'the name of Goethe himself reminds one how great for the artist may be the danger of overmuch science; how Goethe, who, in the Elective Affinities and the first part of Faust, does transmute ideas into images, who wrought many such transmutations, did not invariably find the spell-word, and in the second part of Faust presents us with a mass of science which has almost no artistic character at all.' (64)

'Those 'Mothers' who, in the second part of 'Faust', mould and remould the typical forms which appear in human history, preside, at the beginning of Greek culture, over such a concourse of happy physical conditions as ever generates by natural laws some rare type of intellectual or spiritual life.' (103)

'Goethe illustrates that union of the Romantic spirit, in its adventure, its variety, its profound subjectivity of soul, with Hellenism, in its transparency, its rationality, its desire of Beauty—that marriage of Faust and Helena—of which the art of the nineteenth century is the child, the beautiful lad Euphorion, as Goethe conceives him, on the crags, in the 'splendour of battle,' 'in harness as for victory,' his brows bound with light. Goethe illustrates, too, the preponderance in this marriage of the Hellenic element; and that element, in its true essence, was made known to him by Winckelmann.' (114) [footnote: Faust, Th. ii. Act 3.]