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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.

ACT V.

SCENE I.—

The street before the house ofGuilbert.Night.

[The house is open, and before the door stand three men clad in black mantles, holding torches.Clavigoenters, wrapped in a cloak, his sword under his arm; aServantgoes before him with a torch.

Clavigo.

I told you to avoid this street.

Servant.

We must have gone a great way round, sir, and you are in such haste. It is not far hence where Don Carlos is lodged.

Clavigo.

Torches there!

Servant.

A funeral. Come on, sir.

Clavigo.

Marie’s abode! A funeral! A death-agony shudders through all my limbs! Go, ask whom they are going to bury.

Servant.

(To the men.) Whom are you going to bury?

The Men.

Marie de Beaumarchais.

[Clavigosits down on a stone and covers himself with a cloak.

Servant.

(Comes back.) They are going to bury Marie de Beaumarchais.

Clavigo.

(Springing up.) Must thou repeat it? Repeat that word of thunder which strikes all the marrow out of my bones?

Servant.

Peace, sir! Come on, sir. Consider the danger by which you are surrounded.

Clavigo.

To hell with thee, reptile! I remain.

Servant.

O Carlos! Oh, that I could find thee!—Carlos!—he has lost his reason.

[Exit.

SCENE II.

Clavigo.The Mutes in the distance.

Clavigo.

Dead! Marie dead! Torches! her dismal attendants! it is a trick of enchantment, a night vision, which terrifies me; which holds up to me a mirror, in which I may see foreboded the end of all my treacheries. But there is still time. Still!—I tremble—my heart melts with horror! No! no! thou shalt not die—I come, I come! Vanish, ye spirits of the night, who with your horrible terrors set yourselves in my way. (He goes up to them.) Vanish—they remain! Ha! they look round after me! Woe! woe is me! They are men like myself. It is true! true! Canst thou comprehend it? She is dead! It seizes me amid all the horrors of midnight—the feeling—she is dead. There she lies, the flower at your feet! and thou—Oh, have mercy on me, God in heaven—I have not killed her! Hide yourselves, ye stars! look not down!—ye who have so often beheld the villain with feelings of the most heartfelt happiness leave this threshold; through this very street float along in golden dreams with music and song, and enrapture his maiden listening at the secret casement and lingering in transport. And now I fill the house with wailing and sorrow—and this scene of my bliss with the funeral song—Marie! Marie! take me with thee! take me with thee! (Mournful music breathes forth a few sounds from within.) They are setting out on the way to the grave. Stop! stop! Shut not the coffin. Let me see her once more. (He runs up to the house.) Ha! into whose presence am I rushing? Whom to face in his terrible sorrow? Her friends! her brother! whose breast is panting with raving grief! (The music recommences.) She calls me! she calls me! I come! What anguish is this which overwhelms me? What shuddering withholds me?

[The music begins for the third time and continues. The torches move before the door; three others come out to them, who range themselves in order to inclose the funeral procession, which now comes out of the house. Six bearers carry the bier, upon which lies the coffin, covered.

SCENE III.

GuilbertandBuenco(in deep mourning).

Clavigo.

(Coming forward.) Stay!

Guilbert.

What voice is that?

Clavigo.

Stay!

[The bearers stop.

Buenco.

Who dares to interrupt the solemn funeral?

Clavigo.

Set it down.

Guilbert.

Ha!

Buenco.

Wretch! Are thy deeds of shame not yet ended? Is thy victim not safe from thee in the coffin?

Clavigo.

No more! Make me not frantic. The wretched are dangerous; I must see her.

[He tears off the pall and the lid of the coffin.Marieis seen lying within it, clad in white, her hands clasped before her;Clavigosteps back and covers his face.

Buenco.

Wilt thou awake her to murder her again?

Clavigo.

Poor mocker! Marie!

[He falls down before the coffin.

SCENE IV.

EnterBeaumarchais.The preceding.

Beaumarchais.

Buenco has left me. They say she is not dead. I must see, spite of hell, I must see her. Ha! torches! a funeral!

[He runs hastily up to it, gazes on the coffin, and falls down speechless. They raise him up; he is as if deprived of sense;Guilbertholds him.

Clavigo.

(Who is standing on the other side of the coffin.) Marie! Marie!

Beaumarchais.

(Springing up.) That is his voice. Who calls Marie? At the sound of that voice what burning rage starts into my veins!

Clavigo.

It is I. (Beaumarchaisstaring wildly around and grasping his sword.Guilbertholds him.) I fear not thy blazing eyes, nor the point of thy sword. Oh! look here, here, on these closed eyes—these clasped hands!

Beaumarchais.

Dost thou show me that sight?

[He tears himself loose, runs uponClavigo.who instantly draws; they fight;Beaumarchaispierces him through the breast.

Clavigo.

(Falling.) I thank thee, brother; thou marriest us.

[He falls upon the coffin.

Beaumarchais.

(Tearing him away.) Hence from this saint, thou fiend!

Clavigo.

Alas!

[The bearers raise up his body and support him.

Beaumarchais.

His blood! Look up, Marie, look upon thy bridal ornaments, and then close thine eyes forever. See how I have consecrated thy place of rest with the blood of thy murderer! Charming! Glorious!

SCENE V.

EnterSophie.The preceding.

Sophie.

My brother? Oh, my God, what is the matter?

Beaumarchais.

Draw nearer, my love, and see! I hoped to have strewn her bridal bed with roses; see the roses with which I adorn her on her way to heaven!

Sophie.

We are lost!

Clavigo.

Save yourself, rash one! save yourself, ere the dawn of day. May God, who sent you for an avenger, conduct you! Sophie, forgive me. Brothers, friends, forgive me.

Beaumarchais.

How the sight of his gushing blood extinguishes all the glowing vengeance within me! how with his departing life vanishes all my rage! (Going up to him.) Die! I forgive thee.

Clavigo.

Your hand! and yours, Sophie! and yours!

[Buencohesitates.

Sophie.

Give it him, Buenco.

Clavigo.

I thank you; you are as good as ever; I thank you. And thou, O spirit of my beloved, if thou still hoverest around this place, look down, see these heavenly favors, bestow thy blessing, and do thou too forgive me. I come! I come! Save yourself, my brother. Tell me, did she forgive me? How did she die?

Sophie.

Her last word was thy unhappy name. She departed without taking leave of us.

Clavigo.

I will follow her and bear your farewells to her.

SCENE VI.

Carlos,aServant.The preceding.

Carlos.

Clavigo! murderers!

Clavigo.

Hear me, Carlos! Thou seest here the victim of thy prudence; and now, I conjure thee, for the sake of that blood, in which my life irrevocably flows away, save my brother.

Carlos.

Oh, my friend! (To the servant.) You standing there? Fly for a surgeon.

[Exit servant.

Clavigo.

It is in vain; save, save my unhappy brother! thy hand thereon. They have forgiven me, and so forgive I thee. Accompany him to the frontiers, and—oh!

Carlos.

(Stamping with his feet.) Clavigo! Clavigo!

Clavigo.

(Drawing nearer to the coffin, upon which they lay him down.) Marie! Thy hand!

[He unfolds her hands and grasps the right hand.

Sophie.

(ToBeaumarchais.) Hence, unhappy one, away!

Clavigo.

I have her hand, her cold, dead hand. Thou art mine. Yet this last bridal kiss! Alas!

Sophie.

He is dying! Save thyself, brother!

[Beaumarchaisfalls onSophie’sneck. She returns the embrace and makes a sign for him to withdraw.

Stella.

A Tragedy.