Présentation de l'éditeur
The Faust of Goethe is considered one of the most original productions of the German Drama. It is not modelled in the form of a regular play, neither does it seem adapted for scenic representation ;but it is said to have been written for the performance of puppets. The tale on which it is founded is not new to our language :the Decil and Dr. Faustus are the heroes of nursery romance, and have been elevated to a higher distinction in the Tragicall Historie of Christopher Marlowe, a genius who delighted to soar above ordinary fiction into regions of wonder and dismay, and of whom it would be difficult to determine whether his talents best suited his subject, or whether such a subject was best suited to his talents. Marlowe splay is too well known to require more particular mention here, and it would be idle to attempt drawing any comparison between it and the Faust of Goethe, as the two pieces have nothing in common besides the adoption (as a plot) of the popular fiction, which tradition has strangely enough attached to aG erman printer. The main-spring, which originates the interest in both, rests upon common associations, that connect the world of spirits with our humbler sphere of existence; associations which are, perhaps, little more than the relics of sensations impressed on the memory by the fears of childhood. The Principle of Evil is delineated by Goethe with great skill.
(Typographical errors above are due to OCR software and don't occur in the book.)
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