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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 the Last.—

The Prison Garden.

LerseandMaria.

Maria.

Go in, and see how it stands with them.

[ExitLerse.

EnterElizabethandKeeper.

Elizabeth.

(To theKeeper.) God reward your kindness and attention to my husband! (ExitKeeper.) Maria, how hast thou sped?

Maria.

My brother is safe! But my heart is torn asunder. Weislingen is dead! poisoned by his wife. My husband is in danger—the princes are becoming too powerful for him: they say he is surrounded and besieged.

Elizabeth.

Believe not the rumor; and let not Goetz hear it.

Maria.

How is it with him?

Elizabeth.

I feared he would not survive till thy return: the hand of the Lord is heavy on him. And George is dead!

Maria.

George! The gallant boy!

Elizabeth.

When the miscreants were burning Miltenberg his master sent him to check their villany. A body of cavalry charged upon them: had they all behaved as George, they must all have had as clear a conscience. Many were killed, and George among them; he died the death of a warrior.

Maria.

Does Goetz know it?

Elizabeth.

We conceal it from him. He questions me ten times a day concerning him, and sends me as often to see what is become of him. I fear to give his heart this last wound.

Maria.

O God! what are the hopes of this world?

EnterGoetz, LerseandKeeper.

Goetz.

Almighty God! how lovely it is beneath Thy heaven! How free! The trees put forth their buds, and all the world awakes to hope.—Farewell, my children! my roots are cut away, my strength totters to the grave.

Elizabeth.

Shall I not send Lerse to the convent for thy son, that thou may’st once more see and bless him?

Goetz.

Let him be; he needs not my blessing, he is holier than I.—Upon our wedding-day, Elizabeth, could I have thought I should die thus!—My old father blessed us, and prayed for a succession of noble and gallant sons—God, Thou hast not heard him. I am the last.—Lerse, thy countenance cheers me in the hour of death more than in our most daring fights: then, my spirit encouraged all of you; now, thine supports me.—Oh, that I could but once more see George, and sun myself in his look! You turn away and weep. He is dead? George is dead? Then die, Goetz! Thou hast outlived thyself, outlived the noblest of thy servants.—How died he? Alas! they took him among the incendiaries, and he has been executed?

Elizabeth.

No! he was slain at Miltenberg! while fighting like a lion for his freedom.

Goetz.

God be praised! He was the kindest youth under the sun, and one of the bravest.—Now release my soul. My poor wife! I leave thee in a wicked world. Lerse, forsake her not! Look your hearts more carefully than your doors. The age of fraud is at hand, treachery will reign unchecked. The worthless will gain the ascendency by cunning, and the noble will fall into their net. Maria, may God restore thy husband to thee! may he not fall the deeper for having risen so high! Selbitz is dead, and the good emperor, and my George—give me a draught of water!— Heavenly air! Freedom! freedom!

[He dies.

Elizabeth.

Freedom is above! above—with thee! The world is a prison-house.

Maria.

Noble man! Woe to this age that rejected thee!

Lerse.

And woe to the future, that shall misjudge thee.

IPHIGENIA IN TAURIS

A DRAMA

DRAMATIS PERSONÆ.

ACT I.