Panthalis, the Leader of the Chorus, and the only one of them who has shown any glimmerings of Reason, or of aught beyond mere sensitive life, mere love of Pleasure and fear of Pain, proposes that, being now delivered from the soulconfusing spell of the 'Thessalian Hag,' they should forthwith return to Hades, to bear Helena company. But none will volunteer with her; so she goes herself. The Chorus have lost their taste for Asphodel Meadows, and playing so subordinate a part in Orcus: they prefer abiding in the Light of Day, though, indeed, under rather peculiar circumstances; being no longer Persons,' they say, but a kind of Occult Qualities, as we conjecture, and Poetic Inspirations, residing in various natural objects. Thus, one division become a sort of invisible Hamadryads, and have their being in Trees, and their joy in the various movements, beauties and products of Trees. A second change into Echoes; a third, into the Spirits of Brooks; and a fourth take up their abode in Vineyards, and delight in the manufacture of Wine. No sooner have these several parties made up their minds, than the Curtain falls; and Phorcyas in the Proscenium rises in 'gigantic size; but steps down from her cothurni, lays her 'Mask and Veil aside, and shows herself as MEPHISTOPHEin order, so far as may be necessary, to comment on the 'piece, by way of Epilogue.'

6

LES,

Such is Helena, the interlude in Faust. We have all the desire in the world to hear Mephisto's Epilogue; but far be it from us to take the word out of so gifted a mouth! In the way of commentary on Helena, we ourselves have little more to add. The reader sees, in general, that Faust is to save himself from the straits and fetters of Worldly Life in the loftier regions of Art, or in that temper of mind by which alone those regions can be reached, and permanently dwelt in. Farther also, that this doctrine is to be stated emblematically and parabolically; so that it might seem as if, in Goethe's hands, the history of Faust, commencing among the

realities of every-day existence, superadding to these certain spiritual agencies, and passing into a more aërial character as it proceeds, may fade away, at its termination, into a phantasmagoric region, where symbol and thing signified are no longer clearly distinguished; and thus the final result be curiously and significantly indicated, rather than directly exhibited. With regard to the special purport of Euphorion, Lynceus and the rest, we have nothing more to say at present; nay, perhaps we may have already said too much. For it must not be forgotten by the commentator, and will not, of a surety, be forgotten by Mephistopheles, whenever he may please to deliver his Epilogue, that Helena is not an Allegory, but a Phantasmagory; not a type of one thing, but a vague fluctuating fitful adumbration of many. This is no Picture painted on canvas, with mere material colours, and stedfastly abiding our scrutiny; but rather it is like the Smoke of a Wizard's Cauldron, in which, as we gaze on its flickering tints and wild splendours, thousands of strangest shapes unfold themselves, yet no one will abide with us; and thus, as Goethe says elsewhere, we are reminded of Nothing and of All.'

6

Properly speaking, Helena is what the Germans call a Mährchen (Fabulous Tale), a species of fiction they have particularly excelled in, and of which Goethe has already produced more than one distinguished specimen. Some day we propose to translate, for our readers, that little piece of his, deserving to be named, as it is, 'THE Mährchen,' and which we must agree with a great critic in reckoning the 'Tale of all Tales.' As to the composition of this Helena, we cannot but perceive it to be deeply studied, appropriate and successful. It is wonderful with what fidelity the Classical style is maintained throughout the earlier part of the Poem; how skilfully it is at once united to the Romantic style of the latter part, and made to reappear, at intervals, to the end. And then the small half-secret touches of sar1 See Appendix III. to Vol. 3 of Miscellanies.

casm, the curious little traits by which we get a peep behind the curtain ! Figure, for instance, that so transient allusion to these 'Bearded Ones sitting watchful there below,' and then their tugging at Helena's Mantle to pull it down with them. By such light hints does Mephistopheles point out our Whereabout; and ever and anon remind us, that not on the firm earth, but on the wide and airy Deep has he spread his strange pavilion, where, in magic light, so many wonders are displayed to us.

Had we chanced to find that Goethe, in other instances, had ever written one line without meaning, or many lines without a deep and true meaning, we should not have thought this little cloud-picture worthy of such minute development, or such careful study. In that case, too, we should never have seen the true Helena of Goethe, but some false one of our own too indolent imagination; for this Drama, as it grows clearer, grows also more beautiful and complete; and the third, the fourth perusal of it pleases far better than the first. Few living artists would deserve such faith from us; but few also would so well reward it.

On the general relation of Helena to Faust, and the degree of fitness of the one for the other, it were premature to speak more expressly at present. We have learned, on authority which we may justly reckon the best, that Goethe is even now engaged in preparing the Second Part of Faust, into which this Helena passes as a component part. With the third Lieferung of his Works, we understand, the beginning of that Second Part is to be published: we shall then, if need be, feel more qualified to speak.

For the present, therefore, we take leave of Helena and Faust, and of their Author: but with regard to the latter, our task is nowise ended; indeed, as yet, hardly begun; for it is not in the province of the Mährchen that Goethe will ever become most interesting to English readers. But, like his own Euphorion, though he rises aloft into Æther, he derives, Antaus-like, his strength from the Earth. The

dullest plodder has not a more practical understanding, or a sounder or more quiet character, than this most aërial and imaginative of poets. We hold Goethe to be the Foreigner, at this era, who, of all others, the best, and the best by many degrees, deserves our study and appreciation. What help we individually can give in such a matter, we shall consider it a duty and a pleasure to have in readiness. We purpose to return, in our next Number, to the consideration of his Works and Character in general.

GOETHE.1

[1828.]

IT is not on this 'Second Portion' of Goethe's Works, which at any rate contains nothing new to us, that we mean at present to dwell. In our last Number, we engaged to make some survey of his writings and character in general; and must now endeavour, with such insight as we have, to fulfil that promise.

We have already said that we reckoned this no unimportant subject; and few of Goethe's readers can need to be reminded that it is no easy one. We hope also that our pretensions in regard to it are not exorbitant; the sum of our aims being nowise to solve so deep and pregnant an inquiry, but only to show that an inquiry of such a sort lies ready for solution; courts the attention of thinking men among us, nay merits a thorough investigation, and must sooner or later obtain it. Goethe's literary history appears to us a matter, beyond most others, of rich, subtle and manifold significance; which will require and reward the best study of the best heads, and to the right exposition of which not one but many judgments will be necessary.

However, we need not linger, preluding on our own inability, and magnifying the difficulties we have so courageously volunteered to front. Considering the highly com

1 FOREIGN REVIEW, No. 3. Goethes Sämmtliche Werke. Vollständige Ausgabe letzter Hand. (Goethe's Collective Works. Complete Edition, with his final Corrections.) - Second Portion, vol. vi.-x. Cotta; Stuttgard and Tübingen, 1827.