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 III.

Tasso.

(Alone.) I must believe, forsooth, that no one hates me,—

That no one persecutes, that all the guile,

The subtle malice that environs me,

Is but the coinage of my own sick brain!

I must acknowledge that myself am wrong!

And am unjust to many, who in sooth

Deserve it not! What! This confess e’en now,

When clearly in the open face of day

Appear their malice and my rectitude!

I ought to feel most deeply, how the prince

To me with generous breast his grace imparts.

And in rich measure loads me with his gifts,

E’en at the time when he is weak enough

To let his eyes be blinded by my foes,

Yea, doubtless, and his hand be fetter’d too!

His own delusion he cannot perceive,

That they deluders are, I may not prove;

And that uncheck’d he may delude himself.

And they delude him whensoe’er they please,

I still must hold my peace,—must yield forsooth!

And who thus counsels me? With prudent zeal.

And thoughtful kindness, who doth urge me thus?

Leonora’s self, Leonora Santivale.

Considerate friend! Ha, ha, I know thee now!

Oh, wherefore did I ever trust her words?

She was not honest, when she utter’d forth

To me her favor and her tenderness,

With honey’d words! No, hers hath ever been

And still remains a crafty heart, she turns

With cautious, prudent step where fortune smiles.

How often have I willingly deceiv’d

Myself, in her! And yet it was in truth

But mine own vanity deluded me!

I knew her, but self-flatter’d, argu’d thus:—

True, she is so towards others, but towards thee

Her heart is honest, her intention pure.

Mine eyes are open now,—alas, too late!

I was in favor—on the favorite

How tenderly she fawn’d! I’m fallen now,

And she, like fortune, turns her back on me.

Yes, now she comes, the agent of my foe,

She glides along, the little artful snake,

Hissing, with slipp’ry tongue, her magic tones.

How gracious seem’d she! More than ever gracious!

How soothingly her honey’d accents flow’d!

Yet could the flattery not long conceal

The false intention; on her brow appear’d

Too legibly inscrib’d the opposite

Of all she utter’d. Quick I am to feel

Whene’er the entrance to my heart is sought

With a dishonest purpose. I should hence!

Should hie to Florence, with convenient speed.

And why to Florence? Ah, I see it all,

There reigns the rising house of Medici;

True, with Ferrara not in open feud,

But secret rivalry, with chilling hand,

Doth hold asunder e’en the noblest hearts.

If from those noble princes I should reap

Distinguish’d marks of favor, as indeed

I may anticipate, the courtier here

Would soon impugn my gratitude and truth;

And would, with easy wile, achieve his purpose.

Yes, I will go, but not as ye desire;

I will away, and farther than ye think.

Why should I linger? Who detains me here?

Too well I understood each several word

That I drew forth from Leonora’s lips!

With anxious heed each syllable I caught;

And now I fully know the princess’ mind—

That too is certain; let me not despair!

“Without reluctance she will let me go,

If it promote my welfare.” Would her heart

Were master’d by a passion that would whelm

Me and my welfare! Oh, more welcome far

The grasp of death than of the frigid hand

That passively resigns me!—Yes, I go!—

Now be upon thy guard, and let no show

Of love or friendship bind thee! None hath power

Now to deceive thee, if not self-deceiv’d.