who assents and declares the plan a feasible one, on being informed that Faust has an overweening desire of knowledge. The whole of this fragment would not more than fill two of my pages. See, as to Lessing's plans, his Briefe die neueste Literatur betreffend, Part i., p. 103; the Analecten für die Literatur, Part i., p. 110; and the Second Part of his Theatrical Legacy (Nachlass). Dr. Stieglitz has no less than four Operas upon his list. Of those by Bäuerle and von Voss, I know nothing. That by Bernard and Spöhr has been received with considerable applause in Germany, but the plot is mostly made up out of the old traditionary stories, and the composer seems very rarely to have had Goethe's drama in his mind. An Opera Seria, entitled Fausto, was also produced at Paris in March, 1831, the music by Mademoiselle Louise Bertin; this Í never saw, nor do I know whether it succeeded or not. The Ballet of Faust, imported last year (1832), must be fresh in everybody's recollection; the descent scene had a fine effect in Paris, but it was completely spoiled at our Italian Opera House by the shallowness of the stage. The devils were brought so near to the spectators, that the very materials of their infernal panoply were clearly distinguishable. A "Romantic Musical Drama," called first "Faustus," and afterwards "the Devil and Dr. Faustus," the joint production of Messrs. Soane and Terry, was brought out at Drury Lane in May, 1825; and by the aid of Stansfield's scenery and Terry's excellent acting in Mephistopheles, it had a considerable run. It was afterwards published by Simpkin and Marshall. The most successful attempt to set Faust to music is that of the late Prince Radzivil. His composition is spoken of in the highest terms of approbation, and I understand that the Princess (his widow) has printed, or is about to print, the whole for circulation among her friends. Goethe's approval of the attempt has been unequivocally expressed. Works, vol. xxx., p. 89.) It appears from the correspondence between Goethe and Zelter, (vol. ii. pp. 424, 429), that Zelter once undertook to write music for Faust by the desire of the author; nor must I forget to mention that Goethe's Faust has been adapted to the stage by Tieck. It was first acted in its altered state at Leipzig and Dresden on the 28th of August, 1829, the anniversary of Goethe's eightieth birthday, and is now a stock-piece at the principal theatres. A good deal of discussion took place at the time as to the fitness of the poem for theatrical representation at all ;* though Schlegel, who considers the question in his lectures on the drama (Lect. 15) and decides in the negative, appears to have set the question at rest. To make this appendix complete, I shall here recapitulate the whole of the commentaries with which I am acquainted. Ueber Goethe's Faust: Vorlesungen von Dr. Schubarth, Berlin, 1830. Ueber Goethe's Faust und dessen Fortsetzung, nebst einem Anhange von dem ewigen Juden, Leipzig, 1824. ■ Aesthetische Vorlesungen ueber Goethe's Faust, &c., von Dr. Hinrichs, Halle, 1825. Ueber Calderon's Tragoedie vom Wunderthatigen Magus; Ein Beitrag zum Verstandniss der Faustischen Fabel, von Karl Rosenkrantz, Halle und Leipzig, 1829. Ueber Erklärung und Fortsetzung des Faust im Allgemeinen &c., von K. Rosenkrantz, Leipzig, 1831. Doctor Faustus, Tragödie von Marlowe &c.; aus dem Englischen übersetzt von W. Müller. Mit einer Vorrede von Ludwig von Arnim, Berlin, 1808. Herold's Stimme zu Goethe's Faust, von C. F. G—1, Leipzig, 1831. Zur Beurtheilung Goethe's, mit Beziehung auf verwandte Literatur und Kunst, von Dr. Schubarth, 1820; a work in two volumes, of which a large part is occupied with Faust. Goethe aus persönlichem Umgange dargestellt, von Falk; the last 110 pages of which consist of a Commentary on Faust. Vorlesungen über Goethe's Faust, von Dr. Rauch, 1830. M. von Arnim's Preface to the German translation of Marlow's Faust. * See Bechstein's Pamphlet, published at Stuttgardt, 1831. In Schlegel's Lectures on Dramatic Literature, Lect. 15, there are a few remarks. Faust also forms the subject of some letters in the Briefwechsel between Schiller and Goethe, vol. iii. pp. 129-186. It only remains to mention the artists who have taken the old tradition or the modern drama of Faust for their subject-matter. Of the former class, I know but two worth mentioning: one is Rembrandt, who has left a head of Faust, and a sketch of him in his study, sitting just as Goethe has described him, in the midst of books and instruments, with a magic circle ready drawn and a skeleton half hidden by a curtain in the room. The other is van Sichem, a Dutch artist, born about.1580. He has left two sketches: a scene between Faust and Mephistopheles, and a scene between Wagner and an attendant spirit, Auerhain by name. These are minutely described by Dr. Stieglitz, and I have seen a copy of the sketch by Rembrandt. The pictures in Auerbach's cellar are described, ante, p. 186. * The illustrators of Faust mentioned by Dr. Stieglitz (and I know of no others) are: Retzsch, with his English imitator Moses, and a French imitator who modestly conceals his name; Nauwerk, Nehrlich, Näke, Ramberg, Lacroix (for Stapfer's translation), and Cornelius, whose designs were engraved by Ruschweyh in Rome. Of these, the most celebrated are Retzsch and Cornelius. It is quite unnecessary to speak of Retzsch, whose fame is now universally diffused. Cornelius was formerly at the head of the school of painting at Düsseldorf, and is now (1834) President of the Academy of Design at Munich. He enjoys the reputation of being the first historical painter in Germany, and his illustrations of Faust have great merit; but being in the largest folio, and three or four pounds in price, they are comparatively little known. *See Goethe's Post. Works, vol. vi. p. 169. THE END. CHAUCER, SPENSER, AND DRYDEN. CHAUCER'S POETICAL WORKS. With an ESSAY on his LANGUAGE and VERSIFICATION, and an INTRODUCTORY SPENSER'S WORKS. With a Selection of NOTES from various commentators; and a GLOSSARIAL INDEX: to which is prefixed some account of the LIFE of Spenser. By the Rev. HENRY JOHN TODD. In one volume 8vo, with Portrait and Vignette, price 128. cloth. DRYDEN'S POETICAL WORKS. Containing Original Poems, Tales, and Translations; with Notes by the Rev. JOSEPH WARTON, D.D.; and the Rev. JOHN WARTON, M.A.; and others. In one volume Svo, with Portrait and Vignette, price 108. 6d. cloth. DRAMATIC LIBRARY. SHAKSPEARE. With REMARKS on his LIFE and WRITINGS. BY THOMAS CAMPBELL. 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