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ACT V
SCENE I
THOAS, ARKAS
ARKAS
I own I am perplex'd and scarcely know
'Gainst whom to point the shaft of my suspicion,
Whether the priestess aids the captives' flight,
Or they themselves clandestinely contrive it.
'Tis rumor'd that the ship which brought them here
Is lurking somewhere in a bay conceal'd.
This stranger's madness, these new lustral rites,
The specious pretext for delay, excite
Mistrust, and call aloud for vigilance.
THOAS
Summon the priestess to attend me here!
Then go with speed, and strictly search the shore,
From yonder headland to Diana's grove:
Forbear to violate its sacred depths,
A watchful ambush set, attack and seize,
According to your wont, whome'er ye find.
[ARKAS retires.]
SCENE II
THOAS (alone)
Fierce anger rages in my riven breast,
First against her, whom I esteemed so pure;
Then 'gainst myself, whose foolish lenity
Hath fashion'd her for treason. Man is soon
Inur'd to slavery, and quickly learns
Submission, when of freedom quite depriv'd.
If she had fallen in the savage hands
Of my rude sires, and had their holy rage
Forborne to slay her, grateful for her life,
She would have recogniz'd her destiny,
Have shed before the shrine the stranger's blood,
And duty nam'd what was necessity.
Now my forbearance in her breast allures
Audacious wishes. Vainly I had hoped
To bind her to me; rather she contrives
To shape an independent destiny.
She won my heart through flattery; and now
That I oppose her, seeks to gain her ends
By fraud and cunning, and my kindness deems
A worthless and prescriptive property.
SCENE III
IPHIGENIA, THOAS
IPHIGENIA
Me hast thou summon'd? wherefore art thou here?
THOAS
Wherefore delay the sacrifice? inform me.
IPHIGENIA
I have acquainted Arkas with the reasons.
THOAS
From thee I wish to hear them more at large.
IPHIGENIA
The goddess for reflection grants thee time.
THOAS
To thee this time seems also opportune.
IPHIGENIA
If to this cruel deed thy heart is steel'd,
Thou shouldst not come! A king who meditates
A deed inhuman, may find slaves enow,
Willing for hire to bear one-half the curse,
And leave the monarch's presence undefil'd.
Enrapt in gloomy clouds he forges death,
Flaming destruction then his ministers
Hurl down upon his wretched victim's head,
While he abideth high above the storm,
Calm and untroubled, an impassive god.
THOAS
A wild song, priestess, issued from thy lips.
IPHIGENIA
No priestess, king! but Agamemnon's daughter;
While yet unknown, thou didst respect my words
A princess now,—and think'st thou to command me?
From youth I have been tutor'd to obey,
My parents first and then the deity;
And thus obeying, ever hath my soul
Known sweetest freedom. But nor then nor now
Have I been taught compliance with the voice
And savage mandates of a man.
THOAS
Not I,
An ancient law doth thy obedience claim.
IPHIGENIA
Our passions eagerly catch hold of laws
Which they can wield as weapons. But to me
Another law, one far more ancient, speaks
And doth command me to withstand thee, king!
That law declaring sacred every stranger.
THOAS
These men, methinks, lie very near thy heart,
When sympathy with them can lead thee thus
To violate discretion's primal law,
That those in power should never be provok'd.
IPHIGENIA
Speaking or silent, thou canst always know
What is, and ever must be, in my heart.
Doth not remembrance of a common doom,
To soft compassion melt the hardest heart?
How much more mine! in them I see myself.
I trembling kneel'd before the altar once,
And solemnly the shade of early death
Environ'd me. Aloft the knife was rais'd
To pierce my bosom, throbbing with warm life;
A dizzy horror overwhelm'd my soul;
My eyes grew dim; I found myself in safety.
Are we not bound to render the distress'd
The gracious kindness from the gods receiv'd?
Thou know'st we are, and yet wilt thou compel me?
THOAS
Obey thine office, priestess, not the king.
IPHIGENIA
Cease! nor thus seek to cloak the savage force
Which triumphs o'er a woman's feebleness.
Though woman, I am born as free as man.
Did Agamemnon's son before thee stand,
And thou requiredst what became him not,
His arm and trusty weapon would defend
His bosom's freedom. I have only words;
But it becomes a noble-minded man
To treat with due respect the words of woman.
THOAS
I more respect them than a brother's sword.
IPHIGENIA
Uncertain ever is the chance of arms,
No prudent warrior doth despise his foe;
Nor yet defenceless 'gainst severity
Hath nature left the weak; she gives him craft
And, willy, cunning; artful he delays,
Evades, eludes, and finally escapes.
Such arms are justified by violence.
THOAS
But circumspection countervails deceit.
IPHIGENIA
Which a pure spirit doth abhor to use.
THOAS
Do not incautiously condemn thyself.
IPHIGENIA
Oh, couldst thou see the struggle of my soul,
Courageously to ward the first attack
Of an unhappy doom, which threatens me!
Do I then stand before thee weaponless?
Prayer, lovely prayer, fair branch in woman's hand,
More potent far than instruments of war,
Thou dost thrust back. What now remains for me
Wherewith my inborn freedom to defend?
Must I implore a miracle from heaven?
Is there no power within my spirit's depths?
THOAS
Extravagant thy interest in the fate
Of these two strangers. Tell me who they are
For whom thy heart is thus so deeply mov'd.
IPHIGENIA
They are—they seem at least—I think them Greeks.
THOAS
Thy countrymen; no doubt they have renew'd
The pleasing picture of return.
IPHIGENIA (after a pause)
Doth man
Lay undisputed claim to noble deeds?
Doth he alone to his heroic breast
Clasp the impossible? What call we great?
What deeds, though oft narrated, still uplift
with shuddering horror the narrator's soul,
But those which, with improbable success,
The valiant have attempted? Shall the man
Who all alone steals on his foes by night,
And raging like an unexpected fire,
Destroys the slumbering host, and press'd at length
By rous'd opponents on his foeman's steeds,
Retreats with booty—be alone extoll'd?
Or he who, scorning safety, boldly roams
Through woods and dreary wilds, to scour the land
Of thieves and robbers? Is naught left for us?
Must gentle woman quite forego her nature,
Force against force employ, like Amazons
Usurp the sword from man, and bloodily
Revenge oppression? In my heart I feel
The stirrings of a noble enterprize;
But if I fail—severe reproach, alas!
And bitter misery will be my doom.
Thus on my knees I supplicate the gods!
Oh, are ye truthful, as men say ye are,
Now prove it by your countenance and aid;
Honor the truth in me! Attend, O king
A secret plot deceitfully is laid;
Touching the captives thou dost ask in vain;
They have departed hence and seek their friends,
Who, with the ship, await them on the shore.
The eldest,—whom dire madness lately seiz'd,
And hath abandon'd now,—he is Orestes,
My brother, and the other Pylades,
His early friend and faithful confidant.
From Delphi, Phoebus sent them to this shore
With a divine command to steal away
The image of Diana, and to him
Bear back the sister thither, and for this
He promised to the blood-stained matricide,
The Fury-haunted son, deliverance.
I have surrender'd now into thy hands
The remnants of the house of Tantalus.
Destroy us—if thou canst.
THOAS
And dost thou think
That the uncultured Scythian will attend
The voice of truth and of humanity
Which Atreus, the Greek, heard not?
IPHIGENIA
'Tis heard
By every one, born 'neath whatever clime,
Within whose bosom flows the stream of life,
Pure and unhinder'd.—What thy thought? O king,
What silent purpose broods in thy deep soul?
Is it destruction? Let me perish first!
For now, deliv'rance hopeless, I perceive
The dreadful peril into which I have
With rash precipitancy plung'd my friends.
Alas! I soon shall see them bound before me!
How to my brother shall I say farewell?
I, the unhappy author of his death.
Ne'er can I gaze again in his dear eyes!
THOAS
The traitors have contrived a cunning web,
And cast it round thee, who, secluded long,
Giv'st willing credence to thine own desires.
IPHIGENIA
No, no! I'd pledge my life these men are true.
And shouldst thou find them otherwise, O king,
Then let them perish both, and cast me forth,
That on some rock-girt island's dreary shore
I may atone my folly. Are they true,
And is this man indeed my dear Orestes,
My brother, long implor'd,—release us both,
And o'er us stretch the kind protecting arm
Which long hath shelter'd me. My noble sire
Fell through his consort's guilt,—she by her son;
On him alone the hope of Atreus' race
Doth now repose. Oh, with pure heart, pure hand,
Let me depart to purify our house.
Yes, thou wilt keep thy promise; thou didst swear,
That were a safe return provided me,
I should be free to go. The hour is come.
A king doth never grant like common men,
Merely to gain a respite from petition;
Nor promise what he hopes will ne'er be claim'd.
Then first he feels his dignity supreme
When he can make the long-expecting happy.
THOAS
As fire opposes water, and doth seek
With hissing rage to overcome its foe,
So doth my anger strive against thy words.
IPHIGENIA
Let mercy, like the consecrated flame
Of silent sacrifice, encircled round
With songs of gratitude, and joy, and praise,
Above the tumult gently rise to heaven.
THOAS
How often hath this voice assuag'd my soul!
IPHIGENIA
Extend thy hand to me in sign of peace.
THOAS
Large thy demand within so short a time.
IPHIGENIA
Beneficence doth no reflection need.
THOAS
'Tis needed oft, for evil springs from good.
IPHIGENIA
'Tis doubt which good doth oft to evil turn.
Consider not; act as thy feelings prompt thee.
SCENE IV
ORESTES (armed), IPHIGENIA, THOAS
ORESTES (addressing his followers)
Redouble your exertions! hold them back!
Few moments will suffice; maintain your ground,
And keep a passage open to the ship
For me and for my sister.
(To IPHIGENIA, without perceiving THOAS.)
Come with speed!
We are betray'd,—brief time remains for flight.
(He perceives the king.)
THOAS (laying his hand on his sword)
None in my presence with impunity
His naked weapon wears.
IPHIGENIA
Do not profane
Diana's sanctuary with rage and blood.
Command your people to forbear awhile,
And listen to the priestess, to the sister.
ORESTES
Say, who is he that threatens us?
IPHIGENIA
In him
Revere the king, who was my second father.
Forgive me, brother, that my childlike heart
Hath plac'd our fate thus wholly in his hands.
I have betray'd your meditated flight,
And thus from treachery redeem'd my soul.
ORESTES
Will he permit our peaceable return?
IPHIGENIA
Thy gleaming sword forbids me to reply.
ORESTES (sheathing his sword)
Then speak! thou seest I listen to thy words.
SCENE V
ORESTES, IPHIGENIA, THOAS
Enter PYLADES, soon after him ARKAS both with drawn swords.
PYLADES
Do not delay! our friends are putting forth
Their final strength, and, yielding step by step,
Are slowly driven backward to the sea.—
A conference of princes find I here?
Is this the sacred person of the king?
ARKAS
Calmly, as doth become thee, thou dost stand,
O king, surrounded by thine enemies.
Soon their temerity shall be chastiz'd;
Their yielding followers fly,—their ship is ours,
Speak but the word and it is wrapt in flames.
THOAS
Go, and command my people to forbear!
Let none annoy the foe while we confer.
[ARKAS retires.]
ORESTES
I willingly consent. Go, Pylades!
Collect the remnant of our friends, and wait
The appointed issue of our enterprize.
[PYLADES retires.]
SCENE VI
IPHIGENIA, THOAS, ORESTES
IPHIGENIA
Relieve my cares ere ye begin to speak.
I fear contention, if thou wilt not hear
The voice of equity, O king,—if thou
Wilt not, my brother, curb thy headstrong youth.
THOAS
I, as becomes the elder, check my rage.
Now answer me: how dost thou prove thyself
The priestess' brother, Agamemnon's son?
ORESTES
Behold the sword with which the hero slew
The valiant Trojans. From his murderer
I took the weapon, and implor'd the Gods
To grant me Agamemnon's mighty arm,
Success, and valor, with a death more noble.
Select one of the leaders of thy host,
And place the best as my opponent here.
Where'er on earth the sons of heroes dwell,
This boon is to the stranger ne'er refus'd.
THOAS
This privilege hath ancient custom here
To strangers ne'er accorded.
ORESTES
Then from us
Commence the novel custom! A whole race
In imitation soon will consecrate
Its monarch's noble action into law.
Nor let me only for our liberty,—
Let me, a stranger, for all strangers fight.
If I should fall, my doom be also theirs;
But if kind fortune crown me with success,
Let none e'er tread this shore, and fail to meet
The beaming eye of sympathy and love,
Or unconsoled depart!
THOAS
Thou dost not seem
Unworthy of thy boasted ancestry.
Great is the number of the valiant men
Who wait upon me; but I will myself,
Although advanc'd in years, oppose the foe,
And am prepar'd to try the chance of arms.
IPHIGENIA
No, no! such bloody proofs are not requir'd.
Unhand thy weapon, king! my lot consider;
Rash combat oft immortalizes man;
If he should fall, he is renown'd in song;
But after ages reckon not the tears
Which ceaseless the forsaken woman sheds;
And poets tell not of the thousand nights
Consum'd in weeping, and the dreary days,
Wherein her anguish'd soul, a prey to grief,
Doth vainly yearn to call her lov'd one back.
Fear warn'd me to beware lest robbers' wiles
Might lure me from this sanctuary, and then
Betray me into bondage. Anxiously
I question'd them, each circumstance explor'd,
Demanded proofs, now is my heart assur'd.
See here, the mark on his right hand impress'd
As of three stars, which on his natal day
Were by the priest declar'd to indicate
Some dreadful deed therewith to be perform'd.
And then this scar, which doth his eyebrow cleave,
Redoubles my conviction. When a child,
Electra, rash and inconsiderate,
Such was her nature, loos'd him from her arms,
He fell against a tripos. Oh, 'tis he!—
Shall I adduce the likeness to his sire,
Or the deep rapture of my inmost heart,
In further token of assurance, king?
THOAS
E'en though thy words had banish'd every doubt,
And I had curb'd the anger in my breast,
Still must our arms decide. I see no peace.
Their purpose, as thou didst thyself confess,
Was to deprive me of Diana's image.
And think ye I will look contented on?
The Greeks are wont to cast a longing eye
Upon the treasures of barbarians,
A golden fleece, good steeds, or daughters fair;
But force and guile not always have avail'd
To lead them, with their booty, safely home.
ORESTES
The image shall not be a cause of strife!
We now perceive the error which the god,
Our journey here commanding, like a veil,
Threw o'er our minds. His counsel I implor'd,
To free me from the Furies' grisly band.
He answer'd, "Back to Greece the sister bring,
Who in the sanctuary on Tauris' shore
Unwillingly abides; so ends the curse!"
To Phoebus' sister we applied the words,
And he referr'd to thee! The bonds severe,
Which held thee from us, holy one, are rent,
And thou art ours once more. At thy blest touch,
I felt myself restor'd. Within thine arms,
Madness once more around me coil'd its folds,
Crushing the marrow in my frame, and then
Forever, like a serpent, fled to hell.
Through thee, the daylight gladdens me anew,
The counsel of the goddess now shines forth
In all its beauty and beneficence.
Like to a sacred image, unto which
An oracle immutably hath bound
A city's welfare, thee she bore away,
Protectress of our house, and guarded here
Within this holy stillness, to become
A blessing to thy brother and thy race.
Now when each passage to escape seems clos'd,
And safety hopeless, thou dost give us all.
O king, incline thine heart to thoughts of peace!
Let her fulfil her mission, and complete
The consecration of our father's house,
Me to their purified abode restore,
And place upon my brow the ancient crown!
Requite the blessing which her presence brought thee,
And let me now my nearer right enjoy!
Cunning and force, the proudest boast of man,
Fade in the lustre of her perfect truth;
Nor unrequited will a noble mind
Leave confidence, so childlike and so pure.
IPHIGENIA
Think on thy promise; let thy heart be mov'd
By what a true and honest tongue hath spoken!
Look on us, king! an opportunity
For such a noble deed not oft occurs.
Refuse thou canst not,—give thy quick consent.
THOAS
Then go!
IPHIGENIA
Not so, my king! I cannot part
Without thy blessing, or in anger from thee,
Banish us not! the sacred right of guests
Still let us claim: so not eternally
Shall we be sever'd. Honor'd and belov'd
As mine own father was, art thou by me;
And this impression in my soul abides,
Let but the least among thy people bring
Back to mine ear the tones I heard from thee,
Or should I on the humblest see thy garb,
I will with joy receive him as a god,
Prepare his couch myself, beside our hearth
Invite him to a seat, and only ask
Touching thy fate and thee. Oh, may the gods
To thee the merited reward impart
Of all thy kindness and benignity!
Farewell! O turn thou not away, but give
One kindly word of parting in return!
So shall the wind more gently swell our sails,
And from our eyes with soften'd anguish flow,
The tears of separation. Fare thee well!
And graciously extend to me thy hand,
In pledge of ancient friendship.
THOAS (extending his hand)
Fare thee well!
* * * * *
THE FAUST LEGEND FROM MARLOWE TO GOETHE
By KUNO FRANCKE, PH.D., LL.D., LITT.D.
Professor of the History of German Culture, Harvard University
The Faust legend is a conglomerate of anonymous popular traditions, largely of medieval origin, which in the latter part of the sixteenth century came to be associated with an actual individual of the name of Faustus whose notorious career during the first four decades of the century, as a pseudo-scientific mountebank, juggler and magician can be traced through various parts of Germany. The Faust Book of 1587, the earliest collection of these tales, is of prevailingly theological character. It represents Faust as a sinner and reprobate, and it holds up his compact with Mephistopheles and his subsequent damnation as an example of human recklessness and as a warning to the faithful.
From this Faust Book, that is from its English translation, which appeared in 1588, Marlowe took his tragedy of Dr. Faustus (1589; published 1604). In Marlowe's drama Faust appears as a typical man of the Renaissance, as an explorer and adventurer, as a superman craving for extraordinary power, wealth, enjoyment, and worldly eminence. The finer emotions are hardly touched upon. Mephistopheles is the medieval devil, harsh and grim and fierce, bent on seduction, without any comprehension of human aspirations. Helen of Troy is a she-devil, and becomes the final means of Faust's destruction. Faust's career has hardly an element of true greatness. None of the many tricks, conjurings and miracles, which Faust performs with Mephistopheles' help, has any relation to the deeper meaning of life. From the compact on to the end hardly anything happens which brings Faust inwardly nearer either to heaven or hell. But there is a sturdiness of character and stirring intensity of action, with a happy admixture of buffoonery, through it all. And we feel something of the pathos and paradox of human passions in the fearful agony of Faust's final doom.
The German popular Faust drama of the seventeenth century and its outgrowth the puppet plays, are a reflex both of Marlowe's tragedy and the Faust Book of 1587, although they contain a number of original scenes, notably the Council of the Devils at the beginning. Here again, the underlying sentiment is the abhorrence of human recklessness and extravagance. In some of these plays, the vanity of bold ambition is brought out with particular emphasis through the contrast between the daring and dissatisfied Faust and his farcical counterpart, the jolly and contented Casperle. In the last scene, while Faust in despair and contrition is waiting for the sound of the midnight bell which is to be the signal of his destruction, Casperle, as night watchman, patrols the streets of the town, calling out the hours and singing the traditional verses of admonition to quiet and orderly conduct.
To the sixteenth and seventeenth centuries, then, Faust appeared as a criminal who sins against the eternal laws of life, as a rebel against holiness who ruins his better self and finally earns the merited reward of his misdeeds. He could not appear thus to the eighteenth century. The eighteenth century is the age of Rationalism and of Romanticism. The eighteenth century glorifies human reason and human feeling. The right of man and the dignity of man are its principal watchwords. Such an age was bound to see in Faust a champion of freedom, nature, truth. Such an age was bound to see in Faust a symbol of human striving for completeness of life.
It is Lessing who has given to the Faust legend this turn. His Faust, unfortunately consisting only of a few fragmentary sketches, is a defense of Rationalism. The most important of these fragments, preserved to us in copies by some friends of Lessing's, is the prelude, a council of devils. Satan is receiving reports from his subordinates as to what they have done to bring harm to the realm of God. The first devil who speaks has set the hut of some pious poor on fire; the second has buried a fleet of usurers in the waves. Both excite Satan's disgust. "For," he says, "to make the pious poor still poorer means only to chain him all the more firmly to God"; and the usurers, if, instead of being buried in the waves, they had been allowed to reach the goal of their voyage, would have wrought new evil on distant shores. Much more satisfied is Satan with the report of a third devil who has stolen the first kiss from a young innocent girl and thereby breathed the flame of desire into her veins; for he has worked evil in the world of the spirit and that means much more and is a much greater triumph for hell than to work evil in the world of bodies. But it is the fourth devil to whom Satan gives the prize. He has not done anything as yet. He has only a plan, but a plan which, if carried out, would put the deeds of all the other devils into the shade—the plan "to snatch from God his favorite." This favorite of God is Faust, "a solitary, brooding youth, renouncing all passion except the passion for truth, entirely living in truth, entirely absorbed in it." To snatch him from God—that would be a victory, over which the whole realm of night would rejoice. Satan is enchanted; the war against truth is his element. Yes, Faust must be seduced, he must be destroyed. And he shall be destroyed through his very aspiration. "Didst thou not say, he has desire for knowledge? That is enough for perdition!" His striving for truth is to lead him into darkness. Under such exclamations the devils break up, to set about their work of seduction; but, as they are breaking up, there is heard from above a divine voice: "Ye shall not conquer."
It cannot be denied that Goethe's earliest Faust conception, the so-called Ur-Faust of 1773 and '74, lacks the wide sweep of thought that characterizes these fragments of Lessing's drama. His Faust of the Storm and Stress period is essentially a Romanticist. He is a dreamer, craving for a sight of the divine, longing to fathom the inner working of nature, drunk with the mysteries of the universe. But he is also an unruly individualist, a reckless despiser of accepted morality; and it is hard to see how his relation with Gretchen, which forms by far the largest part of the Ur-Faust, can lead to anything but a tragic catastrophe. Only Goethe's second Faust conception, which sets in with the end of the nineties of the eighteenth century, opens up a clear view of the heights of life.
Goethe was now in the full maturity of his powers, a man widely separated from the impetuous youth of the seventies whose Promethean emotions had burst forth with volcanic passion. He had meanwhile become a statesman and a philosopher. He had come to know in the court of Weimar a model of paternal government, conservative yet liberally inclined, and friendly to all higher culture. He had found in his truly spiritual relation to Frau von Stein a safe harbor for his tempestuous feelings. He had been brought face to face, during his sojourn in Italy, with the wonders of classic art. The study of Spinoza and his own scientific investigations had confirmed him in a thoroughly monistic view of the world and strengthened his belief in a universal law which makes evil itself an integral part of the good. The example of Schiller as well as his own practical experience had taught him that the untrammelled living out of personality must go hand in hand with incessant work for the common welfare of mankind. All this is reflected in the completed Part First of 1808; it finds its most comprehensive expression in Part Second, the bequest of the dying poet to posterity.
Restless endeavor, incessant striving from lower spheres of life to higher ones, from the sensuous to the spiritual, from enjoyment to work, from creed to deed, from self to humanity—this is the moving thought of Goethe's completed Faust. The keynote is struck in the "Prologue in Heaven." Faust, so we hear, the daring idealist, the servant of God, is to be tempted by Mephisto, the despiser of reason, the materialistic scoffer. But we also hear, and we hear it from God's own lips, that the tempter will not succeed. God allows the devil free play, because he knows that he will frustrate his own ends. Faust will be led astray—"man errs while he strives"; but he will not abandon his higher aspirations; through aberration and sin he will find the true way toward which his inner nature instinctively guides him. He will not eat dust. Even in the compact with Mephisto the same ineradicable optimism asserts itself. Faust's wager with the devil is nothing but an act of temporary despair, and the very fact that he does not hope anything from it shows that he will win it. He knows that sensual enjoyment will never give him satisfaction; he knows that, as long as he gives himself up to self-gratification, there will never be a moment to which he would say: "Abide, thou art so fair!" From the outset we feel that by living up to the very terms of the compact, Faust will rise superior to it; that by rushing into the whirlpool of earthly experience and passion, his being will be heightened and expanded.
And thus, everything in the whole drama, all its incidents and all its characters, become episodes in the rounding out of this grand, all-comprehensive personality. Gretchen and Helena, Wagner and Mephisto, Homunculus and Euphorion, the Emperor's court and the shades of the Greek past, the broodings of medieval mysticism and the practical tasks of modern industrialism, the enlightened despotism of the eighteenth century and the ideal democracy of the future—all this and a great deal more enters into Faust's being. He strides on from experience to experience, from task to task, expiating guilt by doing, losing himself and finding himself again. Blinded in old age by Dame Care, he feels a new light kindled within. Dying, he gazes into a far future. And even in the heavenly regions he goes on ever changing into new and higher and finer forms. It is this irrepressible spirit of striving which makes Goethe's Faust the Bible of modern humanity.
