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There was a curious power in the words, as he lingered over them, like half-comprehended music, as simple and tender as if they had come from the depths of a woman's heart: it touched him deeper than his power of control. Pah! it was a dream of Faust's; he, too, had his Margaret; he fell, through that love. He went on slowly to the mill.
His departure is but one of their attributes. So it is in any film. There is no emotional stimulation in the final departure of a non-public character to bring tears, such tears as have been provoked by the novel or the stage over the death of Sidney Carton or Faust's Marguerite or the like. All this, to make sharper the fact that the murder of Becket the archbishop is a climax.
The next scene shows the Kermesse, changing to Faust's study, where Mephistopheles appears and the contract is signed which binds him to Faust's service. We then pass to the garden scene, in which Faust is shown as Margaret's lover. Then come the Witches' Sabbath on the summit of the Brocken, and the prison scene with the death of Margaret.
Something very similar to Faust's cell presented itself to Jehan's view, when he ventured his head through the half-open door. It also was a gloomy and sparsely lighted retreat.
Some books seem to have been published by Faustus during his lifetime, at least, his biographers allude to them; but it was only after his death that the work which gave his name its chief reputation became known. Wagner, who was said to be his heir, published it first under the title of "Dr. Johannis Faust's Magia Celeberrima, und Tabula Nigra, oder Hoellenzwang."
Day was breaking, and in all the passion and churchiness of Gounod, the student calls for death, the echoes of human happiness rustling through the background like the scything sound of harvesting. Lilly could scarcely breathe for the poignancy of sensation. She was all throat. Faust's opening greeting to the dawn, his challenge to happiness, pierced her.
Don't you remember poor, pale Winnie, the maid who used to take us on our walks all the summer at Dawling; how she used to pluck the leaves from the flowers, like Faust's Marguerite, saying, "He loves me a little passionately, not at all." Now if I were loved passionately, I might love a little; and if loved a little it should be not at all.
Faust's Zaubergurtel" in 1790; C. Hanke used the same material and title at Flushing in 1794, and Ignaz Walter produced a "Faust" in Hanover in 1797. Goethe's First Part had been five years in print when Spohr composed his "Faust," but it is based not on the great German poet's version of the legend, but on the old sources.
"I've got a beastly headache; don't tell any one, but come home, won't you?" he whispered. May gave him a glance of comprehension, and he saw her whisper to his mother, who nodded sympathetically; then she murmured an excuse to Mrs. van der Luyden, and rose from her seat just as Marguerite fell into Faust's arms.
Faust, again, has nothing unaccountable, defiant and Titanic in him; his knowledge does not bring him the satisfaction he expected from it, and meanwhile he finds himself poor and growing old, and baulked of the palpable enjoyment of life; and here is the motive for Faust's discontent.
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