain Without the tricks of any school.
Ifiyou have anything to say, Why juggle words for a display? Your glittering rhefric, subtly disciplined, Which for mankind thin paper garlands weaves, Is as unwholesome as the foggy wind That blows in autumn through the wilted leaves.
Oh God, art is forever, And our life is brief. I fear that with my critical endeavor My head and heart may come to grief. How hard the scholars' means are to array With which one works up to the source; Before we have traversed but half the course, We wretched devils pass away.
Parchment-is that the sacred fount From which you drink to still your thirst forever? If your refreshment does not mount. From your own soul, you gain it never.
Was fur den Geist der Zeiten heiBt. J a, was man so erkennen heiSt! Wer darf das Kind beirn rechten N amen nennen? Ich bitt Euch, Freund, es ist tief in der Nacht, Wir mussen's diesmal unterbrechen.
Ieh hatte gern nur immer fortgewacht, Urn so gelehrt mit Euch mich zu besprechen. Forgiver It does seem so sublime, Entering into the spirit of the time To see what wise men, who lived long ago, believed, Till we at last have all the highest aims achieved.
Up to the'stars-achieved indeed I My fnend, the times that antecede Our own are books safely protected By seven seals. What spirit of the time you call, Is but the.
In truth, it often is pathetic, And when one sees it, one would run away: And yet the worldl Man's heart and spirit! The things that people claim to know I Who dares to call the child by its true name?
The few that saw something like this and, starry- eyed But foolishly, with glowing hearts averred Their feelings and their visions before the common herd Have at all times been burned and crucified.
I beg you, friend, it is deep in the night; We must break o. Our conversation was so erudite, I should have liked to stay awake with you.
Nicht darf ich dir zu gleichen mich vemiessen: Hab ich die Kraft dich anzuziehn besessen, So hatt,ich dich zu halten keine Kraft. In jenem selgen Augenblicke lch fiihlte mich so klein, so groB; Du stiefiest grausam mich zuriicke Ins ungewisse Menschenlos.
Hope never seems to leave those who affirm, The shallow minds that stick to must. Dare such a human voice be sounded Where I was even now surrounded By spirits' might?
And yet I thank you just this once, You, of all creatures the most wretched dunce. You tore me from despair that had surpassed My mind and threatened to destroy my sense.
Alas, the apparition was so vast That I felt dwarfed in impotence. One word of thunder swept me from my height. I may no longer claim to be your peer: I had the power to attract YOll here, But to retain you lacked the might.
In that moment of bliss, alack, In which I felt so small, so great, You, cruel one, have pushed me back Into uncertain human fate. Was soIl ich meiden?
SoIl iehgehorchen jenem Dl'ang? Die uns das Leben gaben, herrliche Gefiihle Erstarren in dem irdisehen Gewiihle. Wenn GlUck auf Gluck im Zeitenstrudel scheitert.
Die Sorgenistet gleich im tiefen Herzen, Dart wirket sie geheirne Schmerzen. The First Part of the Tragedy Who teaches me? What should I shun? Should I give in to that obsession?
Not our sufferings only, the deeds that we have done Inhibit our ilie's progression. Whatever noblest things the mind received, More.
Where fantasy once rose in gloriOUS flight, Hopeful and bold to capture the sublime, It is contentnow. Deep in the heart there dwells relentless care And secretly infects us with despair; Restless; she sways and poisons peace and joy She always.
She may appear as house and home, as child and wife, As fire, water, poison, knife-- What does not strike, still makes you quail, And what you never lose, for that you always wail.
I am not like the godsl That was a painful thrust; I'm like the worm that burrows in the dust, Who, as he makes of dust his meager meal, Is crushed and buried by a wanderer's heel Is it'not dust that stares from every rack And narrows down this vaulting den?
This moths' world full of bric-a-brac In which I live as in a pen? Here I should find for what I care?
Du alt Gerate, das ichnicht gebraucht, Du stehstnurhier, weil dich mein Vater brauchta. Du alte Rolle, du wirst angerauchte, Solang an diesem Pult die triibe Lampe schmauchte.
Was du ererbt von deinen Vatero hast, Erwir b es, urn es Z1l besitzenl Was man nicht niitzt, ist eine schwere Last; Nur was der Augenblick erschaIft, das kann er niitzen.
Doch warum heftet sich mein Blick auf jene Stelle? Warum wird mir auf einmaI lieblich helle, Ais wenn im nachtgen Wald uns Mondenglanz umweht?
Save that your brain, like mine, once in dismay Searched for light day, but foundered in the heavy dawn And, craving truth, went wretchedly astray.
I found the gate. Mysterious in the light of day, Nature, in veils, will not let US perceive her, And what she is unwilling tabetray, You cannot wrest from her with thumbscrews.
What is not used is but a load to bear; But if today creates it, we can use and bless it. Yet why does this p1ace over there attract my sight?
Why is that bottle as a magnet to my eyes? Why does the world seem suddenly so bright, As when in nightly woods one sees the moon arise? In dir verehr ich Menschenwitz und Kunst.
Ein Feuerwagen schwebt auf leiehten Schwingen An mieh heran. Ben; Und war es mit Gefahr, ins Nichts dahin zu flieBen.
In you I honor human wit and art. Slowly I float into the open sea, The waves beneath me now seem gay and free, To other shoresheckonsanother day.
A fiery chariot floats on airy pinions Cleaving the ether-tarry and descend1 Uncharted orbits call me, new dominions Of sheer creation, active without end.
This higher life, joys that no mortal wonl You merit this-but now a worm, despairing? Upon the mild light of the earthly sun Tum, bold, your back1 And with undaunted daring Tear open the eternal portals Past which all creatures slink in' silent dread.
The time has come to prove by deeds that mortals Have as much dignity as any god, And not to tremble at that murky cave Where fantasy condemns itself to dwell In agony.
The passage brave Whose narrow mouth is lit by all the flames of hell; And take this step with cheerful resolution, Though it involve the risk of utter dissolution.
Now you come down to me, pure crystal vase, Emerge again out of your ancient case Of which for many years I did not think.
You glistened at my fathers' joyous feasts And cheered the solemn-looking guests, Der Tragodie Erner Teil Wenn einer dich dem andem zugebracht.
Freude dem Sterblichen, Den die verderblichen, Schleichenden, erblichen Mangel umwanden. Verkiindiget ihr dumpfen Glocken schon Des Osterfestes erste Feierstunde?
The many pictures, glistening in the light, The drinker's duty rhyming to explain them, To scan your depths and in one draught to drain them, Bring back to mind many a youthful night.
There is no friend now to fulfill this duty, N or shall I exercise my wit upon your beauty. Here is a juice that fast makes drunk and mute; With its brown Hood it fills this- crystal bowl, I brewed it and shall drink it whole And offer this last drink with all my soul Unto the moming as a festive high salute.
He puts the bowl to his lips. Chime of bells and choral song. Hail the meek-spirited Whom the ill-merited, Creeping, inherited Faults held in prison.
What deeply humming strokes, what bri1liant tone Draws from my lips the crystal bowl with power? Has the time come, deep bells, when you make known The Easter holidais first holy hour?
Is this already, choirs, the sweet consoling hymn That was first sung arou. With myrrh, when bereaved.
We had adorned him; We that believed Laid down and mourned him. Christ ist erstandenl Selig der Liebende, Der die betriibende, Heilsam und iibende Priifung bestanden.
Was sucht ihr, machtig und gelind, Ihr Himmelstone, mich am Staube? Blessed be the glorious One who victorious Over laborious Trials has risen.
Why would you, heaven's tones, compel Me gently to rise from my dust? Resound where tenderhearted peop]e dwell: Although I hear the message, I lack all faith or trust; And faith's favorite child is miracle.
For those far spheres. I should not dare to strive, From which these tidings come to me; And yet these chords, which I have known since infancy: Call me now, too, back into life.
Once heaven's love rushed at me as a kiss In the grave silence of the Sabbath day, The rich tones of the bells, it seemed, had much to say, And every prayer brought impassioned bliss.
An unbelievably sweet yearning Drove me to roam through wood and lea, Crying, and as my eyes were burning, I felt a new world grow in me. This song proclaimed the spring feast's free delight, appealing To the gay games of youth-they plead: N ow memory entices me with childlike feeling Back from the last, most solem deed.
Ach, an der Erda Brust Sind wir zum Leide da. Has the 0" ervaulted ODe Burst from his prison, The living-exalted one Gloriously risen, Is in this joyous birth Zest for creation near- Oh, on the breast of earth We are to suffer here.
He left his own Pining in sadness; Alas, we bemoan, Master, your gladness. Christ is arisen Out of corruption's womb.
Leave behind prison, Fetters and gloom! Those who proceed for him, Lovingly bleed for him, Brotherly feed for him, Travel and plead for him, And to bliss lead for him, For you the Master is near, For you he is here.
Spazierganger aller Art zieben binaus. Warum denD dort hinaus? Wir gehn hinaus aufs Jagerhaus. Icb rat euch, nach dem Wasserhof zu gehn.
Der Weg dahin ist gar nicht schon. Was tust denn du? Ich gehe mit den andem. Du iiberlustiger Gesell, Juckt dich zurn drittenmal das Fell?
Wir Hnden ibn gewiB bei jenen Pappeln stehen. Why do you go that way? We are going to Hunter's Lodge today. But we would rather go to'the mill.
Go to the River Inn, that's my advice. I think, the way there isn't nice. Where are you gOing? Burgdorf would be much better. Let's go there with the rest: The girls there are stunning, their beer is the best, And it's first-class, too, for a fight.
You are indeed a peppy bird, Twice spanked, you're itching for the third. Let's not, the place is really a fright. No, nol fn go back to the town again.
We11 find him at the poplars, rm certain it is true. What's that to me? Is it not plain, He'll walk and dance only with you? He thinks, you are the only one.
Heut ist er sicher nieht aUein; Der Krauskopf, sagt er, wurde bei ibm sein. Blitzt wie die waekem Dirnen schreitenl Herr Bruder, komm!
Wir mussen sie begleiten. Da sieh mir nur die sehonen Knaben! Es ist wahrhaftig eine Sehmaeh: Nicht so geschvvindl Dort hinten kommen zwei, Sie sind gar niedlich angezogen, 's ist meine Nachbarin dabei; leh bin dem Madehen sehr gewogen..
Herr Bruder, neint leh bin nieht gem gemert. Geschwind, daB wir das Wildbret Dieht verlierenl Die Hand, die samstags ihren Besen fuhrt, Wird sonntags dieh am besten karessieren.
Nein, er gefallt mir nieht, der neue Burgemeister! Nun, da er's 1st, wird er nur taglieh dreister. U nd fiir die Stadt was tut denn er?
Wird es nicht alle Tage sehlimmer? He will not be alone. He said, Today he'd bring the curly-head. Just see those wenches over theref Come, brother, let us help the pair..
Look there and see those handsome blades I I think it is a crying shame: They could have any girl that meets with their acclaim, And chase after these silly maids..
The way they walk, they seem demure, But won't mind company, I'm sure. No, brother, I don't like those coy addresses. Come on, before we lose the wilder prey.
The hand that wields the broom on Saturday Will, comes the Sunday, give the best caresses. No, the new mayor is no good, that's what I say.
Since helts in, he's fresher by the day. What has he done for our city? Things just get worse; it is a pity! We must obey, he thinks he's clever, And we pay taxes more than ever.
Good gentlemen and ladies fair, De. Herr Nachbar, jal So laB ich"sauch geschehn: AL1E Ztl den Biirgermiidchen: Ei, wie geputztl Das schone junge Blutl Wer soll sich nieht in euch vergaffen?
On Sun- and holidays, there is no better fun, Than chattering of. We stand at the window, drink a wine that is light, Watch the boats glide down the river, see the foam, And cheerfully go back at nightj Grateful that we have peace at home.
Yes, neighbor, that is nicely said. Let them crack skulls, and wound, and maim, Let all the world stand on its head; But here, at home, all should remain the same.
Ah, how dressed upt So pretty and so youngl Who would not stop to stare at you? Don't be puffed up, I'll hold my tongue.
I know your wish, and how to get it, too. Andrew's Night she brought indeed My future lover right before my eyes. She showed me mine, but in a crystal ball With other soldiers, bold and tall; De1'TragodieErster Teil Ich sehmich urn, ich such ibn tiberall, Allein mir will er nicht begegnen.
I want to capture. Fair is the dare, Splendid the pay. And we let trumpets Do our wooing, For our pleasures And our undoing.
Life is all storming, Life is all splendor, Maidens and castles Have to surrender. Released from the ice are river and creek, vVanned by the spring's fair quickening eye; The valley is green with hope and joy; The hoary winter has grown so weak He has withdrawn to the rugged mountains.
Turn around now and look down From the heights back to the town. Out of the hollow gloomy gate Surges and scatters a motley horde. They celebrate The resurrection of the Lord.
For they themselves are resurrected From lowly houses, musty as stables, From trades to which they are subjected, From the pressure of roofs and gables, From the stilling and narrow alleys, From the churches' reverent night They have emerged into the light.
Look, how the crowd now sallies Gracefully into the gardens and leas, How on the river, all through the valley, Frolicsome floating boats one sees, And, overloaded beyond its fill, This last barge now is swimming away.
From the far pathways of the hill We can still see how their clothes are gay. I hear the village uproar rise; Here is the people's paradise, And great and small shout joyously: Here I am human, may enjoy humanity.
To take a walk with you, good,sir, Is a great honor and reward, But I myself should never so far err, For the uncouth I always have abhorred. This fiddling, bowling, loud delight- I hate these noises of the throng; They rage as if plagued by an evil sprite And call it joy and call it song.
Schon urn die Linde war es voll, Und alles tanzte schon wie toll. Sie wurden rot, sie wurden wann Und ruhten atmend Arm in Arm.
Und tu mir doch nicht so vertrautl Wie mancher hat nicht seine Braut Helogen und betrogen! Er schmeichelte sie doch beiseit, U nd von der Linde scholl es weit: Juchhel Juchhel J uchheisal Heisa!
Hel Geschrei und Fiedelbogen. Around the linden, lass and lad Were crowding, dancing round like mad. Hi-diddle-deel Thus went the fiddle bow.
He pressed into the dancing whirl His elbow bumped a pretty girl, And he stepped on ber toe. The lively wench, she turned and said: The circle whirled in dancing Bight, Now they danced left, now they danced right, The skirts How high and low.
Their cheeks were Hushed and they grew warm Arid rested, panting, arm in ann. Hurrahl Hi-diddle-deel With waists and elbows so. Please do not make so free with mel For many fool their bride-to-be And lie, as you welllmow.
And yet he coaxed the girl aside, And from the linden, far and wide: Hurraht Hurrahl Hurrah1 Hi-diddle-deel Clamor and fiddle bow. Fiiwahr, es ist seht wohlgetan, DaB Illr.