66 UNIVERSITY OF COLORADO STUDIES 



as translated and adapted by George Sylvester Viereck and given by 

 Miss Maude Adams, in the Harvard University Stadium in June, 

 1909. 



In 1 83 1, Goethe sealed up complete his Faust, on which he had 

 worked for a lifetime. He began his labors as a young man, and finished 

 his work the year before his death at the age of eighty-three. Faust 

 is a name not unknown among the veriest Philistines, but the Faust 

 which we know from long acquaintance on the American stage, is far 

 from being the Faust of Goethe, that treasure-house of philosophy 

 and life experience. What we know as Faust is in reality only that 

 portion which in Goethe's Faust is known as the Gretchen tragedy, 

 and which served as the basis of Gounod's opera, the melodies of which 

 are familiar to music lovers from St. Petersburg to Valparaiso. It is a 

 fact that among the lesser educated people the world over Faust 

 stands for the Gounod opera, which dates only from 1859, rather than 

 for the great work which inspired Gounod. 



Faust as a drama was first made known to the American public 

 in the season of 1885-86 when Henry Irving and Ellen Terry with their 

 company and scenery direct from the Lyceum Theater, London, made 

 it the feature of their American tour. The play, however, was not the 

 Faust of Goethe, excepting in inspiration. It was the Gretchen tra- 

 gedy adapted from Goethe's Faust and enhanced by the theatrical 

 genius of Mr. Irving himself. The effectiveness of the play was recog- 

 nized at once, even apart from the fine acting of Mr. Irving as Mephis- 

 topheles and Miss Terry as Margaret. Following Irving's example, 

 Lewis Morrison prepared a version of Faust which he used on his 

 tours for twenty years up to the time of his death. In this way many 

 an American small town saw a performance of Faust which was very 

 creditable, for Mr. Morrison was an actor and manager of fine ability, 

 and his play was a good piece of work. 



In 1842, a play was produced in Germany from the pen of Friedrich 

 Halm, called The Son of the Wilderness. Translated by Mrs. Maria 

 Lovell into English under the title of Ingomar, this play has been 

 a great favorite in its time on the American stage. The character of 

 Ingomar the Barbarian has appealed to actors of such talent as Salvini 



