out a tall fellow for himself, and is plunged wholly in his pederastic lust, the Angels carry away the immortal part of Faust to Heaven. Mephistopheles now reproaches himself with the greatest bitterness, because he has destroyed, through so trivial a desire, the fruits of so long a labor. This _reductio ad absurdum_ of the Devil must be considered as one of the happiest strokes of humor. The holy innocence of the Angels is not for him; he sees only their fine bodies; his lowness carries him into the Unnatural and Accidental, just where his greatest interest and egotism come in play. This result will surprise most people; but if they consider the nature of the Devil, it will be wholly satisfactory; in all cunning he is at last bemocked as a fool, and he destroys himself through himself. In conclusion, we see a woody, rocky wilderness, settled with hermits. It is not Heaven itself, but the transition to the same, where the soul is united to perfect clearness and happiness. Hence we find the glowing devotion and repentance of the _Pater ecstaticus_, the contemplation of the _Pater profundus_, the wrestling of the _Pater serapticus_, who, taking into his eyes the holy little boys because their organs are too weak for the Earth, shows them trees, rocks, waterfalls. The Angels bring in Faust, who, as Doctor Marianus, in the highest and purest cell, with burning prayer to the approaching queen of Heaven, seeks for grace. Around Maria is a choir of penitents, among whom are the Magna Peccatrix, the Mulier Samaritana, and Maria Ægyptiaca. They pray for the earthly soul; and one of the penitents, once called Margaret, kneeling, ventures a special intercession. The Mater Gloriosa appoints Margaret to lead the soul of Faust to higher spheres, for he shall follow her in anticipation. A fervent prayer streams from the lips of Doctor Marianus; the Chorus mysticus concludes with the assurance of the certainty of bliss through educating, purifying love. Aspiration, the Eternal feminine, is in Faust, however deeply he penetrates into every sphere of worldly activity. The analogy between Margaret and the Beatrice of Dante is here undeniable; also, the farther progress of Faust’s life we must consider similar, as he, like Dante, grows in the knowledge and feeling of the Divine till he arrives at its complete intuition; Dante beholds the Trinity perfectly free and independent, without being led farther by anybody. From this point of view, that the poet wanted to exhibit reconciliation as becoming, as a product of infinite growth, is found the justification of the fact that he alludes so slightly to God the Father, and to Christ the Redeemer, and, instead, brings out so prominently the worship of the Virgin, and the devotion of Woman. Devotion has a passive element which finds its fittest poetical support in women. These elements agree also very well with the rest of the poem, since Goethe, throughout the entire drama, has preserved the costume of