received from a careful study of the Helena (Act III.), that Euphorion is not really Byron, but Goethe himself in his poetic activity, is justified by Goethe’s declaration that the Boy Charioteer and Euphorion are one, and also—as I shall endeavor to show in subsequent notes—the Homunculus of the Classical Walpurgis-Night. Although this theory has not been adopted by any of the German critics, it seems to me to furnish the simplest and most satisfactory solution of the most perplexing puzzle which the Second Part contains —simplest, because all the illustrations which support it are drawn from Goethe’s life and poetical development, and most satisfactory, because I can find no other which harmonizes and consistently explains the three characters.
It is proper to make the statement now, where the first evidence is furnished. The additional reasons which I shall offer to the consideration of the reader will be given when Homunculus and Euphorion make their appearance.
35. Then Avaritia was my name.
Mephistopheles, true to his character of Negation, wears the mask of Avarice, which is the opposite of active and ostentatiously exhibited wealth. His address to the women is suggested by the difference of gender between the ancient Latin word, avaritia, which is feminine, and the German, der Geiz, which is masculine. The Women are perhaps introduced here, instead of the former mixed crowd, because avarice is more repulsive to their nature and habits than to those of the men.
36. Drive thou this people from the field!
With the departure of Euphorion, the additional character given to Plutus ceases, and he is simply the type of Wealth. When he opens the treasure-chest, the action of the multitude, contrasted with their reception of the Boy Charioteer’s gifts, explains itself. The intellectual wealth turned into beetles in their hands ; the tongues of flame, cast upon their heads, flickered and went out; but now the show of riches, which the Herald declares to be a cheat, a joke of Carnival
