In the evening I went to the theatre, which has the most inconvenient form imaginable, being a rectangle. As anti-Gallicanism is the order of the day, only German dramas are allowed to be performed and this night it was the tragedy of Faust, or Dr Faustus as we term him in England, not the Faust of Goethe, which is not meant for nor at all adapted to the stage, but a drama of that name written by Klingmann.[18] It is a strange wild piece, quite in the German style and full of horrors and diableries. In this piece the sublime and terrible border close on the ridiculous; for instance the Devil and Faust come to drink in a beer-schenk or ale-house. 'Tis true the Devil is incognito at the time and is called "der Fremde" or "the Stranger"; it is only towards the conclusion of the piece that he discovers himself to be Satan.... The actor who played the part of the Stranger had something in his physiognomy very terrific and awe-inspiring. In another scene, which to us would appear laughable and absurd, but which pleases a German audience, three women in masks come on the stage to meet Faust, in a churchyard, and on unmasking display three skeleton heads. Poor Faust had stipulated to give his soul to the Devil for aiding him in the attainment of his desires; the Devil on his part agrees to allow him to commit four deadly sins before he shall call on him to fulfil his contract. Faust, in the sequel, kills his wife and his father-in-law. Satan then claims him. Faust pleads in arrest of judgement, that he has only committed two crimes out of the four for which he had agreed; and that there consequently remained two others for him to commit before he could be claimed. The Devil in rejoinder informs him that his wife was with child at the time he killed her, which constituted the third crime, and that the very act of making a contract with the Devil for his soul forms the fourth. Faust, overwhelmed with confusion, has not a word to say; and Satan seizing him by the hair of his head, carries him off in triumph. This piece is written in iambics of ten syllables and the versification appeared to me correct and harmonious, and the sentiments forcible and poetical; this fully compensated for the bizarrerie of the story itself, which, by the bye, with all the reproach thrown by the adherents of the classic taste on those of the romantic, is scarcely more _outré_ than the introduction of Death ([Greek: _thanatos_]) as a dramatic personage in the _Alcestis_ of Euripides.