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• Götz Von Berlichingen With the Iron Hand. a Drama.
• Dramatis PersonÆ
• Act I.
• Scene I.—: An Inn At Schwarzenberg In Franconia.
• Scene II.—: A Cottage In a Thick Forest.
• Scene III.—: An Apartment In Jaxthausen, the Castle of Goetz Von Berlichingen.
• Scene IV.—: The Bishop of Bamberg’s Palace.
• Scene V.—: Jaxthausen.
• Act II.
• Scene I.—: Bamberg. a Hall.
• Scene II.—: Jaxthausen. a Hall In Goetz’s Castle.
• Scene III.—: The Bishop’s Palace At Bamberg.
• Scene IV.—: The Spessart.
• Scene V.—: The Bishop’s Palace. His Cabinet.
• Scene VI.—: Adelaide’s Apartment.
• Scene VII.—: An Ante-room.
• Scene VIII.—: The Spessart.
• Scene IX.—: Hall In the Bishop’s Palace At Bamberg.
• Scene X—: an Inn.
• Act III.
• Scene I.—: A Garden At Augsburg.
• Scene II.—: Jaxthausen.
• Scene III.—: The Camp of the Party Sent to Execute the Imperial Mandate.
• Scene IV.—: Jaxthausen.
• Scene V.—: Bamberg. Adelaide’s Chamber.
• Scene VI.—: Jaxthausen.
• Scene VII.—: A Wood On the Borders of a Morass.
• Scene VIII.—: Camp of the Imperialists.
• Scene IX.—: Jaxthausen.
• Scene X.—: The Imperial Camp.
• Scene XI.—: Mountains and a Wood.
• Scene XII.—: A Heath—on One Side an Eminence, With a Ruined Tower, On the Other the Forest.
• Scene XIII.—: The Camp.
• Scene XIV.—: Jaxthausen.
• Scene XV.—: Camp.
• Scene XVI.—: Jaxthausen.
• Scene XVII.—: The Kitchen.
• Scene XVIII.—: A Hall.
• Scene XIX.—: The Court of the Castle.
• Scene XX.: The Armory.
• Act IV.
• Scene I.—: An Inn In the City of Heilbronn
• Scene II.—: The Council-house At Heilbronn.
• Scene III.—: A Large Hall In the Council-house, Beset By Sickingen’s Troops.
• Scene IV.—: The Castle of Adelaide. Augsburg.
• Scene V.—: Jaxthausen.
• Act V.
• Scene I.—: A Village Plundered By the Insurgent Peasantry. Shrieks and Tumult.
• Scene II.—: Open Country. In the Distance Two Villages and an Abbey Are Burning.
• Scene III.—: A Hill and Prospect of the Country. In the Flat Scene a Mill. a Body of Horsemen.
• Scene IV.—: Jaxthausen.
• Scene V.—: A Village.
• Scene VI.—: The Front of a Gypsy-hut In a Wild Forest.—night.—a Fire Before the Hut, At Which Are Seated the Mother of the Gypsies and a Girl.
• Scene VII.—: Inside the Hut.
• Scene VIII.—: Adelaide’s Bedchamber.
• Scene IX.—: Street Before the Prison At Heilbronn.
• Scene X.—: An Apartment In Weislingen’s Castle.
• Scene XI.—: A Narrow Vault Dimly Illuminated. the Judges of the Secret Tribunal Discovered Seated, All Muffled In Black Cloaks.
• Scene XII.—: The Court of an Inn.
• Scene XIII.—: The Prison At Heilbronn.
• Scene the Last. —: the Prison Garden.
• Iphigenia In Tauris a Drama
• Dramatis PersonÆ.
• Act I.
• Scene I.—: A Grove Before the Temple of Diana.
• Scene II.
• Scene III.
• Scene IV.
• Act II.
• Scene I.
• Scene II.
• Act III.
• Scene I.
• Scene II.
• Scene III.
• Act IV.
• Scene I.
• Scene II.
• Scene III.
• Scene IV.
• Scene V.
• Act V.
• Scene I.
• Scene II.
• Scene III.
• Scene IV.
• Scene V.
• Scene VI.
• Torquato Tasso
• Dramatis PersonÆ.
• Act I.
• Scene I.: A Garden Adorned With Busts of the Epic Poets. to the Right a Bust of Virgil: to the Left, One of Ariosto.
• Scene II.
• Scene III.
• Scene IV.
• Act II.
• Scene I.—: A Room.
• Scene II.
• Scene III.
• Scene IV.
• Scene V.
• Act III.
• Scene I.
• Scene II.
• Scene III.
• Scene IV.
• Scene V.
• Act IV.
• Scene I.—: A Chamber.
• Scene II.
• Scene III.
• Scene IV.
• Scene V.
• Act V.
• Scene I.—: A Garden.
• Scene II.
• Scene III.
• Scene IV.
• Scene V.
• Clavigo
• Dramatis PersonÆ.
• Act I.
• Scene I.—: Clavigo’s Dwelling.
• Scene II.—: Guilbert’s Dwelling.
• Act II.
• Scene I.—: Clavigo’s House.
• Act III.
• Scene I.—: Guilbert’s Abode.
• Act IV.
• Scene I.—: Clavigo’s Abode. Carlos, Alone.
• Scene II.—: Guilbert’s Abode.
• Act V.
• Scene I.—: The Street Before the House of Guilbert. Night.
• Scene II.
• Scene III.
• Scene IV.
• Scene V.
• Scene VI.
• Stella. a Tragedy.
• Dramatis PersonÆ.
• Act I.
• Act II.
• Act III.
• Act IV.
• Act V.
• The Brother and Sister
• Dramatis PersonÆ.
• A Tale.
• The Good Women.
• Reynard the Fox.
• Chapter I.: The Accusation.
• Chapter II.: The First Summons.
• Chapter III.: The Second Summons.
• Chapter IV.: The Trial.
• Chapter V.: The Pardon.
• Chapter VI.: The Relapse.
• Chapter VII.: The Outlawry.
• Chapter VIII.: The Journey.
• Chapter IX.: The Advocacy.
• Chapter X.: The Second Pardon.
• Chapter XI.: The Defiance.
• Chapter XII.: The Battle.

SCENE I.—

Bamberg. A Hall.

[TheBishopandAdelaide(playing at chess),Liebtraut(with a guitar),LadiesandCourtiers(standing in groups).

Liebtraut.

(Plays and sings.)

• • Armed with quiver and bow,
  • With his torch all aglow,
  • Young Cupid comes winging his flight.
  • Courage glows in his eyes,
  • As adown from the skies,
  • He rushes, impatient for fight.
• • Up! up!
  • On! on!
  • Hark! the bright quiver rings!
  • Hark! the rustle of wings!
  • All hail to the delicate sprite!
• • They welcome the urchin;—
  • Ah, maidens, beware!
  • He finds every bosom
  • Unguarded and bare.
  • In the light of his flambeau
  • He kindles his darts;—
  • They fondle and hug him
  • And press to their hearts.

Adelaide.

Your thoughts are not in your game. Check to the king!

Bishop.

There is still a way of escape.

Adelaide.

You will not be able to hold out long. Check to the king!

Liebtraut.

Were I a great prince, I would not play at this game, and would forbid it at court and throughout the whole land.

Adelaide.

’Tis indeed a touchstone of the brain.

Liebtraut.

Not on that account. I would rather hear a funeral bell, the cry of the ominous bird, the howling of that snarling watch-dog, conscience; rather would I hear these through the deepest sleep, than from bishops, knights and such beasts, the eternal—Check to the king!

Bishop.

Into whose head could such an idea enter?

Liebtraut.

A man’s, for example, endowed with a weak body and a strong conscience, which, for the most part, indeed, accompany each other. Chess is called a royal game, and is said to have been invented for a king, who rewarded the inventor with a mine of wealth. If this be so, I can picture him to myself. He was a minor, either in understanding or in years, under the guardianship of his mother or his wife; had down upon his chin, and flaxen hair around his temples; was pliant as a willow-shoot, and liked to play at draughts with women, not from passion, God forbid! only for pastime. His tutor, too active for a scholar, too intractable for a man of the world, invented the game, in usum Delphini, that was so homogeneous with his majesty—and so on.

Adelaide.

Checkmate! You should fill up the chasms in our histories, Liebtraut.

[They rise.

Liebtraut.

To supply those in our family registers would be more profitable. The merits of our ancestors being available for a common object with their portraits, namely, to cover the naked sides of our chambers and of our characters, one might turn such an occupation to good account.

Bishop.

He will not come, you say!

Adelaide.

I beseech you, banish him from your thoughts.

Bishop.

What can it mean?

Liebtraut.

What! The reasons may be told over like the beads of a rosary. He has been seized with a fit of compunction, of which I could soon cure him.

Bishop.

Do so; ride to him instantly.

Liebtraut.

My commission—

Bishop.

Shall be unlimited. Spare nothing to bring him back.

Liebtraut.

May I venture to use your name, gracious lady?

Adelaide.

With discretion.

Liebtraut.

That’s a vague commission.

Adelaide.

Do you know so little of me, or are you so young as not to understand in what tone you should speak of me to Weislingen?

Liebtraut.

In the tone of a fowler’s whistle, I think.

Adelaide.

You will never be reasonable.

Liebtraut.

Does one ever become so, gracious lady?

Bishop.

Go! go! Take the best horse in my stable; choose your servants, and bring him hither.

Liebtraut.

If I do not conjure him hither, say that an old woman who charms warts and freckles knows more of sympathy than I.

Bishop.

Yet, what will it avail? Berlichingen has wholly gained him over. He will no sooner be here than he will wish to return.

Liebtraut.

He will wish it, doubtless; but can he go? A prince’s squeeze of the hand and the smiles of a beauty, from these no Weislingen can tear himself away. I have the honor to take my leave.

Bishop.

A prosperous journey!

Adelaide.

Adieu!

[ExitLiebtraut.

Bishop.

When he is once here, I must trust to you.

Adelaide.

Would you make me your lime-twig?

Bishop.

By no means.

Adelaide.

Your call-bird then?

Bishop.

No; that is Liebtraut’s part. I beseech you do not refuse to do for me what no other can.

Adelaide.

We shall see.

[Exeunt.