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 II.

Iphigenia, Arkas.

Arkas.

Priestess, with speed conclude the sacrifice!

Impatiently the king and people wait.

Iphigenia.

I had perform’d my duty and thy will,

Had not an unforeseen impediment

The execution of my purpose thwarted.

Arkas.

What is it that obstructs the king’s commands?

Iphigenia.

Chance, which from mortals will not brook control.

Arkas.

Possess me with the reason, that with speed

I may inform the king, who hath decreed

The death of both.

Iphigenia.

The gods have not decreed it.

The elder of these men doth bear the guilt

Of kindred murder; on his steps attend

The dread Erinnys. In the inner fane

They seiz’d upon their prey, polluting thus

The holy sanctuary. I hasten now,

Together with my virgin-train, to bathe

The goddess’ image in the sea, and there

With solemn rites its purity restore.

Let none presume our silent march to follow!

Arkas.

This hindrance to the monarch I’ll announce:

Commence not thou the rite till he permit.

Iphigenia.

The priestess interferes alone in this.

Arkas.

An incident so strange the king should know.

Iphigenia.

Here, nor his counsel nor command avails.

Arkas.

Oft are the great consulted out of form.

Iphigenia.

Do not insist on what I must refuse.

Arkas.

A needful and a just demand refuse not.

Iphigenia.

I yield, if thou delay not.

Arkas.

I with speed

Will bear these tidings to the camp, and soon

Acquaint thee, priestess, with the king’s reply.

There is a message I would gladly bear him;

’Twould quickly banish all perplexity:

Thou didst not heed thy faithful friend’s advice.

Iphigenia.

I willingly have done whate’er I could.

Arkas.

E’en now ’tis not too late to change thy purpose.

Iphigenia.

To do so is, alas, beyond our power.

Arkas.

What thou would’st shun, thou deem’st impossible.

Iphigenia.

Thy wish doth make thee deem it possible.

Arkas.

Wilt thou so calmly venture everything?

Iphigenia.

My fate I have committed to the gods.

Arkas.

The gods are wont to save by human means.

Iphigenia.

By their appointment everything is done.

Arkas.

Believe me, all doth now depend on thee.

The irritated temper of the king

Alone condemns these men to bitter death.

The soldiers from the cruel sacrifice

And bloody service long have been disus’d;

Nay, many, whom their adverse fortunes cast

In foreign regions, there themselves have felt

How godlike to the exil’d wanderer

The friendly countenance of man appears.

Do not deprive us of thy gentle aid!

With case thou canst thy sacred task fulfil;

For nowhere doth benignity, which comes

In human form from heaven, so quickly gain

An empire o’er the heart, as where a race,

Gloomy and savage, full of life and power,

Without external guidance, and oppress’d

With vague forebodings, bear life’s heavy load.

Iphigenia.

Shake not my spirit, which thou canst not bend

According to thy will.

Arkas.

While there is time,

Nor labor nor persuasion shall be spar’d.

Iphigenia.

Thy labor but occasions pain to me;

Both are in vain; therefore, I pray, depart.

Arkas.

I summon pain to aid me, ’tis a friend

Who counsels wisely.

Iphigenia.

Though it shakes my soul.

It doth not banish thence my strong repugnance.

Arkas.

Can then a gentle soul repugnance feel

For benefits bestow’d by one so noble?

Iphigenia.

Yes, when the donor, for those benefits,

Instead of gratitude, demands myself.

Arkas.

Who no affection feels doth never want

Excuses. To the king I will relate

What hath befallen. Oh, that in thy soul

Thou would’st revolve his noble conduct to thee

Since thy arrival to the present day!