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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.—

Guilbert’sDwelling.

Sophie Guilbert, MarieandDon Buenco.

Buenco.

You have had a bad night?

Sophie.

I told her so yesterday evening. She was so foolishly merry and prattled till eleven, then she was overheated, could not sleep, and now again she has no breath and weeps the whole morning.

Marie.

Strange that our brother comes not! It is two days past the time.

Sophie.

Only have patience, he will not fail us.

Marie.

(Rising up.) How anxious am I to see this brother, my avenger and my saviour. I scarcely remember him.

Sophie.

Indeed! Oh, I can well picture him to myself; he was a fiery, open, brave boy of thirteen years, when our father sent us here.

Marie.

A noble great soul. You have read the letter which he wrote when he learned my unhappiness; each letter of it is enshrined in my heart. “If you are guilty,” writes he, “expect no forgiveness; over and above your misery the contempt of a brother will fall heavily upon you, and the curse of a father. If you are innocent, oh, then, all vengeance, all, all glowing vengeance on the traitor!”—I tremble! He will come. I tremble, not for myself, I stand before God in my innocence! You must, my friends—I know not what I want! O Clavigo!

Sophie.

You will not listen! You will kill yourself.

Marie.

I will be still. Yes, I will not weep. It seems to me, however, I could have no more tears. And why tears? I am only sorry that I make my life bitter to you. For when all is said and done, what have I to complain of? I have had much joy as long as our old friend still lived. Clavigo’s love has caused me much joy, perhaps more than mine for him. And now, what is it after all? of what importance am I? What matters it if a girl’s heart is broken? What matters it whether she pines away and torments her poor young heart?

Buenco.

For God’s sake, mademoiselle!

Marie.

Whether it is all one to him—that he loves me no more? Ah! why am I not more amiable? But he should pity, at least pity me!—that the hapless girl, to whom he had made himself so needful, now without him should pine and weep her life away—Pity! I wish not to be pitied by this man.

Sophie.

If I could teach you to despise him—the worthless, detestable man!

Marie.

No, sister, worthless he is not; and must I then despise him whom I hate? Hate! Indeed, sometimes I can hate him—sometimes, when the Spanish spirit possesses me. Lately, oh! lately, when we met him, his look wrought full, warm love in me! And as I again came home, and his manner recurred to me, and the calm, cold glance that he cast over me, while beside the brilliant Donna; then I became a Spaniard in my heart, and seized my dagger and poison, and disguised myself. Are you amazed, Buenco? All in thought only, of course!

Sophie.

Foolish girl!

Marie.

My imagination led me after him. I saw him as he lavished all the tenderness, all the gentleness at the feet of his new love—the charms with which he poisoned me—I aimed at the heart of the traitor! Ah! Buenco!—all at once the good-hearted French girl was again there, who knows of no love-sickness, and no daggers for revenge. We are badly off! Vaudevilles to entertain our lovers, fans to punish them, and, if they are faithless?—Say, sister, what do they do in France when lovers are faithless?

Sophie.

They curse them.

Marie.

And—

Sophie.

And let them go their ways.

Marie.

Go!—and why shall I not let Clavigo go? If that is the French fashion, why shall it not be so in Spain? Why shall a Frenchwoman not be a Frenchwoman in Spain? We will let him go and take to ourselves another; it appears to me they do so with us too.

Buenco.

He has broken a sacred promise, and no light love-affair, no friendly attachment. Mademoiselle, you are pained, hurt even to the depths of your heart. Oh! never was my position of an unknown, peaceful citizen of Madrid so burdensome, so painful as at this moment, in which I feel myself so feeble, so powerless to obtain justice for you against the treacherous courtier!

Marie.

When he was still Clavigo, not yet recorder of the king; when he was the stranger, the guest, the new-comer in our house, how amiable was he, how good! How all his ambition, all his desire to rise, seemed to be a child of his love! For me, he struggled for name, rank, fortune; he has all now, and I!—

Guilbertcomes.

Guilbert.

(Privately to his wife.) Our brother is coming!

Marie.

My brother! (She trembles; they conduct her to a seat.) Where? where? Bring him to me! Take me to him!

Beaumarchaiscomes.

Beaumarchais.

My sister! (Quitting the eldest to rush towards the youngest.) My sister! My friends! Oh, my sister!

Marie.

Is it you indeed? God be thanked it is you!

Beaumarchais.

Let me come to myself.

Marie.

My heart!—my poor heart!

Sophie.

Be calm! Dear brother, I hoped to see you more tranquil.

Beaumarchais.

More tranquil! Are you, then, tranquil? Do I not behold in the wasted figure of this dear one, in your tearful eyes, your sorrowful paleness, in the dead silence of your friends, that you are as wretched as I have imagined you to be during all the long way? and more wretched; for I see you, I hold you in my arms; your presence redoubles my sufferings. Oh, my sister!

Sophie.

And our father?

Beaumarchais.

He blesses you and me, if I save you.

Buenco.

Sir, permit one unknown who, at the first look, recognizes in you a noble, brave man, to bear witness to the deep interest which all this matter inspires in me. Sir, you undertake this long journey to save, to avenge your sister! Welcome! be welcome as a guardian angel, though, at the same time, you put us all to the blush!

Beaumarchais.

I hoped, sir, to find in Spain such hearts as yours; that encouraged me to take this step. Nowhere, nowhere in the world are feeling, congenial souls wanting, if only one steps forward whose circumstances leave him full freedom to carry his courage through. And oh, my friends, I feel full of hope! Everywhere there are men of honor among the powerful and great, and the ear of majesty is rarely deaf; only our voice is almost always too weak to reach to their height.

Sophie.

Come, sister! come, rest a moment. She is quite beside herself.

[They lead her away.

Marie.

My brother!

Beaumarchais.

God willing, if you are innocent, then all, all vengeance on the traitor! (ExeuntMarieandSophie.) My brother!—my friends!—I see it in your looks that you are so. Let me come to myself, and then!—a pure, impartial recital of the whole story. This must determine my actions. The feeling of a good cause shall confirm my courage; and, believe me, if we are right, we shall get justice.

ACT II.