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 V.

Tasso.

(Alone.) Ay, go, and in the fond assurance go,

That thou hast power to bend me to thy will.

I learn dissimulation, for thou art

An able master, and I prompt to learn.

Thus life full oft compels us to appear,

Yea, e’en to be like those, whom in our hearts

We haughtily despise. How clearly now

I see the subtle web of court intrigue!

Antonio desires to drive me hence,

Yet would not seem to drive me. He doth play

The kind, considerate friend, that I may seem

Incapable and weak; installs himself

My guardian too, degrading to a child,

Him whom he could not bend to be a slave.

With clouds of error thus he darkens truth,

And blinds alike the princess and the prince.

They should indeed retain me, so he counsels,

For with fair talents Nature has endow’d me;

Although, alas, she has accompanied

Her lofty gifts with many weaknesses,

With a foreboding spirit, boundless pride,

And sensibility too exquisite.

It cannot now be otherwise, since Fate,

In her caprice, has fashion’d such a man;

We must consent to take him as he is,

Be patient, bear with him, and then, perchance,

On days auspicious, as an unsought good,

Find pleasure in his joy-diffusing gift;

While for the rest, why e’en as he was born,

He must have license both to live and die.

artist: herm. schneider.

TORQUATO TASSO. ACT IV. SCENE IV.

[Editor: illegible text]

Where now Alphonso’s firm and constant mind?

The man who braves his foe, who shields his friend,

In him who treats me thus can I discover?

Now I discern the measure of my woe!

This is my destiny,—towards me alone

All change their nature,—ay, the very men,

Who are with others steadfast, firm and true,

In one brief moment, for an idle breath,

Swerve lightly from their constant quality.

Has not this man’s arrival here, alone,

And in a single hour, my fortune marr’d?

Has he not, even to its very base,

Laid low the structure of my happiness?

This, too, must I endure,—even to-day!

Yea, as before all press’d around me, now

I am by all abandon’d; as before

Each strove to seize, to win me for himself,

All thrust me from them, and avoid me now.

And wherefore? My desert and all the love,

Wherewith I was so bounteously endow’d,

Does he alone in equal balance weigh?

Yes! all forsake me now. Thou too! Thou too!

Beloved princess, thou too leavest me!

Hath she, to cheer me in this dismal hour,

A single token of her favor sent?

Have I deserv’d this from her?—Thou, poor heart,

Whose very nature was to honor her!—

How, when her gentle accents touch’d mine ear,

Feelings unutterable thrill’d my breast!

When she appear’d, a more ethereal light

Outshone the light of day. Her eyes, her lips

Drew me resistlessly, my very knees

Trembled beneath me, and my spirit’s strength

Was all requir’d to hold myself erect

And curb the strong desire to throw myself

Prostrate before her. Scarcely could I quell

The giddy rapture. Be thou firm, my heart

No cloud obscure thee, thou clear mind! She, too,

Dare I pronounce what yet I scarce believe?

I must believe, yet dread to utter it.

She too! She too! Think not the slightest blame,

Only conceal it not. She too! She too!

Alas! This word, whose truth I ought to doubt

Long as a breath of faith sarviv’d in me;

This word, like fate’s decree, doth now at last.

Engrave itself upon the brazen rim

That rounds the full-scroll’d tablet of my woe

Now first, mine enemies are strong indeed;

Forever now I am of strength bereft.

How shall I combat when she stands oppos’d

Amidst the hostile army? How endure

If she no more reach forth her hand to me?

If her kind glance the suppliant meet no more?

Ay, thou hast dar’d to think, to utter it,

And ere thou could’st have fear’d,—behold ’tis true!

And now, ere yet despair, with brazen talons,

Doth rend asunder thy bewilder’d brain,

Lament thy bitter doom, and utter torth

The unavailing cry—She too! She too!

ACT V.