The Online Library of Liberty

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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 X.—

An Apartment inWeislingen’sCastle.

Weislingen.

(Alone.) I am so ill, so weak—all my bones are hollow—this wretched fever has consumed their very marrow. No rest, no sleep, by day or night! and when I slumber, such fearful dreams! Last night methought I met Goetz in the forest. He drew his sword, and defied me to combat. I grasped mine, but my hand failed me. He darted on me a look of contempt, sheathed his weapon, and passed on. He is a prisoner; yet I tremble to think of him. Miserable man! Thine own voice has condemned him; yet thou tremblest like a malefactor at his very shadow. And shall he die? Goetz! Goetz! we mortals are not our own masters. Fiends have empire over us, and shape our actions after their own hellish will, to goad us to perdition. (Sits down.) Weak! Weak! Why are my nails so blue? A cold, clammy, wasting sweat drenches every limb. Everything swims before my eyes. Could I but sleep! Alas!

EnterMaria.

Weislingen.

Mother of God! Leave me in peace—leave me in peace! This spectre was yet wanting. Maria is dead, and she appears to the traitor. Leave me, blessed spirit! I am wretched enough.

Maria.

Weislingen, I am no spirit. I am Maria.

Weislingen.

It is her voice!

Maria.

I came to beg my brother’s life of thee. He is guiltless, however culpable he may appear.

Weislingen.

Hush! Maria—angel of heaven as thou art, thou bringest with thee the torments of hell! Speak no more!

Maria.

And must my brother die? Weislingen, it is horrible that I should have to tell thee he is guiltless; that I should be compelled to come as a suppliant to restrain thee from a most fearful murder. Thy soul to its inmost depths is possessed by evil powers. Can this be Adelbert?

Weislingen.

Thou seest—the consuming breath of the grave hath swept over me—my strength sinks in death—I die in misery, and thou comest to drive me to despair. Could I but tell thee all, thy bitterest hate would melt to sorrow and compassion. O Maria! Maria!

Maria.

Weislingen, my brother is pining in a dungeon—the anguish of his wounds—his age—Oh, hadst thou the heart to bring his gray hairs— Weislingen, we should despair.

Weislingen.

Enough!—

[Rings a hand-bell.

EnterFrancis,in great agitation.

Francis.

Gracious sir.

Weislingen.

Those papers, Francis. (He gives them.Weislingentears open a packet and showsMariaa paper.) Here is thy brother’s death-warrant signed!

Maria.

God in heaven!

Weislingen.

And thus I tear it. He shall live! But can I restore what I have destroyed? Weep not so, Francis! Dear youth, my wretchedness lies deeply at thy heart.

[Francisthrows himself at his feet, and clasps his knees.

Maria.

(Apart.) He is ill—very ill. The sight of him rends my heart. I loved him! And now that I again approach him, I feel how dearly—

Weislingen.

Francis, arise and cease to weep—I may recover! While there is life there is hope.

Francis.

You cannot! You must die!

Weislingen.

Must?

Francis.

(Beside himself.) Poison! poison!—from your wife! I—I gave it.

[Rushes out.

Weislingen.

Follow him, Maria—he is desperate.

[ExitMaria.

Poison from my wife! Alas! alas! I feel it. Torture and death!

Maria.

(Within.) Help! help!

Weislingen.

(Attempts in vain to rise.) God! I cannot.

Maria.

(Re-entering.) He is gone! He threw himself desperately from a window of the hall into the river.

Weislingen.

It is well with him!—Thy brother is out of danger! The other commissioners, especially Seckendorf, are his friends. They will readily allow him to ward himself upon his knightly word. Farewell, Maria! Now go.

Maria.

I will stay with thee—thou poor forsaken one!

Weislingen.

Poor and forsaken indeed! O God, Thou art a terrible avenger! My wife!

Maria.

Remove from thee that thought. Turn thy soul to the throne of mercy.

Weislingen.

Go, thou gentle spirit! leave me to my misery! Horrible! Even thy presence, Maria, even the attendance of my only comforter, is agony.

Maria.

(Aside.) Strengthen me, Heaven! My soul droops with his.

Weislingen.

Alas! alas! Poison from my wife! My Francis seduced by the wretch! She waits—listens to every horse’s hoof for the messenger who brings her the news of my death. And thou too, Maria, wherefore art thou come to awaken every slumbering recollection of my sins? Leave me, leave me that I may die!

Maria.

Let me stay! Thou art alone: think I am thy nurse. Forget all. May God forgive thee as freely as I do!

Weislingen.

Thou spirit of love! pray for me! pray for me! My heart is seared.

Maria.

There is forgiveness for thee.—Thou art exhausted.

Weislingen.

I die! I die! and yet I cannot die. In the fearful contest between life and death lie the torments of hell.

Maria.

Heavenly Father, have compassion upon him. Grant him but one token of Thy love, that his heart may be opened to comfort, and his soul to the hope of eternal life, even in the agony of death!