Marlowe. Neigh! Neigh! though you have told us what you are,
And we have witnessed Nero several times,
You do not tell us of this wretched Faustus,
Who must be damned in any case, I fear.
S. P. Of course, I treat you as material
On which to work; but then I simplify
And purify the story for our stage.
The English stage is nothing if not pure.
For instance, we will not allow Salomé.
So in Act II. of Faust I represent
The marriage feast of beauteous Margaret;
Act I. I get from Goethe, III. from Marlowe,
And Gounod’s music fills the gaps in mine.
Margaret, of course, will never come to grief.
She only gets a separation order.
By the advice of Plowden magistrate,
She undertakes to wean Euphorion,
Who in his bounding habit symbolises
The future glories of the English empire.
As the production must not cost too much,
Harker, Hawes Craven, Hann are relegated
To a back place. It is a compact drama,
Of which spectacular embellishment
Will form no part. The story is so strong,
So rich in all the elements that make
A drama suitable for Alexander,
That scenery, if necessary to Tree,
Shall not intrude on this immortal theme.
Goethe. Pyramidal! My friend, but you are splendid.
Now, have you shown the manuscript to Colvin?
Marlowe. He is a scholar, and a ripe and good one,
And far too tolerant of modern poets.
Alexander. One of your lines strike my familiar spirit.
Surely, that does not come from Stephen Phillips.
Marlowe. No matter; I may quote from whom I will.
Shakespeare himself was not immaculate,
And borrowed freely from a barren past.
Goethe. What thinks Herr Sidney Colvin of your work?
S. P. That he will tell you when he sees it played.