2. Prelude on the Stage.
I am unable to ascertain precisely when this was written: from Goethe’s correspondence, some inferences, which point to the year 1798, may be drawn. It is unnecessary to follow the critics in their philosophical analyses of this prelude, which is sufficiently explained by calling it a “poetic preface” to the work. Göschen’s edition of Goethe’s works, in 1790, had not been a successful venture: the “Fragment” of Faust, although fully appreciated by the few, seemed to have made no impression upon the public, while it had been assailed and ridiculed by the author’s many literary enemies. Goethe always published his poetical works without a preface; but in the “Prelude on the Stage” he makes use of the characters to contrast the Poet’s purest activity with the tastes and desires of the Public, two classes of which are represented by the Manager and Merry-Andrew. The dialogue indicates, in advance, the various elements—imagination, fancy, shrewd experience, folly, and “dramatic nonsense”—which will be woven into the work. At the same time, it indirectly admits and accounts for the author’s unpopularity, and the lack of recognition which he still anticipates.
3. The posts are set, the booth of boards completed.
The “booth of boards” purposely refers to the rude, transportable puppet theatres in which Goethe first saw Faust represented. There is already a foreshadowing of some of the qualities of Faust and Mephistopheles in the Poet and Manager.
4. They come to look, and they prefer to stare.
Goethe writes, in 1802 (“Weimarisches Hoftheater”): “One can show the public no greater respect than in forbearing to treat it as a mob. The mob hurry unprepared to the theatre, demand that which may be immediately enjoyed, desire to stare, be amazed, laugh, weep, and therefore compel the managers, who are dependent on them, to descend more or less to their level.”
