X INTRODUCTION
only that it was written; and even for them it presents many passages difficult to interpret, many allusions hard to understand, and intricate problems which are not to be resolved without some effort of brain. Commentaries have sprung up, almost as voluminous as those under which the texts of Dante and of Shake- speare have long groaned. These, not a few of them at least, have had the usual result of aggravating the ob- scurity which they profess to clear away, so that we are thrown back upon the poem itself to gather such meanings and suggestions as our own reason or im- agination can help us to. And, after all, these are quite sufficient for the enjoyment of what is really valuable in the poem. Such parts of it as demand the exposition of elaborate commentary, most lovers of poetry will agree, can scarcely deserve one. The moment poetry begins to deal in mysticism or phil- osophical problems, and to demand elaborate exposition, it ceases to be poetry. A natural instinct impels us to give all such rhymed obscurities the go-by, and to settle upon the flowers about whose fragrance and beauty there can be no mistake.
Of these this work presents an abundance sufficient to satisfy the most exacting taste. But to enjoy it thoroughly, the reader must bring both cultivated intelligence, and sympathy with the poetic faculty in its higher development. Those who want strong human interest must go elsewhere. They will not find it here. The whole action lies within "the limits of the sphere of dream." Even Faust and Mephistopheles are but as phantasms moving among phantasms. The pulses of the fatal passion, which resulted in the tragic ending of poor Margaret, are but poorly compensated by the fine frenzy of Faust for the Helen of antiquity. It is his imagination, not his heart, that is on fire. Ours also kindles before the exquisite painting of the poet, which sets every figure
