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 THE

DAMNATION OF FAUST
A DRAMATIC LEGEND IN FOUR PARTS.

BY

HECTOR BERLIOZ
 .

MUSIC LIBRARY
University of California
Berkeley

THE DAMNATION OF FAUST.

(HECTOR BERLIOZ.)

PERSONAGES.
MARGUERITE . . Mezzo-Soprano MEPHISTOPHELES . Barito >.or Bass
FAUST Tenor. BRANDER Bass.

CONTENTS.
Author's Preface.
Synopsis
PART I.

i. Introduction i*
2. Song and Dance of the Peasants 10
3. Hungarian March 28

PART II.

4. Faust Alone in his Study

35
5. Easter Hymn 39
6. Drinking Chorus in Auerbach's Cellar 75
7. Brander's Song of the Rat 92
8. Fugue ("Amen ") on the Theme of Brander's Song . . .101
9. mephistopheles' song of the flea 109
10. The Banks of the Elbe (Air, Mephisto) 117
n. Chorus of Sylphs and Gnomes (Faust's Dream) 119
12. Ballet of Sylphs 175
13. Finale.
Chorus of Soldiers and Students . 184

PART III.

14. Drums and Trumpets Sounding the Retreat 212

15. Air, Faust in Marguerite's Chamber 214
16. The King of Thule, Gothic Song (Marguerite) 227
17. Evocation 233
18. Minuet of the Will-o'-the-Wisps 237
19. Serenade, Mephisto with Chorus of Will-o'-the-Wisps 248
20. Trio and Chorus (Marguerite, Faust, and Mephisto) 261

PART IV.
21. Romance (Marguerite) 303
22. Forest and Caverns, Faust's Invocation to Nature 317
23. Recitative and Hunt 322
The Ride to Hell, Duet (Faust and Mephisto)
24.
25.
26.
Pandemonium, Chorus of Lost Souls and Demons
Heaven, Chorus of Celestial Spirits (Marguerite's Apotheosis)
.... ... .
330
341
357

* The page numbers refer to the score with piano accompaniment, published by Oliver Ditson Company.

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AUTHOR'S PREFACE.
This work, as is indicated by its title, is not founded Le titre seulde cet ouvrage indique qu'il n'est pas
on the principal idea of Goethe's Faust, for in that bas sur du Faust de Goethe, puisque,
l'ide principal
illustrious poem, Faust is saved. dans l'illustre pome, Faust est sauv. L'auteur de
The author of The Damnation of Faust has la Damnation de Faust a seulement emprunt
only borrowed from Goethe a certain number of Goethe un certain nombre de scnes qui pouvaient en-
scenes adapted for introduction into the plan that he trer dans le plan qu'il s'tait trac, scnes dont la
had laid out, scenes the beauty of which were, to his sduction sur son esprit tait irrsistible. Mais ft-il
mind, irresistible. But, even had he followed faith- rest fidle la pense de Goethe, il n'en et pas
fully the idea of Goethe, he would nevertheless have moins encouru le reproche, que plusieurs personnes lui
incurred the reproach which has been addressed to ont dj adress (quelques-unes avec amertume)
him (at times with severity), of having mutilated a d'avoir mutil un monument.
monument. En effet, on sait qu'il est absolument impra-
It is a well-known fact that it is absolutely imprac- ticable de mettre en musique un pome de quelque
ticable to set to music a poem of considerable length tendue, qui ne fut pas crit pour tre chant, sans
which was not written with this object in view, with- lui faire subir une foule de modifications. Et de tous
out introducing many modifications. Of all existing les pomes dramatiques existants, Faust, sans aucun
dramatic poems, Faust is, without doubt, the most doute, est le plus impossible chanter intgrale-
impossible to sing in its entirety, from beginning to ment d'un bout l'autre Or si, tout en conservant
end. Now, if, while adhering to the principal idea of la donne du Faust de Goethe, il faut, pour en faire le

Goethe's Faust, it becomes necessary, in order to sujet d'une composition musicale, modifier le chef-
make of it the subject of a musical composition, to d'uvre de cent faons diverses, le crime de le lse-
modify the masterpiece in various ways, the crime of majest du gnie est tout aussi vident dans ce cas
treason against genius is quite as evident in this case que dans l'autre et mrite une gale rprobation.
as in the other, and open to equal criticism.
is Il s'ensuit alors qu'il devrait tre interdit aux musi-

From it would appear that musicians

the foregoing,
should be prohibited from selecting famous poems as
themes for their compositions. By this rule we would
be deprived of the opera of Don Juan, by Mozart,
for the libretto of which Da Ponte has modified the
Don Juan, of Molire; we would be without his
Marriage of Figaro, in which the text of Beaumar-
chais's comedy has certainly not been respected nor
yet, same reason, should we possess The
for the
Barber of Seville, by Rossini; nor Alceste, by
ciens de choisir pour thmes de leurs compositions
des pomes illustres Nous serions ainsi privs de
l'opra de Don Juan, de Mozart, pour le livret duquel
Da Ponte a modifi le Don Juan de Molire: nous
ne possderions pas non plus son Mariage de Figaro,
pour lequel le texte de la comdie de Beaumarchais
n'a certes pas t respect; ni celui du Barbier de
; Seville, de Rossini, parla mme raison; ni Y Alceste
de Gluck, qui n'est qu'une paraphrase informe de la
tragdie d'Euripide ni son Iphignie en Attlide, pour
;

Gluck, which simply a paraphrase of the tragedy

is
by Euripides; nor his Iphigenia in Aulis, in which
needless and regrettable changes have been made in
the verses of Racine, verses which, in their pure
beauty, might well have been introduced in the recita-
tives The numerous operas founded on the dramas
of Shakespeare would have remained unwritten, and
would be necessary to condemn Spohr for
finally, it
having produced a work which also bears the name
Faust, in which arc to be found the characters of
laquelle on a inutilement (et ceci est vraiment coup-
able) gt des vers de Racine, qui pouvaient par-
faitement entrer avec leur pure beaut dans les rci-
tatifs; on n'et crit aucun des nombreux opras qui
existent sur des drames de Shakespeare; enfin, M.
Spohr serait peut-tre condamnable d'avoir produit une
uvre qui porte aussi le nom de Faust, o l'on trouve
les personnages de Faust, de Mphistophls, de
Marguerite, une scne de sorcires, et qui pourtant ne
ressemble point au pome de Goethe.
(iii)

813
iv
Faust, Mephistopheles, Margaret, and with a Witches'
Scene, but which, however, bears no resemblance to
Goethe's poem.
A reply may readily be found to the detailed criti-
cism which has been made on the text
Damnation of Faust.
Why, it has been asked, has the author placed his
characters in Hungary?
Because he wished to introduce a piece of instru-
mental music, the theme of which is Hungarian. He
confesses this frankly. He would have placed them
anywhere else, had he had the least musical reason
for doing so. Has Goethe himself, in the second
Faust, not taken his hero to Sparta, to the palace of
Menelaus?
The legend of capable of the most
Doctor Faust is
varied treatment; its adaptability is world wide; it
had been dramatized by others before Goethe; it had
long been known, under divers forms in the literary
world of Northern Europe, when he made use of it,
and even Marlowe's Faust had, in England, a cer-
tain popularity and celebrity, which, however, dimin-
ished and disappeared before the masterpiece of
Goethe.
German verses which are sung in
As regards the
The Damnation of Faust, and which are Goethe's
verses with changes, they must, evidently, be as dis-
pleasing to the German ear, as are to
ear the verses of Racine, so needlessly altered in the
iphigenia of Gluck.
It must be remembered, however, that the score of
this work was written from the French text, which, in
certain places, is itself a translation of the German,
and that in conformity with the desire of the composer
to submit his work to the judgment of the most musi-
cal public in Europe, it has been necessary to write in
German a translation of the translation.
These remarks may perhaps seem somewhat puerile
to those powerful minds that grasp at once the whole
of a subject, and who think it unnecessary to have it
proved to them that there is no desire to dry up the
Caspian Sea, or to blow up Mount Blanc. Mr. H.
Berlioz has, nevertheless, felt it incumbent on him to
offer them, so much does he deprecate being accused
of unfaithfulness to the religion of his life, or of hav-
ing failed, even indirectly, in the respect due to genius.
PREFACE.
Maintenant, aux observations de dtail qui ont t
faites sur le livretde la Damnation de Faust, il sera
galement facile de rpondre.
Pourquoi l'auteur, dit-on, a-t-il fait aller son per-
book of The sonnages en Hongrie?
Parce qu'il avait envie de faire entendre un mor-
ceau de musique instrumentale dont le thme est
hongrois. Il l'avoue sincrement. Il l'et men par-
tout ailleurs, s'il et trouv la moindre raison musi-
cale de le faire. Goethe, lui-mme, dans le second
Faust, n'a-t-il pas conduit son hros Sparte, dans le
palais de Mnlas ?
La lgende du docteur Faust peut tre traite de
toutes manires: elle est du domaine public; elle
avait t dramatise avant Goethe ; elle circulait
depuis longtemps sous diverses formes dans le monde
littraire du nord de l'Europe, quand il s'en empara ;
le Faust de Marlow jouissait mme, en Angleterre,
d'une sorte de clbrit, d'une gloire rele que Goethe
a fait plir et disparatre.
Quant ceux des vers allemands, chants dans la
Damnation de Faust, qui sont des vers de Goethe
altrs, ils doivent videmment choquer les oreilles alle-
mandes, comme les vers de Racine, altrs sans raison
dans Y Iphignie de Gluck, choquent les oreilles fran-
aises. Seulement, on ne doit pas oublier que la
partition de cet ouvrage fut crite sur un texte fran-
the French ais, qui, dans certaines parties, est lui-mme une tra-
duction de l'allemand, et que, pour satisfaire ensuite
au dsir du compositeur de soumettre son uvre au
jugement du public le plus musical de l'Europe, il a
fallu crire en allemand une traduction de la traduc-
tion.
Peut-tre ces observations paratront-elles puriles
d'excellents esprits qui voient toute de suite le fond
des choses et n'aiment pas qu'on s'vertue leur
prouver qu'on est incapable de vouloir mettre sec la
mer Caspienne ou faire sauter le mont Blanc. M. H.
Berlioz n'a pas cru pouvoir s'en dispenser, nanmoins,
tant il lui est pnible de se voir accuser d'infidlit
la religionde toute sa vie, et de manquer, mme indi-
rectement, de respect au gnie.
 SYNOPSIS OF
THE DAMNATION OF FAUST.
( From the A". Y. Musical Review, January
The Faust of Berlioz cannot be taken as an exact para-
phrase of the poem of Goethe. But, if the author makes
undesirable omission of some important scenes, such as in
the prison and in the church, and if he deprives himself of
the character of Valentine with its admirable episodes, he
treats certain situations neglected by earlier (and by later)
composers, and has known how to compose a poem with
two essential qualities, color and life. Berlioz carefully jus-
tifies his free use of the original poem in these words
"The title of my work sufficiently indicates that it is not based
upon the principal idea of Goethe's Faust, for in the illus-
trious poem Faust is saved." Berlioz has borrowed from
Goethe only a certain number of scenes which entered into
his plan, and which seem to have attracted him irre-
sistibly. The very fact that he should have substituted
Faust's descent to hell for that portion of the German work
in which the hero is saved, shows a characteristic phase of
his genius. Berlioz, not unlike Edgar Allan Poe, took a
peculiar delight in the horrible; and he could not possibly
resist so favorable an opportunity to send a man to the
devil, with all the accompanying terrors.
The score of La Damnation de Faust is divided into
four parts, containing nineteen scenes and an epilogue.
The scene opens without an overture. Faust is wandering
amid the plains of Hungary, singing a monologue to the
awakening spring, accompanied by a lovely symphonic
picture. It is important to note in these passages fragments
of the march, suggesting the approach of the Hungarian
soldiers and of the Rondo des Paysans (introduced later) in
condensed rhythm, piccolo, oboes, bassoons, and horns
alternately intoning these fragments. The Rondo of the
peasants is cleverly orchestrated, so as to preserve the pas-
toral tone throughout. Flutes and oboes have the melody,
which is accompanied almost entirely by the clarionet,
bassoons, and horns, and only occasionally by strings.
This gayety calls from the unhappy Faust a regretful
sigh, breathed forth in a musical phrase of deep melan-
choly. Then passes a troop, with its martial sounds. This
is the popular Rakoczy March. Berlioz here developed the
theme of the Hungarian national hymn wonderfully, and
then arranged it for orchestra, and it is to his brilliant scor-
ing that the march owes its universal popularity. While
he himself considers its introduction here a caprice, it is of
deeper poetic import. For it enables Berlioz to present in
the first part two powerful contrasts Faust's melancholy
: perhaps the most difficult number of the work. The rhythm
and the peasants' mirth Faust's renewed gloom and the
; of the soft melody taken by the altos is exceedingly catch-
boisterous joy of the Hungarian soldiers.
The second part begins. Faust is in his laboratory, eager
for knowledge, weary of life. As he raises the poisoned
death-cup to his lips, comes the sound of Easter music.
This scene, taken textually from Goethe's poem, is of great
2, 1880.)
beauty. The dsillusion and the ardor of Faust are painted
with a masterhand. The Easter hymn, after a short intro-
duction for sopranos and altos accompanied by double
basses, is first sung by male voices only. When after-
ward sopranos and altos join, and the full orchestra
spreads its shimmer over the choral masses, the effect is of
a sublime majesty. The apparition of the demon is treated
in a few highly colored measures, and the concise motive
: with which Mephistopheles is introduced, and which occurs
several times later on, is the earliest example of a leading
motive in an oratorio. The demon transports his lord and
master to the tavern of Auerbach. Here Berlioz has given
a literal rendering of the original scene and words. The
drinking-chorus has an irresistible entrain. Then Blan-
der, heavy and vinous, as suits his listeners, sings the stan-
zas of the Song of the Rat. Hardly has the crowd pro-
nounced its lamentable Requiescat, when begins a " dishev-
elled " fugue on the word Amen. This is a musical jest on
the part of the composer, who was glad thus to turn the
tables upon his detractors, the ardent defenders and com-
pilers of pseudo-classical fugues. For Berlioz himself by
no means underrated the power of the artistic fugue, and
has introduced several fugatos into La Damnation de Faust.
The fugue ended, the devil flings at the gaping crowd his
bizarre Song of the Flea. This is one of the most interest-
ing parts of the work. For Berlioz has described, by means
of clever forms in the accompaniment, the skipping of the
flea in various directions. Further on occurs what might
be described as a skipping-climax; and that part of the
song which mentions the slinging flea is accompanied by
a quick thrust on the kettle-drum. It is interesting to note
the fact that even Beethoven, not disdaining program-
music, has composed music to the same text with an equally
descriptive accompaniment, ending with a rapid passage,
whose notes are all, with Beethoven's characteristic humor,
marked to be run down with the thumb. To accomplish
this, the tip of the thumb closes on the third finger-tip an
exceedingly suggestive position under the circumstances.
Under the title, Bosquets et Prairies au Bord de PElbe,
Berlioz has transcribed the end of the third scene, and com-
posed a marvel of graceful, fairy-like inspiration. The demon
murmurs into the ear of Faust a softly penetrating melody.
The Chorus of the Gnomes and the Ballet of the Sylphs der-
ail word-description. The slumber-chorus in this scene is
ing. It begins with a part for chorus and orchestra in |
time {Andante) ; then the chorus sings in % time [Allegro),
while the strings continue in the old tempo, so that three
of the bars of the chorus correspond to one bar of the
strings. The rest of the orchestra continues all through in
(v)

VI SYNOPSIS.
the same tempo with the chorus. In the following Bal-
letof the Sylphes the melody is that of the slumber-song,
built on the organ-point D, which the basses sound through-
out the entire movement. The close connection between
these parts and, indeed, the intimate poetic relation exist-
ing between all the numbers of this work, show how nec-
essary to its unity a complete performance is, and how ill-
advised it is to present only fragments of it to the public.
Faust perceives amid his dreams the fair image of Mar-
guerite, and the demon hurries him away through the groups
of soldiers and students, who are singing of war and of love.
The night falls; drums and clarions sound the "re-
treat." Faust penetrates into the young girl's chamber.
Marguerite enters, disturbed and troubled. She sings, to
distract her thoughts, an ancient ballad of archaic form, of
which the last words die like a soft kiss upon her lips.
Here reappears the poem of Berlioz. All the end of
this part, excepting the serenade and the dialogue of the
lovers, is his invention. At a sign of the demon, the Fol-
lets (will-o'-the-wisps) rome flying to Marguerite's door
(this grotesque minuet is a worthy pendant of the ballet of
the sylphs) and Mephistopheles warbles, with his scoffing
voice, an enchanting serenade. At the end of the Evoca-
tion des Follets, which is superbly orchestrated, occurs a
Presto, whose melody is new, and which eventually devel-
ops into the serenade of Mephistopheles, as though he had
imbued the follets with his spirit. In the accompaniment
of the serenade, Berlioz has reproduced the peculiar effect
of the mandolin by pizzicato crescendos for violas and sec-
ond violins. Faust and Marguerite are alone, intoxicated
with the song, and Faust breathes forth his love in a phrase
of deepest passion. Their voices unite they soar together.
;
The demon enters "Fly!" he cries, "the mother, the
friends are at hand " And the final trio and chorus close
! success, and caused great commotion.
in a superb sweep of passion and Satanic joy. The danger
presses, the tumult increases, and the demon drags Faust
away, leaving the defenceless, unhappy Marguerite. In
this end of the third part the composer's inspiration, un-
trammelled by an impossible theatrical representation,
has produced a picture above praise, taking rank with the
noblest examples of dramatic music.
At the opening of the fourth part, Marguerite is in her
chamber, weeping, despairing, hoping. She seats herself
at her spinning-wheel, and murmurs a melody full of
anguish. As Marguerite's passion awakens at the thought
of her lordly lover, the plaintive echo of her melody passes
over the orchestra, and she flies to the window. In the
distance is heard the song of the students, the last echo of
the " retreat." Nightfalls. Everything recalls to the un-
happy child the remembrance of the one evening without a
morrow. " He comes not " she cries, and falls, half dead
! ance with the public wish, to give it six times in succession,
with remorse and anguish. In the following number For-
ests and Caverns, the musician has been inspired by the
fine Invocation to Nature, which is in the corresponding
scene of Goethe's poem.
The orchestral and vocal composition translates mar-
yelously this burning cry, this ardent aspiration after in-
finite happiness. But the demon appears, recounting the
remorse of the loved one, her crime, her imprisonment, her
approaching death. It will be remembered that nothing
has been said as yet of a compact between Faust and
Mephistopheles. With delicate poetic feeling, Berlioz has
allowed Mephistopheles to appear only as the jolly com-
panion, not as the tempting demon. But now, after
playing upon Faust's sympathies for the unhappy girl,
until he is seized with terrible anguish and remorse, he
throws off the mask; and Faust, willing to sacrifice all, even
eternal happiness, for his love, seals the compact. It is then
Mephistopheles calls for the black steeds of hell. " To me,
Vortex, Giaour " he cries, and, mounted on them, the
!
devil and Faust rush into space. It is a flight to the abyss.
Here Berlioz gives free rein to the boldest imaginings. The
unbridled race of the coursers of hell, the incantations of
witches, wild exclamations of Faust, the sneers of the devil
all are depicted in a frightful unloosing of orchestral masses.
Berlioz ends the legend with two strange compositions of
rare energy, and sharply contrasted Pandemonium: it
is hell with a sinister gnashing, with its devouring joys;
it is the triumph of the demon, clutching his prey in his
talons. Heaven: it is pure, ineffable bliss; it is the appar-
ition of the unhappy sinner; it is the divine, angelic con-
cert, calling to the abode of the blessed the repentant,
purified Marguerite.
La Damnation de Faust is a work of great worth. Ber-
lioz has been helped in his perilous attempt by the richest
imagination, fired by the grandeur and the ideal beauty of
his model. Even when he departs from the original text,
and, by combining several episodes, produces an entirely
different situation, such as the love-scene interrupted by
the arrival of the demon, the musician is still sustained by
the poet, and his inspirations pour richly, grandly forth.
It is a work worthy to be placed forever side by side with
the original drama.
From the first performance, in 1846, until 1869. frag-
ments of La Damnation were given twice in Paris. In
April, 1849, tne chorus and ballet of the sylphs and the
Hungarian March were given by the Conservatoire.
In April, 1861, were given other extracts an air of
Mephistopheles, the chorus of sylphs during the sleep of
Faust, the waltz of the sylphs, and the double chorus of
students and soldiers. This performance met with little
Scudo, the critic,
always remarkable for his animosity toward the author, de-
clared that " such music " would never be heard again in
" such a place." In 1869 M. Litolff caused to be given, at
the Opra concerts, the waltz of the sylphs and the minuet
of the follets. The public surprise at hearing these mar-
vels of grace is still remembered. Soon after, M. Reyer
produced the air of the demon and the scene of Faust's
sleep, at the beautiful festival, arranged in honor of Ber-
lioz, at the Opra. Since that time these numbers have
been known and admired by all artists. In 1872 the Con-
servatoire gave again all the fragments played eleven years
before this time with great success.
On the 18th of February, 1877, La Damnation de Faust
was given as a whole at the "Concerts Populaires," M.
Pasdeloup conducting, and won a great success. In the same
year the orchestra of the Chtelet was obliged, in compli-
always before full houses. " The work of Berlioz," says a
contemporary, " has not only been applauded, it has been
understood." On the 30th of March, 1878, the "Concerts
Populaires " announced the twenty-first performance of
La Damnation de Faust. The" Hippodrome " closed the
series of festivals for the year by a solemnity in honor of
Berlioz, given on the anniversary of his death (March 8,
1869), and the government took part in this manifestation.
Whoever will glance at the orchestral score of La Dam-
nation de Faust will recognize the genius of its composer,
the folly of his detractors, and the enterprise of the Sym-
phony Society. Berlioz's time has come at last; and soon,
no doubt, the Parisians who hooted and laughed at him
during his life, will dedicate a street to his memory. When
thi: occurs, it is to be hoped that "Rue Berlioz" may be
posted on the very house in which Scudo wrote his fanati-
cal opinions.
 DAMNATION OF FAUST.
DRAMATIC LEGEND
IN FOUR PARTS.

FIRST PART. PREMIRE PARTIE.

SCENE I. SCENE PREMIRE.

(A Plain in Hungary.) (Plaine de Hongrie.)

Faust {alone in the fields at sunrise). Now Faust (seul, da?is les champs, au lever du
ancient Winter hath made place for soleil). Le vieil hiver a fait place au
Spring, printemps ;

And the fountain and stream are free La nature s'est rajeunie ;

again; Des cieuxcoupole infinie

la
The sun, in his might, sends his countless Laisse pleuvoir mille feux clatants.
beams Je sens glisser dans l'air la brise matinale;
To gladden with flow'rs the far-spreading De ma poitrine ardente un souffle pur
plain. s'exhale.
I feel thebreath of morn through humid J'entends autour de moi le rveil des
airs returning, oiseaux,
I feel a purer flame within my bosom Le long bruissement des plantes et des eaux.
burning. Oh ! qu'il est doux de vivre au fond des
Above, the wak'ning birds greet the day solitudes,
with their song, Loin de la lutte humaine et loin des multi-
Mid tall slow waving reeds the swift tudes !

stream glides along.

Oh happy life, to dwell, to dwell in
!

restful solitudes,
Far from the strife and din of warring,
warring multitudes.

Orchestra. Orchestre Seul.

(Mark distinctly in the horn and piccolo parts, the frag-
ments of the Dance of Peasants and the flourish of the
Hungarian March, which will soon be heard in entirety;
these distant rumors gradually break in on the calm of the
pastoral scene.)
(Des fragments de la Ronde des paysans et de la fanfare
de la Marche hongroise se distinguent au travers de la
trame instrumentale. Lointaines rameurs agrestes et
guerrires, qui commencent troubler le calme de la
scne pastorale.)

(l)
 ,

DAMNATION OF FAUST.
SCENE II. SCENE II.

(Chorus and dance of peasants.) (Danse de paysans.)

The shepherd early dons his best, Ronde en Chur. Les bergers quittent leurs
With a posy smartly decks his breast troupeaux ;

And a bright knot of ribbons gaily living, Pour la fte ils se rendent beaux,
Under the lime-tree lass and lad, there lass Rubans sont leur parure;
et fleurs
and lad. Sous les tilleuls, les voil tous
Now all are dancing there like mad ! Dansant, sautant comme des fous!
Ha, ha,huzza ! Ha ha ha ha
! ! ! !

Hip ! hip huzza

! ! Landerira !

All around the lime-tree whirling. Suivez donc la mesure !

Faust. Whence come those distant cries, that Faust. Quels sont ces cris, ces chants? quel
distant festive sound ? est ce bruit lointain? . . .

Already man and maid have begun the gay Ce sont des villageois, au lever du matin.
round ; Qui dansent en chantant sur la verte pelouse
Are dancing and singing fast and faster the De leurs plaisirs ma misre est jalouse.
measure,
My mournful soul is envious of their
pleasure.

Song. Now all are swaying to and fro, Deuxime Couplet de la Ronde. Ils pas-
Ev'ry cheek has a warmer glow. saient tous comme l'clair,
Right and left, round and round, the Et les robes volaient en l'air ;

dancers flying, Mais bientt on fut moins agile :

With quickened breath and heated brow ;

Le rouge leur montait au front,
ay, with heated brow ;
Et dans le rond,
l'un sur l'autre
At last they pause, they slacken now, Ha ha ha ha
! ! ! !

Ha,
huzza ha, ! Landerira !

Hip hip huzza ! ! ! Tous tombaient la file.

Such panting and such sighing.

Now hold your tongue, you faithless one ! Troisime Couplet. Ne me touchez donc
For vows like yours are easily won; pas ainsi !

Lightly won, lightly won, and as lightly Paix ma ! femme

n'est point ici !

broken. Profitons de circonstance la !

And yet he drew the maid aside, Dehors il l'emmena soudain,

While from the Linden echoed wide, Et tout pourtant alla son train,
Ha, ha, huzza ! Ha ha ha
! ! ! ha !

Hip hip huzza ! ! ! Landerira !

Now take thy lover's token. La musique et la dance.

SCENE III. SCENE III.

(Another part of the plain. Approach of Hungarian (Une autre partie de la plaine. Une arme qui s'avance.)
troops.)

Faust. Now with a martial sound, war-like Faust. Mais d'un clat guerrier ces cam-
strains fill the air, pagnes se parent !

Lo the Danube's brave sons for the

! com- Ah ! les fils du Danube aux combats se
bat prepare prparent !

They eagerly thirst for the fray, Avec quel air fier et joyeux
 DAMNATION OF FAUST. 3

Their armor brightly flashing in the broad Ils portent leur armure! et quel feu dans
light of day ! leurs yeux !

All hearts respond, ev'ry bosom is glowing. Tout cur frmit leur chant de victoire ;

Mine alone cold and mute, while all eyes Le mien seul reste froid, insensible la
are o'erflowing. Sfloire.

(Hungarian March. The troops pass. Faust retires.) (Marche hongroise Les troupes passent. F'aust
s'loigne.)

Orchestra. Orchestre skit..

(The theme of this march, developed and orchestrated (Le thme de cette marche, qui M Berlioz a instru-
by M. Berlioz, is celebrated in Hungary under the name ment et dvelopp, est clbre en Hongrie sous le nom de
Rakoczy. It is very old, the author unknown; and is the Rakoczy; il est trs ancien, d'un auteur inconnu; c'est le
war song of the Hungarians.) chant de guerre des Hongrois.

SECOND PART. DEUXIEME PARTIE.

SCENE IV. SCENE IV.

(In North Germany.) (Nord de l'Allemagne.)

Faust {alone in his study). Nothing eases Faust (seul, dans son cabinet de travail} .

my pain From the beauty of nature

! Sans regrets j'ai quitt les riantes cam-
Careworn I turn'd away, pagnes
All unmoved, I behold each familiar feature O m'a suivi l'ennui ;

Of the ivy-clad home of my childhood's Sans plaisirs je revois nos altires mon-
glad day, tagnes ;

Life is naught, then, but sorrow, and the Dans ma vieille cit je reviens avec lui.
darkness unhallow'd Oh ! je souffre ! je souffre ! et la nuit sans
But sheds a deeper gloom in my life over- toiles,
shadow'd. Qui vient d'tendre au loin son silence et
Condemn'd to dwell in the bondage of woe, ses voiles,
Oh, earth, is there no joy, but only care Ajoute encore mes sombres douleurs.
below ? O terre pour moi seul tu n'as donc pas de
!

Hast no blossom or beauty for me of thy fleurs !

treasure ? Par le monde, o trouver ce qui manque

Earth, is thy lap a grave, that hideth ev'ry ma vie?
pleasure ? Je chercherais en vain, tout fuit mon pre
At last I will be free But I tremble !
envie !

oh, no, Allons, il faut finir ! . . Mais je tremble . .

The veil that hides the truth shall obscure Pourquoi

it no more ! Trembler devant l'abme entr'ouvert devant
Now come thou down, thou cup of stainless moi ? . . .

crystal, O coupe trop longtemps mes dsirs ravie,

Come up to thy brim,
fill'd let me drain Viens, viens, noble cristal, verse-moi le
from thy bowl poison
A draught of quiet peace to my wearying Qui doit illuminer
soul. Ou tuer ma raison.

(He raises the cup to his lips. Chimes of bells are (Il porte la coupe sa bouche. Son des cloches. Cnants
heard, and the singing of Easter hymns in a neighboring religieux dans l'glise voisine.)
church.)
 DAMNATION OF FAUST.
Easter Hymn. Hymne de la Fete de Pques.

Chorus. Christ is risen from the dead ! Chur. Christ vient de ressusciter . . .

Has broken the tomb, Quittant du tombeau

Gladly hail the token, Le sjour funeste,
Sin's fetters are broken, Au parvis cleste
Reversed is the doom, Il monte plus beau.
Now the Master hath ascended. Vers les gloires immortelles
Rejoice, for your bondage is o'er. Tandis qu'il s'lance grands pas,
And the reign of sin is ended. Ses disciples fidles
Praise Him forever more! Languissent ici-bas.

Alas ! those He loved can but languish Hlas c'est ici qu'il nous laisse
!

And suffer mid pain and annoy. Sous les traits brlants du malheur.
Oh, Master! we envy Thy joy. O divin matre ton bonheur
!

In Thy joy forget not the depth of our Est cause de notre tristesse.
anguish. Mais croyons en sa parole ternelle.
Thy loved ones suffer, yea, but languish Nous le suivrons un jour
And suffer mid pain and annoy. Au cleste sjour
Hosanna Hosanna
! ! O sa voix nous appelle.
Hosanna !

Hosanna !

Faust. O pious strains On my spirit descend-

! Faust. Qu'entends-je ? O souvenirs! O
. . .

ing, mon me tremblante !

With holy soothing balm, a message from Sur l'air de ces chants vas-tu voler aux
the past ! cieux ?
The power unending La foi chancelante
Of love's resistless might its spell has o'er Revient, me ramenant la paix des jours
me cast. pieux,
Once my songs ascended in holy accents Mon heureuse enfance,
mild, La douceur de prier,
Its hope and joy were blended, and I a happy La pure jouissance
child, D'errer et de rver
Through the sweet scented meadow, Par les vertes prairies,
In the light without shadow, Aux clarts infinies
Softly sang as I strayed. D'un soleil de printemps ! . . .

Then the kiss of the love of Heaven O baiser de l'amour cleste

In calm and peaceful bliss touch'd my soul Qui remplissais mon cur de doux pres-
as I prayed, sentiments
And springs of hope and joy, hope and joy Et chassais tout dsir funeste ! . .

were given !

But ah ! why seek, ye heav'nly anthems, to Faust. {Rcitatif.)Hlas! doux chants du

allure me pourquoi dans sa poussire
ciel,
From the depths of my pain! Rveiller le maudit? Hymnes de la prire,
Vainly ye would endue me Pourquoi soudain venir branler mon
With hope or peace go seek some happier
; dessein ?
soul Vos suaves accords refraichissent mon sein.
To respond toyour strain. Chants plus doux que l'aurore,
Yet how sweetly ye toll, Retentissez encore :

With the breath of the morning Mes larmes ont coul, le ciel m'a reconquis.
The festal day adorning !

Feal on, my bosom glows

And pure joy overflows !
 DAMNATION OF FAUST.
SCENE V. SCENE V.

Faust and Mephistopheles. Faust et Mephistopheles.

Mephistopheles {appearing abruptly). A Mephistopheles {apparaissant brusque-

holy pious mood, breathing in accents ment) O pure motion
. !

mild ! Enfant du saint parvis !

Doctor Faust, I admire this religious sing- Je t'admire, docteur Les pieuses voles
!

ing De ces cloches d'argent

And the chime of the bell, Ont charm grandement
Have they made it all well Tes oreilles troubles!
With your soul by their hymning?

Faust. Who art thou? Speak! thou who Faust. Qui donc es-tu, toi dont l'ardent
seem'st to wrest regard
With eyes of flame ev'ry thought from my Pntre ainsi que l'clat d'un poignard,
breast ;
Et qui, comme flamme,
la
From racking doubt relieve me Brle et dvore l'me?
And thy name now reveal me.

Mephistopheles. Forsooth ! from a sage, Mephistopheles. Vraiment, pour un docteur,

sir, la demande est frivole.
Such a question sounds foolish !
Je suis l'esprit de vie, et c'est moi qui
Iam your friend and guardian console.
Who can do whate'er you wish. Je te donnerai tout, le bonheur, le plaisir,
But speak, and I will rain love and joy in Tout ce que peut rver leplus ardent dsir
your life,
All your most ardent dreams conjured when
hope was rife.

Faust. Poor demon, cans't thou show what Faust. Eh bien, pauvre dmon, fais-moi voir
shall prove thy pretences? tes merveilles.

Mephistopheles. Rare enchantments I'll Mephistopheles. Certes ! j'enchanterai tes

weave to dazzle all your senses, yeux et tes oreilles.
But first, vou must forsake these old tombs Au lieu de t'enfermer, triste comme le ver
for a while ;
Qui ronge tes bouquins, viens, suis-moi,
Leave all these dusty shelves. change d'air.
Come, dull care to beguile.

Faust. I consent! Faust. J'y consens.

Mephistopheles. Let us forth ! Mephistopheles. Partons donc pour con-

Come and and pleasure,
taste life natre la vie,
While every sense shall glow with a joy Et laisse le fatras de ta philosophie.
beyond measure.

(They disappear in the air.) (Ils disparaissent dans les airs.)

Orchestra. Orchestre Seul.

 DAMNATION OF FAUST.
SCENE VI. SCNE VI.

(Auerbach's cellar in Leipzig.) (La cave d'Auerbach Leipzig.)

Faust, Mephistopheles, Brander. Faust, Mephistopheles, Brander.

(Students, Citizens, and Soldiers.) (Etudiants, Bourgeois, et Soldats.)

Chorus of Drinkers. Fill up again with Chur de Buveurs. A boire encor ! Du vin
good Rhine wine ! Du Rhin!

Mephistopheles. Doctor Faust, here behold Mephistopheles. Voici, Faust, un sjour de

sons of mirth and of folly ! folle compagnie ;

All good fellows these, the gayest and most Ici vins et chansons rjouissent la vie.
jolly!

Chorus. When good red wine is freely flow- Chur. Oh ! qu'il fait bon quand le ciel tonne
ing. Rester prs d'un bol enflamm,
A fig for the tempest outside ! Et se remplir comme une tonne
Fill and ne'er heed the wind that's blow- Dans un cabaret enfum !

ing J'aime le vin et cette eau blonde

By punch-bowl and pipe we'll abide ! Qui fait oublier le chagrin.
love the glass that drowneth sorrow
I ! Quand ma mre me mit au monde,
Since I was born I ne'er walk'd straight, J'eus un ivrogne pour parrain.
From my gossip the trick I borrow, Oh! qu'il fait bon, etc., etc.
He ever had a rolling gait !

When good red wine, etc.

Some Students. Who knows a good song Quelques Buveurs. Qui sait quelque plai-
or a story ? sante histoire
Now our throats ai-e tuned and clear. En riant, le vin est meilleur.
Come, Brander, sing, A toi, Brander!
Sing and gather fresh glory.

Autres Buveurs. Il n'a plus de mmoire !

Brander {tipsy). I do know one, 'tis my Brander (ivre). J'en sais une; et j'en suis
own, so hear. l'auteur.

All. Well, begin! we're ready!

Brander. Let me stand steady, Brander. Puisqu'on m'invite,

Then list while I sing a tale of woe. Je vais vous chanter du nouveau.

All. Bravo! Bravo! Tous. Bravo ! bravo !

Song of the Rat. Chanson de Brander*.

Brander. Master rat lived in the cellar, Premier Couplet. Certain rat, dans une
Fared on butter and on fat ; cuisine,
And so stout did he grow Etabli comme un vrai frater,
That Luther had envied the paunch of this S'y traitait si bien, que sa mine
rat. Et fait envie au gros Luther.
One day the cook with purpose deadly Mais un beau jour le pauvre diable,
Laid poison'd meats upon his track; Empoisonn, sauta dehors,
 DAMNATION OF FAUST.
Oh ! he writhed as though love possess'd Aussi triste, aussi misrable
him, Que s'il et eu l'amour au corps.
Or torn apart by wheel or rack.

Chorus. Or torn apart by wheel or rack. Chur. Que s'il et eu l'amour au corps.

Brander. So fiercely did the pangs assail Deuxime Couplet. Il courait devant et der-
him, rire,
He ran in and then ran out, Il grattait, reniflait, mordait,
He scratched and claw'd, but naught Parcourait la maison entire;
avail'd him, La rage ses maux ajoutait,
In frantic rage he tore about. Au point qu' l'aspect du dlire
With pain and dismay sadly groaning, Qui consumait ses vains efforts
He madly rush'd in broad noon-day Les mauvais plaisants pouvaient dire
To the kitchen and there lay moaning Il a, ma foi, l'amour au corps.
As if in love torments he lay.

Chorus. As if in love torments he lay. Chur. Il a, ma foi, l'amour au corps.

Brander. Upon the hearth in anguish writh- Troisime Couplet. Dans le fourneau le
ing, pauvre sire
Still he hoped his doom to escape, Crut pourtant se cacher trs-bien ;

And that within the oven hiding, Mais il se trompait, et le pire

He'd find a shelter sure and safe.
But the cook came as he lay dying,
And she laugh'd and mock'd at his pain.
Ha ! see for love, for love he
sighing,
Love's torments have twitch'd him again.
C'est qu'on l'y fit rtir enfin.
La servante, mchante fille,
De son malheur rit bien alors.
is Ah! disait-elle, comme il grille!
Il a vraiment l'amour au corps.

Chorus. Love's torments have twitch'd him Chur. Il a vraiment l'amour au corps.

again. Requiescat in pace. Amen.

Requiescat in pace ! Amen !

Brander. A chorale, a fugue, an amen, an Brander. Pour l'amen une fugue, une fugue,
amen. un choral !

Let's improvise a good learned amen. Improvisons un morceau magistral.

Mephistopheles. But lend an ear to this, Mephistopheles (bas Faust). coute bien
and, Doctor, you shall know cecinous allons voir, docteur,
!

How far stupidity and foolish mirth can go. La bestialit dans toute sa candeur.

Chorus {Fugue on the theme of Brander's Chur. (Fugue sur le thme de la chanson
song). Amen. A men. A de Brander). Amen. A men.
men. Amen. A men. Amen.
Mephistopheles (advancing). V faith, good Mephistopheles (s' avanant) . Vrai Dieu,
sirs, but your fugue is astounding, messieurs, votre fugue est fort belle
That in truth it were fit for the skies, Et telle,
Permit me to remark it, the style is really Qu' l'entendre on se croit aux saints
grand, lieux !

Religious and sublime ; Souffrez qu'on vous le dise :

Art has never better express'd more pious Le styleen est savant, vraiment religieux ;

sentiments. On ne saurait exprimer mieux

'Tis bv some such termination Les sentiments pieux
 DAMNATION OF FAUST.
That pious songs should e'er be ended. Qu'en terminant ses prires l'glise
By your leaves, I would make bold to pro- En un seul mot rsume. Maintenant.
pose you a song, Puis-je mon tour riposter par un chant
No less pathetic than the one we've ap- Sur un sujet non moins touchant
plauded. Que le vtre?

Chorus. Ah ! his praises have a cynical air ! Chur. Ah a! mais se moque-t-il de nous?
Who is this person Quel est cet homme?
Who mocks so freely ? Oh ! qu'il est ple., et comme
Pale visaged and red of hair, Son poil est roux !

Let us hear, sing, and away with care ! N'importe ! Volontiers. Autre chanson. A vous.
Mephistopheles.
n m 0p*
cra. l.

^- 0
~_ P
rf
B^g1
,

Once a king be it not - ed Had a fine lust - y flea, And on this flea he
U - ne pu - ce gen - til - le Chez un prin - ce loge - ait, Com -me sa pro -pre

2 m.2
%
=* :*= ?l -f &+-
m -*-

doat -
0-

ed, Cher-ish'd
--i

him
F-

ten - der - ly.

-*-*-
\
g
And he sent for his tail or, Thus to the
fil le Le brave horn me Pat -matt. Et Phis - toi - re Pas - su re, Par son tail

cres f
-N -0-' *-

mm t=
-
=?^S=E
S
!' * -* *-
i
tail - or spake "Please to meas - ure this young-ster, And coat and breeches make."
leur un jour Lui fit pren - dre me - su - re Pour un ha - bit de cour.

In velvet and in satin Deuxime Couplet. L'insecte, plein de joie,

He now was duly drest, Ds qu'il se vit par
Had jewels rare his hat in, D'or, de velours, de soie,
And a star dek'd his breast, Et de croix dcor,
A star of great dimensions ! Fit venir de province
His kindred soon were there, Ses frres et ses surs,
They got titles and pensions, Qui, par ordre du prince,
And courtiers grand they were. Devinrent grands seigneurs.

But grievously tormented Troisime Couplet. Mais, ce qui fut bien pire.
Were dames and lords at court, C'est que les gens de cour,
And did not dare resent it, Sans en oser rien dire,
Queens and maids, ev'ry sort, Se grattaient tout le jour.
Howe'er our friends might rack them Cruelle politique !

We're afraid e'en to scratch ! Ah plaignons leur destin,

!

We scruple not to crack them, Et ds qu'une nous pique

And kill all those we catch. Ecrasons-la soudain.

Chorus {shouting) . Bravo bravo bravissimo

! ! ! Chceur. Ah! ah! Bravo!
We kill all those we catch 1 Bravissimo !

crasons-la soudain,
 .

DAMNATION OF FAUST.
Faust. Enough I would begone
! if thou Faust. Assez ! fuyons ces lieux o la parole
canst show me nothing better est vile,
Than this vile and brutal display. La joie ignoble et le geste brutal.
Such loud ignoble mirth fills my senses N'as-tu d'autres plaisirs, un sjour plus tran-
with loathing, quille
If thou hast no softer joys, let's away ! A me donner, toi, mon guide infernal !

Mephistopheles. Oh ! all the world is ours, Mephistopheles. Ah ! ceci te dplait ! Suis-

to choose. moi.

(They fly away through the air on Faust's mantle. ) (Ils parlent travers les airs sur le manteau de Faust.)

Orchestra. Orchestre Seul.

SCENE VII. SCNE VII.

(Bushy meadows on the banks of the Elbe.) (Bosquets et prairies des bords de l'Elbe.)

Faust, Mephistopheles. Faust, Mephistopheles.

Chorus of Gnomes and Sylphs. Chur de Gnomes et de Sylphes.

Mephistophei.es.

pB ^r==m
dolce.

'Mid banks of ro - ses

+ +-
Soft-ly the light re - po - ses; On
^ this fair
*-+-*-w
^=UL-
fra -grant bed,
Voi-ci des ro - ses De cet- te nuit i - clo - ses. Sur ce lit embaum,

=:
S :=: -s-F
_i .

rr\ ^
Rest, oh Faust, rest thy head. Here slum-ber, While love-ly vis - ions haunt thy dream Of
O mon Faust bien ai - mi Re - po - se ! Dans un vo - lup - tu - eux soin - 7,

$ f~P -2- ^= >-:

di - ant forms, rare lips, and eyes that fond-ly beam. 'Round thy couch scent - ed
Ou glis - se - ra sur toi plus d'un bai - ser ver - meil, O des fleurs pour ta

> * iEfe *' ?=

gflf- f a _- fV T*=*--
ft

^ P*-
flow ers their sweet heads are rear-ing, Lull-ing sounds to en - thral with de- light wait thy
couche ou - vri - ront . . . leurs roi - les, Ton o - reille en - ten - dra de di - vi - ns pa -

-f=2 -. PP<
'* - n:
-*-

-3
-fi-

1 -w *-k
:*=*:
& 9>
il
hear ing; Oh lis ten, Oh lis - ten, for the s pi rits of earth and of
ro - les. - cou te! - cou te! les es prits de la terre et de

ritenvio.

air, Com - bined to please thine ear, Their sweet con cert pre - pare.
l'air Com - men - cent, pour ton ri - ve, un sua ve con - cert.
to
Faust's Dream.
Chorus of Sylphs and Gnomes.
happy Faust,
For soon 'neath a veil of purple and gold,
Shall thine eyelids find rest.
Thy star shall shine in the high dome of
Heaven,
Dreams of delight and of love charm thy
breast.
Chorus. Behold on either hand
The fair scenes we discover.
The leaf and blossom cover
With beauty rare the land.
The trees are gently swaying,
And happy lovers pass
Beneath the shadows straying;
The briar and the rose
Have woven tangled bowers,
The soft vine tendrils close
Around the grapes and flowers.
See where the lovers stray
Forgetful of the morrow,
In blissful joy today,
Untouched by care or sorrow.
Now comes a pensive maiden,
And a tear shines there
Where love's shafts should be laden.
Faust, she shall be thine
Faust {asleep). Margaret! mine!
Chorus. The lake extends its flood
At the feet of the mountains
By the murmuring fountains
Are the green pastures woo'd.
There the gay laughing choirs
Re-echo o'er the plain ; La
Here the music inspires
The dance that none disdain
For some are boldly breasting
The silv'ry torrent streams,
While milder swains are questing
Their love in softer dreams.
DAMNATION OF FAUST.
Songe de Faust.
Dream, Chur de Sylphes et de Gnomes. Dors,
heureux Faust, dors ! Bientt, sous un
voile
D'or et d'azur, tes yeux vont se fermer;
Songes d'amour vont enfin te charmer,
Au front des cieux va briller ton toile.
Chur. De sites ravissants
La campagne se couvre,
Et notre il y dcouvre
Des prs, des bois, des champs,
Et d'paisses rames,
O de tendres amants
Promnent leurs penses.
Mais plus loin sont couverts
Les longs rameaux des treilles
De bourgeons, pampres verts
Et de grappes vermeilles.
Vois ces jeunes amants,
Le long de la valle,
Oublier les instants
Sous la frache feuille.
Mphistophls {avec le chur). Une
beaut les suit
Ingnue et pensive ;
! sa paupire luit
Une larme furtive.
Faust elle t'aimera
!
Bientt.
Faust {endormi) . Margarita !
Le Chur. l'entour des montagnes
;
Le lac tend ses flots,
Dans les vertes campagnes
Il serpente en ruisseaux.
L, de chants d'allgresse
rive retentit.
D'autres churs l sans cesse
;
La danse nous ravit.
Les uns gament s'avancent
Autour des coteaux verts,
De plus hardis s'lancent
Au sein des flots amers.
Partout l'oiseau timide,
Cherchant l'ombre et le frais,
S'enfuit d'un vol rapide
Au milieu des marais.
 DAMNATION OF FAUST. XI

Tous, pour goter la vie.

Tous cherchent dans les cieux
Une toile chrie
Qui s'alluma pour eux.
Dors, dors!

Faust (dreaming). Margaret! mine! Faust (endormi). Margarita!

Chorus. For e'en the timid nestling Chur. C'est elle

Seeking shade and repose, Qu'Amour te destina, Regarde ! qu'elle
With the gay zephyrs wrestling, est belle 1

Dares affront the sweet rose.

All who'd attain love's rapture,
Must seek through earth and skies
For the one star in nature
That dawn'd to glad their eyes.
The maiden who loves thee, oh Faust,
She shall be thine !

Dream ! dream !

Mephistopheles. 'Tis well, 'tis well, ye Mephistopheles. Le charme opre, il est

youthful sprites, nous !

Your task is at an end, C'est bien, jeunes esprits, je suis content de

But still with charms the enchantment at- vous.
tend.
Bercez, bercez son sommeil enchant.

Ballet of Sylphs. Ballet des Sylphes.

(The spirits of the air hover silently around the slum- (Les esprits de l'air se balancent quelque temps en
bering Faust, then gradually disappear.) silence autour de Faust endormi et disparaissent peu peu.;

Faust (awakening suddenly) . Oh, my Mar- Faust (s* veillant) . Quelle cleste image!
garet a dream, or celestial
! Is't image ? Oh ! qu'ai-je vu ! Quel ange
Art an angel or rare maid ? Au
front mortel !

Where she gone ?

is O trouver? Vers quel autel
le
My love array'd in beauty ! Traner ses pieds ma louange?...
Oh, heavenly visage !

Mephistopheles. Come, then, and swiftly Mephistopheles. Eh bien, il faut me suivre

thou go
shalt encor
To the lowly cot where she dwelleth, Jusqu' cette alcve embaume
Where thy love sits and softly telleth O repose ta bien-aime.
The fair thoughts from her soul that flow. Atoi seul ce divin trsor !

But see, a joyous throng of young students Des tudiants voici la joyeuse cohorte
is massing, Qui va passer devant sa porte ;

Before her door they now are passing. Parmi ces jeunes fous, au bruit de leurs
We'll mingle with the crowd, and unper- chansons
ceived draw near; Vers ta beaut nous parviendrons.
Thus shalt thou soon approach thy dear; Mais contiens tes transports et su ;
s bien
But thy transports restrain and my lesson mes leons.
retain.
 .

12 DAMNATION OF FAUST.
SCENE VIII. SCNE VIII.

Finale.

Chorus of Soldjers and Students Chur D'tudiants et des Soldats.

Marching towards the town. Marchant vers la ville.

Sold i ers. Towns with their high battlements, Les Soldats. Villes entoures
tower and wall, De murs et remparts,
Fair maids with their haughty thoughts Fillettes pares,
scorning us all, Aux malins regards,
To glory they call us. Victoire certaine
Soon they both shall fall, no danger appals Prs de vous m'attend ;

us, Si grande est la peine,

How glorious is our life ! Le prix est plus grand.
The trumpet that calls us our banner Au son des trompettes,
beneath, Les braves soldats
It summons to pleasure, or summons to S'lancent aux ftes,
death. Ou bien aux combats;
Fair maiden and city, appeal to our pity, Fillettes et villes
And yield in the strife ! Font les difficiles;
Towns with their high battlements, etc. Bientt tout se rend.
Si grande est la peine, le prix est plus
grand.

Students. Les tudiants.

Jam nox stellata velamina pandit I nunc bi- * Jam nox stellata velamina pandit; nunc
bendum et amandum est! Vita brevis fu- bibendum et amandum est! Vita brevis
gaxque voluptas ! Gaudeamus igitur, gaudea- fugaxue vohiptas. Gaudeamus igitur, gau-
mus!... deamus !. .

Nobis subridente luna, per urbem quren- Nobis subridente luna, per urbetn qurentes
tes puellas eamus ! ut eras, fortun ati Ccesares, puellas eamus! ut eras, fortunati Csares,
dicamus veni, vidi, vieil Gaudeamus igitur, dicamus: Veni,vidi, vici ! Gaudeamus igitur,
:

gaudeamus!- gaudeamus !

Chorus of Soldiers and Students. Towns Les Deux Churs Ensemble.

with their high battlements,
Tower and wall, etc, etc. Les Soldats. Villes entoures, etc.

(Faust, Mphistophls et les tudiants.)

Faust with Mephistopheles. Jam nox stel-
lata velamina, etc. Jam nox stellata, etc.

*Dj la nuit tend ses voiles toiles; c'est l'heure de boire

et d'aimer. La vie est courte et le plaisir fugitif! Rjouissons-
nous donc, rjouissons-nous ! Pendant que la lune nous sourit,
allons par la ville cherchant les jeunes filles, pour que demain,
heureux Csars, nous disions Je suis venu, j'ai vu, j'ai vaincu
:

Rjouissons-nous donc, rjouissons-nous!

 m

DAMNATION OF FAUST. *3

THIRD PART. TROISIEME PARTIE.

SCENE IX. SCNE IX.

(Drums and trumpets sound the retreat.) (Des tambours et des trompettes sonnent au loin la retraite.)

g
Faust,

rg- i x
p sotto voce.
1"^
f4p
Mer
Oh,
-
wel
ci,
-
:Hr-
come.gen - tie
doux cri -pus -
twi-light,
eu - le,
3E
through this
Oh!
sane-
r-^-
*
tu - ary
sois le bien ve -
t
shed,Where
nu ! E-
^z*:
love's de - li-cious
claire en -fin Ces
*rf
S
pain is sus -tain - ed and fed. Throbs my heart in love's throe, a soft e - mo- tion
lieux, sane tu - ai -re in - con nu, O je sens mon front glis - ser com-meun beau

steal - ing
ri - ve,
Comes like
Com - me
the breath of
les frais bais
morn
- er
^i^^^^igiy
and
d'un
pervades ev
ma - tin qui
- 'ry
se
feel
le -
- ing,
ve. (Test
It
de
is
l'a -
love,
mour,

it is love en - thrals me. Here calm and or - der dwell, With con-tent in this
c'est de l'amour fes - pe re. Oh! comme on sent i - ci S'en - vo - 1er le sou

un poco rail, e sostenuto il canto.

PPP
^ 9t0-.

-S*=i-
=*=sr^
:
^=F
fc
cell ! In pov - er - ty what plen - ty 1 What bliss im - pris - on'd with-in . . these walls.
ci! Que j'ai - me ce si - len - ce, et com - me je res - pire un air pur!

-*-*
a tempo lino.

3

In -no -cent maid- en,

^-*0
an - gel of hea-ven,
:p=3=P"=P=:
Who dost all
^F^?^
things with beau- ty lea - ven,
O jeu -ne fil - le, ma char - man - te, 6 ma trop i d - ale a - man - te!

ritenuto.
4 DAMNATION OF FAUST.
solto voce.pp a tempo Imo.
3*
na-ture's lov-ing hand form'dthat flow - er su-preme, Her sweet pres-ence con - strain - eth my
fai-me con - tern - pier ton che - vet vir - gi - nail Quel air pur je res - pi re! Sei-

animando.
poco. f V_l2^ -..
M=& fc3=fc
poco f
IE =-4* ito: t=W-
f=^=^
soul to peace. Her pure spir - it or - dain eth awe and re - spect, Re
gneur! Sei - gneur! A - prs ce long mar - ty re, Que de bon - heur! Sei

spect
gneur! Sei
and
-
awe,
gneur!
Her
A -
pure
prs
-**=+--

spir
ce
- it

long mar
or -
-
dain
ty
eth
re
m mo Wo

awe
Que
rilenuto.

and
de
^=^
^zci:

bon
re -

-
spect
heur!
!

(He walks about the room examining its contents with (Faust, marchant lentement, examine avec une curiosit
tender eagerness.) passionne l'intrieur de la chambre de Marguerite.)

SCENE X. SCENE X.

Mphistophls, Faust.

Mephistopheles {enters hurriedly). She Mphistophls (accourant.) La voici, je

draws near ! l'entends! Sous ces rideaux de soie
She must not see thee yet, hide thee here. Cache-toi.

Faust. Heav'n ! my heart o'erflows with fear Faust. Dieu ! mon cur se brise dans la joie !

and joy !

Mephistopheles. I leave thee now awhile ;

Mphistophls. Profite des instants. Adieu,
farewell ! modre-toi,
The time employ to win the maid, Ou tu la perds.
While my young sprites and I shall intone
you a song, (Il cache Faust sous les rideaux )

A joyful nuptial greeting.

Bien. Mes follets et moi,
Nous allons vous chanter un bel pithalame.
(Il sort.)

Faust. Oh, my heart, still thy beating! Faust. Oh ! calme-toi, mon me.

SCENE XI. SCENE XI.

(Faust concealed. Margaret enters with a lamp.) Marguerite, Faust cach.

Margaret. 'Tis hot and sultry now ; Marguerite {entrant, une lampe la main) ,

I feel, I know not how ! Que l'air est touffant !

'Tis my dream yester eve that so disturbs J'ai peur comme un enfant ;

my spirit,

DAMNATION OF FAUST. 5

His image haunts me still ;

C'est mon rve d'hier qui m'a toute
Noble and fair and kind ! trouble . . .

My future love ! En songe je l'ai vu . . . lui . . . mon futur

Yes, he swore he would love me, amant.
And my heart answer'd his. Qu'il tait beau Dieu ! ! j'tais tant
Ah, will my dream return, return and bless aime !

me? Et combien je l'aimais!

'Tis folly ! Nous verrons-nous jamais
Dans cette vie ? . . .

Folie! . . .

(She sings while braiding her hair.) (Elle chante en tressant ses cheveux.)

Marg.

6=13 *-*-*-
s "* *
There dwelt a king once in Thule, Faithful and leal to the grave,
Au - tre fois un roi de Thu t, Qui jus qu'an tom-beau fut fi - dle,

\h=^^Xi :
F=fl*: M < ^ -1 X !

And a cup of red, red gold had he, Which his dy - ing mis - tress gave. No
Re - cut, la mort de sa M -le, U - ne cou - pe - d'or ci - se l. Comme

* r*
-fc=fc &z
feip^
treas - ure he held so dear -
7-N>*-
ly, And he drain'd it
32=*:
at
X
ev - 'ry feast,
d=
And
el - le ne le quit - lait gui - re, Dans les fes - tins les plus joy - eux, Tou

Idto =*c
i?*-
ev - er the tears would be ris - ing Each time he from it did taste.
jours u - ne lar me l - gi ' re A sa vue Au - mec- tait ses yeux.

And when at the end he lay dying, Deuxime Couplet. Ce prince, la fin de sa
He counted each tower and town, vie,
All his wealth and treasure dividing, Lgue ses villes et son or,
But the goblet he kept alone. Except la coupe chrie
He and feasted once more,
sat Qu' la main il conserve encor.
His barons and knights at his knee, Il fait, sa table royale,
Within his lofty father's hall, Asseoir ses barons et ses pairs,
In his castle on the sea. Au milieu de l'antique salle
D'un chteau que baignaient les mers.

There quaff'd he his last cup, hasting, Troisime Couplet. Le buveur se lve et
The royal old toper upstood, s'avance
The hallow'd goblet casting Auprs d'un vieux balcon dor ;

Into the swiftly rolling flood. Il boit, et soudain sa main lance

He saw it whirling and drinking, Dans les flots le vase sacr.
And sink deep into the sea ;
Le vase tombe l'eau bouillonne, ;

Then he felt his own eyes were sinking, Puis se calme aussitt aprs.
Never, oh, nevermore drank he. Le vieillard plit et frissonne :

Il ne boira plus dsormais.

i6 DAMNATION OF FAUST.
There dwelt a king once ... in Thule . . . Autrefois un roi . . . de Thul ...
Faithful and leal ... to the grave . . . Jusqu'au tombeau . . . fut fidle ...
{Sighs deeply) Ah! {Profond soupir.) Ah! . . .

SCENE XII. SCNE XII.

(A square before Margaret's home.) (Une place devant la maison de Marguerite.)

Mephistopheles and Will-o'-the-Wisps. mephistopheles et follets.

Invocation. vocation.

Mephistopheles. Ye spirits of inconstant Mephistopheles. Esprits des flammes incon-

fire, stantes,
Hasten here, on the wings of air. Accourez ! j'ai besoin de vous.

Orchestra Alone. Orchestre Seul.

Ye spirits of caprice and of evil, conspire Follets capricieux, vos lueurs malfaisantes
to enchant and subdue Vont charmer une enfant et l'amener
And win a maiden soul. nous.
Now dance, ye sons of evil !

Ho ! in the name of the devil

dance !

Will-o'-the-wisp and gnome,

Dance, or away ye go !

(The Will-o'-the-wisps dance in strange figures and leap

around Margaret's house.)

Minuet.

Orchestra Alone. Orchestre Seul.

Au nom du diable, en danse !

Et vous, marquez bien la cadence,

Mntriers d'enfer, ou je vous teins tous.

(Les follets excutent des volutions et des danses biz-

arres autour de la maison de Marguerite.)

Ballet.

Orchestre Seul.

Mephistopheles {making" the motions of a Mephistopheles {faisant le geste d'un homme

man playing the hurdy-gurdy) To . qui joue de la vielle) Maintenant, .

this lute, I'll sing a serenade, Chantons cette belle une chanson morale,
One that shall please the lady Pour la perdre plus srement.
It is moral, her taste to suite :

;

Mephist

** *=: r w=^-
p-LL,J-_Ugg: S
-^> -f=- =
Dear Kath'rine, why to the
De-vant la mai - son De
 DAMNATION OF FAUST. 17

door, to
t^^r
the door of
Q=t=
thy lov - er,
1 1

Dra west thou nigh? Why there tim -id - ly hov

lui, de ce - lui qui fa - do - re, Pe - tite Loui-son, Que fais - tu ds l'au - ro

SES
er?
re ?
Why
Que
m
fais-tu,
fe

artthere,whyartthere,why art there?

que fais-tu, que fais-tu ?
*=*=*
-rm-

Au
:

Oh.sweet maid
sig - nal
-M^S^sr
-4- 1

en,
du
F m-
1

be
plais
-

- ir,
r*=f-
ware, Come a -way,
Dans le cham-

is^i
*2ZP
do not en -ter;
* x
-t=
//

It
S ^
were
-^>fr>
fol ly to ven - ture,
p

It
h
^eE
were fol ly to
bre du dril - le Tu peux bien en-trer fil- le, Tu peux bien en - trer

/^
i^^-T^h:
m & ^ -*-*-

ven - ture, Re - frain, nor en

fil - le, Mais non fil
 F

i8 DAMNATION OF FAUST.
Andante. J 56.
a mezza voce ed appassionato assai.
^
^
AUST
V' -

ttttu

111111
QE ,

*=
P>

p=::*=5 5=P:
4a=fc
e
An - gel of light, whose ce - les - tial im - age, Be - fore mine eyes be - held thee, U
An - ge a - do - r dont la ce leste i - ma - ge, A - vant de te con - na - tre, il

*^-
surp'cl my bo - som's throne ;
At last I see thee near, and from thy love - ly
lu - min-ait mon cur, En -fin je fa - per - ois, et du ja - loux nu

wm^m^ 3=1= El
3ik$4
vis - age The jeal - ous cloud that held
m-m-
-*= *
thee en-wrapt,now is
-<-

flown.
%=%=
Mar-ga - ret,
I
a '
Se Qu * te ca ' ckait en - cor mon a-mour est vain - queur. Mar-gue - ri - te, je

Mi
love
t'ai -
thee
me
Marg.

in
!
! You
Tu
S T'Y l*
know my
sais mon
name
nom ?
and love
Moi -
'PT-

m -
~l*-3-

me
me,
? And
J'ai sou
& I
-
know yours
vent dit
as
le
well,-
tien
F*-*
:
:

u timidlii. avst. . Marg.

mm^s^m
Faust! My name thou dost tell !
-sPr=

The mu - sic of thy voice

~
S
makes it
(-;
g?
L=J
bless-ed
ta i

for- ev - er.
Faust ! Ce nom est le mien ; Un au tre le se - ra, s'il te plat da van -ta - ge

liftft * g c f r v
 DAMNATION OF FAUST. 19

Usurp'd my bosom's throne ; Enfin je t'aperois, et du jaloux nuage

At last I see thee near, and from thy loved Qui te cachait encor ton amour est vain-
visage queur.
The jealous cloud that held thee enrapt,
now is flown.

Faust. Form of my dream, etc. Faust. Ange ador, etc.

Margaret, I adore thee !

Yield to the ardent devotion, Faust. Marguerite ! O tendresse !

That I lay at thy feet ! Cde l'ardente ivresse

Qui vers toi m'a conduit.

Margaret. Oh, what strange new enthral- Marguerite. Je ne sais quelle ivresse
ment Brlante, enchanteresse,
Makes my heart softly beat ! Dans ses bras me conduit.

Margaret. Such mingled thoughts of joy Marguerite. Quelle langueur s'empare de

and fear appal me. mon tre ! . . .

Faust. To endless joy, endless love do I call Faust. Au vrai bonheur dans mes bras tu vas
thee, natre,
Come ! come ! Viens . . .

Margaret. Why do tears arise, all unhid to Marguerite. Dans mes yeux des pleurs . . .

mine eyes? Tout s'efface Je meurs

. . . . .

SCENE XIV. SCENE XIV,

Faust, Margaret, Mephistopheles. Faust, Marguerite, Mephistopheles.

Mephistopheles {entering suddenly). 'Tis Mephistopheles {entrant brusquement).

late ; we must be gone. Allons, il est trop tard !

Margaret. Who is that man? Marguerite. Quel est cet homme?

Faust. A fiend! Faust. Un sot.

Mephistopheles. Nay, a friend. Mephistopheles. Un ami.

Margaret. He is one who strikes fear to the Marguerite. Son regard

heart ! Me dchire le cur.

Mephistopheles. I doubt not I'm unwelcome. Mephistopheles. Sans doute je drange . . .

Faust. Who bade thee come ? Depart! Faust. Qui t'a permis d'entrer?

Mephistopheles. I came to warn the maiden Mephistopheles. Il faut sauver cet ange !

What danger is at hand ; Dj tous les voisins, veills par nos

For aroused by our song, chants,
The neighbors hither come ; man and maid Accourent, dsignant la maison aux pas-
troop along. sants ;

Laughing they call on Margaret; En raillant Marguerite, ils appellent 5a mre.

Some her mother are warning, La vieille va venir . . .

And she will soon be here.

20 DAMNATION OF FAUST.
Faust. Oh, horror! Faust. Que faire?

Mephistophei.es. Come, disappear ! Mphistophls. Il faut partir.

Faust. Cruel illusion ! Faust Damnation !

Mephistopheles. At dawn you'll meet again ;

Mphistophls. Vous vous verrez demain ;

Let that consolation soothe the anguish of consolation

la
parting. Est bien prs de la peine.

Margaret. Till tomorrow, oh Faust ! Marguerite. Oui, demain, bien-aim. Dans

Though with thee is departing the bright- chambre prochaine.
la
ness of day. Dj j'entends du bruit.

Faust.
-<s>
1SSL 1

=f= -*-*i

Fare - well, then, bright ar - ray, Of hopes that filled my bo - som ! Fare-well, thou
A - dieu donc, bel - le nuit A pfi ne com - men ce e ! A - dieu, fes

#= ;sr -ST-

feast of love That mocked my long - ing heart.

tin d'a mour Que je m' - tais pro - mis! .

Mehpistopheles. -s-
49

- * fel -y t* fr \

From hence we must re - move !

Par tons,
- voi - l le jour!

Faust.
-<s>- -qs-rrkjczrfe ka= feEj -<S--
#fE*f=s
Oh, will ye come a - gain,
zjz
EHE
bliss - fui fu - gi -
B
tive hours,
*=E&
Te re ver rai - je en - cor, heu - re trop fu - gi - li

=r :p: ^: *= { -Wf\f t5-T- -& ZSL

:

F-t
Bring-ing balm to
O mon
 DAMNATION OF FAUST. 21

--,-- a tempo.

m s :*=*
.rit. -a rail.

-<s> ~^
s* 1SZL
H=fJ
pain that now my heart, that now my heart de - vours.that now my heart de vours.
heur, al - lait en -
fin, al - lait en
fin s'ou vrir, al - lait en -
fin s' ou - vrir?

Chorus of Men and Women. Chur de Voisins et de Voisines dans

la Rue.
(Before Margaret's house.)

Hallo Mistress Martha,

! Hol ! mre Oppenheim, vois ce que fait
See to your daughter's safety ! ta fille !

The warning only conies in time, L'avis n'est pas hors de saison :
If her gallant you wish to lime ! Ungalant est dans ta maison,
Come home, good dame, or woe betide the Et tu verras dans peu s'accrotre ta famille.
maiden's surety.
Hallo! Hallo!

Mephistopheles. The crowd isnearing; we Mephistopheles. La foule arrive :

must away ! Htons-nous de partir !

Margaret. Heav'n ! Dost thou hear their Marguerite. Ciel! entends-tu ces cris? De-
cries ? vant Dieu, je suis morte
Woe is me if they enter Si l'on te trouve ici !

And thy presence here surprise !

Mephistopheles. Come, or they will torment Mephistopheles. Viens! on frappe la

her. porte !

Faust. Oh, despair! Faust. O fureur!

Mephistopheles. This is folly! Mephistopheles. O sottise!

Margaret. Farewell ! that little gate Marguerite. Adieu. Par le jardin

Through the garden doth lead. Vous pouvez chapper.

Faust. Oh, my love, cruel fate! Faust. O mon ange! demain!

Mephistopheles. To the gate ! To the gate ! Mephistopheles. A demain ! demain!

'
Faust. At last I've seen thee near, fairest Faust. Je connais donc enfin tout le prix
treasure of nature ! de la vie !

Love's delight hath appear'd and hath
called me to life
Fair love, thou hast enthrall'd with de-
light and with rapture
The heart that's henceforth thine
Le bonheur m'apparat et je vais le saisir.
! L'amour s'est empar de mon me ravie,
Il comblera bientt mon dvorant dsir.
!

With hope my breast is rife !

Margaret. Dearest Faust ! I do give thee Marguerite. O mon Faust bien-aim, je te

forever donne ma vie !

My promise and my love ! Pourrai-je te charmer au gr de mon

Even death cannot sever hearts so faithful, dsir! . . .

True till death !

22 DAMNATION OF FAUST.
Fair love, thou hast enthrall'd with delight L'amour s'est empar de mon me ravie,
and with rapture ! Il m'entrane vers toi : te perdre c'est
To lose thee were to die ! mourir.

f Mephistopheles. Thou art mine ! And '

Mephistopheles. Je puis donc mon gr
now shall thy proud nature, dans la vie,
te traner
Haughty Faust, be enslaved forever ;
Fier esprit Sans combler ton dvorant
!

Mine, thy souFand thy life! dsir,

Empty hopes within thy breast are rife, L'amour en t'nivrant doublera ta folie,
To me they bind thee fast thy delight Et le moment approche o je vais te
and thy rapture ! saisir.

'
Faust. At last I've seen thee near, etc. '
Faust. Je connais donc enfin, etc.

Margaret. Dearest Faust, I do give thee, etc. Marguerite. O mon Faust bien-aim, etc.

Mephistopheles. Thou art mine ! etc. Mephistopheles. Je puis donc mon gr,
etc.
Chorus {in the street}. Mistress Martha,
come home, good dame, Chur au Dehors.
See to your daughter's safety.
Hallo! Hallo! Hol, etc., etc.

FOURTH PART. QUATRIEME PARTIE.

SCENE XV. SCENE XV.
(Margaret's Chamber.) (Chambre de Marguerite.)

Margaret {alone).

*==*PT :*=qfc==fe

Ah me, my heart is heav -

y, My peace - fui days are gone, All in
Z>'a - mour, I'ar - den - te flam - me, con - su - me mes beaux jours, An! la

\ b ^
sad
paix
-
^-MiLtXJL
ness
de
de-part
mon
-

-
ed,
me,
For
A
- ev - er -more
donc fui pour
are
tou
flown,
- jours,
For
A
-
poco

ev -

donc fui
rit.

er - more
pour
m are
tou

Tempo lo
r =
tin poco
zzf:
piii animalo.
F^=l?pExl?p: #-*
^F=^=-^ :i?=i

Jgzjfc ^Mfi^rfi^
flown. When my love is not near me, The dark grave do I see, And all the world is
jours ! Son d -part, son ab - sen - ce, Sont pour moi le cer - cueil, Et loin de sa pr-
 DAMNATION OF FAUST. 23

2= *: ha- |SE?S 1
changed, chang'd, Ah, so bit - ly-
Tout me pa - rait
24 DAMNATION OF FAUST.
Margaret. hear the sounds that summon
I Marguerite. Bientt la ville entire au repos
all the to repose town ; va se rendre ;

Those joyous strains attend and cheer the Clairons, tambours du soir dj se font
daylight's close, entendre
On such a night as this did love come to Avec des chants joyeux,
my heart, Comme au soir o l'amour offrit Faust
And awake it to bliss. mes yeux.

Chorus. Jam nox stellata velamina pandit, Chur. Jam nox stellata velamina pandit.
Per urbem qurentes puellas eamus. Per urbem qurentes puellas eamus.

Margaret. He cometh not ! He cometh not ! Marguerite. Il ne vient pas !

Alas! Alas! Hlas !

SCENE XVI. SCENE XVI.

(Forests and Caverns.) (Forts et cavernes.)

Faust (alone)
., u Very broad and sombre.

fplE^
fi
7
: :

X-=i X ">X F
*t= iB y5MZ=ZMZjjm
t=fc=fc:
|EE^ jgjglME:
Ma - jes - tic spir - it, calm andre-sist- less pow er, Oh,
Na-ture im - men - se, im - p - n-tra - ble et fi re, Toi

Tiy
Na -
P
ture,
^ r .|j.ij -.im
thou hast giv - en peace to my tor - tured soul
M =t

!
-*-* -X- 5 *-*-* S3*
In thy
seu - le don - ns tr - ve mon en - nui sans fin ! Sur ton

m =t =*=
3-^ F *Jti H
fct- P=3=
n:
might thou dost soothe the tu - mul - tu - ous throbbing That my bo - som up- heav - ed,
sein tout- puissant je sens moins ma mi -se - re, Je re - trou - ve ma for - ce,

-bfr-
'H-s-qV
call -ing
et
3t4=
me back
je crois vivre en
to life.

fin.
JlIX ^ 5
Howl,
Oui,
S ^=*
thou boist
souf-flez,
-

ou
er - ous storm,
ra - gans !
:
:

Se! and
Cri-

ilfe%^^CTffeEi^^5^^^^
roar, ye might -y for ests, With crash, with crash and wail, and wail of tan-gled
fo - rets pro - /on des ! Crou - lez, crou - lez, ro - chers! Tor

mm^^^^m^^ boughs,
rents,
^z^=^z=-^
While foam- ing
pre - ci - pi - tez
rolls
vos
the tor
on -
- rent ;
des!
TX^ E

To
A
3^ your sov
vos bruits
- er -eign voice
sou- ve rains
m
 DAMNATION OF FAUST. 25

soul, my
ma voix

#t -=1-*-
** -=<-*
*^^gT
r
-*- h '
i

Sa 1
-

woods, and hills, and streams ! With sheen of sil ver

r<? - chers! tor - rents, . je vous a - do re!

plfegEf^E^^E^g^g^j^
ris - es the clear pale moon, And mounts the heav-ens as
^^ I gaze, Her ra - diant
Mon - des qui sein - til - lez, . vers vous
1
s' i- Ian- ce le d - sir D'un cur trop

tffe *=3: 3g= 3-4- U- =F x* =-

Il

beau - ty shed-ding o'er my spir - it Ho - peace and calm

ly joy.
et d'une -me alt ri - e D'un bon - heur qui la fuit.

SCENE XVII. SCENE XVII.

Mephistopheles {appears among the rocks). Mephistopheles {gravissant les rochers).

In that star-spangled vault, can you A la vote azure
discover, friend, Aperois-tu, dis-moi, l'astre d'amour con
The orb of constant love ? stant?
For now its influence, methinks, might Son influence, ami, serait fort ncessaire ;

prove most useful. Car tu rves ici, quand cette pauvre enfant,
You've forgotten, I trow, in sapient con- Marguerite . . .

templation,
Your Margaret.

Faust. Oh, cease! Faust. Tais-toi !

Mephistophei.es. That poor damsel so trust- Mephistopheles. Sans doute il faut me

ful, taire.
You've ceased to love, I know ;
Tu n'aimes plus ! Pourtant en un cachot
In a dungeon she's pining! trane,
Poor soul, condemned to die, Et pour un parricide la mort condamne...
While your love is declining !

Faust. What ! Faust. Quoi !

(Hunters' horns heard in the distance)

Mephistopheles. The hunters I hear who Mephistopheles. J'entends des chasseurs

are scouring the wood. qui parcourent les bois.

Faust. No jesting ! What saidst thou? Faust. Achve, qu'as-tu dit? Marguerite en
Margaret, oh, dread news ! prison ?
36 DAMNATION OF FAUST.
Mephistopheles. The tidings are unpleas- Mephistopheles. Certaine liqueur brune, un
ant, innocent poison,
To hear them dost thou choose ? Qu'elle tenait de toi pour endormir sa mre
She had wander'd forlorn, wretched and Pendant vos nocturnes amours,
ill-starr'd being; A caus tout le mal. Caressant sa chi-
And now in a prison immur'd, mre,
Awaits a frightful doom. T'attendant chaque soir, elle en usait tou-
The short hours are fleeing jours.
That withhold her from death ;
Elle en a tant us, que la vieille en est
Then all her ills are cured. morte.
Her mother's end was caused by the Tu comprends maintenant.
draught that -we furnished
To ensure her repose

Faust. Treacherous monster ! Faust. Feux et tonnerre !

Mephistopheles. Unwitting, she gave too Mephistopheles. En sorte

much, and must abide. Que son amour pour toi la conduit.

Faust. Thou must save her, or woe betide Faust. Sauve-la,

thee! Sauve-la, miserable !

Mephistopheles. Yes, ever so, poor mor- Mephistopheles. Ah je suis le coupable

! !

tals, On vous reconnat l,

Ye the thunder would grasp Ridicules humains! N'importe!
To avert what ye dread, yet listen !
Je suis le matre encor de t'ouvrir cette
My power doth suffice to ope her dun- porte.
geon portals, Mais qu'as-tu fait pour moi
And leaves the rest to thee ;
Depuis que je te sers?
On one condition, though.
Faust. Oh, quickly speak ! Faust. Qu'exiges-tu ?

Mephistopheles. 'Tis this, Thou shall Mephistopheles. De toi?

upon this parchment Rien qu'une signature
Set thy hand and thy seal, Sur ce vieux parchemin.
And quick as thought is Margaret free ; Je sauve Marguerite l'instant, si tu
For so great a service what I claim to- jures
morrow shall reveal. Et signes ton serment de me servir
demain.

Faust . What boots tomorrow, fiend 'tis ; Faust. Eh ! que me fait demain, quand je
today thou must save her, souffre cette heure?
The parchment {he signs)
!
Behold, Donne. (// signe.) Voil mon nom.
'tis done !
Vers sa sombre demeure
And now swiftly conduct me to the cell, Volons donc maintenant. O douleur
Where in fear and in sorrow she's insense !

pining. Marguerite, j'accours !

Margaret, I come !

Mephistopheles. What, ho ! my magic Mephistopheles. A

moi, Vortex! Giaour!
steeds ! Sur ces deux noirs chevaux, prorapts
These horses, s>vift as light, shall bear comme la pense.
us,
 .

DAMNATION OF FAUST. 27

And we'll carry the prize ere fall of Montons, et au galop. . . La justice est
night. presse.
Haste away, do not tarry !
(Ils partent.)

SCENE XVIII. SCNE XVIII.

The Ride to Hell. La course l'abme.

(Night, the Open Country.) (Plaines, montagnes et valles.)

Faust and Mephistopheles {galloping on Faust et Mphistophls {galopant sur

black horses) deux chevaux noirs) .

Faust. Through my heart her sad voice is Faust. Dans mon cur retentit sa voix dses-
ringing mournfully. pre. . .

Alas ! and woe is me ! O pauvre abandonne !

Chorus of Peasants. Chur de Paysans.

(Kneeling before a Crucifix.) (Agenouills devant une croix champtre.)

Sancta Maria, ora pro nobis; Sancta Maria, ora pro nobis ;

Sancta A/agdalena, ora pro nobis. Sancta Magdalena, ora pro nobis.

Faust. Take heed, a pious crowd of poor Faust. Prends garde ces enfants, ces
women and children femmes priant
Kneel around yon cross. Au pied de cette croix.

Mephistopheles. Never heed them, let us Mphistophls. Eh qu'importe ! en avant!.

Chorus. Sancta Margarita Ah ! ( Cry of Chur. Sancta Margarita, ora pro

alarm.) Ah!!!
(The women and children disperse.) (Cris d'effroi. Le chur se disperse en tumults. Les
cavaliers passent.)

Faust. See, a hideous shape pursues us with Faust. Dieux un monstre hideux en hurlant
!

loud cries. nous poursuit !

Mephistopheles. Thou art dreaming ! Mphistophls. Tu rves!

Faust. What a host of foul birds fills the Faust. Quel essaim de grands oiseaux de
skies ! nuit !

With dismal shriek round my head they Quel cris affreux ! ... ils me frappent
are whirling. de l'aile ! . . .

Mephistopheles {slackening his speed). Mphistophls {retenant son cheval.)

The passing bell I hear for Margaret 'tis Le glas des trpasss sonne dj pour elle.
;

tolling. A s- tu peur? retournons!

Art afraid to go on ?

(They halt.) (Ils s'arrtent.)

28 ' DAMNATION OF FAUST,
Faust. No, the goal must be won ! Faust. Non, je l'entends, courons!
(They resume their course with quickened speed.) (Les chevaux redoublent de vitesse.)

Orchestra. Orchestre Seul.

Mephistopheles {urging his horse). On! Mephistopheles (excitant son cheval) . Hop f

hop ! hop !

Faust. Onev'ry side, dost see, spectral forms Faust. Regarde, autour de nous, cette ligne
are arising ;
infinie
There, the skeletons dance, De squelettes dansant !

While ghastly laugh and gesture, the

foul horror enhance. Avec quel rire horrible ils saluent !

Mephistopheles. Think of saving thy loved Mephistopheles (animant les chevaux).

one, and heed not these ghosts. Enfant !

On! on! Hop hop! ! . . . pense sauver sa vie.

Hop ! . .et des morts
ris-toi !

Orchestra. Orchestre Seul.

Faust {horror struck). Our horses are shud- Faust (de plus en plus pouvant, et haletant).
d'ring, Nos chevaux frmissent,
Transfixed with terror, before those Leur crins se hrissent,
dread hosts Ils brisent leurs mors J

The seems
earth to roll and tremble Je vois onduler
beneath me. Devant nous la terre ;

The loud crashing thunder bewilders J'entends le tonnerre

my soul ! Sous nos pieds rouler !

It raineth blood ! Il pleut du sang ! ! !

Mephistopheles (in a voice of thunder). Mephistopheles (dun voix tonnants).

Infernal cohorts triumph, Cohortes infernales,
And let the boastful trumpet flourish ;
Sonnez vos trompes triomphales !

His soul is mine ! Il est nous !

Faust. Horror ! oh ! Faust. Horreur !

Mephistopheles. For evermore ! Mephistopheles. Je suis vainqueur!

(They fall into the abyss.) (Ils tombent dans un gouffre.)

SCENE XIX. SCENE XIX et Dernire.

(Faust in Hell.) (L'Enfer. Faust est livr aux flammes.)

PANDEMONIUM. PANDEMONIUM.
Chorus of the Demons and the Damned. Chur de Dmons et Damns.
(i) Has I Irimiru Karabraol (i) Has! Irimiru Karabraol
The Princes ok Darkness to Mephisto- Les Princes des Tnbres Mphis
pheles. Hast thou conquer'd this tophls. De cette me si fire,
proud immortal soul,
(i) Cette langue est celle que Swedenborg appelait la langue infer-
nale, et qu'il croyait en usage chez les demons et les damns.
 DAMNATION OF FAUST, 29

And enslaved it, Mephisto, for aye? A jamais es-tu matre et vainqueur,
Mphisto?
Mephistopheles. I have conquer'd this soul.
Mephistopheles. J'en suis matre jamais.

Princes of Darkness Then did Faust freely Les Princes. Faust a donc librement
sign Sign l'acte fatal qui le livre la
The dread act that did yield up his soul to flamme ?
our fires?

Mephistopheles. Of free will did he sign. Mephistopheles. Il signa librement.

(Infernal orgies. Mephisto's triumph.) (Orgie infernale. Triomphe de Mephistopheles.)

Chorus.

Tradioun Marexil, Jir tru diux burru- Chur. Trmdiotin mar exil Trudinx burru-
dix. dixe.
Fory mv Dinkorlitz O meri karin Fory my r meak omvixe!
dinkorlitz H
O mvix merikariba Uraraik !
O tneri karin o mi dara caraibo Muraraik!
La kin da me rondor Dinkorlitz Diffl Diffl merondor mit aysko l
Diff! Diff! merondor avsko! Has ! Has! Satan, Belphgor, Mphisto,
Has I Has I Satan, Bclphgor, Mphisto, Has! Has! Krox, Astaroth, Belzbuth.
Has! Has! /Croix, Astaroth, Belzbuth Sat rayk irkimour.
Sat rayk irkimour.

EPILOGUE. PILOGUE.
(On earth.) (Sur la terre.)

*
Some Voices.

And then Hell's gates were still. Quelques Voix. Alors l'enfer se tut.
The seething sound alone of the vast lakes L'affreux bouillonnement de ses grands
of fire. lacs de flammes,
The gnashing teeth and wail that dread Les grincements de dents de ses tour-
torments inspire, menteurs d'mes,
Alone were heard above; while in the Se firent seuls entendre et, dans ses ;

depths profound, profondeurs,

In dread mystery drown'd, there was Un mystre d'horreur s'accomplit.
wrought
An awful deed !
Chur. O terreurs ! . . .

(In Heaven.) (Dans le ciel.)

Seraphim Prostrate Before the Almighty. Sraphins Inclins Devant le Trs-Haut.

Lausl Hosanna ! Latis ! .Hosanna!
. .

Receive a contrite soul, oh Lord. Elle a beaucoup aim, Seigneur!

(Silence Harmonious murmurs.) (Silence. . . Murmure harmonieux.)

A Voice From the Highest Heaven. Une Voix dans les Hauteurs des Cieux.
Margaret, rise ! Margarita ! ! !
30 DAMNATION OF FAUST,
Chorus of Heavenly Spirits. Chur d'Anges.

Margaret's Apotheosis. Apothose de Marguerite.

Ascend on high, innocent spirit ! Remonte au ciel, me nave

Once misled by earthly love, Que l'amour gara ;

But now restored to thy primitive beauty, Viens revtir ta beaut primitive
Thou shalt see the realms above. Qu'une erreur altra.
Come, the heavenly choir Viens, les vierges divines,
In joyous strains conspire Tes surs les Sraphines,
To greet thy ransomed soul Sauront tarir les pleurs
In the courts of the blest, Que t'arrachent encor les terrestres douleurs.
By tribulation tried, L'Eternel te pardonne, et sa vaste clmence
Thy faith and hope have saved thee Un jour sur Faust aussi peut-tre s'tendra.
From the world's raging tide. Conserve l'esprance
Rise, oh Margaret, rise ! Et souris au bonheur. Viens, viens, Margarita !

The End. FIN.

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