Lessing projected two presentations of the story, and Klinger worked the subject into a romance, _Fausts Leben, Thaten, und Höllenfahrt_ (1791; translated into English by George Barrow in 1826). A bombast tragedy was published by Klingemann in 1815, whilst Lenau issued his epico-dramatic _Faust_ in 1836. Heine’s ballet _Der Doctor Faust, ein Tanzpoem_ appeared in 1851. The libretto for Spohr’s opera (1814) was written by Bernard. Goethe’s masterpiece, planned as early as 1774, was given to the world in 1808, but the second part was delayed until 1831. General evidence points to 1588 as the date of the first production of Marlowe’s _Doctor Faustus_, for it seems certain that the ballad of the _Life and Death of Doctor Faustus the great Conjurer_, entered in the Stationers’ Register, February, 1589, did not precede but was suggested by the drama. The first extant quarto is 1604, but already it had been subjected to more than one revision. Upon the stage _Doctor Faustus_ long remained popular, and in England, at least, however fragmentary Marlowe’s tragedy may be it has never been supplemented by any other literary handling of its theme. Old Prynne in his _Histriomastix_ (1633) retails an absurd story to the effect that the Devil _in propria persona_ “appeared on the stage at the _Belsavage_ Playhouse in Queen _Elizabeth’s_ days” whilst the tragedy was being performed, “the truth of which I have heard from many now alive who well remember it.” It was revived after the Restoration, and on Monday, 26 May, 1662, Pepys and his wife witnessed the production at the Red Bull, “but so wretchedly and poorly done that we were sick of it.” It was being performed at the Theatre Royal in the autumn of 1675, but no details are recorded. In 1685-6 at Dorset Garden appeared William Mountfort’s _The Life and Death of Doctor Faustus, Made into a Farce, with the Humours of Harlequin and Scaramouch_, a queer mixture of Marlowe’s scenes with the Italian _commedia dell’ arte_. Harlequin was acted by nimble Thomas Jevon, the first English harlequin, and Scaramouch by Antony Leigh, the most whimsical of comedians. At the end of the third act after Faustus has been carried away by Lucifer and Mephistopheles, his body is discovered torn in pieces. Then “Faustus _Limbs come together. A Dance and Song_.” This farce was continually revived with great applause, and during the whole of the eighteenth century Faust was the central figure of pantomime after pantomime. Nearly forty dramatic versions of the Faust legend might be enumerated. Many are wildly romantic and were especially beloved of the minor theatres: such are _Faustus_ by G. Soane and D. Terry, produced at Drury Lane 16 May, 1825, with “O” Smith as Mephistopheles; H. P. Grattan’s _Faust, or The Demon of the Drachenfels_ performed at Sadlers Wells, 5 September, 1842, with Henry Marston, Mephistopheles, T. Lyon, Faust, “the Magician of Wittenberg,” Caroline Rankley, Marguerite; T. W.