The Annotated Edition
FAUST, MEPHISTOPHELES. by Percy Bysshe Shelley
Shelley's dramatic fragment depicts a scene from Goethe's *Faust*, where Faust and the devil Mephistopheles ascend a mountain on Walpurgis Night—the one night each year that witches, wizards, and demons celebrate with a wild festival on the Brocken.
- Themes
- dreams, freedom, identity
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
MEPHISTOPHELES: Would you not like a broomstick? As for me / I wish I had a good stout ram to ride;
Editor's note
The scene opens mid-journey. Mephistopheles is feeling impatient and looking for a shortcut — a broomstick or a ram, the traditional ride for a witch on a night out. His tone is sarcastic and straightforward right from the start, revealing his character: the one who prefers to get things done quickly, without any emotional fuss.
FAUST: This knotted staff is help enough for me, / Whilst I feel fresh upon my legs.
Editor's note
Faust resists. He wants to walk, to physically connect with the spring landscape. His description of climbing rocks, flowing springs, and budding birch trees is truly poetic — he’s a man who still craves experience and beauty. His question, 'Shall she not work also within our limbs?' views Spring as a vibrant force that should flow through people just as it does through trees.
MEPHISTOPHELES: Nothing of such an influence do I feel. / My body is all wintry, and I wish
Editor's note
Mephistopheles openly acknowledges that he doesn't share any of Faust's emotions. He embodies winter while Faust represents spring — completely unmoved by the beauty of nature. He then calls forth Ignis-fatuus (a will-o'-the-wisp, the flickering marsh light known for leading travelers off course) to illuminate their path, which is a darkly humorous choice for a guide: something that, by its very nature, misdirects.
IGNIS-FATUUS: With reverence be it spoken, I will try / To overcome the lightness of my nature;
Editor's note
The will-o'-the-wisp is aware of its own fickleness — it knows it zigzags and warns travelers that the mountain is enchanted tonight. When Mephistopheles threatens to extinguish it, it complies, but its final warning ('you ought not to be too exact with him') serves as a clever disclaimer: don’t hold me responsible if we end up lost.
FAUST, MEPHISTOPHELES, AND IGNIS-FATUUS, IN ALTERNATE CHORUS: The limits of the sphere of dream, / The bounds of true and false, are past.
Editor's note
This is the poem's most enchanting passage. The three voices blend into a single chorus as the landscape comes alive and rushes past them. Trees sway, rocks tower, streams flow quickly, birdsong mixes with screech-owls, salamanders squirm, and fireflies dance. The result is an intentional sensory overload — Shelley captures the feeling of being in a hallucination, where the usual rules of perception fade away.
MEPHISTOPHELES: Now vigorously seize my skirt, and gain / This pinnacle of isolated crag.
Editor's note
From the top, Faust looks down at the mountain, glowing from within thanks to Mammon — the demon of wealth and greed — whose fires below light up the Walpurgis festival. Faust's depiction of the light is surprisingly lovely: columns of smoke, golden flowers, and streams of light cutting through the valleys. Even in the entrance to Hell, he can't help but be a poet.
MEPHISTOPHELES: Cling tightly to the old ribs of the crag. / Beware! for if with them thou warrest
Editor's note
A violent storm rips through the forest. Mephistopheles relishes the chaos—owls are tossed about, evergreen trees are split, roots are groaning, and trunks are crashing down. Then he hears the witches singing, and his tone shifts from caution to thrill. The storm and the witches' arrival are intertwined: the natural world is convulsing as the supernatural invades.
CHORUS OF WITCHES: The stubble is yellow, the corn is green, / Now to the Brocken the witches go;
Editor's note
The witches' chorus has a distinctly folkloric and gritty feel. Old Baubo, a character from Greek mythology known for her bawdy humor, rides a pig. Sir Urian, a folk name for the Devil, oversees the scene from above. Voices echo back and forth about their paths to the mountain. One voice casually mentions being poisoned, treating it as just a minor hassle. The overall tone is both festive and grotesque.
CHORUS OF WITCHES: Come onward, away! aroint thee, aroint! / A witch to be strong must anoint—anoint—
Editor's note
The witches encourage one another with the age-old practice of anointing themselves, a nod to the belief that witches used flying ointment. A half-witch expresses her sorrow at being left out. Meanwhile, the semi-chorus of wizards slips in some misogynistic folk wisdom, suggesting that women require a thousand steps while men only need one. Shelley presents this material as it is, not endorsing it but acknowledging it as part of the carnival's grim reality.
MEPHISTOPHELES: What thronging, dashing, raging, rustling; / What whispering, babbling, hissing, bustling;
Editor's note
Mephistopheles's catalogue of sound — seven pairs of present participles — stands out as one of the poem's remarkable moments. It captures the chaos it portrays. He then guides Faust away from the bustling crowd toward a more tranquil fire, acting as the social director, consistently shaping Faust's experience instead of allowing him to experience it unfiltered.
MEPHISTOPHELES: I find the people ripe for the last day, / Since I last came up to the wizard mountain;
Editor's note
A satirical moment unfolds: a General, a Minister, a Parvenu, and an Author each voice their grievances about the modern world, revealing their own self-serving motives. The General laments the loss of honour, the Minister grieves over diminished power, the Parvenu desperately tries to seize Fortune's wheel, and the Author abandons serious writing in pursuit of a younger audience. Meanwhile, Mephistopheles observes with delight — the world is already handling his work for him.
PEDLAR-WITCH: Look here, / Gentlemen; do not hurry on so fast;
Editor's note
The Pedlar-Witch presents a collection of goods but only mentions what she lacks: no poisoned dagger, no toxic bowl, no jewel purchased at the cost of a woman's downfall, no sword meant for betrayal. The irony is that these items are precisely what you might anticipate finding at a witch's market. Mephistopheles interrupts her: those outdated evils are no longer relevant. Progress has rendered them useless—society now creates its own forms of cruelty.
MEPHISTOPHELES: Mark her well. It is / Lilith.
Editor's note
Mephistopheles highlights Lilith — in Jewish legend, Adam's first wife before Eve, linked to perilous female power. His caution about her hair carries both an erotic and sinister tone: she traps men and never lets them go. This builds up to the emotional climax of the scene, as Faust is about to encounter a woman who ensnares him in a much different, more painful manner.
FAUST: I had once a lovely dream / In which I saw an apple-tree,
Editor's note
Faust dances with a girl, singing a lighthearted tune about an apple tree with two fair apples—an obvious nod to Eden and the idea of desire. The girl playfully replies that her garden still produces such fruit. While their exchange is flirtatious and fun, the mention of Eden subtly hints at the theme of transgression that weaves throughout the entire Faust narrative.
PROCTO-PHANTASMIST: What is this cursed multitude about? / Have we not long since proved to demonstration
Editor's note
The Procto-Phantasmist is a comedic character: a rationalist who has 'proved' that ghosts are a myth, yet is infuriated to find himself surrounded by them. He symbolizes Enlightenment skepticism colliding dramatically with a reality that defies simple explanations. Faust and the girl tease him lightly; Mephistopheles ominously predicts he’ll wind up sitting in a puddle.
FAUST: Then saw I— / MEPHISTOPHELES: What? / FAUST: Seest thou not a pale, / Fair girl, standing alone, far, far away?
Editor's note
The emotional core of the scene hits hard. Faust catches a glimpse of Margaret — the woman he seduced and then left behind, now trapped and facing execution. Mephistopheles attempts to brush it off as an enchanted ghost, a Medusa-like trick that petrifies men. But Faust sees her breast, her limbs, and then the thin red line around her neck — the mark left by the executioner's blade. It's a moment when real horror and guilt pierce through the carnival atmosphere.
MEPHISTOPHELES: It is all magic, poor deluded fool! / She looks to every one like his first love.
Editor's note
Mephistopheles's explanation is a mix of truth and deception. He attempts to ease Faust's guilt, but when he says that "she looks to everyone like his first love," he reveals a deeper truth about desire and guilt: we often see the faces of those we've hurt in strangers. He then guides Faust towards a theatre, and the scene concludes with an Attendant announcing a new performance—a clever nod to the play they are all a part of.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- Ignis-fatuus (will-o'-the-wisp)
- The will-o'-the-wisp is a genuine atmospheric phenomenon — a flickering marsh light — that has long been thought to mislead travelers off safe routes and into bogs. In this context, it serves as a literal guide, reflecting the nature of the journey ahead. It’s aware of its own unreliability, making it a fitting symbol of the deceptive guidance Mephistopheles provides to Faust throughout the play.
- Spring vs. winter
- Faust senses the warmth of spring awakening within him, while Mephistopheles feels nothing and longs for a path covered in frost and snow. This difference in their personalities reflects the larger conflict throughout the poem: the vibrant human desire for experience versus the chilling, mechanical detachment of the demonic.
- Mammon's underground fire
- The glow illuminating the Brocken from below is produced by Mammon, the demon of wealth. The mountain is not lit by the sun or stars, but by the greed that burns underground. It’s stunning to behold — Faust's description is truly poetic — which underscores the idea: the light of corruption can resemble the light of art.
- Lilith's hair
- Lilith's hair, coiling around a young man's neck and holding him captive, represents erotic entrapment, while also reflecting the red line encircling Margaret's neck. Both visuals depict something alluring encircling a throat—one suggesting seduction, the other, execution. The poem connects desire and destruction through this recurring motif.
- The red line on Margaret's neck
- The thin blood-red line, barely wider than a knife's edge, signifies the guillotine or headsman's axe — Margaret is essentially doomed. For Faust, it serves as a tangible reminder of his guilt. This image stands out as one of the most quietly devastating in the poem, precisely because of its small size and specific detail.
- The apple-tree
- Faust's playful song about climbing an apple tree to enjoy its fruit directly references the Garden of Eden. It presents his longing as the first human mistake—seeking out forbidden experiences. The girl's response, mentioning that her garden still produces such apples, wraps up both the seduction and the allegory beautifully.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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