No sooner thought than done. I set my cap more firmly upon my head, and in the next moment I was sitting in the doctor’s studio, surrounded by the most ordinary articles of furniture and dress. The papers upon the table were of no consequence, but the handwriting appeared to me remarkable. The ancient form of the letters, and the various flourishes with which they were adorned, belonged to the Middle Ages. I stepped up to another table, upon which lay several books and a map. “He loves reading,” thought I: “from the reading in which a man delights, one can easily discover the bent of his mind; and perhaps he has made marginal notes which will betray him, and afford sure proofs of his guilt.” The first book that I opened was the earliest edition of Faust—it was the merest fragment; and nowhere through the book could I find a scrap of writing except at the end, where, in red ink, in the doctor’s easily-recognized handwriting, was the single word, “good.” Did this word refer only to the masterly genius of Goethe, or did it characterize the escape of Faust from his well-merited punishment; an escape which probably filled the doctor with hope that he also might continue unharmed in his league with the Evil One. I opened another book: it was another edition of the same work, with the same blood-red “good” at the end. It was the same with every book that I could find—nothing but Faust, with the same comment at the end. In the latest edition, however, where Faust and Mephistophiles leave Margaret in prison, in the last scene, there was a distinctly-written “very good” at the end. This “very good” made the strangest impression upon me. At last I lighted upon a handsomely bound book, which proved to be an edition of the admirable drawings with which Ramberg has illustrated Goethe’s great work. As I held this book in my hand I had the distinct impression that the riddle was about to be solved—and so it proved. Was I dreaming?—No. In the first picture upon which I cast my eyes, I recognised in Faust and his Demon Doctor Joannes—my rival, the wooer of the heavenly Angelica—and his hateful poodle, who was now figuring as coachman to the Duke of Silvio Cremonio. My glimmering recollection became a living picture; and I understood well, why the doctor had defied the demon dog—“because the old fellow in Weimar had not completed him.” And because he was as yet only a fragment—because M. von Goethe had delayed his conclusion he was permitted to live in the world, and make me and my Angelica miserable. I would write to Weimar, to M. von Goethe, instantly, and represent to him the dreadful consequences of his delay. No—it were much better, by virtue of my cap, to present myself before him, and plead my own cause in _proprid persona_.