The “Murmurs of the Crowd” are here introduced, as in Scene II., to supply the place of a Chorus, and assist in describing the action.
31. Black lightning of the eyes, the dark locks glowing.
The costume of the Boy Charioteer, as described by the Herald, is that of the Apollo Musagetes. It is the same which Schlegel gives to Arion, in his well-known ballad:—
“He hides his limbs of loveliest mould
In gold and purple wondrous fair;
Even to his feet falls, fold on fold,
A robe as light as summer air;
His arms rich golden bracelets deck,
And round his brow, and cheeks, and neck,
In fragrance floats the leaf-crowned hair.”
D. F. Mac-Carthy’s Translation.
The appropriateness of this costume is explained in the following note.
I have used the phrase “a four-horse chariot,” because, in the original text, it is thrice spoken of as a Viergespann,—“a team of four,”—and the Boy Charioteer uses the word “steeds” (Rosse). Düntzer and some other German writers consider that the chariot is drawn by dragons, although the latter are specially mentioned as guardians of the treasure-chests. This is not a matter of much importance: I give the original words, in order that the reader may take his choice.
32. I am Profusion, I am Poesy!
Eckermann, in 1829, reports: “We then talked of the Boy Charioteer.
“‘That Faust is concealed under the mask of Plutus, and Mephistopheles under that of Avarice,’ Goethe remarked, ‘you will have already perceived; but who is the Boy Charioteer?’
“I hesitated, and could not immediately answer.
“‘It is Euphorion,’ said Goethe.
“‘But how can he appear in the Carnival here,’ I asked, ‘when he is not born until the third act?’
