himself capable; he has an impulse to go out into the world, to experience all its delights and woes, and even in the crash of shipwreck to exult in his strength and freedom. The earth-spirit itself he must see, and it responds to his summons. But it scoffs at his claim of equality, and, as it disappears, leaves him once more in despair. Baffled in his ideal aspirations, Faust gives himself up to the enjoyment of such pleasures as may be accessible through the senses. After the first monologue, and before the introduction of Gretchen, we find in the original “Faust” only Faust’s first dialogue with Wagner; the scene, afterwards considerably modified, in which Mephistopheles mystifies the ingenuous student; a draft, chiefly in prose, of the scene in Auerbach’s cellar; and a few lines, ultimately struck out, indicating the perplexity of Mephistopheles as he passes a cross by the wayside. Goethe was apparently in haste to reach the tale of love and sorrow, in which the destiny of Faust was to be interwoven with that of Gretchen, and the full meaning of his repudiation of the law of his spiritual being was to be disclosed in its tragic consequences. After the accidental meeting of Faust and Gretchen in the street--when, struck by her beauty, he offers her his arm, and she escapes from him--there are wanting “Wald und Höble” and “Walpurgisnacht;” the part to be played by Gretchen’s brother, Valentin, is only indicated; immediately before “Trüber Tag” there is a dialogue between Faust and Mephistopheles which was afterwards omitted; and the last scene of all, the scene in the prison, is in prose. In other respects this part of the drama received at Frankfort what was essentially its final form. When the work was to be published, some lines and expressions were altered; but these changes did not vitally affect the conception as it had originally taken shape in Goethe’s mind.