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Updated: May 17, 2025
"Two voices struggle for supremacy when by a rarely fortunate chance I am alone in my armchair waiting for Adolphe. One, I would wager, comes from Eugene Delacroix's Faust which I have on my table. Mephistopheles speaks, that terrible aide who guides the swords so dexterously.
He felt, and he told himself so more than once, that he was enacting the part of Mephistopheles, without the supernatural power of that fatal auxiliary, without even a fair allowance of time to lure his Faust to perdition. He had undertaken a task that never would have occurred but to a desperate man, and Tom was desperate, inasmuch as the one hope on which he set his heart had crumbled to atoms.
"The poodle," said Rowland, "is certainly alive." "Nay, he too may be a grotesque phantom, like the black dog in Faust." "I hope at least that the young lady has nothing in common with Mephistopheles. She looked dangerous." "If beauty is immoral, as people think at Northampton," said Roderick, "she is the incarnation of evil.
"Ah, but you look like Mephistopheles when you say that!" she shrieked, covering her face with her hands. "But there is no danger, none at all, I assure you. And now, my angel, I must leave you; I ordered the brougham to be at the door at twelve precisely to take me to Banff to meet the Aberdeen coach. And I have some preparations to make.
Goethe wrote his Faust in its earliest form without a thought of the deeper meaning which the exposition of an age of criticism was to find in it: without foremeaning it, he had impersonated in Mephistopheles the genius of his century. Shall this subtract from the debt we owe him? Not at all. If originality were conscious of itself, it would have lost its right to be original.
GOETHE. Mephistopheles in Faust. My spirits rose as I went deeper; into the forest; but I could not regain my former elasticity of mind. I found cheerfulness to be like life itself not to be created by any argument.
She turns with horror from her lover when she sees his companion, and in an agony of supplication, which rises higher and higher with each reiteration, she implores Heaven for pardon. She sinks lifeless to the floor. Mephistopheles pronounces her damned, but a voice from on high proclaims her saved.
In Venice his daring spirit presumed too far. He announced an exhibition of a flight to heaven. But Mephistopheles, who had hitherto satisfied his most extravagant demands, though often with grumbling, would not permit that feat. In the midst of a staring, wondering multitude, Faustus rose to a certain height by means of his own Satanic skill, acquired in his long intercourse with the Devil.
But stop the dance. Here arrives Major Hardy to a din of welcome. And under his instructions they burn the champagne corks, and therewith decorate their faces. One is ornamented with a pointed beard and the devil's horns, and turned into Mephistopheles. One is given an unshaven chin, and made to represent Moses Ikeystein. Another is a White-eyed Kaffir. And don't think Major Hardy omits himself.
The phrase suggests new merriment to Brander, who calls for a fugue on the "Amen," and the roisterers improvise one on the theme of the rat song, which calls out hearty commendation from Mephistopheles, and a reward in the shape of the song of the flea a delightful piece of grotesquerie with its accompaniment suggestive of the skipping of the pestiferous little insect which is the subject of the song.
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