Skip to main content

Full text of "Shakespeare in Germany in the sixteenth and seventeenth centuries; an account of English actors in Germany and the Netherlands"

See other formats 


IN  THE 


SIXTEENTH  AND  SEVENTEENTH  CENTURIES: 


AN  ACCOUNT 


OF 


ENGLISH  ACTORS  IN  GERMANY 

AND  THE  NETHERLANDS 


AND  OF  THE 


PLAYS  PERFORMED  BY  THEM  DURING  THE  SAME  PERIOD. 


BY 


ALBERT  COHN. 


WITH  TWO  PLATES  OF  FACSIMILES. 


LONDON: 

ASllER  &  Co.  13,  BEDFORD  STREET,  COVENT  GARDEN, 

AND  AT  BERLIN:  20,  UNTER  DEN  LINDEN. 
1865. 


s 


PREFACE. 


If  the  wishes  expressed  by  numerous  competent  judges  may  be  regarded  as  a 
sufficient  criterion  for  the  utility  of  an  undertaking,  I  am  justified  in  hoping  that 
the  essay  now  presented  to  the  reader  will  not  altogether  fail  of  its  proposed 
object.  For  some  time  past,  indeed,  whoever  has  had  occasion  to  speak  of  the 
so-called  English  Comedians  and  their  relation  to  the  old  German  and  English 
stages,  has  always  complained  of  the  want  of  a  documentary  history  relating  to  them. 
In  the  year  1849,  having  been  fortunate  enough  to  make  the  personal  acquain- 
tance of  Ludwig  Tieck,  I  obtained  from  him  so  much  interesting  information  re- 
garding the  ^^earance  of  English  Actors  m  Gennany^asjto  cause  the  liveliest 
desire  to  follow  ^up~The""traces  of  "those  strolling  players.  The  remarks  by  which 
Tieck  in  his  'Old  German  Theatre'  first  directed  attention  to  this  subject  in  the 
year  1817,  are  calculated  to  stimulate  the  student  to  further  investigations  in  the 
same  field  rather  than  to  satisfy  him ;  and  in  the  historians  of  literature  who  have 
succeeded  Tieck,  I  have  only  met  with  contradictory  views,  based  more  on 
conjecture  than  on  research.  One  fact  alone  seemed  to  be  fully  evident:  that 
the  whole  subject  of  the  actors,  their  origin,  their  objects,  and  also  the  pieces 
which  they  performed,  was  veiled  in  obscurity.  It  was  the  custom  to  speak  of 
them  as  of  a  myth,  in  the  consideration  of  which  we  were  to  base  all  information 
regarding  them  on  legendary  rather  than  on  historical  ground.  Nor  indeed  was 
there  any  firm  footing  to  be  obtained  in  the  materials  which  had  become  known 
up  to  that  time.  Since  then,  I  endeavoured  to  throw  some  light  upon  the  question 
in  a  few  scattered  articles,  which  at  distant  intervals  appeared  in  the  Athenaeum. 
These  were  followed  up  by  valuable  contributions  from  other  quarters;  but  quite 
recently  only  a  few  happy  discoveries  have  put  me  in  possession  of  materials  which 
several  of  my  literary  friends  considered  as  calculated  to  give  a  certain  degree  of 

r 


II  PREFACE. 

completeness  to  the  results  of  previous  researches.  In  saying  this,  however,  I 
must  not  be  understood  as  intending  to  state  that  I  believe  the  subject  to  be 
exhausted  in  the  present  essay.  So  far  from  entertaining  such  an  opinion,  I  on 
the  contrary  am  well  aware  that  in  many  parts  of  my  attempt  the  matter  offered 
is  incomplete,  and  that  I  can  lay  claim  to  nothing  more  than  having  made  my 
contribution's  to  a  structure,  the  superstructure  upon  which,  I  hope,  will  be  con- 
tinued by  abler  hands  than  mine.  Nor  should  I  have  ventured  to  publish  matter 
thus  casually  collected,  had  I  not  entertained  the  conviction,  that  any  essay  how- 
ever imperfect,  if  throwing  any  light  upon  a  question  connected  with  Shakespeare, 
cannot  be  altogether  useless.  I  had  also  originally  intended  to  avail  myself  of  an 
external  incident  as  a  motive  for  the  publication  of  the  present  pages,  and  to  found 
on  it  a  claim  to  the  reader's  indulgence,  as  I  had  hoped  to  publish  it  as  a  con- 
tribution to  the  Shakespeare  Tercentenary  Festival;  but  circumstances  over  which 
I  had  no  control  deprived  me  of  this  advantage.  The  work  was  nearly  through 
the  press,  when  its  further  progress  had  to  be  interrupted  for  more  than  six 
months. 

Four  out  of  the  six  old  German  Plays,  the  first  four  pieces  of  the  present 
work  —  which  constitute  its  most  important  part,  were  to  have  been  published  more 
than  twenty  years  ago  by  the  Shakespeare  Society  in  London,  as  may  be  gathered 
from  the  list  of  their  intended  publications;  the  Society  however  was  dissolved 
without  having  carried  its  intention  into  effect.  To  these  four  pieces  two  others  are 
added  which  possess  no  less  interest  for  the  present  purpose.  In  all  the  six 
pieces,  here  presented  to  the  reader  in  the  original  language  with  an  English  trans- 
lation annexed,  the  old  printed  editions  or  manuscripts  have  been  faithfully  ad- 
hered to.  In  the  second  piece  alone,  'The  Beautiful  Phaenicia'  by  Jacob  Ayrer, 
I  have  confined  myself  to  extracts,  because  the  whole  piece,  which  is  extremely 
long,  contains  a  great  deal  of  matter  entirely  foreign  to  the  object  of  the  present  essay. 
For  the  translation  of  these  pieces  I  am  indebted  to  friends,  who  kindly  granted  me  • 
their  valuable  assistance  and  to  whom  it  is  a  special  pleasure  for  me  to  express 
here  publicly  my  sincerest  thanks.  The  'Beautiful  Sidea'  and  the  'Phaenicia'  have 
been  translated  by  Professor  Thomas  Solly.  Any  one  who  has  made  the  attempt 
to  give  a  nearly  literal  translation  in  another  language  of  the  concise  and  pithy 
style  of  the  German  poets  of  the  sixteenth  century,  preserving  moreover  the 
metre  of  the  original,  will  be  able  to  appreciate  the  difficulties  of  his  task,  and 
will  agree  with  myself  in  admiring  the  skill  of  the  translator.  It  would  have  been 
an  easier  problem  for  him  to  give  the  verses  a  somewhat  more  poetical  colouring 
than  the  originals  themselves  can  boast  of  having.  Our  object,  however,  was  not 


PREFACE.  Ill 

to  offer  any  improvement  on  the  original,  but  a  faithful  reflex  of  it,  both  as  regards 
matter  and  form.  The  translation  of  the  four  succeeding  pieces  will  be  found  not 
to  be  less  meritorious.  'Julius  and  Hyppolita',  as  also  'Hamlet'  have  been  trans- 
lated by  Miss  Georgina  Archer;  'Titus  Andronicus'  by  Mr.  Moritz  Lippner;  and 
'Romeo  and  Juliet'  by  Mr.  Lothar  Bucher. 

Documents  scattered  far  and  wide,  which  had  hitherto  lain  hidden  in  public 
libraries,  state  archives,  and  similar  depositories,  were  necessary  for  the  intro- 
ductory and  historical  part  of  the  work.  For  their  kind  and  ready  aid  in  enabling 
me  to  procure  such  materials  I  have  sincerely  to  thank  several  personal  friends  as 
well  as  other  gentlemen  whose  personal  acquaintance  I  have  not  had  the  advantage 
to  enjoy.  My  especial  obligations  are  due  to  Mr.  Friedrich  Culemann  of  Hanover, 
Mr.  Moritz  Fiirstenau  of  Dresden,  Professor  Hoffmann  von  Fallersleben  of  Corvey, 
Baron  Wendelin  von  Maltzahn.  of  Berlin,  Mr.  Ernst  Pasque  of  Darmstadt,  Mr. 
W.  B.  Rye  of  the  British  Museum,  Mr.  C.  W.  Sack  of  Brunswick,  Dr.  A.  Tobias 
of  Zittau,  and  Dr.  Ferdinand  Wolf  of  the  Imperial  Library  of  Vienna. 

Berlin,  October  1864. 


CONTENTS. 

i 

PART  I:   HISTORICAL  ACCOUNT. 

CHAPTER  I. 

Early  connection  of  Theatrical  Productions  in  Germany  and  England.  —  German  travellers  in  London 
and  their  relation  to  the  Theatres.  —  English  Actors  go  to  Germany  and  other  Foreign  Countries. 
The  places  visited  by  them i. 

CHAPTER  II. 

•English  Actors  at  the  Court  of  Duke  Henry  Julius  of  Brunswick.  —  The  Plays  composed  under  their 
influence  by  the  Duke.  —  English  Actors  at  the  Court  of  Landgrave  Maurice  of  Hesse.  —  Other  places 
visited  by  them  towards  the  end  of  the  Sixteenth  Century xxxvi. 

CHAPTER  HI. 

Jacob  Ayrer  and  the  Plays  composed  by  him  under  the  influence  of  English  Actors Ixi. 

CHAPTER  IV. 

An  account  of  the  English  Comedians  in  Germany  and  the  Netherlands  in  the  Seventeenth  Century      .     .     Ixxv. 

CHAPTER  V. 

The  Plays  acted  by  the  English  Comedians civ. 


PART  II:  TEXTS. 

Comedy  of  the  Beautiful  Sidea,  by  Jacob  Ayrer  of  Nuremberg  (about  1595),  the  only  drama  extant  which 

points  to  the  plot  of  Shakespeare's  Tempest 1. 

[See  also  Part  I,  p.  Ixviii]. 
Comedy  of  the  Beautiful  Phaenicia,   by  Jacob  Ayrer  of  Nuremberg  (about   1595),  containing   the  plot  of 

Shakespeare's  Much  ado  about  Nothing 77. 

[See  also  Part  I,  p.  Ixxi]. 
Tragedy   of  Julius  and  Hyppolita,  acted  in  Germany  about  the  year  1600  by  English  Players,  containing 

part  of  the  plot  of  Shakespeare's  Two  Gentlemen  of  Verona 113. 

[See  also  Part  I,  p.  cxi]. 
Tragedy  of  Titus  Andronicus,  acted  in  Germany  about  the  year  1600  by  English  Players,  supposed  to  be 

an  imitation  of  the  old  Titus  Andronicus 156. 

[See  also  Part  I,  p.  cxii]. 

f'ragedy  of  Fratricide  punished,  or  Prince  Hamlet  of  Denmark,  acted  in  Germany  about  the  year  1603  by 
English  Players 237. 

[See  also  Part  I,  p.  cxx]. 

Tragedy  of  Romeo  and  Juliet,  acted  in  Germany  in  (and  perhaps  before)  the  year  1629  by  English  Players.      305. 

[See  also  Part  I,  p.  cxxiii]. 


PART  I: 


HISTORICAL  ACCOUNT. 


SHAKESPEARE  IN  GERMANY 

IN    THE   SIXTEENTH   AND    SEVENTEENTH    CENTURIES. 


CHAPTER  I. 


>o  completely  has  Shakespeare  become  for  us  the  representative,  —  the  Alpha  and  Omega, 
of  the  modern  drama,  that  we  are  accustomed  to  regard  the  works  of  all  ages  in  this  de- 
pa^bment  of  literature,  mainly  with  reference  to  him  alone.  We  are  ready  to  resuscitate 
the  dead,  and  to  refine  the  coarse,  wherever  we  succeed  in  discovering  a  trace  of  him,  be 
it  only  a  mere  breath  of  his  genius,  and  we  go  back  centuries  before  his  times  in  our 
researches  after  the  earliest  monuments  of  the  culture  which  produced  him  as  its  most 
glorious  fruit.  It  appears  to  us  therefore,  a  circumstance  of  peculiar  significance,  that  our 
attention  is  directed  towards  him  at  the  very  threshold  of  modern  European  Literature,  at 
the  first  step  which  we  take  in  the  history  of  the  modern  drama.  The  Plays,  which 
the  learned  nun  Hrotsvita  composed  in  the  tenth  century  in  the  nunnery  of  Gandersheim, 
in  the  Hartz  mountains,  those  firstlings  of  German  dramatic  art,  which  on  their  first  ap- 
pearance in  print  in  the  year  150 11  were  hailed  by  the  learned  of  that  day  as  the  work 
of  a  tenth  muse,  a  Christian  Sappho,2  although  written  in  Latin,  contain  among  numerous 
traces  of  their  genuine  Germanic  Saxon  origin,  many  passages  which  remind  one  strongly 
of  Shakespeare.  Perhaps  it  was  this  circumstance  which  suggested  to  Laurence  Humphrey 
,the  unhappy  idea  of  metamorphosing  the  Saxon  nun  into  Hilda  Heresvida,  a  British  poetess 
of  the  seventh  century.3  Neither  in  the  dramatic  productions  of  the  immediately  succeeding 

'  Hrosvite  illustris  virginis  et  monialis  germane  gente  saxonica  orte  (opera)  nuper  a  Conrado  Celte  inventa. 
Norimbergae,  anno  Christi,  quingentesimo  primo  super  millesimum  (1501).  fol.  With  woodcuts.  —  The  contemporary 
Manuscript  from  which  this  edition  has  been  printed  is  in  the  Royal  Library  at  Munich.  --  Another  edition  is 
by  H.  L.  Schurtzfleisch,  4to,  Wittenberg  1717  (1707  in  tit.),  a  third  by  J.  Bendixen,  12mo,  Liibeck  1858,  and 
a  fourth  by  K.  A.  Barack,  8vo,  Niirnberg  1858.  A  French  translation  (with  the  Latin  text  opposite)  is  by  Ch. 
Magnin:  Theatre  de  Hrotsvitha.  8vo.  Paris  1845.  A  German  one  by  J.  Bendixen,  see  below. 

*  Bilibald  Pirkheimer  amongst  others.  See  J.  Bendixen,  Das  dlteste  Drama'in  DeutscMand,  oder  die  Comoe- 
dieri  der  Nonne  Hrotsvitha  von  Gandersheim,  ubersetzt  und  erlautert.  2  Parts.  8vo.  Altona  1850-53.  Part  i,  p.  3. 

3  The  unhappy  conjecture  of  .Laurence  Humphrey  has  been  refuted  by  Martin  Friedr.  Seidel  in  his 
Icones  et  elogia  virorum  aliquot  praestantium  etc.  fol.  1670,  and  by  other  writers,  but  none  of  them  has  indicated 
in  which  of  Humphrey's  works  it  has  been  put  forward.  See  also  Magnin,  Theatre  etc.,  p.  xix.  The  following 

A 


II 


SHAKESPEARE  IN  GERMANY. 


centuries  does  this  spirit  disappear  entirely,  for  in  the  ecclesiastical  plays  which  are  also 
composed  in  Latin,  and  which  since  the  twelfth  century  rather  follow  French  models,  the 
long  dawdling  formal  course  of  the  action  is  often  interrupted  by  a  trait  of  German  feeling. 


are  some  of  the  coincidences  between  Hrotsvita  and  Shakespeare: 

HROTSVITA'S  GALLICANUS,  Sc.  X. 
Gall.     Behold  how,   at  our  entrance  in  Rome  all 
the  citizens   come   forth   and,   according   to  the  custom, 
present  us  with  the  signs  of  victory. 


IBID.   Sc.  X. 

Paul.  !  No, , verily;  to  the  true  God  alone  we  must 
ascribe  our  victory. 


SHAKESPEARE'S  HENRY  V,  ACT  V. 
Chor.  But  now  behold  —  how  London  doth  pour  out 

her  citizens 

The  mayor  and  all  his  brethren  in  best  sort, 
Like  to  the  senators  of  antique  Rome 
With  the  plebeians  swarming  at  their  heels, 
Go  forth  and  fetch  their  conquering  Caesar  in. 

IBID.  ACT  IV,  Sc.  7. 
Hen.     0  God  thy  arm  was  here  — 

And  not  to  us,  but  to  thy  arm  alone 

Ascribe  we  all 

Gall.     Let   us  then   enter  the   church   of  the  holy 
apostles  as  becometh  the  humble  confessors  of  the  faith. 

HROTSVITA'S  DULCITIUS,  Sc.  XII. 
Irene.    I  prefer  giving  up  the  body  to  all  kinds  of 
outrages,   to   allowing  my   soul   to   be  polluted  by  the 
worship  of  idols. 

A  most  striking  resemblance  is  to  be  noticed  between  Hrotsvita's  Callimachus  and  Shakespeare's  Romeo 
and  Juliet,  not  only  in  parts  of  the  dialogue  but  also  with  respect  to  characters  and  situations.  Here  are  some 
passages  from  the  opening  scenes  of  both  plays: 

SHAKESPEARE'S  ROMEO  AND  JULIET,  ACT  I,  Sc.  3. 

Benv.    ...  So  please  you  step  aside. 
I'll  know  his  grievance,  or  be  much  denied. 
.  .  .  What  sadness  lengthens  Romeo's  hours? 

Rom.    Not  having  that,   which  having  makes  them 

short. 

Benv,   In  love? 
Rom.    Dost  thou  not  laugh? 
Benv,   No  coz,  I  rather  weep     —     — 


Do  we  all  holy  rites. 

SHAKESPEARE'S  MEASURE  FOR  MEASURE,  ACT  II,  Sc.  4. 
Isab.    Sir  believe  this,  —  I  had  rather  give  my  body 
than  my  soul. 


HROTSVITA'S  CALLIMACHUS,  Sc.  I  AND  II. 

Call.    I  wish,  my  friends,  to  say  a  few  words  to  you. 

•Friends.  We  are  at  your  service  as  long  as  you 
please. 

Call.  If  you  don't  object,  we  would  avoid  the  mul- 
titude. [They  step  aside. 

Friends.   Reveal  then,  the  cause  of  thy  grievance. 


Call.    I  love. 
Friends.    What? 

Call.    An  object  fair  and  graceful. 
Friends.   .  .  .    But  by  your  answer  it  does  not  ap- 
pear what  particular  being  it  is  you  love. 
Call.   Well  then,  a  woman! 

Friends.   The  wife  of  prince  Andronicus? 
Call.    Yes,  herself. 


Tell  me  in  sadness,  who  she  is  you  love? 

Rom.    In  sadness  cousin  I  do  love  a  woman. 

Benv.   I  aim'd  so  near. 

Rom.    And  she  is  fair,  I  love. 

she'll  not  be  hit 

With  Cupid's  arrow 

;     ....     in  strong  proof  of  chastity  well  arm'd. 

Benv.   Then  she  has  sworn,  that  she  will  still  live 

chaste  ? 


Friends.  .  .  .  She  has  devoted  herself  entirely  to 
the  service  of  the  Lord,  and  she  even  refuses  her  bed  to 
her  husband  Andronicus. 

The  concluding  scenes  present  almost   the   same  picture  in   both  plays:   A  sepulchral  cavern,  an  open 
woman's  tomb,  a  young  woman  dead,  a  young  lover  dead  at  the  foot  of  the  coffin  of  his  love.     This  tragic  scene 


SHAKESPEARE  IN  GERMANY.  Ill 

We  meet  with  the  first  attempt  to  develop  a  drama  in  the  German  language  towards 
the  end  of  the  thirteenth  or  beginning  of  the  fourteenth  century,  in  the  'War  of  Wartburg.'1 
But  if  we  pass  by  this  work  as  a  failure,  we  must  recognise  the  true  commencement  of 
/the  German  Drama  in  the  ecclesiastical  plays  composed  in  German,  of  the  fourteenth  and 
fifteenth  centuries.  The  employment  of  the  vernacular  tongue  soon  took  this  department 
of  literature  out  of  the  hands  of  the  clergy,  who  were  no  longer  the  exclusive  authors  of 
these  plays,  as  is  sufficiently  evident  from  the  satirical  and  humorous  passages  which  we 
meet  with  in  them.  The  introduction  of  profane  scenes,  which  were  always  comic,  into 
the  tragedy  of  these  pieces,  which  were  properly  speaking  only  intended  for  ecclesiastical 
purposes,  is  their  peculiar  characteristic  from  the  first,  and  forms  the  transition  to  the  pro- 
fane dramatic  representations  of  the  laity,  and  the  Shrove-tide  Plays  which  first  appeared  in 
Nuremberg  about  the  middle  of  the  fifteenth  century.2  Their  authors,  Hans  Rosenblut  and 
Hans  Foltz,3  are  the  earliest  dramatic  poets  of  Germany  who  appeared  before  the  public 

is  witnessed  in  both  pieces  by  two  men,  deeply  afflicted,  in  Romeo  and  Juliet  by  the  father  and  friar  Laurence,  in 
'  Callimachus  by  the  husband  and  Saint  Joan  the  apostle.    See  Magnin,  Theatre  etc.  p.  xlvii,  who  remarks:  "Ce  sont 

la,  il  faut  1'avouer,  des  coincidences  de  personnages  et  de  situations  incontestables,  mais  qui  ne  sont,  apres  tout, 

peut-etre  que  secondaires  et  accidentelles.     Ce  qui  merite  d'etre  vraiment  et  serieusement  remarque,  c'est  le  ton 
'  de  mysticite  sophistique,  qui  donne  aux  plaintes  amoureuses  de  Callimaque  un  air  de  si  proche  parente  avec  celles 

de  Romeo."  —  See  also  Philar.  Chasles,  Hrosvitha,  naissance  du  drame  chretien  au  Xme  siecle,  in  his  Etudes  sur 

les  premiers  temps  du  Christianisme.    8vo.   Paris  1847. 

The  play  of  Gallicanus  offers  many  points  of  contact  with  Titus  Andronicus  in  the  opening  scenes.     In 
'  both  plays  the  scene  lies  in  Rome,  we  meet  the  same  enemies  of  the  commonwealth  (the  Scythians),  the  same  acting 

characters  (a  victorious  captain  and  his  Emperor),  the  same  object  of  deliberation,  the  same  intended  relationship 

between  them,   and   the  same  frustration   of  this  plan.      See  J.  Bendixen,   Das  dlteste  Drama  etc.  p.  23    and  the 

same  work  for  other  points  of  similarity. 

1  See  Wilh.  Wackernagel,  Geschichte  der  deutschen  Litteratur.    8vo.    Basel  1848.  p.  305.     It  is  much  to 
be  regretted  that  this  excellent  work  remains  unfinished.  —   Gottsched,  in  his  introduction    to  Nothiger  Vorrath 
zur  Geschichte  der  deutschen  Schaubiihne.    2  vol.    8vo.   Leipzig  1757-65  pretends  having  read  in  an  old  chronicle 
which  he  cannot  name  however,  that  a  play  in  the  old  Friesic  dialect  by  Angilbert,  a  monk,  has  been  represented 
before  Charlemagne.     Gottsched's  authority  has  never  been  discovered,  and  the  assertion  is  doubtful. 

2  E.  A.  Hagen,  Geschichte  des  Theaters  in  Preufsen,  8vo.  Konigsberg  1854,  speaks  of  Shrove-tide  plays, 
given  at  the  same  period  in  Prussia.     He  also  says  that  such  plays  were  given  in  the  open  air  and  extempore. 
I  believe  that  the  plays  to  which  he  alludes   are  no  real  Shrove-tide  plays.  —  A.  Keller  has  given  a  collection 
of  all  the  (121)  German  Shrove-tide  plays  of  the  fifteenth  century:  Fastnachtspiele  aus  dem  funfzehnten  Jahrhundert, 
gesammelt  von  A.  Keller.     3  vol.    8vo.     Stuttgart  1853. 

3  The  only  play  bearing  Rosenblut's  name,  is   Des  Kilnig  von  Engellant  Hochzeit  (The  nuptials  of  the 
King  of  England).   Keller  No.  100.     Eight  heralds  announce  that  the  King  of  England  will  celebrate  on  the  8th 
of  May  the  nuptials  of  his  daughter  with  the  Duke  of  Orleans.     Each  herald  promises  a  precious  present:  Each 
guest  receives  a  florin  for  each  mile  that  he  has  travelled;  the  winner  in  the  tournament  receives  a  horse,  worth 
52  marks  of  gold;  the  second  prize  is  a  necklace  of  Greek  gold,  the  third  a  precious  sword,  the  fourth  a  mira- 
culous ring ;  the  most  skilful  and  most  decent  dancing  girl  receives  a  garland  of  pearls ;  a  richly  ornamented  ass 
is  promised   to   the   laziest   amongst   the   guests.     Finally  a  letter  of  the  King  is  read,   by  which  twelve  citizens 
are  named  to  testify  the  truth  of  the  promises.     (See  Karl  Goedeke,  Grundrifs  zur  Geschichte  der  deutschen  Dich- 
tung,  8vo,  Hannover  1859,  pag.  97.)     Can  this  play  be  traced  to  an  English  source? 

For  Hans  Folz  see  Keller,  Vol.  iii,  and  Goedeke,  p.  99.  , 

A2 


IV  SHAKESPEARE  IN  GERMANY. 

as  such,  under  their  own  names.  The  subjects  which  they  treated  are  always  of  a  hu- 
morous and  generally  of  a  local  character,  taken  fresh  from  actual  life,  and  their  own  im- 
mediate surroundings.  This  remarkably  early  transition  to  representations  of  an  entirely 
profane  character,  in  which  Germany  was  considerably  more  than  half  a  century  in  ad- 
vance of  England,1  had  no  influence  on  the  further  development  of  the  drama.  It  is  true, 
the  Shrove-tide  Plays  were  raised  from  their  earlier  and  cruder  form  by  one  highly  gifted 
genius,  but  they  soon  sank  into  eternal  obscurity;  and  although  their  secular  character 
might  have  led  us  to  conjecture  that  they  would  form  one  step  in  the  process  of  develop- 
ment to  the  true  artistic  drama,  yet  such  a  conjecture  would  not  be  justified  by  the  fact. 
This  process  was  interrupted  for  centuries,  and  Germany  did  not  arrive  at  the  true  Art- 
Drama,  till  long  after  Western  Europe. 

The  Shrove-tide  Pieces  were  of  a  less  public  nature  than  the  Passion-Plays ;  for 
while  the  latter  were  performed  in  the  churches  before  the  assembled  people,  or  on  public 
squares  and  in  the  open  streets,  the  former  migrated  from  house  to  house  among  the  pri- 
vate citizens.  This  explains  the  immorality  and  want  of  taste  pervading  the  humour  of 
these  plays,  which  abound  in  coarseness  and  indecency;2  for  although  this  tendency  to 
licence  met  with  a  ready  response  in  the  popular  tone  of  thought  and  feeling,  publicity 
would  have  confined  it  within  narrower  limits.  From  the  private  character  of  the  Shrove- 
tide Plays  we  may  also  deduce  the  extreme  poverty  of  the  theatrical  apparatus  employed 
in  their  representation.  In  this  respect  there  was  a  retrograde  movement,  for  in  the  Passion- 
Plays,  which  were  often  put  upon  the  stage  with  great  magnificence  and  very  complicated 
machinery,  the  merely  theatrical  part  of  the  representation  was  a  very  important  element 
of  the  whole,  while  the  dramatic  life  in  the  Shrove-tide  Plays  was  almost  confined  to  the 
distribution  of  the  dialogue  among  several  persons,  the  monotony  of  which  was  only  inter- 
rupted by  the  above-mentioned  jokes.  Towards  the  close  of  the  century,  the  revival  of 
classical  antiquity  exercised  some  influence,  at  least  upon  the  form  of  the  drama;  the  ho- 
rizon of  the  invention  displayed  in  it,  however,  still  remained  exceedingly  circumscribed. 

Hans  Sachs  (born  1494,  died  1576)3  was   the   first   who  -turned  the  studies   of  the 

1  The  earliest  and  at  the  same  time  the  only  English  drama  of  the  fifteenth  century,  founded  neither  on  a 
biblical  narrative  nor  on  the  life  of  a  saint,  and  the  characters  of  which,  instead  of  being  allegorical,   are  taken 
from  a  popular  legend,  is  the  lately  discovered  Play  of  the  Sacrament,  composed,  as  it  appears,  during  the  reign 
of  Edward  iv.     But  though  secular  in  form,  it  is  thoroughly  ecclesiastical  in  matter,  its  principal  tendency  being 
to  prove  the  doctrine  of  the  real  presence.     See  The  Play  of  the  Sacrament,  a  Middle-English  Drama  ed.from  a 
Manuscript  in  the  Library  of  Trinity  College,  Dublin,  by  W(hitley)  S(tokes).    Published  by  the  Philological  Society. 
8vo.  1862.  —  See  also  J.  P.  Collier's  History  of  the  stage  in  his  edition  of  Shakespeare,   in  8  vols.    8vo.    1844. 
Vol.  i,  p.  xiv. 

2  "The  coarse  rudeness   of  manners,    displayed  in  these  plays,   is   beyond  all  description,   and  it  is  im- 
possible to  give  an  idea  of  it."    Goedeke,  Grundrifs  etc.,  p.  95.    Foltz,  who  wrote  many  years  later  than  Rosen- 
blut,  outdoes  his  predecessor  in  filthiness. 

3  Hans  Sachs  himself  has  given  a  collective  edition   of  his  works  in  three  folio  volumes,  and  two  other 
volumes  were  added  after  his  death.     Vol.  i,  1558  (and  four  later  editions:   1560,  1570,  1589  and  1590),  Vol.  ii, 


SHAKESPEARE  IN  GERMANY.  V 

learned  in  the  ancient  drama  to  good  account  for  the  people's  stage.  This  poet  is  of  very 
great  value  for  the  history  of  German  Literature,  as  he  enables  us  to  comprehend  the  tone 
and  character  of  popular  thought  during  his  century  to  which  moreover  he  gave  expression 
in  a  manner  at  once  noble  and  energetic.  The  drama  advanced  with  him  with  gigantic 
strides,  both  as  regards  matter  as  well  as  form.  It  is  true,  he  also  treated  sacred  subjects, 
and  composed  a  great  number  of  Shrove-tide  Plays,  but  both  these  species  of  composition 
had  nothing  in  common  with  the  productions  of  his  predecessors  beyond  the  name.  Neither  ' 
did  he  confine  himself  to  these  alone.  His  great  importance  for  the  German  Drama  con- 

/  sists  in  his  having  emancipated  its  form  from  its  previous  coarseness,  and  its  subject  matter 
from  the  narrow  limits  which  had  hitherto  been  imposed  on  it.  The  traditions  of  Antiquity 
and  of  the  Middle  Ages,  of  his  home  and  of  foreign  countries,  Italian  novels,  History,  sacred 
and  profane,  the  events  of  the  time  and  place  in  which  he  lived,  all  these  sources  offered 
him  welcome  materials  in  the  choice  of  his  matter.  Only  about  a  quarter  of  ah1  his  pieces 
treat  of  sacred  subjects,  in  any  form  whatever,  and  even  in  these  there  is  no  longer  any 
question  of  religious  ideas  and  symbols,  and  ecclesiastical  objects,  but  human  conduct  and 
human  relations  are  the  centre  on  which  all  the  action  turns.  Whoever  compares  some  of 
the  best  of  his  208  dramas  with  those  of  his  immediate  predecessors  and  contemporaries, 
must  be  astonished  at  the  contrast  which  results  in  favour  of  the  Nuremberg  shoemaker. 
This  great  revolution  in  the  drama  was  effected  partly  through  the  lofty  genius  of  the  man 
himself,  but  partly  also  through  the  new  energy  infused  into  the  public  and  political  life 
of  the  nation  by  the  Reformation,  the  cause  of  which  was  espoused  by  Hans  Sachs  with 
the  most  zealous  enthusiasm.  Ecclesiastics  as  well  as  Laymen  had  now  become  citizens  of 
the  State,  who  required  f$r  other  excitements  than  any  which  could  be  afforded  by  the 
sacred  dramas  devoted  to  the  service  of  the  church,  or  by  the  low  indecencies  of  the 
Shrove-tide  Plays.  Even  at  the  very  commencement,  the  indissoluble  nature  of  the  con- 
nection of  the  stage  with  the  life  of  the  Nation  became  very  evident.  In  Hans  Sachs  every- 

!  thing  is  popular,  and  even  in  his  treatment  of  foreign  matter,  we  find  the  reflection  of  the 
German  mind.  Never  has  there  been  another  poet  whose  spirit  was  so  completely  iden- 
tified with  that  of  the  people,  as  his.  He  does  not  tower  indeed  over  the  heads  of  all 
times,  like  the  great  heroes  in  the  field  of  intellect  —  he  only  aims  at  being  understood 
and  recognized  in  his  own  time;  but  it  is  just  in  his  being  a  true  reflection  of  his  age, 
that  his  importance  for  us  consists.  We  become  best  acquainted  with  him  in  his  Shrove- 
tide Plays,  and  his  humorous  pieces  generally.1  Here  he  moves  on  popular  ground,  in 
which  alone  the  new  tendencies  could  strike  root.  Where  he  makes  an  incursion  upon  the 
field  of  Tragedy  or  the  Antique,  he  very  soon  reaches  the  utmost  limits  of  his  powers. 

1560  (and  three  later  editions:  1560,  1570,  1590),   Vol.  iii,    1561   (and   three  later  editions:    1577,    1588,   1589), 
Vol.  iv,    1578,    Vol.  v,  1579.     All   of  them   printed   and   published   at   Nuremberg.     Another  edition    5  vol.   4to. 
Kempten  1612  et  seq.     The  same  edition  with  another  title-page:    5  vol.    4to.    Augsburg  1712.     A  chronological 
list  of  the  plays  will  be  found  in  Karl  Goedeke's   Grundrifs,  p.  345. 
'  See  Wilh.  Wackernagel,  Geschichte  etc.,  p.  410. 


VI  SHAKESPEARE  IN  GERMANY 

In  spite  however  of  the  important  place  which  we  must  concede  to  Hans  Sachs  in 
the  process  of  the  development  of  the  German  Drama,  he  accomplished  but  little  for  dra- 
matic art.  We  seek  in  vain  in  his  works  for  an  action  resting  on  internal  harmony  and 

1  'consistency,  —  for  a  drama  constructed  in  conformity  with  the  laws  of  human  nature. 
Stage-management  moreover,  and  the  whole  of  the  technical  side  of  the  drama  remained 

i  for  him  a  perfectly  unknown  field.  And  if  he  distinguished  between  Tragedy  and  Comedy, 
which  had  not  been  done  before,  and  divided  his  pieces  into  acts  and  scenes,  these  inno- 
vations Mrere  of  a  merely  external  nature.  A  perfectly  unmotived  arrangement  of  the  order 
of  the  scenes,  and  an  arbitrary  division  into  Acts  even  up  to  the  number  of  twelve,  are 
characteristics  of  him  just  as  much  as  of  his  predecessors.1  Neither  did  his  immediate 
successors  accomplish  anything  more  for  the  furtherance  of  dramatic  art.  Notwithstanding 
the  great  fertility  of  his  invention,  he  wanted  the  dramatic  power  to  produce  theatrical 
effects.  For  this  a  more  highly  gifted  genius  was  necessary;  but  none  such  appeared.  Both 
scholars  and  laymen  expended  their  efforts  on  translations  of  antique  dramas,  for  the  most 
part  unsuccessful  ones,  by  which  nothing  was  gained;  while  on  the  other  hand  they  entirely 
lost  the  one  popular  element,  the  pure  unsophisticated  comedy,  as  practised  by  Hans  Sachs. 
The  Shrove-tide  Plays,  which  in  their  more  refined  form  were  by  far  the  best  thing  that 
dramatic  literature  had  been  able  to  shew  up  to  that  time,  were  obliged  to  yield  more 
and  more,  partly  to  those  worthless  translations  from  the  Antique,  and  partly  to  other 
subjects  for  the  most  part  taken  from  the  Bible.  The  latter  found  some  standing  ground 

1  Only  in  one  of  his  numerous  plays  does  he  take  a  higher  position,  but  here  he  is  more  imitator  than 
inventor,  and  his  source  is  an  English  work.  His  Comedi  von  dem  reichen  sterbenden  Menschen  Hecastus  genannt 
1549,  is  undoubtedly  an  imitation  of  the  English  Morality  of  Every  Man  (first  printed  by  Pynson  before  1531 
'  and  twice  by  Skot  before  1537.  Reprinted  in  Hawkin's  English  Drama,  i,  p.  27).  A  reprint  in  L.  Tieck's  Deut- 
sches  Theater,  2  vol.  8vo.  Berlin  1817,  Vol.  i.  Tieck  says  pag.  xiii:  "Here  Sachs  is  delightful  in  his  innocence, 
he  probably  follows  his  model  step  by  step."  This  piece  seems  to  be  the  first  link  between  the  English  and  the 
German  stage.  —  The  nearest  source  of  Hans  Sachs  is  perhaps  a  Latin  version  of  Every  Man.  See  E.  A.  Ha- 
gen,  p.  31,  and  Floegel,  Geschichte  der  komischen  Litteratur,  Vol.  iv,  p.  199.  The  first  Latin  version  is  by  Georg. 
Macropedius,  Coloniae  1539;  reprinted  ib.  1540,  Tremon.  1549.  Francofurti  1571,  Argentorati  1586.  A  later  ver- 
sion, probably  founded  on  Macropedius,  is  by  Laurentius  Rappolt,  which  was  represented  at  Nuremberg  1550. 
In  1556  a  latin  Hecastus  was  represented  at  Basle.  A  German  version  of  Rappolt's  play  has  been  represented 
at  Nuremberg  in  1549:  Ein  schon  christlich  Spiel,  Hecastus  genarit,  Nurnberg,  Job.  Daubmann,  1552.  --  Other 
German  versions  are  by  Cyr.  Spangenberg,  1564;  Henr.  Petr.  Rebenstock,  Hecastus,  ein  geistlich  Spiel  vom  Ampt 
vnd  Beruf  eines  jeden  Menschen.  Franckf.,  N.  Bassens,  1568;  Job.  Schreckenberger,  Georg.  Macropedii  Hecastus 
verteutscht.  Strassburg,  A.  Bertram,  1589 ;  M.  Abr.  Saurius,  Comoedia  germdnica  Hecastos  seu  Homulus.  Marpurgi 
1591.  The  German  Hecastus  has  been  represented  at  Annaberg  in  1569.  —  Another  play,  called  Homulus,  is 
derived  from  Every  Man.  This  however  seems  to  have  come  from  the  Low  countries:  Petrus  Diesthemiius,  Ho- 
mulus comoedia  inprimis  lepida  et  pia,  in  rem  christiani  hominis  adprime  fatiens,  Antverpiae  quondam  in  publico 
civitatum  Brabanticarum  conventu  vulgariter  acta  palmamque  adepta.  Coloniae,  ex  off.  Jasparis  Gennepei,  1536; 
ib.  1537;  Antverp.  1538;  ib.  1546.  —  Translated  into  German  by  Jaspar  von  Gennep :  Comedia  Homuli  gemehrt 
vnd  gebessert  etc.  Gotten,  Jasp.  v.  Gennep,  1540,  4to;  ib.  1548,  8vo;  ib.  1554,  8vo;  ib.  1592;  Magdeburgk,  J. 
Franck,  n.  d.;  Erfurt  1624.  Another  German  version  by  Heinr.  Wettengang,  Homulus,  in  ietz  neu  ubliche  teutsche 
Reimarten  iibersetzet.  Bremen  1665;  Nurnberg  1669.  -  The  German  version  of  Jaspar  von  Gennep  has  given 
rise  to  a  Dutch  translation:  Nimmeghen  1556;  Amsterdam  1632,  1656,  1661,  n.  d.,  1701. 


SHAKESPEARE  IN  GERMANY.  VII 

in  the  religious  struggle  which  then  agitated  the  nation,  and  as,  with  few  exceptions,  they 
were  intended  to  serve  satirical  and  didactic  but  not  dramatic  objects,  they  entirely  failed 
of  all  theatrical  effect.  Such  subjects  as  were  offered  by  romance,  tradition,  and  the  history 
of  the  country,  subjects  to  which  English  writers  had  had  recourse  at  a  very  early  period, 
remained  almost  entirely  neglected.  One  of  the  results  of  this  moralising  tendency,  which 
from  the  intimate  connection  between  church  questions  and  politics,  often  encroached  upon 
the  field  of  the  latter,  was  soon  to  render  the  drama  an  affair  of  the  state,  or  of  the  towns. 
We  constantly  meet  with  the  civil  and  municipal  authorities  as  the  patrons  of  the  stage. 
This  perhaps  may  be  the  reason,  that  while  dramatic  art  was  at  a  far  lower  ebb  in  Ger- 
many than  in  England,  the  former  country  possessed  permanent  theatres  at  a  far  earlier 
period  than  the  latter.1  For  the  management  of  the  stage  and  arrangements  of  the  theatre 
in  Germany  naturally  corresponded  to  the  very  imperfect  condition  of  its  dramatic  litera- 
ture. At  a  time  when  England  was  already  traversed  in  all  directions  by  innumerable 
troops  of  strolling  players,  and  dramatic  art  had  attained  a  high  stage  of  development, 
Germany  could  not  yet  boast  of  any  actors  by  profession.  Nuremberg  and  Augsburg  al- 
ready possessed  their  permanent  theatres,  consisting  of  a  large  broad  stage  with  a  deep 
proscenium,  surrounded  by  an  unroofed  amphitheatre  intended  for  the  spectators.  In  the 
other  cities,  just  as  at  the  time  of  Rosenblut's,  the  representations  took  place  in  the  houses 
of  the  citizens,  and  in  the  inns  and  taverns,  on  a  'podium',  or  platform,  constructed  of 
benches  and  casks.  But  here,  just  as  in  the  above-mentioned  theatres,  the  actors  continued 
to  consist  of  honest  citizens,  and  merry  young  fellows  and  scholars,  who  drawled  out  their 
lesson  in  stiff  traditional  forms,  without  any  other  variation  than  the  coarse  humour  of  the 
pieces,  and  far  more  for  their  own  amusement  than  from  any  very  earnest  endeavour  to 
satisfy  the  public.  In  short  the  play  was  more  for  the  sake  of  the  actors  than  the  spectators. 
Hence  arose  the  endeavour  on  the  part  of  the  authors  to  let  as  many  persons  as  possible 
appear  upon  the  stage;  and  there  were  pieces  indeed  with  as  many  as  a  hundred  characters 
who  spoke,  as  well  as  a  still  larger  number  of  mutes.2  Occasionally  indeed,  for  the  grati- 

1  The  first  German  theatre   was  erected  at  Nuremberg  in   1550,  by  the  corporation  of  master-singers; 
'   another  followed  soon  at  Augsburg.    See  Ed.  Devrient,  Geschichte  der  deutschen  Schauspielkunst.  3  vol.  8vo.  Leipzig 

1848.  Vol.  i,  p.  114.  England  saw  her  first  theatre  (The  Blackfriars)  in  London  in  1576.  "Until  then  the  va- 
rious companies  of  actors  had  been  obliged  to  content  themselves  with  churches,  halls,  with  temporary  erections 
in  the  streets,  or  with  inn-yards,  in  which  they  raised  a  stage,  the  spectators  standing  below,  or  occupying  the 
galleries  that  surrounded  the  open  space."  J.  P.  Collier's  History  of  the  English  stage  to  the  time  of  Shakespeare, 
in  his  edition  of  Shakespeare's  works,  8  vols.  8vo,  Vol.  i,  p.  xxxv.  As  early  as  1398  France  possessed 
a  playhouse,  built  by  the  'freres  de  la  passion'  in  the  village  of  St.  Maur-des-Fosses  near  Vincennes.  The 
same  body  errected  the  'Theatre  de  la  trinite'  at  Paris  in  1442.  In  1550  a  second  theatre,  called  'Table  de 
,  marbre,'  was  granted  to  the  'Confrerie  de  la  Bazoche.'  In  Italy  the  ancient  Amphitheatres  were  used  as  play- 
houses; in  1264  the  Passion-brothers  del  Gonf alone  gave  representations  at  the  Coliseum.  In  the  sixteenth  century 
the  Italian  princes  had  theatres  in  their  palaces.  In  Spain  the  first  theatres  were  built  in  1574.  Up  to  that  time 
the  courts  of  private  houses  were  used  for  representations.  —  See  Devrient,  ibid.  Vol.  i,  p.  114. 

2  e.  g.  105  persons  in  Jacob  Rueffs  Adam  und  Neva,  1550  —  158  in  Valentin  Boltz's  Weltspiegel,  1550 
—  162  in  Joh.  Rasser's  Comoedie  aus  Evang.  Matth.  21  und  22,  —  100  acting  and  200  mute  persons  in  Math. 
Holzwart's  Saul,  1571.  —  See  W.  Wackernagel,  Geschichte  etc.,  p.  456.  —  As  late  as  1591  a  play  with  106  persons 


VIII  SHAKESPEARE  IN  GERMANY. 

fication  of  the  many,  they  again  had  recourse  to  the  spectacle  of  the  Middle  Ages,  to  the 
gay,  noisy  processions  on  foot  and  horseback,  with  devils  and  other  monsters,  who  amused 
the  multitude  sometimes  with  harmless,  and  sometimes  with  bitter  jokes. 

However  small  may  have  been  the  fruits  which  the  efforts  of  centuries  produced 
for  the  drama,  one  trait  is  quite  unmistakable  in  all  its  phases:  namely,  the  zest  and  delight 
with  which  the  people  took  part  in  it,  either  as  authors,  actors,  or  spectators,  and  the 
readiness  with  which  the  learned  entered  into  the  spirit  of  the  people  in  their  way  of  re- 
garding the  whole  subject.  But  now  even  this  last  hold,  the  only  one  which  could  repay 
us  for  ploughing  up  a  field  so  unproductive  for  art,  was  to  disappear.  In  this,  as  in  other 
kinds  of  poetry,  the  learned  and  the  popular  went  side  by  side,  but  there  was  no  field  in 
which  the  injury  done  by  the  encroachments  of  the  learned  was  so  great  as  in  this.  In 
order  to  render  the  separation  from  the  people  complete,  they  wrote  then*  poetry  in  Latin, 
the  drama  sank  to  a  mere  school  exercise,  and  was  used  in  the  schools  as  a  method  to 
facilitate  the  learning  of  the  languages  of  Antiquity.  Sometimes  indeed  the  pupils  performed 
German  pieces  also,  and  occasionally  Latin  pieces  were  translated  into  German  and  played 
in  that  form,  but  that  was  not  sufficient  to  prevent  the  German  drama  from  sinking  into 
obscurity  and  contempt.  This  abandonment  of  the  field  of  real  life  which  was  the  inevitable 
consequence  of  the  exclusion  of  the  cooperation  of  the  people,  was  rendered  still  more 
complete  by  the  composition  and  printing  of  dramas  which  were  avowedly  only  intended 
to  be  read.  By  thus  neglecting  the  stage,  which  is  the  indispensable  mediator  between  the 
poet  and  the  people,  they  really  turned  their  back  upon  the  latter,  and  condemned  the 
popular  drama  to  a  miserable  state  of  existence.1 

The  German  Princes  appear  to  have  regarded  the  drama  with  no  unfavorable  eyes. 
They  frequently  assisted  with  the  loan  of  costumes,  armour,  and  properties  of  all  sorts, 
and  the  scholars  were  often  required  to  play  their  comedies  at  the  courts.  But  a  higher 
taste  for  dramatic  art  than  that  which  found  its  gratification  in  these  unartistic  productions, 
is  nowhere  to  be  met  with.  People  were  satisfied  with  things  as  they  were.  Whilst  music 
excited  a  lively  interest,  and  was  encouraged  at  the  Courts  by  the  establishment  of  per- 
manent bands,  the  drama,  on  the  other  -hand,  was  only  admitted  as  an  accessary,  and  rather 
tolerated  for  the  sake  of  the  players,  than  required  as  a  necessity  in  itself.  Whilst  in  Eng- 
land, France,  and  Italy,  the  patronage  of  Princes  and  persons  of  rank  began  at  an  early 
period  to  educate  professional  players  out  of  dilettanti,  the  practice  of  dramatic  art  in  Ger- 
many was  left  entirely  in  the  hands  of  mechanics  and  school-boys,  with  whose  crude  per- 
formances the  courts  rested  contented.  Only  the  court  fools  and  merry  andrews  enjoyed 
their  protection,  and  these  were  sought  for  far  and  wide.2  And  yet  we  must  allow  that 

by  Andreas  Hartmann,  Vom  Zuestande  im  Himmel  vnnd  in  der  Hellen  was  acted  at  Torgau  before  Christian  i, 
Elector  of  Saxony.  See  Mor.  Furstenau,  Zur  Geschichte  der  Musik  und  des  Theaters  am  Hofe  zu  Dresden.  8vo. 
Dresden  1861,  p.  60. 

1  See  Wilh.  Wackernagel,  Geschichte  etc.,  p.  458—463. 

2  Floegel's  Geschichte  der  Hofnarren.    'William  der  Geek  von  Burgundia.'     See  E.  A.  Hagen,  Geschichte 
etc.,  p.  7. 


SHAKESPEARE  IN  GERMANY.  IX 

as  soon  as  improvements  were  once  introduced  they  were  gladly  and  warmly  welcomed, 
for  we  shall  see  that  after  the  state  of  the  German  theatre  had  been  reformed  through 
foreign  influences,  it  received  the  most  zealous  support  from  the  Princes.  But  the  merit 
of  having  endeavoured  to  ennoble  the  drama  of  their  own  accord,  and  without  any  im- 
pulse from  without,  is  one  to  which  they  have  no  claim. 

Such  was  the  state  of  the  theatre  in  Germany  at  the  commencement  of  the  last 
decennium  of  the  sixteenth  century.  Then  it  was  that  unexpected  aid  arrived  from  a  country 
kindred  alike  to  Germany  by  ties  of  blood  and  congeniality  of  spirit,  —  from  England, 
where  the  educated  classes  were  enjoying  the  almost  over-ripe  fruits  of  the  dramatic  muse. 
A  weak  ray  from  the  sunlight  of  the  Shakespearian  drama  fell  on  Germany,  and  was  suf- 
ficient to  bring  new  life  and  motion  into  the  stagnating  elements  of  the  German  stage. 

From  the   earliest  times  the  English  people   were  preeminent  above   all  the  other 

•  nations   of  modern  Europe   for  their  peculiar  aptitude   for   dramatic   entertainments.     The 

beginnings  of  dramatic  art  in  England  were  not  earlier  than  those  in  Germany,1  perhaps 

not  so  early,  but  the  religious  plays  even  at  a  very  early  period  are  essentially  distinguished 

from  those  French  pieces,  which  were  also  adopted  as  models  in  Germany,  by  their  greater 

1  J.  P.  Collier,  History  of  English  Dramatic  Poetry,  Vol.  i,  p.  1,  says  that  no  country  in  Europe,  since 
the  revival  of  letters,  has  been  able  to  produce  any  notice  of  theatrical  performances  of  so  early  a  date  as  Eng- 
land, and  in  a  note  he  adds  that  the  plays  of  Hrotsvita  have  not  been  represented.  This  assertion,  we  believe, 
is  altogether  erroneous.  Hundreds  of  details  in  the  plays  of  Hrotsvita  themselves  show  that  they  must  have 
been  written  for  representation.  This  does  not  exclude  the  fact  that  they  were  also  intended  for  being  read 
by  the  Nuns  of  Gandersheim  in  place  of  Terence's  tragedies.  Magnin,  Theatre  de  Hrosvitha,  introd.  p.  vi  says: 
"  En  eifet  nous  savons  a  nen  pas  douter,  que  c'est  dans  une  illustre  abbaye  saxonne  que  furent  represented  les 
drames  de  Hrosvitha,  probablement  en  presence  de  1'eveque  diocesan  et  de  son  clerge,  devant  plusieurs  nobles 
dames  de  la  maison  ducale  de  Saxe  et  de  quelques  hauts  dignitaires  de  la  cour  imperiale  etc."  And  Ph.  Chasles, 
Hrosvitha,  p.  247:  "Mil\e  details  confirment  cette  assertion  de  M.  Magnin."  See  also  J.  Bendixen,  Das  dlteste 
Drama  etc.,  p.  13:  "And  is  it  then  actually  the  case,  that  between  the  Luneburg  Heath  and  the  Teutoburg  Forest 
at  the  foot  of  the  Brocken,  while  Wodan  was  following  his  wild  chase  on  its  summit,  and  Madam  Holle  haunted 
every  bush,  that  the  hand  of  a  timid  nun  of  the  White  Christ  was  not  only  among  the  first  to  lay  her  offerings 
on  the  altars  of  Thalia  and  Melpomene,  but  perhaps  the  very  first  to  raise  the  curtain  of  their  temple  before  the 
astonished  eyes  of  the  German  World?"  Mr.  Edelestand  Du  Meril,  Origines  latines  du  theatre  moderne,  8vo.  Paris 
1849,  p.  17  et  seq.  opposes  Magnin's  opinion,  but  the  arguments  which  he  brings  forward  for  support  of  his 
theory  are  far  from  being  conclusive.  "Le  manuscrit,  qui  est  contemporain  . . .  ne  contient  aucune  instruction 
scenique,  les  personnages  sont  mal  designes,  les  actes  et  meme  les  scenes  n'y  sont  point  marques,  et  Ton  y  trouve 
des  indications  antipathiques  a  la  nature  du  drame.  La  scene  reste  souvent  vide  et  le  lieu  ou  elle  se  passe  n'est 
jamais  indique;  les  personnages  viennent  se  meler  au  dialogue  sans  preparation  et  se  retirent  sans  raison."  These 
are  strange  objections  indeed!  If  they  prove  anything  they  speak  more  for  than  against  Mr.  Magnin.  Most  of 
the  defects  pointed  out  by  Mr.  Du  Meril  may  be  noticed  even  in  English  plays  of  the  sixteenth  century  and  we  hope 
that  he  will  not  deny  their  having  been  composed  for  representation!  "II  y  a  des  changements  de  scene  fre- 
quents et  de  grand  mouvements  d'action  qui  demandent  un  temps  considerable,  et  ne  sont  separes  que  par  quel- 
ques mots  des  autres  scenes."  All  this  might  as  well  be  said  to  prove  that  Shakespeare  himself  did  not  write 
his  plays  for  representation!  "II  eut  fallu,  dans  le  Gallicanus,  qu'une  armee  defilat  sur  le  theatre."  Why?  Did 
not  Shakespeare  too  introduce  a  handfull  of  soldiers  as  representatives  of  a  whole  army?  "Le  cadavre  d'une 
jeune  femme  n'y  est  sauve  des  derniers  outrages  que  par  une  corruption  prematuree."  There  is  no  necessity  for 
representing  a  premature  corruption  on  the  stage;  it  may  be  fairly  left  to  the  imagination  of  the  spectators. 

B 


X  SHAKESPEARE  IN  GERMANY. 

unity  of  action,  and  by  their  striving  after  a  dramatically  effective  representation  of  cha- 
racter, sometimes  indeed  rising  to  an  individualisation  of  original  figures,  which  lay  far 
beyond  the  horizon  of  the  art  of  the  Middle  Ages,  and  occasionally  reminds  us  of  the 
creations  of  Chaucer.1  Here,  as  in  Germany,  notwithstanding  the  fact  that  the  subjects  were 
biblical,  the  comic  element  asserted  itself  at  a  very  early  period,  but  did  not  become,  as 
sometimes  in  the  latter  country,  the  principal  object  of  the  whole  piece.  It  was  still  further 
developed  in  the  Interludes,  which  offered  an  excellent  opportunity  for  interrupting  the 
dull  march  of  the  Moralities  by  amusing  Episodes,  and  it  was  in  this  way  that  the  religious- 
moral  play  was  transformed  into  the  profane  drama.  It  is  to  this  peculiar  prominence  of 
,the  comic  element  in  its  national  originality,  that  the  early  transplantation  of  English  dra- 
matic art  to  countries  inhabited  by  kindred  races  is  to  be  attributed.  To  the  predecessors 
of  the  merry  clown,  and  afterwards  to  the  latter  himself,  that  symbol  of  merry  old  Eng- 
land, are  Germany  and  the  Netherlands  most  probably  indebted  for  their  first  acquaintance 
with  the  English  drama. 

As  early  as  the  year  1417  we  meet  with  English  actors  on  the  continent,  and  indeed 
at  Constance,  where  the  English  Bishops,  who  attended  the  great  Council,  had  three  plays 
performed,  namely,  'The  Birth  of  the  Saviour,'  .'The  Arrival  of  the  Saints,'  and  'The  Mas- 
sacre of  the  Innocents'.  Rehearsals  had  taken  place  before  the  Magistrates  several  days 
before  the  performance  itself.2  This  remarkable  incident  in  the  history  of  the  theatre  ap- 
pears to  have  stood  in  very  intimate  connection  with  the  visit  of  the  German  Emperor, 
Sigismund,  to  England  in  the  year  1416,  the  object  of  which  was  intended  to  bring  about 
a  peace  between  England  and  France.  On  this  occasion  Henry  v  and  his  guest  Sigismund 
were  present  at  a  play  which  had  the  fate  of  St.  George  of  Cappadocia  for  its  subject.3 

1  Professor  A.  Ebert  in  his  excellent  essay:   Die  Afysterien  der  Townley-Sammlung,   in  Jahrbuch  fur  Ro- 
manische  und  Englische  Litteratur,   Vol.  i,  Nos.  1  and  2,  8vo.  Berlin  1858 — 59,   was  the  first  to  point  out  these 
important   advantages   of  the   English  Miracle-Plays.     In  the  same  essay  he  has  refuted   with  great  acumen  and 
unanswerable  evidence  the  opinion  entertained  by  the  historians  of  English  Literature,  that  the  English  Mysteries 
were  based  on  the  French,  and  has  proved,  that  their  development  was  entirely  spontaneous  and  national.    Pro- 
fessor Ebert   cites    traits   of  a  genuine  German  spirit,   which  never  could  have  had   their  origin  in  France.     He 
shews  moreover  with,  great  critical  discernment  the  specifically  English  character  of  precisely  those  points  of  dif- 
ference which  raise  the  English  Mysteries,  when  judged  according  to  their  inward  worth,  so  far  above  the  French. 
This  national  element  alone  secured  the  English  Mysteries  a  longer  life  than  was  allotted  to  such  pieces  in  other 
countries ;  for  we  find  them  maintaining  their  ground  in  England  by  the  side  of  the  completely  developed  drama, 
down  to  the  beginning  of  the  seventeenth  century. 

2  J.  Lenfant,  Histoire  du  Condle  dt  Constance,  4to.  Amsterdam  1714,  p.  440.    "Les  Anglois  se  signalerent 
entre  les  autres  par  un  spectacle  nouveau,    ou  au  moins   inusite   en  Allemagne.     Ce  fut  une  comedie  sacree  que 
les  eveques  anglais  firent   representer   devant  1'empereur  le   dimanche  31  de  Janvier  [1417]  sur  la  Naissance  du 
Sauveur,    sur  1' Arrive   des  Mages    et   sur   le  Massacre   des  Innocents.     Us  avoient  deja   fait  representer  la  meme 
piece  quelques  jours  auparavant  en  presence  des  magistrats  de  Constance  et  de  quantite  de  personnes  de  distinc- 
tion, afin  que  les  acteurs  fussent  mieux  en  etat  de  faire   bien  leur  role  devant  1'empereur."  —  The  same  narra- 
tive is  to  be  found  in  Herm.  von  der  Hardt's  Magnum  Oecumenicum  Constantiense  Consilium.   3vol.    fol.   Franco- 
furti  et  Lipsiae  1700. 

3  "The  representation  seems  to  have   been  divided  into   three  parts   and  to  have  been  accomplished  by 


SHAKESPEARE  IN  GERMANY.  XI 

The  pleasure  which  this  play  afforded  the  Emperor  must  have  been  so  great  that  the  re- 
presentation of  similar  things  in  Constance  was  intended  as  a  peculiar  attention,  and  it  may 
be  assumed  that  they  were  able  to  shew  him  something  else,  if  not  something  better,  than 

1  he  could  have  become  acquainted  with  from  the  German  religious  plays,  which  were  also 
in  full  activity  at  that  time.1  Perhaps  the  Emperor  saw  at  Constance  the  same  players  as 
those  who  had  pleased  him  so  well  a  year  before  in  London.  That  they  were  able  to 
display  a  greater  degree  of  skill  than  their  colleagues  in  Germany  may  be  conjectured  from  . 
the  fact,  that  at  that  time  acting  was  a  regular  profession  in  England,  whereas  in  Germany 
the  actors  were  still  only  amateurs.  In  the  reign  of  Henry  vi  the  profession  of  an  actor 
had  become  completely  naturalized,  and  companies  of  strolling  actors  were  no  longer  any- 
thing uncommon.2  Flag-bearers  and  trumpeters  marched  before  them  to  announce  the  time 
and  place  of  the  performance.  The  Court  and  the  nobility  maintained  their  troops  of 
actors,  with  which  bands  of  music  were  always  connected.  Foreigners,  and  more  especially 
Germans,  were  to  be  found  among  the  latter  at  a  very  early  period.  Five  Germans,  Aus- 
trians  and  Bavarians,  were  in  the  service  of  Richard  iii  as  Minstrels  in  the  year  1483.  In 

tthe  month  of  March  of  the  same  year,  two  of  them,  Conred  Smyth  (Conrad  Schmidt)  and 
Peter  Skeydell  (Seydel?),  obtained  permission  to  return  to  the  Duke  of  Bavaria,  and  again, 
in  October,  the  three  others,  Henryke  Hes,  Hans  Hes,  and  Mykell  Yonger  (Michael  Jilnger) 
received  a  similar  permission  to  return  to  the  Duke  of  Austria.3  They  probably  made  no 
secret  in  their  native  country,  of  the  wonders  of  English  dramatic  art,  as  they  had  them- 
selves witnessed  it.  In  the  same  way  we  also  find  about  the  year  1516,  several  Germans 
among  the  eighteen  foreign  minstrels  of  Henry  viii,  whose  names  are  mentioned  in  a 
MS.  in  the  British  Museum.4  Somewhat  later,  the  religious  disputes  which  played  rather 
too  great  a  part  on  the  stages  of  both  countries,  offered  various  points  of  connection.  All 
John  Bale's  pieces  were  printed  in  German  Switzerland,  and  when  Luther  hulled  his  pam- 
phlets against  Henry  viii,  and  the  question  was  discussed  in  Germany,  "Whether  the  King 

certain  artificial  contrivances,  exhibiting  first  "  the  armyng  of  Saint  George,  and  an  Angel  cloying  on  his  spores," 
secondly  "  Seint  George  ridyng  and  fightyng  with  the  dragon,  with  his  spere  in  his  hand,"  and  thirdly  "a  castel 
and  Seint  George  and  the  Kynges  daughter  ledyng  the  lambe  in  at  the  castel  gates."  J.  P.  Collier,  History  etc. 
Vol.  i,  p.  20,  from  a  chronicle  in  the  Cottonian  collection,  British  Museum,  Cotton  MSS.  Calig.  B.  ii.  See  also 
(W.  B.  Rye)  The  Emperor  Sigismund  at  Windsor,  A.  D.  1416.  Retrospective  Review,  New  Series,  Vol.  ii,  8vo. 
London  1854,  p.  238. 

1  In  the  Records,  of  the  Grand-masters  of  the  Teutonic  Order  at  Marienburg  a  certain  "  Hannos,  the 
blind  speaker  [Sprecher]  of  the  New  Roman  Emperor"  is  mentioned  between  1399  and  1410.  This  seems  to 
indicate  that  the  Emperor  retained  persons  of  a  histrionic  character  at  his  court.  E.  H.  Hagen,  Geschichte  etc.,  p.  7. 

a  J.  P.  Collier,  History  of  English  Dramatic  Poetry.     Vol.  i,  p.  23. 

3  Ibid.  p.  34,  from  Harl.  MSS.  No.  433. 

4  MSS.  Landsdowne,  No.  2.    See  J.  P.  Collier,  History  of  the  Engl.  Dram.  Poetry.  Vol.  i,  p.  83.     The 
'  Minstrels  named  in  the  document  are  Italians,  Germans,  Frenchmen  and  Dutchmen.     "Ihon  de  Bassani,  Antony 

de  Bassani,  Jasper  de  Bassani,  John  Baptiste  de  Bassini,  Marcus  Antonius,  Nicholas  de  Forrewell  [probably  Ni- 
colas Wohlfahrt],  Pellegryne  Symon,  Antony  Symon,  Nicholas  Andria,  Antony  Maria,  John  de  Savernake,  Guyllam 
Guillam,  John  de  Bovall,  Nicholas  Puvall,  Hanse  Hansvest,  Haunce  Hichhorne,  Peter  de  Welder,  18  mynstrells." 

B'2 


XII  SHAKESPEARE  IN  GERMANY. 

of  England  or  Luther  were  a  liar,"1  it  will  have  been  well  known  in  Germany,  that  just 
this  very  King  had  greatly  enjoyed  a  play,  in  which  "the  heretic  Luther  like  a  party  friar 
in  russet  damaske  and  black  taffeta",  and  Luther's  wife,  the  honest  Kate  von  Bora,  "like 
a  frow  of  Spyers  in  Allmayn  in  red  sylke"  were  held  up  to  ridicule.2 

It  was  impossible  therefore,  but  that  the  fame  of  the  English  stage  penetrated  to 
Germany  at  a  very  early  period.  Later,  in  the  time  of  Queen  Elisabeth,  when  the  rela- 
tions of  England  to  the  Continent  had  become  more  numerous,  it  became  good  ton  among 
the  German  and  Dutch  Princes  and  Nobility  to  pay  a  visit  to  England,  a  privilege,  which 
up  to  that  time  had  only  been  enjoyed  by  the  French  and  Italians.  What  a  rich  intellec- 
tual life  here  unfolded  itself  to  their  view,  an  intellectual  life,  such  "that  the  world  had 
•never  seen  the  like  since  the  best  days  of  Greece!"3  Here  the  theatres  were  at  the  height 
of  prosperity,  the  great  masterpieces,  those  imperishable  ornaments  of  the  human  intellect, 
were  revealed  to  the  people  through  the  medium  of  a  thoroughly  cultivated  and  artistic 
stage,  and  the  whole  dramatic  art  had  arrived  at  a  degree  of  development  which  it  had 
hardly  attained  in  other  countries  half  a  century  later. 

Of  such  travellers,  as  may  safely  be  presumed  not  to  have  disregarded  the  English 
theatre,  we  will  only  mention  a  few.  Count  Frederick  of  Mftmpelgard  (born  Aug.  19,  1557, 
died  Jan.  29,  1608)  who  in  August  1593  succeeded  Duke  Ludwig  on  the  throne  of  Wirtem- 
berg,  left  Mompelgard  on  July  10,  1592,  on  a  tour  of  pleasure  to  England.  He  went  first 
to  Cassel,  to  the  Landgrave  William  of  Hesse,  who  stood  on  a  footing  of  great  intimacy 
with  Elisabeth  of  England,  and  obtained  from  him  a  letter  of  introduction  to  the  Queen. 
He  embarked  at  Embden  on  the  7th  of  August  and  after  a  stormy  voyage  landed  on  the 
9th  at  Dover,  from  whence  he  continued  his  journey  to  London.  His  suite  consisted  ori- 
ginally of  1.  Hans  Georg  von  Brunighofen,  Grand  Steward,  2.  Johan  Docourt,  Licentiate 
and  Ducal  Counsellor,  3.  Franz  Ludwig  Zorn  von  Bulach,  Gentleman  of  the  bed-chamber, 
4.  Hans  Jacob  von  Mtilnheim,  also  Gentleman  of  the  bed-chamber,  5.  Captain  Saige,  6.  Johan 
Bautin,  surgeon,  7.  Jacob  Rathgeb,  Secretary,  besides  seven  servants,  coachmen  and  grooms. 
Hans  Christoph,  Hereditary  Sewer  of  Rheinfelden,  joined  the  party  on  the  way;  but  the  latter, 
and  the  two  above-mentioned  H.  G.  von  Brunighofen  and  Johan  Docourt,  must  have  returned 
on  the  ground  of  ill-health,  so  only  five  of  the  suite  besides  the  seven  servants  arrived  in 
England  with  the  Count.  This  party  travelled  by  way  of  Canterbury,  Rochester,  and  Grave- 
send,  and  reached  London  on  the  evening  of  the  10th  of  August.  Here  the  French  Am- 
bassador, de  Beauvois,  shewed  the  Count  many  attentions.  The  first  five  days  were  occupied 
in -seeing  the  sights  of  London,  and  on  the  16th,  the  Count  and  his  suite,  at  the  invitation 
of  Queen  Elisabeth,  proceeded  to  Reading,  where  Her  Majesty  was  then  staying.  Here  he 

1  (Th.  Murner.)    Ob  der  Kunig  vsz  engelland  ein  liigner  sey  oder  der  Luther.     4to.     Strafsburg  1522. 
3  The  revells  holldyn  the  X'h  day  of  Novembyr,  the  xitfh  yer  of  our  sovrayn  lord  kyng  harry  yf  viij '*.  (1528). 
See  J.  P.  Collier,  History  etc.  Vol.  i,  p.  108.    From  Richard  Gibson's  account  at  the  Chapterhouse,  Westminster. 
3  Friedrich  Bodenstedt,  Shakespeare's  Zeitgenossen,   Band  i.    8vo.    Berlin   1858,  p.  13. 


SHAKESPEARE  IN  GERMANY.  XIII 

was  received  with  great  honour  by  the  Earl  of  Essex,  who  on  the  following  day  presented 
him  to  the  Queen.  A  second  audience  followed  on  the  18th,  and  after  it,  a  banquet  given 
by  the  Count  to  the  Earl  of  Essex  and  the  other  grandees  of  the  court.  On  the  19th  the 
Count  accompanied  the  Queen  to  Windsor,  where  he  remained  till  the  21st,  and  was  pre- 
sent at  several  hunting  parties  and  other  amusements  which  were  got  up  in  his  honour. 
Hampton  Court  was  next  visited,  from  whence  he  returned  to  London.  From  the  25th  to 
the  29th  was  devoted  to  an  inspection  of  Oxford  and  Cambridge,  and  on  the  30th  he  re- 
turned to  London,  where  the  intervening  days  before  his  return,  which  took  place  on  the 
4th  of  September,  were  passed  in  amusements  of  various  kinds.  Captain  Saige,  one  of  the 
Count's  suite,  was  left  in  London  on  account  of  illness.  The  route  chosen  for  the  journey 
home  was  by  way  of  Holland,  and  on  the  19th  of  October  the  Count  was  again  in  Mompel- 
gard.1  It  is  to  another  companion  of  the  Count's,  his  secretary,  Jacob  Rathgeb,  that  we  are 
indebted  for  a  description  of  the  journey,  which  contains  many  interesting  details  respecting 
England  as  it  was  in  the  days  of  Elisabeth.2  Unfortunately  the  worthy  secretary  has  given 
us  no  information  respecting  the  Count's  visit  to  the  theatres,  but  notwithstanding' this  omis- 
sion, we  may  safely  assume  that  the  Count .  did  not  leave  them  unnoticed.  The  allusions 
to  him  in  the  "Merry  Wives  of  Windsor"  Act  iv.  sc.  3  &  5,  to  which  we  shall  afterwards 
refer,  would  appear  to  imply  that  he  had  entered  into  some  closer  connection  with  the 
theatre.  Altogether  indeed,  Rathgeb  appears  to  have  only  noted  what  he  had  himself  wit- 

1  The  following  is  the  passport  which  the  Duke  received  for  his  journey  back  to  the  Continent,  as  printed 
in  the  work  noticed  below: 

"Theras  this  nobleman  Count  Mombeliard  is  to  passe  ouer  Contrye  in  England  into  the  lowe  Contryes, 
These  Shalbe  to  wil  and  command  you  in  heer  Maj.te  name  for  such,  and  is  heer  pleasure  to  see  him  fournissed 
with  post  horses  in  his  trauail  to  the  sea  side,  and  ther  to  seeke  up  such  shippinge  as  shalbe  fit  for  his  trans- 
portations, he  pay  nothing  for  the  same,  forwich  this  shalbe  your  sufficient  warrant,  so  see  that  you  faile  not 
therof  at  your  perilles.  From  Bifleete,  the  2  of  September  1592. 

Your  Friend. 
*  C.  HOWARD. 

(Locus  sigilli.) 

To  al  Justices  of  peace,  Maiors,  Bayliffes,  and  al  other  her  Ma.te  officers,  in  especial  to  my  owne  officers 
of  the  admyraltye." 

2  Kurtze  vnd  Warhaffte  \  Beschreibung  der  Badenfahrt:  \  Welche  der  \  Dvrchleuchtig  \  Hochgeborn  Fiirst  vnd 
Herr  \  Herr  Friderich,  Hertzog  zu  Wiirttemberg  \  vnnd  Teckh,  Grave  zu  Miimppelgart,  HErr  zu  \  Heidenheim,  Bitter 
der  beeden  Vhralten  Kb'niglichen  \  Orden,  in  Franckreich  S.  Michaels,  vnnd  Hosen-  \  bands  in  Engelland,   etc.     In 
negst  abgeloffe-  \  nem  1592.  Jahr,  \  Von  Miimppelgart  aufs,  In  das  weitbe-  \  rilmbte  Konigreich  Engellandt,  hernach  im 
zu-  |  ruck  ziehen  durch  die  Niderland,  bifs  widerumb  \  gehn  Miimppelgart,  ver-  \  richtet  hat.  \  Aufs  I.  F.  G.  gnedigem 
Bevelch,  von  dero  mit-  \  raisendem  Cammer-Secretarien  [Jacob  Rathgeb]   auffs  kiirtzist,  von  \  tag  zu  tag  verzeichnet. 
4to.    Tubingen,  bey  Erhardo  Cellio.    Anno  1602.    With  a  woodcut  portrait  of  the  Duke  and  other  plates.  —  Re- 
issued together  with  the  Duke's  Journey  in  Italy:    Warhaffte  Beschreibung  Zweyer  Eaisen  etc.    4to.    Ibid.,   In  der 
Cellischen  Truckerey.    Anno  1603.     This  edition  contains  a  poem  of  27  pages  in  praise  of  the  Duke,  by  Erhard 
Cellius,  which  is  not  in  the  first  edition.    The  Journey  in  Italy  is  written  by  Heinrich  Schickhart.    The  portrait  of 
the  Duke  in  the  second  edition  is  different  from  that  in  the  first;  it  is  that  which  adorns  the  first  edition  of  the 
Journey  in  Italy,  Miimppelgart,  Jacob  Foillet,  1602.    Another  re-issue  of  the  Journey  in  Italy  bears  the  imprint: 
Zu  Tubingen,  bey  Erhardo  Cellio,     Im  Jahr,  1603, 


XIV  SHAKESPEARE  IN  GERMANY. 

nessed,  and  that  he  should  have  accompanied  the  Count  to  the  theatre  is  hardly  probable. 
For  it  must  be  presumed  that  the  Count  visited  the  theatre  in  the  company  of  some  ini- 
tiated person,  such  as  perhaps  the  French  Ambassador,  or  the  Earl  of  Essex,  who  attended 
the  Count  in  London  after  his  return  from  Windsor,  and  etiquette  would  hardly  have  al- 
lowed him  to  take  with  him  a  subaltern  such  as  Rathgeb.  That  the  Count  was  present  at 
a  representation  in  Windsor,  as  some  persons  have  supposed,  I  do  not  believe.  He  only 
remained  there  two  days,  which  must  have  been  entirely  taken  up  by  the  events  recorded 
by  Rathgeb;  for,  as  is  well  known,  in  those  times  the  representations  were  not  given  in 
the  evening,  but  during  the  day.1 

It  appears  that  during  this  visit,  Elisabeth  promised  the  Count  to  confer  upon  him 
the  honour  of  the  Order  of  the  Garter,  whenever  a  vacancy  should  occur.  In  the  beginning  of 
1595,  the  Duke,  who  had  now  been  some  time  on  the  throne,  remembered  this  promise,  and 
sent  Hans  Jacob  Breuningen  von  Buchenbach,  a  much  travelled  cavalier  who  was  acquainted 
with  many  languages,  to  the  Court  of  Elisabeth,  to  request  her  to  keep  her  word.  He  had 
the  first  audience  on  the  6th  of  April,  and  was  received  in  a  very  splendid  and  gracious 
manner,2  but  the  investiture  of  the  order  was.  declined  under  various  pretexts.  This  Hans 
Jacob  B.  von  Buchenbach  also  appears  to  have  been  acquainted  with  Essex,  at  least  he 
was  sumptuously  entertained  by  him,  on  which  occasion  a  question  of  precedence  arose 
between  the  Ambassador  of  the  Duke,  and  Count  Philip  von  Solms,  the  Ambassador  of  the 
Landgrave  Maurice  of  Hesse,  which  was  decided  in  favour  of  the  former.3 

On  the  accession  of  King  James,  Duke  Frederick  sent  another  ambassador  to  Eng- 
land, the  counsellor  von  Buwinghausen,  after  which  he  at  last  received  the  ardently  wished 
for  order,  the  insignia  of  which  were  brought  him  in  October  1603  by  a  very  splendid 
embassy  under  the  conduct  of  Sir  Robert  Spencer  and  Sir  William  Dethik.4  Of  the  festi- 
vities which  took  place  in  Stuttgart  on  this  occasion  we  shall  have  to  speak  hereafter,  as 
there  were  both  English  musicians  and  actors  in  the  suite  of  the  Ambassadors. 

The  second  traveller  of  princely  rank,  whom  we  have  to  mention,  is  Ludwig,  Prince 
of  Anhalt  (born  at  Dessau,  June  17,  1579,  died  Jan.  7,  1650),  who  had  not  quite  completed 
his  seventeenth  year,  when  in  May  1596  he  started  on  his  travels,  impelled  by  the  desire 

1  J.  P.  Collier,  Histonj  of  English  Dramatic  Poetry.    Vol.  iii,  p.  376. 

2  In  Christoph  Friderich  Sattler's   Geschichte  des  Herzogthums  Wiirtenberg  unter   der  Begierung  der  Her- 
zogen,  Vol.  v.   4to.   Ulm  1772,  Beilagen  p.  107,  will  be  found  the  speech   of  the  ambassador  addressed  to  the 
Queen,  in  Italian. 

3  Sattler  ibid.  Vol.  v,  p.  159  and  p.  183—185.  —  In  the  year  1594,  a  certain  Stammler,  who  had  been 
sent  to  England  by  Duke  Frederick  to  buy  cloth,  had  given  himself  out  for  an  Ambassador  at  the  Court  of  Eli- 
sabeth.    It  appears  that  he  succeeded  in  obtaining  an  audience  of  the  Queen,   and  that  he  also  reminded  her  of 
the  Garter.    He  was  afterwards  sent  out  of  England  on  account  of  his  disorderly  conduct.    Sattler,  ibid.,  p.  185. 

4  It  is  a  singular  fact,  that  on  various  medals,  struck  in  1593  and  1602,  the  Duke  is  already  represented 
with  the  Garter.     On   the   title    of  Rathgeb's   Diary   too   he   is  called  Knight  of  the  Garter.     It  therefore  would 
appear  that  the  Order  was  granted  in   1592  at  the  Duke's  visit  to  England,  and  that  Breuningen  applied  for  the 
Insignia  only,  which  however  were  not  sent  to  the  Duke  before  1603.     See  Sattler,  ibid.,  p.  256. 


SHAKESPEARE  IN  GERMANY.  XV 

of  seeing  the  world.  His  companions  consisted  of  his  brother  Hans  Ernst  who  was  only 
a  year  older  than  himself,  and  who  in  1601  joined  in  the  campaign  against  the  Turks  under 
the  Duke  of  Mercoeur,  Albrecht  von  Wutenau  his  governor,  and  Bernhard  von  Krosigk 
a  page,  who  resembled  the  prince  both  in  tastes  and  education.  We  know  with  the  greatest 
exactness,  day  by  day,  all  the  adventures  of  travels  which  lasted  nearly  four  years,  every- 
thing indeed  which  occupied  the  mind  of  an  observant  young  Prince  thirsting  for  informa- 
tion, in  as  much  as  fifty  years  later,  Prince  Ludwig  composed  a  description  of  his  travels 
in  German  rhyme  from  his  carefully  kept  journal.  Provided  with  letters  of  introduction 
from  the  Prince's  reigning  brother,  Christian  i,  to  the  Earl  of  Essex,  whom  however  they 
did  not  meet  with,  the  travellers  proceeded  by  the  route  through  Lower  Saxony,  Bremen, 
Oldenburg,  and  Holland,  whence  they  embarked  for  London.  They  arrived  at  the  latter 
place. on  the  23rd  of  June,  and  remained  there  fourteen  days.  They  then  proceeded  to 
Greenwich  where  the  Princes  were  presented  to  Queen  Elisabeth,  thence  to  Nonsuch, 
Hampton  Court,  Windsor,  Oxford,  and  Cambridge,  from  which  place  they  returned  to  Lon- 
don on  the  24th  of  July,  to  leave  it  again  by  way  of  Gravesend,  Rochester  and  Canter- 
bury, for  Dover,  where  they  embarked  for  Dieppe.  That  Prince  Ludwig  was  present  at 
some  of  the  representations  of  Shakespeare's  plays  on  the  London  stage,  is  almost  certain. 
It  is  true,  in  the  description  of  his  journey  he  does  not  name  the  plays  which  he  had 
seen,  but  he  speaks  of  four  theatres  in  London,  and  of  the  historical  pieces  which  were  per- 
formed in  them.  The  passage  in  question  in  his  account  of  his  travels,  is  as  follows. 

Hier  besieht  man  vier  spielhauser1 

Darinnen  man  furstelt  die  Fursten,  Konge,  Keyser 

In  rechter  lebens  grofs',  in  schoner  Kleider  pracht, 
Es  wird  der  thaten  auch,  wie  sie  geschehn,  gedacht. 

Es  wird  die  Beeren  hatz  und  Oclisen  streit  erhalten, 
Das  durch  den  miifsiggang  die  hunde  nicht  veralten, 

Die  gar  zu  freudig  seind,  fein  starck  und  untersetzt, 

Wodurch  sich  oftermals  der  Edelmann  ergetzt. 

Es  wird  der  Halinen  Kampf  auch  oftmals  angestellet, 
Sie  werden,  wie  man  wil,  im  Hause  gleich  gesellet 

Auf  einen  runden  tiscli  der  gantz  beschlagen  ist 

Mit  matten,  hier  gebraucht  man  tugend,  keine  list, 

1  The  Prince  notices  four  playhouses  only,  but  it  is  a  known  fact  that  there  were  at  least  seven,  and 
perhaps  ten,  Theatres  in  London  in  1596,  viz,  the  Theatre  in  Shoreditch,  the  Blackfriars,  the  Curtain,  Paris 
Garden,  the  Globe,  the  Rose  and  Newington  Butts,  and  perhaps  the  Whitefriars,  the  Rose,  and  the  Swan.  The 
author's  speaking  of  four  only  is  explained  by  the  fact  that  not  all  the  theatres  were  open  at  that  time  in  sum- 
mer, or  perhaps  the  Prince  had  visited  those  theatres  which  were  called  "Public",  and  not  those  which  were 
called  "Private". 


XVI  SHAKESPEARE  IN  GERMANY. 

Wan  jetzt  das  beissen  folgt,  und  manche  Stunde  wehret. 

Bis  sich  das  rechte  gliick  zum  sieger  hat  gekehret, 
Das  wetten  wird  gar  hoch  von  vielen  angesetzt, 
Und  welcher  Hahn  gewint,  dem  wird  sein  Herr  ergetzt.1 

TRANSLATION. 

There  are  four  theatres  to  see  here, 

Where  Princes  too,  and  Kings,  and  Emperors  appear, 
In  the  true  size  of  life,  in  handsome  robes  arrayed, 
And  mention  of  their  deeds,  as  they  befel,  is  made. 

And  baitings  too  of  bears,  and  eke  of  bulls  they  hold, 
That  through  a  lazy  life,  the  dogs  may  not  grow  old. 

Which  full  of  spirit  are,  strong,  handsome,  and  thick-set, 

By  which  the  nobleman  does  oft  amusement  get. 

And  fights  between  two  cocks  are  often  got  up  there, 
They're  matched  too  in  the  house,  as  one  may  choose  a  pair. 
Upon  a  table  round,  that's  covered  over  quite 
With  mats,  here  one  employs  no  art,  but  virtue's  might. 

The  biting  follows  now,  full  many  an  hour  to  last, 

Till  that  complete  success  hath  to  the  victor  passed. 
The  bets  are  very  high,  which  many  men  will  lay, 
And  he  is  then  regaled  whose  cock  has  won  the  day. 

The  Prince's  travels  contain  moreover  other  interesting  notices  of  England  in  the 
time  of  Queen  Elisabeth.  Especial  mention  is  made  of  the  great  number  of  Germans  liv- 
ing in  London. 

A  very  interesting  and  exact  description  of  Elisabethan  England  has  been  given  by 
Paul  Hentzner,  who  was  tutor  to  Christoph  von  Rehdiger,  a  young  Silesian  nobleman,  nephew 
of  the  celebrated  Thomas  von  Rehdiger,  the  founder  of  the  splendid  library  at  Breslau 
which  still  bears  his  name.  Hentzner  accompanied  his  pupil  on  his  travels  in  Germany, 
France,  England,  and  Italy.2  They  commenced  their  wanderings  in  the  year  1596  and 

1  The  description  of  the  Journey  is  to  be  found  in  Joh.  Christ.  Beckmann's  Accessiones  historiae  An- 
haltinae,  fol.,  Zerbst  1716,  p.  165 — 216.  The  above  passage  is  at  p.  172.  —  It  is  entitled:  Fiirst  Ludwigs  zu 
Anhalt  Kohten  Reisebeschreibung  von  ihm  selbst  in  Deutsche  Verse  gebracht.  Erste  Seise  durchs  Niederland  tind 
Engelland  in  Franckreich  (1596 — 97).  In  fine:  Vollendet  den  31.  des  Mertzen  Anno  1649.  Follows:  "Die  Eeise 
in  Italien"  (1598 — 99)  p.  216 — 292.  A  portrait  of  the  Duke  will  be  found  in  Beckmann's  Historie  des  Fursten- 
thums  Anhalt  (to  which  the  Accessiones  form  a  supplement),  fol.  ib.  Vol.  V,  p.  466.  —  On  his  Journey  and  his 
life  in  general  see  also:  F.  "W.  Barthold,  Geschichte  der  Fruchtbringenden  Gesellschaft.  8vo.  Berlin  1848,  p.  29 
et  seq. 

a  Paulus  Hentzner,  Itinerarium  Germaniae,  Galliae,  Angliae,  Italiae.  Norimbergae,  sumt.  autoris,  typ.  A. 
Wagenmanni,  1612.  4to.  At  that  time  Hentzner  was  counsellor  to  the  Duke  of  Munsterberg  in  Silesia. —  Other 
editions  are:  Breslae  1617,  4to.  —  Norimbergae  1610,  8vo.  —  Ibid.  1629,  8vo.  — Lipsiae  1661,  8vo.  — English 


SHAKESPEARE  IN  GERMANY.  XVII 

continued  them  till  1600.  Their  stay  in  England  was  in  the  year  1598,  when  Hentzner's 
pupil  was  eighteen  years  old.  Sir  Horace  Walpole  says  in  his  preface  to  the  English  edition 
of  Hentzner's  travels  quoted  below:  "The  author  seems  to  have  had  that  laborious  and 
indiscriminate  passion  for  seeing  which  is  remarked  in  his  countrymen."  In  reality,  Hentz-v 
ner's  work  is  one  of  the  best  accounts  of  the  sights,  customs,  and  manners  of  England 
under  Elisabeth.  What  he  tells  us  about  the  theatre  is  unfortunately  not  much;  but  it  is 
sufficient  to  shew  that  the  stage  had  attracted  the  attention  of  the  travellers.1 

"Without  the  city  are  some  theatres  where  English  actors  almost  every  day  repre- 
sent Tragedies  and  Comedies  to  very  numerous  audiences,  these  are  concluded  with  ex- 
cellent music,  variety  of  dances,  and  the  great  applause  of  the  audience. 

Not  far  from  one  of  these  Theatres,  which  are  built  of  wood,  lies  the  Royal  Barge 

close  to  the  river  &c There  is  still  another  place   built  in  the  form  of  a  Theatre, 

which  serves  for  the  baiting  of  Bears  and  Bulls,  they  are  fastened  behind,  and  then  wor- 
ried by  great  English  bulldogs  etc."2 

The  ambassadors  of  German  Princes  were  repeatedly  at  the  Court  of  Elisabeth,  and 
there  can  be  little  doubt  that  their  reports  which  lie  buried  among  the  State-papers  contain 

Translation:  A  Journey  into  England  by  Paul  Hentzner,  in  the  year  m.d.xc.viii.  (Edited  by  Sir  Horace  Walpole.) 
8vo.  Strawberry-Hill,  1757.  —  Travels  in  England  1598,  to  which  is  now  added  Sir  Robert  Stauntons  fragmenta 
regalia.  8vo.  London  1797.  —  Journey  into  England  1598.  4to.  Reading.  At  the  private  press  of  T.  E.  Williams. 
1807.  (50  copies  printed.)  Reprinted  in  Dodsley's  collection  of  fugitive  pieces.  —  See  also,  Beckmann's  Littera- 
tur  der  Beisebeschreibungen,  Band  ii,  p.  11  et  seq.,  and,  Retrospective  Review,  Vol.  i,  p.  16 — 20.  Another  edition 
is,  we  understand,  in  preparation  by  Mr.  W.  B.  Rye  of  the  British  Museum,  in  conjunction  with  other  foreign 
accounts  of  England  at  the  time  of  Shakespeare. 

1  The  year  1598  is  a  most  important  date   in  the  history  of  the  stage  and  the  life  of  Shakespeare.     In 
that  year   Ben  Jonson's  play  "Every  Man  in  His  Humour"   was   performed   at  Blackfriar's  Theatre,  it  is  said  at 
Shakespeare's  interposition   and   suggestion,    and   Shakespeare  occupies   the  head  place   in  a  list  of  the  principal 
comedians,  who  represented  the  dramatis  personce.  —  In  the  same  year  appeared  the  first  edition  of  Love's  La- 
bour's Lost  with   Shakespeare's   name   on  the  title-page,   and  Eichard  ii   and  Richard  Hi  were  reissued  with  the 
author's  name,  though  Andrew  Wise,  the  publisher  who  issued  them,  had  only  a  short  time  previously  published 
Henry   iv  without   mentioning   the   author.  —  A  third  edition   of  Lucrece   was   published  in   the   same   year.     In 
1598  Francis  Meres  published  his  Palladis  Tamia,  the  principal  source  for  the  chronology  of  Shakespeare's  plays, 
and  in  the  same  year  Richard  Barnefield  gave  his  Poems  in  Divers  Humours,  where  we  read 

"And  Shakespeare,  thou  whose  honey-flowing  veine 

(Pleasing  the  world)  thy  praises  doth  obtaine, 
Whose  'Venus'  and  whose  'Lucrece'  (sweete  and  chaste) 
Thy  name  in  Fame's  immortal  book  hath  plac't, 
Live  ever  you,  at  least,  in  Fame,  live  ever. 
Well  may  the  bodye  dye ;  but  Fame  dies  never." 

2  The  Latin  text  runs  as  follows: 

"Sunt  porro  Londini  extra  urbem  Theatra  aliquot,  in  quibus  histriones  angli  Comoedias  et  Tragoedias 
singulis  fere  diebus,  in  magna  hominum  frequentia  agunt,  quas  variis  etiam  saltationibus.  suavissima  adhibita 
musica,  magno  cum  populi  applausu  finire  solent. 

Non  longe  ab  uno  horum  theatrorum,  quae  omnia  lignea  sunt,  ad  Thamesum  Navis  est  Regia  etc.  .  .  . 
Est  et  alius  postea  locus  theatri  quoque  formam  habens,  Ursorum  et  Taurorum  venationibus  destinatus,  qui  a 
postica  parte  alligati,  a  magnis  illis  canibus  et  molossis  anglicis  .  .  .  mire  exagitantur"  etc. 

C 


XVin  SHAKESPEARE  IN  GERMANY. 

many  notices  of  great  interest  for  the  history  of  English  civilisation.  We  have  already  mentioned 
Count  Philip  von  Solms,  Ambassador  of  the  Landgrave  Maurice  the  first  of  Hesse,  a  highly 
cultivated  Prince,  who  received  the  sobriquet  of  "the  learned".1  He  is  one  of  the  first 
German  Princes  who  maintained  actors  at  their  courts,  among  whom  there  were  English- 
men, of  which  subject  we  shall  speak  hereafter.  It  is  possible  that  Count  Philip  of  Solms 
had  something  to  do  with  it.  Landgrave  Maurice  built  a  magnificent  theatre  in  Cassel,  which 
he  called  'Ottonium'  in  honour  of  his  son  Otto.  A  Count  Hans  Ernst  von  Solms,  probably 
a  brother  of  the  above,  had  a  comedy  performed  in  the  year  1597  at  the  Court  of  the 
Landgrave  Louis  of  Marburg.2 

This  Otto  (born  Dec.  25,  1594,  --  died  Aug.  7,  1617)  kept  up  for  many  years  a 
very  close  correspondence  with  Henry  Prince  of  Wales,  the  son  of  James  the  first,  and  of 
just  the  same  age  as  himself,  and  from  whom  in  1611,  he  received  an  invitation  to  the 
English  Court.  Otto  started  on  his  journey  with  a  considerable  suite,  among  whom  there 
were:  Otto  von  Starschedel,  Privy  Counsellor,  Caspar  von  Widemarkter,  a  colonel,  who  while 
in  the  service  of  Henry  the  fourth  of  France  had  already  visited  the  Court  of  Queen  Eli- 
sabeth, Dietrich  von  Falckenberg,  Burkard  Schetzel,  and  Hermann  Thalmuller,  the  Prince's 
tutor.  The  Prince  first  visited  Maurice  of  Orange  at  the  Hague.  On  the  30th  of  June 
Otto  had  his  first  audience  of  James  the  first  at  Greenwich,  which  was  succeeded  by  an 
instructive  and  amusing  visit  at  the  English  Court  which  lasted  almost  two  months.  The 
description  of  this  journey  by  an  unknown  hand  is  in  the  library  at  Cassel.  Unfortunately 
I  have  not  yet  had  an  opportunity  of  seeing  the  manuscript,  but  to  judge  from  the  quo- 
tations of  Rommel,3  it  does  not  contain  anything  about  the  stage.  In  spite  of  this,  it  must 

1  Landgrave  Maurice  was  himself  a  dramatic  author.  He  has  composed  a  number  of  Comedies  and  Tra- 
gedies, mostly  in  Latin,  which  are  all  lost.  A  few  titles  only  of  Latin  plays  composed  by  him,  have  come  down 
to  us.  See  Christ,  v.  Rommel,  Geschichte  von  Hessen.  Band  vi.  8vo.  Cassel  1837,  p.  400,  a  passage  printed 
from  an  account  by  Job.  Combach  in  a  work  called  Mausoleum  Mauritianum,  ii,  p.  66,  where  the  English  stage 
is  mentioned. 

8  Rommel,  ibid.  p.  401,  note  120:  "1597  schickt  L.  Ludwig  zu  Marburg  dem  L.  Moriz  die  Harnische 
und  Kleider  zuriick,  welche  ihm  derselbe  zu  einer  Comoedia  geliehen,  die  Graf  Hans  Ernst  von  Solms  mit  seiner 
Gesellschaft  dort  aufgefiihrt."  -  It  does  not  appear  whether  "Gesellschaft"  here  means  a  company  of  players. 
In  the  latter  case,  Count  Solms  would  be  the  first  German  nobleman  who  entertained  players  as  a  part  of  his 
household. 

3  Rommel,  ibid.  p.  327,  speaks  only  of  visits  to  the  churches,  feasts  of  the  orders  of  knighthood,  banquets 
at  Court  and  at  the  Lord  Mayor's,  running  at  the  ring,  games  of  ball  at  Richmond  at  Prince  Henry's,  a  journey 
to  Scotland,  and  costly  presents  at  parting  for  Otto  and  his  companions,  among  whom  Starschedel  and  Wide- 
markter received  the  honour  of  knighthood.  Otto  received  a  jewel  from  the  King  with  120  diamonds,  from 
Prince  Henry  four  fine  horses,  from  another  English  nobleman  a  crossbow  for  shooting  deer,  a  buck  (with  the  word 
'Landgrave'  engraved  on  its  collar)  which  they  set  at  liberty,  and  a  " Commemorant"  (Carmoran?)  for  fishing.  The 
King,  who  conversed  with  Otto  on  the  bad  English  pronunciation  of  Latin,  and  quoted  some  verses  from  Ho- 
race, went  to  church  with  him  to  celebrate  the  anniversary  of  the  gunpowder  plot,  and  afterwards  touched  several 
persons  for  the  King's  evil.  Two  hundred  guards  always  marched  by  the  side  of  his  carriage,  and  cleared  the 
way  with  their  halberds.  The  attendant  who  handed  him  the  wine-cup,  performed  this  office  kneeling;  on  being 
dubbed  a  knight,  Starschedel  answered  the  King  in  Latin,  Widemarkter  in  French.  Besides  the  Earl  of  Lincoln, 


SHAKESPEARE  IN  GERMANY.  XIX 

}>e  assumed  that  Prince  Otto  was  present  at  theatrical  representations,  for  James  as  well 
us  Prince  Henry  were  great  patrons  of  the  stage.  The  theatrical  life  of  1611  was  rich  in 
incident.  Two  editions  of  'Hamlet'  (the  fourth  and  fifth)  appeared  with  Shakespeare's  name, 
then  a  second  edition  of  'Titus  Andronicus',  without  a  name,  and  in  the  'Accounts  of  the 
Revels  at  Court'  we  find  two  pieces  of  Shakespeare,  'The  Tempest'  and  'The  Winter 
Nightes  Tayle'  represented  at  Whitehall  by  the  King's  players. 

Duke  John  Frederick  of  Wirtemberg,  the  son  and  successor  of  that  Frederick,  of 
whose  journey  to  England  in  the  year  1592  we  have  spoken  above,  sent  his  eldest  brother, 
Duke  Louis  Frederick  to  England  in  the  year  1608  to  endeavour  to  induce  James  the  first 
to  join  the  Protestant  Union  of  the  German  Princes.  Among  his  followers  was  that  same 
Benjamin  von  Buwinghausen,  whom  Duke  Frederick  had  already  sent  to  England  on  the 
occasion  of  the  accession  of  James  the  first.  Two  years  later,  in  1610,  Duke  Louis  Fre- 
derick undertook  a  second  journey  to  England  for  a  similar  purpose  and  one  of  his  attendants, 
his  secretary  Jacob  Wurmser  von  Vendenheym,  has  written  an  account  of  this  journey  in 
French.  The  original  MS.  is  in  the  British  Museum  (Addit.  MSS.  No.  20001).  It  is  a  daily 
chronicle  of  the  ambassador's  stay  at  the  Court,  as  also  of  the  events  at  the  Court  of  James 
and  at  other  places.  The  Diary  extends  from  March  16,  1610,  to  July  24  of  the  same 
year,  and  affords  several  interesting  notices  of  the  places  visited  by  the  Duke  both  in 
coming  and  returning.  He  embarked  from  Flushing,  where  an  English  garrison  was  sta- 
tioned, on  Tuesday  the  12th  of  April,  and  arrived  at  Gravesend  on  the  following  day,  when 
he  was  waited  on  by  Sir  Lewis  Lewkenor,  Master  of  the  Ceremonies,  and  the  next  day 
conveyed  in  the  Royal  barges  to  London  "au  logis  de  1'Aigle  noir".  On  the  16th,  the  Duke 
had  his  audience  of  the  King,  who  was  accompanied  by  the  Queen,  the  Prince  Henry,  the 
Duke  of  York  (afterwards  Charles  the  first),  the  Princess  (Madame  Arabella  Stuart)  and  a 
young  Prince  of  Brunswick,  at  that  time  also  on  a  visit  to  James.  Several  days  were  after- 
wards spent  in  receiving  and  paying  visits,  and  on  the  23d  the  feast  of  St.  George  was 
kept  with  the  usual  ceremonies.1  Under  the  date  of  the  30th  of  April  we  find  the  follow- 
ing notice,  which  is  not  without  interest  for  the  history  of  the  theatre:  "S.  E.  alia  au  Globe, 
lieu  ordinaire  ou  Ton  joue  les  commedies;  y  fut  represente  1'histoire  du  More  de  Venise."2 

whom  Elisabeth  sent  to  Cassel  to  a  christening  in  1596,  Otto  met  a  Brandenburg  ambassador,  who  presented 
the  King  during  the  chase  with  some  living  wild  boars.  Otto  sat  at  the  side  of  the  Lord  Mayor,  who  was  waited 
on  by  pages,  his  sword  hanging  against  the  wall,  and  at  whose  banquet  an  excellent  alto  sang  to  the  instru- 
ments. It  is  mentioned  incidentally,  that  at  that  time  a  pound  of  tobacco  cost  in  London  330  florins.  On  the 
5th  of  September  1611,  Widemarkter  made  his  report  to  the  Landgrave  Maurice,  of  the  journey  and  safe  return 
of  his  son  by  way  of  Brussels. 

1  See  Sir  Frederick  Madden's  account  of  Wurmser's  Manuscript  in  Mr.  Staunton's  edition  of  Shakespeare, 
Vol.  i.  8vo.  London  1858,  p.  688,  of  which  the  above  is  an  extract. 

2  According  to  this  we  must  correct  what  Dr.  William  Bell,  Shakespeare's  Puck  and  his  Folkslore.  Vol.  ii, 
p.  251  et  seq.  says  respecting  the  journey  of  the  Duke.    The  Author  confounds  Duke  Louis  Frederick  with  the  Duke 
Frederick  to  whom  Shakespeare  alludes  in  the  Merry  Wives  of  Windsor.   According  to  Dr.  Bell,  it  was  one  and  the 
same  person  who  visited  England  in  1592  and  in  1610.   But  Duke  Frederick  died  on  the  29th  of  Jan.  1608.    Con- 

02 


XX  SHAKESPEARE  IN  GERMANY. 

The  above  few  examples  are  sufficient  to  shew  that  the  English  Theatre  in  the  days 
of  its  prime,  could  not  remain  quite  unknown  and  disregarded  in  Germany.  However 
meagre  may  have  been  the  accounts  which  those  travellers  brought  home  with  them,  and 
however  narrow  the  circle  into  which  they  may  have  penetrated,  they  were  nevertheless 
sufficient  to  pave  the  way  for  the  English  actors,  who  towards  the  end  of  the  sixteenth 
century  formed  the  resolution  of  trying  their  fortune  in  Germany,  and  to  bring  the  English 
drama  within  the  German  horizon. 

Recourse  has  been  had  to  the  most  extravagant  conjectures  to  explain  this  fact,  so 
remarkable  in  the  German  and  English  dramatic  history,  and  so  important  in  its  results  for  the 
German  stage.  Sometimes  we  are  told  that  these  actors  were  not  Englishmen  at  all,  but  young 
Germans  connected  with  the  Hansa  company  of  merchants  in  Hamburg,  or  adventurers,  who  had 
brought  translations  of  the  most  popular  pieces  to  Germany.  Sometimes  they  are  said  to  be 
German  amateurs  who  had  gone  to  London,  and  had  returned  with  a  stock  of  plays  and  parts 
which  they  had  studied  there.1  Another  supposition  is,  that  these  English  actors  had  come 
to  Germany. with  the  English  auxiliary  troops  who  were  in  the  army  of  Gustavus  Adolphus.2 

sequently  the  conclusions  which  Dr.  Bell  draws  from  the  supposed  identity  of  the  two  travellers,  respecting 
the  date  of  the  authentic  version  of  The  Tempest,  likewise  fall  to  the  ground.  —  Mr.  Staunton,  in  the  introductory 
note  to  Sir  Frederick  Madden's  account  quoted  above,  falls  into  the  same  error  of  confounding  the  two  Dukes. 
—  The  first  journey  of  Duke  Louis  Frederick,  who  was  the  second  son  of  Duke  Frederick  did  not  take  place 
till  the  middle  of  the  year.  The  "Relation  Benj.  von  Buwinckhausen  wegen  seiner  Verrichtung  in  Engelland  die 
Union  der  Evangel.  Fursten  betreffend"  (Account  of  Benj.  von  Buwinckhausen  of  what  he  did  in  England  concerning 
the  Union  of  the  Evangelical  Princes)  bears  date  Sept.  1,  1608.  It  is  to  be  found  in  Sattler,  Geschichte  des  Her- 
zogthums  Wiirtemberg.  Vol.  vi,  Beilagen  No.  5,  p.  17 — 20.  Respecting  the  journey,  see  ibid.  Vol.  vi,  the  work 
itself,  p.  12. 

It  may  not  be  superfluous  to  mention  a  Swiss  traveller,  Johann  Rudolph  Hess,  (born  in  1588,  died  in 
1655,  probably  the  same  who  was  Director  of  the  Arsenal  and  member  of  the  Great  Council)  who  must  have 
visited  London  about  1614.  He  no  doubt  frequented  the  London  theatres  as  may  be  concluded  by  the  fact 
that,  amongst  the  books  which  he  has  carried  home  with  him  to  Zurich,  there  are  six  plays,  viz.  1.  Ben  Jon- 
son's  Volpone,  1607.  2.  A  pleasant  conceited  comedy,  wherein  a  man  may  choose  a  good  wife  from  a  bad^ 
1608.  3.  The  insatiate  contesse,  a  tragedie,  1613.  4.  The  first  and  second  Part  of  the  troublesome  Eeigne  of 
John  King  of  England,  written  by  W.  Sh.,  1611.  5.  Shakespeare's  Hamlet,  1611.  6.  (Shakespeare's)  Romeo 
and  Juliet,  1609.  All  in  4to.  One  of  his  books  bears  the  inscription:  "Ex  libris  Joh.  Rodolphi  Hessii  Tigurini. 
Constat  Londini.  16.."  (The  last  two  figures  are  cut  off.)  —  The  books  are  now  at  the  Municipal  Library  at 
Zurich.  See  Prof.  Tycho  Mommsen's  edition  of  Pericles  Prince  of  Tyre,  a  novel  by  George  Wilkins  printed  in 
1608.  8vo.  Oldenburg  1857,  p.  iii. 

1  Deutsches   Theater,  herausgegeben  von  Ludewig  Tieck.    8vo.    Berlin  1817.    2  vol.   Vol.  i,   p.  xxiv.     To 
?Tieck  belongs  the  merit  of  having  first  directed  attention   to  the  English  Comedians,   but  his  utterly  ungrounded 
conjectures   have   introduced   confusion  into   the  question   from   the  very  beginning.     The  authority   of  his  name 
occasioned  others  to  repeat  his  assertions  without  giving  them  much  consideration,   for  the  above-mentioned  con- 
jectures are  to  be  met  with  wherever  the  English  Comedians  are  in  question.    Even  Mr.  William  J.  Thorns,  who 
,  was  the  first  person  in  England  to  direct  attention  to  these  English  Comedians  and  the  literary  questions  connected 
with  them,  accepts  Tieck's  speculations  without  qualification.    Mr.  Thorns'  suggestive  essay  is  to  be  found  in  the 
New  Monthly  Magazine,  ed.  by  Theodore  Hook,  Jan.  1841,  p.  19 — 29:  On  the  connection  between  the  early  English 
and  early  German  drama,  and  on  the  probable  origin  of  Shakespeare's  Tempest,  in  a  letter  to  Thomas  Amyot  Esq. 
*  Zeitung  fur  die  elegante   Welt.   4to.    Leipzig  1827.    No.  50. 


SHAKESPEARE  IN  GERMANY.  XXI 

Thus,  at  the  very  outset,  worthless  speculations  have  raised  difficulties  in  the  explanation 
of  an  event,  which  was  the  natural  result  of  the  simplest  facts;  and  as  nobody  has  taken 
the  trouble  to  collect  the  materials  necessary  to  fathom  this  important  question,  nobody 
down  to  the  present  day  has  really  been  able  to  explain,  to  what  the  transformation  of 
the  German  theatre,  which  is  unquestionably  due  to  these  strolling  companies,  is  indebted 
for  its  origin  and  progress. 

Since  the  powerful  impulse  which  Shakespeare  and  his  contemporaries  had  given  to 
the  English  stage,  the  number  of  the  theatres  in  London  had  increased  very  rapidly.  A 
necessary  consequence  was  a  constant  increase  in  the  number  of  persons,  who,  urged  either 
by  natural  inclination  or  by  motives  of  gain,  tried  their  fortune  in  these  new  resorts  of 
art.  This  must  have  given  rise  to  an  overfilling  of  the  profession,  which  considerably  ex- 
ceeded the  real  demand,  and  resulted  in  a  diminution  in  the  emoluments  of  the  actors. 
The  mediocre  and  subordinate  actors  must  have  suffered  more  especially  from  this  cause. 
Inferior  performers  were  constantly  leaving  London  to  seek  a  livelihood  in  the  provinces, 
and  when  this  resource  also  failed  them,  they  again  returned  to  the  capital.1  In  addition 
to  this,  the  unfavorable  eye  with  which  they  were  regarded  offered  obstacles  of  another 
kind  in  the  provinces,  which  in  London  had  long  been  overcome  by  the  popularity  which 
the  theatres  enjoyed.2  At  the  same  time  it  can  have  been  no  secret  among  these  persons 
that  English  talent  of  every  description  was  fully  appreciated  and  well  remunerated  on  the 
Continent.  English  musicians,  fiddlers,  flutists,  trumpeters,  to  say  nothing  of  English  athletes 
and  riders,  had  been  objects  of  popular  admiration  in  Germany  and  the  Netherlands  since 
the  middle  of  the  sixteenth  century.  From  1556  to  1584  the  names  of  English  musicians 
are  constantly  met  with  in  the  accounts  of  the  Margravine  Court  in  Prussia,  to  which  po- 
pular artists  of  every  description  flocked  in  one  uninterrupted  succession.3  They  are  also 
mentioned  in  other  parts  of  Germany.  At  the  Court  of  Vienna  a  Flemish  actor  and  his 
company  appear  as  early  as  1560,  and  after  1569  we  repeatedly  meet  with  Italian  come- 
dians, and  among  them  with  a  certain  Taborino,  who  in  1570  was  regularly  engaged^as 


1  J.  P.  Collier,  History  of  English  Dram.  Literature.    Vol.  iii,  p.  437. 

2  '•'It  appears  from  Mr.  Thompson's  work  on  the  history  of  Leicester  that,    early  in  the  reign  of  Elisa- 
beth, the  corporation  discountenanced  popular  amusements.    In  1566  they  stopped  the  fees  that  had  usually  been 
paid  to  the  bearwards,  who  kept  bears  for  the  amusement  of  the  people,  and  to  the  players  who  had  frequently 
performed  in  the  Guildhall.    In  the  year  1582,  they  forbade  any  dramatic  performances  except  they  were  autho- 
rized by  the  Queen  or  the  Lords  of  the  Privy  Council,    and   then  the  acting  was  to  be  witnessed  by  the  Mayor 
and  his  brethren  only.     This  spirit  was  carried  to  so  great  an  excess,    that  the  Mayor  in   1586  appears  to  have 
provided   Lord  Worcester's   players  with  a  dinner,    as  an  inducement  for  them  to  proceed  without  playing"  etc. 
Shakespeare  Society's  Papers,  Vol.  iv,  p.  145.   Art.  xvii,   Dispute  between  the  Earl  of  Worcester's  players  and  the 
corporation  of  Leicester,  from  the  Records  of  that  city.    By  J.  O.  Halliwell. 

As  late  as  1597  an  act,  first  passed  in  1572,  was  renewed  with  additional  force,  by  which  the  number 
of  itinerant  performers  was  limited;  and  in  1599  the  Earl  of  Leicester's  players  could  not  venture  to  set  out  for 
the  provinces,  without  obtaining  a  patent  from  Elisabeth  by  which  they  were  enabled  to  perform  "comedies,  tra- 
gedies, interludes  and  stage-plays"  in  any  part  of  the  Kingdom. 

3  E.  A.  Hagen,  Geschichte  des  Theaters  in  Preufsen,  p.  46. 


XXJI  SHAKESPEARE  IN  GERMANY. 

Imperial  comedian.1  The  London  actors  must  also  have  remembered  that  Italian  players  had 
performed  in  London  in  1577 — 78,  and  that  Italians  had  also  met  with  considerable  suc- 
cess in  France  and  Spain.2  Why  then  should  not  English  actors,  who  need  not  place  less 
confidence  in  their  art,  also  obtain  similar  successes  abroad?  In  the  year  1585,  moreover, 
such  motives  received  from  without  an  additional  impulse,  which  put  in  motion  the  wan- 
derings of  the  actors  towards  the  most  kindred  countries  of  the  Continent.  It  was  in  this 
i  year  that  the  Earl  of  Leicester  went  to  the  Netherlands  at  the  head  of  the  troops  which 
Queen  Elisabeth  sent  to  the  assistance  of  the  United  Provinces,  then  engaged  in  a  rebellion 
against  Philip  the  second.  Whether  the  magnificent  Earl,  who  had  long  maintained  a  com- 
pany of  actors  at  his  own  cost,  hit  himself  upon  the  idea  of  theatrical  performances  as  a 
means  of  enhancing  the  splendour,  which  he  intended  to  display  in  Holland,  or  whether 
strolling  players  attached  themselves  to  his  vast  retinue  of  their  own  accord,  it  is  sufficient 
for  us  that  we  know  from  a  letter  sent  to  England  by  Sir  Philip  Sydney,  and  dated  Utrecht, 
that  at  least  one  actor,  namely  "Will,  the  Lord  of  Leicester's  jesting  player"  accompanied  the 
Earl,  and  it  is  propable  that  others,  of  whom  we  know  nothing,  did  the  same.3 

1  Ed.  Devrient,  GescMchte  der  deutschen  Schauspielkunst.   Vol.  i,  p.  149. 

*  See  Schlager,  Wiener  Skizzen.  8vo.  Wien  1839,  Sitzungsberichte  der  Wiener  Akademie  vi,  p.  1.  and  Ger- 
vinus,  GescMchte  der  deutschen  Dichtung.  Vol.  iii,  p.  104. 

3  See  John  Bruce's  Who  was  "Will,  my  Lord  of  Leicester's  jesting  playert"  in  the  Shakespeare  -Society's 
Papers.  Vol.  i,  1844,  p.  94.  —  The  grounds  of  our  conjecture  that  "Will  was  not  the  only  player  who  accompanied 
the  Earl  are  to  be  found  in  the  above-mentioned  paper.  If,  as  Mr.  Bruce  endeavours  to  shew,  we  recognize  in 
this  "Will"  the  player  William  Kemp,  there  would  be  nothing  extraordinary  in  his  having  attached  himself  to  the 
Earl  from  the  mere  love  of  adventure,  as  we  know  of  Kemp  that  he  was  a  man  of  a  roving  spirit,  who  had  also 
visited  France  and  Italy.  See  ibid.  p.  93,  also  J.  P.  Collier's  Shakespeare,  edit,  of  1844,  Vol.  i,  p.  cxxix.  That 
Kemp  also  visited  Germany  is  evident  from  a  passage  in  Sloane  MS.  392,  fol.  401,  dated  Sept.  2nd,  1601.  See  Co- 
ventry Plays  ed.  by  Halliwell,  p.  410.  At  the  end  of  his  paper  Mr.  Bruce  propounds  the  question,  whether  Sh/ike- 
speare  may  not  possibly  have  accompanied  the  Earl  of  Leicester  to  the  Netherlands.  Dr.  W.  Bell.  Shakespeare's  Puck 
and  his  Folks-lore,  1862.  Vol.  ii,  p.  235  assumes  without  any  sufficient  reason  that  this  Will  was  no  other  than 
Shakespeare  himself.  A  similar  assertion  is  also  made  by  Mr.  W.  J.  Thorns  in  his  paper,  Was  Shakespeare  ever  a 
Soldier?  in  Notes  and  Queries,  2nd  Ser.  Vol.  vii,  1859,  p.  330—351.  See  also  Dr.  Bell's  article  in  the  Morgenblatt, 
4to,  Stuttgart  1853,  No.  50,  Was  Shakespeare  ever  in  Germany"?  Dr.  Bell  answers  this  question  in  the  affirmative, 
and  assumes  that  Shakespeare  did  not  return  to  England  with  Leicester's  players,  but  joined  one  of  the  later  com- 
panies, which  went  to  Germany  by  way  of  Holland.  We  meet  with  "the  Lord  of  Leycester's  players"  in  1587  in 
Stratford,  where  they  received  a  present  of  15Z  from  the  corporation.  Until  more  powerful  arguments  are  brought 
forward  than  those  produced  by  Dr.  Bell,  we  must  regard  this  subject  as  an  open  question.  It  appears  to  follow 
moreover  from  a  passage  in  Stowe's  Chronicle,  p.  717,  which  coincides  exactly  with  the  date  of  Sir  Philip  Sidney's 
letter,  that  the  festivities  in  Utrecht  were  not  so  much  dramas  in  the  stricter  sense,  as  spectacles  of  another 
v  character.  "It  is  there  said  that  the  feast  was  succeeded  by  dancing,  vaulting,  tumbling,  and  an  exhibition,  pro- 
bably of  a  pantomimical  character,  termed  'The  Forces  of  Hercules',  which  gave  great  delight  to  the  strangers, 
for  they  had  not  seen  it  before."  Stowe  had  this  description  from  Segar,  the  herald,  who  was  present.  See  J. 
Bruce,  ibid.,  p.  92.  In  a  paper  published  in  Wirtemberg,  a  writer  has  recently  ventured  the  assertion  that  Shakespeare 
had  made  some  stay  at  the  Court  of  Stuttgart.  I  have  not  seen  the  paper  in  question,  but  suspect  that  some  wag 
or  other  has  amused  himself  with  a  mystification.  In  all  probability  the  Embassy  of  James  the  first  to  the  Court 
of  Stuttgart  in  1603,  to  which  we  have  alluded  at  p.  xiv,  is  brought  into  connection  with  this  supposed  visit. 
Imagine  Shakespeare  at  the  summit  of  his  fame,  in  the  same  year  in  which  Hamlet  was  brought  upon  the  stage, 
contributing  to  the  convivial  pleasures  of  the  Stuttgart  Court  as  member  of  a  second-rate  company  of  players! 


SHAKESPEARE  IN  GERMANY.  XXIII 

This  appears  to  be  established  by  an  event  of  the  highest  importance  in  the  history  of 
the  English  Theatre,  one  which  has  been  quite  neglected  hitherto,  although  Thomas  Heywood 
referred  to  it  as  early  as  the  year  1612.  In  his  'Apology  for  actors'1  there  is  the  following- 
passage,  which  though  often  cited  has  never  been  properly  investigated. 

"At  the  entertainement  of  Cardinall  Alphonsus  and  the  Infant  of  Spain  in  the  Low 
countryes,  they  were  presented  at  Antwerpe  with  sundry  pageants  and  plays:  the  King  of 
Denmarke,  father  to  him  that  now  reigneth,  entertained  into  his  service  a  company  of 
[English  comedians,  commended  unto  him  by  the  honourable  the  Earle  of  Leicester:  the 
Duke  of  Brunswicke  and  the  Landgrave  of  Hessen,  retain  in  their  courts  certaine  of  ours 
of  the  same  quality." 

The  King  of  Denmark  "that  now  reigneth,"  i.  e.  in  the  year  1612,  in  which  year  the 
'Apology  for  actors'  first  appeared,  was  Christian  the  fourth  (1588 — 1648),  and  his  father,  in 
whose  service  the  company  of  English  comedians  is  stated  to  have  been,  was  Frederick  the 
["second  (1559 — 1588).  Hence  we  arrive  at  the  striking  conclusion,  that  prior  to  the  year  1588 
'  English  players  must  have  taken  their  art  to  foreign  countries,  and  the  interest  which  this 
fact  is  calculated  to  excite,  is  considerably  increased,  when  we  prove  that  this  event  had 
already  taken  place  in  1585,  that  the  actors,  (we  do  not  know  whether  all  or  only  some  of 
them)  who  had  been  sent  by  Leicester  to  the  King  of  Denmark,  had  gone  to  Germany  as 
early  as  1586,  and  that  among  them  there  were  at  least  two,  who  subsequently  attained  a 
prominent  position  on  the  London  stage  and  who  not  only  were  acquainted  with  Shake- 
speare but  also  stood  on  an  intimate  footing  with  him,  and  one  of  whom  was  probably  the 
first  to  embody  Shakespeare's  clowns  before  an  English  audience  —  no  others  than  Thomas 
Pope  and  George  Bryan. 

Whether  the  Danish  King  dismissed  all  those  actors  at  once,  or  whether  he  only 
parted  with  some  of  them  to  Christian  the  first,  the  Elector  of  Saxony,  at  his  request,  is 
.uncertain.  However  this  may  be,  in  October  1586  we  meet  with  five  Englishmen,  who  had 
quitted  the  Danish  service,  at  the  Saxon  Court.  It  is  true,  in  the  documents  now  before 
us  they  are  called  "Instrumentalists";  and  this  was  probably  their  original  and  principal  pro- 
fession. But  that  there  were  also  actors  among  them,  or  that  they  themselves  followed 
the  profession  of  acting  as  well  as  that  of  music,  is  proved  not  only  by  the  evidence  of 
Heywood,  who  calls  them  comedians,  but  also  by  that  of  one  of  the  documents  themselves, 
and  especially  by  that  of  the  names  of  Thomas  Pope  and  George  Bryan. 

The  three  following  documents  are  preserved  in  the  Royal  Archives  at  Dresden. 
The  first  two  are  holographs  of  Christian  the  first,  the  first  addressed  to  King  Frederick 
the  second  of  Denmark,  the  second  to  the  Steward,  Hans  Thilo.  The  third  is  the  Elector's 
decree  respecting  the  appointment  of  the  Englishmen.2 

• 

1  Republished  by  the  Shakespeare  Society  in  1841,  8vo,  p.  40. 

8  See  Moritz  Fiirstenau,  Zur  GescMchte  der  Musik  und  des  Theaters  am  Hofe  der  Kurfiirsten  von  Sachsen. 
8vo.  Dresden  1861,  p.  69 — 72.  —  The  two  letters  of  the  Elector  have  been  printed  before  in  Anzeiger  fur  Kunde 
der  Deutschen  Vorzeit.  4to.  Niirnberg  1859,  No.  1. 


XXIV  SHAKESPEARE  IN  GERMANY. 

"An  Se.  Konigl.  Majestat  zu  Danemark. 

Ew.  Konigl.  Majestat  Einspanniger,  welchen  Sie  den  Englendischen  Instrumentisten 
zugeordnet,  hat  Uns  Ew.  Konigl.  Maj.  Schreiben  zu  seiner  Ankunft  bei  Uns  zurecht  uber- 
antworten  lassen.  Dafs  nun  Ew.  Konigl.  Majest.  Uns  auf  Unser  freundlich  Bitten  Uns  nicht 
allein  diese  Instrumentisten  freundlich  haben  zukommen  lassen,  sondern  auch  mit  denselben 
zuvor  vff  eine  gewisse  Unterhaltung  vorgleichen  vnd  ihrer  Abfertigung  halber  so  fleissige 
Vorsehung  haben  thun  lassen,  vnd  also  derohalben  Sich  so  oft  vnd  vielmals  Unserthalben 
bemiihet,  dessen  thun  Wir  Uns  gegen  Ew.  Konigl.  Majest.  ganz  dienstlich  vnd  freundlich 
bedanken. 

Waidenhain,  den  19.  October  1586." 

TRANSLATION. 
To  His  Royal  Majesty  of  Denmark. 

Your  Royal  Majesty's  one-horse  carriage  which  you  assigned  to  the  English  Instru- 
mentalists has  duly  delivered  to  us  on  its  arrival  Your  Royal  Majesty's  letter.  That  Your 
Royal  Majesty  at  our  friendly  request  have  not  only  been  so  friendly  as  to  allow  these 
instrumentalists  to  come  to  us,  but  also  have  arranged  with  them  beforehand  for  a  certain 
maintenance,  and  have  made  such  careful  provisions  for  expediting  them,  and  have  there- 
fore with  respect  to  them  so  often  taken  trouble  in  our  behalf,  for  this  we  offer  our  thanks 
to  Your  Royal  Majesty  most  truly  and  friendly. 

Waidenhain,  the  19th  of  October  1586. 

"An  den  Hausvoigt  Hansen  Thilo. 

Lieber  Getreuer:  Unser  gnadigster  Befehlich  ist,  Du  wollest  vnsern  Englendischen 
Instrumentisten  von  Unsertwegen  auferlegen,  sich  alsbald  nach  Deiner  Anmeldung  mit 
ihren  Instrumenten  anhero  bei  Tags  vnd  Nachts  zu  Uns  zu  begeben,  vnd  die  Trauerkleider, 
so  Wir  ihnen  machen  lassen,  mitzubringen,  damit  sie  allhier  darinnen  auffwarten  konnen: 
vnd  damit  sie  der  Fuhre  halber  nicht  gehindert  werden,  wollest  Du  ihnen  Unserer  Kutschen 
eine,  so  die  Sachen  pflegen  zu  fahren,  welche  unter  denselben  am  besten  fortkommen  kann, 
verordnen,  der  sie  bis  gegen  der  Zosse  [?]  fiihre,  bei  Tags  vnd  Nachts,  allda  sie  zu  ihrer 
Ankunft  Amtsfuhre  bekommen  werden,  auch  demselben  Kutscher  befehlen,  dafs  er  nach 
ihrer  Ankunft  gegen  der  Zosse  [?]  folgenden  Tags  vollends  ledig  hereinfahren  soil,  vnd 
solches  Alles  dermafsen  mit  Fleifs  bestellen,  damit  beruhrte  Instrumentisten  je  eher,  je  besser 
allhier  sein  mogen. 

Berlin,  den  25.  October  anno  1586." 

TRANSLATION. 
To  the  Steward  Hans  Thilo. 

Dear  and  trusty  servant:  Our  gracious  command  is,  you  dp  on  our  behalf  command 
our  English  Instrumentalists  immediately  after  your  announcement  to  repair  hither  to  us  with 


SHAKESPEARE  IN  GERMANY.  XXV 

their  instruments  by  day  and  night,  and  bring  with  them  the  mourning  clothes  which  we 
have  had  made  for  them,  in  order  that  they  may  wait  upon  us  in  them  here;  and  that 
they  may  not  meet  with  any  impediment  with  regard  to  conveyance,  will  you  appoint  for 
them  one  of  our  carriages  such  as  are  used  to  convey  things,  and  whichever  of  them  can 
get  on  the  best,  which  may  bring  them  as  far  as  to  the  Zosse  [?]  by  day  and  night,  where 
on  their  arrival  they  shall  have  an  official  carriage,  also  will  you  tell  the  coachman  that 
on  the  following  day  after  their  arrival  at  the  Zosse  [?]  he  is  to  drive  in  here  quite  empty, 
and  will  you  diligently  arrange  everything  in  such  a  way  that  the  said  Instrumentalists  may 
be  here  as  soon  as  possible. 

Berlin,  the  25th  of  October,  1586. 

BESTALLUNGSDEKRET. 

Von  Gottes  Gnaden,  Wir  Christian  Herzogk  zu  Sachssen  etc.  Thuen  khuendt  kegen 
Jeder  Mannigklich,  Nachdeme  Vnsere  Hebe  getreuen,  Tomas  Konigk  [Thomas  King],  Tomas 
Stephan  [Thomas  Stephen],  George  Beyzandt  [George  Bryan],  Tomas  Papst  [Thomas  Pope] 
vnd  Rupert  Persten  [Pierst?]  Aufs  Engelandt,  Geyger  vnd  Instrumentisten,  eine  Zeittlangk 
bei  der  Konigklichen  Wiirde  zur  Dennemarken  gewefsen  die  Vnfz  Ire  Kon.  W.  Zukommen 
lassenn,  Das  wir  solche  zu  Dienst  an  Unsern  Hoff  besteldt  vnd  auffgenommen,  Vndt  thun 
solchs  hiemit  vnd  in  crafft  des  brieifes,  Das  sie  Vnfz  getreu  vnd  dienstgewertigk  vnd 
schuldigk  sein  sollen,  Sich  an  Unserm  Hoffe  wesentlich  zu  enthalten,  Vnd  do  wir  Raisen, 
Vns,  Vf  Vnseren  beuehlich  Jedesmahls  folgen,  Wan  wir  taffel  haltten,  Vnd  siinsten  so  ofte 
Inen  solchs  angemeldet  wirdt,  mit  Iren  Geygen  vnd  zugehorigen  Instrumenten,  auffwarten 
vnd  Musiciren,  Vns  auch  mit  Ihrer  Springkunst  vnd  andern,  was  sie  in  Zirligkeit  gelernett, 
lust  vnd  ergetzlichkeit  machen,  Vnd  sich  sunst  kegen  Vns  vorhalten,  vnd  bezeigen,  was 
getreuen  vleissigen  Dienern  .zustehet,  eignet  vnd  gebtlret,  Welches  sie  also  versprochen  vnd 
zugesagt,  Vnfz  auch  daruber  sambtlich  einen  Reuerfz  vbergeben  habenn.  Dakegen  vnd 
Zfiergetzlichkeit  solcher  Irer  Dienste,  wollen  wir  Inen  Jarlich,  so  lange  diese  Vnsere  Be- 
stallung  weret,  Funfhundert  taler,  Zu  den  Vier  quatember  Zeitten  von  dem  16.  Octobris 
negst  Vorschienen  anzurechnen,  Aufz  Vnser  Renth  Kammer,  Defzgleichen  Jedem  Jarlich 
ein  Kleidt,  Vnd  Viertzigk  Thaler  zu  Haiifz  Zinfz,  oder  herbrigen  Geldt  vff  sie  alle  Zugleich 
reiclien,  Vnd  sie  mit  freien  Tisch,.zu  Hoffe,  Auch  wenn  wir  Raisen,  freyen  fhuer  vorsehenn 
lassen. 

TRANSLATION. 
THE   APPOINTMENT. 

By  the  grace  of  God,  We  Christian  Duke  of  Saxony  &c.  make  known  to  all  men: 
WTiereas  our  beloved  and  trusty  Thomas  King,  Thomas  Stephen,  George  Bryan,  Tho- 
mas Pope,  and  Rupert  Persten  [Pierst?]  of  England,  fiddlers  and  instrumentalists,  have 
been  a  long  time  with  the  Royal  Dignity  of  Denmark,  whom  His  Royal  Majesty  has 
allowed  to  come  to  us,  that  we  have  appointed  and  received  the  same  into  our  service 


XXVI  SHAKESPEARE  IN  GERMANY. 

at  our  Court,  and  do  so  hereby,  and  in  virtue  of  this  letter,  that  they  may  be  trusty  and 
obliging  and  dutiful,  to  demean  themselves  well  at  our  Court,  and  when  we  travel  to  follow 
us  always  at  our  command,  and  when  we  hold  a  banquet  to  play  as  often  as  the  same  is 
ordered  them,  and  attend  with  their  fiddles  and  instruments  belonging  thereto,  and  play 
music,  and  amuse  and  entertain  us  also  with  their  art  in  leaping  and  other  graceful  things 
that  they  have  learnt,  and  in  other  respects  so  demean  and  behave  themselves  towards  us 
as  becomes,  behoves,  and  beseems,  true  and  zealous  servants,  which  they  accordingly  have 
promised  and  declared,  and  have  also  all  together  given  us  their  bond.  On  the  other  hand, 
and  for  the  greater  delight  of  such  their  services,  we  will  pay  to  them  yearly  as  long  as 
this  our  appointment  lasts,  five  hundred  thalers  at  the  four  quarterly  times  from  the  16th 
of  October  last  [1586],  out  of  our  treasury,  in  like  manner  to  each  yearly  one  coat,  and 
forty  thalers  for  house-rent,  or  of  lodging  money,  for  all  of  them  together,  and  have  them 
provided  with  a  free  table  at  court,  also,  when  we  travel,  with  free  conveyance. 

A  separate  leaf  annexed  to  the  above  document  bears  the  signatures  of  the  artists  named 
in  it,  of  which  we  give  a  Facsimile  (see  Plate  i,  No.  1).  The  German  translations  facing  the 
English  names  have  been  added  by  another  person.  In  another  decree,  which  is  of  no  import- 
ance for  our  object  there  stands,  for  instance,  "Thomas  Stephans  von  Lunden  in  Engellandt".1 
We  need  not  be  surprised  that  besides  music,  which  at  all  events  was  the  principal  thing,  men- 
tion is  made  here  only  of  their  uart  in  leaping  and  other  graceful  things  that  they  have 
learnt,"  for  under  this  expression  the  dramatic  art  was  also  understood  in  Germany  at  that 
time.  The  term  'Comedian'  or  'Player'  hardly  occurs  at  all,  just  because  actors  by  pro- 
fession were  still  unknown.  No  one  will  doubt  that  we  have  to  do  here  with  the  Come- 
dians mentioned  by  Heywood.  The  connection  with  "certaine  of  ours  of  the  same  quality" 
at  the  Courts  of  Brunswick  and  Hesse,  by  which  are  meant  actors  who  were  staying  at 
those  courts  at  the  time  at  which  Heywood  wrote,  accordingly  in  the  year  1612  or  imme- 
diately before  it,  confirms  the  correctness  of  this  conclusion.  —  Was  then  Thomas  Pope 
really  the  later  colleague  of  Shakespeare?  This  does  not  appear  to  us  to  admit  of  any  doubt. 
No  other  actor  of  this  name  is  known  to  us  of  that  time,  and  he  belongs  to  the  few  whose 
connection  with  the  London  stage  can  be  traced  back  to  a  time  prior  to  Shakespeare's 
connection  with  the  Blackfriar's  Theatre  in  1589,  for  we  know  that  before  1588  he  had 
taken  a  part  in  Tarlton's  play  of  'The  Second  Part  of  the  Seven  Deadly  Sins'.2  The  above- 
mentioned  Englishmen  are  not  met  with  again  in  the  Dresden  Archives  after  1586,  although 
other  'Jumpers  and  Dancers'  are  named  at  a  later  period,  as  for  instance  in  1588.  It  is 
probable  therefore  that  the  Englishmen  quitted  the  Saxon  service  soon  after  1586,  and 

1  See  M.  Furstenau,  Zur  Geschichte  etc.,  p.  72. 

2  See  J.  P.  Collier's  Memoirs  of  the  Principal  Actors  in  the  Plays  of  Shakespeare,  printed  for  the  Shake- 
speare Society,    8vo,   London  1846,   p.  120 — 128.     To   the   Memoir   of  Pope   I  am  indebted  for  all   that   follows 
above  concerning  him.  —  Thomas  Pope   is  twice  mentioned  in  Henslowe's  Diary,  ed.  for  the  Shakespeare  Soc. 
by  J.  P.  Collier.   8vo.   London  1845,  p.  109  &  235. 


SHAKESPEARE  IN  GERMANY.  XXVII 

returned  to  England.  On  the  London  stages  Thomas  Pope  had  played  the  parts  of  the 
'rustic  clowns',  and  there  is  nothing  surprising  therefore  in  the  supposition,  that  at  an  earlier 
period  of  his  life,  he  had  condescended  to  still  more  subordinate  histrionic  arts.1  It  appears, 
that  in  the  year  1593  he  belonged  to  the  same  company  as  Edward  Alleyn,2  and  in  1596 
his  name  stands  at  the  head  of  the  eight  Petitioners  to  the  Privy  Council  for  the  repair 
of  the  Blackfriars  theatre,  among  whom  Shakespeare's  name  also  appears.  And  again  in 
1599  he  and  John  Heming  represent  the  company  of  the  Lord  Chamberlain's  servants, 
when  they  received  30Z.  for  the  performance  of  three  plays  at  Court.  In  1598  he  had  a 
part  in  Ben  Jonson's  'Every  Man  in  his  Humour',  and  in  1599  another  in  'Every  Man  out 
of  his  Humour'  by  the  same  author.  He  died  in  1604.  As  to  George  Bryan,  it  is  not 
quite  clear  what  position  he  held  amongst  the  actors  of  the  Blackfriars  Theatre,  but  he 
evidently  belonged  to  it  at  the  time  when  Shakespeare  was  a  member  of  it.  Also  his  con- 
nection with  the  London  Theatres  may  be  traced  back  to  a  period  prior  to  1588,  as  he 
also  took  a  part  in  'The  Second  Part  of  the  Seven  Deadly  Sins'.  Chalmers  states  that 
r  George  Bryan  "played  the  Earl  of  Warwick  in  'Henry  the  Sixth',  during  1592"3  but  he 
gives  no  authority  for  his  statement.  He  probably  confounded  Shakespeare's  plays  of 
'Henry  vi'  with  the  introduction  of  that  King  attended  by  the  Earl  of  Warwick,  and  others, 
in  Tarlton's  'Seven  Deadly  Sins'.  Bryan  did  act  the  Earl  of  Warwick  in  that  piece.  Chal- 
mers' assertion  that  Bryan  was  "certainly  dead"  in  1598  and  that  "he  did  not  live  long 
enough  to  represent  any  part  in  Ben  Jonson's  'Every  Man  in  his  Humour'"  is,  according 
to  Mr.  J.  P.  Collier  equally  doubtful.  "The  truth  is"  says  the  latter  "that  we  are  ignorant 
when  or  where  Bryan  died;  but  there  is  good  reason  to  believe  that  he  was  living  in  the 
spring  of  1 600,  for  we  read  the  following  entry  in  the  register  of  baptisms  at  St.  Andrew's 
Blackfriars,  which  most  likely  applies  to  our  actor: 

George,  sonne  to  George  Bryan.    17.  Feb.  1599." 

Of  the  other  three  members  of  the  King  of  Denmark's  Company  we  possess  no 
further  information.  Neither  have  any  particulars  been  preserved  respecting  the  perform- 
ances of  this  company  in  Dresden  and  Berlin.  In  the  latter  capital  they  have  probably 
only  performed  as  musicians,  as  they  had  to  appear  in  mourning  costumes.  But  it  is  suf- 
ficient for  us,  that  we  here  meet  with  English  actors,  who  before  leaving  England  must 
have  been  already  well-known  members  of  the  profession,  practising  their  art  in  two  Ca- 
pitals of  the  German  States.  Can  we  suppose  that  all  these  circumstances  remained  un- 

1  See  above  p.  xxn,  note  3.     Lord  Leicester's  players   too  did  not  decline  to  act  in  pantomimes,   and  if 
the   company  recommended   to   the  King   of  Denmark  by  Leicester   was   connected   with   the  Earl's  visit  to  the 
Low-Countries,  as  we  believe  it  was,  Thomas  Pope  may  have  acted  in  the  pantomime  described  by  Stowe. 

2  See  Memoirs  of  Edw.  Alleyn,  Founder  of  Dulwich  College,  ed.  for  the  Shakespeare  Soc.  by  J.  P.  Collier. 
'    <Svo.   London  1841,  p.  26. 

3  See  a  Memoir  of  him  in  Mr.  Collier's  work  named  above,  p.  129 — 131.    Chalmer's  statement  is  to  be 
found  in  Suppl.  Apology  for  the  Believers  in  the  Shakespeare  papers.    8vo.    1799,  p.  160. 

D2 


XXXVIII  SHAKESPEARE  IN  GERMANY. 

known  to  the  members  of  the  London  stage?  Most  assuredly  not;  and  there  is  nothing 
to  prevent  our  assuming,  that  those  actors  who  were  anxious  to  improve  their  external 
position,  hit  upon  the  idea  of  practising  their  art  in  foreign  countries,  an  idea  which  was 
still  further  nourished  by  the  English  love  of  roving.  Fortunately,  we  are  not  obliged  to 
content  ourselves  with  these  combinations  to  support  our  conjectures,  but  are -able  to 
establish  their  correctness.  The  following  remarkable  letter  of  Richard  Jones,  an  actor,  to 
Edward  Alleyn,  the  founder  of  Dulwich  College,  is  evidence  of  the  truth  of  our  assertion. 

"Mr.  Allen,  -  -  I  commend  my  love  and  humble  duty  to  you,  geving  you  thankes  for 
yor  great  bounty  bestoed  upon  me  in  my  sicknes,  when  I  was  in  great  want:  god  blese 
you  for  it.  Sir,  this  it  is,  I  am  to  go  over  beyond  the  seeas  w4  Mr.  Browne  and  the  com- 
pany, but  not  by  his  meanes,  for  he  is  put  to  half  a  shaer,  and  to  stay  hear,  for  they  ar 
all  against  his  going:  now,  good  Sir,  as  you  have  ever  byne  my  worthie  frend,  so  helpe 
me  nowe.  I  have  a  sute  of  clothes  and  a  cloke  at  pane  for  three  pound,  and  if  it  shall 
pleas  you  to  lend  me  so  much  to  release  them,  I  shall  be  bound  to  pray  for  you  so  longe 
as  I  leve;  for  I  go  over,  and  have  no  clothes,  I  shall  not  be  esteemed  of;  and  by  god's 
help,  the  first  mony  that  I  gett  I  will  send  it  over  unto  you,  for  hear  I  get  nothinge :  some 
tymes  I  have  a  shillinge  a  day,  and  some  tymes  nothinge,  so  that  I  leve  in  great  poverty 
hear,  and  so  humbly  take  my  leave,  prainge  to  god,  I  and  my  wiffe,  for  yor  health,  and 
mistris  Allene's  which  god  continew.  -  -  Yor  poor  frend  to  command, 

Richard  Jones."1 

Here  we  see  an  actor,  and  as  we  shall  shew  presently  by  no  means  the  least  im- 
portant one  of  his  times,  forming  the  resolution  "to  go  over  beyond  the  seeas  with  Mr. 
Browne  and  the  company"  in  order  to  escape  from  his  embarrassed  circumstances.  But 
the  letter  bears  no  date.  When  was  it  written?  Did  he  adhere  to  his  intention,  or,  if  the 
"company"  really  went  "beyond  the  seeas",  when  did  this  happen,  where  did  it  go  to,  and 
of  what  persons  did  it  consist?  All  these  points  and  several  others  are  cleared  up  in  the 
following  passport,  which  bears  the  signature  of  the  same  C.  Howard,  wrho  a  year  later 
made  out  the  passport  for  Duke  Frederick  of  Wirtemberg  on  his  return  from  England. 
(See  p.  xiii.) 

"Messieurs,  comme  les  presents  porteurs,  Robert  Browne,  Jehan  Bradstriet,  Thomas 
Saxfield,  Richard  Jones,  ont  delibere  de  faire  ung  voyage  en  Allemagne,  avec  intention  de 
passer  par  le  pai's  de  Zelande,  Hollande  et  Frise,  et  allantz  en  leur  diet  voyage  d'exercer 
leurs  qualitez  en  faict  de.  musique,  agilitez  et  joeuz  de  commedies,  tragedies  et  histoires, 
pour  s'entretenir  et  fournir  a  leurs  despenses  en  leur  diet  voyage.  Cestes  sont  partant  vous 
requerir  monstrer  et  prester  toute  faveur  en  voz  pai's  et  jurisdictions,  et  leur  octroyer  en 
ma  faveur  vostre  ample  passeport  soubz  le  seel  des  Estatz,  afin  que  les  Bourgmestres  des 
villes  estantz  soubs  voz  jurisdictions,  ne  les  empeschent  en  passant  d'exercer  leur  dictes 
qualitez  par  tout.  Eiiquoy  faisant,  je  vous  en  demeureray  a  tous  oblige,  et  me  treuverez, 

1  From  the  Alleyn  Papers  ed.  by  J.  P.  Collier  for  the  Shakespeare  Society,  1847,  8vo.  p.  19. 


SHAKESPEARE  IN  GERMANY.  XXIX 

tres  appareille  a  me  revencher  de  vostre  courtoisie  en  plus  grand  cas.     De  ma  chambre  a 
la  court  d'Angleterre  ce  Xme  jour  de  Febvrier,  1591. 

Vostre  tres  affecsionne  a  vous 

fayre  plaisir  et  sarvis 

C.  Howard."i 

TRANSLATION. 

Gentlemen,  as  the  present  bearers,  Robert  Browne,  John  Bradstriet,  Thomas  Saxfield, 
[Sackville],  and  Richard  Jones,  have  determined  on  making  a  journey  in  Germany,  with  the 
intention  of  passing  through  the  countries  of  Zealand,  Holland,  and  Friesland,  and  while  going 
on  their  said  journey,  of  practising  their  profession  by  performing  of  music,  feats  of  agility, 
and  games  of  comedies,  tragedies,  and  histories  for  maintaining  themselves  and  providing 
for  their  expenses  on  their  said  journey.  These  presents  are  therefore  to  request  you  to 
shew  and  afford  them  every  favour  in  your  countries  and  jurisdictions,  and  to  grant  them 
in  my  favour  your  full  passport  under  the  seal  of  the  states,  to  the  end  that  the  Burgo- 
masters of  the  towns  being  under  your  jurisdiction,  do  not  hinder  them  in  passing  from 
practising  their  said  profession  everywhere.  In  your  doing  which  I  shall  remain  obliged 
to  all,  and  you  will  find  me  very  ready  to  return  your  courtesy  in  greater  instances. 
Given  from  my  chamber  at  the  Court  of  England  the  tenth  day  of  February,  1591. 
Your  very  devoted  to  doing  you  pleasure  and  service 

C.  Howard. 

These  two  documents  put  to  silence  all  such  conjectures  as  those  mentioned  above. 
We  know  now,  that  the  'English  Comedians'  were  really  Englishmen,  and  also  what  the 
motive  was  which  induced  them  to  leave  their  native  country.  There  is  another  conjecture 
which  has  often  been  hazarded,  but  which  now  appears  entirely  without  foundation.  It  has 
been  supposed,  that  the  Netherlands  were  always  the  original  goal  of  the  wanderings  of 
these  strolling  players,  that  they  there  became  connected  with  Flemish  actors,  and  went 
with  them  to  Germany.  We  now  learn  the  reverse  of  all  this.  Holland,  Zealand,  and 
Friesland  were  only  to  be  visited  en  passant,  but  Germany  was  to  be  the  main  object  of 
their  travels,  and  it  was  only  as  a  means  of  getting  there,  and  of  obtaining  the  necessary 
funds  for  the  journey,  that  they  intended  to  practise  their  art  in  the  Netherlands.  This 
appears  to  me  very  strong  evidence  for  the  assumption  that  the  company  went  to  Germany 
in  consequence  of  an  invitation.  If  they  expected  to  meet  with  encouragement  for  their 
art  in  the  Netherlands,  why  should  they  from  the  very  first  have  directed  their  attention 
to  Germany  ?  Besides,  the  circumstance  that  the  passport  is  addressed  only  to  the  Flemish, 

1  The  letter  is  addressed  to  the  States-General  of  the  Netherlands  and  has  been  discovered  in  the  Ar- 
chives of  the  Hague  by  Mr.  J.  A.  de  Zwaan  Cz.  —  First  published  in  Mr.  L.  Ph.  C.  van  den  Bergh's  "  's  Graven- 
haagsche  Bijzonderheden"  Hague  1857,  12mo,  p.  41.  See  also  Albert  Cohn,  English  Actors  in  Germany,  in  the 
Athenaeum  No.  1652,  June  25,  1859,  and  the  same  article  republished  by  Mr.  W.  J.  Thorns  in  Notes  and  Queries 
1859,  July  9.  See  also  Dr.  W.  Bell,  Shakespeare's  Puck,  etc.  Vol.  ii,  p.  250. 


XXX  SHAKESPEARE  IN  GERMANY. 

and  not  to  the  German  Authorities,  appears  to  favour  this  view.  It  is  most  probable  that 
upon  their  first  leaving  England,  the  actors  were  already  provided  with  German  credentials 
which  promised  them  a  safe  conduct  in  Germany,  and  procured  them  attention  from  the 
municipal  authorities.  At  a  future  page  we  shall  find  Robert  Browne,  the  leader  of  the 
Company,  appearing  again  a  few  years  later  in  connection  with  the  art-loving  Landgrave 
Maurice,  in  Cassel.  The  knowledge  which  we  obtain  from  Lord  Howard's  document,  re- 
specting the  character  of  the  intended  representations  is  very  accurate.  Comedies,  Trage- 
dies, and  Histories  are  to  be  performed,  a  designation,  from  which  we  may  safely  conclude, 
that  the  Company  took  with  them  the  same  pieces,  which  were  known  upon  the  London 
boards  by  the  same  names.  The  intention  of  increasing  the  attraction  of  their  representa- 
tions by  "musique"  and  "agilitez"  is  also  to  be  explained  by  the  practice- of  that  time  upon 
the  London  stage.1  But  we  can  hardly  suppose  that  all  these  performances  for  obtaining  popu- 
larity were  the  province  of  the  four  above-mentioned  actors  themselves;  we  must  rather  assume 
that  the  Company  took  with  them  several  subordinate  persons,  who  at  least  undertook  the 
"agilitez".  They  might  calculate  on  finding  musicians,  even  Englishmen,  on  the  spot,  for 
there  were  a  great  many  of  them  at  that  time  on  the  Continent. 

Who  then  were  the  four  friends  who  formed  a  party  for  a  journey  to  Germany? 
Two  of  them  at  least  were  actors  who  must  have  already  acquired  a  certain  reputation  in 
England.  Robert  Browne2  and  Richard  Jones  belonged  to  the  company  of  the  Earl  of 
Worcester's  players  as  early  as  1586,  as  we  learn  from  the  following  document  taken  from 
the  Records  of  the  City  of  Leicester. 

"Will"1  Earle  of  Worcestr  hathe  by  his  wrytinge,  dated  the  14  of  January,  A°  28° 
Eliz.  Re.  lycensed  his  srvaunts,  vz.  Robt.  Browne,  James  Tunstall,  Edward  Allen,  Wm.  Harry- 
son,  Tho.  Cooke,  Richd.  Johnes,  Edward  Browne,  Rye.  Andrewes,  to  playe  and  goe  abrode, 
using  themselves  orderly,  &c.  in  these  words,  &c.  These  are  therefore  to  require  all  suche 
her  highness  offycers  to  whom  these  prsents  shall  cm,  quietly  and  frendly,  within  yor  se- 
verall  prsincts  and  corporacons,  to  prmyt  and  suffer  them  to  passe  w'th  your  furtherance, 
vsinge  and  demeanynge  yselves  honestly,  and  to  give  them  (the  rather  for  my  sake)  such 
entertaynment  as  other  noble  men's  players  have"  &c.3 

1  Henry  Chettle  in  his  Kind-hearts  Dream,  1592,  makes  coney-catchers  complain,  that  the  players  "spoiled 
their  trade  "  by  singing  jigs  in  which  they  were  exposed.  —  Stephen  Gosson  in  his  Plays  Confuted  in  Five  Actions, 
talks  of  vaulting,  tumbling,  dancing  of  jigs,  galliards  etc.  -  -   With  respect   to  Music  performed  between  the  acts 
Antony  Munday  in  his  Two  Italian  Gentlemen  (about  1584)   mentions   the   different  kinds  of  music   to  be  played 
after  each  act,    whether  'a  pleasant  galliard,'    'a   solemn  dump,'    or  'a  pleasant  allemaigne.'     See   J.  P.  Collier, 
History  etc.    Vol.  iii,  p.  380  and  448. 

2  This  player  and  others  of  the  same  name  seem  to  have  been  members  of  one  family.    In  the  Earl  of 
Worcester's  company  we  meet  with   an  Edward  Browne,    and  a  William  Browne  is  named  as  performer-  of  one 
of  the  characters  in  Shakerley  Marmion's  Hollands  Leaguer,  a  comedy,  1632,  4to.    See  J.  P.  Collier,  History  etc. 
Vol.  ii.  p.  21. 

3  Dispute  between  the  Earl  of  Worcester's  players   and  the   Corporation  of  Leicester  in  1586.    Ed.  by  J. 
O.  Halliwell.     Shakespeare  Soc.  Papers,  Vol.  iv,  p.  145. 


SHAKESPEARE  IN  GERMANY.  XXXI 

Robert  Browne  is  most  probably  the  same  person,  who  soon  after  1570  married 
the  widow  of  Edward  Alleyn,  the  father  of  the  founder  of  Dulwich  College  of  the  same 
name.  He  had  already  been  an  actor  and  a  haberdasher  at  the  same  time.  Edward  Alleyn 
was  the  proprietor  of  an  inn,  and  as  the  old  practice  of  using  inn-yards  for  theatrical  re- 
presentations was  still  in  vogue  at  that  time,  the  prospect  of  owning  the  inn  may  very 
likely  have  been  one  of  the  motives  wrhich  induced  Browne  to  marry  Alleyn's  widow. 
There  can  be  little  doubt  that  Mr.  and  Mrs.  Browne  lost  no  time  in  turning  to  advantage 
the  histrionic  talents  of  Edward  Alleyn,  the  son,  who  afterwards  became  the  celebrated 
actor,  and  who  in  1599,  in  conjunction  with  Philip  Henslowe,  whose  daughter  he  married, 
built  the  Fortune  Theatre;  and  this  again  would  explain  the  neglect  of  Alleyn's  education, 
of  which  Fuller  complains  in  his 'Worthies'.  Moreover  Fuller's  statement  that  "Alleyn  was 
bred  a  stage  player"  is  in  harmony  with  this  supposition.1  Richard  Jones,  the  last  men- 
tioned actor  in  the  above  document,  stood  in  very  close  connection  with  Robert  Browne, 
indeed  he  appears  to  have  been  a  partner  in  Browne's  theatrical  enterprises,  for  on  the 
3rd  of  January  1588- — 89,  Edward  Alleyn  purchases  for  the  sum  of  37Z.  10s.  6d.,  Richard  Jones' 
share  of  "playing  apparels,  play-books,  instruments,  and  other  comodities"  which  had  be- 
longed to  him  and  Browne,  and  the  latter's  step-sons,  John  and  Edward  Alleyn,  in  common.2 
In  the  year  1590  Browne  must  also  have  given  up  his  theatrical  connection  with  his  two 
step-sons,  for  it  was  in  that  year  that  he  undertook  his  first  journey  to  the  Netherlands. 
The  two  friends  left  the  Theatrical  Company  of  the  Alleyns  so  very  nearly  at  the  same 
time,  that  we  are  justified  in  attributing  this  step  to  their  having  already  resolved  on  their 
expedition  to  Holland.  It  would  follow  from  this  assumption  that  R.  Jones  was  also  one 
of  the  party,  although  we  do  not  find  him  mentioned  by  name  in  the  following  entry  in 
the  town  accounts  of  the  city  of  Leyden.  But  there  is  no  reason  to  be  surprised  at  this, 
as  only  Robert  Browne  is  mentioned  as  the  leader,  and  his  companions  are  briefly  styled, 
"his  fellows".  It  is  also  possible  moreover  that  the  undated  letter  of  Jones  to  Alleyn  refers 
to  the  first  journey. 

"Betaelt  aen  Robert  Brone,  Engelsman,  ende  zynde  medehulpers,  'tsamen  vyftien 
guldens  over  geliche  somme  hem  toegevoucht  voor't  verthoonen  ,ende  spelen  von  verschey- 
den  comedien  ende  historien  mitsgaders  't  doen  van  verscheyden  sprongen  by  hems,  zoo 
voor  Burgermeestren  alsvoor  de  gemeente  diser  state  verthout,  blijckende  by  de  Ordonantie 
van  dato  vii.  Octr.,  1590.  xv.  gl."3 


TRANSLATION. 

Paid  to  Robert  Browne,  Englishman,  and  to  his  fellows,  in  all  fifteen  guilder! 
and  above  the  sum  of  the  like  amount,  granted  to  him  for  having  acted  and  played  divers 

N. 

1  See  Edward  Alleyn's  Memoirs  ed.  by  J.  P.  Collier  for  the  Shakespeare  Society,  p.  145. 

a  Ibid.  p.  4. 

3  Navorscher.   4to.  Amsterdam,  Vol.  viii  (1858),  p.  7. 


XXXII  SHAKESPEARE  IN  GERMANY. 

comedies  and  histories,  besides  for  having  made  divers  leaps,  by  him  performed  as  well  in 
the  presence  of  the  burgomasters  as  before  the  community  of  this  city,  as  appears  by  order 
of  date,  Oct.  vii,  1590.  xv.  guilders.1 

Robert  Browne,  and,  if  we  accept  the  supposition  that  Richard  Jones  accompanied 
him,  the  latter  also,  must  have  returned  to  England  from  this  visit  to  the  Continent  towards 
the  end  of  1590  or  the  beginning  of  1591,  in  order  to  form  the  company  intended  for 
Germany.  The  meaning  of  the  passage  in  Jones'  letter  to  Alleyn:  "but  not  by  his  meanes, 
for  he  is  put  to  half  a  share,  and  to  stay,  hear,  for  they  are  all  against  his  going,"  is  not 
clear  to  us.  The  words  immediately  preceding,  "I  am  to  go  over  beyond  the  seeas  wh 
Mr.  Browne  and  the  company''  stand  in  direct  contradiction  with  them,  for  according  to 
them,  Browne  was  the  chief  person  in  the  enterprise,  and  how  then  could  he  remain  at 
home,  and  why  should  he  especially  receive  only  half  a  share?2 

In  Henslowe's  'Diary'  mention  is  twice  made  of  a  player  Browne.  Edward  Browne 
whom  we  meet  with  in  15993  is  certainly  the  same  person  as  the  Browne  we  found  above 
among  the  Earl  of  Worcester's  players.  The  second  mention  refers  to  the  year  1596  "Lent  unto 
them  to  feache  Browne  Xs".4  No  Christian  name  is  given  here,  and  it  is  quite  possible  that 
we  have  our  Robert  Browne  again  before  us,  who  appears  to  have  been  in  England  in  1596;  in 
that  year  a  Robert  Browne  joined  the  Embassy  of  the  Earl  of  Lincoln,  which  Queen  Elisabeth 
sent  to  the  Court  of  Cassel  to  be  present  at  the  christening  of  the  daughter  of  the  Land- 
grave Maurice,  who  was  named  after  the  Queen.  It  is  probable  that  Browne  had  acquired 
a  knowledge  of  German,  at  that  time  undoubtedly  a  rare  case  in  England,  —  and  this  must 
have  made  him  appear  to  the  Earl  of  Lincoln  a  very  welcome  companion  on  an  Embassy 
to  Germany.  It  is  also  not  improbable  that  Browne  on  his  first  journey  to  Germany,  which 

1  Notes  and  Queries,  Sec.  Series,  Vol.  vii,  Jan.  8,  1859,  p.  36.    Translated  from  the  Navorscher.    Dr.  Bell, 
Shakespeare  s  Puck,  Vol.  ii,  p.  250   conjectures   that  the    date  appended  to  Lord  Howard's  passport   ought  to  be 
1590  instead  of  1591  and  that  the  Leyden  document  refers  to  the  same  journey  and  to  the  same  company  as  the 
passport.     1  can  see  no  plausible  reason  for  the  conjecture,  and  it  is  a  fact  that  1591  is  the  date  of  the  original 
document.    It  is  hardly  credible  that  the  date  should  be  wrong  in  an  official  document,  but  where  errors  of  date 
occur,  the  wrong  year  is  generally  the  preceding  one  and  not  the  next.    At  the  beginning  of  a  new  year  a  hasty 
scribe  may  put  down  the  date  of  the  old  one,  but  it  would  be  quite  inexplicable  that  in  February  1590  a  person 
in  his  senses  should  put  down  1591! 

2  Malone  knew  this  letter  of  Jones  through  a  copy  in  his  own  possession,  without,  however,  having  the 
slightest  idea  of  its  importance  for  the  history  of  the  English  stage.    Mr.  Collier  also  in  his  preliminary  remarks 
to  this  letter   in   the  Alleyn  Papers   regrets    not  having   any  clue   to  the  date  of  the  letter  and  to  the  identity  of 
Mr.  Browne.     The   missing   clue   to   both   will  be   found   above.     It  is  moreover  rather  surprising,    that  it  never 
occured  to  Mr.  Collier,  who  published  the  Alleyn  Papers  in  1843,  that  this  Browne,  and  the  Browne  mentioned  by 
himself  in  1841  in  the  Memoirs  of  Edward  Alleyn,  might  be  one  and  the  same  person. 

3  The  Diary  of  Philippe  Henslowe  ed.  by  J.  P.  Collier,  for  the  Shakespeare  Society,  1845,  8vo,  p.  73. 

4  Ibid.  p.  78.  —  It  does  not  appear  why  Browne  and  another  player  'Fleacher'  [Fletcher?]  mentioned  in 
the  same  passage,  were  to  be  fetched. 

5  From  the  Hessen-Cassel  State-Records.      See  Rommel,    Geschichte  von  Hessen,    Vol.  vi,    Cassel   1837, 
p.  390. 


SHAKESPEARE  IN  GERMANY.  XXXIII 

was  his  second  to  the  Continent,  had  entered  the  service  of  the  Landgrave  Maurice  (who 
reigned  1592 — 1627)  as  an  actor,  for  that  the  Landgrave  maintained  English  comedians  at 
his  court,  is  a  fact  which  we  shall  prove  presently.  If  we  accept  this  conjecture,  we  may 
easily  conceive  that  Browne,  with  his  knowledge  of  the  Court  of  Cassel,  was  able  to  render 
the  Earl  of  Lincoln  very  valuable  services.  At  all  events  Richard  Jones  had  returned  to 
England  in  1594,  if  not  earlier,  as  appears  from  Henslowe's  'Diary',  p.  66.  "Sowld  Mr. 
Richard  Jones,  player,  a  manes  gowne  of  peche  coler,  In  grayne,  the  2  of  September  1594 
to  be  payd  by  fyve  shillinges  a  weeke  imediatelye  followinge  &c."  From  1594  to  1601  he 
is  very  often  mentioned  by  Henslowe.  In  the  year  1595  his  name  occurs  in  a  list  of  players, 
which  Mr.  Collier  believes  to  be  that  of  the  principal  actors  forming  the  company  of  the  Earl 
of  Nottingham.  He  undoubtedly  belonged  to  the  company  connected  with  Henslowe  and 
Edward  Alleyn,  and  as  this  company  for  a  period  of  two  years,  namely  from  June  1594 
to  July  1596,  while  the  Globe  Theatre  was  building,  either  played  together  with,  or  at  least 
occupied  the  same  theatre  as,  the  company  to  which  belonged  Shakespeare,  it  is  not  im- 
probable that  Jones  came  into  contact  with  Shakespeare,  and  assisted  in  the  representation 
of  his  plays. 

Thomas  Sackville  and  John  Breadstreat  appear  to  have  occupied  a  less  prominent 
position  among  the  members  of  the  London  stage.  Neither  of  them  is  mentioned  in  Hens- 
lowe's Diary,  nor  have  we  been  able  to  discover  their  names  among  the  other  orginal  autho- 
rities respecting  the  London  theatres  of  those  times,  which  have  appeared  in  print.  On  the 
other  hand  we  have  been  so  fortunate  as  to  find  both  of  them  in  Germany,  and  of  Thomas 
Sackville  at  least  we  can  state  with  certainty,  that  he  entered  the  service  of  Duke  Henry 
Julius  of  Brunswick,  of  whose  connection  with  the  English  comedians  we  shall  speak  more 
at  length  presently.1  In  all  probability  the  whole  company  mentioned  in  Jones'  letter  and 
Howard's  passport,  appeared  on  the  stage  of  this  Prince  in  Wolfenbtittel  immediately  after 
its  arrival  in  Germany;  and  we  must  here  refer  once  more  to  the  conjectures  we  have  ex- 
pressed above,  that  these  actors  came  to  Germany  in  consequence  of  an  express  invitation. 
Unfortunately  the  exchequer-accounts  of  the  years  1590 — 1601  are  missing  from  the  Brun- 
swick Court  Archives  from  which  the  following  notices  respecting  Thomas  Sackville  have  been 
taken;2  and  as  Robert  Browne,  as  shewn  above,  probably  returned  to  England  in  1596,  and 
Richard  Jones  most  certainly  did  so  in  1594,  the  exchequer-accounts  later  than  1602  cannot 
give  us  any  information  respecting  them.  But,  as  will  appear  from  the  following  entries 
in  those  accounts,  Thomas  Sackville  remained  in  Germany  at  least  till  1617,  and  we  shall 
see  indeed  that  he  became  completely  domiciled  at  the  Court  of  Wolfenbuttel.  His  name 
is  spelt  very  differently  at  different  places,  but  we  may  see  from  all  of  them  that  Sackville, 

1  This  confirms  the  conjecture  I  have  made  in  the  article,  English  Actors  in  Germany,  (see  p.  xxix,  note), 
that  the  actors  were  connected  with  Duke  Henry  Julius. 

2  For  the  extracts  following  on  the  next  page,   which  have  never  been  published  before,    I  am  indebted 
to  Mr.  C.  W.  Sack  of  Brunswick,  Registrar  to  the  Duke  of  Brunswick. 

E 


XXXIV  SHAKESPEARE  IN  GERMANY. 

and  not  Saxfield  as  in  Lord  Howard's  passport,  is  the  correct  orthography.1  In  one  docu- 
ment of  the  year  1597  of  which  we  possess  no  further  description,  he  is  called  "Thomas 
Sackefiel,  Princely  servant  at  Wolfenbiittel".  In  the  same  year,  he  and  another  English 
actor,  who  is  named  Edwardus  Wakefiel  [WakefieldJ  had  a  quarrel  in  a  tavern  in  Brunswick. 
They  had  received  a  commission  from  a  merchant  in  London  "Wilhelm  Thouwasen"  (evi- 
dently a  corruption)  to  draw  on  a  woollendraper  in  Brunswick  for  239  thalers.  -  -  The  fol- 
lowing are  exact  translations  of  extracts  from  the  accounts  of  the  Court  of  Brunswick,  as 
far  as  they  are  still  extant. 

"1602.  Aug.  30.  At  the  verbal  command  of  my  most  gracious  Princess  and  Lady  to 
Thomas  Sacheviele,  according  as  Her  Princely  Grace  has  graciously  presented  the  English 
comedians,  --  100  thalers. 

Thomas  Sacheviels  at  the  verbal  command  of  my  Princely  Grace  and  Lady  to  his 
bill  for  goods,  on  account,  —  300  thalers. 

1602.  Oct.  1.  Thomas  Sacheviele  on  account  for  his  purchases  for  the  Princely  kit- 
chen, surgery,  and  wardrobe,  —  375  thalers  14  gr. 

1602.  Oct.  2.  At  the  gracious  written  order  of  His  most  Illustrious  Highness,  to  the 
Court  Tailor,  Michael  Wolframb,  and  to  Thomas  Sacheviele  for  the  purchase  of  English  and 
other  black  garments  to  the  behoof  of  the  funeral  of  the  Princely  widow,  blessed  be  her  me- 
mory, —  5000  thalers."  (Wolframb  and  Sackville  were  sent  to  Leipsic  for  a  similar  purchase, 
and  3737  thalers  were  paid  to  them  on  the  31st  of  December.) 

"1602.  Decemb.  28.  Edward  Wakefield  on  account  of  Arnd  von  Wobersnow  [?]  having 
been  accepted  by  the  Princely  Exchequer,  —  160  thalers." 

(From  1603  to  1607,  the  accounts  are  missing). 

"1608.  Feb.  2.  At  the  command  of  His  most  Illustrious  Highness,  to  the  English  Co- 
medians as  a  gracious  gratuity,  —  100  thalers. 

1608.  Feb.  27.   To  the  English  Comedians  as  a  gracious  present,  —  30  thalers. 

To  the  English  musicians,  ditto,--  100  thalers. 

To  Thomas  Sackefiel  servant,  given  for  three  pieces  of  flesh-colour,  and  three  pieces 
of  blue  silk  ribbon,  —  11  thalers." 

(July  4,  similar  payments  to  Sackville.) 

From  this  date  to  1614,  the  accounts  are  missing;  only  in  1613,  Thomas  Sachuell 
is  mentioned  once  in  a  payment  of  180  florins. 

"1615.  May  8.  To  the  English  Comedians  who  have  waited  upon  us  for  a  time  in 
our  Princely  Court,  —  600  thalers."2 

1  Mr.  W.  J.  Thorns,  when  he  republished  my  letter  to  the  Athenceum  (see  p.  xxix,  note)  in  Notes  and 
Queries,  at  once  conjectured  that  Saxfield  would  turn  out  to  be  Sackville.  It  is  evident  from  the  above  extracts 
and  from  Sackville's  own  handwriting  as  given  in  a  facsimile,  that  the  conjecture  was  a  happy  one. 

*  The  following  names  of  artists  are  met  with  in  the  accounts  of  this  year,  but  they  were  for  the  most 
part  musicians  under  the  celebrated  Pratorius,  who  was  leader  of  the  band:  Wessel  Wessaliensis,  Gregoris  Hulvet, 
Jacob  Mancino,  Isaac  Torall,  Tonnies  Bulgentern. 


SHAKESPEARE  IN  GERMANY.  XXXV 

This  proves  that  the  English  Comedians  had  left  the  Court,  and  had  returned  again 
for  a  time,  a  supposition  which  is  confirmed  by  the  entry  of  a  payment  of  ten  dollars,  of 
the  date  of  Sept.  10,  1614  to  the  'Brandenburg  Comedians'. 

1616.  Under  Duke  Frederick  Ulric,  Tonnies  [sic]  Sacheviel  is  met  with  in  a  list  of 
payments,  for  270  florins.  t 

1617.  In  a  list  of  payments  of  arrears  of  salary,  Thomas  Sachviel,  with  2564  flor. 
2  gr.i 

The  name  does  not  appear  again  in  the  accounts  after  1617;  and  it  may  be  con- 
jectured that  Sackville  joined  the  English  Comedians  who  in  1617  entered  the  service  of 
the  Elector  of  Brandenburg.  We  shall  have  occasion  to  refer  to  them  at  a  future  page. 

As  far  as  regards  John  Breadstreet,  I  am  able  to  state  nothing  more  than  that  he 
must  also  have  remained  a  long  time  in  Germany.  I  owe  the  certainty  with  which  I  can 
affirm  this  fact,  to  a  happy  accident,  which  put  in  my  hands  a-so-called  'Stammbuch'  [Album 
amicorum]  containing  the  autographs  of  Breadstreet  and  Sackville,  the  former  with  the  date 
of  Feb.  1,  1604,  the  latter  with  that  of  March  24,  1606.  For  the  facsimile  of  these  auto- 
graphs see  Plate  i,  No.  2  &  3.  The  place  where  they  were  written  is  unfortunately  not  given. 
John  Breadstreet  has  germanised  his  name  into  'Breidstrass',  from  which  one  is  tempted 
to  conclude  that  his  real  name  was  not  Breadstreet,  but  Broadstreet.  The  orthography  of 
proper  names  at  that  time  was  by  no  means  fixed,  and  such  an  error  as  that  in  Lord 
Howard's  passport  was  nothing  uncommon.  The  owner  of  the  album  was  a  certain  Jo- 
hannes Cellarius,  born  in  Nuremberg,  Dec.  26,  1580,  died  in  Genoa,  April  17,  1619.  He 
studied  law,  afterwards  became  steward  to  the  Barons  von  Egg,  whom,  in  1610,  he  accom- 
panied to  Holland,  France,  England,  and  Italy.  After  his  return  he  became  Syndic  of  the 
city  of  Nuremberg.  The  album  was  commenced  in  the  year  1599.  The  stamped  leather 
binding  bears  the  inscription  "J.  C.  N.  1599".  It  contains  a  great  number  of  autographs  of 
celebrated  scholars  and  nobles  of  the  time,  with  their  arms  and  other  emblazonments,  most 
of  them  dated  from  Altorf,  Jena,  Brunswick,  and  Nuremberg.  The  latest  are  those  of  the 
year  1606.  Besides  the  two  mentioned  above,  some  names  of  other  Englishmen2  are  also 
to  be  found  among  the  autographs,  only  one  of  which  deserves  more  especial  mention  here, 
as  it  leads  to  the  conjecture  that  itsxauthor  was  also  connected  with  our  present  subject. 
It  is  that  of  the  celebrated  English  composer  and  lute-player,  John  Dowland,  a  contem- 
porary of  Shakespeare,  whom  the  latter  has  immortalized  in  his  'Passionate  Pilgrim.' 

If  music  and  sweet  poetry  agree, 

As  they  must  needs  (the  sister  and  the  brother) 
Then  must  the  love  be  great  'twixt  thee  and  me, 

Because  thou  lov'st  the  one,  and  I  the  other. 

t 

1  We  find  mentioned  in  'the  same  list  with  him,   Ludeke  Eimens,  Valentin  Alslingk,  Georg  Hoffmeister. 
-  But  it  does  not  appear  whether  they  were  actors,  or  to  what  profession  they  belonged. 

2  e.  g.  "Henricus  Fitus  de  Bell  Anglus,  Jenae  26.  Novemb.  1603." 

E2 


XXXVI  SHAKESPEARE  IN  GERMANY. 

Dowland  to  thee  is  dear,  whose  heavenly  touch 

Upon  the  lute  doth  ravish  human  sense; 
Spenser  to  me,  whose  deep  conceit  is  such, 

As  passing  all  conceit  needs  no  defence. 
Thou  lov'st  to  hear  the  sweet  melodious  sound, 

That  Phoebus'  lute,  the  queen  of  music,  makes; 
And  I  in  deep  delight  am  chiefly  drown'd, 

Whenas  himself  to  singing  he  betakes. 
One  god  is  god  of  both,  as  poets  feign; 
One  knight  loves  both,  and  both  in  thee  remain. 

John  Dowland  must  have  visited  Germany  several  times.  In  the  year  1584  he  tra- 
velled in  France,  and  from  thence  went  to  Germany  where  he  met  with  the  most  flattering 
reception  at  the  courts  of  the  Landgrave  Maurice  in  Cassel,  and  of  Duke  Henry  Julius  of 
Brunswick  in  Wolfenbilttel.  Perhaps  Dowland  is  the  lute-player  whom  Henry  Julius  sends 
to  the  Landgrave,  in  order  that  the  latter  may  compare  him  with  the  other  musicians. 
Maurice  answers:  the  former  can  play  good  motets  and  madrigals,  the  latter  is  a  better 
composer.1  From  Germany  Dowland  proceeded  to  Italy.  In  the  year  1595  appeared  in 
London  his  'First  booke  of  songs  or  ayres  of  foure  parts,  with  tablature  for  the  lute.' 
Shortly  after  this  he  repaired  to  the  Danish  Court.  'The  second  book  of  songs'  is  dated 
from  Helsingor,  the  1st  of  June  1600.  As  the  autograph  in  the  album  cannot  have  been 
written  before  1599,  it  may  be  safely  assumed  that  Dowland  visited  Germany  a  second 
time:  in  1603  he  had  returned  to  England.  About  this. time  appeared  his  work,  'Lachrimse, 
or  seven  tears  figured  in  seven  passionate  pavans',  which  became  so  popular,  that  from 
this  time  Dowland  assumed  the  sobriquet  of  'de  Lachrimae'.2  The  autograph  in  the  album 
therefore  must  have  been  written  after  1603.  As  it  bears  no  date,  it  is  possible  that  it 
owes  its  origin  to  the  visit  of  Cellarius  to  England  in  the  year  1610,  but  this  is  not  pro- 
bable, as  the  album  contains  no  other  inscription  bearing  a  later  date  than  1606,  and  none 
which  could  have  been  written  in  England. 


CHAPTER  II. 

Having  now  done  our  best  endeavours  to  transmute  the  myth  of  the  'English  Co- 
medians' into  palpable  reality,  it  only  remains  for  us  to  shew  what  influence  they  exercised 
upon  German  dramatic  literature  and  the  German  theatre  generally,  both  of  which,  as  we  have 
seen  above,  were  still  in  their  infancy.  We  may  easily  form  some  estimate  of  this  influence 
from  the  fact,  that  the  English  comedians  were  the  first  professional  actors  who  appeared 

1  Rommel,  *Geschichte  von  Hessen,  Bd.  vi,  p.  417. 

a  The  popularity  of  this  work  seems  to  have  lasted  a  very  long  time,  for  in  Thomas  Middleton's  comedy 
No  Wit  no  Help  like  a  Woman 6,  1657,  it  is  alluded  to  as  follows: 

"No,  thou  playest  Dowland's  Lachrimae  to  thy  master." 


SHAKESPEARE  IN  GERMANY.  XXXVII 

in  Germany.  If  we  only  imagine  the  contrast  between  these  practised  members  of  the 
London  stage  and  the  journeyman-mechanics  and  schoolboys  who  composed  the  acting 
companies  in  Germany,  we  cannot  be  surprised  that  the  appearance  of  the  former  put  an 
end  at  once  and  for  ever  to  the  performances  of  the  latter.  Even  if  these  did  drag  on 
a  miserable  existence  in  some  parts  of  Germany,  this  was  only  owing  to  the  circum- 
stance that  the  foreign  companies,  which  were  at  first  only  isolated  phenomena,  could 
not  be  immediately  known  throughout  the  whole  country.  But  wherever  they  came,  they 
undoubtedly  bore  off  the  victory.  Independently  of  their  services  in  driving  away  the  old 

/  dramatic  subjects,  their  skill  and  security  on  the  stage,  the  greater  experience  with  which 
they  availed  themselves  of  all  their  resources,  their  more  correct  calculation  of  effects,  in 
short  all  the  advantages  which  the  professional  artist  has  over  the  amateur,  must  have 

/  procured  them  a  willing  audience.  Hitherto  the  performances  were  not  intended  for  the 
sake  of  the  spectators,  the  performers  were  themselves  the  primary  object  of  the  plays. 
With  the  English  comedians  the  first  and  exclusive  object  was  the  gratification  of  the 
public.2  The  drama  left  its  narrow  local  private  sphere,  and  entered  a  public  one,  became 
an  integral  part  of  public  life,  while  the  public  obtained  their  rights,  and  the  theatre  be- 
came a  public  interest.  Now  indeed  an  interest  in  the  dramatic  art  may  be  observed  among 

>  the  German  princes;  they  vie  with  one  another  in  inviting  the  foreigners  to  their  courts, 
and  the  first  court  theatres  arise  in  Germany.  The  enormous  advantages  which  accrued 
to  dramatic  literature  as  also  to  the  public  from  this  thorough  revolution  in  all  matters 
appertaining  to  the  theatre,  have  .either  been  entirely  overlooked  or  very  much  under- 
estimated by  writers  on  the  history  of  literature.  In  their  blind  zeal  against  the  foreign 
element,  which  was  thus  introduced  into  the  dramatic  literature,  they  regret  the  loss  in 
naivete  -  with  which  the  native  dramatists  up  to  that  time  had  certainly  treated  the  people 
very  lavishly,  but  they  forgot  that  by  the  reflection  of  this  naivete  alone,  which  is  always 
rather  a  lively  element  among  the  masses,  the  stage  never  could  become  those  boards 
which  represent  the  world.  It  is  true  that  with  these  English  comedians  scenes  of  blood 
and  horror  became  quite  naturalized  upon  the  German  stage,  that  the  coar.se  jokes  of  the 
clown  must  often  have  offended  the  ears  of  modest  maidens,  and  that  the  English  actors 
would  have  done  well  to  take  Hamlet's  warning  to  heart;  but  what  are  all  these  drawbacks 
in  comparison  to  the  advantages  which  the  dramatic  life  derived  from  this  invasion  of  the 
theatre?  And  then  for  the  tales  and  stories  of  Boccaccio,  Fiorentini,  and  Straparola  &c. 
the  frivolous  subjects  of  which  had  passed  into  the  drama,  were  they  not  already  in  the 
hands  of  the  people  in  numerous  translations?  And  were  the  obscenities  of  the  Shrove- 
tide Plays,  which  surpassed  everything  that  the  English  had  accomplished  in  the  same  di- 

1  See  Ed.  Devrient,  Geschichte  etc.   Vol.  i,  p.  166. 

2  e.  g.  Karl  Goedeke,  Grundrifs  etc.   Vol.  i,  p.  407,  who  has  nothing  else  to  say   of  the  transformation 
of  the  German  drama   which  is  owing   to  the  English  Comedians,  than  that  with  it  "the  old  strict  decency  was 
lost"  ("die  alte  strenge  Ehrbarkeit  ging  verloren"). 


XXXVIII  SHAKESPEARE  IN  GERMANY. 

rection,  so  very  remote,  that  we  are  justified  in  laying  the  corruption  of  taste  to  the  account 
of  the  latter?  The  real  corruption  took  place  at  a  later  period,  when  the  companies  contained 
very  few  English,  and  the  rude  soldiery  of  the  thirty  year's  war  had  poisoned  the  German 
morals.  It  is  true,  the  refinement  of  the  popular  taste  formed  no  part  of  the  design  of 
those  foreign  companies;  their  sole  object  was  to  please  the  public,  and  it  may  be  assumed 
that  to  this  end  they  are  far  more  likely  to  have  accommodated  themselves  to  the  state 
of  things  as  they  found  it,  than  to  have  made  any  very  arduous  endeavours  to  introduce 
a  new  taste.  For  a  number  of  years  they  travelled  from  one  end  of  Germany  to  the  other, 
and  the  great  popularity  which  they  everywhere  enjoyed  is  an  evidence  of  their  having 
possessed  some  other  hold  on  public  favour  than  the  coarse  excitement  of  the  masses. 
Even  if  Germany  had  gained  nothing  more  through  these  innovators  than  an  acquaintance 
with  the  subjects  of  Shakespeare  and  of  the  early  English  stage,  in  whatever  form  they  were 
presented  to  the  public,  —  this  alone  would  have  been  an  ample  compensation  for  any  loss 
in  innocence  and  naivete,  for  which  some  writers  would  like  to  make  them  answerable. 

The  first  dramatic  author  of  Germany  in  whom  we  can  perceive  the  influence  of 
the  English  comedians,  is  the  above-mentioned  Duke  Henry  Julius  of  Brunswick  (born  1563, 
died  1613)  who  was  the  first  to  maintain  a  regular  theatre  at  his  court,  the  establishment 
of  which  was  in  all  probability  contemporaneous  with  the  first  appearance  of  the  English 
actors  in  Germany.  Henry  Julius,  like  Maurice  of  Hesse,  was  one  of  the  most  distinguished 
princes  of  his  time,  who  himself  a  scholar,  paid  great  attention  to  all  subjects  of  intellectual 
interest.  As  a  child  he  had  been  a  sort  of  prodigy,  devoted  to  the  arts  and  sciences  from 
his  earliest  years,  and  the  admiration  of  the  learned,  while  still  a  tender  stripling.  At  the 
age  of  ten  years  he  argued  with  great  brilliancy  in  a  theological  disputation.  In  the  year 
1576,  when  only  thirteen  years  of  age,  he  was  appointed  by  the  Emperor  Maximilian  as 
Rector  of  the  University  of  Helmstedt,  which  had  been  just  founded,  and  entered  upon  his 
office  with  a  speech  superabounding  in  learning.  Soon  after  this  he  occupied  the  episcopal 
residence  in  the  bishopric  of  Halberstadt.  In  the  year  1589  he  succeeded  to  the  throne, 
and  in  1590  married  his  second  wife,  Elisabeth,  daughter  of  Frederick  the  second,  King  of 
Denmark.1  Henry  Julius  entertained  a  very  decided  love  for  the  theatre.  We  may  safely 
presume  that  he  possessed  an  intimate  acquaintance  with  the  works  of  Hans  Sachs  and 
Frischlin,  as  well  as  other  dramatic  writers  of  the  time.  During  the  journeys  which  he  made 
to  other  German  Courts  a  little  before  his  accession  to  the  throne,  he  probably  became 
acquainted  with  their  theatrical  representations.  The  manner  in  which  in  1590  he  intro- 
duced himself  to  his  betrothed  is  a  characteristic  trait  of  his  love  of  theatricals.2  He  left 
his  attendants  behind  him  half  a  day's  journey  from  Copenhagen,  proceeded  to  the  palace 

1  Herman  Grim,  Das  Theater  des  Herzogs  Heinrich  Julius  zu  Wolfenbiittel  in  his  Essays,  Hannover  1859, 
p.  144,  makes  the  Duke  marry  the  daughter  of  Christian  iv.  But  in  1590  Christian  iv  was  only  thirteen  years 
old.  The  Princess  Elisabeth,  who  became  the  wife  of  Henry  Julius,  was  the  sister  of  Christian  iv. 

•   For  the  narrative  following  above  we  are  also  indebted  to  Mr.  C.  W.  Sack  of  Brunswick. 


SHAKESPEARE  IN  GERMANY.  XXXIX 

.  ^of  Kronenburg  in  the  disguise  of  a  foreign  pedlar,  and  offered  all  sorts  of  jewelry  for  sale. 
When  the  Princess  bride  wished  to  pay  for  the  things  she  had  selected,  the  pedlar  declared 
they  were  only  to  be  sold  at  the  price  of  a  bridal  night.  The  answer  excited  great  in- 
dignation, and  the  pedlar  was  thrown  into  prison,  which,  to  keep  up  the  farce,  he  took 
very  quietly.  Upon  the  arrival  of  the  Duke's  suite,  but  not  before,  the  comedy  was  brought 
to  a  very  merry  termination.  As  may  easily  be  conceived,  there  were  great  festivities  at 
the  Danish  Court,  and  as  we  have  shewn  above  that  English  actors  had  already  become 
quite  domesticated  there,  it  may  safely  be  assumed  that  if  any  of  them  were  still  in  Copen- 
hagen in  1590,  they  were  not  idle  on  such  an  occasion.  Frederick  the  second,  the  father 
of  the  Princess  Elisabeth,  the  bride  of  Henry  Julius,  to  whom  Heywood's  information  refers, 
(see  p.  xxiii),  and  who  in  1586  sent  the  English  actors  to  the  Elector  of  Saxony,  died  indeed  as 
early  as  1588.  But  Hey  wood  probably  only  intended  to  say  that  Frederick  had  first  invited 
the  comedians,  which  does  not  exclude  the  supposition  that  they  remained  longer  at  that  court. 
Under  the  reign  of  Frederick  the  second,  and  for  a  short  time  after  his  death,  under  the 
reign  of  the  minor,  Christian  the  fourth,  a  very  lively  intercourse  was  maintained  between 
the  Courts  of  Denmark  and  England.  The  Princess  Anna,  a  younger  daughter  of  Frederick 
the  second,  and  afterwards  therefore  the  sister  in  law  of  Duke  Henry  Julius,  had  been 

^selected  as  the  future  bride  of  James  the  sixth  of  Scotland,  afterwards  James  the  first  of 
England.  Frederick  sent  an  embassy  to  Edinburgh  for  the  purpose  of  opening  the  nego- 
ciations.  This  embassy  must  have  passed  through  England  and  touched  London  on  its  route. 
Queen  Elisabeth  threw  obstacles  in  the  way  of  the  intended  union,  as  she  was  anxions  for 

(a  marriage  between  James  the  sixth  and  Catharine  of  Navarre.  In  the  mean  time  the 
marriage  with  the  Danish  Princess  was  arranged,  and  in  1589  James  sent  an  embassy  to 
Copenhagen  to  fetch  the  young  bride.  The  ship  which  conveyed  the  Princess,  was  wrecked 

f  on  the  coast  of  Norway,  and  unfavorable  winds  obliged  her  to  remain  in  Opslo,  to  which 
place  James  hurried  to  consummate  his  nuptials.  In  February  1590  James  repaired  to 
Copenhagen  with  his  young  wife,  and  was  present  at  the  marriage  of  Henry  Julius,  who 

'  had  now  become  his  brother  in  law.  This  very  intimate  connection  between  two  princes, 
both  possessing  considerable  literary  culture,  probably  exercised  some  influence  on  the 
Wolfenbuttel  stage  at  a  later  period,  after  James  had  ascended  the  English  throne.  Also 
the  visit  which  Duke  Frederick  of  Wirtemberg  paid  the  English  Court  in  1592  may  have 
had  some  connection  with  that  stage,  for  Henry  Julius  stood  on  terms  of  friendly  inter- 
course with  that  Prince  also,  on  which  point  the  accounts  of  the  expences  of  the  Court  of 
Brunswick  contain  many  notices.1 

But  whatever  may  have  been  the  manner  in  which  Henry  Julius  made  the  acquaint- 
ances of  the  English  comedians,  it  is  certain  that  he  entertained  several  of  them  at  his 
Court  shortly  after  his  return,  and  for  no  very  short  period,  for  we  have  seen  from  the 
Brunswick  exchequer  accounts  that  even  after  1612,  to  which  year  Heywood's  notice  refers, 

1  Communicated  by  Mr.  C.  "W.  Sack. 


XL  SHAKESPEARE  IN  GERMANY. 

English  actors  are  still  mentioned.  After  the  return  of  the  Duke  with  his  young  wife,  his 
wedding  was  again  celebrated  in  Wolfenbtittel,  at  that  time  the  residence  of  the  Dukes  of 
Brunswick,  on  which  occasion  there  was  a  display  of  splendour  and  magnificence  such  as 
had  rarely  been  witnessed  before.  Banquets  and  representations  of  all  kinds  took  place. 
Unfortunately  we  are  not  acquainted  with  any  details  of  these  nuptial  festivities.  Pastor 
Voelkerling,  the  only  contemporary  chronicler  who  mentions  them,  only  remarks,  that 
numerous  fencers  in  great  splendour  tried  their  skill  with  foreign  fencers,  and  that  similar 
magnificence  had  never  been  witnessed  before  in  Germany.  Here  we  must  again  regret 
the  loss  of  the  Court  Exchequer  accounts  of  the  years  1590 — 1601,  as  we  should  probably 
have  ascertained  from  them  whether  foreign  actors  were  present  or  not.  The  Duke  him- 
self was  the  author  of  ten  plays,  nine  of  which  were  printed  in  the  years  1593 — 1594.1 
It  is  probable  that  some  of  them  had  been  written  at  an  earlier  period,  and  there  is  every 
reason  to  conjecture  that  one  of  them,  and  indeed  the  most  important,  the  ' Tragi-comedy 
of  Susanna'2  was  acted  in  1590  on  the  occasion  of  these  nuptial  festivities.  Perhaps 
indeed  it  was  composed  for  this  occasion.  From  the  terms  with  which  the  prologue 
commences,  it  is  evident  that  a  very  numerous  assemblage  of  all  classes  was  present.  It 

1  As  far  as  has  been  ascertained  as  yet,  all  the  poetical  attempts  of  Henry  Julius  belong  to  the  depart- 
ment of  the  drama.  We  have  no  other  authorities  for  determining  the  time  at  which  they  were  written,  than 
the  da'tes  of  the  printed  editions.  According  to  these,  all  the  ten  pieces  with  which  we  are  acquainted,  were 
composed  in  the  years  1593  and  1594,  before  Julius  had  attained  his  thirty  first  year.  Their  titles  are  as  follows: 

1.  Tragi-comoedia  von  der  Susanna.  1593.   (Tragi-comedy  of  Susanna.)   Another  version  also  published  in  1593. 

2.  Tragoedia  von  einem  Buler  vnd  Bulerin.    1593.   (Tragedy  of  a  lover  and  Ms  mistress.) 

3.  Comoedia  von  einem  Weibe.    1593.   (Comedy  of  a  woman.) 

4.  Comoedia  von  einem  Wirthe.    1593.   (Comedy  of  a  landlord.) 

5.  Tragoedia  von  einem  vngerathnen  Sohn.    1594.   (Tragedy  of  a  profligate  son.) 

6.  Tragoedia  von  einer  Ehebrecherin.    1594.    (Tragedy  of  an  adulteress.)    There  is  a  rhyming  version  of  this 

play  by  Joh.  Olorinus  Variscus  [Joh.  Sommer].   1605. 

7.  Tragica  comoedia  von  einem   Wirthe  oder  Gastgeber.    1594.   (Tragi-comedy  of  a  host,  or  feast-giver.) 

8.  Comoedia  von  einem  Edelmann.    1594.    (Comedy  of  a  nobleman.) 

9.  Comoedia  von  Vincentio  Ladislao.    1594.    (Comedy  of  Vincentio  Ladislao.)   Of  this  piece  there  is  a  rhyming 

version  by  Elias  Herlicius.    1601. 

10.  Der  Fleischhauer.   (The  Butcher.)   Published  for  the  first  time  in  Dr.  Holland's  edition,  from  the  original 
manuscript. 

A  collected  edition  was  published  in  1855  for  the  Stuttgart  Literary  Society  by  Dr.  "VV.  L.  Holland.  It 
is  entitled:  Die  Schauspiele  des  Herzogs  Heinrich  Julius  von  Braunschweig  nach  alien  Drucken  und  Handschriften, 
herausg.  von  Dr.  Wilh.  Ludw.  Holland.  8vo.  Stuttgart  1855. 

*  Tragica  Comoedia  Hibeldeha  von  der  Susanna  wie  dieselbe  von  zweyen  Alien,  Ehebruchs  halber,  falschlich 
beklaget,  auch  vnschilldig  verurtheilet,  aber  entlich  durch  sonderliche  Schickung  Gottes  des  Almechtigen  von  Daniele 
errettet,  vnd  die  beiden  Alien  zum  Tode  verdammet  warden,  mit  34.  Personen.  Gedruckt  zu  Wol/enbiittel,  Anno  nach 
Christi  Geburt  M.  D.  xciii.  8vo.  (Tragi-comedy  of  Susanna,  how  she  was  wrongly  accused  of  adultery  by  two  old 
men  and  innocently  condemned,  but  finally  saved  through  the  Grace  of  God  by  Daniel,  and  how  the  two  old  men 
were  condemned  to  die.)  [The  word  'Hibeldeha',  which  is  to  be  found  on  the  title-pages  of  all  the  Duke's  plays, 
means:  Henricus  lulius  Brunsvicensis  Et  Luneburgensis  Dux  Episcopatus  Halberstadensis  Antistes.]  In  Dr.  Hol- 
land's edition  p.  1 — 169.  A  second  edition  "aufs  new  kiirtzer  verfasset."  Ibid.  M.  D.  xciii.  8vo.  In  Dr.  Holland's 
edition  p.  170—208. 


SHAKESPEARE  IN  GERMANY.  XLI 

begins  by  addressing  the  "Most  Serene,  High-born,  Gracious  Princes  and  Lords,  also  Prin- 
cesses and  Ladies,"  and  then  the  "Noble  Worships,  honorable,  learned,  estimable  and  most 
gracious  Lords  and  Squires,  and  dear  friends."  The  first  scene  then  contains  extremely 
copious  and  lengthy  admonitions  how  a  young  woman  ought  to  behave  herself  towards 
her  husband.  It  appears  to  have  been  composed  for  the  particular  occasion,  and  has  only 
a  very  slight  connection  with  the  piece  itself.  This  is  all  the  more  evident  from  the  cir- 
'cumstance,  that  a  second  edition  of  the  same  piece,  which  also  appeared  in  1593,  does  not 
contain  this  scene,  and  that  the  prologue  has  received  a  very  different  form,  through  the 
omission  of  the  longwinded  address  to  the  audience,  as  also  of  other  passages  which  had 
evidently  been  intended  only  for  the  particular  occasion.  There  is  every  probability  there- 
fore in  favour  of  the  supposition  that  the  'Susanna'  was  the  first  piece  which  the  Duke 
wrote,  and  as  it  bears  evident  traces  of  English  influence,  we  are  justified  in  concluding 
that  he  had  already  become  acquainted  with  the  English  comedians  at  the  time  he  com- 
posed this  piece.1  The  'Susanna'  is  a  subject  which  had  been  repeatedly  treated  in  Ger- 
many by  others  before  Henry  Julius,2  and  also  in  England  Thomas  Garter's  'Commodye  of 
the  moste  vertuous  and  godlye  Susanna'  had  appeared  in  print  in  1578,  and  had  been 
entered  in  the  books  of  the  Stationer's  Company  as  early  as  1568 — 1569.  The  Duke's 
piece  contains  many  features  of  the  German  and  Latin  versions  but  differs  from  them  en- 
tirely in  the  dramatic  arrangement.  Perhaps  these  variations  may  manifest  some  approxi- 
mation to  the  English  play,  with  which  I  am  not  acquainted.  It  is  sufficient  to  observe 
that  the  Tragi-comedy  of  the  Duke's  contains  things  which  had  never  been  introduced  be- 

1  For  much  of  what  I  have  said  on  the  '  Susanna '  as  well  as  for  the  remarks  that  follows  on  the  position 
of  the  Duke  as  a  dramatic  author  in  general,  I  am  indebted  to  Herman  Grimm,  Das  Theater  des  Herzogs  Heinrich 
Julius  von  Braunschweig,  in  his  "Essays,"  8vo.  Hannover  1859.     I  must  confine  myself  to  this  general  mention  of 
the  work,  as  I  should  otherwise  be  obliged  to  refer  to  it  perpetually.  —  The  Memoir  is  by  far  the  best  that  has 
ever  been  written  on  the  Duke  as  a  dramatic  author,  and  it  is  to  be  regretted  that  the  subject  has  not  received 
a  more  comprehensive  treatment  at  Mr.  Grimm's  hands.    What  he  has  given  is  more  a  sketch  than  an  "Essay". 
The  connection  between  the  Ehebrecherin  and  the  Merry   Wives  of  Windsor,   though   alluded  to  by  Dr.  Holland, 
appears  to  have  escaped  Mr.  Grimm. 

2  This  subject   had   been    brought   upon   the  stage    as  early  as  the  fifteenth  century,    as   appears  from  a 
German  piece   of  that  time,   the  manuscript  of  which  is  at  Vienna.     See  Goedike,    Grundrifs  etc.,  Vol.  i,  p.  93. 
In  1535  Paul  Rebhun  composed  Ein  gdstlich  spiel  vo  der  gotfiirchtigen  vn  keuschen  Frawen  Susanen.  4to.  Zwickaw 
1536.     8vo.   Wittemberg  1537.     8vo.   Zwickaw  1544.     (A  religious  play .  of  the  god-fearing  and  chaste  maid  Su- 
sanna.)   1559:  Leonard  Stockel  Historia  von  Susanna  in  Tragoeden  weise  gestellet  zu  vbung  der  Jugent  zu  Bartfeld 
in  Vngern.  8vo.  Wittenberg  1559.   (The  history  of  Susanna,  set  forth  inform  of  a  tragedy  for  the  practice  of  youth, 
at  Bartfeld  in  Hungary.}     Joachim  Leseberg  wrote   a  'Susanna'  in   the   Low   German   dialect,    1609.     Another 
'Susanna'  was  acted  in  Bremen  as  early  as  1563,  and,  as  it  seems,  also  in  Low  German  dialect.    See  Duntze's 
Geschichte  der  freien  Stadt  Bremen,   Vol.  iv.    8vo.    Bremen  1851.     There  is  a  'Susanna'  in  Latin  by  Xystus  Be- 
tulius  (Sixtus  Birk),  8vo.  Augustas  Vindel.  1537,  Colonise  1538,  Tiguri  1538,  Colonise  1539,  Aug.  Vindel.  no  date, 
and  1564  —  and  by  Nicodemus  Frischlin  1578.    The  latter  was  translated  into  German  by  Jacob  Frischlin  1589, 
8vo,   and  by  Andreas  Calagius,   8vo.  Goarlitz  1604.     A  'Susanna'  in  the  Danish  language  was  also  acted  before 
Frederick  the  second,  the  father  in  law  of  Henry  Julius,  but  probably  a  translation  of  the  Latin  of  Xystus  Betulius: 
Susanna,  Comico-tragedia  i  danske  Sim.   4to.   Kjobnhaven  1578.     The  author  is  Peter  Jensen  Hegellund. 

F 


XLII  SHAKESPEARE  IN  GERMANY. 

fore  in  any  German  play,  and  which  evince  a  knowledge  of  theatrical  requirements  which 
the  Duke  could  not  have  derived  from  any  of  his  predecessors,  or  from  the  arrangements 
German  stage  of  his  own  times.  He  has  displayed  great  skill  in  the  manner  in 
Which  he  has  interwoven  an  underplot  with  the  principal  subject,  a  feat  which  had  not 
<*<  been  successfully  accomplished  by  any  of  his  predecessors  or  contemporaries,  not  even  by 
Jacob  Ayrer,  who,  as  will  be  seen  hereafter,  wrote  under  the  influence  of  the  English  co- 
medians. In  Ayrer's  works,  these  episodes  advance  by  the  side  of  the  principal  action, 
without  any  inward  connection  with  it,  while,  on  the  other  hand,  in  Henry  Julius,  they  are 
made  subservient  to  the  development  of  the  whole  piece.  But  an  entirely  new  character 
in  the  'Susanna'  of  the  Duke's  is  the  fool,  John  Clant,  who  also  plays  the  principal  part. 
Even  the  name  is  nothing  more  than  a  transformation  of  the  English  'clown'.  Merry- 
andrews  are  also  to  be  met  with  among  the  Duke's  predecessors,  but  it  was  first  on  the 
Wolfenbiittel  stage  that  an  independent  part  was  allotted  to  the  clown.  Before  that  time, 
it  had  not  been  prescribed  to  the  fool,  what  he  had  to  say;  he  was  not  involved  in  the 
action  of  the  piece,  but  it  was  left  entirely  to  him  to  amuse  -the  public  in  any  way  he 
thought  proper,  just  as  in  the  case  of  the  court-fools  outside  the  theatre.  The  same  liber- 
ties which  the  fool  enjoyed  in  society  were  also  allowed  him  on  the  stage;  no  part  was 
written  for  him,  --as  representative  of  the  life  off  the  stage,  he  interrupted  the  action  of 
the  piece,  and  destroyed  the  illusion  of  the  spectators.  He  is  rarely  mentioned  among  the 
'dramatis  person®'  of  the  old  pieces.  Sometimes  he  appears  as  speaker  of  the  prologue,  and 
sometimes  we  meet  with  a  marginal  note:  'here  the  fool  says  something.'  But  in  Wolfen- 
biittel the  fool  belonged  to  the  body  of  the  performers;  he  no  longer  interferes  in  the 
action  according  to  his  own  will  and  fancy,  as  a  sort  of  mediator  between  stage  and  au- 
dience, but,  like  the  other  actors,  has  his  own  prescribed  part  to  perform.  This  preme- 
)  ditated  introduction  of  a  comic  figure  is  very  striking;  but  what  is  far  more  so  both  in 
the  'Susanna'  and  the  other  pieces  of  the  Duke's,  is  the  dramatic  progress  of  the  dialogue, 
and  the  theatrical  construction  of  the  action.  In  these  points  he  imitated  no  one,  for  no 
one  before  him  understood  how  to  adapt  a  work  for  the  stage  in  such  a  careful  and 
masterly  manner.  One  thing  proceeds  naturally  out  of  another,  and  carries  the  plot  on- 
wards; the  scenes  have  their  point,  —  the  progress  of  the  intrigue  has  its  ever-increasing 
interest.  This  merit  of  the  Wolfenbiittel  pieces  is  so  striking,  that  notwithstanding  the  fact 
that  some  of  them  are  still  extant  in  the  Duke's  own  hand,  notwithstanding  the  knowledge 
which  he  possessed,  and  the  utter  absence  of  any  evidence  to  shew  who  besides  himself 
could  have  written  these  pieces,  it  appears  highly  probable  that  some  one  of  the  actors 
must  have  assisted  him  in  giving  his  compositions  that  theatrical  finish  which  evinces  a 
greater  acquaintance  with  routine,  than  even  Henry  Julius,'  with  all  his  talent,  could  ever 
have  given  them  without  a  long  practical  experience  of  the  requirements  of  the  stage.  As 
far  as  concerns  the  'Susanna'  of  the  Duke,  we  will  only  observe  that  a  piece  of  the 
same  name  belonged  to  the  Repertory  of  the  English  comedians,  for  in  1602  they  per- 
formed in  Ulm  a  piece  'Of  the  Prophet  Daniel,  the  chaste  Susanna,  and  the  two  judges  in 


SHAKESPEARE  IN  GERMANY.  XLIII 

Israel1,1  and  in  a  poem  printed  in  1597,  referring  to  the  English  comedians,  which  we  shall 
give  at  a  future  page,  the  'Susanna'  is  expressly  mentioned.  If  now  Henry  Julius  really 
received  the  aid  and  counsel  of  an  actor  in  the  composition  of  his  piece,  it  cannot  have 
been  from  a  German,  for  up  to  that  time,  nowhere  in  Germany  had  there  been  the 
slightest  appearance  of  any  such  knowledge  of  theatrical  management  as  that  which  appears 
in  the  'Susanna'.  We  have  therefore  good  reason  to  assume  the  presence  of  English  in- 
fluence, and  consequently  of  English  actors  in  Wolfenbuttel  at  the  time  when  the  play  was 
composed  and  performed;  for  we  have  no  notices  of  other  foreign  actors  in  Germany  at 
that  time,  and  should  hardly  be  justified  in  attributing  to  any  others  such  an  influence  as 
that  above-mentioned.  If  the  wedding  festivities  in  Wolfenbuttel  took^.place  in  1591,  and 
not  in  1590,  on  which  point  there  is  no  certain  information,  oujxfour  wanderers  under 
Robert  Browne's  management  may  have  assisted  in  the  performances.  We  have  above  seen 
one  of  them  in  the  service  of  the  Duke,  and  it  is  highly  probable  that  the  whole  com- 
pany on  its  first  arrival  in  Germany  immediately  repaired  to  the  court  of  Wolfenbuttel. 
That  English  actors  had  been  there,  long  before  1597,  (see  p.  xxxiv),  may  be  safely  con- 
cluded from  a  piece  of  the  Duke  himself.  In  the  tragedy  of  'An  Adulteress'  which  appeared 
in  print  in  1594,2  but  may  have  been  written  several  years  previously,  we  meet  with  the 
following  passage  in  Act  II,  sc.  3: 

Gallichorcea.     Ich  hette  es  dir  Teutsch  genung  gesagt,  wenn  du  es  sonst  verstehen  woltest. 
Johan  Bouset.     Ick  bin  ein  Englisch  Mann,  ick  en  son  dat  dudsch  sprake  niet  wal  verstahn. 

[Gallickorcea.  I  should  have  told  you  in  plain  enough  German,  if  you  had  been  willing  to  under- 
stand it. 

John  B*,uset.    I  am  an  English  man,  I  do  not  well  understand  any  one  that  speaks  German.] 

John  Bouset,  the  clown,  does  not  play  here  the  part  of  an  Englishman,  but  it  is 
perfectly  clear,  the  words  have  been  put  into  his  mouth  only  to  excuse  to  the  audience 
his  unintelligible  pronunciation.  We  have  already  called  attention  to  the  fact,  that  the 
jester  in  the  Duke's  pieces*  is  a  copy  of  the  English  Clown.3  This  becomes  -still  more  evi- 
dent, when  we  consider  that  a  large  proportion  of  the  English  theatrical  jokes  turns  upon 

1  v.  Alvensleben,  Allgemeine  Theaterchronik,  18^2,  No.  158. 

2  Tragedia  Hibeldeha  von  einer  Ehebrecherin,  wie  die  jren  Man  drey  Mai  betreucht,  aber  zu  letzt  ein  schreck- 
lich  Ende  genommen  habe.    Mit  acht  Personen.    8vo.    "\V"olfenbuttel  1594.     (The  tragedy  of  Hibeldeha,   of  an  adul- 
teress, how  she  betrayed  her  husband  three  times,   but   at  last  came  to  a  dreadful  end.}     In  Dr.  Holland's  edition 
p.  401 — 444.     A  rhyming  version   has   been   given   by  Job.  Olorinus  Variscus  [Joh.  Somrner]:    Tragoedie  von  ge- 

schwinder  Weiberlist  einer  Ehebrecherin sehr  kurtzweilig,  bossierlich  vnd  lustig  beschrieben,  vnd  vffm  Braunschweigi- 

schen  Furstlichen  Haufs  vnd  Festung  Wolffenbiittel  in  Prosa  agiret.    Nun  aber  auff  vieler  Begehr  in  lustige  anmuthige 
Reijm  mit  Fleifs  gesetzt.    8vo.    Magdeburg,  Joh.  Francke,  s.  a.     Preface   dated  1605.     (A  tragedy  of  the  quick  fe- 
male cunning  of  an  adulteress  very  amusingly,  comically,   and  pleasantly  described,   and  publicly  acted  in  prose, 

in  the  Brunswick  Princely  House  and  Castle  of  Wolfenbuttel.    But  now  at  the  desire  of  many  persons  carefully  done 
into  pleasant  rhymes.}     In  Dr.  Holland's  edition  p.  555 — 639. 

3  The  various  names  assigned  to  him  are :  Johan  Clant,  Johan  Bouset,  Bousset  and  Bouschet.    Is  Bouset 
perhaps  a  corruption  from  "bossed"? 

Fa 


XL1V  SHAKESPEARE  IN  GERMANY. 

the  distortion  and  misunderstanding  of  words,  a  species  of  artifice  which  was  very  largely 
employed  in  the  jokes  of  the  Wolfenbuttel  clowns. 

The  connection  of  the  Wolfenbuttel  with  the  old  English  stage  becomes  still  more 
manifest  from  the  general  colouring  of  the  Duke's  pieces,  as,  for  instance,  the  'Tragedy  of 
a  profligate  son'.1  It  is  an  accumulation  of  brutal  murders.  A  boy's  body  is  cut  open  on 
the  stage,  the  murderer  drinks  his  blood,  roasts  his  heart  on  a  coal  fire,  and  eats  it.  Then 
he  drives  a  nail  into  his  father's  head,  strangles  his  cousin,  cuts  his  mother's  throat,  and 
then  at  a  revel  suddenly  finds  the  heads  of  the  murdered  upon  the  dishes  instead  of  viands. 
Who  can  help  being  reminded  by  this  of  Titus  Andronicus  in  the  first  form  of  the  piece, 
before  Shakespeare  had  handled  the  subject,  the  leading  features  of  which  we  probably 
have  before  us  in  the  German  piece  which  was  played  by  the  English  comedians  in  Ger- 
many? —  Afterwards  the  murdered  persons  appear  as  ghosts,  drive  the  murderer  mad,  and 
carry  him  off.  Is  it  possible  to  read  this,  without  being  reminded  of  Macbeth,  Richard  the 
second,  and  Cymbeline? 

But  the  Duke's  'Comedy  of  Vincentius  Ladislaus'2  leads  us  still  more  directly  to 
Shakespeare.  It  contains  the  rough  prototype  of  Benedick  in  'Much  Ado  about  Nothing'. 
How  very  close  the  connection  is  between  the  two  pieces  will  appear  from  the  following 
passages. 

MUCH  ADO  ABOUT  NOTHING,  ACT  I,  sc.  1. 

Beatrice.     I  pray  you  is  signior  Montanto  returned  from  the  wars  or  no? 

Mess.     I  know  none  of  that  name,  lady:  there  was  none  such  in  the  army  of  any  sort. 

Leon.     What  is  he  that  you  ask  for,  niece? 

Here.     My  cousin  signior  Benedick  of  Padua. 

Mess.     O!  he  is  returned,  and  as  pleasant  as  ever  he  was. 

Beatr.  He  set  up  his  bills  here  in  Messina,  and  challenged  Cupid  at  the  flight ;  and  my  uncle's 
fool,  reading  the  challenge,  subscribed  for  Cupid,  and  challenged  him  at  the  bird-bolt.  -  -  I  pray  you 
how  many  has  he  killed  and  eaten  in  these  wars?  But  how  many  hath  he  killed?  for,  indeed,  I  pro- 
mised to  eat  all  of  his  killing. 

Leon.  Faith,  niece,  you  tax  signior  Benedick  too  much;  but  he'll  be  meet  with  you,  I  doubt 
it  not. 

Mess.     He  has  done  good  service,  lady,  in  these  wars. 

1  Tragoedia.   Hiehabdel.    Von  einem  vngeratenen  Sohn,  welcher  vnmenschlicJie  vnd  vnerhorte  Mordthaten  be- 
gangen,  auch  endlich  neben  seinen  Mit-Consorten  ein  erbaermlich  schrecklich  vnd  grewlich  Ende  genommen  hat.     Mit 
18,  Personen.   Gedruckt  zu  Wolfenbuttel  Anno  1594.   8vo.     (Tragedy  of  a  profligate  son,  who  committed  inhuman  and 
unheard  of  murders,  and  at  last  with  his  consorts  came  to  a  miserable,  shocking,   and  cruel  end.     With  18  persons. 
Printed  at  Wolfenbuttel  1594.}     In  Dr.  Holland's  edition  p.  335—400. 

2  Comoedia  Hidbelepihal  von  Vincentio  Ladislao  Sacrapa  (sic)  von  Mantua  Kempfern  zu  Eofs  vnd  Fuefs, 
weiland  des  edlen  vnd  ehrnuesten,   auch  manha/ten  vnnd  streitbaren  Barbarossae  Bellicosi  von  Mantua,  Eittern  zu 
Malta  ehelichen  nachgelassenen  Sohn.   Mit  zwolf  Personen.  8vo.   Wolfenbuttel  M.  D.XCIV.    (Comedy  of  Vincentius  La- 
dislaus Satrap  of  Mantua,  Combatant  on  horseback  and  on  foot,  lawful  son  of  the  noble   and  honourable  and  war- 
like Barbarossa  Bellicosus  of  Mantua,  Knight  of  Malta.    With  12  Persons.}    In  Dr.  Holland's  edition,  p.  507 — 554. 

—  Another  edition  1599,  ibid.  8vo,    A  rhyming  edition  is  by  Elias  Herlicius  Cicensis,  8vo.  Wittemberg  1601.    In 
Dr.  Holland's  edition,  p.  641—734. 


SHAKESPEARE  IN  GERMANY.  XLV 

Beatr.  You  had  musty  victual,  and  he  hath  holp  to  eat  it:  he  is  a  very  valiant  trencher-man ; 
he  hath  an  excellent  stomach. 

Mess,     And  a  good  soldier  too,  lady.  . 

COMOEDIA   VON   VlNCENTIO   LiADISLAO,   ACTUS  PRIMI,    SCENA   PRIMA. 

Lakey.  Es  gehet  mir  jetzundt  eben,  als  wie  man  im  Sprichwort  saget:  Wer  viel  newe  Herrn 
sucht,  pfleget  sich  selten  zuuerbessern,  Solches  befinde  ich  jetzundt  auch.  Zuuor  hatte  ich  einen  guten 
vnd  frommen  Junckern,  Jetzo  aber  bin  ich  bey  einen  gekommen,  das  ich  schier  nicht  weis,  wie  ich 
mit  jhine  daranne  bin.  Er  gibt  wimderliche  vnd  seltzame  anschlege  fur,  In  seinem  sinn  lest  er  sich 
bediincken,  es  sey  niemandts  kluger  als  er.  Mich  soil  doch  geliisten,  was  er  hie  suchen  wil,  Ich  wuste 
ja  nicht,  was  er  hie  zuschaffen  haben  mochte,  Es  ware  dann,  das  er  sich  hier  ein  zeitlang  wolte  fur 
einen  Narren  affen  vnd  vexieren  lassen,  Wie  solches  dann  zu  Herrn  Hofe  gemein  ist.  Er  wil  heute 
hier  kommen,  wird  auch  vielleicht  nicht  lange  aus  sein,  Vnd  hat  mich  vorher  geschicket  jhm  die  Her- 
berge  zubestellen  etc. 

SCENA  SECUNDA. 

Adrian.     Wo  wanderstu  her  Lackey?    Wem  stehest  du  zu? 

Lackey.     Ich  stehe  meinem  Junckern  zu.     Vnd  wolte  jhm  gerne  Herberge  bestellen. 
Adrian.     Wer  ist  dan  dein  Juncker? 

Lackey.  Es  ist  ein  stadtlicher  vom  Adel,  vnd  ein  Kempffer  zu  Rofs  vnd  Fues,  Sein  Name  ist, 
Vinceutius  Ladislaus  Satrapa  von  Mantua  etc. 

SCENA  QUINTA. 

Lackey.  Ich  weis  nicht,  was  mein  Juncker  vor  ein  seltzamer  Man  ist.  Dan  damit  ja  jederman 
zum  anfang  hier  erfahren  moge,  das  er  ein  Narr  sey,  hat  er  seinen  Namen  auff  einen  Zettel  schreiben 
lassen,  Vnd  mir  befohlen,  Denselben  an  die  Thur  zuschlagen.  Nun  bin  ich  sein  Diener,  Ich  mus  thun, 
was  er  mir  beuehlt,  Ich  wils  anschlagen,  Was  gehets  mir  die  lenge  an,  Aber  mit  der  weyse  werde  ich 
nicht  alt  bey  jhme  werden.  (Der  Lackey  schlegt  den  Zettel  an,  darauff  stehet  geschrieben,  wie  volget: 
Vincentius  Ladislaus  Satrapa  von  Mantua,  Kempfier  zu  Rofs  vnd  Fues,  weiland^des  Edlen,  vnd  Ehrn- 
uesten,  auch  Manhafften  vnd  Streitbaren  Barbarossae  Bellicosi  von  Mantua,  Ritters  zu  Malta,  Ehelicher 
nachgelassener  Sohn,  mit  seinen  bey  sich  habenden  Dienern  vnd  Pferden.) 

TRANSLATION. 

COMEDY  OF  VINCENTIUS  LADISLAUS.    ACT  I,  so.  1. 

Servant.  It  is  with  me  now,  just  as  they  say  in  the  proverb:  He  who  often  seeks  a  new 
master,  seldom  betters  himself.  That  is  just  what  I  find  now.  Formerly  I  had  a  kind  gentle  squire 
for  a  master,  but  now  I  am  with  such  a  one,  that  I  can't  conceive  how  I  am  ever  to  get  on  with 
him.  He  puts  forth  such  strange  and  curious  projects.  In  his  own  opinion  he  fancies  there  is  no 
one  cleverer  than  himself.  I  should  like  very  much  to  know  what  he  wants  here.  I  can't  imagine 
what  he  can  have  to  do  here  unless  he  wanted  to  get  himself  laughed  at  and  jeered  at  for  a  time  as 
a  fool,  as  is  the  common  at  princes'  courts.  He  means  to  be  here  to-day,  and  perhaps  will  be  here 
before  long,  and  has  sent  me  on  before  to  secure  him  a  lodging  etc. 

SCENE  2. 

Adrian.     Where  are  you  going,  servant?  and  whom  do  you  belong  to? 

Servant.     I  belong  to  my  master,  and  should  be  glad  to  engage  a  lodging  for  him. 


XLVI  SHAKESPEARE  IN  GERMANY. 

Adrian.     Who  is  your  master  then? 

•    Servant.     He  is  a  citizen   of  quality,   and  a  Combatant  on  horseback  and  on  foot.     His  name 
is  Vincentius  Ladislaus,  Satrap  of  Mantua,  etc. 

SCENE  5. 

Servant.  I  don't  know  what  strange  sort  of  man  my  master  is.  For  that  everybody  may  learn 
here  at  once  that  he  is  a  fool,  he  has  had  his  name  written  on  a  bill,  and  ordered  me  to  fasten  it  up 
against  the  door.  Now  I  am  his  servant.  I  must  do  what  he  orders  me.  I  will  fasten  it  up ;  what  is  it 
to  me  after  all?  But  after  this  fashion,  I  shan't  grow  grey  in  his  service.  (The  servant  fastens  up  the 
bill,  upon  which  there  is  written  as  follows:  Vincentius  Ladislaus,  Satrap  of  Mantua,  Combatant  on 
horseback  and  on  foot,  lawful  son  of  the  noble  and  honorable  and  courageous,  of  the  late  warlike  Bar- 
barossa  Bellicosus  of  Mantua,  Knight  of  Malta,  with  the  servants  and  horses  that  attend  him.) 

The  passage  in  Beatrice's  speech  'He  set  up  his  bills  here  in  Messina'  is  happily  illustrated 
by  this  scene.  Now  we  know  exactly  what  it  was  she  meant  to  say.  What  Beatrice  wanted  to 
^make  Benedick  appear,  Vincentius  is  in  reality:  a  boastful  Bramarbas,  whose  cowardice  is  a 
match  for  his  bragging,  the  butt  of  the  jeers  of  all  the  world,  and. in  all  his  adventures  always 
the  dupe,  the  typical  'Capitano'  of  the  old  Italian  stage,  a  quintessence  of  the  lying  stories 
of  all  the  quarters  of  the  world,  all  of  which  however  he  outdoes  in  bombast.1  Such  a 
coincidence  as  that  apparent  in  the  above  parallel  cannot  be  purely  accidental;  and  besides 
this,  there  is  another  point  of  resemblance  between  the  two  pieces.  The  real  humour  of 
the  scenes  between  Benedick  and  Beatrice  consists  in  each  of  them  having  been  separately 
persuaded  that  the  other  is  in  love  with  him  or  her.  There  is  a  similar  incident  in  Vincentius. 
The  braggadocio  is  talked  into  the  belief  that  the  beautiful  Angelica  is  in  love  with  him. 
He  of  course  falls  into  the  snare,  and  the  Duke  promises  that  the  consummation  shall  take 
place  the  same  evening.  A  page  in  disguise  represents  the  bride.  The  fool  prepares  the 
bed  by  stretching  a  sheet  over  a  tub  full  of  water.  Vincentius  mounts  the  bed,  falls  into 
the  water,  and  is  summarily  dismissed  with  ignominy  and  disgrace.  Slight  as  the  connec- 
tion may  appear  between  all  this  and  the  charming  love  passages  between  Benedick  and 
Beatrice,  the  gist  of  the  intrigue  in  both  cases  is  the  trick  played  on  a  man  possessing  an 
exaggerated  opinion  of  his  own  merits  by  making  him  believe  that  a  girl  is  in  love  with 
him.  The  Vincentius  Ladislaus  was  unquestionably  written  and  performed  long  before 
'Much  Ado  about  Nothing'  which  first  appeared  in  print  in  1600,  and  is  only  to  be  met 
with  in  the  books  of  the  Stationer's  Company  in  that  year.  May  then  Shakespeare  have 
become  acquainted  with  this  piece  of  the  Duke's  through  the  actors  on  their  return  to 
England,  and  has  he  metamorphosed  the  clumsy  braggart  Vincentius  into  the  amiable  Be- 
nedick, whose  apparent  frivolity  and  conceit  were  not  able  to  resist  the  promptings  of  his 
heart?  Such  an  assumption  could  hardly  be  ventured  without  better  evidence  than  that 
which  we  have  adduced,  and  there  is  no  other  at  present  forthcoming.  A  far  more  pro- 

On  the  type  of  the  'Capitano'  who  under  different  forms  appears  on  the  stages  of  all  the  countries  of 
Europe,  see  Herman  Grimm,  Das  Theater  etc.  p.  164—169. 


SHAKESPEARE  IN  GERMANY.  XLVII 

bable  supposition  is,  that  both  authors  took  their  matter  either  from  an  old  English  piece 
derived  from  an  Italian  source,  or  directly  from  an  Italian  source  with  which  we  are  un- 
acquainted. This  common  origin  probably  contains  both  the  intrigues  which  in  'Much  Ado 
about  Nothing'  are  worked  up  together,  and  of  which  Henry  Julius  has  taken  the  subor- 
dinate one,  and  made  it  his  principal  plot,  while  Jacob  Ayrer,  who  probably  took  his 
'Beautiful  Phaenicia'1  from  the  same  piece,  has  worked  up  both  intrigues.  When  we  come 
to  the  consideration  of  this  piece,  we  shall  treat  more  fully  of  the  existing  sources,  and 
shall  find  that  there  must  be  some  common  origin  hitherto  unknown  to  us,  whence  Shake- 
speare, Henry  Julius,  and  Ayrer  derived  their  matter. 

Still  more  intimately  connected  with  Shakespeare  is  the  Duke's  already  mentioned 
'Tragedy  of  an  Adulteress',  the  plot  of  which  entirely  agrees  with  that  of  the  'Merry  Wives 
of  Windsor'.  A  man  ' Gallichoraea'  [Hahnrei,  i.  e.  a  cuckold]  employs  a*student  to  put  his 
wife's  virtue  to  the  test,  and  endeavours  to  surprise  her,  but  is  always  made  a  fool  of 
through  his  wife's  cunning,  and  obliged  to  beat  an  ignominious  retreat.  But  he  also  has 
another  mortification,  for  the  student,  who  has  no  idea  that  the  go-between  is  really  the 
husband  of  his  lady-love,  always  reports  to  him  his  successes  with  the  fair  one,  and  the 
tricks  she  has  played  her  husband.  For  the  better  comprehension  of  this  piece,  and  that 
the  reader  may  be  able  to  judge  of  the  degree  of  resemblance  between  the  two  pieces, 
we  annex  a  short  sketch  of  the  plot  of  the  'Tragedy  of  an  Adulteress'. 

Act.  i,  sc.  1.  Enter  Gallichoraea,  the  merchant.  He  complains  that  he  has  reason  to 
doubt  his  wife's  fidelity.  He  wishes  for  an  opportunity  to  put  it  to  the  proof.  Scene  2.  Enter 
John  Bousset,  the  servant,  [the  clown],  Gallichoraea  alludes  to  his  wife's  infidelity,  and  at 
last  proposes  to  his  servant  that  he  should  sleep  with  her.  If  he  succeed  with  her,  he  is 
not  to  suffer  any  punishment,  but,  on  the  contrary,  to  receive  a  reward.  John  Bousset 
steadfastly  declines  this  proposal.  Act  ii,  sc.  1.  Enter  Pamphilus, .  a  poor  student.  He  com- 
plains of  his  poverty,  and  wished  he  could  meet  with  some  goodnatured  man  in  this  foreign 
town,  who  would  assist  him.  Enter  Gallichoraea,  and  John  Bousset.  The  former  enters 
into  conversation  with  Pamphilus,  and  advises  him  to  try  his  fortune  with  the  women. 
Pamphilus  agrees,  and  Gallichoraea  proposes  his  own  wife,  but  without  informing  Pamphilus 
that  she  is  so.  Pamphilus  is  to  tell  Gallichoraea  the  next  morning,  what  success  he  has 
had.  Then  follows  a  conversation  between  Gallichoraea  and  John  Bousset,  which  however 
does  not  advance  the  action  of  the  piece.  Sc.  4.  Gallichoraea  and  John  Bousset.  Enter 
Scortum,  the  wife  of  the  former.  Her  husband  pretends  that  he  must  go  into  the  country, 
and  in  all  probability  will  not  return  that  night.  He  then  tells  the  fool  that  he  will  con- 
ceal himself  in  a  house,  and  surprise  his  wife  in  the  middle  of  the  night.  Sc.  4.  Scortum 
says,  that  she  is  quite  aware  that  her  husband  only  wants  to  try  her.  She  only  hopes 
that  some  handsome  young  fellow  may  visit  her,  and  when  her  husband  comes  home  she 
will  manage  matters  so  that  he  knows  nothing  about  it,  for  it  is  a  trade  in  which  she  has 


1  See  p.  77 — 112  of  the  present  volume. 


XLVIII  SHAKESPEARE  IN  GERMANY. 

had  plenty  of  practice.  Sc.  6.  Pamphilus  comes  before  the  house,  entices  the  wife  out  with 
his  music,  and  then  begs  for  a  night's  lodging,  which,  in  the  next  scene,  is  willingly  granted 
him.  Sc.  8.  Enter  Gallichoraea  with  the  clown.  The  former  demands  admittance.  After 
some  words  have  been  exchanged  through  the  closed  door,  the  wife  opens  it,  and  tells  her 
husband  she  did  not  like  to  do  so  at  first,  lest  it  might  be  some  stranger  who  wanted  to 
deceive  her.  While  they  are  going  into  the  house,  Pamphilus  jumps  out  of  the  window, 
and  having  stated,  that  he  had  been  appointed  to  come  again  the  following  evening,  runs 
away.  Act  iii,  sc.  1  and  2.  John  Bousset  betrays  the  infidelity  of  the  wife  to  neighbour 
Adrian,  who  had  heard  the  noise  in  the  night.  Gallichoraea  joins  them,  and  persuades  the 
neighbour  not  to  believe  the  clown.  Sc.  3.  Pamphilus  relates  to  Gallichoraea  his  adventure 
of  the  previous  night,  and  how  he  had  escaped  when  the  husband  arrived.  The  wife  had 
shewn  him  a  hiding-place  under  the  window,  and  after  her  husband  had  searched  the  house 
for  some  time,  she  had  led  him  up  stairs,  and  then  called  out  to  him  in  a  loud  voice, 
'Now  sweetheart.,  go,  it  is  time.'  This  had  been  the  signal  agreed  upon  for  Pamphilus  to 
escape  unperceived.  He  then  promises  to  give  Gallichoraea  an  account  of  his  next  visit  to 
the  wife.  In  the  next  scene  the  fool  derides  the  husband.  Sc.  5.  Gallichoraea  tells  Scor- 
tum  that  he  is  now  going  away  again,  and  will  not  allow  himself  to  be  detained  by  stran- 
gers, as  yesterday.  His  wife  is  very  anxious  about  him,  and  charges  John  Bousset  to  look 
very  attentively  after  his  master.  After  they  have  both  left  her,  she  wishes  that  the  young 
fellow  of  yesterday  may  soon  return;  she  will  contrive  to  outwit  her  husband,  if  he  should 
come  back  again.  Sc.  6.  Pamphilus  comes,  and  is  admitted  into  the  house.  Act  iv,  sc.  1 
—3  Gallichoraea  and  the  fool  come  before  the  house  again,  and  demand  admittance.  A 
conversation  follows,  just  as  on  the  former  occasion,  and  they  are  admitted.  Some  time 
after,  the  husband  comes  out  again,  and  opens  the  shutter  from  the  outside  in  order  to 
discover  the  lover.  The  wife  comes  out  to  him,  and  says:  U0  Lord,  my  dear  husband, 
what  are  you  doing  here?  I  do  believe  you  think  I  have  a  lover  in  the  house."  Galli- 
choraea confesses,  that  he  certainly  does  entertain  that  opinion,  upon  which  his  wife  an- 
swers: "If  I  did  not  wish  to  be  honest,  I  would  blind  you  so,  that  you  should  know  no- 
thing about  it,  not  even  if  you  were  already  in  the  house."  Gallich.:  "How  would  you 
manage  that?"  Scortum:  "I  would  manage  it  so.  (She  covers  his  eyes  with  his  cloak.) 
Do  you  see  that,  my  dove?"  In  the  mean  time,  Pamphilus  jumps  out  of  the  door,  and 
runs  away.  Act  v,  sc.  1.  Neighbour  Adrian  has  heard  the  noise  again  the  night  before. 
Gallichoraea  endeavours  to  bring  him  off  the  right  road,  but  Adrian  still  believes  that  Scor- 
tum's  infidelity  is  at  the  bottom  of  it.  Sc.  2.  Gallichoraea  complains  to  the  fool,  that  he  is 
now  worse  off  than  before,  in  as  much  as  formerly  he  still  had  his  doubts  whether  his  wife 
really  did  play  him  false,  but  now  he  knows  that  she  is  no  better  than  she  should  be, 
and  yet  he  must  not  say  so,  as  he  cannot  convict  her  of  it;  besides,  everybody  would 
laugh  at  him,  as  he  had  himself  sent  the  young  fellow  to  her.  The  fool  is  of  opinion, 
that  the  husband  had  himself  made  his  wife  a  whore,  which  he  denies,  as  she  had  been 
one  before,  and  he  had  only  wished  to  prove  her.  In  the  next  scene,  Pamphilus  again 


SHAKESPEARE  IN  GERMANY.  XLIX 

relates  to  Gallichoraea  his  adventures  of  the  preceding  night,  and  that  he  had  an  assigna- 
tion with  her  for  the  same  evening.  Gallichoraea  pretends  to  his  wife,  that  he  had  received 
a  message  from  his  brother,  calling  him  away  from  home  in  a  great  hurry,  and  adds,  that  he 
does  not  know  when  he  will  come  home  again.  Scortum  behaves  just  in  the  same  manner  as  on 
the  previous  occasions,  and  determines  to  deceive  her  husband  a  third  time.  Pamphilus  comes, 
and  is  admitted.  Act  vi.  Gallichoraea  is  determined  to  set  fire  to  the  house  with  a  torch, 
if  Scortum  does  not  deliver  up  her  lover.  As  she  is  not  able  to  appease  her  husband,  she 
begs  him  at  least  to  allow  her  to  save  her  linen,  that  she  may  have  something  to  clothe 
herself  with.  Gallichoraea  helps  her  to  carry  out  the  cask  full  of  clothes,  and  then  enters 
the  house  again  to  continue  his  search.  In  the  mean  time  Pamphilus  jumps  out  of  the 
cask,  and  runs  away.  Adrian  comes  to  pacify  Gallichoraea.  The  latter  is  very  melancholy 
at  not  being  able  to  find  anything.  Then  follows  a  scene,  in  which  Gallichoraea  reproaches 
his  wife.  His  melancholy  increases.  He  then  learns  again  from  Pamphilus,  how  he  had 
been  fooled  a  third  time.  Pamphilus  declares  that  he  will  not  return  to  the  wife  again, 
and  takes  his  leave.  Neighbour  Adrian  learns  the  whole  story  from  the  fool.  Gallichoraea 
,takes  his  dishonour  very  much  to  heart,  and  goes  raving  mad.  The  fool  and  the  neighbour 
at  last  succeed  in  putting  him  in  chains,  and  lead  him  into  the  house.  Scortum  then  is 
troubled  with  remorse  at  having  driven  her  husband  mad,  and  resolves  to  take  her  own 
/life.  Devils  come,  and  strangle  her.  A  moral  epilogue  concludes  the  piece. 

We  add  here  a  few  scenes  from  the  sixth  act,  which  place  the   connection  of  this 
piece  writh  Shakespeare  beyond  all  doubt. 


ACT  VI,  SCENE  1. 
Gallichorcea.    Scortum.    Johan  Bouset  (tregt  zwey  Fackeln).    Pamphilus.    Adrian. 

X^V^QOi,, ,  . 

Gallich.     Johan  kom  fort,  vnd  gib  mir  die  eine  Fackel  her,  die  ander  aber  behalt  du. 

Joh.  Bous.     Was  wollt  ihr  mit  der  Fackel  machen. 

Gallich.     Ich  wil  Huren  vnd  Buben  zusammen  im  Hause  verbrennen. 

Joh.  Bous.     Seid  ihr  toll,  was  wollt  ihr  machen?     Ihr  werdet  die  ganze  Stadt  anstecken. 

Gallich.  Da  ligt  nichts  an,  kom  du  mir  her.  (Als  sie  vor  das  Haus  kommen  klopfet  er  mit 
Gewalt  an  vnd  ruffet  gar  laut.)  Holla,  mach  auff,  du  hast  mich  nun  lang  gnug  bey  der  Nasen  herumb 
gefuhrt,  ich  wil  dich  nun  einmal  wider  bezalen,  lass  sehen,  hast  du  den  Bulen  noch  einmal  versteckt, 
was  gilt's?  Ich  wil  ihn  finden,  darumb  gedenke,  vnd  gib  ihn  mir  heraus,  oder  sihe  ich  wil  dir  das 
Haus  oben  dem  Kopfe  anstecken.  (Die  Frau  komt  gar  geschwinde  heraus  gelaufen.) 

Scortum.  Behiite  Gott  Man,  Was  wolt  jhr  nun  anfangen?  Wollet  jhr  mich  dann  nun  gar 
zum'Betler  machen?  Vnd  diese  gantze  Stadt  in  Noth  bringen. 

Gall.     Das  hilfft  nicht  darzu,  Ich  wil  kurtz  rundt  wissen,  wo  der  Bule  ist. 

Scortum.  Ich  habe  keinen  Bulen  im  Hause,  Vnd  wollet  jhr  ja  so  toll  sein,  Vnd  das  Haus  an- 
stecken? So  helfft  mir  doch  erst  meinen  Leinen  Zeug  heraus  tragen,  Damit  wir  ja  noch  etwas  be- 
halten,  das  wir  anziehen  mogen,  Werdet  jhr  alsdann  einen  Bulen  im  Hause  finden,  So  bin  ich  zufrie- 
den,  Das  jhr  nicht  allein  das  Haus  anziindet,  Sondern  mir  darzu  den  Hals  entzwey  schlaget. 

Gall.     W^o  ist  denn  das  Zeug? 

Scort.     Hier  stehets  im  Hause  im  Fafs.     Vnd  ist  darzu  vngewaschen  Zeug. 

G 


L  SHAKESPEARE  IN  GERMANY. 

Gall.  Den  willen  wil  ich  dir  noch  thun,  Aber  finde  icji  auch  darnach  jemandts  im  Hause,  so 
nicht  darin  bescheiden  ist,  So  wil  ich  mich  dann  auch  gar  nicht  erbitten  lassen. 

Scort.  Das  bin  ich  dann  auch  wol  zufrieden,  Ich  wil  alsdann  auch  keine  gnade  begeren..  (Sie 
gehen  ein,  vnd  der  Man  hilfft  der  Frawen  das  Zeug  hinaus  tragen,  als  das  geschehen,  spricht  err) 

Gall.    Nun  wil  ich  wieder  hinein  gehen,  vnd  Visitieren.    (Gehet  hinein,  inmittelst  springet  Pam- 
philus  aus  dem  Fai's  heraus,  in  welchem  er  mit  dem  Zeuge  bedecket  gewesen,  vnd  laufft  dauon.    Adrian 
kompt   inmittelst   darzu   gelauffen   im  Schlaffpelz,   vnnd  laufft   gar  geschwiude   nach  dem  Hause,   riifft' 
vnd  spricht:) 

Adrian.  Was  ist  hie  zuthun?  Wollet  jhr  nun  ewer  eigen  Haus  anstecken,  Vnd  die  Stadt  in 
grundt  verbrennen.  (Gehet  abe.) 

SCENE  6. 
[Gallichorcea  gehet  gar  trawrich  vnd  seufftzet,  inmittelst  kompt  Pamphilus  gegangen.] 

Pamph.  Gott  grusse  euch  guter  Herr,  Ich  wolte  euch  vor  alle  beforderung  dancken  vnd  mei- 
nen  abscheit  nehmen. 

Gall.     Wiltu  dann  nun  so  daruon. 

Pamph.     Auff  difsmahl  ist  meines  pleibens  nicht  lenger  hier. 

Gall.     Gefellt  es  dir  dann  hier  nicht  mehr? 

Pamph.     Auff  difsmahl  nicht. 

Gall.     Bistu  gestern  wieder  an  dem  ort  gewesen? 

Pamph.  Ich  bin  freilich  dar  gewesen,  Ich  meinte  der  Man  hette  mir  schier  die  Leuchte  ge- 
bracht,  als  er  ein  kam. 

Gall.     Wie  gieng  denn  das  zu? 

Pamph.  Wie  solt  es  zugehen,  der  tolle  Narr  wolte  das  Haus  anstecken  vnd  sagt  zur  Frawen, 
sie  solt  jm  den  Bulen  heraus  langen.  Die  Fraw,  wie  sie  solches  horte,  Verbarg  mich  in  ein  Fafs,  vnd 
warff  darauff  alt  leinen  gerethe,  Lieff  darnach  geschwind  zum  Man  vnd  bath,  Wann  er  ja  das  Haus 
anstecken  wolte  so  mochte  er  doch  jhres  zeuges  schonen,  vnd  jhr  das  helffen  heraus  tragen,  Das  that 
er,  vnd  trug  mich  also,  selber  zum  Hause  heraus,  Als  er  aber  wieder  hinein  gieng  vnd  suchte,  Sprang 
ich  heraus  vnd  lieff  dauon. 

Gall.  O  ich  vngliickseliger  Mensch,  O  das  ich  nie  geboren  were,  Ach  das  ich  nur  Todt  were, 
So  dorfften  die  Leute  meiner  so  nicht  spotten,  etc. 

TRANSLATION. 

ACT  I.   SCENE  1. 
Gallichorcea.    Scortum.    John  Bouset  (bearing  two  torches).    Pamphilus.    Adrian. 

Gallich.    John,  come  here,  and  give  me  one  of  the  torches.    The  other  you  may  keep  yourself. 

John  Bous.    What  are  you  going  to  do  with  the  torch? 

Gallich.    Burn  whores  and  rogues  together  in  the  house. 

John  Bous.    Are  you  mad?    What  will  you  do?    You'll  set  fire  to  the  whole  town. 

Gallich.  That  does  not  signify.  Only  you  come  here.  (When  they  have  come  before  the  house, 
he  knocks  violently  at  the  door,  and  calls  out  very  loud:)  Holla!  Open  the  door.  You  have  been 
making  a  fool  of  me  long  enough.  Now  will  I  pay  you  out  for  it  at  last.  Let  us  see;  if  you  have 
got  your  lover  hid  there  again,  what  does  it  matter?  I  will  find  him,  therefore  mind  what  I  say,  and 
give  him  up  to  me,  or  look  here,  I  will  set  fire  to  the  house  above  your  head.  (His  wife  comes 
running  out  of  the  house  in  a  great  hurry.) 


SHAKESPEARE  IN  GERMANY.  LI 

Scortum.  God  forbid,  husband!  What  do  you  want  to  do?  Do  you  want  to  make  a  beggar 
of  me  then,  and  bring  the  whole  town  into  trouble? 

Gallich.  That's  all  of  no  good.  I  am  determined  to  know  without  any  more  pother,  where 
your  lover  is. 

Scortum.  I  have  not  got  any  lover  in  the  house,  and  will  you  really  be  so  mad  as  to  burn 
the  house  down?  At  least  help  me  to  carry  out  my  linen,  that  we  may  keep  something  to  put  on. 
If  you  then  find  a  lover  in  the  house,  you  have  my  leave  not  only  to  set  the  house  on  fire,  but  to 
break  my  neck  into  the  bargain. 

Gall.     Where  is  your  linen  then? 

Scort.     Here  it  stands  in  the  house,  in  a  tub.     And  dirty  linen  it  is  too. 

Gall.  I  will  do  you  that  one  favour  more ;  but  if  I  then  find  anybody  in  the  house  who  does 
not  belong  to  it,  I  will  not  listen  to  any  more  entreaties. 

Scort.  I  am  quite  satisfied  with  that.  I  will  not  ask  then  for  any  favour  more.  (They  go 
into  the  house,  and  the  husband  helps  his  wife  to  carry  out  the  linen.  When  this  is  done,  he  says:) 

Gall.  Now  I  will  go  in  again,  and  have  a  search.  (He  goes  in;  in  the  mean  time  Pamphilus 
jumps  out  of  the  tub,  and  runs  away.  While  this  is  taking  place,  Adrian  rushes  out  of  his  house  in 
his  night-gown,  runs  up  to  the  house,  shouts  out  and  says:) 

Adrian.  What  is  to  be  done?  Will  you  set  your  own  house  on  fire,  and  burn  down  the 
town?  (Exit.) 

SCENE  6. 
[Enter  Gallichorcea  very  melancholy,  and  sighing  Pamphilus  joins  him.] 

Pamph.  Good  morning,  my  dear  sir.  I  wished  to  thank  you  for  all  the  advancement  you 
have  procured  me,  and  then  take  my  leave. 

Gall.     Are  you  going  away  then? 

Pamph.     For  the  present  I  shall  stay  here  no  longer. 

Gall.     Don't  you  like  the  place  then  any  more? 
v    Pamph.     Not  for  the  present. 

Gall.     Were  you  at  the  same  place  again  yesterday? 

Pamph.  O  yes,  certainly,  I  was  there.  I  thought  the  husband  meant  to  bring  me  the  candles 
when  he  came. 

Gall.     How  was  that? 

Pamph.  How  should  it  be?  The  mad  fool  wanted  to  set  fire  to  the  house,  and  told  his  wife 
she  must  give  up  her  lover  to  him.  When  the  wife  heard  this  she  hid  me  in  a  tub,  and  threw  some 
old  linen  over  me.  Then  she  ran  out  to  her  husband,  and  begged,  that  if  he  was  determined  to  set 
the  house  on  fire,  he  would  at  least  spare  her  linen,  and  help  her  carry  it  out.  He  did  so,  and  so 
he  carried  me  out  of  the  house  too.  But  as  soon  as  he  had  gone  in  again,  I  ran  away. 

Gall.  O  miserable  man  that  I  am!  O  that  I  had  never  been  born!  Alas,  if  I  were  only  dead, 
the  people  could  not  laugh  at  me  so,  etc. 

Compare  with  the  above  scenes  'The  Merry  Wives  of  Windsor',  Act  iii,  sc.  3  and  5. 
Here  we  must  greatly  regret  the  uncertainty  which  prevails  respecting  the  chronology  of 
Shakespeare's  plays.  The  'Merry  Wives  of  Windsor'  appeared  for  the  first  time  in  print  in 
1602,  and  indeed  in  a  very  imperfect  form,  certainly  not  that  in  which  it  came  from  Shake- 
speare's hands.  It  is  in  Jan.  1601 — 1602,  that  the  piece  first  appears  in  the  'Registers  of 

G2 


LII  SHAKESPEARE  IN  GERMANY. 

the  Stationer's  Company'.  We  first  meet  with  it  in  its  genuine  form  in  the  Folio  of  1623. 
Johnson  places  it  between  'Henry  iv'  Part  2  and  'Henry  v',  therefore  about  1598  —  1599. 
Malone  places  it  between  Parts  1  and  2  of  'Henry  iv',  that  is  to  say,  about  1596 — 1597. 
Chalmers  does  the  same.  Halliwell  contended  for  the  assumption  that  the  earliest  form 
came  from  Shakespeare's  pen,  an  opinion  which  he  afterwards  gave  up.  Collier  rejects 
the  first  form  as  not  genuine.  The  allusion  in  Shakespeare's  piece  to  a  German  Duke, 
which  we  have  already  noticed,  unquestionably  refers  to  Frederick  of  Wirtemberg,  who, 
we  know,  was  in  Windsor  in  1592.1  But  this  Prince  as  we  have  seen  above,  travelled  under 
the  name  of  Count  Montbeliard.  This  was  not  an  assumed  name;  the  Duke  was  really 
Count  Montbeliard  until  he  ascended  the  throne,  ajid  was  even  called  so  in  his  native 
country.  If  therefore,  as  some  persons  have  argued,  the  'Merry  Wives  of  Windsor'  were 
written  soon  after  1592,  why  should  Shakespeare  have  transformed  the  Count  into  a  Duke, 
as  the  person  alluded  to  was  known  to  the  audience  as  Count,  and  not  as  Duke? 

It  therefore  appears  no  unjustifiable  assumption  that  the  Duke  had  already  succeeded 
to  that  title,  when  Shakespeare  wrote  his  piece.-  Soon  after  his  return  from  his  visit -to 
England,  Count  Montbeliard  succeeded  to  the  Ducal  throne.  This  event,  affecting  a  prince 
now  personally  known  at  the  English  Court,  was  in  all  probability  a  subject  of  conversa- 
tion there,  and  may  have  suggested  to  Shakespeare  his  allusion  to  the  foreigner  as  Duke. 
Or  this  allusion  may  also  have  been  occasioned  by  the  Duke's  application  for  the  Order 
of  the  Garter  in  the  year  1595.  For  these  reason,  we  believe  we  shall  be  nearer  the  truth, 
if  we  place  this  play  between  the  years  1593  and  1596.  The  'Adulteress'  of  Duke  Henry 
Julius  was  first  printed  in  "1594.  It  may  have  been  written  and  acted  one  or  more  years 
earlier;  but  however  that  may  be,  the  date  of  its  composition  and  representation  are  near 
those  of  Shakespeare's  immortal  comedy.  '  Was  Shakespeare  acquainted  with  the  Duke's 
play?  Who  would  like  to  affirm  that?  But  we  may  be  allowed  to  observe,  that  the  in- 
trigue in  the  'Merry  Wives'  is  in  many  respects  more  similar  to  that  of  the  'Adulteress,' 
than  the  hitherto  received  source  of  that  play,  namely,  the  tale  of  the  '  Two  Lovers  of 
Pisa'  in  Tarleton's  'Newes  out  of  Purgatory'  1590,  which  again  is  a  new  version  of  the 
Tale  of  the  Ring,  in  Gio.  Fr.  Straparola's  'Tredeci  piacevoli  notti'.2  A  very  similar  story 
is  to  be  found  in  Giovanni  Fiorentino's  'II  Pecorone',  which  has  passed  into  an  English 
Collection  of  tales,  entitled  'The  fortunate,  the  deceived,  and  unfortunate  lovers',  which 
Malone  asserts  already  existed  in  print  in  Shakespeare's  life,  although  no  older  edition  than 

'  Pointed  out  for  the  first  time  by  Mr.  Charles  Knight  in  his  edition  of  Shakespeare. 

*  The  Italian  text  with  an  English  translation  will  be  found  in  "The  first  Sketch  of  Shakespeare's  Merry 
Wives  of  Windsor'"  ed.  by  J.  0.  Halliwell.  London,  printed  for  the  Shakespeare  Soc.  1842,  p.  112 — 125,  and 
Tarlton's  English  version,  ibid.,  p.  125 — 135,  and  in  J.  P.  Collier's  Shakespeare  s  Library,  as  well  as  in  Johnson- 
Steevens'  edition  of  Shakespeare.  —  See  also  Quellen  des  Shakespeare  in  Novellen,  Narchen  und  Sagen,  heraus- 
gcgeben  von  Th.  Echtermayer,  L.  Henschel  und  Karl  Simrock.  3  vol.  Berlin  1831.  Vol.  i,  p.  231,  and  Charles 
Simrock's  remarks,  Vol.  iii,  p.  221.  The  latter  translated  into  English,  for  the  Shakespeare  Soc.  and  ed.  by 
Halliwell,  1850,  p.  76. 


SHAKESPEARE  IN  GERMANY.  LIII 

that  of  1632  in  4to  is  now  extant.1  The  love-adventures  of  Falstaff  are  most  undoubtedly 
to  be  referred  to  this  source,  but  it  admits  of  a  question  whether  there  may  not  be  some 
intermediate  link,  which  also  originating  from  the  same  sources,  has  undergone  the  same 

I  changes  as  those  which  appear  again  in  Shakespeare's  deviations  from  the  Italian  tales,  and 
which  Henry  Julius  has  also  adopted.  A  very  important  deviation  from  the  above-men- 
tioned sources  consists  in  this:  that  in  the  play  of  Henry  Julius,  the  whole  action  of  the 
piece  originates  with  the  husband,  who  entertains  suspicions  against  his  wife,  and  desires 

'•to  put  her  virtue  to  the  test.  Similarly  in  Shakespeare's  play,  Ford  endeavours  to  test  his 
wife's  fidelity  by  means  of  Falstaff  s  intrigues,  which  he  encourages.  That  Falstaff  had  al- 
ready laid  his  plans  without  Ford's  intervention,  is  of  very  little  importance  here.  This  is 
managed  differently  in  the  two  Italian  stories.  In  neither  of  them  is  the  husband's  motive 
the  wish  to  try  his  wife.  In  one  story  the  husband  only  wishes  to  prove  to  the  young 
man  that  his  wife  is  more  beautiful  than  the  young  man's  mother,  whom  the  son  had  de- 
scribed as  quite  incomparable  in  this  respect,  and  in  the  other,  the  teacher  gives  his  young 
pupil,  who  is  ardently  longing  for  some  love  adventure,  the  necessary  instructions  how  such 
affairs  are  to  be  managed;  that  the  pupil  should  commence  his  experiments  with  the  wife 
of  his  teacher,  is  purely  accidental,  and  not  owing  to  the  cooperation  of  the  husband. 
Another  point  of  coincidence  between  the  'Merry  Wives'  and  the  'Adulteress',  is  this:  that 
the  two  lovers,  in  the  one  case  Pamphilus,  and  Falstaff  in  the  other,  are  both  influenced 
by  mercenary  as  well  as  other  motives  in  their  love  adventures.  Falstaff  says  of  Ford: 
"Hang  him,  poor  cuckoldy  knave!  I  know  him  not.  Yet  I  wrong  him  to  call  him  poor: 
they  say,  the  jealous  wittolly  knave  hath  masses  of  money,  for  the  which  his  wife  seems 
to  me  well-favoured.  I  will  use  her  as  the  key  of  the  cuckoldy  rogue's  coffer,  and  there1 
is  my  harvest-home."  In  the  'Adulteress',  Pamphilus  complains  of  his  poverty,  upon  which 
Gallichoraea  answers:  "Why  you  are  a  fine,  straight,  well-made,  young  fellow,  and  seem  to 
me  as  if  you  were  sure  to  please  the  women.  There  are  handsome  young  women  in  this 
town;  do  you  only  make  acquaintance  with  them,  and  you  are  sure  to  get  money  and 
clothes  enough."  It  is  also  to  be  observed  in  the  'Adulteress',  that  the  duped  husband  is 
constantly  abusing  himself  as  a  cuckold  [in  German  'Hahnrei']  and  that  in  Shakespeare, 
Ford  does  the  same.  One  character  in  the  'Adulteress',  quite  independent  of  the  original 
sources,  is  that  of  Jan  Bouset,  the  servant  of  Gallichorsea,  which  has  at  least  great  external 
similarity  with  Dr.  Caius,  as  both  speak  in  an  unintelligible  dialect.2 

In  the  tale   of  Giovanni  Fiorentino,  the  hus-band  is  taken   in  by  his  wife  twice,  in 

[that  of  Straparola  three  times,  as  in  Shakespeare  and  in  Henry  Julius.  In  Giovanni  the 
lover  is  concealed  the  first  time  under  a  heap  of  linen,  which  the  husband  quietly  passes 
by.  After  he  is  gone,  the  wife  sups  with  the  lover,  who  passes  the  night  with  her.  The 

1  Florentine's  Text  with  an  English  Translation  in  "The  first  Sketch'"  etc.  p.  86 — 101  and  the  English 
version  of  1632,  ibid.,  p.  101 — 112.  See  also  Quellen  etc.  Vol.  i,  p.  201  and  Vol.  iii,  p.  221.  Simrock's  remarks 
in  English,  p.  76. 

*  In  the  Susanna  the  peasants  use  different  dialects.     The  same  thing  also  occurs  in  Pla'utus. 


LIV  SHAKESPEARE  IN  GERMANY. 

second  time,  the  wife  puts  out  the  candle  when  her  husband  approaches,  and  in  the  very 
moment  that  he  is  about  to  enter  the  house,  she  pushes  her  lover  out  of  the  door.  He 
thrusts  his  sword  through  the  heap  of  linen,  and  as  he  finds  nobody  there,  is  well  beaten 
by  his  wife's  brothers,  and  treated  as  if  he  were  mad.  In  Straparola,  the  first  tune,  the 
young  man  is  concealed  in  a  bed,  the  curtains  of  which  are  drawn  close,  the  second  time 
in  a  trunk,  and  covered  over  with  clothes.  In  this  case  also  the  husband  passes  by  with- 
out any  suspicion,  and  after  he  has  left  the  house,  the  lover  slips  away.  The  third  time 
he  is  concealed  in  a  cupboard,  and  when  the  husband  is  preparing  to  set  fire  to  the  house, 
and  the  cupboard  is  also  in  danger  of  becoming  a  prey  to  the  flames,  the  wife  orders  it 
to  be  removed  to  a  place  of  safety,  under  the  pretence  that  it  contains  papers  appertaining 
to  her  dowry.  We  see  by  this  how  far  both  authors  deviate  from  Shakespeare  and  Henry 
)  Julius.  Only  the  concealment  in  some  receptacle,  which  is  also  full  of  linen  or  clothes  has 
passed  into  both  pieces.  The  lesser  details  in  these  have  more  resemblance  with  each 
other  than  with  the  Italian  tales.  In  Shakespeare,  Ford,  in  order  to  fix  the  fool's  cap  more 
firmly  on  his  head,  must  himself  ask  what  is  in  the  basket;  in  Henry  Julius,  Gallichoraea 
is  even  made  to  assist  with  his  own  hands  in  removing  his  wife's  paramour  to  a  place  of 
safety.  The  tales  do  not  contain  a  trace  of  anything  resembling  FalstafFs  disguise  as  the 
witch  of  Brentford,  neither  is  this  episode  to  be  found  in  Henry  Julius;  on  the  other  hand, 
the  second  adventure  in  the  'Adulteress',  the  spreading  out  the  cloak,  that  Pamphilus  may 
escape  behind  it,  has  considerable  resemblance  to  a  disguise.  As  many  of  the  above-men- 
tioned deviations  from  the  Italian  in  which  Shakespeare  and  Henry  Julius  agree,  are  to  be 
met  with  in  a  German  story,  I  will  give  a  brief  sketch  of  its  subject.  It  is  entitled  the 
Tale  'Of  a  Goldsmith  and  a  poor  Student'  in  Michael  Lindner's  'Rastbuchlein',  1557  or 
1558.1 

A  goldsmith  in  a  far-famed  city  suspects  his  beautiful  wife  of  infidelity,  but  has  never 
been  able  to  obtain  any  proofs  of  his  suspicions.  One  day,  as  the  goldsmith  is  standing 
in  his  shopa  which  is  at  a  considerable  distance  from  his  private  residence,  a  poor  scholar 
or  student  begs  an  alms  of  him.  The  student  is  a  handsome  young  fellow,  and  appears 
to  the  goldsmith  a  very  likely  person  to  put  his  wife's  virtue  to  the  proof.  Pretending 
therefore  not  to  have  any  money  about  him,  he  directs  the  student  to  go  to  a  certain  place, 
where  he  will  have  sweet  dalliance  with  a  beautiful  woman,  and  receive  plenty  of  money 
into  the  bargain,  but  he  is  on  no  account  to  mention  the  goldsmith's  name.  The  student 
promises  discretion,  and  is  directed  to  the  goldsmith's  wife,  who,  while  the  goldsmith  re- 
turns to  his  shop  to  \vork,  sees  the  handsome  youth,  admits  him,  and  has  her  own  will 

1  Rasibuchlein.  Darinn  schone  kurtzweilige,  •  lecherliche  vnd  lustige  Bossen  vnd  Fablen,  welliche  Hystorien 
gleich  sein,  verfast  vnd  beschriben  seind,  den  Feyrenden,  oder  sonst  ruhenden,  lieblicJi  zulesen  vnd  anzuhoren.  S.  1.  e.  a. 
—  Second  edition,  s.  1.  M.D.LVHI.  —  -  The  tale  alluded  to  is  founded  on  the  Italian  Novels.  For  more  details  see 
Dr.  Holland's  edition  of  the  Plays  of  Duke  Henry  Julius,  p.  874.  Henry  Kurz  p.  144  compares  our  play  with 
Hans  Sachs'  Kwplet  Schwieger.  —  The  above  narrative  is  to  be  found  in  Dr.  Holland's  edition  of  the  Plays  of 
Henry  Julius. 


SHAKESPEARE  IN  GERMANY.  LV 

j  with  him.    Presently  the  goldsmith  comes  home.    His  wife  is  terribly  frightened,  and  places 

I  the  student  "outside  the  shop,  on  a  board,  on  which  nails,  sticks,  and  other  things  are 
generally  placed."  The  husband  searches  the  house  in  vain,  gives  it  up,  and  returns  to  his 
work.  After  this,  the  wife  "finishes  her  business"  with  the  student,  refreshes  both  herself 
and  him  with  sweetmeats,  gives  him  some  money,  sends  him  away  and  begs  he  will  soon 

:  come  again.  The  student  relates  all  this  to  the  goldsmith,  who  persuades  him  to  go  there 
a  second  time.  He  does  so,  is  received  just  in  the  same  manner  as  the  first  time,  and  goes 
to  bed  with  her.  Before  he  has  left  her,  the  husband  comes  again,  and  searches  for  the 
student,  whom  the  wife  "has  hung  over  a  pole,  and  covered  over  with  some  old  clothes." 
He  returns  to  his  shop.  The  student  goes  to  him  again,  tells  him  what  has  happened,  and 
is  persuaded,  though  not  without  difficulty,  to  go  to  the  wife  for  a  third  time.  The  wife 

[  receives  him  with  greater  kindness  than  ever.  But  just  as  "they  have  finished  their  busi- 
ness," the  husband  knocks  at  the  door.  The  wife  conceals  the  student  in  a  great  tub,  and 
throws  the  "dirty  linen"  over  him.  The  husband  searches  in  vain,  threatens  to  burn  down 
the  house,  the  wife  begs  him  to  help  her  first  "to  carry  the  dirty  linen  in  the  tub  out  of 
the  house,  that  when  aU  the  things  are  burnt,  we  may  have  at  least  a  shirt  to  put  on." 
The  husband  and  wife  take  the  tub  on  their  shoulders,  carry  it  into  the  street,  and  return 
into  the  house  again.  The  student  jumps  out,  and  runs  away  to  the  goldsmith's  shop.  The 
goldsmith  "who  was  not  very  particularly  in  earnest  about  burning  down  his  house  '  returns 
there  too.  The  student  tells  him  all  that  has  happened.  The  goldsmith  says:  "My  dear 
boy,  the  woman,  with  whom  you  have  had  to  do,  is  my  wife,  and  it  is  I  who  have  been 
to  the  house  three  times,  and  asked  after  you.  But  even  had  I  found  you,  I  should  not 
have  done  you  any  harm,  for  all  that  I  have  done  was  only  to  learn  something  about  the 
goings  on  of  my  wife."  He  exhorts  the  student  'to  silence,  and  to  leave  the  town.  The 
student  follows  his  counsel. 

The  third  adventure  in  Shakespeare's  play,  the  charming  scene  at  HerneVoak,  can- 

)not  be  referred  to  anything  in  the  tales,  nor  in  the  Duke's  piece,  and  yet  the  latter  also 

offers  here  an  external  point   of  connection  in   the   concluding  scene,  in  which  the  devils 

punish  the  faithless  wife  with  death  and  eternal  damnation,  just  as  Falstaff  is  thrown  into 

agonies  of  terror  by  the  improvised  fairy  scene  as  a  punishment  for  his  lecherous  practices. 

The  connection  of  Shakespeare's  glorious  comedy  with  the  tales  as  well  as  with  the 

/Adulteress'  is,  as  we  have  seen  above,  of  a  purely  external  nature;  but  a  purely  external 
motive  was  sufficient  for  him  to  breathe  a  new  life  into  the  crude  elements  of  the  mere 
outward  form,  and  to  produce  a  poetic  whole.  Perhaps  one  of  the  English  comedians  on 

I  their  return,  may  have  communicated  to  him  the  plot  of  the  Wolfenbtittel  play.  We  have 
learnt  above  that  in  1594  Richard  Jones,  and  in  1596  Robert  Browne,  were  again  in  Eng-- 
land.  To  attempt  to  deny  that  Shakespeare  made  any  use  whatever  of  these  sources,  on 
the  ground  of  the  very  different  form  which  the  subject  assumed  in  his  hands,  appears  to 
us  a  decided  mistake.  The  number  of  coincidences  in  the  external  circumstances  is  far  too 

v  great  to  justify  such  a  supposition.    On  the  other  hand,  to  seek  for  models  for  the  internal 


LVI  SHAKESPEARE  IN  GERMANY. 

construction  of  Shakespeare's  dramas  will  always  be  time  and  trouble  thrown  away;  and 
we  are  far  more  likely  to  find  the  real  sources  of  his  dramas  if  we  direct  our  attention 
exclusively  to  then*  purely  external  incidents.  And  as  we  know  so  little  of  the  process  of 
his  intellectual  development,  the  comparison  of  what  he  has  formed  out  of  these  rude  tra- 
ditional subjects  with  these  subjects  themselves,  is  the  only  possible  method  left  us  of 
watching  him  as  it  were  in  the  workshop  of  his  genius.  The  truth  is,  says  Charles  Knight 
somewhere,  that  no  one  can  properly  appreciate  the  extent  as  well  as  the  subtlety  of  Shake- 
speare's invention,  its  absorbing  and  purifying  power,  who  has  not  traced  him  to  his  sources. 

We  have  here  seen  four  of  the  ten  of  the  Duke's  plays  in  connection  with  the  Eng- 
lish Comedians  and  with  Shakespeare.  It  may  be  further  remarked,  that  also  the  'Comedy 
of  a  Nobleman'1  is  probably  founded  on  an  old  English  subject-  in  the  ballad  from  which 
Gottfried  August  Burger  took  his  subject  for  another  ballad  two  hundred  years  afterwards.3 

In  all  the  ten  pieces,  with  the  exception  of  the  'Tragedy  of  a  profligate  Son',  the 
clown  plays  a  principal  part,  and  generally  speaking  we  may  recognize  in  them  a  method 
of  handling  a  subject  which  could  only  have  been  learnt  from  the  English  Comedians,  the 
general  plan  not  quite  deficient  in  art,  the  characters  various  and  real.  Only  one  of  all  these 
pieces,  the  'Susanna',  is  biblical,  and  even  in  this  case  it  is  only  the  subject  which  is  biblical, 
for  the  method  of  treating  it  is  altogether  secular.  It  is  expressly  called  a  'Mirror  of  the 
course  of  the  world.'  All  of  these  pieces  are  written  in  prose,  and  indeed  in  a  prose,  which, 
as  Gervinus  remarks,  is  incomparably  better  than  all  the  verses  of  that  time.  Even  this 
prose  form  is  due  to  the  English  influence,  for  before  the  appearance  of  the  English  actors, 
hardly  any  dramatic  author  had.  ventured  to  write  otherwise  than  in  rhyming  verses,4  and 
how  difficult  they  found  it  to  give  them  up,  appears  from  the  fact,  that  it  was  considered 
necessary  to  put  several  of  the  Wolfenbuttel  pieces  into  that  form,  before  they  ventured  to 
put  them  on  the  stage  in  other  places.  In  comparison  with  the  awkward  management  of 
the  verse,  prose  naturally  allowed  a  far  freer  movement,  from  which  the  theatrical  element, 
the  representation  of  these  pieces,  derived  very  great  advantage.  Thus  we  see  the  English 
influence  operative  from  the  first  in  the  case  of  an  author,  who  possessed  more  dramatic 
talent  than  all  his  predecessors,  his  contemporaries,  and  immediate  successors.  It  was  for 
this  reason  also  that  his  contemporaries  were  less  .decided  in  their  devotion  to  the  new 

1  Comoedia  Hibaldeha  von  einem  Edelman,  welcher  einem  Abt  drey  Fragen  aufgegeben.   Mit  fiinff  Personen. 
Wol/enbilttel  1594.    8vo.     (Comedy  of  a  nobleman  who  proposed  three  questions  to   an  abbot.     With  five  persons. 
Wolffenbiittel  1594.}     In   Dr.  Holland's  edition   p.  475 — 505.  —  Another  edition:   Magdeburg,  Job.  Francke,  s.  a. 
(1599).   8vo. 

2  Wilh.  Wackernagel,  Geschichte  etc.,  p.  463,  note  7. 

3  The  same  story  forms  the  plot  of  a  German  Shrove-tide  play  of  the  loth  century:  Ein  spil  von  einem 
Keiser  und  eim  Apt.    See  A.  Keller,  Fastnachtsspiele,  p.  199 — 210. 

4  Some  few  examples  only  are  extant  of  plays   written   in   prose,   which  cannot  weaken   our  argument. 
Jacob  Camerlander's  Hurenwirt,  about  1542,  is  a  dramatic  transformation  of  a  dialogue  in  a  dramatic  form,  written 
in  prose.     In  1583  a  prose-play  "  Vom  Eaube  der  Proserpina"  has  been  acted  at  Innsbruck.     Prose  translations 
of  Terence  cannot  be  considered  as  exceptions  to  the  above  statement.     See  ibid.  p.  464,  note  14. 


SHAKESPEARE  IN  GERMANY.  LVII 

.  school:  while  Henry  Julius  from  the  very  commencement  of  his  career  as  a  dramatic  writer 

i  entirely  broke  with  the  past  once  for  all,  we  see  Jacob  Ayrer  still  yielding  a  partial  alle- 
giance to  the  time  and  style  of  Hans  Sachs,  and  indeed  with  far  less  talent  and  skill  than 
the  latter.  One  lasting  conquest,  however,  had  been  secured  for  the  German  stage :  namely, 
that  in  the  place  of  the  biblical  and  polemical  subjects  popular  ones  were  now  introduced, 

C  such  as  were  already  rife  among  the  people  in  the  form  of  tales  and  stories,  and  this  must 
have  amply  compensated  them  for  their  exclusion  from  the  stage  itself.  For  the  new  di- 

[  rection  of  the  stage  was  by  no  means  confined  to  Wolfenbiittel,  but  forced  its  way  into 
other  parts  of  Germany,  although  the  transition  to  purely  profane  subjects  did  not  become 
general  till  a  later  period,  when  numerous  companies  of  strolling  actors  had  been  formed. 
As  an  instance  of  this,  we  will  only  mention  here  the  'History  of  the  Merchant  of  Padua',1 

/  which,  as  it  appears,  was  acted  in  Breslau  in  1596.  This  piece  has  for  its  subject  the 
narrative  part  of  Shakespeare's  Cymbeline,  but  we  shall  not  give  it  any  further  considera- 
tion here,  as  it  does  not  stand  in  any  intimate  connection  with  Shakespeare  or  the  old 

t  English  stage;  on  the  contrary,  its  affinity  to  Cymbeline   is   entirely  referable  to   the   use 

.  made  of  the  same  common  Italian  sources. 

There  were  English  Comedians  at  the  Court  of  the  Landgrave  Maurice  of  Hesse  in 

v  Cassel,  at  the  same  time  as  at  the  Court  of  Wolfenbiittel.  We  have  already  had  occasion 
to  mention  some  circumstances  respecting  them.  Considering  the  great  intimacy  between 
the  two  Princes,  it  is  probable  that  the  Wolfenbiittel  Comedians  may  have  been  sent  some- 

x  times  to  Cassel;  we  have  seen  above  that  this  was  at  least  the  case  with  the  musicians.2 
Maurice,  who  was  no  less  fond  of  splendour  than  Henry  Julius,  and  also  a  man  of  great 
cultivation,  endeavoured  to  make  his  Court  a  nursery  for  the  refinement  of  manners.  He 
appears  to  have  directed  his  attention  to  theatrical  representations  at  a  very  early  period,  and 
before  he  had  had  a  permanent  theatre  built,3  and  maintained  professional  actors,  the  pupils 
of  the  Court-  and  Knight  Academy  received  instruction  to  qualify,  them  for  acting.  They 

1  Eine  Schb'ne  Historia,  Von  einem  frommen  Gottfiirchtigen  Kauffmann  von  Padua,  welcher  zu  Mantua  in 

beysein  anderer  Kau/leute,   wegen  seines  lieben  frommen  Weibes  Ehr  vnd  fromigkeit,   sein  Hob  vnd  Gut  verwettet, 

gestellet  durch  Zachariam  Liebholdt  von  Solbergk.    Gedruckt  zu  Brefslaw  durch  Georgium  Bawman,  Anno  M.D.xcvi. 

8vo.     (A  pretty  history  of  a  pious  godly  Merchant  of  Padua,  who  at  Mantua   in  the  company   of  other  merchants 

\    lost  all  his  property  in  a  wager  on  his  dear  wife's  honour  and  piety,  set  forth  by  Zachary  Liebholdt  of  Solbergk.} 

i  The  Landgrave  was  himself  a  composer.  Peacham,  in  his  Emblems,  p.  101,  states,  that  he  has  seen 
eight  or  ten  volumes  of  motets  composed  by  the  Landgrave  himself.  But  when  he  proceeds  to  tell  us  that  while 
Maurice  was  staying  in  London,  he  kept  his  own  band  there,  there  must  be  some  mistake ;  for  there  is  nowhere 
any  evidence  of  the  Landgrave  ever  having  undertaken  any  journey  to  London  at  all.  It  is  true,  at  the  advice 
of  Henry  the  fourth  of  France  such  a  journey  had  been  intended,  and  it  was  with  this  view  that  the  Landgrave 
learnt  English,  and  practised  it  with  the  Englishmen  in  his  service ;  but  the  plan  was  frustrated  by  the  death  of 
Elisabeth.  Rommel,  p.  421 — 22.  In  some  instructions  which  Maurice  drew  up  for  some  pupils  of  the  Knight's 
f  Academy  whom  he  despatched  on  their  travels,  he  remarks:  "The  Italian  music  is  the  finest,  the  English  excellent, 
the  French  and  Belgian  but  mediocre."  Rommel,  ibid. 

3  See  ante  p.  xviii. 

H 


LVIII  SHAKESPEARE  IN  GERMANY. 

once  performed  a  drama  in  six  languages.1  Long  before  the  year  1595  there  must  have 
.  been  regular  companies  of  actors  engaged  at  the  Court  of  Cassel,  for  in  1595  the  Landgrave 
Maurice  writes  to  John  Lucanus,  his  agent  in  Prague,  that  his  comedians  were  then  tra- 
velling with  leave  of  absence,  and  that  in  case  they  wished  to  act  at  Prague  he  was  to 
afford  them  any  assistance  in  his  power.2  We  must  understand  this  as  referring  only  to 
English  comedians,  as  regular  German  companies  of  professional  actors  did  not  exist  at  that 
time.  In  1597  Landgrave  Maurice  writes  as  follows  to  some  unknown  personage  of  princely 
rank:  "At  the  request  of  Your  Highness  that  we  would  send  the  arms,  suits  of  mail, 
costumes,  and  whatever  else  we  may  have  for  the  performance  of  the  comedy  of  the  Old 
Potentates,  we  have  given  orders  that  all  such  things  as  we  may  have  at  hand  should  be 
forwarded  to  Your  Highness  immediately,  with  the  request  that  Your  Highness  will  let  the 
comedians  so  prepare  themselves,  that  in  case  we  should  visit  Your  Highness  we  may  also 
at  once  gratify  our  eyes  with  them."3  In  the  Archives  of  the  Treasury  at  Cassel  there  is 
a  list  of  the  expences  of  the  Court  of  the  Landgrave  Maurice  during  his  residence  in  the 
neighbouring  palaces  in  the  years  1597  and  1598,  in  which  we  meet  with  the  following 
entries  respecting  the  Comedians.4 

For  boards  for  the  stage  for  the  comedy 5  thalers. 

For  six  ells  of  white  woollen  cloth  for  the  Englishmen  for  the  comedy         2  thalers. 

For  white  clothes  for  the  clown 4  thalers. 

A  pair  of  shoes  for  the  fool 4  thalers. 

To  an  Englishman  for  his  pay 20  thalers. 

To  the  Treasurer,  Heugel,  to  settle  with  the  Englishmen     ....     300  florins. 

To  the  Italian  Jan  and  his  riders  twice,  together  .     .     .     .     .     .     .     150  thalers. 

According  to  a  manuscript  chronicle  of  a  certain  Buch,  as  early  as  1602,  Maurice 
"tired  of  the  dancing  and  jumping"  got  rid  of  the  "confounded"  (i.  e.  the  expensive)  English- 
men. This,  however,  cannot  refer  to  the  Comedians,  or  else  there  must  have  been  several 
companies  in  succession  in  the  service  of  the  Court  of  Cassel,  for  we  find  English  actors 
at  the  Court  of  the  Landgrave  till  the  year  1613.  In  1607  his  servant  informs  him  that 
the  Englishmen  were  dissatisfied  with  the  smallness  of  their  salaries,  and  had  said  that  they 
would  now  perform  their  last  comedy  in  Cassel,  but  he  did  not  know  whether  this  was 
meant  in  earnest  or  was  only  a  joke.  The  servant  speaks  of  the  comedy  to  be  performed 
as  that  "Of  the  two  British  Kings  at  war,  of  whom  the  one  takes  the  son  of  the  other,  but 
the  latter  the  daughter  of  the  former,  prisoner."5  Here  we  see  that  the  English  Histories 
also  belonged  to  the  stage  library  of  our  Comedians.  How  far  their  fame  had  extended 

1  Rommel,  GescMchte  etc.,  Vol.  vi,  p.  400. 

*  Id.  ibid.  p.  402. 
3  Id.  ibid.  p.  402. 

*  Id.  ibid.  p.  444—445. 

5  Id.  ibid.  p.  401.  —  This  was  no  doubt  an  English  play.  In  the  course  of  our  observations  we  shall  have 
occasion  to  revert  to  a  drama,  which  may  be  identical  with  the  above. 


SHAKESPEARE  IN  GERMANY.  LIX 

appears  from  the  fact,  that  in  the  year  1609  John  Sigismund,  the  Elector  of  Brandenburg, 
begged  the  Landgrave  to  send  him  the  Comedians  for  four  weeks,  to  practise  their  art  at 
the  festivities  which  he  had  arranged  in  honour  of  the  nuptials  of  his  brother,  the  Admi- 
nistrator of  Strasburg.  The  request  was  of  course  most  willingly  complied  with.1  In  1611 
they  play  in  Darmstadt.  In  1612  we  find  them  in  Nuremberg,  where  they  performed  with 
great  success,  as  we  learn  from  a  contemporary  Nuremberg  Chronicle.'2 

Here  then  do  we  see  two  German  Princes,  both  of  whom  were  distinguished  among 
their  equals  and  contemporaries  for  their  culture  and  their  talents,  vying  with  each  other 
in  a  noble  emulation  to  naturalize  English  dramatic  art  at  their  respective  courts.  But  this 
remarkable  and  striking  phenomenon  could  not  of  course  remain  confined  to  the  two  points 
at  which  it  first  appeared.  At  both  of  these  courts,  that  of  Cassel  more  especially,  there 
was  a  very  lively  intercourse  with  foreigners,  —  scholars  and  artists  of  all  kinds,  nobles 
and  princes  feeling  themselves  attracted  by  the  Landgrave  Maurice,  who,  besides  possessing 
great  intellectual  gifts,  was  extremely  fond  of  splendour  and  magnificence.  His  Court  was 
the  scene  of  a  constant  succession  of  visitors  consisting  of  the  most  eminent  personages 
of  the  time.  No  wonder  then  that  the  fame  of  these  actors,  whose  task  it  was  to  amuse 
the  visitors  with  their  art,  soon  spread  through  all  Germany.  Indeed  we  see  that  before 
the  end  of  the  century,  the  services  of  the  comedians  were  no  longer  confined  to  the 
courts  but  met  with  a  hearty  recognition  among  the  people.  It  is  probable  that  the  success 
of  the  Wolfenbilttel  and  Cassel  companies  soon  allured  others  from  England,  at  any  rate 
we  meet  with  them  at  other  places. 

About  the  year  1597 3  there  must  have  been  English  Comedians  at  Frankfort  on  the 
Maine,  to  play  during  the  fair,  as  we  learn  from  a  humorous  poem  printed  in  1597.  This 
production  possesses  all  the  greater  importance  for  our  present  object,  as  it  gives  us  some 
information  respecting  the  outward  appearance  and  doings  of  the  Clown,  who  of  course 
constituted  the  chief  attraction.  We  accordingly  annex  the  following  extracts  from  it. 

1  Rommel,  Geschichte  etc.,  Vol.  vi,  p.  402. 

2  The  Chronicle  alluded  to  is  written  in  the  beginning  of  the  seventeenth  century.    See  Joh.  Chr.  Sieben- 
kees,  Materialien  zur  Niirnbergischen  Geschichte.   Vol.  iii.    8vo.   Niirnberg  1794,  p.  52. 

3  In  the  same  year  English  players  were  at  Utrecht: 

"  Schenkelwyn,   July  31.     Sekere  Engelsche  comedianten,   voor  hore   speelen   opten  stadhuyse  8  q. 

Fransche  wyns." 
(July  31.    To  certain  English  Comedians  for  their  playing  at  the  Town-hall,  eight  quarts  of  French 

wine.) 

See  De  Staads-Kameraars-Rekeningen  dienstbaar  gemaakt  aan  de  Geschiedenis,  in  Dodt's  Archie/  voor  kerke- 
lijke  en  wereldsche  Geschiedenissen  inzonderheid  van  Utrecht.  Deel  iii,  p.  271.  —  See  also  Notes  and  Queries,  Vol.  vii, 
1853,  p.  114. 

These  may  have  been  the  same  players  whom  we  meet  at  Frankfort,  though  it  is  not  unlikely  that  the 
latter  are  identical  with  Landgrave  Maurice's  players,  who  as  we  have  seen  above,  had  obtained  his  permission 
to  go  abroad  as  early  as  the  year  1595,  and  whom  he  sent,  in  the  very  same  year  of  1597,  to ,  some  German 
Prince.  They  may  have  passed  through  Frankfort  on  their  journey  back  to  Cassel,  in  order  to  take  advantage 
of  the  assemblage  of  persons  who  came  from  all  sides  to  the  Frankfort  fair. 

H2 


LX 


SHAKESPEARE  IN  GERMANY. 


"Da  war  nun  welter  mein  Intent, 
Zu  sehen  das  Englische  Spiel, 

Davon  ich  hab  gehort  so  viel. 
Wie  der  Narr  drinnen,  Jan  genennt, 

Mit  Bossen  war  so  excellent: 
Welches  ich  auch  bekenn  fiirwar, 

Dafs  er  damit  ist  Meister  gar. 
Verstellt  also  sein  Angesicht, 

Dafs  er  keim  Menschen  gleich  mehr  sicht. 
Auff  tolpisch  Bossen  ist  sehr  gschickt, 

Hat  Schuch,  der  keiner  jhn  nicht  trtickt. 
In  sein  Hosen  noch  einer  hett  Platz, 

Hat  dran  ein  vngehewren  Latz. 
Sein  Juppen  jhn  zum  Narren  macht, 

Mit  der  Schlappen,  die  er  nicht  acht, 
Wann  er  da  fangt  zu  loffeln  an, 

Vnd  diinckt  sich  seyn  ein  fein  Person. 
Der  Wursthansel  ist  abgericht, 

Auch  ziemlicher  mafsen,  wie  man  sicht: 
Vertretten  beyd  jhr  Stelle  wol, 

Den  Springer  ich  auch  loben  soil, 
Wegen  seines  hohen  Springen, 

Vnd  auch  noch  anderer  Dingen: 
Hofflich  ist  in  all'  seinen  Sitten, 

Im  tantzen  vnd  all  seinen  Tritten. 
Dafs  solchs  fiirwar  ein  Lust  zu  sehen, 

Wie  glatt  die  Hosen  jhm  anstehen. 

Ist  sonst  auch  wol  proportioniert, 

Sein  langes  Haar  jhn  auch  was  ziert. 
Aber  ein  Kunst  die  fehlt  jhm  noch, 

Vnd  spreng  er  noch  einest  so  hoch, 
Welch  wol  diente  zu  seinen  Sachen: 

Wenn  er  sich  konnt  vnsichtbar  machen, 
Noch  mehr  Gelt  er  verdienen  mocht, 

Dann  nicht  alle,  versteht  mich  recht, 
Hineyn  zu  diesem  Spiele  gehn, 

Die  lustige  Comedien  zsehen. 
Oder  der  Music  vnd  Saitenspil, 

Zu  gefallen,  sender  jhr  viel 
Wegen  des  Narren  groben  Bossen, 

Vnd  des  Springers  glatten  Hosen."  1 


Then  it  was  further  my  intent, 
To  see  the  English  play, 

Of  which  I'd  heard  the  people  say 
The  fool,  'twas  he  named  Jan  they  meant, 

Was  with  his  jokes  so  excellent. 
In  which  I  too  confess  forsooth, 

He  is  a  master  in  good  truth; 
For  so  distort  his  face  he  can, 

He  looks  no  longer  like  a  man. 
And  many  a  clownish  trick  he  knows, 

Wears  shoes  that  don't  much  pinch  his  toes. 
His  breeches  would  hold  two  or  more, 

And  have  a  monstrous  flap  before. 
His  jacket  makes  him  look  a  fool 

With  all  the  blows  he  takes  so  cool, 
When  he  the  gallant  would  play  well, 

And  clearly  thinks  himself  a  swell. 
The  clown  is  skilled  as  well  as  he, 

His  equal  quite,  as  one  may  see: 
Both  know  full  well  to-  play  their  part. 

I  must  praise  too  the  leaper's  art, 
Because  so  very  high  he  springs, 

And  also  for  some  other  things. 
His  manner  is  so  full  of  graces 

In  dancing,  and  in  all  his  paces, 
To  see  it's  really  a  delight, 

And  then  his  hose  too  sit  so  tight. 

He's  well-proportioned  too  of  limb, 

And  his  long  hair  looks  well  on  him. 
One  art  he  lacks  howe'er  he  try, 

And  should  he  jump,  oh  e'er  so  high, 
Which  would  improve  his  tricks,  I  ween, 

If  he  could  make  himself  unseen. 
Then  far  more  money  earn  he  might, 

For  all  men,  understand  me  right, 
Do  not  unto  this  play  repair 

At  merry  comedies  to  stare, 
Or  for  the  music  and  the  lute, 

But  very  many  of  them  do't 
To  see  the  fool's  coarse  jokes  and  blows, 

And  leaper's  tightly-fitting  hose. 


1  Marx  Mangoldt,  Marckschiffs  Nachen,  darinn  nachgefuhret  wirdt,  was  in  dem  ndchst  abgefahrenen  Marck- 
schi/  aufsgeblieben,  etc.  4to.  s.  1.  1597,  p.  12.  —  This  is  a  continuation  of  the  same  author's  Marckschi/  oder 
Marckschi/er  Gesprdch  von  der  Franckfurter  Mefs.  4to.  s.  1.  1596. 


SHAKESPEARE  IN  GERMANY.  LXI 

In  the  course  of  the  poem,  as  we  have  already  stated  above  at  p.  xliii,  the  'Su- 
sanna' is  mentioned  as  having  been  performed  by  the  Comedians. 

In  the  year  1599,  English  actors  and  musicians  played  at  Hildesheim,  and  indeed  in 
the  English  language.  They  were  probably  the  Comedians  of  Duke  Henry  Julius,  who  had 
come  over  from  the  neighbouring  Wolfenbilttel.1 

CHAPTER  III. 

It  is  hardly  probable  that  the  places  mentioned  in  the  preceding  chapter  were  the 
only  ones  visited  by  the  English  Comedians.  On  the  contrary,  if  we  now  direct  our  atten- 
tion to  the  dramatic  writer  already  mentioned,  Jacob  Ayrer,  we  may  safely  assume  that 
among  other  places,  Nuremberg  had  received  them  within  its  walls  at  a  very  early  period. 
At  all  events  what  we  have  already  stated  is  sufficient  to  shew  that  the  English  Comedians 
were  quite  at  home  in  Germany  when  Jacob  Ayrer  composed  the  greater  part  of  his  dra- 
mas, and  that  either  in  Nuremberg  or  elsewhere  he  may  easily  have  become  acquainted 
with  the  pieces  they  performed  as  also  with  themselves. 

Of  the  circumstances  of  Jacob  Ayrer's  life  we  know  next  to  nothing.  All  that  can 
be  stated  vwith  certainty  is,  that  on  the  13th  of  October  1593  he  received  the  freedom  of 
the  city  of  Nuremberg,  and  that  he  died  there  on  the  26th  of  May  1605,  as  a  notary  and 
proctor  to  the  Court.2  He  is  supposed  to  have  come  to  Nuremberg  as  a  boy,  without 
any  means  of  subsistence,  to  have  served  in  an  iron-monger's  shop,  and  afterwards  to 
have  commenced  a  similar  business  himself.  When  this  did  not  prosper,  he  went  to  Bam- 
berg,  and  devoted  himself  to  the  desk,  where,  compelled  by  poverty,  he  learnt  so  much 

1  "Im  namlichen  Jahre  [1599]  im  Monat  September  hatte  man  in  Hildesheim  Englische  Schauspieler  und 
Musikanten,   die  Vorstellungen  in  Englischer  Sprache   gaben."    Beitrdge  zur  Hildesheimisclien  Geschichte.     Vol.  iii. 
8vo.   Hildesheim  1830,  p.  192.    See  also  ibid.  Vol.  i,  p.  331.  —  This  information,   which  is  the  more  important 
as  it  mentions   expressly   that   the   representations  were  given  in  English,   was  originally  derived  from  a  contem- 
porary Mss.  Chronicle   at  Hildesheim,   by   the  late  Mr.  Zeppenfeldt,    Curator  of  the  Hildesheim  Records   (Archi- 
varius)  in  Sonntagsblatt  1810,  No.  35,  1811,  No.  48  and  in  Mittewochenblatt  1819,  No.  45  &  46.     All  my  efforts 
to  get  at  the  literal  wording  in  the  original  document,  in  which  my  learned  friend,  Senator  Friedr.  Culemann  of 
Hannover,  assisted  me  most  energetically,  remained  unsuccessful.    It  seems  that  the  Chronicle  to  which  Mr.  Zeppen- 
feldt was  indebted  for  the  information  has  disappeared  at  Hildesheim. 

2  Extracts  from  the  Municipal  Archives  at  Nuremberg: 

"Jacobus  Ayrer,   Licentiat,  wurde  am  13.  October  1593,   zum  Burger  in  Nurnberg  aufgenommen 
und  zahlte  10  fl.  Stadtwahrung." 

(Jacob  Ayrer,  licentiate,  was  admitted  as  a  citizen  of  Nuremberg,  Oct.  13,  1593,  and  paid  10  florins 
in  Nuremberg  currency.) 

"26.  Martii,  1605,   starb   der  Ehrbar  Jacob  Ayrer  der  Elter,  publicus  notarius  und  der   Gerichten 
Procurator  ins  Hengasslein." 

(Died  on  the  26th  of  March  1605  the  Honourable  Jacob  Ayrer  the  elder,  Public  Notary  and  At- 
torney to  the  Court  of  Justice,  in  Henlane.) 

See  Will.  Bell,  Shakespeare's  Puck,  Vol.  ii,  p.  287.  G.  A.  Will's  Niirnberger  Gelehrten-Lexicon,  Vol.  i, 
8vo.  Nurnberg  1755,  s.  v.  Ayrer,  and  Nopitsch's  continuation,  Vol.  i,  Altdorf  1802,  p.  35. 


LX1I  SHAKESPEARE  IN  GERMANY. 

through  practice  and  study  as  to  become  a  proctor  to  the  Court  and  City  tribunal  of  that 
place.  His  attachment  to  the  Evangelical  faith,  however,  induced  him  again  to  leave  the 
Catholic  Bamberg,  and  return  to  Nuremberg.  Like  Henry  Julius,  with  whose  pieces  per- 
,  haps  he  was  not  unacquainted,  he  left  the  path  of  the  religious  drama,  and  addressed  him- 
self entirely  to  the  people,  but  did  not,  like  that  writer,  entirely  break  wTith  the  traditions 
of  the  past  in  respect  of  the  form.  He  retained  the  old  verse  of  Hans  Sachs;  but  what 
constitutes  his  essential  distinction  from  his  Nuremberg  predecessor,  is  the  circumstance, 
that  he  wrote  all  his  pieces  for  the  sole  object  of  representation,  and  in  many  of  his  tra- 
gedies and  comedies  displays  a  degree  of  skill  in  theatrical  arrangements,  and  a  knowledge 
of  the  requirements  of  the  stage,  which  must  place  him  far  above  Hans  Sachs  in  this  re- 
spect. The  arrangements  of  his  theatre  must  have  been  very  similar  to  those  of  the  old 
English  stage.  We  shah1  have  occasion  .to  draw  attention  to  this  in  several  passages.  His 
dramatic  works  were  not  published  before  1618,  long  after  his  death,  and  although  the 
'Opus  theatricum'1  contains  thirty  tragedies  and  thirty-six  Shrovetide-plays,  we  possess  in 
them  only  a  part  of  his  dramas,  as  promise  is  made  in  the  preface  of  forty  other  "fine 
merry  comedies  and  tragedies,  religious  and  profane,"  which  were  to  follow  soon  after. 
They  have  never  appeared,  and  only  three  unpublished  pieces  have  been  lately  discovered 
in  the  Royal  Library  in  Dresden,  together  with  nineteen  others  which  are  printed  in  the 
'Opus  theatricum'.  The  manuscript  is  probably  in  Jacob  Ayrer's  own  hand.2  This  dis- 

1  Opus  |  Theatricum  \  Dreifsig  \  Aufsbundtige  \  schone  Comedien  \  vnd  Tragedien  von  allerhand  Denck-  \  wiir- 
digen  alien  Eomischen  Historien   vnd  anderen  Politischen  \  geschichten  vnd  gedichten,   Sampt  noch   andern  Seclis  vnd 
dreifsig  \  schb'nen  lustigen  vnd  kurtzweiligen  Fafsnacht  \  oder  Possen  Spilen,  \  Durch   Weyland  den  Erbarn  vnd  wol- 
geldhrten  Herrn  Jacobum  \  Ayrer,  Notarium  Publicum,  vnd  Gerichts  Procuratorn  zu  Niirmberg  seeligen,  Aufs  \  man- 
cherley  alien  Poeten  vnd  Scribenten  zu  seiner  weil  vnd  luft  mit  sonderm  fleifs  zusammen  col-  \  ligirt,  vnd  in  Teutsche 
Eeimen  Spilweifs  verfaffet,   das  man  alles  Personlich  \  Agirn  kan,   Sampt  einem  darzu  gehorigen  Eegister.  \  Gedruckt 
zu  Niirmberg  durch  Balthasar  Scherffen.  \  Anno  MDCXvni.   vi,  464  and  167  leaves,   fol.     (Opus  Theatricum.    Thirty 
excellent  beautiful  Comedies  and  Tragedies  of  all  sorts  of  memorable  old  Roman  Histories  and  other  Political  stories 
and  poems.     Together  with  other  six  and  thirty  beautiful  merry  and  amusing  Shrovetide  or  Farce  pieces.    By  the  late 
honorable  and  learned  Mr.  Jacob  Ayrer,   Public  Notary   and  Proctor  to    the  Court  at  Nuremberg,   collected  out  of 
various  old  Poets  and  writers  with  especial  industry  for  his  own  amusement  and  gratification  and  composed  in  German 
rhymes  for   being  acted  $c.     Together  with  an   index   appertaining   thereto.}  --  The   first   464   leaves   contain  the 
"Comedien  vnd  Tragedien",   the  167  following  leaves   are   occupied  ,by   the  "Fafsnacht  oder  Possen-Spile."     At 
the  end  of  the   work   stands    "Gedruckt  zu  Nurnberg,    durch  Balthasar  Scherff.     Im  Jahr  MDCX."      The  Shrove- 
tide Plays  may  have  been  printed  in  1610,  and  the  impression  of  the  Comedies  and  Tragedies,  for  some  reason, 
now  unknown,   may  have  been   delayed  until  1618;    this  however  is  very  improbable.     No  mention  of  any  such 
interruption   of  the   impression   is  made   in   the   long  elaborate  Preface,    and  the  wrong  date  1610  at  the  end  is 
most  probably  nothing   el^e  than  a  printer's  blunder.  —  Dr.  Bell,  Shakespeare's  Puck,  Vol.  ii,  p.  282  conjectures 
that  MDCXVIII  (1618)  ought  to  be  MDCYIII  (1608),  that  the  latter  date  indicates  the  beginning  and  the  date  (1610) 
at  the  end,   the  conclusion  of  the  work.     Nothing  justifies   this  conjecture.     Under  the  preface  we  read  "Datum 
Nurnberg,  den  1.  Januarii  ...  Im  sechzehenhundert  vnd  achtzehenden  Jahr",  and  in  the  catalogues  of  the  Leipzig  Easter 
Fair  ('Qstermefskatalog')  the  work  does  not  appear  before  1618.     In  the  volume  for  1618  we  find  it  noticed  in 
this  way:  "Opus  Theatricum  (both  parts):  Niirnb.  bey  Michel  Kiil/sn  vnd  Simon  Halbm.  1618  in  Fol."  •—  A  com- 
plete list  of  Ayrer's  69  pieces  is  to  be  found  in  K.  Goedeke's  Gnmdrifs  etc.  Vol.  i,  p.  412 — 415. 

2  See  A.  G.  Helbig,  Zur  Chronologic  der  Schauspiele  des  Jacob  Ayrer,  in  Literarhistorisches  Taschenbuch, 
herausg.  von  R.  E.  Prutz,  1847,  8vo.    Hannover,  p.  441 — 444. 


SHAKESPEARE  IN  GERMANY.  LXIII 

covery  is  especially  valuable,  as  the  date  of  its  composition  is  attached  to  each  piece,  ac- 
cording to  which  the  twenty  two  pieces  of  the  manuscript  were  all  written  between  the 
years  1595  and  1598.  Two  Singing  plays  (Singspiele)  were  each  written  in  a  single  day.1 
It  seems  to  us  almost  beyond  the  shadow  of  a  doubt,  that  nearly  all  Ayrer's  pieces  were 
composed  after  1593,  the  date  of  his  return  to  Nuremberg.  Some  few,  perhaps  those  which 
treat  religious  and  purely  epical  subjects,  may  belong  to  an  earlier  period.  In  the  preface 
to  the  'Opus  theatricum',  the  publisher  says:  "The  late  honorable  ...  Mr.  Jacob  Ayrer  the 
elder,  Imperial  Notary,  Citizen  and  sworn  proctor  to  the  Courts  at  Nuremberg,  has  during 
his  life-time,  in  addition  to  his  no  small  amount  of  business,  partly  private,  partly  that  apper- 
taining to  his  office,  after  diligent  transaction  of  the  same,  in  his  hours  of  leisure  and  times 
of  recreation  been  pleased  to  amuse  and  delight  himself  with  the  laudable  composition  of 
poetry,  for  the  which  he  had  an  especially  excellent  genius  and  a  felix,  nay  a  divmum  in- 
genium"2  As  mention  is  made  here  only  of  Ayrer's  official  duties  in  Nuremberg,  we  are 
justified  in  concluding,  that  at  least  at  the  time  of  the  publisher,  nothing  whatever  was 
known  of  any  literary  productions  of  his  belonging  to  an  earlier  period,  for  we  gather  from 
a  later  passage  in  the  preface  that  Ayrer's  relations  were  still  alive. 

1  This  enables  us  to  correct  Koch's  statement  in  his  Grundrifs  etc.,  that  Ayrer's  pieces  were  composed 
between  the  years  1570  and  1589,  as  also  Tieck's  conjecture  (Deutsches  Theater,  Vol.  i,  p.  xviii)  that  few  of  them 
were  written  before  1610,  which  is  simply  impossible,  as  Ayrer  died  in  1605.  No  less  incorrect  is  Gottsched's 
statement  in  Nothiger  Vorraih,  Vol.  i,  p.  121,  that  a  German  translation  of  Julius  Redivivus  by  Frischlin,  printed 
in  1585,  is  from  Ayrer's  pen.  The  title  of  the  work  alone  is  sufficient  to  shew  that  the  translation  is  by  Jacob 
Frischlin,  the  brother  of  Nicodemus  Frischlin.  This  is  one  of  Gottsched's  numerous  uncritical  fancies,  which  was 
also  adopted  by  Karl  Schmitt  in  his  Jacob  Ayrer.  Ein  Beitrag  zur  Geschichte  des  deutschen  Dramas.  8vo.  Mar- 
burg 1851,  p.  9.  The  same  writer  also  draws  conclusions  respecting  the  year  of  Ayrer's  birth,  which  are  there- 
fore incorrect.  Also  Dr.  William  Bell  in  his  Shakespeare's  Puck  etc.,  Vol.  ii,  p.  278  et  seq.  draws  conclusions 
irom  it  respecting  the  time  at  which  Ayrer's  pieces  were  written,  which  are  accordingly  equally  unfounded.  See 
Karl  Goedeke's  Grundrifs,  Vol.  i,  p.  323  and  411. 

The  above-mentioned  conjecture  of  Tieck's  is  principally  founded  on  a  passage  in  the  'Julius  Redivivus': 
"Das  Trucken  man  erfunden  hat  Zu  Maintz  in  der  fiirnemben  Stadt  Als  nach  Christi  defs  Herrn  Geburt  Vier- 
zehen  hundert  Viertzig  zehlt  wurd  Hans  Guttenberg  derselbig  hiefs  Der  das  erste  Buch  trucken  liefs  Vor  Hundert 
vnd  Siebentzig  Jahrn,"  which  may  be  roughly  translated  as  follows:  "The  art  of  printing  man  invents  In  the 
famous  town  of  Mentz,  Fourteen  hundred  and  forty  years  After  Christ  on  earth  appears.  Hans  Guttenberg  the 
printer  hight,  Whose  printed  book  first  saw  the  light.  Hundred  and  seventy  years  ago."  This  would  certainly 
give  the  date  of  1610,  but  as  Ayrer  died  in  1605,  the  passage  cannot  be  genuine,  but  must  have  been  interpolated 
by  some  other  hand.  This  solves  Karl  Goedeke's  doubt  as  to  whether  the  passage  really  was  interpolated  or 
not.  (Grundrifs,  Vol.  i,  p.  412.)  A  passage  in  Ayrer's  Shrove-tide  play  lDer  Kb'nigin  Podagra  Tyranney'  referring 
to  Hans  Sachs  shews  the  date  of  its  composition  to  have  been  1602.  See  ibid.  p.  414. 

a  From  this  passage  Dr.  Bell  has  drawn  the  extraordinary  conclusion  that  his  dramas  "were  composed 
before  he  (Ayrer)  was  occupied  by  public  affairs"  —  while  the  natural  inference  is  precisely  the  reverse. 

The  German  Text  of  the  passage  is  as  follows:  "Weyland  der  Erbare  ...  Herr  Jacob  Ayrer  der  Elter, 
Kayserl.  Notarius  Burger  vnd  der  Gerichten  alhie  zu  Niirnberg  geschworner  Procurator  . . .  hat  in  seinen  leb- 
zeiten,  neben  seinen  nicht  wenig  obgelegenen,  so  wol  Ampts  als  Privat  geschefften,  nach  fleifsiger  Expedirung 
derselben,  zu  seinen  mussigen  ruhstunden  vnd  erquickzeiten,  jhme  belieben  lassen,  in  der  Loeblichen  Poeterey, 
darzu  er  dann  sonderlich  einen  guten  geist  vnd  Foelix  ja  Divinum  ingenium  gehabt,  sich  selbsten  zu  erlustiren 
vnd  zu  ergotzen." 


LXIV  SHAKESPEARE  IN  GERMANY. 

When  we  consider  that  according  to  the  notices  in  the  Dresden  manuscript  Ayrer 
must  have  been  a  very  rapid  writer,  there  seems  nothing  improbable  in  the  supposition 
that  all  his  pieces  were  composed  between  the  years  1593  and  1605.  But  however  that 
may  be,  many  of  his  dramas  bear  external  and  internal  traces  of  English  models,  and  it 
does  not  admit  of  a  doubt,  that  all  Ayrer's  literary  activity  received  its  direction  from  his 
acquaintance  with  the  English  Comedians.  Thus  we  find  it  remarked  in  the  preface,  that 
his  comedies  and  tragedies  were  not  alone  graceful  and  pleasant  to  read,  "but  that  every- 
thing was  arranged  after  the  life,  and  so  managed,  that  just  according  to  the  new  English 
manner,  everything  could  be  acted  and  played"  ("sondern  auch  alles  nach  dem  Leben  ange- 
stellt  und  dahin  gerichtet,  das  manns  gleichsam  auf  die  neue  Englische  manier  und  art, 
alles  Personlich  Agirn  und  Spilen").  Hitherto  this  acquaintance  with  the  English  Comedians 
has  been  regarded  as  a  proof,  that  those  pieces  which  are  known  to  have  been  produced 
under  their  influence  must  have  been  written  after  the  year  1600,  in  as  much  as  little  or 
nothing  was  known  of  the  English  actors  in  .Germany  before  that  time.  Should  any  doubt, 
however,  still  exist  as  to  the  incorrectness  of  this  conclusion,  in  spite  of  the  other  evidence 
we  have  adduced,  the  Dresden  Manuscript  must  remove  it  at  once,  for  in  some  of  the 
pieces  it  contains,  the  English  models  are  expressly  mentioned.  Thus  we  find  in  the  Singing 
pieces  'Of  the  three  angry  women',  and  'The  monk  in  the  cheese-basket,  to  the  same  tune 
as  they  sing  the  English  Rolant';  ('Von  dreyen  bosen  Weibern',  und  'Der  Monch  im  Kess- 
korb,  Im  Dhon  wie  .man  den  Engelandischen  Rolant  singt')  and  in  the  'Eulenspiegel,  to 
the  tune  to  which  they  sing  the  English  play:  Let  us  bide  a  while  together,  &c.'  ('Im°Dhon, 
wie  man  das  Engellandische  Spill:  Lafst  uns  ein  Weil  bei  einander  pleyben  &c.  singt').  All 
these  pieces  were  composed  in  1598.  In  other  dramas,  which  according  to  the  Dresden 
Manuscript  were  composed  before  1598,  the  Clown  appears  with  a  part  written  expressly 
for  him,  the  surest  sign  of  English  influence.  (See  p.  xlii.)  We  are  therefore  perfectly  sill- 
in  assuming  that  Ayrer  was  acquainted  with  the  English  Comedians  as  early  as  1595,  and 
where  this  acquaintance  is  manifest  in  pieces,  the  date  of  which  is  unknown,  we  are  not 
justified  in  concluding  from  it  that  any  of  his  dramas  must  have  been  written  later  than 
1600. 

The  first  five  pieces  of  the  'Opus  theatricum'  form  a  cycle  of  Roman  histories  which 
are  partly  called  tragedies,  partly  comedies.  This  distinction  is,  with  Ayrer,  a  purely  external 
one :  a  piece  in  which  deaths  occur,  is  a  tragedy,  one  in  which  there  are  none,  a  comedy, 
just  as  in  Hans  Sachs.  In  four  of  these'  comical  histories,  we  already  meet  with  the  Eng- 
lish Clown;  and  he  is  only  wanting  in  the  first  of  the  five  pieces.  In  the  second  piece, 
written  in  1596,  he  is  called  'Jahnn  der  Bott  oder  Engellendische  Narr'  (John  the  mes- 
senger, or  the  English  Clown),  in  the  third,  also  written  in  1596,  'Jahnn  der  Bott',  in  the 
fourth,  written  in  1598,  'Jodel,  der  Lackey',  and  in  the  fifth,  'Jahnn  Posset,  der  Bott'.  In 
the  'Tragedy  of  the  Emperor  Otto  the  third'*  he  is  called,  'Jahnn  der  Lackey';  in  the 

1  Opus  theatricum,  i,  fol.  85.    Tragedia,   Von  Reiser  Often  des  Dritten  vnd  seiner  gemahlin  sterben  tmd  end, . 
au/s  Manlio.     (Tragedy  of  the  death  and  end  of  the  Emperor  Otto  the  third  and  his  consort,  from  Manlius.} 


SHAKESPEARE  IN  GERMANY.  LXV 

'Tragedy  of  the  Turkish  Emperor  Mahomet' l  'Jahn  der  Narr  oder  Possenreisser'  (John  the 
clown  or  merry  andrew) ;  in  the  'Tragedy  of  the  Greek  Emperor  at  Constantinople'2  'Jahri 
der  Narr  oder  Hencker'  (John  the  Clown  or  Hangman);  in  the  second  part  of  the  'Comedy 
of  Valentine  and  Urso'3  'Jahn  der  Engellandische  Narr  oder  Prologus';  in  the  'Comedy  of 
Edward  the  third,  King  of  England,  and  Elisa,  Countess  of  Warwick'4  'Jahn  Clam',  similarly 
in  the  'Comedy  of  the  King  of  Cyprus';5  in  the  'Comedy  of  the  beautiful  Phoenicia'  'Jahn 
der  Kurtzweiler'  (John  the  jester);  in  the  'Comedy  of  the  two  Syracusan  brothers'6  'Jahn 
Panser';  in  the  'Comedy  of  the  Beautiful  Sidea'  (see  p.  2)  'Jahn  Molitor';  in  the  'Comedy 
of  the  Old  Gallant'7  'Jahn  Grundo  der  narrische  Knecht'  (John  Grundo,  the  foolish  ser- 
vant); and  in  the  'Comedy  of  the  two  Royal  Counsellors'8  'John  Tilrck  der  narrische 

1  Opus  theatricum,  i,  fol.  147.    Schrockliche  Tragedi.    Vom  Regiment  vnnd  schdndlichen  Sterben  des  Turcki- 
scfien  Reisers  Machumetis  des  andern  dis  Namens,  wie  er  Constantinopel  eingenommen  .vnd  gantz  grausam  tyrannisirt. 
(Dreadful  Tragedy  of  the  government  and  disgraceful  death  of  the   Turkish  Emperor  Mahomet,   the  second  of  the 
name,  how  he  took  Constantinople,  and  tyrannized  very  cruelly.} 

2  Ibid,  i,  fol.  177.   Reprinted  in  Tieck's  Altdeutsches  Theater,  Vol.  i,  p.  200.     Tragedia,  Von  dem  Griegi- 
schen  Keyser  zu  Constantinopel,  vnd  seiner  Tochter  Pelimberia  mit  dem  gehengten  Horatio.     (Tragedy  of  the  Greek 
Emperor  at  Constantinople,  and  his  daughter  Pelimperia  with  the  hanged  Horatio.) 

3  Ibid,  i,  fol.  272.    Comedia  Ander  Theil,    Von  Valentino   vnd  Vrso   aufs  der  Beschreibung   Wilhelmi  Zilij 
von  Beern  in  Vchtland.     (Comedy,   Second  Part.     Of  Valentine  and  Orson,  from  the  account  of  William  Zilius  of 
Bern.} 

4  Ibid,  i,  fol.  384.    Comedia  vom  Konig  Edwarto  dem  dritte  difs  Namens,  Konig  in  Engelland,  vnd  Elipsa 
Herrn   Wilhelm  Montagy  Gemahl,  ein  geborne  Grdfm  von  Varucken  [Warwick].    (Comedy  of  King  Edward  the  third 
of  the  name,  King  of  England,  and  Elisa,  wife  of  Lord  William  Montague,  by  birth  Countess  of  Warwick.}  —  The 
same  plot  has  been  dramatised  before  in  Germany :  Elisa.  \  Ein  Newe  vnd  \  liistige  Comoedia,  Von  \  Edvardo  dem 
Dritten  \  dieses  Namens,  Konige  in  Engel-  \  landt,  Vnd  Fraw  Elisen  \  einer  gebornen  Graf  fin  von  Warwitz,  Gestellet\ 
Durch  |  Philippum  Waimern  von  \  Dantzigk,  B.  E.  D.  \  Summu  crede  nefas,  animam  pferre  pudori,  \  Etpropter  vitam, 
viuendi  perdere  causas.  \  Gedruckt  zu  Dantzigk,  durch  \  Jacobum  Ehodum.  \  1591.    12mo.     (Elisa,  a  new  and  merry 
Comedy  of  Edward  the  third  of  the  name,  King  of  England,  and  Lady  Elisa,  a  born  Countess  of  Warwick,  set  forth  by 
Philip  Waimer  of  Danzig.}  —  This  comedy  has  been  represented  at  Danzig  in  1591  by  pupils  of  the  Gymnasium, 
whose  names  are  given  on  a  separate  leaf.    In  the  preface  the  author  mentions  Bandello  as  his  principal  source. 
It  is  Novella  37  in  Parte  II  of  Bandello's  novels.    The  comedy  however  deviates  from  the  novel  in  many  respects. 
Ayrer  does  not  seem  to  have  been  acquainted  with  Waimer's  play.    Whether  he  knew  the  Old  English  'Edward 
the  third',  ascribed  to  Shakespeare  by  some  writers,  is  a  question  well  worth  investigation. 

5  Ibid,  i,  fol.  397.    Comedia   Vom  Konig  in  Cypern  [Flavins]  wie  er  die  Konigin  in  Franckreich  [Clareta] 
bekriegen  wolt,  vnd  zu  der  Ehe  bekam.    (Comedy  on  the  King  of  Cyprus  how  he  wanted  to  make  war  against  the  Queen 
of  France,  and  obtained  her  in  marriage.} 

6  Ibid,  i,  fol.  424.    Comedia  von  zweyen  Briidern  aufs  Syracusa,  die  lang  einander  nicht  gesehen  hetten,  vnnd 
aber  von  gestalt  vnd  Person  einander  so  ehn(lich)  wahren,  das  man  allenthalben  einen  vor  den  andern  ansahe.    (Co- 
medy of  the  two  brothers  of  Syracuse,  who  had  not  seen  each  other  for  a  long  time,  and  were  so  like  each  other  in 
figure  and  person,  that  everywhere  they  were  mistaken  for  each  other.} 

7  Ibid,  i,  fol.  443.    Comedia  von  einem  Alien  Buler  vnnd  Wucherer,  wie  es  jhme  auff  der  Bulschafft  er  gang  en, 
vnd  wie  er  seines   Weibs  lieb  probirt.    (Comedy  of  an  old  paramour  and  usurer,  how  he  prospered  in  his  loves,  and 
how  he  put  his  wifes  love  to  the  proof.} 

8  Ibid,  i,  fol.  453.    Comedia  von  zweyen  Furstlichen  Rdthen  die  alle  beede  vmb  eines  gewettes  willen  vmb  ein 
Weib  Bulten,  vnnd  aber  an  derselben  statt  mit  zweyen  vnterschiedlichen  Mag  den  betrogen  worden.    (Comedy  of  two 
Princely  counsellors,  both  of  ivhom  courted  a  woman  for  a  wager,  instead  of  whom  they  got  two  different  maids..} 

I 


LXVI  SHAKESPEARE  IN  GERMANY. 

Knecht'.  x  Similar  designations  occur  in  the  Shrove-tide  plays,  but  in  some  of  them  the 
clown  is  not  introduced.  In  'The  Tyranny  of  Queen  Gout'1  he  is  called  'Jahn  Klan  der 
Engellendisch  Narr  und  ist  ein  Arzt'  (John  Clan  the  English  Clown,  a  physician).  Two  of 
the  Shrove-tide  plays  are  entirely  devoted  to  the  Clown :  the  '  Carnival  Play  of  the  English 
John  Posset  (Bossed?)  how  he  behaved  in  his  service'2,  and  the  'Shrove-tide  Play  of  the 
lost  English  John  Posset.'3 

If  these  externals  alone  point  imperatively  to  the  Old  English  Theatre,  the  subjects 
themselves  which  were  chosen  by  Ayrer  offer  still  more  irrefragable  evidence  of  his  intimate 
acquaintance  with  it.  Thus  in  the  'Tragedy  of  the  Greek  Emperor  at  Constantinople  and 
his  daughter  Pelimperia  with  the  hanged  Horatio'  we  have  a  new  version  of  the  'Spanish 
Tragedy',  foUowing  the  original  very  closely,  and  indeed  in  all  probability  taken  from  the 
oldest  form  of  this  remarkable  piece,  which  was  afterwards  remodelled  by  Thomas  Kyd, 
and  only  appeared  in  print  in  1602.  But  even  Kyd's  later  form  is  supposed  to  have  been 
played  some  years  earlier  on  the  London  stages.  Considering  the  great  importance  of  the 
'Spanish  Tragedy'  for  the  old  English  stage,  it  is  a  very  interesting  circumstance  that  for 
various  reasons,  which  it  is  not  necessary  to  mention  here,  Ayrer's  'Pelimperia'  appears 
rather  to  have  followed  the  first  form  of  the  piece  which  is  entirely  lost,  and  a  translation 
of  which  is  very  much  to  be  desired.  In  the  present  work  we  are  obliged  to  reserve  our  space 
for  pieces  bearing  more  directly  on  our  subject.  In  the  'Spanish  Tragedy'  as  in  the  'Pelim- 
peria', a  play  is  introduced  within  the  play,  just  as  in  'Hamlet',  and  as  Gervinus  has  remarked, 
Ayrer's  arrangement  of  the  stage  in  this  scene  forcibly  reminds  us  of  the  old  English  ar- 
rangement. In  the  next  place,  in  the  'Comedy  of  the  King  of  Cyprus',  we  meet  with  a 
subject  probably  taken  at  an  earlier  period  by  the  English  Dramatists  from  Bandello,  which 
Lewis  Machin,  as  it  appears  in  connection  with  Gervase  Markham,  made  use  of  in  1608,  or 
shortly  before,  in  his  'Dumb  Knight'.4  That  Ayrer  got  this  subject  from  the  English  Co- 

medians   appears  to  be   established  by  the   fact,  that   among  the  pieces   which   the   latter 

X  played  in  Germany,  and  of  which  we  shall  have  occasion  to  speak  at  a  later  page,  there 
is  one  entitled:  'Ein  lustig  Pickelheringsspiel  darinnen  er  mit  einem  Stein  gar  lustige  Pos- 
sen  machet'  (A  merry  play  of  the  Clown,  and  of  his  merry  tricks  with  a  stone),  which 
almost  agrees  with  the  comical  episode  in  the  'King  of  Cyprus'.  In  the  same  manner  also 

1  Opus  theatricum,  ii,  fol.  38.  Comedischer  Prozefs,  Action  vnd  Anklag  wider  der  Konigin  Podagra  Tyran- 
ney,  mit  angehenckter  Defension,  bifs  zu  Aufsgang  des  Proce/s.  (Comedy  suit,  action,  and  accusation  against  the  ty- 
ranny of  Queen  Gout,  with  defence  annexed,  to  the  end  of  the  suit.} 

*  Ibid,  ii,  fol.  110.  Reprinted  in  Tieck's  Deutsches  Theater,  Vol.  i,  p.  184—199.  Ein  Fafsnachtsspill  von 
dem  Engelendischen  Jann  Posset  wie  er  sich  in  seinen  diensten  verhalten,  in  defs  Eolandts  Thon.  (A  Shrove-tide  play 
of  the  English  Jann  Posset,  how  he  behaved  himself  in  his  service,  to  Eolandfs  tune.} 

3  Ibid,  ii,  fol.  114.    Ein  Fafsnachtspil  der  verlohren  Engellendisch  Jann  Posset.   (A  Shrove-tide  play  of  the 
lost  English  Jann  Posset.} 

4  The  Dumb  Knight,    An  historical  comedy,  acted  sundry  times  by  the  children  of  the  Bevels.   4to.    1608; 
4to.  1633.   Entered  on  the  Stationers'  Registers,  Octob.  6,  1608.     Reprinted  in  Dodsley's  Collection  of  Old  Plays, 
Collier's  edition,  Vol.  iv. 


SHAKESPEARE  IN  GERMANY.  LXVII 

the  two  comedies  'Of  an  old  paramour',  and  'Of  two  princely  Counsellors'  have  a  great 
similarity  with  the  farce  'Of  the  beautiful  Maria  and  the  old  cuckold'  in  the  'English  Co- 
medies and  Tragedies',  of  1620; 1  and  in  the  'Comedy  of  King  Edward  the  third'  we  meet 
with  the  quarrelling  scenes  between  the  clown  and  his  wife,  which  are  also  to  be  found 
in  the  'Comedy  of  Queen  Esther  and  the  proud  Haman'  in  the  same  collection.  Other 
pieces  of  Ayrer's,  the  subjects  of  which  were  also  represented  on  the  old  English  Theatres, 
but  of  which  we  cannot  state  with  certainty  that  Ayrer  derived  them  from  that  source, 
are  as  follows:  'A  Tragedy  of  the  reign  and  lamentable  death  of  the  Turkish  Emperor 
Mahomet.'  According  to  Henslowe's  Diary,  a  play  entitled  'Mahomet'  was  acted  in  August 
1594,  and  George  Peele  has  also  composed  one  on  the  same  subject,  entitled,  'The  Turkish 
Mahomet  and  Hiren  the  fair  Greek.'2  A  play  called,  'Valentine  and  Orson',  by  Anthony 
Munday  and  Richard  Hathwaye,  was  performed  in  London  in  1598.  It  is  perhaps  the  same 
as  that  which  is  entered  as  an  Interlude  in  the  Books  of  the  Stationer's  Company  as  early 
as  May  1595.  We  also  find  'Valentine  and  Orson,  a  famous  history'  in  their  books  in  March 
1600.  The  'Comedy  of  the  two  brothers  of  Syracuse'  agrees  almost  entirely  with  the 
'Comedy  of  Errors',  a  subject  which  was  familiar  to  the  English  stage  long  before  Shake- 
speare, for  in  1576  a  'Historic  of  Errors'  was  played  in  Hampton  Court.  But  Ayrer  may 
have  written  his  piece  after  Plautus.  A  closer  comparison  might  determine  whether  he 
took  his  subject  from  the  latter  or  from  an  English  source.  It  has  been  already  observed 
that  the  Clown  is  introduced  in  this  piece. 

Of  Ayrer's  thirty-six  Shrove-tide  plays  it  is  stated  in  the  preface  to  the  'Opus  theatri- 
cum',  that  "the  invention  is  altogether  new,  and  entirely  his  own."  It  must  be  confessed, 
that  not  one  of  these  pieces  can  be  traced  to  an  English  Original,  but,  on  the  other  hand, 
Ayrer  could  only  have  taken  the  general  character  of  them  from  the  English  Comedians, 
to  whom  the  English  jigs  with  singing  and  dancing  must  have  come  quite  naturally,  as  they 
furnished  them  the  best  opportunity  of  amusing  the  public  in  spite  of  their  foreign  idiom. 

1  It  may  be  observed  here,  that  also  Duke  Henry  Julius's  Comoedia  von  einem  Weibe  wie  dasselbige  jhre 
Hurerey  fur  jhren  Eheman  verborgen,  mit  6  Pers.    Wolfenbiittel  1593,  in  Dr.  Holland's  edition  p.  261 — 295,   (Co- 
medy of  a  woman,  how  she  concealed  her  lechery  from  her  husband.    With  six  persons')  treats  the  same  subject.    The 
two  pieces  of  Ayrer's  appear  to  have  been  worked  up  later  into  one  by  some  unnamed  author:    Die  Buhlerische 
Gesellschaft.    Das  ist:    Zwey  annehmliche  erfreuende  Comodien,   die  erste  von  einem  alien  Buhler,   dem  es  auf  seyner 
Freyerey  seltsam  ergangen  ist;  und  die  andere  von  zwey  verbuhlten  Rcihten,  so  listiger  Weise  mit  zweyen  Mdgden  sind 
betrogen  worden.    Im  jetzigen  Jahr  verneuert  mit  anweisenden  Figuren.   s.  1.  e.  a.    8vo.     (The  amorous  party.     That 
is:  two  amusing  agreeable  comedies,   the  first  of  an  old  lover,  who  met  with  strange  fortune  in  his  wooing ;   and  the 
second  of  two  amorous  counsellors,  how  they  were   cunningly   deceived  by  two  maids.     Eenewed  in  this  present  year, 
with  explanatory  figures.')     Gottsched's  Nothiger  Vorrath,   Vol.  i,  p.   182.     Gottsched  places  this  piece  in  the  year 
1623. 

2  Never  published.   It  is  alluded  to  in  the  Merrie  Conceited  Jests  of  George  Peele,  1627,  where  it  is  termed 
a  "famous  play".     Pistol's   exclamation,   "Have  we  not  Hiren  here?"   is   supposed   to   refer  to   it.     One   of  the 
characters  in  Ayrer's  play  is  "Hircavena  die  schon  Jungfrau"  and   another  "Isidorus  der  Cardinal  so  die  Histori 
beschrieben"  (Isidorus  the  Cardinal  who  has  described  this  History').     This  latter  character  reminds  that  of  Gower 
in  Shakespeare's  Pericles. 

12 


LXVIII  SHAKESPEARE  IN  GERMANY. 

As  we  have  already  observed,  the  mere  names  of  some  of  these  farces  of  Ayrer's  shew 
that  he  had  derived  his  manner  from  the  English  actors,  a  fact  which  is  also  very  evident 
from  the  part  of  the  clown,  who  in  Ayrer's  pieces,  as  well  in  the  tragedies  and  comedies 
as  in  the  farces  and  singing  pieces  often  appears  with  a  whistle,  just  as  the  English  Clown 
often  does  with  a  drum.  Tieck  conjectures  that  the  Shrove-tide  play,  'The  vanquished 
Drummer'  is  an  English  farce.  It  may  be  so,  but  there  is  no  known  English  piece  from 
which  Ayrer  can  have  copied,  though  the  manner  certainly  is  altogether  English. 

Having  thus  given  a  general  sketch  of  the  relations  of  the  whole  of  Ayrer's  dramatic 
career  to  the  old  English  stage,  we  now  proceed  to  the  consideration  of  two  of  his  pieces 
which  stand  in  direct  connection  with  Shakespeare. 


AYRER'S  COMEDY  OF  THE  BEAUTIFUL  SIDEA. 

(See  p.  1—76.) 

We  give  this  piece  complete  in  the  German  Original  with  an  English  translation 
,  annexed,  not  merely  to  promote  the  knowledge  of  Ayrer  through  one  of  his  best  pieces, 
but  still,  more  for  the  purpose  of  placing  more  easily  within  the  students  reach  the  only 
drama  extant,  which  points  to  the  origin  of  the  plot  of  Shakespeare's  'Tempest'.  Since 
Tieck  directed  attention  to  this  piece  in  1817,  his  conjecture  that  it  is  based  upon  an  old 
English  piece  now  lost,  which  Shakespeare  also  made  use  of  in  the  'Tempest',  has  been 
quoted  by  all  the  commentators,  but  according  to  all  appearances  none  of  them  have  become 
acquainted  with  the  complete  piece  itself.  English  critics  have  probably  been  deterred  by  the 
difficulties  of  the  old  German  style.  The  piece  is  now  offered  in  an  accessible  form,  and 
every  one  is  able  to  judge  for  himself  of  the  extent  of  its  affinity  to  the  'Tempest'.  That 
this  affinity  cannot  be  purely  accidental,  must  be  admitted  at  once  by  every  attentive  reader 
who  is  acquainted  with  the  manner  in  which  Shakespeare  used  the  crude  elements  of  his 
sources,  but  whether  the  common  source  of  both  authors  is  a  drama,  a  legend,  or  a  tale, 
will  remain  unsettled  until  the  source  itself  has  been  discovered.  Ayrer's  piece  has  a  tho- 
roughly legendary  character.  The  apparently  historical  personages  are  not  to  be  met  with 
in  history.  A  Prince  LudolfF  of  Lithuania  has  existed  just  as  little  as  a  Prince  Leudegast^ 
of  the  Wiltau.  The  Wiltau  is  a  fabulous  name;  the  nearest  approach  to  it  is  Wilna,  but  it  * 
does  not  appear  that  the  latter  has  ever  been  so  denominated.  History  has  no  record  of 
any  Polish  Princess  (Julia)  who  was  engaged  to  be  married  to  a  son  of  a  Prince  of  Wiltau 
(Engelbrecht).  Ludolff  says  to  Sidea  'May  Jove  &c.'  and  also  in  other  passages  the  heathen 
gods  are  introduced.  'Heathen  clothes'  are  expressly  prescribed  for  LudohT  and  Sidea,  a 
direct  proof  that  Ayrer  placed  the  action  in  an  ante-christian  period.  We  thus  find  our- 
selves entirely  on  fabulous  ground,  while  on  the  other  hand,  in  the  comic  scenes,  the  tone 
and  style  of  his  contemporaries  and  a  spirit  of  narrowminded  localism  are  found  to  pre- 
dominate, quite  in  the  manner  of  the  old  German  dramatists. 

Ayrer  is  not  the  inventor  of  this  subject;  he  has  had   either  a  legend  or  a  play 


SHAKESPEARE  IN  GERMANY.  LXIX 

before  him.    A  proof  of  this  is  to  be  found  in  the  first  Act,  where  Leudegast  says  of  Prince 
Ludolff : 


Weil  der  zenkisch  Herzog  Leupold 
Den  Krieg  und  Zank  hat  also  holt,  &c. 


Duke  Leupold  so  loves  strife  and  brawl, 
That  now  he's  challenged  us  to  fall,  &c. 


No  Duke  Leupold  appears  throughout  the  whole  piece,  and  the  mention  of  one  in 
this  passage  is  a  confusion  of  names  which  can  only  be  explained  by  the  supposition  of  a 
somewhat  careless  use  of  the  original  sources.  It  is  true,  in  the  introduction  of  humorous 
scenes  and  episodes  this  piece  has  many  points  of  resemblance  with  the  old  English  Theatre. 
But  we  have  seen  that  all  Ayrer's  dramatic  compositions  after  a  certain  date  were  under 
this  influence,  and  this  resemblance  alone  therefore  is  not  sufficient  to  enable  us  to  con- 
clude, as  Tieck  has  done,  the  existence  of  an  old  English  Drama  with  the  same  subject. 
A  circumstance  of  far  greater  importance  is  the  fact,  that  the  ideal  arrangement  as  well 
as  the  single  scenes  and  passages  in  both  pieces  display  a  most  unmistakeable  resemblance. 
Ayrer's  removal  of  the  action  into  the  region  of  fable  is  a  feature  to  which  we  have  already 
alluded.  In  both  pieces  then  we  have  two  hostile  princes,  of  whom  the  one  (Prospero  or 
Ludolff)  practises  the  arts  of  magic  to  get  the  son  of  the  other  into  his  power,  in  both 
pieces  this  prince  has  a  spirit  in  his  service,  through  whose  power  the  enemy's  arms  are 
rendered  innocuous,  and  lastly,  in  both  pieces  an  attachment  is  formed  between  the  only 
daughter  of  the  one  prince,  and  the  captive  son  of  the  other,  which  is  eventually  the  means 
of  bringing  about  a  reconciliation  between  the  hostile  families.  Both  pieces  are  based  on 
the  idea  of  a  retributory  justice.  If  these  points  of  resemblance  in  the  fundamental  structure 
of  the  two  pieces  are  in  themselves  sufficient  to  exclude  all  possibility  of  an  accidental 
coincidence,  the  numerous  external  points  of  agreement  in  the  course  of  the  two  pieces 
must  remove  the  last  shadow  of  a  doubt.  In  the  one  piece  as  in  the  other,  the  captive 
son  of  the  prince  is  obliged  to  pile  up  logs  of  wood,  and  in  both  pieces  this  scene  leads 
to  the  attachment  of  the  lovers.  In  the  'Tempest',  Act  iii,  sc.  1,  Ferdinand  says: 

My  mistress,  dearest, 
And  I  thus  humble  ever. 
To  which  Miranda  answers: 

My  husband  then? 

Again  in  the  'Beautiful  Sidea',  Act  iii,  we  find: 


Engelbrecht. 

Ja  dasselbe  solt  ihr  trauen  mir 
Und  ihr  solt  auch  mem  Gemahl  sein. 


Sidea. 


Bistu  denn  mem? 


Engelbrecht. 


Ja. 
Sidea. 


So  bleib  ich  dein. 


Engelbrecht. 

Thou  mayst  place  all  thy  trust  in  me, 
And  thou  as  consort  soon  be  mine. 

Sidea. 
Art  thou  then  mine? 

Engelbrecht. 

Yes. 

Sidea. 

Then  I'm  thine. 


LXX  SHAKESPEARE  IN  GERMANY. 

In  the  'Tempest',  Act  i,  sc.  2,  Ferdinand  says  to  Miranda: 

O !  if  a  virgin, 

And  your  affection  not  gone  forth,  I'll  make  you 
The  Queen  of  Naples. 

and  similarly  in  the  'Beautiful  Sidea',  Act  iii: 


Engelbrecht. 

Ja  ich  wolt  mich  eur  Lieb  ergeben 
Zu  dienst  mit  Leib  vnd  auch  Leben 
Vnd  euch  zu  einer  Furstin  machen. 


Engelbrecht. 

I  would  to  thee  my  service  give, 
And  ever  love  thee  while  I  live; 
Thou  shouldst  a  royal  station  grace. 


Again  we  may  compare  the  same  scene  in  the  'Tempest',  where  Ferdinand  draws 
his  sword  to  defend  himself  against  Prospero,  and  in  which  he  "is  charmed  from  moving" 
with  the  passage  in  the  'Beautiful  Sidea'  Act  ii,  in  which  Ludolff  disarms  Engelbrecht  and 
his  attendant  by  magic,  and  the  latter  is  obliged  to  confess, 


Mein  Wehr  kan  ich  nicht  herauss  bringen 
Ich  glaub  das  sie  bezaubert  sey. 


My  sword,  sir,  in  its  scabbard  sticks; 
I  think  it  must  enchanted  be. 


In  the  same  manner,  the  scene  in  the  fourth  act  of  the  'Beautiful  Sidea',  in  which 
the  devils  dance,  reminds  us  forcibly  of  the  'Tempest',  Act  iii,  sc.  3,  in  which  the  spirits 
with  dance  and  mops  and  mowes  carry  out  the  table.  —  In  Runzifall  the  devil,  we  have, 
in  spite  of  all  dissimilarities,  the  counterpart  to  Caliban,  who  indeed  is  not  the  evil  one 
himself,  but  one  of  his  progeny : 

Prospero.  Thou  poisonous  slave,  got  by  the  devil  himself.  Upon  thy  wicked  dam,  come  forth! 
(Tempest,  Act  i,  sc.  2.) 

Just  as  Alonso  institutes  a  search  for  Ferdinand  in  the  'Tempest',  so  does  Prince 
Leudegast  in  the  'Beautiful  Sidea'  for  his  lost  son,  Engelbrecht. 

O  '  *— '  ' 

We  will,  however,  not  anticipate  any  further,  but  will  rather  refer  the  reader  to  the 

piece  itself  for  the  numerous  points  of  resemblance  which  we  have  not  yet  mentioned.  "The 

origin  of  the  plot  of  the  'Tempest'  is  for  the  present  a  Shakespearian  mystery,"   are  the 

words   with   which  Mr.  Hunter  begins   his  dissertation   upon  that  play.     "That  mystery  I 

consider  as  solved"  is  Mr.  W.  J.  Thorns'1  assurance   after  having  read  Ayrer's  'Beautiful 

Sidea'.     For  our  own  part  we  cannot  speak  with  so  much  confidence,  for  although  in  the 

v  Sidea,  we  possess  the  only  link  of  connection  between  such  source  and  the  'Tempest',  we 

[   have  not  yet  arrived  at  any  certainty  respecting  the  source  itself.    If  we  agree  with  most 

'   of  the  commentators  that  the  'Tempest'  is  one  of  Shakespeare's  later  works,  there  cannot 

be  the  slightest  doubt  that  Ayrer's  piece  was   written  long  before  the  'Tempest'.    In  all 

those  cases   in  which  we   are  acquainted  with  the  sources  from  which  Ayrer  derived  his 

plots,   we  see   that  he  almost  always  retains  the  original  names  for  his  principal  persons; 

and  as  it  is  highly  improbable  that  these,  for  the  most  part  purely  German,  names  should 

have  occurred  in  an  English  drama  of  the  sixteenth  century,  we  cannot  place  much  con- 

1  On  the  connexion  between  the  Early  English  and  Early  German  Drama.  New  Monthly  Mag.  1841,  Ja- 
nuary, p.  26. 


SHAKESPEARE  IN  GERMANY.  LXXI 

fidence  in  the  suggestion  that  any  such  work  was  the  common  source  of  the  two  plays  in 
question.  Ayrer  appears  rather  to  have  worked  after  some  German  original,  and  this  may 
have  come  to  light  in  England  in  the  form  of  some  metamorphosis  or  other.  Neither  is 
it  impossible,  or  even  improbable,  that  Ayrer's  piece  itself  may  have  come  to  Shakespeare's 
knowledge  through  the  medium  of  comedians  who  had  returned  to  England,1  a  conjecture 
which  would  only  become  utterly  untenable,  if  an  earlier  English  composition  of  the  same 
or  very  similar  contents  should  ever  be  discovered. 

AYRER'S  COMEDY  OF  THE  BEAUTIFUL  PHOENICIA. 

(See  p.  77—112.) 

At  the  first  glance  at  this  piece  we  see  that  it  bears  a  very  close  resemblance  to 
Shakespeare's  'Much  Ado  about  Nothing',  and  that  this  resemblance  is  not  confined  to  the 
serious  portions  of  the  two  pieces,  the  principal  features  of  which  may  be  traced  to  Italian 
sources,  but  that  also  the  humorous  scenes  between  Beatrice  and  Benedick,  the  sources  of 
which  have  hitherto  been  sought  in  vain,  find  their  counterpart  in  the  'Beautiful  Phse- 
nicia'.2  Tieck,  who  again  was  the  first  to  point  out  the  connection  of  this  piece  with  'Much 
Ado  about  Nothing',  has  quite  overlooked  this  circumstance,  and  yet  is  it  precisely  in  these 
portions  of  the  two  pieces  that  the  points  of  agreement  are  the  most  calculated  to  enable 
us  to  draw  a  conclusion  respecting  the  source  of  Shakespeare's  play.  It  is  truly  remarkable 
that  just  in  these  two  pieces  the  connection  between  the  comic  episodes  should  have  escaped 
Tieck's  notice,  while  on  the  other  hand  he  considers  the  comic  scenes  in  the  'Sidea',  which 
really  have  no  connection  whatever  with  anything  in  the  'Tempest',  as  a  proof  of  some 
common  dramatic  original. 

We  have  already  (p.  xliv)  called  attention  to  the  relationship  between  Benedick  and 
the  Vincentius  of  Duke  Henry  Julius.  The  same  elements  are  also  to  be  met  with  in  Ayrer's 
piece,  although  in  an  entirely  different  form;  as  that  which  in  the  former  constitutes  the 
principal  action,  is  only  an  episode  in  the  latter,  the  part  of  Vincentius  being  here  assigned 
to  the  clown  John.  Externally  indeed  the  two  characters  have  nothing  in  common,  but 
their  dramatic  significance  is  the  same,  and  their  adventures  lead  us  to  Benedick  and  Bea- 
trice. The  resemblance  of  Ayrer's  episode  with  that  of  Shakespeare  is  apparently  a  very 
distant  one,  and  yet  again  a  very  close  one  as  soon  as  we  disregard  the  persons  and  scenes, 
and  only  pay  attention  to  the  means  employed  by  both  authors  for  attaining  the  same 

1  Edward  Cellius,  among  others,  speaks  of  such  English  Comedians  returning  to  England,  in  his  de- 
scription of  the  festivities  which  took  place  at  the  Court  of  Stuttgart  in  the  year  1603,  on  the  occasion  of  the 
already  mentioned  English  Embassy.  "Faucis  ab  hinc  annis  in  Germaniam  nostram  Anglicani  musici  dictum  ob 
finem  expaciati,  et  in  magnorum  Principum  aulis  aliquandiu  versati,  tantum  ex  arte  musica,  histrionicaque ;  sibi 
favorem  conciliarunt,  ut  largiter  remunerati  domum  inde  auro  et  argento  onusti  sint  reversi."  Eques  auratus 
Anglo-Wirtembergicus.  4to.  Tubingae  1605,  p.  229. 

a  This  has  already  been  noticed  by  H.  Grimm  in  his  above-mentioned  essay  on  the  Theatre  of  Duke 
Henry  Julius.  For  many  of  the  observations  respecting  the  connections  between  the  'Phaenicia'  and  'Much  Ado 
about  Nothing'  that  follow  in  the  text,  we  are  indebted  to  that  work. 


LXXII  SHAKESPEARE  IN  GERMANY. 

object.  The  gist  of  Shakespeare's  intrigue  consists  in  the  joke  of  making  Benedick  believe 
that  Beatrice  is  in  love  with  him,  and  persuading  Beatrice  that  Benedick  is  in  the  same 
case  with  regard  to  herself.  Let  us  now  compare  this  with  John's  first  adventure  in  the 
'Beautiful  Phasnicia'.  He  is  in  love  with  Anna  Maria;  his  master  offers  to  woo  her  for  him 
in  his  name,  and  deceives  him  into  the  belief  that  she  shares  his  affection.  Hence  arises 
the  scene,  in  which  the  fool  is  made  such  a  miserable  dupe.  Considered  simply  by  itself, 
so  distant  a  resemblance  would  not  justify  any  conclusion  respecting  a  common  source. 
But  here  there  is  an  additional  circumstance,  which  decidedly  favours  such  a  conclusion. 
The  foundation  of  Shakespeare's  as  well  as  Ayrer' s  piece  is  unquestionably  Bandello's  tale, 
'Como  il  S.  Timbreo  di  Cardona  essendo  col  Re  Piero  d'Aragona  in  Messina  s'innamora  di 
Fenicia  Lionato.' l  This  story  contains  nearly  all  the  leading  features  of  the  principal  action, 
the  love  affair  between  Claudio  and  Hero  in  Shakespeare,  and  that  between  Timbreo  and 
Phoenicia  in  Ayrer.  Of  the  humorous  underplots  in  both  pieces,  the  tale  does  not  contain 
the  slightest  trace. 

Now  we  must  remember  that  the  two  humorous  couples  of  lovers  stand  in  no  re- 
lation whatever  to  the  principal  action  in  the  two  pieces.  In  Shakespeare  indeed  they  are 

1  There  is  a  French  version  of  Bandello's  tale  by  Belleforest.  German  imitations  of  it,  of  the  sixteenth 
and  seventeenth  century,  are  mentioned  below.  Whether  Ayrer  knew  the  first  two  or  not,  is  a  matter  of  indif- 
ference, as  No.  2,  and  probably  No.  1,  contains  nothing  which  is  not  also  in  Bandello  and  Belleforest. 

1.  Mauritius  Brand,  Phoenicia.  Eine  schone,  ziichtige,  liebliche  vnd  gedechtnifswiirdige  History  was  massen 
ein  Arragonischer  Graff  de  Colison  sich  in  eine  edle  vnd  tugentreiche  sicilianische  Jungfraw  Phoenicia  genannt,  ver- 
liebt.  4to.  Danzig  1594.  (Phoenicia,  a  beautiful,  chaste,  delightful  and  memorable  history,  how  an  Arragonian  Count 
of  Colison  fell  in  love  with  a  noble  and  virtuous  Sicilian  virgin,  named  Phoenicia.)  —  2.  Phoenicia.  Eine  Liebliche 
vnd  Gedechtniswirdige  History,  was  massen  ein  Arragonischer  Graffe  de  Colisan,  sich  in  eine  Edle  vnd  Tugentreiche 
Sicilianische  Jungfraw  Phoenicia  genandt,  verliebete.  Vnd  was  denselben  in  Heyrath  vnd  Freysachen  wiederfahren, 
welches  billig  ein  Spiegel  Weiblicher  Ehr  vnd  Zucht  mag  genennet  werden.  Allen  Ziichtigen  vnd  Ehrliebenden  Frawen 
vnd  Jungfrewlein  zum  Newen  Jahre  beschrieben,  durch  Mauritium  Brand.  8vo.  Magdeburgk  bey  Job.  Francken,  s.  a. 
[circa  1600].  (Phoenicia.  A  delightful  and  memorable  history  fyc.  And  what  befel  them  in  marriage  and  in  courting 
which  may  rightly  be  called  a  mirror  of  maidenly  virtue  and  honour.  Written  for  all  chaste  and  honorable  ladies 
and  virgins  for  the  new  year.)  —  3.  Lieb:  Tugendt  vnd  Ehrn-Spiegel,  Vermittels  Herrn  Timbrei  von  Cardona  Lieb, 
gegen  Phoeniciam  Lionati,  dero  wunderbaren  begegnussen  vnd  endlicher  Ehevollstreckung,  von  Herrn  Francisco  Belle- 
forest  in  Frantzosischer :  vnd  anjtzo  aus  derselben  in  Teutscher  Sprach  vorgestellet  vnd  ferner  adorniret  durch  Wolf- 

gangum  Seidelum.  12mo.  Hof,  Matth.  Pfeilschmidt,  1624.  (Love,  Virtue,  and  Honours  mirror set  forth  in 

French  by  Belleforest,  and  noiv  done  into  German  language  by  W.  Seidel.)  —  4.  The  same  version  by  W.  Seidel, 
12mo.  Coburgk,  in  der  Fiirstlichen  Druckerey,  durch  Job.  Forckel,  in  Verlegung  Friederich  Gruners,  1627.  —  I  have 
not  seen  No.  1  and  quote  from  Koch,  Grundrifs,  Vol.  ii,  p.  245,  who  again  refers  to  Catal.  Bibl.  Schwabianae, 
Part  ii,  p.  269,  and  from  K.  Goedeke,  Grundrifs  etc.,  Vol.  i,  p.  413.  I  do  not  know  therefore  whether  this  ori- 
ginal edition  varies  from  No.  2,  and  whether  it  also  contains  the  addition  to  the  title  "Mirror  of  maidenly  virtue 
and  honour".  If  so,  then  Ayrer  has  certainly  taken  his  title  from  it;  if  not,  then  the  addition  to  the  title  of 
No.  2  has  been  taken  from  Ayrer.  —  There  is  also  a  Latin  version  of  the  same  subject,  unless  the  title  in 
Clessius,  Elenchus  consummatissimus  librorum  etc.  Vol.  ii,  4to.  Francof.  1602,  p.  241,  is  merely  a  translation  of  the 
German  one  No.  2.  According  to  Clessius  it  is  entitled:  Phoenicia:  Historia  de  comite  de  Colisan  ex  Arragonia 
amatoria  erga  virginem  ex  Sicilia,  nomine  Phoenicia.  8vo.  Magdeburg  1600.  —  There  is  also  a  late  dramatic  version 
of  the  subject:  Matthaei  Kranich,  Comodia  von  einem  Graven  von  Colisan  mit  26  Personen  zu  agiren.  8vo.  Erffurdt, 
bey  Job.  Bircknern  (1620  or  1621).  See  Gottsched.  Schaubuhne,  Vol.  iv,  p.  43. 


SHAKESPEARE  IN  GERMANY.  LXXIII 

interwoven  with  the  external  incidents  in  the  most  charming  manner,  but  even  with  him 
they  have  no  influence  on  the  development  of  the  principal  action  of  the  piece.  In  Ayrer, 
of  course,  anything  like  an  internal  connection  with  the  main  plot  is  quite  out  of  the 
question.  Is  it  possible  then  that  two  authors,  when  using  the  same  tale,  should  add 
to  it  a  new  element  so  very  similar  in  the  two  cases?  We  must  confess,  this  appears 
to  us  quite  inconceivable.  In  our  opinion,  either  in  Italy  or  in  England  a  dramatic  piece 
was  founded  on  the  novel,  that  Shakespeare,  Henry  Julius,  and  Ayrer  were  all  acquainted 
with  it,  and  that  this  piece  contained  a  comic  episode,  which  Shakespeare  and  Ayrer, 
each  in  his  own  way,  interwove  with  the  main  plot,  but  which  Henry  Julius  has  de- 
tached, and  worked  up  into  a  separate  comedy  by  itself.1  If  this  piece  should  ever  come 
to  light,  we  shall  certainly  find  in  it  the  origin  of  Shakespeare's  allusion  in  Act  i,  sc.  1 : 
"He  set  up  his  bills  here  in  Messina,  and  challenged  Cupid  at  the  flight  &c."  Does  not 
also  the  mention  of  Cupid  and  Vulcan  at  the  opening  of  both  pieces  confirm  '  this  con- 
jecture? In  Shakespeare,  Benedick  says: 

"Cupid  is  a  good  hare-finder,  and  Vulcan  a  rare  carpenter"; 
and  in  Ayrer,  Cupid  says  of  himself, 


Mein  Vatter  der  zornig  Vulcanus 
Der  hat  mir  etlich  Pfeil  geschmit. 


For  Vulcan  now  my  wrathful  sire 
Has  a  few  arrows  forged  for  me. 


In  Shakespeare  also,  the  connection  of  the  fool  with  Cupid  in  Beatrice's  speech: 
...  "and  my  uncle's  fool,  reading  the  challenge,  subscribed  for  Cupid  and  challenged  him  at 
the  bird-bolt"  reminds  us  of  the  fool  in  Ayrer's  piece,  who  is  struck  by  Cupid's  arrow. 
Then  it  must  also  be  observed  that  the  scenic  arrangements  in  both  pieces  agree  in  the 
most  remarkable  manner.  In  both  we  have  a  dance,  a  serenade,  and  the  scene  at  the  coffin, 
but  it  must  be  confessed  that  the  elements  for  it  are  to  be  found  in  the  tale.  But  a  careful 
comparison  of  the  latter  itself  with  our  two  pieces  affords  the  most  striking  proof  that 
there  must  have  been  some  intermediate  member  between  it  and  them.  In  the  tale,  Girando, 
in  determining  on  the  shameful  act  of  treachery  against  Timbreo,  is  influenced  entirely  by 
a  feeling  of  jealousy.  In  the  same  manner,  in  the  episode  in  the  fifth  book  of  Ariosto's 
Orlando  furioso,  which  Bandello  has  certainly  made  use  of,  and  which  also  supplied  the 
subject  of  'The  History  of  Ariodante  and  Geneuora',  a  drama  acted  in  London  as  early 
as  1582,  jealousy  is  the  sole  motive  of  the  Duke  of  Albania.  This  is  not  the  case  either 
in  Ayrer  or  in  Shakespeare.  In  the  former,  Gerando  meditates  some  rogue's  trick  against 
Tymborus,  because  he  has  become  too  powerful  and  influential.  Afterwards  he  appears  to 
put  forward  his  admiration  of  Phoenicia  as  a  mere  pretext  for  his  revenge  on  Tymborus, 
for  up  to  that  time,  there  is  no  mention  in  the  piece  of  any  love  affair  between  himself 
and  Phoenicia.  Again  in  Shakespeare,  the  Bastard  does  not  act  from  motives  of  jealousy, 
but  only  from  a  feeling  of  general  discontent.  This  makes  his  depravity  appear  all  the 
greater,  arid  his  treachery  to  Claudio  ah1  the  blacker.  Gerando  in  Ayrer  stands  in  no 

1  See  Herm.  Grimm,  Das  Theater  etc. 


LXXIV  SHAKESPEARE  IN  GERMANY. 

relations  to  Tymborus,  just  as  in  Shakespeare  the  Bastard  has  not  the  slightest  connection 
with  Claudio,  who  is  most  immediately  affected  by  his  treachery.  In  Ayrer  Gerwalt,  who 
invents  the  knavery,  like  Borachio  in  Shakespeare,  is  only  the  tool  of  another,  to  please 
whom,  or  in  whose  commission  as  it  were,  the  trick  is  executed,  this  other  being  Gerando 

/  )  7  o 

in  Ayrer,  and  in  Shakespeare  the  Bastard.  In  Bandello,  on  the  other  hand,  the  jealous 
Girondo  is  also  the  inventor  of  the  plan  by  which  Timbreo  is  deceived.  Another  very 
essential  point  in  which  the  two  plays  diverge  from  the  tale,  is  the  following:  In  Bandello, 
the  deceit  is  practised  by  means  of  a  servant  of  Girondo,  who  is  disguised  to  represent 
the  pretended  lover  of  Phaenicia,  and  climbs  into  a  room  at  a  window  which  is  left  open 
day  and  night,  and  at  which  Phaenicia  is  in  the  habit  of  appearing  occasionally.  This  is 
sufficient  to  make  Timbreo  consider  the  suspicions  which  had  been  suggested  to  him,  as 
well  founded.  The  impostors  do  not  appear  at  the  window  of  the  room,  neither  is  there 
any  conversation  carried  on  between  them.  In  Ayrer,  the  fool  John  is  put  into  woman's 
clothes,  and  appears  as  Phaenicia  walking  hand  in  hand  with  Gerwalt,  her  supposed  lover, 
in  her  father's  garden,  and  conversing  with  him.  Timbreo  sees  them  from  his  hiding-place, 
and  hears  their  lover's  talk.  Similarly  in  Shakespeare,  Margaret  puts  on  Hero's  clothes, 
and  carries  on  a  lover's  conversation  with  Borachio,  which  Claudio  hears  from  his  hiding- 
place  in  the  garden.  Act  iii,  sc.  4  in  Shakespeare's  piece  begins  with  a  conversation  between 
Hero  and  Margaret  about  the  wedding-dress.  Similarly,  in  Ayrer,  the  scene  in  which  her 
intended  marriage  with  Timbreo  is  broken  off,  is  preceded  by  a  conversation  between  Phae- 
nicia and  her  parents  respecting  her  trousseau.  The  resemblance  between  the  two  pieces  is 
very  striking  in  the  scenes,  in  which  it  is  resolved  to  allow  Hero  and  Phaenicia  to  be  con- 
sidered as  dead,  in  order  to  bring  their  innocence  to  light.  In  these  scenes  in  Ayrer,  the 
action  advances  in  a  somewhat  compressed  and  dramatic  style,  while  in  Bandello  he  would 
have  had  a  model  which  could  only  have  encouraged  his  natural  inclination  to  represent 
everything  with  great  circumstantiality  and  numerous  digressions.  Bandello  is  extremely 
diffuse  here,  and  makes  Fenicia  address  a  long-winded  speech  to  the  bystanders,  who  on 
their  part  also  break  out  into  very  edifying  lamentations.  In  these  scenes,  both  in  Shake- 
speare and  Ayrer,  the  hope  is  distinctly  expressed,  that  the  pretended  death  of  the  slan- 
dered maiden  may  awaken  the  remorse  of  her  lover,  and  eventually  end  in  their  happy 
union.  This  feature  is  altogether  wanting  in  Bandello,  and  it  is  at  the  same  time  an  im- 
portant characteristic  in  the  two  dramatists,  because  in  the  principal  catastrophe  of  the 
piece  it  points  out  the  germ  of  the  reconciliation,  and  softens  the  tragical  character  of  the 
scene.  The  expectation  of  a  reconciliation  which  is  thus  raised  in  the  mind  of  the  specta- 
tor justifies  moreover  the  progress  of  the  piece  as  a  comedy.  After  the  treachery,  which 
has  been  practised  against  Phaenicia,  has  been  discovered,  the  prime  movers  in  the  criminal 
act,  the  Bastard  in  Shakespeare,  and  in  Gerwalt  Ayrer,  disappear.  This  feature  is  also 
wanting  in  the  tale. 

'Much  Ado   about  Nothing'  appears  to  have   been  written  either  in,   or  about,  the 
year  1600.   Francis  Meres  does  not  mention  it  in  1598,  but  the  first  Quarto  was  published 


SHAKESPEARE  IN  GERMANY.  LXXV 

in  1600.  Ayrer's  piece  may  have  been  written  either  earlier  or  later.  As  long  as  the 
chronology  of  his  dramas  is  not  established  with  greater  certainty  than  has  been  hitherto 
the  case,  it  is  impossible  to  express  any  opinion  respecting  the  priority  of  either  author 
with  regard  to  the  two  pieces  in  question. 

It  may  be  mentioned  in  conclusion,  that  Starter,  a  Dutch  dramatist  of  the  seventeenth 
century  has  also  taken  the  same  subject  for  one  of  his  pieces.1  But  Mr.  J.  0.  Halliwell  is 
decidedly  wrong  in  asserting  that  Starter  copied  Shakespeare,2  as  also  Dr.  W.  Bell  in  his 
statement,  that  the  Dutchman's  piece  was  founded  on  Ayrer's.3  The  truth  is,  that  in  Star- 
ter's piece  there  are  no  traces  either  of  'Much  Ado  about  Nothing'  or  the  'Beautiful  Phse- 
nicia',  and  that  there  is  every  appearance  of  his  having  taken  his  subject  directly  from 
Bandello's  tale  or  an  early  imitation  of  it.  It  is  true,  he  also  introduces  comic  personages 
who  speak  in  the  Frisian  dialect,  but  they  have  nothing  in  common  with  the  humorous 
episodes,  either  in  Shakespeare  or  Ayrer. 


CHAPTER  IV, 

In  the  course  of  our  investigation  up  to  this  point,  we  have  been  able  to  distinguish 
three  companies  of  English  Comedians,  who  started  from  England  on  their  travels  as  early 
as  the  sixteenth  century.  With  the  beginning  of  the  seventeenth  century  these  strolling 
companies  become  more  and  more  numerous,  and  no  longer  confine  themselves  to  the 
courts  of  princes,  but  extend  their  wanderings  to  every  part  of  Germany  in  which  they 
may  expect  to  find  a  sufficient  interest  in  their  art.4  It  is  true,  some  companies  still  con- 
tinued to  make  the  court  of  some  art-loving  prince  their  head-quarters,  but  even  these  led 
a  migratory  life,  and  it  appears  that  they  made  the  permission  to  do  so,  one  of  the  con- 
ditions in  their  engagements.  We  have  already  observed  something  of  the  kind  in  the 
case  of  the  Cassel  Comedians.  (See  p.  lix.)  Besides  the  courts  of  Brunswick  and  Cassel, 
which,  as  we  have  already  seen,  entertained  English  actors  till  far  into  the  seventeenth 

1  /.  /.  Starters  \  Blyeyndich  -  Truyrspel,  \  van  \  Timbre  de  Cardone  \  ende  \  Fenide  van  Messine,  \  Met  een 
VermaecMijck  Sotte-Clucht  van  een  \  Advocaet  ende  een  Boer  op't  plat  Friesch.  \   Tot  Leevwarden,  \  Voor  Jan  Jan- 
sen  Starter,  Boeckvercooper  by  de  Brol,  \  in  d'Engelsche  Bybel.    Anno,  1618.   4to.   42  leaves.     In  rhyming  verse. 
The  Argument  "Inhout  des  Spels"  appears  to  be  a  condensed  narrative  of  Bandello's  novel. 

2  See  Athenceum,  April  21,  1862. 

3  See  Dr.  W.  Bell,  Shakespeare's  Puck  etc.,  Vol.  ii,  p.  285.    Dr.  Bell  founds  his  argument  on  the  identity 
of  the  dramatis  personae  in  Ayrer's  and  Starter's  plays,  but  he  overlooks  that  the  same  names  are  given  to  those 
personages  in  Bandello's  novel. 

1  This  is  confirmed  by  a  curious  passage  in  De  Bry's  India  orientalis,  Pars  xii,  fol.,  Francof.  1613, 
p.  137.  "Vigesimo  primo  ejusdem  mensis  die  rex  iterum  Anglorum  navem  petiit,  magna  stipatus  mulierum  ca- 
terva,  quae  omnes  mimae  erant,  actrices  comaediarum,  et  saltatrices.  Solent  autem  hae  mulieres  agmine  facto 
oberrare  per  provincias  et  oppida,  acturae  comaedias,  ut  Angli  ludiones  per  Germaniam  et  Galliam  vaguntur,  vehentes 
secum  omnis  generis  vestes  et  instrumenta  histrionica,  pro  exigentia  fabularum  quas  lusurae  sunt,  in  quibus  fre- 
quentissima  sunt  argumenta  belli,  amoris,  et  ejusmodi." 

K2 


LXXVI  SHAKESPEARE  IN  GERMANY. 

century,  it  was  more  especially  the  courts  of  Dresden  and  Berlin,  which  manifested  the 
most  active  theatrical  life. 

The  company  to  which  Thomas  Pope  and  George  Bryan  belonged,  probably  dissolved 
/  itself  as  early  as  1587,  for  we  meet  with  both  of  them  in  England  before  1588.  The  taste 
for  the  English  theatre  had  so  completely  established  itself  at  the  Saxon  court,  that  it 
maintained  its  preponderance  till  far  into  the  seventeenth  century.  Indeed,  even  after  the 
influence  of  the  French  Theatre  had  obtained  the  mastery  throughout  Germany,  the  pieces 
which  had  been  introduced  by  the  English  Comedians  were  not  entirely  banished  from  the 
Dresden  stage,  and  we  even  meet  with  isolated  cases  of  English  actors  long  after  the 
German  companies  had  supplanted  the  English  ones.  In  the  course  of  our  narrative  we 
shall  arrive  at  the  astonishing  fact,  that  the  Germans  became  acquainted  with  the  greatest 
masterpieces  of  Shakespeare  through  the  medium  of  the  stage,  nearly  a  century  and  a  half 
before  any  other  nation  except  of  course  the  English. 

The  Electress  Dowager  of  Saxony,  Sophia  of  Brandenburg,  daughter  of  John  George, 
Markgrave  of  Brandenburg,  (born  1568,  married  to  Christian  I  in  1582,  a  widow  in  1591, 
died  1622)  appears  while  still  young,  to  have  taken  a  peculiar  interest  in  the  English  drama, 
and  the  English  Comedians.  In  October  1600,  several  Englishmen,  ["etzliche  Engelender"] 
played  a  comedy  before  her  and  the  young  princes  at  the  palace,  for  which  they  received 
the  sum  of  75  florins.  In  the  same  year  there  were  also  English  Comedians  at  Memmingen, 
as  appears  from  the  following  extract  from  a  chronicle  of  that  town:  "1600,  den  27.  und 
28.  Hornung,  hielten  Engelander  Comedien  allhier  aufF  dem  Saltz-Stadel,  gab  ein  Person 
4  kr."1  (1600,  Feb.  27  and  28,  some  Englishmen  performed  comedies  here  on  the  Saltz- 
Stadel,  each  person  paid  four  kreuzers.)  In  June  1601,  some  Englishmen  played  again  at 
the  Court  of  Dresden,  for  which  they  received  a  hundred  dollars  gratuity  ["Verehrung"] 
and  78^  florins  as  payment.2  They  must  therefore  have  come  to  Dresden  as  strangers, 
and  were  not  in  the  Saxon  service.  Perhaps  they  were  the  same  who  had  played  at 
Memmingen;  perhaps  also  they  had  come  from  Brunswick  or  Cassel  on  leave  of  absence. 
In  1602  some  English  Comedians  performed  at  Ulm  a  play  'Of  the  Prophet  Daniel,  the 
chaste  Susanna,  and  the  two  judges  in  Israel'.  (See  p.  xlii).  There  must  also  have  been 
some  English  actors  in  Amsterdam  about  this  time,  for  an  incident  related  by  Heywood  in 
the  'Apology',3  of  which  we  shall  speak  more  at  length  at  a  future  page,  refers  to  them. 
Heywood  expressly  calls  them  "A  well  knowne  company  of  our  English  comedians",  a 
proof,  that  actors  of  reputation  attached  themselves  to  these  companies.  In  September  1603, 
Lord  Spenser  and  Sir  William  Dethick,  Garter  King-at-arms,  were  sent  to  Stuttgart  by 
James  the  first,  to  bring  Duke  Frederick  the  Insignia  of  the  Order  of  the  Garter.  (See 
p.  xiv.)  The  Ambassadors  displayed  a  great  deal  of  splendour  and  magnificence,  and  among 
their  suite  they  had  some  English  musicians  and  actors,  —  "Four  excellent  Musicians  with 

1  Christ.  Shorer,  Memminger  Chronik  etc.    4to.    Ulm  1660,  p.  115. 

2  Mor.  Fiirstenau,  Zur  Geschichte  etc.,  p.  76. 

3  Ed.  by  the  Shakespeare  Society,  p.  58. 


SHAKESPEARE  IN  GERMANY.  LXXVII 

ten  other  assistants."1  A  great  banquet  took  place  after  the  delivery  of  the  Order  to  the 
Duke,  and  this  was  succeeded  by  representations  given  by  the  "Royal  English  Music,  which 
the  illustrious  royal  ambassadors  had  brought  with  them  to  enhance  the  magnificence  of 
the  embassy  and  the  present  ceremony,  and  who,  though  few  in  numbers,  were  eminently 
well  skilled  in  the  art.  For"  continues  the  chronicler  of  those  festivities,  "England  pro- 
duces many  excellent  musicians,  comedians,  and  tragedians,  most  skilful  in  the  histrionic 
art;  certain  companies  of  whom  quitting  their  own  abodes  for  a  time,  are  in  the  habit  of 
visiting  countries  at  particular  seasons,  exhibiting  and  representing  their  art  principally  at 
the  courts  of  princes.  A  few  years  ago,  some  English  musicians  coming  over  to  our  Ger- 
many with  this  view,  remained  for  some  time  at  the  courts  of  great  princes,  their  skill 
both  in  music  and  in  the  histrionic  art  having  procured  them  such  favour,  that  they  re- 
turned home  greatly  rewarded,  and  loaded  with  gold  and  silver."2  A  dance  followed  the 
banquet,  and  then  "the  English  players  made  their  appearance,  and  represented  the  sacred 
history  of  'Susanna'  with  so  much  art  of  histrionic  action,  and  with  such  dexterity,  that 
they  obtained  both  praise  and  a  most  ample  reward."3 

The  following  year,  [1604]  we  meet  with  a  company  of  comedians  in  Holland,  under 
the  direction  of  a  certain  John  Woods  [Wood?].4  The  following  extract  from  the  Minutes 
of  the  Council  of  the  city  of  Leyden  [Gerechtsdag-boeken]  refers  to  them. 

Sept.  30,  1604. —  "Die  van  de  Gerechte  opt  voorschryven  van  Zijne  Exe  en  versouc  van  Jan 
Woodtss,  Engelsman,  hebben  toegelaten  ende  geconsenteert  dat  hy  geduyrende  deze  aenstaende  jaer- 
marct  met  zijn  behulp  zal  mogen  speelen  zeecker  eerlick  camerspel  tot  vermaeckinge  van  der  gemeente, 
mits  van  yder  persoen  (comende  om  te  bezien)  nyet  meer  te  mogen  nemen  nochte  genyeten  dan  twaelf 
penn.,  ende  vooral  betaelen  tot  een  gootspenning  aen  handen  van  Jacob  van  Noorde,  bode  metter  roede, 
vier  guld.  om  ten  behouve  van  de  armen  verstrect  te  worden." 

TRANSLATION. 

,    The  magistrates,   at  the  command  of  his  Excellency,   and  at  the  request  of  John  Woodtss,  an 

Englishman,   have  permitted   and   consented  that  he,   with  his  company,   during  the  approacHing  fair, 

v.  , 

J'A  description  of  the  festivities  has  been  given  by  Erhard  Cellius,  entitled  Eques  auratus  Anglo- Wirtem- 
bergicus.  4to.  Tubingae  1605.  The  above  passage  is  to  be  found  at  p.  120:  "Quatuor  excellentes  musici,  una 
cum  decem  ministris  aliis."  , 

2  Id.   ibid.    p.  229.     "Musica  Anglicana   Regiae,    quam   Regius  illustris   Legatus  secum   ad  Legationis  et 
actus  huius  magnificentiam  adduxerat:  non  ita  multos  quidem  sed  excellenter  in  hac  arte  versatos.    Profert  enim 
multos   et  praestantes  Anglia  musicos,    comoedos,    tragoedos,    histriom'cae  peritissimos,   e  quibus  interdum  aliquot 
consociati  sedibus  suis  ad  tempus  relictis  ad  exteras  nationes  excurrere,  artemq';  suam  illis  praesertim  Principum 
aulis   demonstrare,    ostentareq';   consueverunt.     Paucis    ab   hinc   annis    in   Germaniam    nostram    Anglicani   musici 
dictum  ob  finem  expaciati,   et  in  magnorum  Principum  aulis  aliquandiu  versati,   tantum  ex  arte  musica,  .histrioni- 
caq';   sibi  favorem  conciliarunt,  ut  largiter  remunerati  domum  inde  auro  et  argento  onusti  sint  reversi."    See  also 
Notes  and  Queries,  Vol.  iii,  p.  21. 

3  Id.  ibid.  p.  244.     "Histriones  Anglicani  mature  prodibant;  et  sacrae  Susannae  historian!  tanta  actionis 
histrionicae  arte,  tanta  dexteritate  representabant,  ut  et  laudem  inde  et  praemium  amplissimum  reportarent." 

4  A  John  Wood,    clerk,   is    mentioned  in   an   arbitration-bond   respecting   certain  disputes  between  Hen- 
slowe  and   a  person   named  Abr.  Wall.     See   Alleyn  papers  ed.   by  J.  P.  Collier  for  the   Shakespeare   Society, 
1843,  p.  49. 


LXXVIII  SHAKESPEARE  IN  GERMANY. 

may  play  certain  decent  pieces  for  the  amusement  of  the  people,  provided  he  take  no  more  than  twelve 
pennings  from  each  person  coming  to  see,  and,  above  all,  pay  to  Jacob  van  Noorde  four  guilders,  to 
be  applied  to  the  use  of  the  poor.i 

Another  company  appears  in  Ley  den  in  January  1605,  provided  with  a  letter  of 
recommendation  from  the  Elector  of  Brandenburg,  dated  the  10th  of  August  1604.  We 
are  not  aware  at  what  time  this  company  had  entered  the  service  of  the  latter;  but  it  is 
clear  that  it  was  under  the  direction  of  a  certain  John  Spencer,  for  in  the  same  year  [1605] 
he  is  recommended  by  the  Elector  of  Brandenburg  to  the  Electress  of  Saxony.  The  identity 
of  these  companies  is  beyond  all  doubt.  The  following  is  an  extract  from  the  Leyden 
Minutes. 

Jan.  6,  1605.  —  "Op't  versouck  aen  die  van  de  Gerechte  gedaen  by  de  Engelsche  Comedyanten 
om  te  mogen  spelen:  staet  geappostilleert.  Die  van  de  Gerechte  deser  stadt  Leyden  gesien  in  haer 
vergaderinge  opt  Raedthuys  der  voors.  stede,  de  favorable  brieven  van  Recommandatie  ende  testimo- 
niael  van  den  Forst  van  Brandenburch  van  de  x  Augustij  des  jaers  XVIC  vier,  mitsgaders  t  consent 
by  Zyne  Exie  van  Nassau  verleent  den  xxij  Decembris  laest  verleden,  Es  disponerende  opt  versouc  int 
blanc  van  dezen,  hebben  voor  zoo  veel  in  hem  is,  de  Engelsche  Commedianten  ende  musicyns  toonders 
in  dezen,  conform  haer  versouc  toegelaten  binnen  deser  stede  te  mogen  spelen  en  haer  consten  doen 
ouffenen  ende  vertoonen  ter  gewoenlycke  plaetse  te  weten  opten  groten  hoff  onder  de  bibliotecque, 
dewelcke  hem  toonders  mits  dezen  ten  eynde  voorseyt,  belast  wert  te  werden  ingeruymt,  Ende  dit  al 
voor  den  tyt  van  veertien  dagen  eerstcomende,  en  mits,  voor  den  jegenwoordige  gracieuse  toelatinge, 
gevende  ten  behouve  van  de  gemeene  huysarmen  dezer  stede  een  somme  van  twaelf  gulden  van  xl  groot 
tstuck.  Aldus,  gedaen  opten  vi  January  XVIC  en  vyff.  My  jegenwoordich  en  is  get.  J.  van  Hout." 

TRANSLATION. 

On  the  request  to  the  magistrates  of  the  English  comedians  to  be  allowed  to  perform,  was 
decided:  The  magistrates  of  this  city  of  Leyden,  having  seen  in  their  assembly  in  the  Town-House  of 
the  aforesaid  city,  the  favourable  letters  of  recommendation  and  testimonial  of  the  Prince  of  Branden- 
burg of  the  10th  Aug.,  1604,  as  well  as  the  consent  granted  by  his  Excellency  of  Nassau,  the  22nd 
of  Dec.  last,  have  permitted  the  English  comedians  and  musicians,  according  to  their  request,  to  per- 
form and  exercise  and  exhibit  their  arts  in  the  accustomed  place,  namely,  in  the  great  court  under  the 
library;  and  this  for  the  space  of  fourteen  days,  provided  they,  for  this  gracious  permission,  give 
twelve  guilders  of  forty  groats  a-piece  to  the  poor  of  this  city.  Done  on  the  6th  Jan.,  1605.  Me  pre- 
sent; and  signed  J.  van  Hout.  2 

We  cannot  ascertain  when  John  Spencer  came  from  England  to  Germany,  but  he 
must  have  been  some  time  in  the  service  of  the  Elector  of  Brandenburg  when  he  re- 
ceived the  letter  of  recommendation  in  August  1604.  It  is  supposed  that  he  had  been 
obliged  to  leave  his  native  country  on  account  of  his  attachment  to  the  Catholic  Church.3 
He  remained  in  Germany  for  a  considerable  number  of  years,  and  became  one  of  the  most 
celebrated  managers  of  companies.  In  the  course  of  our  narrative  we  shall  meet  with  him 
again  at  different  places  till  as  late  as  the  year  1614.4 

1  See  Navorschers  Bijblad  1853,  p.  xl,  and  Notes  and  Queries,  Vol.  vii.  1853,  p.  360. 

2  To  be  found  at  the  same  place  as  the  preceding  one. 

3  See  Hurter,  Ferdinand  der  Zweite,  Theil  iii,  p.  313. 

4  A  Gabriel  Spenser  is  mentioned  in  various  places   of  Henslowe's  Diary.    In  1597  he  belonged  to  the 


SHAKESPEARE  IN  GERMANY.  LXXIX 

In  May  1605,  the  company  proceeded  from  Leyden  to  the  Hague,  at  least  it  is  highly 
probable  that  it  is  the  same  company  which  we  meet  with  at  the  latter  place.  It  appears  that 
several  representations  were  given  there  during  the  fair.  The  States  General  were  angry  that 
this  had  taken  place  without  their  having  been  previously  informed,  summoned  the  actors 
to  appear  before  them,  who  then  alleged  in  their  defence,  that  they  possessed  a  licence  from 
the  Prince  Stattholder,  had  obtained  permission  from  the  Magistracy  to  give  representations 
for  eight  or  ten  days,  and  received  three  stivers  as  the  price  of  admission;  upon  which 
they  were  prohibited  from  continuing  their  performances  after  the  expiration  of  the  w,eek 
they  had  then  entered  upon.  The  following  document,  which  is  now  published  for  the 
first  time,  refers  to  these  circumstances. 

Extract  uit  het  Register  der  Resolutien  van  den  Hove  van  Holland,  van  den  2°  October  1602 
tot  den  28  Maart  1608.  A.  Duyck,  Griffier. 

"10  May  1605.  Wert  verhaelt  van  de  Engelse  camerspeelders  ende  dat  die  fonder  virlof  van 
den  Hove  hier  speelden  ende  wert  den  Procureur-Generael  gelast  te  vernemen  mit  wiens  last  ofte  con- 
sent sy  speelen;  hy  refereert  dat  se  acte  van  consent  van  syn  Excellencie  hebben  ende  toelatinge  van 
den  magistraet  van  den  Haegen.  Wert  verstaen  dat  men  se  sal  ontbieden  in  decleine  earner  ende 
selfshoiren,  om  daer  de  acte  te  fien.  Sy  gecommen  wesende  seggen  acte  te  hebben,  ende  toelatinge 
voor  8  ofte  10  daegen  van  den  magistraet  te  hebben,  ende  met  heur  consent  te  nemen  van  elck  per- 
foin  3  stuvers ;  exhiberen  naer  de  acte  in  forma,  wert  heur  gevraecht  waerom  sy  geen  consent  van  den 
Hove  en  hebben  versocht.  Sy  verclaeren  fulcx  niet  geweten  te  hebben  van  noode  te  wesen.  Einteleyck 
wert  verstaen  dat  se  niet  langer  als  dese  weecke  en  fallen  mogen  speelen,  ende  her  fulcx  aengeseit." 

TRANSLATION. 

Extract  from  the  Register  of  the  Resolutions  of  the  Court  of  Holland,  from  the  2nd  of  October 
1602  to  the  28th  of  March  1608.  A.  Duyck,  Clerk  to  the  Court. 

10.  May  1605.  It  is  reported  of  the  English  actors,  that  they  played  without  the  permission 
of  the  Court,  and  the  Procurator  General  is  commissioned  to  inquire  with  whose  authority  or  consent 
they  play.  They  answer  that  they  have  acted  with  the  consent  of  His  Excellency  and  the  permission 
of  the  Magistracy  of  the  Hague.  It  is  agreed  that  they  shall  be  summoned  to  the  little  saloon,  to 
hear  them  ourselves,  and  there  to  see  them  act.  When  they  have  come,  they  say  that  they  have  acted 
and  have  received  permission  from  the  Magistracy  for  eight  or  ten  days,  and  with  their  consent  to 
take  from  each  person  three  stivers.  After  they  have  exhibited  their  acting  in  form,  they  are  asked, 
why  they  had  not  endeavoured  to  obtain  consent  from  the  Court.  They  declare  not  to  have  known 
that  it  was  necessary.  Finally  it  is  agreed  that  they  shall  not  be  allowed  to  play  longer  than  this 
week,  and  that  this  shall  be  notified  to  them. 

According  to  this,  the  company  must  have  left  Holland,  and  have  returned  to  Prussia; 
for  about  September  and  October  1605,  we  meet  them  at  Elbing  and  Koenigsberg,  where 

Earl  of  Nottingham's  players,  and  in  1598  he  was  killed  by  Ben  Jonson  in  a  duel  in  Hoxton  Fields.  See  Hen- 
slowe's  Diary  p.  98.  --In  1631,  a  certain  John  Spenser  addressed  an  admonitory  letter  to  an  unnamed  Lady 
who  was  present  on  the  occasion  of  the  performance  of  the  'Midsummer  Night's  Dream'  on  Sunday,  Septemb.  27, 
1631,  in  the  house  of  John  Williams,  Bishop  of  Lincoln,  in  London.  The  letter  is  found  amongst  Bishop  Laud's 
papers  in  the  Library  at  Lambeth  Palace.  The  Bishop  of  Lincoln  and  many  persons  of  rank  who  were  present 
[at  the  play,  were  fined  by  Laud.  See  J.  P.  Collier,  History  etc.  Vol.  ii,  p.  27—36.  Has  our  catholic  player 
turned  Puritan? 


LXXX  SHAKESPEARE  IN  GERMANY. 

they  gave  several  representations  before  the  Duchess  Mary  Eleanor,  as  appears  from  the 
following  extracts  from  the  Royal  Archives  in  Kcenigsberg. 

Elbing.  Rathsrecess.     Session  vom    14.  Sept.  1605. 

"1st  beliebet  den  englischen  Comodianten  wegeh  dessen,  dafs  sie  vorgestern  einen  Erb.  Rath  zu 
Gefallen  agiret  20  Thlr.  zur  Verehrung  zukommen  zu  lassen.  Daneben  aber  auch  ihnen  zu  untersagen, 
dafs  sie  nunmehr  zu  agiren  aufhoren  sollen  in  Anmerkung  sie  gestern  in  der  Comodie  schandbare 
sachen  fiirgebracht." 

Ausgabe- Register,  fol.  127. 

"  75  Mark  vff  begehren  Meiner  gst.  Fiirstin  vnd  Frawen  etc.  der  Herzogin  in  Preussen  etzlichen 
Englischen  Comedianten,  welche  vor  Ihr  furstl.  Gnd.  agiret,  zweimal  getanzet  vnd  mit  einer  lieblichen 
Musica  vfgewartet,  gezahlt  den  3.  Octob."  [1605]. 

TRANSLATION. 

Elbing.     Decree  of  the  Council.     Session  of  the  14th  of  Sept.  1605. 

In  consideration  of  what  the  English  Comedians  acted  the  day  before  yesterday  for  the  plea- 
sure of  the  Honorable  Council,  it  is  hereby  resolved  to  award  them  a  gratification  of  20  thalers.  Further, 
seeing  that  they  yesterday  represented  disgraceful  things  in  their  comedy,  it  is  decreed  that  they  shall 
not  act  any  more. 

Register  of  Expences.    Fol.  127. 

75  Marks  at  the  desire  of  my  gracious  Princess  and  Lady  etc.  Duchess  of  Prussia,  to  some 
English  Comedians,  who  acted,  danced  twice,  and  performed  delightful  music  before  her  Princely  Grace, 
paid  the  3rd  of  Oct.  1605. 

Whether  the  company  remained  any  longer  in  East  Prussia  or  repaired  for  a  short 
time  to  the  Court  of  Berlin,  is  a  question  we  are  unable  to  decide.  At  all  events  it  must 
have  gone  to  Mecklenburg  soon  after,  for  it  appears  from  a  petition  presented  by  it  to 
the  Council  of  the  town  of  Rostock,  which  has  been  found  in  the  town-archives  and  which 
is  here  annexed,  that  in  March  1606,  the  company  had  already  been  there  some  time. 

An  E.  E.  Rath. 

Ernuheste,  Achtbare,  Hoch  vnd  Wolgelerte,  Hoch  vnd  Wolweise,  E.  E.  vnd  hw.  sem  vnsere 
gehorsame  Dienste,  mit  besonderem  fleifse  zuuor,  grofsgunstige  gepietende  liebe  Herrn, 

Fur  E.  E.  vnd  hw.  vns  bifs  dahero  bezeigte  vberaus  grofse  vnd  vilfeltige  gunst  vnd  befoderung, 
in  dem  das  wir  nun  allhie  eine  geraume  Zeitt,  von  E.  E.  v.  hw.,  grofsgunstiglich  geduldett,  vnd  vn- 
serm  geringen  vermugen  vnd  kunst  nach,  mit  vnser  Music  auch  geistlichenn  vnd  weltlichenn  Historien, 
commedien  vnd  tragedienn,  gemeiner  Stadt,  dienen  mugen,  vnd  sonsten,  Dafur  sein  wir  gegen  E.  E. 
v.  hw.  nicht  alleinn  dienstliches  hochstes  fleisses  danckbar,  sondern  wollen  dasselbe  auch  umb  E.  E. 
vnd  hw.  mit  vnserm  geringen  gebete,  vnd  Diensten,  Zuuordienen  vnd  sonsten  Zuriihmen  wissen, 

Vnd  ob  wir  also  woll  billig,  E.  E.  vnd  hw.  vber  gedachte  bezeigte  grofse  vielfeltige  gunst  vnd 
befoderung,  ferner  womitt  nicht  beschwerenn  solltenn,  weil  aber  dennoch,  vns  hiebeuohr  in  andern 
Stettenn  Da  wir  auch  gewesen,  vnsers  vorhaltens  halben  allhie,  E.  E.  vnd  hw.  vrkundt,  in  andern  be- 
nachbartten  Steten  vnd  sonstenn  furzulegen  habenn,  Alfsbitten  wir  demnach  auch  dienstliches  hochstes 
fleifses.  [weil  wir  vns  ie  ohne  ruhm  zumelden  auch  allhie  still  vnd  eingezogenn  vorhalttenn,  auch  nicht 
anders  dan  was  lieblich  vnd  wol  anzusehenn  vnd  zuhoren  gewesen,  agirt  vnd  musicirt]  E.  E.  vnd  hw. 
wollen  vber  vorige  vns  bezeigte  grosse  gunst  vnnd  befoderung,  ferner  auch  noch  in  diesem  so  grofs- 
gunstiglich erscheinen,  vnd  vnsers  vorhiltenns  halbenn,  vns  eine  vrkundt  vnter  gemeiuer  Stadt  insiegell 
grofsgunstiglich  mittheilen  vnd  zukommenn  lassenn,  vnd  wir  seinn  es  vmb  E.  E.  vnd  hw.  mit  vnsern 


SHAKESPEARE  IN  GERMANY.  LXXXI 

geringeim  Dienstenn  vnnd  sonstenn  wie  vorgemeldett  hinwider  Zuuordienenn  Zum  hochstenn  gefliefsenn, 
4)atum  Rogtogk  denn  31.  Martij   1606. 

E.  E.  vnd  hw.  gehorsame, 

Marggrefen  von  Brandenborgk  Diener 
Engelsche  Commedianten.  1 

TRANSLATION. 

To  the  most  honourable  Town  Council. 

Right  honourable,  high  and  well  learned,  high  and  well-wise  Gentlemen,  to  your  honours  and 
high  mightinesses  our  most  humble  services,  with  particular  esteem  before.  High-favouring,  commanding, 
beloved  Gentlemen,  --As  your  honours  and  high  worthies  protected  us  until  now  with  the  greatest 
and  most  exceeding  favour  and  advancement,  considering  also,  that  we  were  suffered  here  for  a  con- 
siderable length  of  time,  to  execute  our  music  and  religious  and  worldly  histories,  comedies  and  tra- 
gedies, as  far  as  our  art  would  permit,  and  serve  this  town,  for  which  we  are  not  only  indebted  and 
thankful  with  all  our  power  to  your  honours  and  high  worthies,  but  will  also  show  our  thankfulness 
by  our  humble  prayer  and  services,  and  testify  it  elsewhere  as  we  can;  and  though  we  should  not 
further  molest  your  high  worthies,  considering  all  that  high  favour  and  advancement;  but  as  in  other 
towns,  where  we  performed  before,  we  used  to  receive  a  certificate  of  our  demeanour  under  the  com- 
mon town's  seal,  we  beg  most  humbly  and  respectfully  —  [as  we  may  say,  without  glorifying  ourselves, 
that  we  used  in  this  town,  too,  always  to  live  quietly  and  retired,  and  to  execute  our  music  and  plays 
only  so  as  they  may  be  looked  at  with  pleasure  and  honesty],  —  your  honours  and  high  worthies  may 
extend  their  favour,  until  now  shown  to  us,  as  to  give  us  a  certificate  of  conduct  under  the  common 
town's  seal,  and  we  are  your  honours'  and  high  worthies'  most  humble  servants,  with  the  most  pro- 
,  found  respect.  Datum  Rostogk,  31  Martii,  1606.  Your  honours  and  high  worthies'  most  obedient, 

The  Markgrave  of  Brandenburg's  servants, 
the  English  Comedians. 

We  must  now  return  to  Holland.  On  the  8th  of  June  1606,  some  English  Comedians 
received  permission  from  the  Stattholder  to  play  for  a  few  days  in  the  Hague.  It  is  pro- 
bable that  they  also  performed  in  other  towns  of  Holland,  for  as  we  meet  with  them  again 
at  the  Hague  in  April  1607,  we  must  assume  that  they  also  passed  the  intervening  period 
in  that  country.  We  here  subjoin  the  documents  referring  to  this  subject,  which  have  not 
been  published  before,  and  which  are  taken  from  the  'Register  of  the  Resolutions  of  the 
Court  of  Holland'. 

"8.  Juny  1606.  Den  Procureur  Generael  wert  aengeseit  dat  de  Engelsche  commedianten  eenige 
daegen  sullen  mogen  speelen  volgens  't  consent  van  syn  Excellencie. 

23.  April  1607.  Wert  den  Procureur  Generael  belast  de  Engelsche  commedianten  te  verbieden 
naer  Woensdaege  toecommende  hier  in  den  Haege  niet  langer  te  speelen,  immers  tot  te  kermisse  toe- 
commende.  Den  26e"  is  heur  by  apostille  verboden  meer  te  spelen  en  den  Generael  belast  toe  te  sien. 

27.  April  1607.  Wert  den  Procureur  belast,  enz  Item  dat  hy  zal  spreecken  met  syn  Excellencie, 
ten  einde  deselve  aen  de  Engelse  commedianten  geen  consent  en  verleene  om  te  speelen  tegen  tverbot 
van  den  Raide  heur  op  gisteren  schriftelijck  gedaen." 

1  See  H.  W.  Baerensprung's  Geschichte  des  Theaters  in  Mecklenburg- Schwerin.  8vo.  Schwerin  1837,  p.  11, 
and  Albert  Colin,  Old  English  Actors  in  Germany,  Athenaeum  1850,  No.  1185,  p.  738. 

L 


LXXXH  SHAKESPEARE  IN  GERMANY. 

TRANSLATION. 

8.  June  1606.  It  is  notified  to  the  Procurator  General,  that  the  English  Comedians  shall  be 
allowed  to  play  some  days  according  to  the  consent  of  His  Excellency. 

23.  April  1607.  The  Procurator  General  is  instructed  to  forbid  the  English  actors  to  play  any 
longer  here  in  the  Hague  after  next  Wednesday  until  the  next  fair.  On  the  26th  they  are  forbidden 
to  play  by  a  notice,  and  the  Procurator  General  is  instructed  to  see  to  it. 

27.  April  1607.  The  Procurator  General  is  instructed  etc.  Item:  that  he  shall  speak  with  his 
Excellency  to  the  end  that  he  shall  not  give  the  English  actors  any  permission  to  play  against  the 
prohibition  served  to  them  yesterday  in  writing  by  the  Council. 

We  cannot  easily  believe  that  these  are  the  Brandenburg  Comedians  again,  for  it 
appears  to  follow  from  the  Rostock  Petition  that  they  had  the  intention  of  remaining  some 
time  longer  in  Mecklenburg.  It  is  indeed  possible  that  they  were  not  very  successful  at 
the  latter  country,  and  therefore  started  soon  afterwards  on  their  way  back  to  Holland,  where 
they  had  met  with  great  encouragement  only  a  short  time  before.  In  the  year  1608,  the 
Authorities  of  the  Hague  issued  a  special  proclamation  prohibiting  all  representations,  of 
whatsoever  sort  they  might  be,  as  scandalous  and  injurious  to  the  community,  so  that  there 
was  an  end  to  all  theatrical  performances  at  that  place  for  some  years. 

There  can  be  no  doubt  that  it  is  the  Brandenburg  company  which  we  meet  with 
again  in  July  1607,  offering  their  services  in  Elbing.  But  this  time  their  application  is 
refused,  on  the  ground  that  it  is  "a  tax  upon  the  citizens",  although  a  certain  Brakel,  re- 
siding in  Elbing,  probably  an  English  merchant,  interested  himself  in  their  behalf.  At  last 
they  obtained  permission  to  give  private  performances  either  in  Brakel's  house  or  else- 
where, a  permission  of  which  they  no  doubt  availed  themselves.  This  is  the  only  instance 
of  such  performances  in  private  houses,  in  connection  with  the  English  Comedians.  We 
subjoin  the  document  from  the  Koenigsberg  Archives. 

Elbing.     Session  vom  16.  Juli  1607. 

"Englandische  Comodianten  halten  heftig  an,  etiam  intercedente  Brakel  deputato,  ihnen  zu  ge- 
statten  ihre  Spiele.  Weil  es  aber  eine  Schatzung  der  Burgerschaft  ist  und  die  jetzigen  traurigen  Laufte 
solches  nicht  zugeben  wollen,  hat  ein  Erb.  Rath  beschlossen,  ihnen  es  abzuschlagen.  Doch  wofern  der 
Herr  Deputat,  oder  jemand  anders  ihres  Spiels  privatim  begehren  wiirde  in  seinem  Hause,  konne  es 
gestattet  werden."* 

TRANSLATION. 

Elbing.     Session  of  the  16th  of  July,  1607. 

The  English  Comedians  urgently  entreat  that  they  may  be  permitted  to  perform  their  plays, 
deputy  Brakel  also  interceding  for  them.  But  as  this  is  a  tax  upon  the  citizens,  and  the  present 
melancholy  state  of  affairs  will  not  permit  it,  the  Honorable  Council  has  resolved  to  refuse  their  re- 
quest. Should  however  Mr.  Deputy  Brakel  or  anybody  else  wish  them  to  perform  privately  in  his 
house,  they  have  permission  to  do  so. 

After  this  the  English  Comedians  appear  to  have  entirely  deserted  Prussia  for  some 
years.  In  the  year  1609,  the  Elector  finds  himself  obliged  to  request  the  Landgrave  Maurice 

'  Elbinger  Anzeiger  1827,  No.  99.  —  E.  A.  Hagen,  Geschichte  etc.  p.  53.  All  the  preceding  and  following 
documents  from  the  Royal  Archives  at  Kcenigsberg  are  taken  from  Mr.  Hagen's  interesting  and  important  work. 


SHAKESPEARE  IN  GERMANY.  LXXXIII 

of  Hessen  to  let  him  have  his  comedians  for  four  weeks,  that  they  might  play  at  the  festi- 
vities given  in  Berlin  on  the  occasion  of  the  marriage  of  his  brother.  (See  p.  lix.)  It 
appears  that  the  Prussian  company  had  gone  to  Austria,  for  in  the  years  1607  and  1608, 
English  Comedians  under  the  management  of  John  Spencer  performed  almost  every  day 
during  the  winter  at  the  court  of  the  Archduke  at  Gratz.1  In  November  1608  we  meet 
with  a  certain  W.  Pedel  in  Holland,  who  is  expressly  mentioned  as  an  Englishman  in  the 
minutes  of  the  Council  of  Leyden.  The  document  in  question  is  as  follows: 

"Op  te  Requests  daerby  den  voorn.  Willem  Pedel,  versochte  aen  die  van  de  Gerechte  der 
stadt  Leyden  omme  te  mogen  speelen  verscheyde  fraeye  ende  eerlicke  spelen  mettet  lichaem,  sender 
eenige  woorden  te  gebruycken,  stout  geappostileert :  Die  van  de  Gerechte  deser  stadt  Leyden  hebben 
voor  zoe  veel  in  hem  es,  den  thoonder  toegelaten  ende  geconsenteert,  laten  toe  ende  consenteren  mits 
desen  binnen  dezer  stede  inde  Kercke  vant  Bagynhoff  te  mogen  spelen  voor  de  gemeente  ende  syne 
speelen  verthoonen,  mits  dat  hy  hem  daervan  zalt  onthouden  geduyrende  t'doen  van  de  predicatien  van 
Gods  woorts,  en  dat  de  arme  Weesen  alhier  zullen  genieten  de  gerechte  helfte  van  de  incomende 
proffyten,  en  dat  zulcx  int  geheel  zullen  werden  ontfangen  en  gecollecteert  by  een  persoon  daertoe 
bij  Mren  van  de  Arme  Weesen  te  stellen  ende  committeeren.  Aldus  gedaen  op  ten  xviij  Nov.  1608. "2 

TRANSLATION. 

On  the  request  by  which  the  aforesaid  W.  Pedel  petitioned  the  authorities  of  the  city  of  lyey- 
den  to  allow  him  to  exhibit  various  beautiful  and  chaste  performances  with  his  body,  without  using 
any  words,  was  determined:  The  authorities  of  this  city  of  Leyden  have  consented  and  allowed  the 
exhibitor  to  perform  in  the  church  of  the  Bagynhoff  within  this  city,  provided  he  cease  during  the 
preaching  of  God's  word,  and  that  the  poor  orphans  here  have  half  the  profits,  and  that  they  be  re- 
ceived and  collected  by  a  person  appointed  by  the  masters  of  the  poor  orphans.  Done  on  the  18th 
November,  1608. 

In  the  year  1609  we  find  again  a  company  of  English  Comedians  at  the  Court  of  Dres- 
den, where  Christian  the  second  orders  that  they  should  receive  a  payment  of  500  florins. 
And  again  in  the  following  year,  [1610]  11  Englishmen,  who  had  acted  some  comedies 
before  the  Electoral  Lady,  received  114  florins  6  groshen.3  It  is  in  all  probability  these 
eleven  Englishmen  who  played  from  the  6th  to  the  10th  of  June  1610  at  the  festivities  held 
in  celebration  of  the  marriage  of  the  Princess  Eva  Christine  with  the  Margrave  John 
George  of  Brandenburg,  as  we  learn  from  an  unprinted  description  of  that  feast.4 

"6.  Juni  —  Und  nach  dem  Nachtessen  [wurde]  von  Engellendern  (so  hievor  auch  zue  Stuet- 
gardt  gespihlt)  ein  Comoedi  aus  dem  Amadis  agiret.  -  -  Den  9.  Nachmittag  ein  andere  Comedi  von 
obgemelten  Engellendern  gespihlt.  Sonntag  den  10.  nach  dem  Mittag-Imbifs  im  Schlofs-Hof  ein  Fecht- 
Schuel  gleich  darauf  wider  ein  Comedi  agirt." 

1  Karl  Weifs,  Die  Wiener  Haupt-  und  Staatsaktionen.    8vo.    Wien  1854,  p.  36. 

2  See  Navorscher,  Deel  III,  1853,  p.  17.     Notes  and  Queries,  Vol.  VII,  1853,  p.  114. 

3  Moritz  Fiirstenau,  Zur  Geschichte  etc.  p.  77. 

4  Beschreibung  der  Vermdhlungs-Solennitdten  Prinzessin  Even  Christinen  init  Marggr.  Joh.  Georgen  zu  Bran- 
denburg, in  Ja'gerndorf  An.  1610.  —  See  Friedr.  Carl  v.  Mosen,  Kleine  Schriften,  XI,  p.  371 — 427. 

L2 


LXXXIV  SHAKESPEARE  IN  GERMANY. 

TRANSLATION. 

June  6 And  after  supper,  a  comedy  from  the  Amadis  was  played  by  the  Englishmen  (who 

had  also  played  before  at  Stuttgart).  -  -  June  9.  In  the  afternoon  another  comedy  was  played  by  the 
above-mentioned  Englishmen.  Sunday  the  10th.  After  dinner  a  fencing-match  in  the  palace-court, 
immediately  after  which  another  comedy  was  acted. 

Of  the  performances  at  Stuttgart,  mentioned  in  the  above  passage,  there  is  no  re- 
cord extant. 

In  the  Autumn  of  the  same  year  another  company  appears  at  the  Hague.  The  above 
mentioned  prohibition  must  have  ceased  to  be  in  force,  for  by  a  resolution  passed  on  the 
24th  of  Sept.  1610,  the  Authorities  of  the  town  grant  them  permission  to  play  on  Monday, 
Tuesday,  Wednesday,  and  Thursday,  on  the  condition  of  their  paying  20  florins  to  the  use 
of  the  poor.  On  the  29th  of  the  same  month,  this  permission  is  extended  for  a  further 
period  of  eight  days. 

"Extract  uit  het  Register  der  Resolution  van  den  Hove  van  Holland,  van  den  17"  April  1608 
tot  den  10"  Mei  1617.  A.  Duyck,  Griffier. 

24.  September  1610.  Seeckere  Engelse  commedianten  wert  geconsenteert  te  spelen,  manedach, 
dinxdach,  woensdach  ende  donderdach  mits  betaelende  aen  de  diaconen  voor  den  armen  20  pond,  son- 
der  anders  ofte  langer  te  spelen  op  arbitrate  correctie." 

TRANSLATION. 

Extract  from  the  Register  of  the  Resolutions  of  the  Court  of  Holland  of  the  17th  of  April  1608 
to  the  10th  of  May  1617.  A.  Duyck,  Clerk  to  the  Court. 

24.  September  1610.  Certain  English  actors  receive  permission  to  play  Monday,  Tuesday, 
'Wednesday,  and  Thursday,  paying  20  pounds  to  the  guardian  of  the  poor,  but  not  to  play  otherwise 
or  longer  on  pain  of  punishment. 

In  Koenigsberg  the  English  actors  appeared  again  in  the  year  1611,  at  the  court  of 
Prince  Albrecht  Frederick.  They  are  probably  the  same  who  entered  the  service  of  the 
Elector  John  Sigismund  in  1611.  Here  we  meet  once  more  with  John  Spencer,  who  had 
gone  back  to  England  or  to  Holland,  and  indeed  at  the  head  of  nineteen  actors,  and  sixteen 
musicians.1  They  receive  on  the  30th  of  November  1611,  according  to  the  deed  of  their 
appointment,  720  Marks;  and  a  suit  of  clothes  is  also  made  for  them,  consisting  in  part  of  a 
cloak  of  white  English  cloth,  trimmed  with  black  silk  braid,  and  lined  with  red.  On  the  30th 
of  August  1611,  John  Sigismund  left  Berlin  for  Koenigsberg,  for  the  purpose  of  receiving  the 
investiture  of  the  Duchy,  which  was  to  take  place  on  the  15th  of  November.  He  stopped 
at  the  frontier  until  he  proceeded  on  his  journey  to  Warsaw.  The  actors  accompanied  the 
Elector  to  Ortelsburg,  and  their  dresses  were  sent  after  them  in  a  "baggage-waggon"  (Rust- 
wagen).  After  the  investiture  had  taken  place,  he  made  his  public  entry  into  Koenigsberg 
on  the  26th  of  November;  and  in  the  following  year,  a  very  grand  representation,  'The 
Turkish  Triumph- comedy'  is  given,  "the  Theatre  in  the  old  grand  saloon"  is  covered  with  red 
lining-cloth,  and  the  City  of  Constantinople  is  built  for  the  comedians.  All  sorts  of  work  are 

1  See  C.  M.  Pliimicke,  Entwurf  einer  TJieatergeschichte  von  Berlin.  8vo.  Berlin  1781,  p.  34,  and  E.  A. 
Hagen,  Geschichte  etc.  p.  48. 


SHAKESPEARE  IN  GERMANY.  LXXXV 

necessary  for  this  purpose.  For  the  preparation  of  a  cloud  "blue  body-colour  and  black  can- 
vas and  fringes"  are  required.  David  Rose,  the  court-painter,  hands  in  a  bill  for  117  marks 
.42  shillings.  The  wardrobe  is  rich  and  costly.  Blue,  red,  and  white  cloth,  gold  border,  70  ells 
of  red  silk,  50  ells  of  red  cord,  Monks'  dresses,  18  large  and  17  long  plumes,  a  sword  with 
a  gilt  hilt,  and  a  wooden  shield  are  purchased.  Four  death's  heads,  carved  work  and  turned 
work,  are  delivered  by  the  court-turner  and  two  carvers.  Fourteen  instrumentalists  have 
"assisted  in  the  comedy  of  Constantinople".  In  addition  to  their  regular  salary  the  come- 
dians received  particular  gratuities,  and  it  happened  more  than  once  that  they  had  to  be 
ransomed  out  of  the  inns  and  taverns,  John  Spencer  at  the  head  of  them.  All  these  state- 
ments are  founded  on  documents  and  accounts  in  the  Royal  Archives  at  Koenigsberg.  They 
are  printed  literally  in  E.  A.  Hagen's  'Geschichte'  etc.  p.  53 — 58.  As  Hagen's  work  was 
printed  for  private  circulation,  and  is  therefore  comparatively  little  known,  we  subjoin  those 
extracts  which  bear  on  our  present  subject,  just  as  they  stand  in  the  originals: 

"30  Mark  den  Englischen  Commedianten  welche  fur  vnserm  gnedigsten  Fiirsten  vnd  Herrn 
HEn.  Albrecht  Friederichen  &c.  eine  Commediam  agieret  vnd  getanzet,  zur  Verehrung  gezahlt  den 
23ten  Juli  (1611.)  —  720  Mark  den  Englischen  Commedianten  vf  Rechnung  der  Bestallung  an  400  Thlr. 
zu  36  Gr.  den  30.  Novemb.  1611.  --  150  Mark  den  Englischen  Commedianten  als  dieselbe  nach  Ortels- 
burg  verreiset  vf  Rechnung  den  7.  Octob.  1611.  —  (1st  ihnen  von  Churfurstl.  Gnaden  erlassen.  1612.)" 

TRANSLATION. 

30  Marks  as  a  gratuity  to  the  English  actors,  who  acted  a  comedy  and  danced  before  our 
most  gracious  Prince  and  Lord,  Henry  Albrecht  Frederick  &c.,  paid  the  23rd  of  July  1611.  —  720  Mark 
to  the  English  actors  to  the  account  of  their  salary  of  400  thalers  at  36  groshen,  paid  the  30th  of 
November  1611.  --  150  Marks  paid  to  the  English  actors  on  account,  on  occasion  of  their  travelling 
to  Ortelsburg,  the  7th  of  October  1611.  (This  debt  was  remitted  them  by  His  Electoral  Grace  in 
1612.) 

Then  follow  the  order  of  John  Sigismund  directing  that  dresses  should  be  provided 
for  the  19  English  actors,  and  16  instrumentalists,  dated  Ortelsburg,  16  Oct.  1611;  the 
answer  of  the  counsellors  that  this  has  been  done,  24  Oct.  1611,. the  list  of  the  cloths 
which  had  been  purchased,  as  also  their  destination,  and  lastly  a  list  of  different  sums 
expended  for  the  actors,  as  well  as  for  the  various  articles  necessary  for  the  performances. 
Among  them  are  the  following  items: 

"7  Mark  12  sh.  Hans  Tanapfel  Bildschnutzer  hat  4  Todtenkopfe  und  ein  Schild  zur  Comme- 
dia  geschnutzet. 

Christian  Salbert  Messerschmidt  hat  fur  die  Commedianten  ein  Schwerdt  mit  einem  verguldeten 
Gefafs  gemacht.  7.  Febr. 

1080  Mark  Johann  Spencern  Commedianten  an  600  Thlr.  zu  36  Gr.  so  ihm  noch  vf  den  von 
Ihr  Churfurstl.  Gnaden  getroffenen  Contract  restiret,  empfing  er  selbst  4.  Febr. 

124  Mark  47  sh.   Vor  Brennholz  durch  die  Commedianten  erkauft.    26.  Mai. 

6  Mark  Zins  von  18  groi'se  und  17  lange  Federbusche,  so  der  Andreas  Korner  zu  der  tiirki- 
schen  Triumph-Commosdien  geliehen.  17.  Juny. 

23  Mark  9  sh.  vor  allerlei  Holzer  Drehwerk  durch  die  Commedianten  beim  Hofdreher  bestellt, 
1.  July. 


LXXXVI  SHAKESPEARE  IN  GERMANY. 

81  Mark  33  sh.  vor  blaue  Leibfarbe  und  schwarz  Leimet  [Leinwand]  und  franczfsen,  Alles 
zur  Wolken  zu  der  Triumph-Commedia  dem  Meister  Dietrich  zahlt.  21.  Aug. 

87  Mark  39  sh.  vor  allerlei  Schnitzwerk  zu  der  Triumph-Commedia  durch  Alexander  Crause 
Bildschniitzer.  21.  Aug. 

Ill  Mark  15  sh.  vor  allerlei  Tischlerarbeit  zu  der  Triumph-Commedia  durch  Christoph  Dosin 
gefertigt.  21.  Aug. 

117  Mark  42  sh.  Dauid  Rose  Hofmaler  fur  allerlei  Arbeit,  so  er  vf  Churfurstl.  Befehl  den 
Commedianten  gefertigt.  16.  Oct. 

26  Mark  9  sh.  Auslosung  Ihr  Churfurstl.  Gnaden  Comediant  Johann  Spenser  welcher  vom 
28.  Oct.  bis  vf  den  8.  Novemb.  1612  bei  Christoph  Hertlein  gelegen. 

47  Mark  48  sh.  Auslosung  der  Churfurstl.  Comedianten  etc.    23.  Jan. 

47  Mark  48  sh.  Auslosung  der  Churfurstl.  Comodianten  welche  Anno  1612  bei  Hans  Jacob 
gelegen  etc.  13.  Marz. 

30  Ehlen  (Futtertuch)  zu  Munchs-Kleider,  noch  81  Ehlen  rott  futter  Tuch  das  teatrum  zu 
belegen  im  alten  grofsen  Saal. 

25  Ehlen  flechsen  Leimbt  [Leinwand]  den  Commodianten  zur  erbauung  der  Stadt  Constantinopel 
-  (und  noch  andere  ahnliche  Posten  zu  gleichem  Zweck). 

1613.  1229  Mark  24  sh.  Johann  Spenczern  Commoedianten  an  Seiden-Waaren  von  Heinrich 
Klehe  ausgenommen,  an  683  Thaler  a  36  Gr.  welches  ihm  in  Berlin  an  seiner  Besoldung  soil  gekiirzet 
werden." 

TRANSLATION. 

7  Marks  12  sh.  Hans  Tanapfel,  carver,  has  carved  four  death's  heads,  and  one  shield  for  the 
comedy. 

Christian  Salbert,  cuttler,  has  made  a  sword  with  a  gilt  hilt  for  the  comedians,  the  7th  of  Febr. 

1080  Marks,  being  abou.t  600  thalers  at  36  gr.  to  John  Spencer,  comedian,  balance  which  was  still 
due  to  him  on  the  contract  made  with  his  Electoral  Grace,  he  received  himself  on  the  4th  of  Febr. 

124  Marks  47  sh.  for  firewood  bought  by  the  actors,  May  26. 

6  Marks  for  the  hire  of  18  large  and  17  long  plumes  lent  by  Andrew  Ko3rner  for  the  Turkish 
Triumph  Comedy.  June  17. 

23  Marks  9  sh.  for  various  articles  turned  in  wood,  ordered  of  the  court-turner  by  the  actors. 
July  1. 

81  Marks  33  sh.  for  blue  body-colour  and  black  canvas  and  fringes,  all  for  the  cloud  for  the 
Triumph  Comedy,  paid  to  Master  Dietrich,  Aug.  21. 

87  Marks  39  sh.  for  various  carvings  for  the  Triumph  Comedy,  made  by  Alexander  Crause, 
carver.  Aug.  21. 

Ill  Marks  15  sh.  for  various  articles  of  joiner's  work  for  the  Triumph  Comedy,  made  by 
Christopher  Dosin.  Aug.  21. 

117  Marks  42  sh.  to  David  Rose,  court-painter,  for  various  works  executed  by  him  for  the 
actors,  at  the  command  of  the  Elector.  Oct.  16. 

26  Marks  9  sh.  as  ransom  of  His  Electoral  Grace's  comedian,  John  Spencer,  who  had  lodged 
with  Christopher  Hertlein  from  the  28th  of  October  to  the  9th  of  November  1612. 

47  Marks  48  sh.  as  ransom  of  the  Electoral  comedians  etc.    Jan.  23. 

47  Marks  48  sh.  as  ransom  of  the  Electoral  comedians,  who  had  lodged  with  Hans  Jacob  in 
the  year  1612,  etc.  March  13. 

30  Ells  (lining-cloth)  for  monk's  dresses,  also  81  ells  of  red  lining-cloth  for  covering  the  theatre 
in  the  old  great  saloon. 


SHAKESPEARE  IN  GERMANY.  LXXXVII 

25  Ells  of  flax  linen  for  the  comedians  for  the  building  of  the  city  of  Constantinople  --  (and 
various  other  similar  items  for  the  same  object). 

1613.  1229  Marks  24  sh.  to  John  Spencer,  comedian,  for  silk  goods  received  from  Henry  Klehe, 
part  of  683  thalers  at  36  grosh.  which  is  to  be  deducted  from  his  salary  in  Berlin. 

In  April  1613  the  Englishmen  were  dismissed,  and  received  a  letter  of  recommenda- 
tion from  John  Sigismund  to  the  Elector  of  Saxony,  dated  Grilnnig,  16  April,  1613.  It  is 
preserved  in  the  Dresden  Archives,  and  is  as  follows: 

"Es  hat  sich  gegenwartiger  Englischer  Comodiant  Johann  Spenzer,  eine  Zeit  her  in  unsern 
Diensten  aufgehalten  und  sich  in  seiner  unterthanigsten  Aufwartung  dergestalt  erwiesen,  dafs  wir  darob 
ein  gnadiges  Gefallen  getragen.  Wenn  er  aber  nunmehr  andere  Oerter  zu  besuchen  und  unter  andern 
auch  seine  Kunst  und  Comodien  in  Dresden  ansehen  zu  lassen  gemeint,  haben  wir  ihm  diese  unsere 
Commendation  mitgeben  wollen.  Ersuchen  Ew.  Lbd.,  Sie  geruhen  ihm  nicht  allein  auf  ein  Wochen 
vier  oder  mehr,  ein  solches  zu  vergonnen,  besonderem  [sondern]  ihm  auch  sonst  alle  Gnade  zu  er- 
weisen."  * 

TRANSLATION. 

Bearer  of  these,  the  English  comedian  John  Spencer,  has  been  a  considerable  time  in  our  ser- 
vice, and  in  his  humble  waiting  on  us  has  so  borne  himself,  that  we  have  derived  a  gracious  pleasure 
therefrom.  But  when  he  purposed  to  visit  other  places,  and  among  the  rest  also  to  exhibit  his  art 
and  his  comedies  in  Dresden,  we  have  wished  to  give  him  this  our  recommendation.  We  request 
Your  Highness  will  be  pleased  not  only  to  give  him  permission  to  do  so  for  four  weeks,  or  more,  but 
also  to  shew  him  all  favour  in  other  respects. 

The  company  cannot  have  remained  long  in  Dresden,  for  we  meet  with  it  in  Nurem- 
berg as  early  as  June  1613,  on  which  subject  a  contemporary  chronicle  of  Nuremberg  gives 
(Some  information. 

"1613.  Sontag  den  27.  Junj,  vnd  etliche  Tage  hernach  aufs  Eines  Erbarn  Raths  grofsgiinstigen 
erlaubnifs,  haben  defs  Churfiirsten  zu  Brandenburg  Diener  vnd  Engelische  Comoedianten  schone  Co- 
i  medien  vnd  tragodien  von  Philole  vnd  Mariane,  Item  von  Celide  vnd  Sedea,  Auch  von  Zerstorung  der 
iStatte  Troia  vnd  Constantinopel,  vom  Tiircken  vnd  andere  Historien  mehr,  neben  zierlichen  tantzen, 
Ilieblicher  Musica,  vnd  anderer  Lustbarkeit,  im  Halfsbrunner  Hof  allhie,  in  guter  teutscher  Sprach  in 
I  kostlicher  Mascarada  vnd  Kleidungen  agirt  vnd  gehalten,  hat  erstlich  ein  Person  3  Creutzer,  vnd  letz- 
1  lich  6  Creutzer  zuzusehen  geben  muefsen,  darumb  sie  ein  grofs  Volckh  ihnen  zugelauffen,  vnd  mit 

-  sich  hinweg  gebracht  haben."  2 

TRANSLATION. 

1613.    On  Sunday  the  27th  of  June  and  a  few  days  following  thereon,  with  the  gracious  per- 

"  mission  of  the  Honorable  Council,  the  Elector  of  Brandenburg's  servants  and  English  Comedians  have 

acted  and   held  beautiful  comedies   and  tragedies   of  Philole   and  Mariane,   also  of  Celide  and  Sedea, 

also  of  the  Destruction  of  the  city  of  Troy,  and  city  of  Constantinople,  of  the  Turk,   and  other  such 

histories,  besides  graceful  dancing,  lovely  music,  and  other  entertainments,  here  in  the  Hailsbrunn  Court, 

1  M.  Furstenau,  Zur  Geschichte  etc.  p.  76. 

.  2  From  a  Ms.  chronicle  of  the  city  of  Nuremberg  by  Stark.     See  Job.  Chr.  Siebenkees,  Materialien  zur 

'  Niirnbergischen  Geschichte,  Vol.  iii.  8vo.  Niirnberg  1794,  p.  52 — 54.    In  Lersner's  Chronica  der  Eeichsstadt  Frankfurt 

*  a.  M.   Fol.   Frankfurt  1706,  this  visit  of  the  English  Comedians  is  mentioned  as  having  been  paid  to  Frankfort, 
'which  is  evidently  a  mistake,  as  there  is  no  place  called  " Hailsbronner  Hof"  in  that  city. 


LXXXVm  SHAKESPEARE  IN  GERMANY. 

in  good  German  language,  in  rich  masquerade  and  costumes.  At  first  each  person  had  to  give  three 
creutzers,  and  latterly  six  creutzers  to  see  it,  which  caused  a  great  crowd  of  people  to  run  after  them 
and  to  follow  them. 

As  we  learn  from  the  same  chronicle,  English  actors  had  already  appeared  in  Nu- 
remberg the  year  before ;  but  this  was  the  company  of  the  Landgrave  of  Hesse,  which  had 
come  over  from  Cassel.  (See  p.  lix.) 

From  Nuremberg  John  Spencer  proceeded  with  his  company  to  Regensburg,  and 
played  before  the  Emperor  and  the  assembled  Diet.1  In  September  1614,  we  meet  with 
the  "Brandenburg  Comedians"  at  Wolffenbiittel  (see  p.  xxxv),  and  the  same  year  an  English 
actor  obtained  permission  'from  the  Town-Council  to  play  in  Brunswick.  He  played  on 
two  successive  evenings,  but  on  the  third  evening  had  no  audience  ("kein  Volk",  literally, 
no  people)  as  the  notice  runs,  and  the  Council  granted  him  one  thaler  as  compensation.2 
There  can  be  no  doubt  that  John  Spencer  was  the  actor  in  question. 

It  appears  that  the  Elector  John  Sigismund  could  not  get  on  very  long  without  his 
English  actors,  for  after  he  had  dismissed  one  company  in  1613,  a  new  one  is  engaged  in 
February  [March]  1614,  as  we  learn  from  a  decree  of  appointment  made  out  for  the  bro- 
thers William,  Abraham,  and  Jacob  Pedel,  Robert  Arzschar,  [Archer?]  Behrendt  Holzhew, 
[Woodhew?]  and  August  Pflugbeil.  The  first  four  received  100  florins  each,  besides  their 
board  at  court  gratis,  and  two  suits;  the  two  others  received  only  100  florins  between 
them.  The  salaries  were  to  be  paid  quarterly,  and  the  suits  to  be  made  by  the  Court- 
tailor.  The  actors  engage  "to  wait  constantly  and  with  all  faithful  diligence  on  the  Elector 
on  his  travels,  and  at  his  court,  and  to  shew  themselves  cheerful  and  willing,  and  allow 
themselves  to  be  employed  in  their  art  according  to  the  ability  of  each,  respectively,  in 
jumping,  acting,  and  other  amusements,  whenever  called  upon  to  do  so,  and  in  the  best 
way  that  they  are  able,  so  that  His  Electoral  Highness  may  take  a  gracious  pleasure 
therein."3 

This  engagement  was  not  of  long  duration,  for  as  early  as  Easter  1615,  the  brothers 
Pedel,  Holzhew,  and  Pflugbeil  were  dismissed.  But  Arzschar  remained  at  his  post  till  the 
16th  of  May  1616,  but  then  he  was  also  dismissed  with  a  sum  of  250  thalers  as  settlement 
of  his  claims.  We  have  already  met  one  of  the  brothers,  William  Pedel,  in  Holland  in 
1608.  (See  p.  Ixxxiii.) 

There  was   a  third  company  in  Holland  about  the  same  time,  for   on  the   9th  of 

1  See  Schlager,   Ueber  das  alte  Wiener  Ho/theater,  in   Wiener  Skizzen,  Vol.  iii.   8vo.   Wien. 

2  Adolph  Glaser,  GescMchte  des  Theaters  zu  Braunschweig.   8vo.   Braunschweig  1861,  p.  13. 

3  C.  M.  Pliimicke,  Entwurf  einer  Theater geschichte  von  Berlin.   8vo.    Berlin  1781,  p.  36 — 37.    The  German 
Text  of  the  above  quoted  passage   in   the   appointment   runs   as   follows:    "Den  Churfursten  jedesmal  bei  Reisen 
oder  im  Hoflager  treuen  Fleisses  zu  warten,  und  sich  in  ihrer  Kunst,  nach  eines  jeden  Geschicklichkeit  mit  Sprin- 
gen,    Spielen   und   anderer  Kurzweil,   auf  jederzeit  Begehren,    ufs  Beste  sie   es  immer   zu  Wege  bringen  konnen, 
unverdrofsen  und  willig  zu  erweisen   und  gebrauchen  zu  lafsen,   alfo  dafs   S.  C.  D.  darob   ein   gnediges  Gefallen 
tragen  konnten." 


SHAKESPEARE  IN  GERMANY.  LXXXIX 

October  1612,  some  English  actors  obtained  permission  to  play  for  fourteen  days  from  the 
authorities  at  the  Hague.1 

To  give  a  connected  account  of  the  wanderings  of  the  different  companies,  and 
especially  of  that  of  our  John  Spencer,  it  was  necessary  to  interrupt  the  chronological 
order  in  our  narrative,  and  we  must  now  revert  to  the  year  1611,  in  order  to  mention  a 
most  remarkable  incident  which  occured  in  that  year.  Unfortunately  we  are  able  to  do  little 
more  than  state  the  naked  fact  itself,  as  all  our  endeavours  to  obtain  the  document  which 
establishes  it  have  been  unsuccessful.  Landgrave  Philip  of  Butzbach,  Uncle  of  Landgrave 
George  the  second  of  Hesse  -Darmstadt,  made  several  journeys  in  North  Germany  in  the 
year  1611,  and  among  other  places  also  visited  Halle,  where  he  was  present  at  some  splendid 
banquets  at  the  Court  of  the  Administrator  of  Magdeburg,  with  which  theatrical  represen- 
tations were  connected.  In  a  letter  which  he  wrote  from  this  place,  probably  addressed 
to  his  nephew  George  the  second,  he  states  that  he  had  seen  a  German  Comedy  'The  Jew 
of  Venice'  taken  from  the  English.  ("Teutsche  Komedia  der  Jud  von  Venedig,  aufs  dem 
engelandischen.")2  It  is  hardly  necessary  to  observe  that  this  refers  to  Shakespeare's 
'Merchant  of  Venice',  as  Thomas  Dekker's  'Jew  of  Venice'  was  not  entered  in  the  Reg- 
ister of  the  Stationer's  Company  till  1653,  long  after  the  death  of  the  poet  was  never 
printed,  and  never  acted  during  the  poet's  life;  at  least  there  is  no  allusion  to  its  being 
acted  or  being  known  earlier  than  1653.  On  the  other  hand  Shakespeare's  'Merchant  of 
Venice'  was  known  by  the  title  of  'The  Jew  of  Venice';  for  under  the  date  of  July  22, 
1598,  we  find  in  the  Register  of  the  Stationer's  Company  the  following  entry:  "James  Ro- 
bertes,  A  booke  of  the  Marchaunt  of  Venyce  or  otherwise  called  the  Jewe  of  Venyse." 

Although,  as  we  shall  see  presently,  there  is  every  probability  that  at  least  one  piece 
of  Shakespeare's,  and  that  one,  Hamlet,  had  been  acted  in  Germany  long  before  this,  yet 
is  the  above  the  earliest  authentic  evidence  that  Shakespeare's  masterpieces  had  been  re- 
presented on  a  German  stage  during  the  poet's  life-time,  -  -  certainly  one  of  the  most  glo- 
rious incidents  in  the  history  of  the  German  Theatre.  Of  the  company  which  played  at 


! 

1  Register  der  Resolution  etc.  "9.  October  1612.  DEngelse  commedianten  wert  geconsenteert  14  daechen 
te  speelen,  sender  schandael  ende  sender  consequentie." 

a  This  remarkable  fact  was  first  mentioned  by  Mr.  E.  Pasque  in  the  '  Muse>  Blatter  fiir  ernste  und  heitere 
UnterhaltungJ  herausgegeben  von  Draxler-Manfred.  Vol.  I,  p.  156.  The  author  collected  his  valuable  articles  in 
this  periodical,  under  the  title  :  '  Geschichte  der  Musik  und  des  Theaters  am  Hofe  zu  Darmstadt,  aus  Urkunden  dar- 
gestellt  von  Ernst  Pasque.  Erste  Abtheilung,  Periode  von  Georg  I.  bis  Ludwig  VI.,  1567  —  1678.  8vo.  Darmstadt 
1853.  64  pp.  This  work  was  printed  for  private  circulation.  Of  the  second  part,  there  appeared  only  from  p.  65 
to  104.  The  continuation  is  to  be  found  in  the  Muse  1854,  Vol.  iii  p.  205—208,  Vol.  iv  p.  629—726.  I  applied 
to  Mr.  E.  Pasque  in  the  hopes  of  obtaining  a  copy  of  the  letter  of  the  Landgrave  Philip  of  Butzbach  which  is 
in  the  Darmstadt  Archives.  But  in  spite  of  all  the  trouble  which  Mr.  Pasque  kindly  took  in  my  behalf,  it  was 
impossible  to  obtain  access  to  the  letter,  which  unfortunately  he  had  not  copied  on  first  discovering  it,  as  the 
information  it  contained  possessed  only  a  secondary  interest  for  him  at  that  time.  Since  then  the  Darmstadt 
Archives  have  been  arranged,  and  there  are  so  many  bundles  of  papers  to  be  looked  through  to  find  the  letter, 
that  this  has  not  been  possible  as  yet.  But  the  statements  given  above  are  perfectly  authenticated,  and  the 
letter  is  undoubtedly  extant  in  the  Darmstadt  Archives. 

M 


XC  SHAKESPEARE  IN  GERMANY. 

the  Court  at  Halle,  or  any  other  circumstances  connected  with  the  theatre  there,  nothing 
whatever  is  known.  Perhaps  the  papers  referring  to  the  Court  of  the  Administrator  of 
Magdeburg  may  be  discovered  in  one  of  the  Royal  Prussian  Archives.  If  the  Exchequer 
accounts  are  still  extant,  we  may  feel  quite  certain  that  they  will  afford  ample  evidence 
that  the  English  actors  played  there  also.  It  is  our  firm  conviction  that  they  alone  can 
have  acted  the  'Jew  of  Venice'  in  Halle.1 

In  the  year  1612,  or  shortly  before,  there  was  a  company  of  English  actors  in  Brus- 
sels. They  are  alluded  to  by  Hey  wood:  "The  cardinall  at  Bruxels  hath  at  this  time  in  pay 
a  company  of  our  English  comedians."2  These  are  perhaps  the  same  players  who,  accord- 
ing to  an  entry  in  the  'Gerechts-dag-boeken'  of  the  city  of  Leyden  acted  there  in  or  about 
1614.3  English  actors  must  have  been  known  also  in  Amsterdam  in  the  year  1615,  as  appears 
from  the  following  passage  in  G.  A.  Brederode's  drama,  'Moortje'  Act  iii,  Sc.  4: 

"Ick  mach  soo  oock  by  geen  reden-ryckers  zijn:         I  To  stay  with  rhetoricians  I've  no  mind: 

Want  ditvolckjewilsteets  met  alien  menschen  gecken,  |  The  fool  they'll  play  with  men  of  every  kind, 

En  sy  kunnen  als  d'aep  haer  afterst  niet  bedecken;      j  And,  like  the  ape,  exhibit  what's  behind 

Sy  seggen  op  haer  les,  soo  stemmigh  en  soo  stijf,  With  gests  so  stiff  their  lesson  they  repeat, 


Al  waer  gevoert,  gevult  met  klap-hout  al  haer  lijf ! 
Waren't  de  Engelsche,  of  andere  uytlandtsche 
Die  men  hoort  singen,  en  soo  lustigh  siet  dantsc 
Dat  sy  suyse-bollen,  en  draeyen  as  een  tol: 
Sy  spreken  't  uyt.^aer  geest,  dees  leeren't 


You'd  swear  with  staves  their  bodies  were  replete! 
Heard  you  the  English  and  other  strangers  sing? 
Saw  you  their  jolly  dance,  their  lusty  spring? 
How  like  a  top  they  spin,  and  twirl  and  turn  ? 
And  from  the  heart  they  speak  —  ours  from  a  roll 

must  learn  .         .  4 


uyt  een  rol. ' 

A  Frankfort  versifier,  in  the  year  1615,   speaks  of  the  English  actors  in  a  less  flat- 
tering manner: 


"Die  Englische  Comedianten 
Haben  mehr  Leuht  den  Predicanten 
Da  lieber  4.  stund  stehn  horen  zu 
Dan  ein  in  die  Kirch,  da  sie  mit  Ruli 
Flux  einschlaffen  auff  ein  hart  banck, 
Dieweil  ein  stund  in  felt  zu  lang, 
Vnd  Agieren  doch  so  schlecht  sachen 
Das  sie  der  possn  offt  selbst  lachen, 


Folk  like  to  see  the  English  play, 
Far  more  than  hear  the  parson  pray; 
Four  hours  rather  stand  and  hear 
The  play,  than  one  in  church  appear, 
Which  seeming  long,  soon  peaceful  sleep 
On  oaken  bench  will  o'er  them  creep. 
And  yet  these  actors  play  such  stuff, 
They  must  themselves  oft  laugh  enough, 


1  The  Prince  who  filled  the  office  of  Archbishop  and  Administrator  of  the  Bishopric  of  Magdeburg  was 
Christian  William  of  Brandenburg,  born  28  Aug.  1587,  died  1  Jan.  1665.  He  occupied  that  place  from  1598 
to  1631.  His  wife  was  Dorothea  of  Brunswick,  born  8  May  1596,  daughter  of  Duke  Henry  Julius,  the  dramatic 
author.  The  marriage  took  place  June  16,  1615.  This  indicates  a  friendly  intercourse  between  Christian  William 
and  Henry  Julius,  which  may  have  existed  some  time  before  the  former  married  the  latter's  daughter.  If  so,  the 
players  who  acted  at  Halle  may  have  been  those  in  the  pay  of  the  Duke.  We  have  already  seen  that  it  was 
not  uncommon  for  the  Princes  to  send  their  players  to  each  other. 

a  Hey.wood's  Apology  for  Actors,  ed.  by  the  Shakespeare  Society,  p.  60. 

3  NavorscJier,  Deel  iii,  p.  17. 

4  Navorscher  and  Notes  and  Queries,  Vol.  vii,  J853,  No.  180,  April  9,  p.  361. 


SHAKESPEARE  IN  GERMANY.  XCI 


Das  siefs  Gelt  vonn  den  Leuten  bringen 
Zu  sich,  vor  so  narrische  dingen, 
Der  Narr  macht  lachen,  doch  ich  weht 
Da  ist  Keinr  so  gutt  wie  Jan  begehtt, 
Vor  dieser  zeitt  wol  hatt  gethan, 
Jestzt  ist  er  ein  reicher  Handelfsman."  1 


To  think  a  man  his  money  brings 
To  them,  to  see  such  foolish  things. 
True,  at  the  clown  we  laugh,  and  yet 
He's  not  half,  so  good  as  John,  I  bet, 
Whom  we  have  seen  here  long  ago; 
He  now  is  a  rich   John  &  Co. 


We  shall  be  justified  in  concluding  from  the  above  lines  the  presence  of  an  English 
icompariy  in  Frankfort- on -the-Maine  in  the  year  1615.  But  we  have  a  perfectly  authentic 
•account  of  a  very  numerous  company  of  English  actors  in  Cologne  in  that  same  year,  in 
la  manuscript  in  the  British  Museum  (Harl.  3888.):  "The  Evangelic  Fruict  of  the  Seraphicall 
Franciscan  Order.  Centur.  5.  Ab  Anno  Domini  1600  ad  ann.  1628.  Dublinij  elucubravit. 
•  P.  N.  Archibold  Capucinus  a°  1628."  It  is  an  account,  in  the  form  of  a  chronicle,  of  all 
Ithe  conversions  and  castings  out  of  the  devil  effected  by  the  Capuchins,  and  other  amusing 
•stories,  in  which  we  certainly  should  not  have  expected  to  find  any  matter  for  our  here- 
Itical  investigations.  And  yet  we  must  feel  truly  grateful  to  the  pious  Father  Francis  Nu- 
,  gent,  that  he  allowed  our  Thespian  friends  to  enjoy  the  good  fortune  of  returning  to 
|the  bosom  of  the  only  saving  church,  for  it  is  to  his  zeal  that  we  are  indebted  for  the 
;  knowledge  of  a  fact  of  considerable  interest  for  our  subject.  The  worthy  Capuchin  records 
I  under  the  date  of  1615,  as  follows: 

"Twentie  fowre  Stage  players,   arrive  out   of  Ingland   at  Collen:    all   Inglish    except  one  Ger- 

manian  and   one   Dutchman.     All  Protestants.     Betwixt  those  and  father  Francis  Nugent   disputation 

Lwas  begunne  and  protracted  for  the  space   of  7  or  eight  dayes  consecutively;    all  of  them  meeting  at 

Ijone  place  together.     The  chiefs   among  them   was  one  N.  Spencer,   a  proper  sufficient  man.     In  fine, 
sail  and  each  of  them  beeing  clearlie  convinced,  they  yielded  to  the  truth;   but  felt  themselves  so  drie 
land  roughharted  that  they  know  not  how  to  pass  from  the  bewitching  Babylonian  harlot  to  their  true 
I  mother  the  Catholic  church,  that  always  pure  and  virginal  sponse  of  the  lamb  "etc. 

After  this  the  narrative  proceeds  to  state  how  Friar  Nugent  preached  a  sermon  to 

| them,  and  then  follows  the  story   of  the  "one  Germanian",  who  dies   as   a  good  Catholic. 

I  We  may  conjecture  from  this,  that  the  attempt  to  convert  the  Englishmen  was  unsuccessful 

after  all.2    We   have  here  a  second  actor  of  the   name   of  Spencer.     John  Spencer,  it  will 

'be  remembered,  is  alluded  to  as  a  confessor  of  the  Catholic  faith  at  a  much  earlier  date. 

In  the  following  year,   1616,   English  actors  again   appear  in  Prussia,  and  this  time 
in  Danzig.     The  Counsel  allows  them  to  play  eight  comedies,  but  they  are  "not  to  repre- 

1  Ein  Discurfs  von  der  Frankfurter  Messe,  vnd  jhrer  vnderschiedlichen  Kauffleuten  gut  vnd  bofs.   4to.    s.  1. 
1615,  p.  8. 

2  Hunter,  New  Illustrations  of  Shakespeare.  Vol.  ii,  p.  231,   also  relates  this  story,   but  incorrectly  places 
it  in  the  year  1613  instead  of  1615.     The  Chronicle  moreover  is  continued  to  the  year  1645,  apparently  by  the 
same  hand,  although  1628  stands  on  the  title-page. 

M2 


XCII  SHAKESPEARE  IN  GERMANY. 

sent  any  unchaste  pieces"  and  are  only  to  take  three  groshen  entrance-money  for  eacl: 
person.1 

In  1615,  John  Sigismund,  the  Elector  of  Brandenburg,  had  dismissed  his  seconc 
company  of  English  actors,  and  about  1617  Squire  Hans  von  Stockfisch  (probably  a  thea- 
trical nickname)  a  favourite  of  the  Grand  Chamberlain,  Count  Adam  of  Schwartzenberg 
received  a  commission  from  the  Elector  to  procure  a  third  company  from  England  and  the 
Netherlands.2  Unfortunately  we  know  no  particulars  about  this  company.  We  can  onl} 
assert  with  safety  that  Squire  Hans  executed  the  commission  which  had  been  entrusted  tc 
him,  for  in  the  year  1620  he  addressed  a  petition  to  Count  Schwartzenberg,  in  which  h* 
begs  for  the  payment  of  his  yearly  salary,  as  also  of  1000  thalers  in  addition,  which  h< 
asserts  that  he  had  spent  in  procuring  the  foreign  actors.  The  Elector  George  William 
who  was  the  successor  of  John  Sigismund,  decrees  in  answer  to  this  under  the  date  o: 
Koenigsberg,  4 — 14  March,  1620,  that  the  arrears  shall  be  paid,  in  case  the  petitioner  can 
prove  that  he  had  really  disbursed  the  thousand  thalers  in  the  affair  of  this  company  oJ 
comedians,  "which  had  been  last  in  Berlin;"  but  as  he  had  been  credibly  informed  that  this 
was  not  the  case,  and  that  "the  certificate  given  in  his  favour  by  the  comedians,  which  he 
had  presented,  had  been  surreptitiously  obtained",  his  claim  must  be  dismissed.  It  clearly 
follows  from  this,  that  the  actors  were  no  longer  in  Berlin  in  March  1620.  On  the  other 
hand  we  gather  from  a  complaint  addressed  by  George  William  to  the  Magistrates  of  Berlin, 
and  from  the  answer  of  the  Magistrates,  that  in  1623,  "foreign  actors"  were  again  in  Berlin,3 
but  we  do  not  know  whether  they  were  Englishmen;  it  is  only  certain  that  they  were  nol 
in  the  service  of  the  Court.  George  William  was  a  pietist,  and  did  not  favour  the  theatre. 

In  1618,  at  the  command  of  the  Elector,  the  English  actors  proceeded  from  Berlin 
to  East  Prussia.  They  played  in  Elbing,  Balge,  and  Koenigsberg,  were  eighteen  in  number, 
and  had  Hans  von  Stockfisch  at  their  head.  In  the  accounts  of  the  Electoral  Court,  we 
find  the  following  entries  connected  with  their  stay  there. 

"19  Mark  Sein  vf  gnedigen  Befehl  Ihr.  Churfurstl.  Gnaden  einem  Stockfischen  welchen  Ihr 
Churfurstl.  G.  nachm  Elbing  Comoedien  (Comoedianten)  von  dannen  anhero  zu  bringen  abgefertigi 
haben  an  50  Thalern  zu  36  Gr.  gezahlt.  17.  Maerz. 

112  Mark  30  sli.  haben  Ibr  Churfurstl.  Dchl.  den  Englischen  Comoedianten  zu  den  vorhin 
empfangenen  50  Reichsthalern  nochmals  zur  Verehrung  zu  geben  gst.  beuohlen,  welche  sie  empfangen 
den  8ten  November. 

1  Loschin,  Geschichte  Danzigs.  8vo.  Danzig  1822.  Vol.  i,  p.  388.    It  is  also  mentioned  there,  that  in  1615 
two  "Brandenburg  Comedians"  were  permitted  to  give  seven  comedies,  provided  they  take  not  more  than  2  gr. 
from  each  spectator;  in  1623  the  entrance  fee  is  raised  to  4  and  in  1643  to  9  gr.  —  but  we  are  not  told  whether 
these  companies  were  English  or  German. 

2  C.  M.  Plumicke,  Entwurf  etc.  p.  34.  —  K.  Goedeke,   Grundrifs  etc.,  Vol.  i,  p.  408  wrongly  assigns  this 
event  to  the  year  1607.     Pliimicke   distinctly   says    "wenige  Jahre   vor  des  Churfiirsten  Tode"  (a  few  years  be- 
fore the  Elector's   death)   and   as  John  Sigismund   died  December  23,  1619,   the  appointment  cannot  have  taken 
place  in  1607;  besides,  the  Elector  only  succeeded  to  the  throne  in  1608. 

3  C.  M.  Plumicke,  Entwurf  etc.  p.  41—43. 


SHAKESPEARE  IN  GERMANY.  XCHI 

An  die  Oberrathe  des  Herzogthums  Preufsen.  Von  Gottes  Gnaden  Johann  Sigismund  etc. 
Vir  haben  den  Comoedianten,  welche  wie  euch  bewust,  zu  vnterscliiedenen  mahlen,  vf  vnser  gnedig- 
tes  Begehren,  in  vnserm  Gemache  zu  Konigsberg  vnd  Balge  agiret,  fur  ihre  gehapte  muhe,  eins  vor 
Jles,  zwei  Hundert  gulden  Polnisch  bewilliget,  Befehlen  euch  demnach  hiermit  gnedigst,  Ihr  wollet 
ihnen  solche  200  gulden,  aus  Vnser  Renthkammer  also  vort  entrichten  lassen  etc.  Datum  Elbing  den 
JO.  Juny  1619. 

150  Mark.  18  Englischen  Commedianten  welche  vor  Ihr  Churfurstl.  Gnd.  etzliche  Comme- 
lien  agiret,  gezahlt  den  22.  Juny  (1619)." 

TRANSLATION. 

19  Marks,  at  the  gracious  command  of  His  Electoral  Grace,  being  50  thalers  at  36  groshen, 
o  a  certain  Stockfisch,  whom  His  Electoral  Grace  sent  to  Elbing  to  bring  from  thence  the  English 
domedians,  paid  March  17. 

112  Marks  30  sh.  which  His  Electoral  Grace  has  graciously  ordered  to  be  given  to  the  Eng- 
ish  Comedians  as  a  second  gratuity,  in  addition  to  the  50  rixthalers  which  they  have  previously  received, 
'aid  November  8. 

To  the  High  Counsellors  of  the  Duchy  of  Prussia.  We,  John  Sigismund,  by  the  Grace  of 
rod,  etc.  have  granted,  once  for  all,  two  hundred  Polish  florins  to  the  actors  for  their  trouble,  who, 
s  is  well  known  to  you,  have  at  different  times  at  our  gracious  command,  acted  in  our  apartments 
t  Koenigsberg  and  Balge,  and  hereby  graciously  order  you  accordingly  to  pay  them  the  said  200  florins 
ut  of  our  treasury.  Dated  Elbing,  June  20,  1619. 

150  Marks  to  18  English  Comedians  who  acted  several  comedies  before  His  Electoral  Grace, 
>aid  June  22,  1619. 

We  have  already  seen  one  of  our  strolling  companies  in  Danzig  in  the  year  1616. 
\fter  having  been  dismissed  from  that  place,  they  appear  to  have  proceeded  to  the  neigh- 
)ouring  country  of  Poland,  but  before  commencing  this  journey,  they  must  have  played  at 
he  Archducal  Court  at  Gratz  in  Moravia.  This  is  the  second  company  we  meet  with  there. 
?rom  Poland  they  proceeded  to  Breslau,  to  the  Court  of  the  Archduke  and  Bishop  Charles, 
with  whom  they  had  become  acquainted  at  Gratz,  to  which  place  they  again  returned, 
vith  a  letter  of  recommendation  from  the  Duke  to  the  Stadtholder  of  Moravia,  Cardinal 
on  Dietrichstein.  We  gather  all  these  circumstances  respecting  their  movements  from  the 
letter  itself: 

"Dem  hochwurdigen  Fiirsten  vnserm  freundlichen  geliebten  Herrn  vnd  gutten  Freundt,  Herrn 
Frantsen  der  Heiligen  Rom.  Khirchen  des  Tituls  Sti.  Silvestri  Cardinalen  von  Dietrichstein,  Bischoven 
zue  Olmiitz,  Rom.  Kay.  May.  geheimen  Rath,  auch  deroselben  Konigreich  vnnd  Erblandern  protectori. 

Vnsere  freundtliche  willige  Dienst,  was  wir  sonsten  mehr  liebes  vnd  guethes  vermogen  zuevorn. 
Hochwtirdiger  Fiirst,  freundtlicher  geliebter  Herr  vnnd  guether  Freund,  Vnnfs  haben  an  Euer  Ldn. 
gegenwerttige  Engellandische  Comoedianten  verschrifftlichen  zue  reccommandiren,  vnd  dahin  zuebefor- 
dern  gehorsambist  angelanget,  damit  ihnen  von  E.  L.  verlaubet  werden  mochte,  in  dero  Statten  Ihre 
geschickligkheit  vnd  Comicos  actus  zue  exerciren; 

Wan  wir  vns  dan  zueruckh  wol  eryndern  konnen,  dafs  noch  bei  weilandt  vnserer  geliebsten 
Frawen  Muetter  hochehr-  vnd  Lobwiirdigsten  angedenckhens,  lebens  Zeiten,  eben  dieselbe  Personen 
zue  Gracz,  ihre  Comedien,  gancz  Erbar  vnd  zichtig,  mit  der  Vnserigen  allerseits  genedigistenn  gefallen 
vndt  begniigen  verrichtet.  An  Yezo  aber  aus  Pohln,  darin  Sy  dergleichen  bei  Hirer  Konigl.  vndt  Ldn. 


XCIV  SHAKESPEARE  IN  GERMANY. 

eczlich  Monat  Lang  exhibiret   mit  Koniglichen   recommendationen  vndt  guetten  Zeiignus,    zue  vns  an-  I 
khommen,  vndt  sich  gehorsambist  angegeben  habenn. 

Diesemnach  wir  gedachten  Comodianten,  diese  Ihnen  zue  erspriifslichen  genaden,  gemeinte  re- 
commendation, an  Euer  Ldn.  nicht  wol  vervviedern  mogen,  Ewer  Ldn.  hie  mit  freundtlichen  crsuchende, 
dieselbte  Ihnen,  mehrbemelte  Perschonenn,  zue  aller  gewogenheit,  vnd  genaigtem  willen  von  vnsert- 
wegen  wollten  freundtlichen  endffollen.  sein  lassen,  damit  Sy  demiittigst  verffuren  mochtenn,  das  vnsern 
bei  Euer  Ldn.  freundtliche  Interuentionen,  angenehmbe  vnnd  krafftighe  wiirgligkheit  gefunden,  vndt 
Sy  sich  Euer  Ldn.  hinwiederumb  freundtlichen  Zuerwiedern  wier  yeder  Zeit  gancz  willig  sein  vnd 
verbleiben  wollenn.  Geben  in  vnser  Stadt  Neil's  denn  achtczehenden  tag  Martij  im  Sechczehenden- 
huudert  vndt  Siebeuczeheuden  Jahre, 

Carl  von  Gottesgnaden  Ertz  Hertzog  zu  Oessterreich  Hertzog  zue  Burgundi  etc.  Bischoffe  zue 
Brixen  vnnd  Brefslaw  Graffe  zue  Tirol. 

Euer  Ldn.  Guthwilliger  vndt  getreuer  Freundt 

Carl  m.  p."  1 

TRANSLATION. 

To  the  Right  Reverend  Prince,  our  friendly  and  beloved  Lord  and  good  friend,  Master  Franz, 
of  the  Holy  Romish  Church,  of  the  title  of  St.  Silvester,  Cardinal  von  Dietrichstein,  Bishop  of  Ol- 
mutz,  Privy-Counsellor  of  His  Rom.  Imp.  Majesty,  also  Protector  of  the  Kingdom  and  hereditary  do- 
minions of  the  same. 

First  (we  offer)  our  friendly  and  willing  service  and  whatever  else  of  good  and  kind  we  may 
have  in  our  power.  Most  Reverend  Prince,  friendly  and  beloved  lord  and  good  friend.  English  Comedians 
bearers  of  these  presents,  have  respectfully  requested  us  to  give  them  a  written  recommendation  to 
Your  Highness,  and  to  assist  them  to  the  behoof  that  it  might  be  permitted  to  them  by  Your  High- 
ness to  practise  their  skill  and  comic  plays  in  Your  Highness'  residence. 

When  we  remember  that,  during  the  life-time  of  our  late  most  beloved  lady  mother  of  high 
and  praiseworthy  memory,  just  these  same  persons  have  performed  their  comedies  at  Gratz,  quite  ho- 
norably and  decently,  always  with  our  most  gracious  pleasure  and  satisfaction,  but  that  now  they  have 
come  to  us  with  royal  recommendations  and  good  testimonials  from  Poland,  where  they  have  some 
months  long  exhibited  such  comedies  at  their  Royal  Highnesses,  and  have  respectfully  announced 
themselves ; 

We  may  not  well  for  the  above  reasons  refuse  them  the  desired  recommendation  to  Your  High- 
ness for  your  salutary  favour,  kindly  hereby  requesting  Your  Highness  will  allow  the  same  often- 
mentioned  persons  to  be  recommended  on  our  part  to  all  favour  and  good  will,  to  the  end  that  they 
may  humbly  learn,  that  our  friendly  intervention  with  Your  Highness  may  have  found  a  powerful 
and  agreeable  realization,  and  Your  Highness  on  the  other  hand  may  count  on  our  being  at  all  times 
willing  to  make  a  friendly  return.  Given  in  our  town  of  Neiss,  the  18th  day  of  March  in  the  year 
1617. 

Charles  by  the  Grace  of  God  Archduke  of  Austria,  Duke  of  Burgundy  etc.,  Bishop  of  Brixen 
and  Breslaw,  Count  of  Tirol. 

Your  Highness' 

Well-inclined  and  faithful  friend 
Charles,  m.  p. 

1  The  original  letter  is  to  be  found  at  Briinn  in  the  Archives  of  the  States  of  Moravia,  Boczek  collection. 
No.  12265.  See  Notizenblatt  der  histor.-  statist.  Sektion  der  K.  K.  Mdhrisch-Schlesischen  Gesellschaft  zur  Be/orde- 
rung  des  Ackerbaues,  der  Natur-  und  Landeskunde,  1858,  No.  3,  a  paper  by  Jul.  Feifalik.  See  also  Elwert,  Ge- 
schichte  des  Theaters  in  Mdhren,  p.  26. 


SHAKESPEARE  IN  GERMANY.  XCV 

In  the  same  year,  some  English  actors,  under  the  management  of  a  certain  John 
Green,  played  before  the  Emperor  Ferdinand  the  second.1  They  were  probably  the  same 
company,  but  we  have  not  been  able  to  ascertain  any  particulars  respecting  them. 

In  the  summer  of  1617  we  again  meet  with  a  company  of  our  friends  at  Dresden, 
where  they  must  have  already  been  engaged  for  a  considerable  time  in  the  regular  service 
of  the  Elector,  John  George  the  first,  for  on  the  16th  of  August,  1617,  Hans  George  von 
Osterhausen,  the  Marshal  to  the  Court,  reports  to  the  Elector,  that  the  actors  have  been 
very  urgent  in  their  entreaties  for  a  leave  of  absence,  which,  in  his  opinion,  it  were  as 
well  now  to  grant  them,  "partly  because  they  have  themselves  requested  it,  and  partly 
because  if  they  remain  here  longer,  the  expence  of  their  maintenance  and  other  things  will 
be  considerable."  At  the  same  time  he  asks  for  instructions  as  to  how  much  he  is  to  pay  them 
by  way  of  settlement.  The  Elector  answers,  under  the  date  of  Honstein,  Aug.  17.  "In  as 
much  as  the  ladies  do  not  desire  that  they  should  play  any  longer  before  them,"  the 
Marshal  "may  institute  a  search  in  the  Exchequer,  how  much  in  the  year  1609  (see  p.  Ixxxiii), 
and  since  then  during  our  present  reign  at  different  times,  has  been  given  to  such  persons." 
The  result  is  to  be  communicated  to  the  Electress  Dowager,  and  her  opinion  on  the  sub- 
ject is  to  be  heard,  after  which  the  Marshal  is  to  make  such  a  settlement  with  the  actors 
"that  they  shall  have  no  ground  for  complaint."  The  Marshal  answers  under  the  date  of 
Dresden,  August  19,  that  the  Electress  has  fixed  the  sum  at  300  thalers,  which  has  ac- 
cordingly been  paid  them.  "Besides  this,  what  they  had  consumed  at  their  landlord's,  be- 
fore they  had  been  supplied  with  their  meals  at  Court,  and  whatever  else  they  had  required 
and  used  in  the  way  of  rooms,  closets,  and  beds,  amounted  to  120  florins,  which  is  also 
paid  by  the  treasury."2 

Thus  the  new  dramatic  art  had  made  its  way  through  the  whole  of  Germany,  and 
it  is  not  surprising  that  now  Germans  also  devoted  themselves  to  the  profession,  entered 
into  connection  with  the  foreign  actors,  and  formed  independent  strolling  companies.  The 
foreigners  had  now  to  support  the  competition  of  the  natives;  the  latter  had  made  them- 
selves masters  of  the  dramatic  subjects  which  had  been  introduced  by  the  former.  Then 
there  was  the  unspeakable  misery  occasioned  by  the  war,  then  just  commencing,  which  was 
destined  to  devastate  all  Germany  for  thirty  long  years.  All  these  circumstances  must  have 
contributed  to  check  the  stream  of  emigrating  English  actors,  and  although  we  often  meet 
with  strolling  companies  under  the  name  of  "English  Comedians,"  even  till  late  in  the  cen- 
tury, we  must  assume  that  in  many  cases  only  a  minority  of  the  members,  frequently  in- 
deed only  the  managers,  were  Englishmen,  and  in  many  others,  that  only  the  name  was  pre- 
1  served  as  b'eing  an  attractive  advertisement.  The  question  that  has  been  often  suggested, 
whether  it  is  conceivable  that  plays  were  performed  in  Germany  at  that  time  in  the  English 
language,  will  engage  our  attention  at  a  future  page.  It  is  sufficient  to  remark  at  present, 
that  as  we  have  already  seen  in  the  course  of  our  narrative,  Germans,  and  perhaps  Dutch- 

1  See  K.  Weifs,  Die  Wiener  Haupt-  und  Staatsactionen.   8vo.   Wien  1854,  p.  37. 

2  M.  Fiirstenau,  Zur  Geschichte  etc.  p.  77. 


XCVI  SHAKESPEARE  IN  GERMANY. 

men  also  joined  the  English  actors,  that  the  latter  only  employed  the  English  language, 
when  they  had  found  no  native  colleagues,  and  then  only  at  first,  for  as  many  English 
actors  remained  a  great  many  years  in  Germany,  there  is  nothing  extravagant  in  the  as- 
sumption that  they  gradually  made  themselves  acquainted  with  the  German  language. 

The  theatre  had  already  begun  to  be  felt  as  a  general  necessity,  and  although  the 
interest  in  it  had  somewhat  languished  during  the  war,  enough  had  been  done  to  enable 
the  actor's  art  to  maintain  its  ground  in  spite  of  all  storms.  But  it  could  not  attain  any 
fuller  development.  This  could  only  have  been  accomplished  by  permanent  stages,  the 
erection  of  which  was  of  course  prevented  by  the  fury  of  war;  and  dramatic  art,  in  which 
the  national  element  was  only  just  beginning  to  manifest  itself,  might  consider  itself  fortunate 
that  its  young  blossoms  were  not  entirely  trodden  to  death.  We  will  now  give  a  brief 
summary  of  all  that  we  further  know  respecting  those  companies  which  appeared  under 
the  denomination  of  English  Comedians. 

Two  curious  broadsides,  the  one  of  the  year  1621,  the  other  without  a  date  have 
come  into  our  hands,  undoubtedly  referring  to  a  company  of  English  Comedians  which  had 
been  staying  in  the  neighbourhood  of  Prague  and  replete  with  political  allusions  to  the  Bohe- 

•  mian  troubles.  We  cannot  arrive  at  any  further  conclusions  from  these  obscure  documents, 
a  description  of  which  we  subjoin  below.1  The  succeeding  seven  years  form  a  gap  in  the 
annals  of  the  English  Comedians.  Whether  they  actually  disappeared  from  Germany,  or  whether 
it  is  purely  accidental  that  we  possess  no  information  respecting  their  movements  during 
this  period,  is  a  question  which  we  cannot  decide.  It  is  certain,  however,  that  even  during 
these  seven  years,  members  of  the  London  stage  repaired  to  the  Continent  to  escape  from 
\  their  painful  situation  at  home.  This  is  distinctly  proved  by  a  passage  in  a  tract  published 

.in  1625,  entitled,  'The  Run-away's  answer',  in  which  some  players  and  other  persons  de- 
fended themselves  against  the  reproaches,  which  Thomas  Dekker  in  his  pamphlet,  'A  Rod 
for  Run-away s',  had  hurled  against  all  those  persons  who  had  fled  from  London  for  fear 
of  the  plague.  "We  can  be  bankrupts  (say  the  players)  on  this  side  and  gentlemen  of  a 
company,  beyond  the  sea :  we  burst  at  London,  and  are  pieced  up  at  Rotterdam." 2  It  may 
be  conjectured  therefore,  that  the  actors  who  emigrated  at  that  time,  generally  made  Hol- 

1  1)  Englischer  Bickelhering,jetzo  ein  vornehmer  Eysenhdndeler  \  mit  Axt,  Beyl,  Barten  gen  Prage  jubilierende 
Anno  |  Jetzt  Jetzt  zV  haVen  sJe  seJne  TaffeLn  Mit  BelL  VnD  Barten.  Phal.  47.  §.  6.  (1621.)  Begins:  In  einem 
Buch  auff  einem  Blat  \  Steht:  Varietas  delectat  \  Das  heist  soviel  als:  bleiben  nicht  \  Was  man  gewesen  macht 
lustig  |  etc.  Ends.:  Adeich  muss gehri lauffen  flugs  \  Ehe  dann  ich  diese  Mefs  verseum  \  Glock  drey  mu/s  ich  zu  Prage  seyn.  ] 
fol.  "With  an  engraving  between  the  title  and  the  text.  I  have  seen  another  impression  of  the  same  broadside, 
with  the  initials  "Schl."  at  the  end.  2)  Engelandischer  Bickelhdring,  welcher  jetzund  als  ein  vor-  \  nemer  Handler 
vnd  Jubilirer,  mit  allerley  Judenspiefsen  nach  FrancJcfort  \  in  die  Mefs  zeucht.  \  Begins:  Ejn  alt  Spriichwort,  besser 
verdorbn  \  Sey  zehen  mal,  dann  eins  gestorbn  \  etc.  Ends:  Jhr  seyt  fur  mich,  ich  bin  fur  euch  Jch  ho/,  ich  woll  bald 
werden  reich,  \  Vnd  euch  die  Spiefs  nicht  mehr  zutragn,  \  Sondern  auff  einem  starcken  Wagn,  \  Euch  Spiefs  zufiihrn 
mit  solcher  meng,  \  Defs  d  Welt  mufs  werden  drob  zu  eng.  \ 
fol.  "With  an  engraving  at  the  top. 

*  See  J.  P.  Collier's  Memoirs  of  the  principal  actors  in  the  plays  of  Shakespeare.  Printed  for  the  Shake- 
speare Society.  8vo.  London  1846,  p.  142. 


SHAKESPEARE  IN  GERMANY.  XCVII 

land  the  goal  of  their  travels,  and  perhaps  this  choice  was  partly  owing  to  the  presence 
there  of  King  Frederick  of  Bohemia,  previously  Frederick  the  fifth,  Prince  Palatine,  who 
had  fled  to  Holland  in  1621.  When  the  Prince  Palatine  married  the  Princess  Elisabeth, 
the  eldest  daughter  of  James  the  first,  he  remained  a  considerable  time  in  England,  and  at 
the  nuptial  festivities  Prince  Henry's  players  had  often  acted  before  him  at  Whitehall,  on 
which  occasion,  among  other  pieces,  Shakespeare's  'Much  Ado  about  Nothing',  'The 
Tempest',  'The  Winter's  Tale',  'Othello',  and  'Julius  Caesar'  were  performed.  After  the  death  of 
Prince  Henry  in  1612,  his  players  entered  the  service  of  the  Prince  Palatine,  a  proof  that 
he  was  in  some  way  connected  with  the  theatre. 

In  the  years  1626 — 27,  the  theatre  at  the  court  of  Dresden  displayed  an  unusual 
amount  of  life  and  activity,  and  we  know  the  pieces  day  by  day  which  were  performed 
by  actors,  who  called  themselves  English  Comedians.  We  shall  return  to  these  records 
in  our  next  chapter.  It  will  be  sufficient  to  remark  here,  that  the  list  of  plays, 
which  we  probably  possess  quite  complete,  comprises  almost  exclusively  wellknown 
English  plays,  and  among  them  four  of  Shakespeare's  tragedies.  The  actors  accom- 
panied the  Elector  to  Torgau,  where,  on  the  1st  of  April,  1627,  the  marriage  was  cele- 
brated between  the  Princess  Sophia  and  the  Landgrave  George  of  Hesse -Darmstadt.  They 
were  dismissed  on  the  6th  of  May.  At  Torgau  the  actors  were  lodged  in  private  houses, 
and  we  learn  their  names  from  a  list  of  their  quarters,  but  unfortunately  in  most  cases 
only  their  Christian  names. 

"Robertt:  Pickelheringk  mit  zwei  Jungen.  (Pickelhering  with  two  boys.)  Jacob  der 
Hesse.  (James  the  Hessian.)  Johann  Eydtwartt.  Aaron  der  Danzer.  (Aaron  the  dancer.) 
Thomas  die  Jungfraw.  (Thomas  the  maiden.)  Johann.  Wilhelm  der  Kleiderverwahrer. 
(William  the  keeper  of  the  wardrobe.)  Der  Engelender.  (The  Englishman.)  Der  Rothkopff. 
(The  red-haired.)  Vier  Jungen.  (Four  boys.)" 

The  Englishman  was  probably  the  manager  of  the  company;  all  the  others  may  have 
been  Germans.  Moreover  a  German  company,  one  of  the  oldest,  under  the  management 
of  a  certain  Treu,  who  visited  Berlin  repeatedly  in  the  years  1622 — 25,  is  stated  to  have 
played  at  Torgau  on  this  occasion;  and  the  first  German  opera,  Daphne,  composed  by  the 
celebrated  Henry  Schutz,  was  also  performed.1  The  next  notices  respecting  dramatic  per- 
formances at  the  Saxon  Court  refer  to  the  years  1630 — 36,  but  it  does  not  appear  whether 
English  actors  took  any  part  in  them.  In  the  beginning  of  1630,  among  other  things, 
mention  is  made  of  a  tragi-comedy,  'Isabella,  Kcenigin  von  Klein-Britannien'  ('Isabella,  Queen 
of  Little  Britain/)2 

The  actors  who  were  dismissed  from  Torgau   in  1627  may  perhaps  have  gone  the 

1  M.  Fiirstenau,  Zur  Geschichte  etc.  p.  100.  —  Amongst  the  Musicians  of  the  Elector  there  were  several 
Englishmen,  one  of  whom,  John  Price,  deserves  special  notice.  He  was  one  of  the  most  celebrated  flute-players 
of  his  time.  See  Mersenne,  Harmonie  universelle.  fol.  Paris  1636.  He  was  appointed  Musician  to  the  Elector 
on  the  23d  of  April  1629,  with  a  salary  of  300  thalers  a  year.  —  A  dancer,  George  Bentley,  is  mentioned  at  the 
same  court  in  1652,  and  an  Instrumentalist,  John  Dixon,  in  1663. 

8  M.  Fiirstenau,  Zur  Geschichte  etc.  p.  101. 

N 


XCVIII  SHAKESPEARE  IN  GERMANY. 

following  year  to  Nuremberg,  where  we  meet  with  English  Comedians  in  1628.  In  April 
they  acted  a  piece  entitled  'Der  Liebe  Siifsigkeit  verendert  sich  in  Todes  Bitterkeit' 
(Love's  sweetness  turned  into  Death's  bitterness).  We  learn  this  from  a  very  curious 
broadside,  a  sort  of  play- bill,  which  is  preserved  in  the  town-library  of  Nuremberg.  As 
it  is  the  only  document  of  the  kind  with  which  we  are  acquainted,  we  give  a  facsimile 
of  it.  (See  Plate  ii.)  We  learn  from  it  the  manner  •  in  which  the  actors  made  known  their 
arrival  in  foreign  towns.  What  piece  it  is,  that  was  designated  by  the  above  name,  is  more 
than  we  have  been  able  to  discover.  The  title  would  suit  'Romeo  and  Juliet'  remarkably 
well.1  The  same  or  some  other  company  of  English  Comedians  appeared  at  Nuremberg  in  July 
1628,  and  applied  for  permission  to  play  for  a  few  days.  They  wished  to  take  three  "batzen" 
the  price  of  admission  for  each  person,  but  on  the  second  day  the  Council  reduced  it  to 
six  creutzers,  of  which  they  only  received  the  half.  They  were  allowed  to  play  Tuesdays, 
Wednesdays,  and  Thursdays,  for  two  weeks  in  succession,  but  not  till  after  vespers  on  such 
days  as  might  be  feast-days.  After  the  expiration  of  this  time,  they  repeatedly  begged  for 
a  prolongation  of  their  licence,  alleging  that  they  had  bought  a  great  many  things,  and 
had  spent  all  their  money,  but  they  were  refused.  Several  German  companies  made  a 
similar  application  before  the  end  of  the  year,  and  with  a  similar  result.'2 

In  April  1629  we  again  meet  with  a  company  of  English  Comedians  at  the  Hague. 
The  Magistrates,  as  on  the  former  occasion,  grant  them  permission  to  play  at  the  fair,  for 
which  they  have  to  pay  30  florins  to  the  Orphan  Asylum.  On  the  23rd  of  May,  and  again 
on  the  24th  of  December  of  the  same  year,  the  permission  is  renewed,  and  at  the  same 
time  the  "Tennis-court"  in  the  present  Hoflaan  is  assigned  to  their  use.3 

An  interruption  of  ten  years  occurs  here  in  our  information  respecting  the  English 
Comedians,  and  indeed  it  would  appear  that  the  war,  which  had  now  extended  itself  over  all 
Germany,  prevented  the  companies  from  visiting  that  country.  The  evidence  of  a  contem- 
porary is  to  this  effect: 

"Diesen  Monsieur  Pickelhaering  haben  die  Englandischen  erstmalen  in  Deutschland  eingefuhret, 
da  es  noch  in  guten  Wohlstand  war,  und  jedermann  gerne  mit  Comoedien  und  anderen  Aufziigen  sich 
belustiget,  welches  nicht  mehr  viel  geschehen  wird."4 

TRANSLATION. 

This  Monsieur  Pickelhaering  was  first  introduced  into  Germany  by  the  English  while  it  was 
still  in  a  state  of  prosperity,  and  everybody  liked  to  amuse  himself  with  comedies  and  other  repre- 
sentations, which  is  now  no  longer  the  case. 

Towards  the  end  of  1639,  English  Comedians  are  again  mentioned  in  the  Koenigs- 

1  The  above  mentioned  Broadside  has  been  first  made  known  by  Mr.  F.  E.  Hysel,  in  his  valiuible  work, 
Das  Theater  in  Niirnberg  von  1612  bis  1863.  8vo.  Niirnberg  1864.   Mr.  Hysel  kindly  sent  me  the  facsimile  which 
accompanies  the  present  work. 

2  F.  L.  v.  Soden,  Kriegs-  und  Sittengeschichte  der  Beichsstadt  Niirnberg  vom  Ende  des  16ten  Jahrhunderts 
bis  zur  Schlacht  bei  Breitenfeld,  7.  — 17.  Sept.  1631.   Zweiter  Theil.    8vo.     Erlangen  1861. 

3  L.  Ph.  C.  van  der  Bergh,  '£  Gravenhaag  sche  Byzonderheden,  p.  21. 

4  Illuminirter  Reichs  vnd  Welt- Spiegel.  4to.  s.  1.  1631. 


SHAKESPEARE  IN  GERMANY.  XCIX 

berg  accounts,  for  a  sum  of  150  thalers.  They  and  their  trumpeters  were  conveyed  by 
water  in  two  boats  to  the  Electoral  Palace  at  Brandenburg.1  In  the  year  1643,  English 
Comedians  were  at  Osnabrilck,  at  the  time  of  the  Congress  for  the  negociations  between 
Austria  and  Sweden.  On  their  leaving  the  place,  the  Town-Council  gave  them  a  testimonial 
to  the  effect  that  they  had  acted  their  Tragedies,  Comedies,  and  Pastorals  to  the  satisfaction 
of  those  who  had  witnessed  them.'2 

From  November  1644  till  about  February  1645,  there  was  a  company  at  the  Hague. 
One  of  the  documents  in  an  action  brought  by  a  certain  Vincent  Wodroff,  an  English  shoe- 
maker ('Engelsch  Schoenlapper')  against  the  members  of  the  company  is  still  extant.  It 
has  never  been  published  before,  and  though  the  greater  part  of  it  does  not  bear  on  our 
present  subject,  we  subjoin  it  below.3  Five  of  the  company  are  mentioned  in  it  by  name: 
Jeremias  Kite,  William  Coeck  [Cook],  Thomas  Loffday  [Loveday],  Edward  Schottuel  [Scott- 
well],  and  Nathan  Peet  [Pate]. 

1  E.  A.  Hagen,  GescMchte  etc.  p.  60. 

2  Vehse,  GescMchte  der  geistlichen  Hofe.   Vol.  iii,  p.  102. 

3  Extract  wit  het  Register  der  Dingtalen  van  den  Hove  van  Holland,  van  den   30en  January  1645  tot  den 
laatsten  Maart  daaraanvolgende.     C.  Rollant,  Griffier. 

"Vincent  "Wodroff  contra  d'Engelsche  Commedianten. 

Op  ten  dach  van  huyden  compareerde  voor  den  Hove  van  Hollandt  Maerten  Deym,  als  procureur  van 
Vincent  Wodroff,  Engels  schoenlapper  alhier  in  den  Haghe,  requirant,  ende  exhibeerde  den  voorseiden  Hove 
zeeckere  obligatie  by  Jeremias  Kite,  William  Coeck,  Thomas  Loffday  ende  Eduart  Schottuel,  alle  Engelsche  com- 
medianten,  tsamen  ende  elcx  int  bijsonder  onder  behoorlijcke  renunchiatie  gerequireerden  op  den  vien  deser  maent 
January  voor  Notaris  ende  getuygen  gepasseert,  versoeckende  daerop  condemnatie;  waerop  Gerrit  Vinck  als 
procureur  van  de  gerequireerdens  verclaerde  volgende  zyne  speciale  procuratie  in  de  voorseide  obligatie  geex- 
presseert  dat  hy  int  voorseide  versoeck  consenteerde.  Gehoort  welck  versoeck  ende  consent  ende  gesien  dezelve 
obligatie  alhier  geinsereert. 

Op  huyden  den  vien  dach  der  maent  van  Januario  1645,  compareerden  voor  my  Ferdinande  Molckman 
openbaer  notaris  by  den  Hove  van  Hollant,  geadmitteert,  in  's  Gravenhaghe  residerende,  ende  voor  de  getuygen 
naergenoemt,  Jeremias  Kite,  William  Coeck,  Thomas  Lofday  ende  Eduard  Schottuel,  alle  Engelsche  commedianten, 
ende  becenden  tsamen  ende  elcx  van  hen  int  by  sonder  wel  ende  deuchdelyck  schuldich  te  wesen  aen  Vincent 
Wodroff,  Engelsch  schoenlapper  alhier  en  den  Haghe  woonachtich,  de  somme  van  drie  hondert  twee  Karoli  gul- 
dens drie  stuyvers,  spruytende  ter  zaecke  van  verteerde  montcosten,  camerhuur,  ende  andere  nootelycke  behoeften 
by  hen  commedianten,  met  henluyden  medegesellen,  als  Nathan  Peet  met  een  jongen  off  zynen  soon  ende  hen 
comparante  daervoor  zyluyden  hen  zyn  sterck  maeckende,  daervan  zyluyden  d'een  d'ander  wel  zullen  weten  te 
vinden,  alle  genooten  binnen  den  tyt  van  thien  off  elff  weecken  lestleeden  ende  metten  anderen  finalyck  affge- 
rekent  van  alles  tot  nu  toe,  dewelcke  voorseide  somme  van  IIP  II  guldens  III  stuyvers  zyluyden  commedianten 
te  zamen  ende  elcx  van  hen  int  bysonder  aen  den  voorseiden  Vincent  Wodroff  off  den  thoonder  van  desen  zyn 
actie  hebbende  beloven  te  betalen  altyt  t'zynen  vermanen ,  onder  tverbant  van  hen  evendieps  toebehoorende 
commediants  kleederen  alles  met  den  aenkleven  van  dien  niet  uytgesondert  ende  voorts  generalyck  hunnen  per- 
soonen  en  goederen,  roerende  en  onroerende,  hebbende  ende  vercrygende,  geen  van  dien  uytgesondert,  subjecte- 
rende  dezelve  ende  de  keure  vandien  alle  Heeren  Hovenrechten  ende  Techteren,  renunchierende  ten  desen  eynde 
van  't  beneficie  van  der  divisien  ordinis  excussionis,  den  borgen  tot  voordeel  verleent,  ende  van  alle  andere  be- 
neficien,  zoe  de  rechten  dicteren  dat  de  generale  renunchiatie  van  geender  waerden  en  zyn  ten  zy  saecke  dat  de 
speciale  voorgaen.  Ende  tot  meerder  verseeckerheyt  van  tgeene  voorseit  is  soo  hebben  zyluyden  commedianten 
tsamen  ende  elcx  van  hen  int  bysonder  onwederroepelyck  geconstitueert  Cornelis  Pieck,  Gerrit  Vinck  ende  Maerten 
Deym,  alle  procureurs  voor  den  voors.  Hove  van  Hollant  ende  Hoogen  Raede  in  Hollant  te  samen  ende  elcx 
van  hen  int  bysonder,  omme  henluyden  commedianten  te  samen  ende  elcx  van  hen  int  bysonder  inne  den  in- 

N2 


C  SHAKESPEARE  IN  GERMANY. 

From  the  14th  to  the  25th  of  July  1650,  a  company  of  'Electoral  Saxon  Comedians' 
played  some  English  comedies  in  the  Town-hall  at  Zittau.1 

On  the  10th  of  November  1650,  the  Emperor  Ferdinand  the  third  published  a  letter 
of  safe  conduct  for  a  company  of  English  Comedians,  to  the  following  effect: 

"Wir  Ferdinand  der  Dritte,  von  Gottes  Gnaden  etc.  bekennen  offentlich  mit  diesem  Brieff  und 
thuen  kund  allermanniglich :  demnach  Uns  Furweiser  dieses,  Wilhelmb  Roe,  Johann  Waide,  Gedeon 
Gellius  [Giles?],  Robert  Casse  sambt  ihren  Mitconsorten  engellandische  Comoedianten,  unterthanigst 
zu  vernehmben  gegeben,  wasmassen  sie  nunmehre  eine  ziembliclie  Zeit  hero  an  unterschiedlicher  hoher 
Potentaten  Hofe,  wie  auch  anderer  Orten  hin  und  wieder,  allerley  lustige  Spiel  vnd  kurzweilige  Co- 
moedien  offentlich  exhibirt  und  gespielt  haben,  unterthaniges  bitteud,  dais  Wir  ihnen  solche  allhie  in 
Unserer  Kaiserlichen  Residenzstadt  gleichfalls  auf  eine  Zeit  lang  offentlich  zu  agiren  gnadigste  Erlaub- 
nifs  ertheilen  wollten,  und  Wir  uns  darein  (jedoch  dass  sie  sich  dabei  aller  Unehrbarkeiten,  sowol  in 
Wort  en  als  Actionen  allerdings  enthalten  sollen)  allergnadigst  bewilliget:  -  -  als  habeu  Uns  sie  darauf 
ferneres  gehorsambst  angezeigt,  wie  dafs  sie  nunmehr  von  dannen  abzureisen,  und  besagte  ihrer  Pro- 
fession unterschiedlichen  anderen  Orten,  sowohl  in  dem  heiligen  Romischen  Reich,  als  andern  Unsern 
erblichen  Kouigreichen,  Furstenthumben  und  Landen  zu  uben  und  zu  treiben  Willens  waren,  und  dero- 
wegen  Uns  zu  desto  besserer  und  unverhinderlicherer  Fortsetzung  dieses  ihres  Vorhabens,  umb  Unser 
allergnadigste  Hilf.  Frei-  und  Sicherheit  allerunterthanigst  gebeten. 

Wann  Wir  dann  gnadigst  angesehen,  solch  ihr  diemuthig  gehorsambste  Bitt,  besonderlich  aber 
erwogen,  dais  sie  die  Zeit  iiber,  so  Wir  ihnen  alhier  in  unserer  Stadt  Wien  und  dariiber  auch  in 
unseren  Kaiserlichen  Hof  selbsten,  ihre  Comodien  zu  spielen  gnadigst  bewilliget,  sich  darinnen  also 
verhalten  dass  Uns  einige  Klag  wider  Sie  nicht  vorkommen:  als  haben  Wir  mit  wohlbedachtem  Muth, 
gutem  Rath  und  rechtem  Wissen  ihneu  obgenannten  Comodianten  diese  Kaiserliche  Gnad  gethan  und 
Freiheit  gegeben,  dafs  sie  solche  ihre  vorhabende  Profession  aller  Orten,  sowohl  in  dem  heil.  Rom. 
Reich,  als  auch  anderen  Unsereu  Erbkonigreichen,  Furstenthumben  und  Landen  unverhindert  Man- 
niglichs  exerciren,  treiben  und  sich  derselben  gebrauchen  mogen;  ihnen  auch  vor  Niemands,  wer  er 
auch  seye,  Kein  Eintrag,  Irrung,  oder  Verhindernii's  zugefiigt  werden;  jedoch  dafs  sie  sich  dabei  aller 
Ehrbarkeit  befleissen,  auch  aller  unziemblicher  Reden  und  Actionen  gewifslich  enthalten  sollen. 

Gebieten  hierauf  alien  und  jedem  Churfursten,  Fiirsten,  Geist-  und  WTeltlichen,  Pralaten,  Grafeu, 
Freyen,  Herren,  Rittern,  Knechten,  Laudniarschallen,  Landhauptleuten,  Vicedonibeu,  Burggrafen,  Vogten, 
Pflegern,  Verwesern,  Amtboten,  Schultheifsen,  Burgermeistern,  Richtern,  Riithen,  Biirgern,  Gemeinden, 
und  soust  alien  andern  Unsern  und  des  Reichs,  desgleichen  Unserer  Erbkonigreich,  Furstenthumben 
und  Landen,  Unterthanen  und  Getreuen,  was  Wiirden,  Stands  und  Wesens  sie  seynd,  erustlich  und 
festiglich  mit  diesem  Brief,  und  wollen:  dafs  sie  mehrbenannte  engellandische  Comodianten -Com- 
pagnia,  sammt  ihren  Leuten,  Pferden  und  Sachen  nit  allein  aller  Orten  und  Enden,  zu  Wasser  und 

houden  van  desen  by  den  voorseiden  Hove  van  Hollant  ende  Hoogen  Raede  in  Hollant  goetwillichlyk  te  laten 
condemneren  ende  betalen  alle  de  costen,  dewelcke  hieromme  zulien  werden  gedaen,  gelyck  te  samen  ende  elcx 
van  hen  int  bysonder  nu  en  t'allen  dagen  van  waerden  te  houden  alle  tgeene  by  heur  voorseide  Procureurs  te 
zamen  ende  elcx  van  hen  int  bysonder  hierinne  gedaen  ende  gevordert  zal  werden,  onder  tverbant  ende  renun- 
chiatie  als  hiervooren  verhaelt,  alles  zonder  bedroch.  Aldus  gedaen  ende  gepasseert  ter  presentie  van  Lambert 
Pieters  van  Outheusden,  biersteecker  ende  Salomon  de  Paris,  Engelscoopman,  woonende  alhier  in  den  Haghe, 
als  getuygen,  die  de  minute  van  desen,  beneffens  de  voorseide  commedianten  hebben  ondertheyckent.  Onder  stont 
Quod  attestor  ende  was  ondertheyckent  Ferd.  Molckeman,  Notaris  publicus. 

Heeft  tvoorseide  Hoff  de  voornoemde  gerequireerdens  gecondemneert  ende  condemnee.rt  henluyden  mits 
desen  omme  de  voorseide  obligatie  te  volcomen  ende  achtervolgen  naer  hare  forme  ende  inhoudeii.  Actum  den 
xien  January  1645.  Present,  Francken  ende  Kinschot." 

'  Pescheck,  Geschichte  von  Zittau.   8vo.   Vol.  ii,  p.  348. 


SHAKESPEARE  IN  GERMANY.  CI 

zu  Land  frei,  sicher  und  unverhindert  durchkomben,  passiren  und  repassiren,  ihnen  auch  in  alien 
Vorfallenheiten,  wo  es  vonnothen,  geziembenden  Vorschub  leisten  und  alien  geneigten  befordersamben 
Willen  erwaisen,  sondern  auch  sie  bei  dieser  Unserer  ihnen  ertheilten  Gnad  Freiheit  und  Verwilligung 
ruing  verbleiben,  deren  aller  Orten  frei  und  ungehindert  geniesseu,  gebrauchen  lassen,  darwider  mil 
beschweren,  noch  defs  jemands  Andern  zu  thim  gestatteten  in  kein  Weis  noch  weg,  das  meynen  Wir 
ernstlich. 

Mil  Urkund  dies  Briefs  besiegelt  mit  Unserem  anhangenden  Insiegel,  der  geben  ist  in  Unserer 

Stadt  Wien  den  zehenten  Monatstag  Novembris  nach  Christi Geburt  im  1650sten,  Unserer  Reiche 

des  Romischen  im  vierzehnten  etc.,  des  hungarischen  im  fiinf  und  zwanzigsten,  und  des  bohomischen 
im  drei  und  zwanzigsten  Jahre. 

(gez.)     Itymlinantl. 

(X*  SO:1  :;«..'. 

TRANSLATION. 

We  Ferdinand  the  third,  by  the  Grace  of  God  etc.  publicly  declare  and  make  known  to  all 
men  by  these  presents:  After  the  bearers  of  these,  William  Roe,  John  Waide,  Gideon  Gellius  [Giles?], 
Robert  Casse  and  their  companions,  being  English  Comedians,  had  most  humbly  given  us  to  under- 
stand how  that  they  for  a  considerable  time  past  had  publicly  exhibited  and  acted  all  sorts  of  amusing 
plays  and  entertaining  comedies  at  the  Courts  of  various  high  potentates,  as  also  at  other  places, 
humbly  beseeching  that  we  would  likewise  grant  them  our  gracious  permission  publicly  to  act  such 
things  for  a  certain  time  in  our  Imperial  residence,  and  we  graciously  granted  them  the  said  permission, 
(yet  only  so  that  they  should  entirely  refrain  thereby  from  all  improprieties  as  well  in  their  words  as 
in  their  actions)  whereas  they  have  now  further  humbly  announced  to  us,  that  they  are  desirous  of 
leaving  this  place  and  of  practising  and  exercising  their  said  profession  in  various  other  places,  as 
well  in  the  holy  Roman  Empire  as  in  our  hereditary  Kingdoms,  Principalities,  and  countries,  and  to 
this  behoof  for  the  better  and  freer  prosecution  of  this  their  intention,  have  humbly  begged  our  aid, 
permission,  and  protection. 

Graciously  regarding  this  their  humble  and  respectful  petition,  but  more  especially  taking  into 
consideration,  that  all  the  time  in  which  we  have  graciously  permitted  them  to  act  their  comedies  here 
in  our  city  of  Vienna,  and  yet  more,  in  our  Imperial  Court  itself,  they  have  comported  themselves  in 
such  manner  that  no  complaints  have  been  made  against  them;  We,  with  due  consideration,  good 
counsel,  and  right  knowledge,  have  shewn  them  this  Imperial  grace,  and  given  them  licence,  that  they 
may  without  hindrance  publicly  exercise,  carry  on,  and  use  this  their  intended  profession  in  all  places, 
as  well  in  the  Holy  Roman  Empire  as  also  in  our  hereditary  Kingdoms,  Principalities,  and  coun- 
tries, and  that  they  suffer  no  damage  intended  or  otherwise  or  impediment,  nevertheless  so  that  they 
behave  themselves  quite  honorably  therein,  and  surely  abstain  from  all  unseemly  speeches  and  words. 

Hereupon  we  order  all  and  every,  the  Electors,  Princes,  spiritual  and  secular,  Prelates,  Counts, 
Barons,  Lords,  Knights,  Squires,  Landmarshals,  Captains  general,  Vicegerents,  Burgraves,  Prefects, 
Wardens,  Administrators,  Stewards,  Bailiffs,  Burgomasters,  Judges,  Counsellors,  Citizens,  Commonal- 
ties, and  all  other  lieges  and  subjects  of  ourselves  and  of  the  Empire,  as  also  of  our  hereditary  King- 
dom, Principalities  and  lands,  of  whatsoever  dignity,  rank,  or  character  they  may  be,  seriously  and 
solemnly  by  this  letter,  and  decree:  that  they  not  only  allow  the  often-mentioned  company  of  English 
Comedians,  together  with  their  people,  horses,  and  effects  to  pass  and  repass  at  all  places,  by  water 

1  As  we  do  not  possess  a  literal  transcript  of  this  document,  we  are  obliged  to  print  it  from  a  text 
published  by  Mr.  J.  M.  Schottky  in  Unterhaltungen  fur  das  Theater  -  Publikum,  herausgegeben  von  Aug.  Lewald. 
8vo.  Miinchen  1833,  p.  135,  where  the  orthography  is  modernised.  See  also  Der  Freimiithige.  (A  Periodical.) 
Berlin  1833,  No.  144. 


CII  SHAKESPEARE  IN  GERMANY. 

and  by  land,  freely,  safely,  and  without  hindrance,  and  in  all  emergencies  where  it  may  be  necessary, 
afford  them  all  convenient  aid,  and  render  them  all  assistance  and  good  will,  but  also  allow  them  quietly 
to  enjoy  this  grace,  freedom,  and  permission  granted  to  them  and  to  use  the  same  at  all  places  freely 
and  without  hindrance,  nor  complain  against  the  same,  nor  allow  others  to  do  so  in  any  manner  or 
wise:  this  is  our  serious  will. 

In  Witness  of  this  letter,  sealed  with  our  seal  attached  thereto,  given  in  our  City  of  Vienna 
the  tenth  day  of  the  month  of  November  in  the  sixteen-hundred  and  fiftieth  year  after  the  birth  of 
Christ,  in  the  year  of  our  sovereignty,  the  fourteenth  of  the  Roman  Empire,  the  twenty-fifth  of  the 
Kingdom  of  Hungary,  and  the  twenty-third  of  the  Kingdom  of  Bohemia. 

(signed)  Ferdinand. 
.  V  •  ;/i  :J  (L.  S.) 


":,''.'•.  -This  •  ^Gbftrpdny  was  at  Prague  the  following  year,  and,  in  a  memorial  addressed  to 
the  Royal  Statholder  and  dated  the  15th  of  December  1651.  complained:  "That  at  the 
lately  issued  gracious  prohibition  of  your  Most  Noble  Excellency  and  Grace  they  have 
ceased  to  act,  and  in  as  much  as  the  maintenance  of  the  company  costs  a  great  deal  they 
have  incurred  no  small  expense,  thus  besides  this,  a  great  part  of  their  clothes  and  pro- 
perty had  been  previously  stolen  and  lost."  In  order  to  be  able  to  bear  these  misfortunes 
more  easily,  the  travelling  artists  beg  to  be  allowed  to  play  also  the  next  four  days  of 
Advent,  and  declare  in  conclusion,  that  formerly  at  Vienna,  they  had  "exercised  their  pro- 
fession" even  during  Lent,  before  Cardinal  von  Dietrich  stein  and  the  Archduke  Leopold  of 
Austria.  A  few  days  later,  after  their  request  had  been  granted,  they  apply  for  permission 
to  exhibit  their  performances  and  to  act  for  three  weeks  longer  after  the  next  Christmas 
holidays,  alleging  their  approaching  departure  for  Vienna  as  a  reason  for  their  request, 
remarking  by  the  way,  "in  consideration  that  two  masters  among  our  company  are  devoted 
to  the  Roman  Catholic  religion,  and  that  we  in  other  respects  also  use  all  decency  both 
in  words  and  actions." 

On  the  21st  of  July  1652,  a  certain  John  Bosslin  or  Gosslin  of 'Basle  advised  that 
permission  should  be  given  to  the  English  players  "to  act  their  comedies."  The  request 
was  granted  for  fourteen  days,  but  only  on  condition  that  they  did  not  take  more  than 
two  shillings  for  admission  from  each  person.  Upon  this,  on  the  18th  of  August,  the 
company  offered  in  honour  of  their  gracious  masters  "to  hold  a  curious  comedy,  if  they 
were  only  informed  of  the  day  and  the  time."  The  Council  agreed,  fixed  the  following 
day  at  three  o'clock  for  the  commencement  of  the  play,  left  it  to  their  chief  officers  to 
award  such  "gratuity"  to  the  company  of  actors  as  they  might  deem  proper,  and  further, 
granted  the  company  permission  to  perform  comedies  for  one  week,  but  nothing  objec- 
tionable. 

Encouraged  by  these  first  performances  in  Basle,  Joris  Jolifus  "English  and  Roman 
Imperial  Comedian"  sent  an  application  from  Strasburg  to  the  Council  of  Basle  in  the  be- 
ginning of  1654,  with  the  tempting  assurance  "that  with  his  well-practised  company,  not 
only  by  means  of  good  instructive  stories,  but  also  with  repeated  changes  of  expensive 
costumes,  and  a  theatre  decorated  in  the  Italian  manner,  with  beautiful  English  music  and 


SHAKESPEARE  IN  GERMANY.  GUI 

skilful  ("rechten")1    women"  lie  would  give   universal  satisfaction  to   the   lovers  of  plays. 
In  spite  of  all  these  fine  promises,  the  request  was  refused. 

The  English  actors  could  never  obtain  permission  to  perform  in  Zurich.  The  pro- 
tocol of  the  Council  says  "they  were  simply  refused  permission".  Texts  from  the  Scrip- 
tures, passages  from  the  Fathers  and  modern  instances  were  cited  against  this  love  of  play- 
going,  and  it  was  proved  that  sometimes  on  days  when  plays  had  been  performed,  thun- 
derstorms had  arisen  when  the  sky  was  clear  and  had  destroyed  both  buildings  and  fruit, 
fires  had  broken  out  and  could  hardly  be  extinguished,  and  persons  who  had  played  the 
devil  had  never  been  happy  afterwards.  2 

The  above-mentioned  Joris  Jolifus  is  undoubtedly  the  same  person,  who  under  the 
name  of  George  Jeliphur,  English  comedian,  received  15  florins  in  Vienna  on  the  15th  of 
May  1653  "for  acting  a  comedy  with  his  colleagues  before  their  Majesties".  3 

At  Windsheim  on  the  Maine,  on  the  9th  of  March  1656,  "the  tragedy  of  Charles 
Stuart  the  English  King,  how  he  was  taken  prisoner  by  his  parliament,  condemned,  and  at 
last  beheaded  by  the  axe",  was  played  "by  English  comedians".  4  In  the  course  of  the 
same  year,  some  English  Comedians  came  to  Dordrecht  in  Holland. 5 

In  1659,  a  certain  Joseph  Jori  appears  at  Vienna,  who  calls  himself  an  "English 
and  Heidelberg  comedian",  and  offers  with  his  company  to  represent  "such  notable  comedies 
and  tragedies  as  that  the  like  had  never  been  seen  in  Germany  before,  or  ever  acted  by 
others".  The  Council  reports  on  his  petition  to  the  government,  and  is  of  opinion  that 
"although  one  cannot  derive  any  good  from  such  comedies,  but,  as  is  well  known,  idleness 
and  scandal  of  all  sorts  are  only  increased  by  them,  moreover  money,  which  any  how  is 
very  scarce  at  present,  is  taken  out  of  the  country,  we  leave  it  to  Your  Grace's  pleasure 
to  decide  whether  Your  Grace  will  advise  His  Imperial  Majesty,  that  the  petitioner  may 
perhaps  be  allowed  to  practise  his  performances  next  yean  during  the  Carnival,  or  whether 
the  same  shall  be  dismissed  altogether".  6 

From  the  llth  of  April  1660,  the  English  comedians  play  again  in  Zittau,  and  in- 
deed four  times  with  the  most  clamorous  applause. 7 

As  late  as  1683,  Grimmelshausen,  the  author  of  the  celebrated  'Simplicissimus'  makes 
mention  of  the  English  players  in  his  'Wonderful  Birdsnest'.  "At  that  time,  a  company  of 
English  actors  had  arrived  in  the  town,  who  wanted  to  return  home  from  thence,  and  were 
only  waiting  for  a  fair  wind  in  order  to  sail.  I  obtained  from  them  a  terrible  devil's  mask  etc."  8 

1  This  is  one  of  the  earliest  notices  of  women  performing  on  the  German  stage. 

2  Anzeiger  fur  Kunde  der  deutschen  Vorzeit.  1855,  p.  231.    An  article  by  Meyer  von  Knonau.    From  the 
Municipal  Minutes  of  the  city  of  .Basle. 

3  Karl  Weifs,  Die   Wiener  Haupt-  und  Staatsactionen,  p.  36. 

4  Arcliiv  fur  Geschichte  und  Alterthumskunde   des   Obermainkreises.   Vol.  i,   part  1.    8vo.     Bayreuth  1831. 
From  a  Ms.  chronicle  of  the  city  of  Windsheim. 

3  Navorscher,  Deel  iii,  p.  17. 

6  Schlager,   Wiener  Skizzen  aus  dem  Mittelalter.   Neue  Folge.    8vo.   Wien  1839,  p.  252. 

7  Pescheck,  Geschichte  von  Zittau.   Vol.  ii,  p.  348. 

8  (H.  J.  Christ,  v.  Grimmelshausen),   Des  wunderbarlichen  ...   Vpgel-Nestes  fernere   Fortsetzang   [Anderer 


CIV  SHAKESPEARE  IN  GERMANY. 

Similar  notices  occur  at  this  time  and  even  later,  but  possess  comparatively  little 
interest  for  us,  as  the  designation  of  the  companies  and  the  pieces  they  performed  as 
English  is  only  a  reminiscence,  and  can  no  longer  be  referred  with  certainty  to  any  real 
English  origin.  It  is  indeed,  a  remarkable  fact,  and  a  proof  how  deeply  the  English  Theatre 
had  taken  root  among  the  people,  that  in  order  to  obtain  from  them  a  welcome  reception, 
it  was  considered  necessary  to  retain  such  designations  at  that  period  of  deep  humiliation 
for  Germany  after  the  Peace  of  Westphalia,  when  the  French  disregard  of  nature,  which 
had  corrupted  German  'morals  and  manners,  had  also  taken  possession  of  the  stage. 


CHAPTER  V. 

We  have  not  as  yet  been  able  to  make  more  than  a  mere  occasional  mention  of 
the  acting  stock  of  the  English  Comedians;  it  is  now  time  however  that  we  should  speak 
more  at  length  of  the  pieces  by  which  the  transformation  of  the  German  stage  was  effected. 
Hans  Sachs  had  already  adopted  an  English  subject  for  one  of  his  best  pieces;  at  a  later  pe- 
riod Henry  Julius  and  Jacob  Ayrer  wrote  almost  exclusively  after  English  models,  which  had 
been  brought  them  by  the  English  players ;  and  at  the  Courts  of  Cassel,  Dresden  and  Berlin  we 
have  seen  English  taste  exercising  a  preponderating  influence,  and  subjects  taken  from  English 
history  represented  on  the  stage.  With  the  increasing  number  of  English  companies  which 
occurred  in  the  beginning  of  the  seventeenth  century,  English  subjects  began  to  prevail  upon 
the  German  stage,  and  a  number  of  these  pieces  has  been  transmitted  to  us  by  means  of  a 
collection  of  'English  comedies  and  tragedies'  printed  in  1620,  and  professing  to  be  the 
acting  library  of  the  English  Comedians.  But  however  important  this  collection  may  be  as  a 
speaking  evidence  of  the  influence  of  the  English  actors  in  effecting  a  transformation  of  the 
German  stage,  it  cannot  convey  to  us  any  conception  of  the  dramatic,  art  of  the  actors 
themselves.  It  is  rather  an  evidence  of  the  manner  in  which  English  subjects  at  that  time 
were  remodelled  under  German  hands;  and  even  in  this  respect  its  evidence  is  only  of 
limited  importance.  For  we  have  to  do  here  with  the  adaptations  of  uneducated  specula- 
tors, whose  object  was  to  spoil  the  market  for  the  English,  and  to  appropriate  their  sub- 
jects for  the  benefit  of  German  companies,  who  had  begun  to  compete  with  the  English 
at  an  early  period.  It  is  impossible  to  imagine  for  a  moment  that  the  English  actors  them- 
selves made  this  collection,  as  has  often  been  asserted.  This  supposition  is  principally 
based  on  a  false  interpretation  of  the  concluding  passage  of  the  preface,  which  is  as  follo\Ys: 

"As  then  in  our  times  the  English  Comedians,  partly  by  their  pretty  inventions, 
partly  by  the  gracefulness  of  their  gestures,  often  also  by  their  elegance  in  speaking,  obtain 
great  praise  from  persons  both  of  high  and  low  condition,  and  thus  active  clever  minds 
take  a  delight  in  and  a  fancy  for  such  inventions,  to  exercise  themselves  therein,  therefore 

Theil].  8vo.  s.  1.    Gedruckt  Im  Jahr  1683,  p.  579.  —  See  also  the  same  work  in  A.  v.  Keller's  edition  of  Grim- 
melshausen's  Simj)Ucissimus,  Vol.  iv.    8vo.    Stuttgart  1862,  p.  654. 


SHAKESPEARE  IN  GERMANY.  CV 

have  we  been  desirous  to  gratify  them  in  this  matter,  and  to  print  and  publish  these  co- 
medies and  tragedies  for  their  benefit;  and  as  we  shall  perceive  that  they  are  agreeable 
and  acceptable  to  them,  more  of  the  same  shall  soon  follow  them.  In  the  mean  time  we 
hope  they  may  be  willing  to  make  good  and  profitable  use  of  these,  and  be  contented 
with  them."1 

The  sentence  "therefore  have  we  been  desirous  to  gratify  them  &c"  has  been  referred 
to  the  actors,  but  both  this  sentence  and  all  that  follows  refer  to  the  "minds"  which  take 
a  delight  in  such  "inventions,"  which,  strictly  considered,  involves  a  confession  of  piracy. 
It  is  almost  impossible  that  the  foreigners  should  ever  have  thought  of  publishing  these 
pieces  to  satisfy  the  curiosity  of  the  public,  when  that  very  curiosity  was  precisely  the 
most  powerful  feeling  which  attracted  the  public  to  their  performances.  There  is  moreover 
abundant  internal  evidence  to  shew  that  these  pieces  are  not  an  authentic  text,  but  have 
been  merely  taken  down  in  a  hurry  from  the  mouths  of  actors.  In  many  places  the  dia- 
logue breaks  off  abruptly  with  an  '&c.',  without  the  sentence  coming  to  an  end,  or  its  mean- 
ing being  clear,  —  a  striking  proof  that  the  writer  either  did  not  catch  the  conclusion, 
or  did  not  understand  it.  Sometimes  also  there  is  a  confusion  among  the  characters,  as 
for  instance  in  'Titus  Andronicus',  which  is  a  strong  argument  in  favour  of  our  view.  We 
possess  therefore  in  this  collection  nothing  but  the  subjects  of  the  pieces  which  had  been 
brought  over  by  the  English  players,  not  the  pieces  themselves  in  the  form  in  which  they 
were  played.  So  far  from  it  indeed,  the  pieces  had  been  corrupted  by  rude  hands  to  such 
an  extent,  that  hardly  the  mere  skeleton  was  left,  and  it  is  not  consistent  therefore  either 
with  justice  or  sound  criticism  to  attempt  to  draw  any  conclusions  from  these  pieces  re- 
specting the  theatrical  merits  of  the  English  Comedians.  If  we  allow  that  the  English  brought 
these  pieces  to  Germany,  as  indeed  we  must,  why  should  they  have  put  them  on  the  stage 
in  such  a  cruelly  mutilated  state?  Or  are  we  perhaps  to  form  such  a  very  low  estimate 
of  the  German  spectators  at  the  courts  and  elsewhere,  as  to  assume  that  the  actors  were 
obliged  to  banish  all  poetry  from  their  plays,  in  order  to  adopt  them  to  the  intellect  of 
their  audience?  But  even  if  we  would  place  the  intellectual  level  of  the  educated  classes 
of  those  times  so  very  low,  —  which  we  have  no  reason  to  do,  -  -  we  should  still  have 
to  seek  elsewhere  for  an  explanation  of  the  manner  in  which  these  pieces  have  been 
treated;  for  the  actors  might  always  have  felt  quite  sure  of  exciting  a  sufficient 
interest  in  their  audience  by  the  purely  external  incidents,  by  what  we  call  plot  and  action, 
and  need  never  have  taken  the  trouble  of  recasting  their  pieces  in  another  form.  If,  again, 

1   The  German  Text  of  the  passage  runs  as  follows:  "Wann  dann  zu  vnsern  Zeiten  die  Englischen  Co- 

inoedianten,  theils  wegen  artiger  Invention,  theils  wegen  Anmuthigkeit  jhrer  Geberden,  auch  offters  Zierligkeit  im 

Reden  bey  hohen  vnd  Niederstands  Personen  mit  grosses  Lob  erlangen,    vnd  dardurch  viel  hurtige  vnd  wackere 

Ingenia  zu  dergleichen  inventionen  lust  vnd  beliebung  haben,  sich  darin  zu  iiben,  Also  hat  man  jhnen  hierinnen 

•  willfahren,    vnd  diese  Comoedien   vnd  Tragedien  jhnen  zum  besten  in  offentlichen  Druck  geben  wollen,   da  man 

nun  vermercken  wird,  dafs  sie  jhnen  lieb  vnd  angenehmb,  sollen  derselben  bald  inehr  darauff  folgen,  vnter  dessen 

?  wollen  sie  diese  niitzlich  vnd  wol  gebrauchen,  vnd  jhnen  gefallen  lassen." 

O 


CVI  SHAKESPEARE  IN  GERMANY. 

we  assume  that  the  collection  altogether  does  not  contain  the  pieces  which  the  English 
Comedians  had  acted,  and  that  the  title  and  preface,  which  assert  this,  were  only  put  out 
as  a  bait,  the  recasting  of  these  English  subjects  would  still  only  have  been  possible  on 
the  supposition  that  the  editors  had  the  printed  English  pieces  before  them,  —  and  then 
this  corruption  and  mutilation  are  quite  inexplicable.  There  remains  therefore  no  other 
alternative  than  that  at  which  we  have  hinted  above:  illiterate  scribes  wrote  down  from 
memory  what  they  had  heard  from  the  actors;  the  skeleton  of  the  outward  incidents  which 
had  remained  in  their  memory  was  then  filled  up  with  a  dialogue  of  their  own  compo- 
sition, and  in  this  manner  pieces  were  fabricated,  which  contained  nothing  more  of  the 
originals  than  the  mere  outline. 

A  direct  proof  of  the  correctness  of  this  view  is  to  be  found  in  the  fact,  that  in 
almost  all  these  pieces  certain  stereotype  phrases  are  constantly  recurring,  indeed  whole 
scenes  have  been  transferred  from  one  piece  to  another.  Some  of  the  jokes  and  tricks  of 
the  clown  are  repeated  in  the  comic  scenes  of  the  different  pieces.  The  clumsy  hand  of 
these  workmen  has  moreover  quite  obliterated  all  traces  of  higher  art  in  the  dramatic 
treatment,  in  which  the  worst  English  pieces  of  that  period  far  surpassed  the  best  German 
ones,  and  has  brought  these  pieces  down  to  the  level  of  the  contemporary  German  pro- 
ductions. Their  want  of  skill  appears  most  strongly,  in  their  utter  ignorance  of  dramatic 
combination.  There  is  no  inward  connection  among  the  parts;  we  see  a  succession  of 
moving  incidents,  adventures  of  all  sorts,  intended  to  excite  the  interest  of  the  spectators, 
to  gratify  their  curiosity  and  their  love  of  spectacle,  or  to  tickle  their  risible  muscles,  but 
all  these  incidents  are  merely  placed  side  by  side  without  any  internal  unity,  and  it  is  left 
to  the  spectator  to  form  his  own  picture  of  what  is  going  on  in  the  minds  of  the  persons 
concerned.  The  latter  always  appear  in  the  climax  of  some  affection,  either4  joy  or  pain, 
anger  or  despair.  The  language  has  its  ever-recurring  stereotyped  forms.  The  characters 
say:  "Now  will  I  do  this,"  and  afterwards  "Now  I  have  done  that."  The  real  dramatic 
action,  even  when  brought  with  all  its  details  before  the  eyes  of  the  spectators,  as  for 
instance,  the  throat -cutting  business  in  Titus  Andronicus,  must  also  be  spoken  of  as  hav- 
ing been  done;  —  the  drama  could  never  entirely  emancipate  itself  from  the  form  of  nar- 
rative.1 It  is  impossible  that  the  English  actors,  who  must  have  been  acquainted  with  the 
stage  of  their  native  country,  could  ever  have  acted  in  that  way.  But  that  illiterate  Ger- 
mans, such  as  the  editors  of  the  'English  Comedies  and  Tragedies',  should  have  ignored 
all  the  deeper  significance  of  these  pieces,  and  should  have  attended  only  to  the  outward 
incidents,  cannot  be  regarded  as  anything  extraordinary,  when  we  consider  the  productions 
of  the  German  dramatic  muse  of  that  period.  That  the  English  actors  offered  something 
better  than  what  was  so  highly  lauded  in  those  collections  as  their  property,  appears  at 
once  from  the  intellectual  impulse  which  cultivated  minds  received  from  them.  Valentin 
Andreae,  who  wrote  between  the  years  1602  and  1620,  composed  two  Latin  plays,  in  order, 

1  See  Ed.  Devrient,  Geschichte  etc.     Vol.  i,  p.  165. 


SHAKESPEARE  IN  GERMANY.  CVII 

as  he  himself  says,  to  compete  with  the  English  Comedians. l  A  similar  confession  is  made 
by  John  Rhenanus,  a  physician  who  had  travelled  in  England,  and  who  since  1610  had 
been  in  the  service  of  the  Landgrave  Maurice  of  Cassel,  to  whom  in  1613  he  dedicated 
a  comedy  entitled  'The  battle  of  the  senses'.  He  says  in  his  preface,  that  among  the 
writers  and  performers  of  comedies  of  that  time,  the  English  maintained  the  first  place 
as  regards  both  composition  and  action;  that  they  understood  how  to  use  prose  and  verse 
alternately,  according  to  the  nature  of  the  subject,  and  that  the  actors  were  not  ashamed 
to  receive  instructions  from  the  poets  &c;  that  they  (the  Germans)  should  endeavour  to 
emulate  them.  He  had  now  ventured  to  make  this  crude  attempt,  and  begged  Maurice's 
judgment  of  it,  which  had  more  weight  with  him  than  a  thousand  others.2 

John  Cam.  Merck  in  the  preface  to  his  version  of  the  Latin  piece  'Beel',  by  Xystus 
Betulius,  which  he  had  put  into  verse,  also  speaks  of  the  English  players  in  terms  of 
praise.  He  says  that,  to  confess  the  truth,  he  was  by  no  means  dissatisfied  with  the  man- 
ner of  the  English  actors,  but  that  in  his  new  version  he  had  been  anxious  to  follow  the 
old  traditional  custom  rather  than  his  own  taste.3  It  is  true,  Gumpelsheimer,  in  his  work 
published  in  Strassburg  in  1612,  in  which  he  recommends  the  academicians  to  frequent 
the  theatres  on  account  of  the  very  great  advantage  to  be  derived  from  them,  does  not 
mention  the  English  players  by  name,  but  it  is  clearly  the  English  whom  he  means  when 
he  says,  that  for  invention  and  representation  they  surpass  everything  that  had  been  seen 
in  Germany,  up  to  that  time.4  We  should  undoubtedly  find  a  great  many  similar  favour- 
able judgments  respecting  the  performances  of  our  strollers,  if  we  were  to  ransack  the 
literature  of  the  times  for  that  purpose. 

As  the  collection,  in  question  possesses  great  interest  with  reference  to  our  subject, 
we  shall  now  proceed  to  give  a  description  of  it. 

Title:  "Engelische  Comedien  vnd  |  Tragedien  |  Das  ist:  j  Sehr  Schone,  |  herrliche  vnd 
aufserlesene,  I  geist-  vnd  weltliche  Comedi  vnd  |  Tragedi  Spiel,  Sampt  dem  Pickelhering, 
welche  wegen  jhrer  artigen  |  Jnventionen,  kurtzweilige  auch  theils  |  warhafftigen  Gefchicht 
halber,  von  den  Engellandern  j  in  Deutschland  an  Koniglichen,  Chur-  vnd  Furft-  lichen  Hofen, 
auch  in  vornehmen  Reichs-  See-  vnd  Handel  Stadten  feynd  agiret  vnd  gehalten  |  worden, 
vnd  zuvor  me  im  Druck  aufs-  |  gangen.  |  An  jetzo,  |  Allen  der  Comedi  vnd  Tragedi  lieb- 


1  The  two  Latin  plays  alluded  to  are  'Esther'  and  'Hyacinthus'.  See  Joh.  Val.  Andrea  Dichtungen.  Svo. 
Leipzig  1786,  introd.  p.  xxxii,  and  also  his  autobiography:  Selbstbiographie  Joh.  Val.  Andrea,  herausgegeben  von 
Seybold.  Svo.  Winterthur  1799. 

*  The  comedy  has  never  been  printed.  The  MS.  is  in  the  Electoral  Library  at  Cassel.  See  Chr.  v.  Rommel, 
Geschichte  von  Hessen,  Vol.  vi,  p.  497 — 98. 

3  Beel.  Eine  Geistliche  Comico-Tragoedia.  Erstlich  aus  dem  teutschen  Exemplar  Xysti  Betuleii  in  die  latei- 
nische  Sprach  vertiert  ...  Nunmehr  aber  widerumb  inn  Teutsche  Reimen  vberlegt  durch  Joh.  Cunr.  Merckium.  Svo. 
rim  1615. 

"Quantum  plausibilem  exactionem  Germaniae    nostrae   imponant,   usus  testatur,   monstrat   experientia." 
Gumpelsheimer's  Gymnasma  de  exercitiis  academicorum.    Argentorati  1612.    See  E.  A.  Hagen,   Geschichte  etc.  p.  44. 

02 


CVIII  SHAKESPEARE  IN  GERMANY. 

habern,  vnd  Andern  zu  lieb  vnd  gefallen,  der  Gestalt  |  in  offenen  Druck  gegeben,  dafs  fie 
gar  leicht  daraofs  |  Spielweifs  widerumb  angerichtet,  vnd  zur  Ergetzligkeit  vnd  |  Erquickung 
des  Gemuths  gehalten  wer-  |  den  konnen.  |  Gedruckt  im  Jahr  M.  DC.  xx.  |  384  leaves.  8vo.  s.  1. 

(English  Comedies  and  Tragedies,  i.  e.  Very  fine,  beautiful  and  select,  spiritual  and 
worldly  Comedy  and  Tragedy  plays,  with  the  clown,  which  on  account  of  their  fanciful 
inventions,  entertaining  and  partly  true  histories,  have  been  acted  and  given  by  the  English 
in  Germany  at  Royal,  Electoral,  and  Princely  courts,  as  well  as  in  the  principal  Imperial- 
Sea-  and  Commercial  towns,  never  before  printed,  but  now  published  to  please  all  lovers 
of  Comedies  and  Tragedies,  and  others,  and  in  such  a  manner  as  to  be  fit  to  be  easily 
acted  for  the  delight  and  recreation  of  the  mind). 

Contents:  1.  "Comoedia  Von  der  Konigin  Esther  vnd  hoffertigen  Haman."  —  Comedy 
of  Queen  Esther  and  haughty  Haman. 

2.  "Comedia.     Von   dem   verlornen  Sohn  in  welchen  die  Verzweiffelung  vnd  Hoff- 
nung  gar  artig  introducirt  werden."  —  Comedy  of  the  Prodigal  Son  in  which  Despair  and 
Hope  are  cleverly  introduced. 

3.  "Comoedia  Von  Fortunato  vnd  seinem  Seckel  vnd  Wunschhutlein,  Darinnen  erst- 
lich  drey  verstorbenen  Seelen  als  Geister,  darnach  die  Tugenden  vnd  Schande  eingefiihret 
werden."      -  Comedy   of  Fortunatus  and  his  purse  and  wishing  cap,  in  which  appear  first 
three  dead  souls  as  spirits,  and  afterwards  the  virtues  and  shame. 

4.  "Eine  schone  luftige  triumphirende  Comoedia  von  eines  Koniges  Sohn  aufs  Engel- 
landt  vnd  des  Koniges  Tochter  aufs  Schottlandt."  —  A  beautiful,  merry,  triumphant  Comedy 
of  a  King's  son  from  England  and  the  King's  daughter  from  Scotland  [Serule  and  Astrea]. 

5.  "Eine  Kurtz weilige  lustige  Comoedia  von  Sidonia  vnd  Theagene."  —  An  enter- 
taining, merry  Comedy  of  Sidonia  and  Theagene. 

6.  "Eine  schone  luftige  Comoedia  von  Jemand  vnd  Niemandt."  —  A  beautiful  merry 
Comedy  of  Somebody  and  Nobody. 

7.  "Tragaedia,     Von  Julio  vnd  Hyppolita."  Tragedy   of  Julius  and  Hyppolita. 
(See  p.  113  —  156  of  the  present  work). 

8.  "Eine  sehr  klagliche  Tragaedia  von  Tito  Andronico  etc."    (See  p.  157 — 236  of  the 
present  work). 

9.  "Ein  luftig  Pickelherings  Spiel,  von  der  schonen  Maria  vnd  alten  Hanrey."'  —  A 
merry  jest  with  the  clowns,  of  the  beautiful  Mary  and  the  old  cuckold. 

10.  "Ein  ander  lustig  Pickelherings  Spiel,  darinnen  er  mit  einem  Stein  gar  lustige 
Possen  machet."  —  Another  merry  jest  with  the  clown,  in  which  be  makes  merry  pastime 
with  a  stone. 

"Nachfolgende  Engelische  Aufziige,  konnen  nach  Belieben  zwischen  den  Comoedien 
agiret  werden."  —  The  following  English  interludes  may  be  acted  at  pleasure  between 
the  Comedies  (acts).  All  in  verse,  and  most  of  them  with  musical  notes.  Five  pieces 
without  titles;  the  following  are  the  persons  represented  in  each  of  them: 

11.  Wife,  Husband,  Pickelherring,  Boy,  Soldier.  —  12.    Aliud.  Pickelherring  at  Am- 


SHAKESPEARE  IN  GERMANY.  CIX 

sterdam,  I  have  been.  —  13.  The  Blanket -washer.  Husband,  Wife,  Neighbour.  14. 
Wife,  Pickelherring,  Servant-maid,  Magister,  Student.  —  15.  Nobleman,  Pickelh erring,  Wife, 
Husband. 

A  second  edition:  "Zum  Andern  mal  gedruckt  vnd  corrigirt.  Gedruckt  im  Jahr 
M.  DC.  xxiv."  8vo.  -  -  Exactly  the  same  contents. 

No  1  of  the  first  collection  is  a  subject  which  had  been  very  often  treated  on  the 
old  English  stage.  In  1561  there  appeared  'A  newe  Enterlude  drawen  oute  of  the  holy 
Scripture,  of  godly  Queen  Hester,  very  necessary,  newly  made  and  imprinted  this  present 
Yere  1561,  at  London  by  Wyllyam  Pickerynge  and  Thomas  Hacket.' 1  This  piece  is  partly 
a  biblical  drama,  partly  a  Morality;  Vice  is  curiously  enough  represented  by  a  jester,  Hardy- 
dardy.  Different  from  this,  and  probably  with  more  resemblance  to  our  pieces  is  a  piece 
mentioned  in  Henslowe's  Diary:  'Hester  and  Ahasuerus',  which  was  acted  by  the  Lord 
Chamberlain's  players  on  the  3rd  of  June  1594.  Of  these,  as  is  well  known,  Shakespeare 
was  one.  Again,  an  interlude  was  written  in  the  seventeenth  century,  entitled  'Ahasuerus 
and  Esther.'  It  is  ascribed  to  Robert  Cox,  and  is  to  be  found  in  Kirkman's  'Wits  or  Sport 
upon  Sport,'  printed  in  1672. 

In  the  German  piece,  the  clown  is  called  Hans  Knapkase.  He  has  the  same  con- 
test with  his  wife  for  the  mastery  as  Jann  Posset  in  Ayrer's  'Edward  III.'  He  is  a  carpenter, 
who  builds  the  gallows  for  Haman,  and  hangs  him  upon  it.  "In  this  shadow"  says  Tieck 
we  may  always  recognize  the  dramatic  poet  who  has  stage-effects  at  his  command,  so  that 
the  management  and  connection  of  the  scenes  betrays  a  very  different  spirit  to  the  histo- 
rical pieces  of  Hans  Sachs,  or  those  which  Ayrer  composed  without  any  foreign  model.2 

No.  2  certainly  has  an  English  model,  for,  as  Tieck  justly  observes,  it  is  well  put 
together  and  clearly  executed.  'The  Prodigal  child'  is  a  piece  mentioned  in  'Histriomastix' 
in  1610,  and  as  early  as  1568  a  piece  entitled  'Prodigality'  was  acted  at  Court,  but  this 
in  all  probability  was  a  Morality. 

The  third  piece  in  this  collection,  the  'Comedy  of  Fortunatus,'  is  interesting,  because 
perhaps  it  enables  us  to  conclude  what  was  the  original  form  in  which  this  apparently 
r  very  popular  piece  was  played  upon  the  old  English  stage.  In  Henslowe's  Diary  we  find 
the  piece  continually  mentioned  between  the  years  1595  and  1599.  "The  3  of  February 
1595,  received  at  the  first  part  of  Fortunatus  iij1'."  It  is  probable  that  a  second  part  ap- 
peared shortly  after,  for  it  is  afterwards  mentioned  in  Henslowe  simply  as  "Fortunatus." 
But  in  November  1599,  a  new  version  of  this  piece  was  written  by  Thomas  Dekker:  "Re- 
ceived of  Philipp  Hinchlow,  to  pay  Thomas  Dekker,  in  earnest  of  a  booke  called  the  hole 
history  of  Fortunatus,  xxxxs."  The  piece  was  played  at  Court  the  same  year,  on  which 
\  occasion  Dekker  was  obliged  to  make  an  alteration,  as  appears  from  two  other  entries  in 

1  See  J.  P.  Collier  History  etc.    Vol.  ii,  p.  253. 

8  Deutsches  Theater,  Vol.  I,  preface.  -  -  Hans  Sachs  wrote  a  play  called  'Hester',  and  there  is  also  an 
old  Dutch  play  treating  the  same  subject,  and  in  which  Haman  is  hanged.  See  Floegel,  Geschichte  der  komischen 
Litteratur,  Vol.  iv,  p.  339. 


CX  SHAKESPEARE  IN  GERMANY. 

Henslowe.  Dekker's  version  was  printed  in  1600.  Tieck's  conjecture,  that  the  subject  was 
known  on  the  stage  long  before  1595,  does  not  appear  to  have  any  foundation.  But  we 
may  see  from  what  has  been  already  stated  how  popular  this  piece  must  have  been  from 
1595  to  1600,  and  how  natural  it  was  that  it  should  recommend  itself  to  the  notice  of  the 
English  actors  who  came  to  Germany  at  that  time.  It  is  impossible  however  to  determine 
with  certainty  whether  it  was  played  in  Germany  in  its  first  form  or  in  that  of  Dekker's 
version,  for  when  we  consider  the  coarse  and  arbitrary  treatment  of  the  German  revisor, 
the  absence  from  the  German  piece  of  certain  touches  which  are  found  in  Dekker,  cannot 
be  admitted  as  any  evidence.  The  conclusion  therefore,  which  Tieck  would  draw  from  the 
German  form  of  the  piece  respecting  that  of  the  English  one  before  Dekker's  version,  ap- 
pears somewhat  hazardous.  Just  as  in  Dekker,  the  scene  lies  partly  in  the  Dominions  of 
the  Sultan,  partly  in  England.  When  the  scene  is  changed,  Andalosia  says  "Now  I  am  in 
London"  ("Nun  bin  ich  zu  Lunden")  It  is  worthy  of  remark  that  in  this  piece  the  clown 
(Pickelhering)  has  no  regular  written  part,  but  whenever  he  enters  we  always  find  "Here 
the  clown  acts  something",  a  certain  proof  that  the  editors  of  this  volume  were  still  in  the 
old  leaven. 

The  fourth  piece  seems  to  shew  external  traces  of  an  English  model,  but  we  have 
not  hitherto  been  able  to  discover  what  that  model  was.  The  English  Prince  is  named 
'Serule,'  the  Scotch  Princess,  'Astrea'.  England  and  Scotland  are  at  war;  during  the  battle 
the  Prince  becomes  enamoured  of  the  enemy's  daughter,  and  takes  advantage  of  a  truce 
to  obtain  access  to  her  in  the  disguise  of  a  fool.  One  of  the  characters  is  named  Runcifax, 
a  master  of  the  black  art,  which  strongly  reminds  us  of  'Runcifall  the  Devil,'  in  Ayrer's 
'Beautiful  Sidea'.  Tieck  says :  "This  comedy  is  one  of  the  oldest."  Upon  what  grounds  this 
assertion  is  founded,  does  not  appear,  unless  perhaps  Tieck  may  have  known  the  English 
prototype.  The  other  persons  represented  are  the  King  of  England,  the  King  of  Scotland, 
and  an  attendant. 

According  to  Tieck  'Sidonia  and  Theagene"  is  the  weakest  piece  in  the  collection, 
and  shews  few  traces  of  an  English  origin.  In  addition  to  the  characters  from  which  the 
piece  takes  its  name,  there  are  the  following:  Calarissis,  Sidonia's  father,  Chrasilea  her 
mother,  Nausiclus,  an  old  paramour,  Cnemon,  a  peasant,  a  boy,  and  Alcke  a  maid.  We  may 
remark  here,  in  passing,  that  a  piece  entitled  'Theagines  and  Chariclea'  was  played  at  the 
English  Court  as  early  as  1574. 

The  sixth  play,  observes  Tieck,  is  one  of  the  most  remarkable,  on  account  of  the 
boldness  with  which  it  mixes  up  ancient  English  history  with  allegory.  Arcial  and  Ellidor 
are  alternately  driven  from  the  throne,  during  which  changes  the  parasite  always  torments 
and  scoffs  at  the  fallen  queen,  while  the  honest  Nobody  is  accused  of  all  manner  of  vices, 
principally  by  the  rascally  Somebody,  although  he  is  really  the  most  virtuous,  unselfish, 
and  generous  character.  The  satire  is  very  palpable,  but  is  popular  and  well -sustained. 
Taken  as  a  whole,  •  the  piece  has  its  merits,  notwithstanding  the  jargon  in  which  it  is 
written.  Its  English  prototype  is  'Nobody  and  Somebody,  with  the  true  Chronicle  History 


SHAKESPEARE  IN  GERMANY.  CXI 

of  Elydure,  who  was  fortunately  three  several  times  crowned  Kinge  of  England.  Acted  by 
the  Queen's  Servants.'  4to.  s.  1.  (circa  1603).  The  principal  characters  of  the  German  piece 
are:  Marsianus  and  Carniel,  two  Counts,  King  Arcial  and  his  Queen,  King  Ellidor  and  his 
Queen.  Somebody  (Jemandt),  Nobody  (Niemandt),  Nothing,  Nobody's  servant,  Nothing  at 
all,  Nobody's  boy  (Gar  nichts,  Niemandt  Jung).1 

The  next  two  pieces  of  the  collection  are  printed  in  the  present  work,   together 
with  an  English  translation: 


THE  TRAGEDY  OF  JULIUS  AND  HIPPOLYTA. 

(See  p.  113—156.) 

At  the  first  glance  at  this  piece  we  recognize  the  strong  resemblance  which  the 
story  bears  to  the  principal  plot  in  Shakespeare's  'Two  Gentlemen  of  Verona.'  We  are 
acquainted  with  the  source  of  the  underplot  in  Shakespeare's  play,  Julia's  love  to  Proteus, 
in  the  Story  of  Felismena  in  the  second  book  of  Montemayor,  but  the  source  of  the  trea- 
chery of  Proteus  to  his  friend  has  not  yet  been  discovered.  Here  now  we  have  a  drama 
based  upon  this  conflict,  and  if  we  may  trust  the  title  of  our  collection,  which  is  simply 
called  'English  Comedies  and  Tragedies,'  we  must  assume  the  existence  of  an  English  play 
from  which  the  German  has  proceeded.  Such  a  play  has  not  yet  been  brought  to  light, 
and  it  appeared  to  us  all  the  more  necessary  for  that  very  reason  to  make  our  readers 
acquainted  with  the  German  piece  in  its  entirety.  The  small  amount  of  dramatic  skill  which 
this  composition  displays,  is  no  ground  for  denying  the  existence  of  an  English  model,  for 
of  all  the  pieces  in  the  collection,  just  this  one  has  evidently  been  the  most  mutilated,  as 
appears  from  the  manner  in  which  at  many  places  the  dialogue  is  abruptly  broken  off  in 
the  middle.  Indeed  there  is  every  reason  to  conjecture  that  this  piece  is  only  a  fragment 
constituting  only  an  episode  in  a  more  comprehensive  subject,  as  Tieck  justly  observes.  If  an 
English  piece  with  a  similar  plot  should  ever  be  discovered,  it  will  probably  turn  out  to  be  a 
far  more  complicated  composition;  but  we  shall  find  in  this,  as  in  all  other  cases,  that  Shake- 
speare only  borrowed  from  his  sources  the  outward  sketch  of  his  sublime  creation.  For  no 
inferior  poet  of  his  times  could  ever  have  conceived  the  beautiful  contrast  between  Valentine's 
generous  confidence,  and  Proteus's  treacherous  vacillation,  and  yet  none  but  the  work  of 
an  inferior  poet  could  ever  have  passed  into  such  utter  oblivion.  Our  German  piece  has 
of  course  no  trace  of  this  beauty.  Its  subject  is  nothing  more  than  the  conflict  of  friend- 
ship with  love,  and  the  victory  of  passion  over  good  faith.  But  in  this  it  is  the  only 
dramatic  counterpart  to  Shakespeare's  play;  .and  to  this  circumstance  alone  is  it  indebted 
for  our  attempt  to  rescue  it  from  oblivion. 

1  A  Dutch  play  Yemant  en  Niemant  by  Isaac  de  Vos,  4to.  1661  is  probably  an  imitation  from  the  Ger- 
man piece. 


CXII  SHAKESPEARE  IN  GERMANY. 

THE  TRAGEDY  OF  TITUS  ANDRONICUS. 

(See  p.  157—236.) 

Titus  Andronicus,  though  inferior  in  dramatic  merit  to  all  the  other  plays  of  Shake- 
speare, nevertheless  betrays  numerous  traces  of  his  genius.  But  apart  from  these  it  must 
always  possess  a  peculiar  value  for  the  critical  lovers  of  the  great  poet,  as  an  evidence 
of  the  manner  in  which  at  the  commencement  of  his  splendid  career,  he  accommodated 
himself  to  the  then  existing  customs  of  the  theatre,  and  the  taste  of  the  public  as  he  found 
it  at  the  time.  It  is  well  known  that  this  piece  passed  through  several  forms  before  it 
assumed  the  one  in  which  it  appears  in  the  folio  of  1623.  The  Editors  of  the  latter  have 
added  an  entire  scene  which  is  wanting  in  the  quarto  editions,  and  the  quartos  do  not 
present  the  piece  in  its  original  form.  Whether  Shakespeare  found  the  piece  already  in 
existence  and  produced  a  new  version  of  it,  or  whether  he  was  the  first  to  treat  this  sub- 
ject at  all.  is  a  question  which  we  cannot  discuss  here,  and  which  probably  will  never  be 
decided;  but  every  circumstance  is  of  considerable  importance,  which  enables  us  to  arrive 
at  any  conclusions  respecting  the  original  form  of  the  piece.  Now  in  our  German  'Lam- 
entable Tragedy'  we  have  the  play  in  all  probability,  in  a  form  copied  from  the  first  de- 
sign. But  the  coarse  feeling,  which  was  interested  in  the  mere  external  action  alone  and 
not  in  the  dramatic  development,  has  prevailed  in  the  treatment  of  this  as  well  as  almost 
all  the  other  pieces  in  the  collection,  for  the  principal  object  has  evidently  been  to  reduce 
the  piece  to  the  smallest  possible  compass.  Thus  it  is,  that  motives  such  as  the  feigned 
madness  of  Titus,  who  suggests  to  the  Empress  the  idea  of  a  disguise,  are  passed  over  in 
silence,  an  omission  not  at  all  extraordinary  in  such  a  version  as  this.  We  cannot  make 
the  original  piece  responsible  for  these  absurdities,  but  if  we  disregard  them,  the  original 
form  of  Shakespeare's  tragedy,  as  Tieck  has  already  observed,  may  still  be  distinctly  seen 
to  glimmer  through.  No  notice  has  hitherto  been  taken  of  a  circumstance  in  the  German 
piece,  which  enables  us  to  fix  with  tolerable  certainty  the  date  of  the  English  one.  In 
the  year  1591,  a  piece  entitled  'Titus  and  Vespasian'  was  performed  on  the  London  stage. 
It  must  have  been  very  popular,  for  from  the  llth  of  April  1591  to  the  15th  of  January 
1593,  it  is  very  frequently  mentioned  by  Henslowe.  In  Shakespeare's  'Titus  Andronicus' 
there  is  no  Vespasian;  no  one  therefore  could  ever  imagine  that  the  piece  alluded  to  by 
Henslowe  was  the  original  form  of  the  Shakespearian  piece.  A  far  more  probable  sup- 
position is,  that  the  subject  must  have  been  the  destruction  of  Jerusalem,  during  the  reign 
of  the  Emperor  Vespasian,  by  his  son  Titus.  But  in  our  German  Titus  Andronicus,  a 
Vespasian  is  one  of  the  principal  characters.  It  is  a  fictitious,  and  no  historical  personage. 
In  the  beginning  of  the  piece  he  appears  as  the  partizan  of  Titus  Andronicus,  for  whom 
he  claims  the  throne  of  Rome,  but  towards  the  end  he  is  suddenly  transformed  into  his 
son  and  avenger,  who  at  the  conclusion  obtains  the  crown,  —  one  of  those  instances  of 
a  confusion  of  characters  to  which  we  have  already  alluded,  and  which  are  strong  evidence 
of  the  carelessness  with  \vhich  this  German  version  of  the  piece  was  made.  We  may 


SHAKESPEARE  IN  GERMANY.  CXIII 

safely  assume  that  this  Vespasian,  like  all  the  other  characters  of  the  German  piece,  was 
taken  from  the  original  'Titus  Andronicus,'  and  thus  we  should  have  to  acknowledge  that 
'Titus  and  Vespasian'  as  the  original  on  which  Shakespeare's  play  was  founded.  In  his 
first  mention  of  it,  under  the  date  of  April  11,  1591,  Henslowe  designates  it  on  the  margin 
with  ne,  which,  with  him,  always  signifies  a  piece  given  for  the  first  time.  This  nearly 
agrees  with  what  Ben  Jonson  says  in  the  Introduction  to  his  'Bartholomew  Fair,'  first 
acted  in  1614:  "He  that  will  swear 'Jeronimo'  or 'Andronicus'  are  the  best  plays  yet,  shall 
pass  unexpected  at  here,  as  a  man  whose  judgment  shows  it  is  constant,  and  hath  stood 
still  these  five-and-twenty  or  thirty  years.  Though  it  be  an  ignorance,  it  is  a  virtuous 
and  staid  ignorance;  and  next  to  truth  a  confirmed  error  does  well."  Ben  Jonson's  twenty- 
five  years,  which  in  1614  had  elapsed  since  the  time  when  Titus  Andronicus  first  came 
out,  would  give  the  date  of  1589.  He  might  easily  have  made  an  error  of  a  couple  of 
years,  as  it  was  not  his  object  in  the  above  passage  to  fix  a  date.  On  the  23rd  of  Ja- 
nuary 1593,  the  piece  is  first  mentioned  under  the  name  of  'Titus  Andronicus',  and  again 
with  the  addition  ne;  it  is  probably  therefore  the  recast  of  the  piece,  as  we  have  it  in  the  , 
folio  of  1623.  It  was  first  published  in  1600  without  Shakespeare's  name.1 

All  the  succeeding  pieces  in  the  collection  of  the  'English  Comedies  and  Tragedies' 
are  undoubtedly  of  English  origin,  but  when  we  consider  the  extremely  arbitrary  treat- 
ment that  has  been  the  lot  of  these  farces,  which-  are  much  further  removed  from  their 
models  than  the  greater  pieces,  we  must  despair  of  ever  discovering  the  English  originals, 
most  of  which  are  probably  no  longer  extant.  In  the  five  "English  Acts"  we  have  at  any 
rate  genuine  English  Jigs,  in  rhyming  verse,  which  were  half  sung  half  spoken,  and,  as  in 
England,  were  performed  between  the  acts,  or  at  the  end  of  the  piece. 

In  the  year  1630  a  second  collection,  professedly  of  'English  Comedies  and  Trage- 
dies'2 was  published,  but  it  contains  little  English  matter.  'Silvia  and  Aminta'  is  a  new 

1  An  old  Dutch  imitation  of  Shakespeare's  'Titus  Andronicus'  is:    Aran  en  Titus,   of  Wraak  en  Weer- 
wraak:  Trevrspel  van  Jan  Vos.  4to.  t'Amstelredam  1641.    Not  less  than  eleven  editions  of  it  had  been  published 
by  the  year  1661,  and  even  after  that  date  it  maintained  its  popularity  on  the  Dutch  stage.    Salomon  van  Rusting 
gave  a  version   of  it  in   1712,   and  Jacob  Rosseau  another   in    1716.     For  a  comparison  of  the  Dutch  and  the 
English  play  see  "W.  Bilderdijk,  Bydragen  tot  de  Tooneelpoezy.  8vo.  Leyden  1823,  p.  13 — 90.  —  See  also  Albert 
Cohn,  Old  English  Actors  in  Germany,  Athenaeum  1850,  July  13,  p.  738,   and  Id.  Shakespeare  on  the  early  Ger- 
man stage,   Athenaeum  1851,  Jan.  4,  'p.  21,   where  more  particulars  about  Dutch  imitations  of  the  'Titus  Andro- 
nicus' are  to  be  found. 

2  Liebeskampff,  oder  Ander  Theil  der  Engelischen  Comodien  vnd  Tragodien,  in  welchen  sehr  schone  aufser- 
lesene  Comodien  vnd  Tragodien  zu  befinden  vnd  zuvor  nie  in  Druck  aufsgegangen.     Gedruckt  im  Jahr  1630.    8vo. 
1.  c.    (Conflict  of  love,  or  the  second  part  of  the  English  Comedies  and  Tragedies,  in  which  are  found  most  excellent 
and  select  Comedies  and  Tragedies,  never  printed  before.} 

1.  Comoedia  von  Macht  des  kleinen  Knaben  Cupidinis.     (Comedy  of  the  little  boy's  Cupid  power.) 

2.  Comoedia  von  Aminta  vnd  Silvia.  —  3.  Comoedia  von  Prob  getrewer  Lieb.   (Comedy  of  the  trial  of  true 
love.}  —  4.   Comoedia  von  Koenig  Mantalors  vnrechtmdfsigen  Liebe  vnd  derselben  Straff.    (Comedy  of  King  Man- 
talors  unlawful  love   and  its  punishment.)   —    5.    Singe  Comoedie.     (Singing  Comedy.}   —   6.    Singe  Comoedie.  - 

f  7.   Tragi  Comedia.  —  8.   Tragoedi  vnzeitiger  Vorwitz.    (Tragedy  of  untimely  curiosity.} 

P 


CXIV  SHAKESPEARE  IN  GERMANY. 

version  of  the  Aminta  of  Tasso,  but  it  may  possibly  have  been  based  on  the  English  Pastoral 
of  the  same  name  by  John  Reynolds,  which  appeared  in  1628.  The  last  piece  in  the. vo- 
lume is  founded  on  a  tale  of  Cervantes  'El  curioso  impertinente ',  and,  as  Tieck  observes, 
often  follows  the  Spanish  text  with  literal  exactitude.  The  pieces  of  this  collection  have 
a  very  different  general  physiognomy  from  the  old  English  pieces  of  the  first;  and  even 
when  the  subjects  may  be  of  old  English  origin,  the  traces  of  the  models  are  entirely 
effased,  and  can  no  longer  be  distinguished.  The  language  is  in  the  stilted  style  which  was 
the  fashion  of  the  literature  of  the  times,  and  displays  the  same  coquetry  with  learning. 
The  Clown  has  constantly  scraps  of  Latin  in  his  mouth,  and  grace  of  expression  is  sought 
for  in  the  admixture  of  numerous  foreign  words.  The  Clown  is  introduced  under  various 
names:  he  is  called  'Hans  Worst',  'Schramgen',  'Schampitache'  [Jean  Potage].  The  com- 
positions are  flat,  and  to  seek  for  dramatic  effect  in  them,  of  which  some  of  the  pieces 
in  the  first  collection  are  not  quite  destitute,  is  out  of  the  question.  A  third  collection  in  three 
volumes  appeared  in  1670.  It  is  entitled  'The  Scene  of  English  and  French  Comedians' 
('Schauplatz  Englischer  und  Franzosischer  Comoedianten').  All  the  English  pieces  it  con- 
tains are  taken  from  the  first  collection.  It  also  contains  a  few  pieces  of  the  second 
collection,  and  the  remainder  of  the  work  consists  in  French  pieces  after  Moliere  and  others.1 
It  would  be  an  error  to  imagine  that  in  the  first  of  these  three  collections  we  pos- 
sess the  entire  stage  library  of  our  English  Comedians.  Through  the  care  of  an  officer  of 
the  Dresden  Court,  a  catalogue  has  been  preserved  of  the  pieces  which  were  acted  there 
by  the  English  Comedians  in  1626.2  The  following  is  a  literal  transcript  of  it: 

1  Schaubiihne  Englischer  vnd  Franzb's.  Comodianten   auff  welcher  werden  vorgestellt  die  schonsten  vnd  neue- 

sten  Comodien,   so  vor  wenig  Jahren  in  Frankreich,   Teutschland  vnd  anderen  Orten seynd  agirt  vnd  prdsentirt 

warden.   3  vols.    8vo.    Frankfurt  1760.     Vol.  i.     1.    Amor  der  Arzt,  —    2.   Die  Comodia  ohne  Comodia.  —  3.  Die 
kostliche   Ldcherlichkeit.   —   4.    Der  Hahnrey  in   der  Einbildung.    -  -    5.   Die  Hahnreyinn  nach  der  Einbildung.  - 
6.  Die  Eyfrende  mit  ihr  selbst.  —   7.    Antiochus,   eine  Tragicomb'dia.   —    8.   Die   buhlhaffte   Mutter.  —    9.   Damons 
Triumphspiel.  —  Vol.  ii.   10.   Von  Sidonia  vnd  Theagene.  —  11.  Der  Verliebten  Kunstgri/e.  —  12.  Lustiges  Pickel- 
hdringsspiel,  darinn  er  mit  einem  Stein  gar  artige  Possen  macht.  —    13.    Von  Fortunato   seinem   Wiinschhiitlein  vnd 
Seckel.  —  14.  Der  unbesonnene  Liebhaber.  —  15.  Die  grossmiithige  Thaliklea.  —  Vol.  iii.   16.   Vom  Kb'nige  Ahasvero 
vnd  Esther  vnd  dem  hoffartigen  Haman.  —   17.   Vom  verlohrenen  Sohn  in  welchem  die  Verzweifelung  vnd  die  Hoff- 
nung  gar  artig  introduciret  warden.  —    18.    Von  Kb'nigs  Mantalors  vnrechtmdssiger  Liebe.  —    19.  Der  Geitzige.  - 
20.  Von  der  Aminta  und  Sylvia.  —  21.  Macht  des  kleinen  Knaben  Kupidinis.  —  22.  George  Dandin  oder  der  ver- 
wirrte  Ehmann. 

(The  stage  of  English  and  French  Comedians  on  which  are  represented  the  most  beautiful  and  newest  come- 
dies as  they  have  been  acted  and  represented  a  few  years  ago  in  France,  Germany,  and  other  places.  3  vols.  8vo. 
Frankfurt  1670.  Vol.  i.  1.  Love  the  physician.  --  2.  The  Comedy  without  comedy.  —  3.  The  precious  absurdity. 
—  4.  The  Cuckold  in  imagination.  —  5.  The  Cuckoldess  in  imagination.  —  6.  The  woman  in  a  passion  with  her- 
self. —  7.  Antiochus,  a  tragi-comedy.  —  8.  The  wanton  mother.  —  9.  Damons  Triumph-play.  -  -  Vol.  ii.  10.  Si- 
donia and  Theagene.  —  11.  Lovers  tricks.  —  12.  A  merry  clowns  play,  in  which  he  performs  right  merry 
tricks  with  a  stone.  —  13.  Fortunatus'  wishing  cap  and  purse.  —  14.  The  thoughtless  lover.  -  -  15.  The  generous 
Thaliclea.  —  Vol.  iii.  16.  King  Ahasverus  and  Esther  and  the  proud  Haman.  —  17.  The  reprobate  son,  in  which 
despair  and  hope  are  prettily  introduced.  —  18.  King  Mantalors  unlawful  love.  —  19.  The  miser.  —  20.  Aminta 
and  Silvia.  —  21.  The  power  of  the  little  boy  Cupid.  —  22.  George  Dandin,  or  the  puzzled  husband.} 

'*  I  am  indebted  for  this  valuable  communication  to  Mr.  Moritz  Fiirstenau  of  Dresden.  The  catalogue, 
which  is  written  by  the  above-mentioned  officer,  is  in  an  Almanac,  published  by  Mag.  Johannes  Kretzschmer,  8vo. 


SHAKESPEARE  IN  GERMANY.  CXV 

"May  31.  Dresten.  1st  der  Haupt  Vogell  abgeschossen  vnd  Landgraf  Georg  Koenig 
wor-den,  auch  haben  die  Engelender  eine  Comoedia  von  Hertzogk  von  Mantua  vnd  den 
Hertzogk  von  Verona  gespielt  auff  den  steinern  sahl."  (May  31.  At  Dresden.  The  great 
wooden  bird  has  been  shot  down,  and  Landgrave  George  become  King  of  the  marksmen, 
and  the  English  have  represented  a  comedy  of  the  Duke  of  Mantua  and  Duke  of  Verona 
in  the  Marble -hall.) 

Junius  1.   Dresten.   1st  eine  Cornedia  von  der  Christabella  gespielt  worden.    (A  comedy  of 

Christabella  acted.) 
2.  1st  eine   Tragoedia  von  Romeo  vnd  Julietta  gespielt  worden. 

4.  1st  eine  Comoedia  von  Amphitrione  gespielt  worden. 

5.  1st  eine  Tragicomoedia  von  Hertzogk  von  Florentz   gespielt  worden. 

6.  1st  eine  Comoedia  vom  Konig  in  Spanien  vnd  den  Vice  Roy  in  Por- 

tugall  gespielt  worden. 

8.  1st  eine   Tragoedia  von  Julio  Cesar e  gespielt  worden. 

9.  1st  eine  Comoedia  von  der  Crysella  gespielt  worden. 

11.  1st  eine  Comoedia  vom  Hertzog  von  Ferrara  gespielt  worden. 

20.  —    &  1st  eine  Tragicomedia  von  Jemandt  vnd  Niemandt  gespielt  worden. 

(Tragi-comedy  of  Somebody  and  Nobody) 

21.  1st   eine  Tragicomoedia  von  Konig  in  Dennemark  vnd  den  Konig  in 

Schweden  gespielt  worden. 

—  24.  1st  eine   Tragoedia  von  Hamlet  einen  printzen  in  Dennemarck  gespielt 

worden. 

—  25.  1st  eine  Comoedia  von  Orlando  Furioso  gespielt  worden. 

—  27.  1st  eine  Comoedia  von   den  Koenig  in  Engelandt  vnd  den  Koenig  in 

Schottlandt  gespielt  worden. 

—  28.  1st  eine  Tragoedia  von  Hieronymo  Marschall  in  Spanien  gespielt  worden. 
Julius   3.        —    *  1st  eine  Tragicomoedia  von   dem  Hamann  vndt  der  Koenigin  Ester 

gespielt  worden. 
5.  1st  eine  Tragoedia  von  der  Martherin  Dorothea  gespielt  worden. 

7.  1st  eine  Tragoedia  von  Dr.  Faust  gespielt  worden. 

—  9.  1st  eine  Tragicomoedia  von  einem  Konigk  in  Arragona  gespielt  worden. 

—  11.        —    *  1st  eine  Tragoedia  von  Fortunato  gespielt  worden. 

—  13.  1st  eine  Comoedia  von  Josepho  Juden  von  Venedigk  gespielt  worden.  ' 

1626.  Such  almanacs  were  often  used  as  diaries.  It  contains  the  memorandum:  "No.  2,  1626,  der  Jung  en  Her  rn," 
was  probably  therefore  in  the  possession  of  the  sons  of  John  George  the  first,  and  the  notes  will  therefore  have 
been  made  by  an  officer  of  the  court  of  the  young  princes.  In  the  same  volume  there  are  also  the  almanacs 
for  1621  to  1625,  1627  to  1630,  but  with  the  exception  of  that  for  1627,  which  contains  the  statements  referring 
to  this  year,  which  will  be  found  above,  p.  cxvii,  we  meet  with  no  notes  in  them  of  any  interest  for  our  present 
subject.  The  handwriting  is  the  same  in  both  almanacs.  —  All  these  statements  have  been  kindly  communicated 
to  me  by  Mr.  Fiirstenau. 

P2 


CXVI 


SHAKESPEARE  IN  GERMANY. 


Julius  22. 

23. 
81. 

Augustus  2. 
29. 

Sept.  4. 
6. 
15. 
17. 
19. 
22. 
24. 

—  26. 
29. 

Oct.     1. 

4         

19. 

—  22. 

29. 

Nov.     5. 

Decemb.   4. 


Dresten.   1st  eine  Tragicomoedia   von   den  behendigen  Dieb  gespielt   worden. 

(Tragi-comedy  of  the  dexterous  thief)  [worden. 

1st  eine  Tragicomoedia  von  einem  Hertzogk   von  Venedig   gespielt 
1st  eine  Tragoedia  von  Barrabas,  Juden  von  Malta  gespielt  worden. 
1st  eine  Tragicomoedia  von  dem  alten  proculo  gespielt  worden. 
1st  eine  Tragoedia  von  Barrabas,  Juden  von  Malta  gespielt  worden. 

(See  July  31.) 
1st  eine  Comoedia  von  Hertzogk  von  Mantua  vnd  den  Hertzogk  von 

Verona  gespielt  worden.     (See  May  31.) 
1st   eine    Tragicomoedia    von    dem    alten    proculo    gespielt    worden. 

(See  Aug.  2.) 
1st  eine  Tragicomoedia  von  Hertzogk  von  Florentz  gespielt  worden. 

(See  June  5.) 
1st  eine  Tragicomoedia  von   den  behendigen  Dieb  gespielt  worden. 

(See  July  22.) 
1st  eine  Comoedia  von  Konig  in  Spanien  vnd  Vice  Roy  in  Portugall 

gespielt  worden.     (See  June  7.) 
1st  eine  Tragicomoedia  von  den  behendigen  Dieb   gespielt  worden. 

(See  July  22  and  Sept.  17.) 
1st  eine  Comoedia  von  Hertzogk  von  Ferrara  gespielt  worden.    (See 

June  11.) 

1st  eine   Tragoedia  von  Lear,  Konig  in  Engelandt  gespielt  worden. 
1st  eine  Tragoedia  von  Romeo  vndJtdieUa  gespielt  worden.  (See  June  2.) 
1st  eine    Tragoedia   von    der   Martherin    Dorothea   gespielt    worden. 

(See  July  5.) 
1st  eine  Tragicomoedia  von  Gevatter  gespielt  worden.    (Tragi-comedy 

of  the  God-father). 
—     *  1st  eine  Comoedia  von  verlohren  Sohn  gespielt  worden. 

1st  eine  Comoedia  von   den  Koenig  in  Engelandt  vnd  den  KOnig  in 

Schottlandt  gespielt  worden.    '(i$ee  June  27.) 
1st  eine  Comoedia  von  den  Graffen  von  Angiers  gespielt  worden. 
1st  eine  Comoedia  von  Josepho  Juden  von  Venedigk  gespielt  worden. 

(See  July  13.) 
1st  eine  Tragoedia  vom  reichen  Mann  gespielt  worden.     (Tragedy  of 

the  rich  man.)1 


1  Another  officer  has  still  preserved  some  notices  on  these  performances,  without  naming  the  performed 
pieces.  His  notices  are  found  in  a  similar  almanac  entitled:  Alt  end  New  Schreibcalender  au/  das  Jahr  M.  D.  c.  xxvi, 
mit  Fleifs  gerechnet  durch  Simonem  Partlidum  von  Spitzberg  etc.  8vo.  Erffurdt,  Martin  Spangenburgk.  (Old  and 
new  writing -almanac  for  the  year  1626,  purposely  counted  by  Simon  Partlicio  von  Spitzberg.}  As  his  notices 
contain  some  additional  information,  we  subjoin  them  here: 


SHAKESPEARE  IN  GERMANY.  CXVII 

The  following  items  refer  to  the  year  1627: 

Dresden.   Febr.  2,  4,  8,  14,  haben  die  Comoedianten  gespielet.   (The  Comedians  have  acted.) 
—  15.   Haben  die  Engelander  abermalfs  agieret.  (The  English  have  acted  again.) 

In  April  1627  the  Court  removed  to  Torgau  on  occasion  of  the  wedding  festivities 
to  which  we  have  already  alluded,  and  the  actors  accompanied  them.1 

The  *  annexed  to  four  of  the  above  pieces  denotes  that  they  are  to  be  found  in 
the  'English  Comedies  and  Tragedies'.  Perhaps  also  the  'Comedy  of  the  King  of  England' 
is  identical  with  No.  4  in  that  collection,  —  perhaps  it  is  the  same  piece  wThich  was  played 
in  Cassel  in  1607,  entitled,  'Two  Kings  of  Britain  at  war'.  (See  p.  Iviii.)  The  'Comedy  of 
Amphytrion'  was  probably  one  based  on  Plautus.  At  a  later  period  J.  Dryden  and  L.  Eckard 
treated  the  same  subject.  The  Comedy  of  Orlando  Furioso  was  probably  Robert  Greene's 
piece  of  that  name.  In  the  Tragedy  of  Hieronymo  we  have  again  the  'Spanish  Tragedy', 
a  subject  which  had  also  been  handled  by  Ayrer.2  The  'Tragedy  of  Doctor  Faustus'  is 
undoubtedly  Christopher  Marlowe's  'Tragicale  Historic  of  Doctor  Faustus'.  The  'Comedy 

Majus  29.  Pfingstmontag.  Zu  Drefsden  Stillager.  Haben  die  Englische  Comedianten  unter  der  Abendt- 
malzeit  im  Kirchsahl  eine  Comediam  gespielet.  (The  English  Comedians  have  represented  a  comedy  at  supper 
in  the  room  near  the  chapel.) 

Majus  31.  Quatember.  Zu  Drefsden  Stillager.  Hat  der  Rath  alhier  ein  Vogelschiefsen  gehalten.  Auch 
haben  die  Englische  Comedianten  uffn  steinern  Sahl  eine  Comediam  gespielet.  (Quarters  at  Dresden.  Shooting 
at  a  wooden  bird.  The  English  Comedians  acted  a  comedy  in  the  Marble-Saloon.) 

Junius  1.  Nicodemus.  Zu  Drefsden  Stillager.  Haben  die  Comedianten  abermahlfs  agiret.  (The  Come- 
dians acted  again.) 

Junius  2.  Marcellus.  . . .  1st  von  den  Englaendern  ein  Tragoedia  gespielet  worden.  (A  Tragedy  acted 
by  the  Englishmen.) 

Junius  4.  Trinitatis.  . . .  Haben  die  Comedianten  agiret  vnd  Michael  Molichs  Sohn  sambt  ein  Engelander 
getanzet.  (The  Comedians  have  acted,  and  Michael  Molich's  son  and  an  Englishman  have  performed  a  dance.) 

(June  5,  7,  8,  9,  11,  20,  21,  24,  25,  27,  28.     The  Englishmen  acted  again.) 

Junius  29.  . . .  Auch  ist  einer  von  den  Englischen  Comedianten  heute  friihe  zu  Drefsden  gestorben.  (This 
morning  one  of  the  English  Comedians  died  at  Dresden.) 

Julius  3.     Spielten  die  Englander  wieder.     (The  Englishmen  acted  again.) 

1  The  officer  to  whom  we  are  indebted  for  the  above  catalogue  of  the  pieces  performed,   has  made  the 
following  notes  of  the  performances  in  the  Almanac  of  1627. 

5.  Aprilis.    Zu  Torgau  Stillager.    Haben  Ihre  Churf.  D.(urchlaucht)  abermahls  im  Coburgischen  zu  Mittag 
taffel  gehaltenn   vndt  hernacher   den   Comedianten  zugehortt.     (In  Torgau  quarters.     Their  Electoral  Highnesses 
have  again  dined  in  Coburg,  and  afterwards  heard  the  comedians.) 

6.  Aprilis.    Haben  die   Chur-   vndt  Fiirstliche  Personen   abermahls   den  Comedianten   zugehortt.    (The 
Electoral  and  Princely  personages  have  again  heard  the  comedians.) 

8.  9.  Aprilis.    Spielten  die  Englander  wieder.     (The  English  actors  played  again.) 

13.  Aprilis.  Haben  die  Chur-  vndt  Fiirstlichen  Personen  ein  Bogenschiefsen  gehalten  vndt  uffn  Abendt 
der  Musicalischen  Comedien  zugehortt.  (The  Electoral  and  Princely  personages  have  held  a  shooting  match  with 
the  bow,  and  in  the  evening  heard  a  musical  comedy.)  [Daphne,  see  Fiirstenau.] 

(April  24,  25,  28.     The  English  actors  played  again.) 

6.  Majus.  Haben  die  Comoedianten  gespielet  vndt  darauff  von  Ihrer  Churf.  D.  Ihre  Abfertigung  erlanget. 
(The  comedians  have  played,  and  afterwards  received  their  dismissal  from  their  Electoral  Highnesses.) 

2  The  same  play  must  have  been  very  popular  on  the  Dutch  stage,  as  we  know  three  editions  of  a  Dutch 
version  of  it  by  Adrian  van  der  Bergh:  Jeronimo  Marschalck  van  Spanje,  Treurspel.   4to.  1621,  1638,  and  1644. 


CX VIII  SHAKESPEARE  IN  GERMANY. 

of  Josephus  a  Jew  of  Venice'  is  probably  apiece,  of  which  a  MS.,  hitherto  quite  unknown, 
is  in  the  Imperial  Library  at  Vienna,  and  is  entitled,  'A  Comedy,  called  the  wisely  pro- 
\  nounced  judgment  of  a  female  student,  or  the  Jew  of  Venice',  ('Comoedia  genandt  dass 
wohl  gesprochen  Urtheil  eynes  weiblichen  Studenten,  oder  der  Jud  von  Venedig').  It  ap- 
pears to  be  a  mixture  of  Shakespeare's  'Merchant  of  Venice',  and  Marlowe's  'Jew  of  Malta'. 
The  name  of  the  Jew  is  Barrabas,  as  in  Marlowe,  but  there  are  passages  in  the  last  act 
which  coincide  exactly  with  passages  in  Shakespeare's  play,  and  the  three  lovers  who  woo 
Ancilla,  the  daughter  of  a  counsellor,  and  her  indecision,  remind  us  of  the  story  of  the 
caskets.1  It  is  also  possible  that  this  play  is  aversion  of  Thomas  Dekker's  'Jew  of  Venice', 
which  appears  to  be  irrecoverably  lost.  The  following  piece,  the  'Tragedy  of  Barrabas, 
the  Jew  of  Malta',  is  of  course  Marlowe's  piece.2  It  is  hardly  necessary  to  observe  that 
the  pieces  printed  in  Italics,  are  Shakespeare's  Romeo  and  Juliet,  Hamlet,  King  Lear,  and 
perhaps  Julius  Caesar. 

It  is  worthy  of  remark  that  many  of  these  plays  maintained  their  ground  for  many 
years  on  the  Dresden  and  other  stages.  In  the  years  1631  arid  1632,  'Orlando  Furioso', 
'Julius  Caesar',  and  a  'Tragedy  .of  Prince  Serule  and  Hyppolita'  (probably  No.  4  in  the  col- 
lection of  'English  Comedies  and  Tragedies')  were  performed  again.3  On  the  occasion  of 
the  marriage  of  Prince  John  George  II.  with  Magdalene  Sibylla  of  Brandenburg,  an 
English  Comedy  was  performed  on  the  5th  of  December  1638. 4  On  the  llth  of  Sep- 
tember 1646,  we  have  again  the  'Prodigal  Son',  and  on  the  12th,  the  'Comedy  of  the 
proud  youth,  Eucasto',  undoubtedly  an  echo  of  the  English  play  'Every  Man',  on  the 
15th  of  October,  'Romeo  and  Juliet',  on  the  17th  of  the  same  month,  the  'Tragedy  of 
the  rich  man  and  the  poor  Lazarus',  unquestionably  the  same  piece  as  that  which  stands 
last  in  our  catalogue  of  1626;  on  the  4th  of  November  1651,  the  'Comedy  of  the  Duke  of 
Mantua,  and  the  Duke  of  Verona'.  On  the  5th  of  December  1652,  "the  English  Comedians 
acted  a  comedy  of  the  Emperor  Diocletian  and  Maximinus  with  the  shoemaker."  An  Eng- 
lish piece,  entitled  'Dioclesian',  had  been  played  in  the  Rose  Theatre  as  early  as  1594.  At 
a  later  period  Beaumont  and  Fletcher  wrote  a  play  on  the  same  subject,  entitled  'The 
Prophetess'  (licensed  in  May  1622,  printed  for  the  first  time  in  1647).  On  the  10th  of 
December  1652,  the  same  actors  played  a  piece,  'Of  the  four  royal  brothers  in  England', 
and  'Somebody  and  Nobody'.  The  English  Comedians  are  again  mentioned  in  ^6597)  In 
March,  they  act  the  'Farce  of  Pyramus  and  Thisbe',  in  June,  x' King  Lear  and  his  two 
daughters',  in  November,  a  'Comedy  of  the  four  resembling  brothers,  and  the  noble  stranger", 
"as  the  Englishmen  had  translated  them".  On  the  26th  of  February  1661  we  have  the 

1  I  owe  this  information  to  Mr.  Joseph  Haupt  of  the  Imperial  Library,  Vienna. 

2  An  early  Dutch  version  of  Marlowe's  piece  is :  Joodt  van  Malta,  ofte  Wraeck  door  Moordt,  Trevr-Spel. 
Gerymt  door  Gysbert  de  Sille.   4to.    Tot  Leyden,  1645. 

3  Mor.  Fiirstenau,  Zur  Geschichte  etc.  p.  102. 

4  See  Ant.  Week,   Der  ...  Eesidentz-  und  Hdupt-Vestung   Drefsden    Beschreibung  und   Vorstellung.    fol. 
Nurnberg  1680,  p.  370. 


SHAKESPEARE  IN  GERMANY.  CXIX 

j 

' Tragi-comedy  of  the  Moor  of  Venice',  which  is  of  course  Shakespeare's  Othello.  The  Co- 
medies of  'Amphitrione'  and  'The  old  Proculus'  were  again  produced  in  1663,  as  also  in 
June  1664  'Orlando  Furioso',  and  in  February  1665  'Ahasuerus,  Esther  and  Haman'.  In 
the  year  1671  we  meet  again  in  Dresden  with  two  Englishmen,  whom  we  have  already 
met  with  above  in  1650:  Gideon  Gellius  [Giles],  and  John  Bapt  Waydt,  of  whom  the  former 
is  here  entitled  Master  of  the  exercises,  the  latter,  Comedian.  In  the  year  1672  the  Electoral 
Family  made  some  stay  in  Torgau,  and  the  comedies  of  'Christabella',  and  'Chrysella'  were 
again  revived.  In  February  of  the  same  year,  'Peter  Squenz,  a  comedy'  was  again  per- 
formed in  Dresden.  In  1674,  we  meet  with  'Josephus,  the  Jew  of  Venice',  in  1676,  'King 
Lear  of  England',  in  1678  'Christabella'  again,  also  'Amphitrion',  'Romeo  and  Juliet',  the 
'Old  Proculus',  and  a  piece  which  had  not  been  mentioned  before,  the  'Comedy  of  the 
angry  Catharine',  a  version  of  Shakespeare's  'Taming  of  the  Shrew',  to  which  we  shall 
have  occasion  to  refer  at  a  later  page. 

The  representation  of  these  plays  was  by  no  means  confined  to  the  Dresden  stage; 
on  the  contrary  it  is  an  ascertained  fact  that  they  became  the  property  of  all  the  companies 
throughout  Germany.  We  know  for  instance  the  acting  library  of  a  company,  which  soon 
after  1650  addressed  a  petition  to  Duke  Gustavus  Adolphus  of  Mecklenburg  Schwerin,  who 
resided  at  Giistrow,  that  they  might  be  allowed  to  wait  on  him  'with  some  actions  in  the 
English  manner'.  They  had  already  performed  several  times  in  the  town.  Among  the 
pieces  which  they  had  with  them,  we  find  'Of  the  proud  Haman,  and  the  humble  Esther', 
'The  quarrel  between  England  and  Scotland',  'The  beheading  of  the  King  of  England',  pro- 
bably the  same  piece  we  have  already  met  with  in  Windsheim,1  1656,  'Diocletian',  'Julius 
Caesar',  the  'Martyr  Dorothea',  and  others.2  In  this  manner  we  find  that  these  English 
dramatic  stories  had  made  the  round  of  all  Germany,  and  we  are  justified  in  asserting  that 
they  were  in  complete  possession  of  the  German  stage  of  the  seventeenth  century.  Besides 
these  new  versions  with  which  we  have  become  acquainted  through  the  first  part  of  the 
'English  Comedies  and  Tragedies',  some  others  have  also  been  preserved,  two  of  which  we 
present  the  reader  in  a  complete  form,  and  with  an  English  translation  annexed:  an  old 
German  'Hamlet',  and  a  'Romeo  and  Juliet'. 

1  Andreas  Gryphius   wrote  a  Tragedy:    "Ermordete  Majestdt  oder   Carolus  Stuardus  Konig   von   Grojs- 
.Britannien"  which  must  have  been  a  different  piece,  as  it  was  only  composed  in  1663. 

2  H.  W.  Barensprung,   Versuch  etc.   p.  26 — 27.     All  the  members  of  the  Company  were  Germans.     -At 
the  head  of  it  stood  "Caspar  Stiller  mit  seiner  fraw,  als  meister,  aus  Hamburg"  (C.  S.  with  his  wife,    as  man- 
ager, from  Hamburg). 


CXX  SHAKESPEARE  IN  GERMANY. 

FRATRICIDE  PUNISHED,  OR  PRINCE  HAMLET  OF  DENMARK. 

(See  p.  237—304.) 

There  can  be  no  doubt  that  there  existed  a  far  older  German  version  of  this  piece 
than  the  one  with  which  we  are  acquainted;  and  the  latter  is  probably  only  a  weak  copy 
of  the  former,  which  will  have  stood  in  the  same  relation  to  the  original  form  of  the 
German  piece,  as  the  pieces  of  the  'English  Comedies  and  Tragedies'  to  the  form  in  which 
they  were  originally  acted  in  Germany.  About  the  year  1665,  this  piece  was  performed 
by  the  Veltheim  company,  but  it  is  of  a  much  older  date  than  this,  for  we  find  it  in  the 
Dresden  stage-library  in  1626,  and  even  then  it  was  no  new  piece,  as  there  is  every  reason 
to  believe  that  it  had  been  brought  to  Germany  by  the  English  players  as  early  as  1603. 
The  piece  approaches  most  nearly  to  that  form  of  Shakespeare's  Hamlet  which  we  find  in 
the  Quarto  of  1603.  As  in  the  latter,  so  also  here  Polonius  is  called  Corambus;  and  notwith- 
standing the  very  modernized  form  of  the  prologue,  it  bears  so  completely  the  stamp  of  the 
old  English  stage,  that  as  Mr.  Will.  Bernhardy  observes  "we  are  tempted  to  assume  that  Hamlet 
must  have  appeared  on  the  English  stage  in  an  earlier  form  than  that,  of  the  Quarto  of  1603, 
and  that  the  German  piece  is  a  weak  copy  of  the  earlier  form,  little  as  the  genius  of  the  great 
poet  appears  in  it,  even  in  this  later  version.1  But  what  is  most  particularly  striking  is  the 
contrast  between  the  prologue  and  the  matter  of  the  play  itself.  Almost  all  poetice  motion  has 
disappeared  from  the  latter,  which  presents  us-  with  nothing  more  than  a  mere  dry  skeleton  of 
the  Shakespearian  piece,  while  the  prologue,  in  spite  of  all  its  coarseness,  has  many  curious 
poetical  touches  and  expressions,  which  curiously  enough,  remind  us  strongly  of  the  modes 
of  expression  in  Shakespeare  and  his  contemporaries.  It  is  notorious  that  the  older  Eng- 
lish pieces  often  had  prologues  in  the  form  of  dialogue,  and  that  the  introductory  words 
were  not  always  spoken  by  one  person  alone,  as  in  the  old  German  Theatre.  These  pro- 
logues have  often  been  lost  because  it  was  not  considered  worth  while  to  have  them 
printed;  but  often  also,  especially  at  a  later  period  of  the  English  stage,  no  prologue  was 
written,  because  the  practice  was  considered  pedantic,  and  even  Shakespeare  had  already 
spoken  against  it  in  his  'Romeo  and  Juliet'.  The  persons  of  the  prologue  were  generally 
allegorical  and  mythological  characters,  but  were  sometimes  also  taken  from  everyday  life, 
or  from  history.  Thus  in  the  'Spanish  Tragedy',  Revenge  and  the  Spirit  of  Andrea  appear 
as  prologue,  but  at  the  same  time  they  are  spectators  and  speaking  characters  throughout 
the  whole  of  the  piece.  In  Marston's  'Antonio  and  Malcida',  a  very  remarkable  piece,  evi- 
dently written  in  imitation  of  Hamlet,  the  persons  of  the  prologue  are  the  characters  in 

1  This  opinion  was  first  expressed  by  Mr.  William  Bernhardy  in  an  essay  well  deserving  perusal,  and 
entitled:  ''• Shakespeare 's  Hamlet.  Ein  Uterar-historisch  kritischer  Versuch."  We  follow  him  in  the  argument  given 
» above  for  the  establishment  of  this  conjecture.  Mr.  Bernhardy's  essay  is  to  be  found  in  Hamburger  literarisch- 
kritische  Blatter  1857,  No.  49 — 103.  At  the  conclusion,  Mr.  Bernhardy  promises  a  thorough  critical  investigation 
of  this  interesting  subject,  which  however  he  has  not  yet  given  us.  It  is  to  be  hoped  that  he  may  still  fulfil 
this  promise. 


SHAKESPEARE  IN  GERMANY.  CXXI 

the  piece  itself,  and  its  subject  is  the  distribution  and  description  of  the  different  parts.  In 
that  excellent  old  comedy,  'Wily  beguiled',  the  persons  of  the  prologue  consist  of  an  actor 
and  a  conjurer.  In  'Locrine',  Ate  is  the  prologue,  and  in  'Pericles',  the  poet  Gower.  The 
prologue,  moreover,  of  the  old  German  Hamlet  contains  mystical  and  allegorical  personages, 
and  this  circumstance  as  well  as  some  turns  of  expression,  which  forcibly  remind  us  of 
English  poets,  and  some  harsh  un- German  constructions  appear  to  establish  the  foreign 
origin  of  the  piece,  and  that  it  is  a  translation.  Thus  the  expression  "Queen  of  silence" 
(Konigin  der  Stille)  reminds  us  of  a  passage  in  'Lust's  Dominion',  Act  i: 

spotless  night 
Empress  of  silence,  and  the  queen  of  sleep. 

Not  less  striking  is  the  similarity  of  the  address  "Woman  of  ill  fortune"  (Ungliicks- 
frau)  to  the  lines  in  'Macbeth'  Act  iii,  sc.  5, 

And  I  the  mistress  of  your  charms, 
The  close  contriver  of  all  harms. 

and  we  cannot  but  remember  that  also  Shakespeare  in  'Macbeth'  Act  ii,  sc.  5  speaks  of 
"black  Hecate's  summons".  Also  the  turn  of  expression  in  the  prologue  "in  order  that 
those  who  swim  in  the  sea  of  murder",  ("damit  diejenigen,  welche  in  der  Mordsee 
schwimmen")  and  the  words  of  Night,  "I  soar  above"  ("Ich  fahre  auf")  may  be  compared 
with  Henry  vi  Part  I,  Act  iv,  Sc.  7,  "And  in  that  sea  of  blood  my  boy  did  drench",  and 
Macbeth,  Act  iii,  Sc.  5,  "I  am  for  the  air".  Single  passages  in  the  German  piece  shew 
that  an  edition  of  the  original  must  have  been  used  which  contained  passages  that  are  in 
the  folio,  but  not  in  the  first  quarto,  while  other  passages  prove  incontrovertibly,  that  pre- 
cisely this  quarto  must  have  been  the  source  employed  by  the  translator.  Thus,  for  in- 
stance, the  Ghost  says  to  Hamlet,  "Mark  me,  Hamlet,  for  the  time  draws  near  when  I 
must  return  to  whence  I  came"  and  concludes  his  speech  with  the  words  "Thus  was  I 
robbed  of  kingdom,  wife  and  life  by  this  foul  tyrant".  The  former  is  evidently  taken  from 
the  words  which  the  Ghost  uses  in  our  accepted  text  of  Hamlet: 

My  hour  is  almost  come, 
When  I  to  sulphurous  and  tormenting  flames 
Must  render  up  myself. 

while  the  latter  passage  corresponds  exactly  to  the  order  in  which  the  Ghost  mentions  the 
same  things  in  the  original, 

Thus  was  I  sleeping  by  a  brother's  hand 

Of  Crowne,  of  Queene,  of  life,  of  dignitie 

At  once  deprived  etc. 

As  the  reader  has  the  entire  piece  before  him  in  this  volume,  it  will  not  be  neces- 
sary to  call  attention  to  the  numerous  passages,  which,  in  spite  of  its  dilution  by  unskilful 
hands,  place  its  early  origin  beyond  all  doubt.  In  other  places  we  can  distinctly  perceive 
the  hand  of  the  remodeller,  who  kept  in  view  the  circumstances  of  the  theatre  of  his  own 
time,  and  which  have  given  the  tone  to  many  passages.  His  utter  want  of  skill  is  suffi- 

Q 


CXXII  SHAKESPEARE  IN  GERMANY. 

ciently  proved  by  his  introduction  of  the  comic  characters,  the  peasant  Jens  and  Phan- 
tasmo,  the  fool,  •both  of  whom  are  altogether  out  of  place  in  the  piece.  The  manner  in 
which  the  scenes  taken  from  Shakespeare's  tragedy  have  been  vulgarized,  the  coarse  hu- 
mour which  has  been  mixed  up  with  the  serious  incidents,  the  box  on  the  ears  which  the 
ghost  gives  the  sentinel,  and  other  absurdities,  must  of  course  be  laid  to  the  account  of 
the  revisor,  just  as  in  the  case  of  the  'English  Comedies  and  Tragedies',  and  not  to  that  of 
the  actors  who  first  brought  the  piece  to  Germany.  A  remarkable  reminiscence,  which 
enables  us  to  form  a  conclusion  respecting  the  age  of  the  piece,  is  Hamlet's  relation  of  an 
incident  connected  with  the  players  in  Act  ii,  Sc.  7.  There  can  be  no  doubt  that  this  is 
the  incident  which,  whether  fact  or  fiction,  is  introduced  in  the  tragedy  entitled  'A  Warn- 
ing for  fair  women',  written  a  little  before  1590.  In  that  piece  as  in  this,  the  advantage 
of  theatrical  representations  is  intended  to  be  proved.  The  passage  is  at  the  end  of  the 
piece : 

"A  woman  that  had  made  away  her  husband, 

And  sitting  to  behold  a  tragedy 

At  Linne,  a  town  in  Norfolk, 

Acted  by  players  travelling  that  way, 

Wherein  a  woman  that  had  murdered  hers, 

Was  ever  haunted  with  her  husband's  ghost, 

The  passion  written  by  a  feeling  pen, 

And  acted  by  a  good  tragedian, 

She  was  so  moved  with  the  sight  thereof, 

As  she  cried  out,  the  play  was  made  by  her, 

And  openly  confessed  her  husband's  murder."  * 

In  Hamlet,  Act  ii,  Sc.  2,  Shakespeare  alludes  to  a  similar  incident,  perhaps  the  same. 

I  have  heard 

That  guilty  creatures,  sitting  at  a  play 
Have  by  the  very  cunning  of  the  scene 
Been  struck  so  to  the  soul,  that  presently 
They  have  proclaim'd  their  malefactions ; 
For  murder,  though  it  have  no  tongue,  will  speak 
With  most  miraculous  organ. 

Heywood,  in  his  'Apology  for  actors',  relates  the  same  story,  and  adds  that  it  had 
occurred  "at  Lin,  in  Norfolke"  at  the  performance  of  the  'History  of  Fryer  Francis'  by  the 
players  of  the  Earl  of  Sussex.  But  then  he  relates  a  similar  incident  which  is  stated  to 
have  happened  at  the  performance  of  the  'Four  sons  of  Aymon'  by  English  comedians  at 
Amsterdam. 2 

"Another  of  the  like  wonder  happened  at  Amsterdam  in  Holland.  A  company  of  our  English 
comedians  (well  knowne)  travelling  those  countryes,  as  they  were  before  the  burgers  and  other  the 
chiefs  inhabitants,  acting  the  last  part  of  the  four  Sons  of  Aymon,  towards  the  last  Act  of  the  history, 

1  See  J.  P.  Collier,  History  etc.    Vol.  ii,  p.  438. 

2  See  the  Shakespeare  Society's  reprint,  p.  58. 


SHAKESPEARE  IN  GERMANY.  CXXIU 

where  penitent  Rinaldo,  like  a  common  labourer,  lived  in  disguise,  vowing  as  his  last  pennance  to 
labour  and  carry  burdens  to  the  structure  of  a  goodly  church  there  to  be  erected;  whose  diligence 
the  labourers  envying,  since  by  reason  of  his  stature  and  strength,  hee  did  usually  more  work  in  a 
day  than  a  dozen  of  the  best  (hee  working  for  his  conscience,  they  for  their  lucres)  whereupon  by 
reason  his  industry  had  so  much  disparaged  their  living,  conspired  among  themselves  to  kill  him, 
waiting  some  opportunity  to  finde  him  asleepe,  which  they  might  easily  doe,  since  the  sorest  labourers 
are  the  soundest  sleepers,  and  industry  is  the  best  preparative  to  rest.  Having  spy'd  their  opportu- 
nity, they  drave  a  naile  into  his  temples,  of  which  wound  immediately  he  dyed.  As  the  actors  handled 
this,  the  audience  might  on  a  sodaine  understand  an  outcry,  and  loud  shrike  in  a  remote  gallery,  and 
pressing  about  the  place,  they  might  perceive  a  woman  of  great  gravity  strangely  amazed,  who  with  a 
distracted  and  troubled  braine  oft  sighed  out  these  words :  "Oh  my  husband,  my  husband ! "  The  play 
without  farther  interruption  proceeded:  the  woman  was  to  her  owne  house  conducted,  without  any 
apparant  suspition;  every  one  conjecturing  as  their  fancies  led  them.  In  this  agony  she  some  few 
dayes  languished,  and  on  a  time,  as  certaine  of  her  well  disposed  neighbours  came  to  comfort  her, 
one  amongst  the  rest  being  churchwarden:  to  him  the  sexton  posts,  to  tell  him  of  a  strange  thing 
happening  to  him  in  the  ripping  up  of  a  grave :  See  here  (quoth  Jie)  what  I  have  found ;  and  showes 
them  a  fair  skull,  with  a  great  nayle  pierst  quite  to  the  brain-pan:  But  we  cannot  conjecture  to  whom 
it  could  belong,  nor  how  long  it  has  laine  in  the  earth  the  grave  being  confused,  and  the  flesh  con- 
sumed. At  the  report  of  this  accident,  the  woman,  out  of  the  trouble  of  her  afflicted  conscience,  dis- 
covered a  former  murder;  for  12  yeares  ago,  by  driving  that  nayle  into  that  skull,  being  the  head  of 
her  husband,  she  had  treacherously  slaine  him.  This  being  publickly  confest,  she  was  arraigned,  con- 
demned, adjudged  and  burned.  But  I  draw  my  subject  to  greater  length  than  I  purposed:  these 
therefore  out  of  other  infinites  I  have  collected,  both  for  their  familiarnesse  and  latenesse." 

It  is  not  a  little  characteristic  of  the  stage  at  that  time,  that  the  actors  who  first 
performed  the  German  Hamlet  did  not  rest  satisfied  with  the  mere  allusion  as  they  found 
it  in  Shakespeare,  but  related  the  incident  itself.  Whether  the  passage  refers  to  the  inci- 
dent in  Norfolk  or  to  that  in  Amsterdam,  it  is  a  striking  evidence  that  Hamlet  was  trans- 
planted to  the  German  stage  at  a  very  early  period.  The  later  revisor  transferred  the 
scene  to  Strasburg,  as  being  nearer  to  his  audience.  It  is  probable  that  the  company  for 
which  this  new  version  was  adopted,  had  come  from  Strasburg,  where  we  have  already 
seen  English  players  in  1654.  (See  p.  cii).  We  are  inclined  to  believe  that  the  first  form 
of  the  version  of  the  piece  now  before  us  was  made  about  that  time,  but  that  the  form 
in  which  it  is  here  presented  to  the  reader,  and  in  which  it  has  experienced  many  altera- 
tions and  dilutions,  is  to  be  ascribed  to  a  more  modern  hand. 


TRAGEDY  OF  ROMEO  AND  JULIET. 

(See  p.  305— 406). 

We  have  no  evidence  to  shew  that  this  piece  was  ever  performed  in  Germany  earlier 
than  1626,  and  the  version  now  before  us  is  probably  to  be  attributed  to  a  somewhat 
earlier  date.  The  employment  of  Alexandrines  is  a  proof  that  it  cannot  have  been  made 
before  the  introduction  of  that  species  of  verse  by  the  Silesian  poets.  The  places  mentioned 

Q2 


CXXIV  SHAKESPEARE  IN  GERMANY. 

at  p.  375  of  the  present  impression  give  no  clue  as  to  the  place  where  the  play  was  first 
produced,  but  dialect  and  orthography  point  to  South  Germany  or  Austria.  Neither 
have  we  here  the  authentic  text  of  the  piece  as  it  was  played  by  the  English  Come- 
dians, but  a  version  calculated  for  the  requirements  of  the  stage  at  a  later  period,  in 
which  the  English  element  was  but  very  slightly  represented  in  the  companies,  perhaps 
indeed  was  little  more  than  a  reminiscence.  The  reader  will  perceive  at  once  that 
this  piece  did  not  proceed  from  any  of  the  numerous  sources  on  which  the  Shake- 
spearian tragedy  is  based.  On  the  contrary,  it  is  Shakespeare's  play,  almost  scene  for 
scene;  many  passages  indeed  are  literal  translations.  Though  certainly  against  the  in- 
tention of  the  editor,  there  are  even  instances  in  which  really  poetical  passages  have 
slipped  in  from  the  original  unobserved,  the  poetry  of  which,  however,  can  only  be  dis- 
cerned after  they  have  been  divested  of  the  jargon  in  which  he  has  clothed  them.  But 
the  reader  will  easily  perceive  how  he  has  compensated  himself  for  such  mistakes, 
by  the  omission  of  all  the  finer  motives  of  this  magnificent  tragedy,  as  also  by  the  inser- 
tion of  comic  scenes  which  are  utterly  devoid  of  taste,  and  by  their  disgusting  coarseness 
obliterate  even  the  very  smah1  amount  of  tragic  feeling  of  which  this  author  is  capable. 
But  the  treasure  of  poetic  thought  contained  in  this  sublime  fiction  is  so  inexhaustible, 
that  notwithstanding  the  mutilated  form  in  which  it  is  presented  to  us,  we  can  still  imagine 
that  it  must  have  excited  immense  interest  in  a  German  audience  of  the  seventeenth 
century. 1 

The  third  piece  of  the  English  stage  library  of  the  Dresden  company  of  actors 
that  has  come  down  to  us,  is  at  the  same  time  the  earliest  impression  of  a  German  version 
of  an  entire  Shakespearian  piece,  and  is  dated  1672.  It  is  an  imitation  of  the  'Taming  of 
the  Shrew,'  under  the  title  of  "Art  above  all  arts,  the  taming  of  a  shrew  &c."2.  The  Ger- 
man Public  however  had  become  acquainted  with  Shakespeare's  comedy  at  a  much  earlier 
date.  A  piece  called :  "The  surprising  marriage  of  Petruvio  with  the  wicked  Catharine"  was 

1  A  Dutch  piece  must  be  mentioned  here  which  most  probably  is  in  close  connection  with  the  German 
one:  /.  Strvys  \  Borneo  \  en  \  Ivliette.  \  Op  de  Eeghel:  \  Naer  een  te  hooghen  vaert,  en  vlucht  te  seer  verbolghen,\ 
Plach  dickmael  irit  ghemeen  een  haeste  valte  volghen.  \  Ghespeelt  op  de  Amsterdamsche  Gamer,  op  Kermis,  A°  1634,  \ 
t 'Amsterdam,  \  Voor  Dirck  Cornelifz  Houthaeck,  Boeckvercooper  op  de  \  Nieuwe-zijds  Kolck,  int  Bourgoens  Cruys. 
Anno  1634.  \  4to.  Black  letter. 

z  Kunst  uber  alle  \  Kilnste  \  Ein  bos  Weib  gut  zu  machen.  \  Vormahls  \  Von  einem  Italidnischen  \  Cavalier 
practitiret:  \  Jetzo  aber  \  Von  einem  Teutschen  Edel-man  gliicklich  nachgeahnet,  \  und  \  In  einem  sehr  lustigen  Pos- 
sen-  |  vollem  Freuden-Spiele  \  fiirgestellet.  \  Samt  \  Angehencktem  singenden  \  Possen- Spiele  \  Worinn  \  Die  unnotige 
Eyfersucht  ei-  \  nes  Mannes  artig  betro-  \  gen  wird.  \  Eapperschweyl  \  Bey  Henning  Lieblern  1672.  \  12mo.  (Art 
above  all  arts,  the  Taming  of  the  Shrew,  formerly  practised  by  an  Italian  Cavalier,  but  now  happily  imitated  by  a 
German  Nobleman,  and  represented  in  a  right  merry  Droll.  Annexed  is  a  Singing-Droll,  in  which  the  unnecessary 
jealousy  of  a  husband  is  prettily  deceived.)  238  pp.,  the  last  unpaged  contains  a  poem:  Erkldrung  des  Kupfer- 
Tittels.  Pages  231 — 237  are  wrongly  paged  331 — 337.  The  printed  title  is  preceded  by  an  engraved  one:  Kunst 
uber  alle  Kunst.  Ein  bof  weib  \  guth  Zu  machen.  \  Infra  an  engraving  representing  a  Cavalier  shutting  the  mouth 
of  a  snake-haired  fury  with  a  fox-tail.  The  ''Kunst  uber  alle  Kiinste'  ends  on  p.  217.  At  the  foot  of  the  same  page 


SHAKESPEARE  IN  GERMANY.  CXXV 

represented  by  students  of  the  Gymnasium  at  Zittau  in  March  1658  and  may  have  been 
brought  to  Germany  by  the  English  Comedians,  long  before  that  date.  The  piece  has  not 
come  down  to  us,1  but  from  the  very  title  of  it  we  may  guess  that  it  followed  Shakespeare 
more  closely  than  the  version  of  1672,  in  which  the  names  of  the  characters  are  altered 
according  to  the  own  taste  of  the  author,  whereas  in  the  older  version  the  names  of  the 
principal,  and  perhaps  of  all  the  other,  characters  of  Shakespeare's  piece  are  preserved  in 
their  original  form.  The  author  of  the  'Art  above  all  Arts',  in  an  address  to  the  reader, 
alludes  to  frequent  representations  of  the  piece  on  the  stage,  before  he  undertook  his  own 
version  of  it: 

"Kind  reader.  I  can  say  of  this  comedy  that  it  belongs  to  another,  and  yet  is  also 
mine.  It  belongs  to  another,  because  it  has  not  only  been  often  represented  by  comedians 
on  the  stage,  but  also  because  the  plot,  the  old  names  and  phrases  shew  him  who  has- 
seen  it  and  heard  it  before,  that  it  is  of  Italian  origin.  I  can  call  it  mine,  because  I  have 


begins  the  Singing-Droll :  Singendes  \  Possenspiel  \  Die  doppelt  betrogene  \  Eyfersucht  vor-  \  stellend.   (Dom  Johannes, 
Dessen  Frau,  Mons.  Pickelhering,  Seine  Liebste,  Don  Jean  von  Brabarey,  Cavalier.) 

This  is  the  description  of  the  copy  belonging  to  the  Imperial  Library  at  Vienna,  which  most  kindly  was 
sent  to  me  at  Berlin  at  my  request.  —  Another  copy,  formerly  in  the  possession  of  Gottsched,  is  at  the  Grand- 
ducal  Library  at  Weimar.  It  wants  the  lower  part  of  the  title-page  with  the  place  of  printing  and  the  date, 
which  Gottsched,  and  Goedeke  after  him,  fancied  to  be  Eappersdorf  1652.  No  one  had  seen  the  Vienna 
copy.  "When  Dr.  Reinhold  Koehler,  Librarian  to  the  Grand -ducal  Library  at  Weimar,  told  me,  that  he 
intended  to  publish  a  reprint  of  the  'Kunst  iiber  alle  Kiinste'  from  the  Weimar  copy,  considered  to  be  unique, 
I  drew  his  attention  to  the  Vienna  copy,  and  from  him  I  learn  that  they  vary  in  many  points.  Dr.  Koehler's 
reprint,  with  the  corresponding  scenes  of  Shakespeare's  comedy  and  many  notes,  will  be  soon  before  the  public. 
Judging  from  Dr.  Koehler's  former  publications,  we  have  reason  to  expect  a  most  careful  and  valuable  work,  to 
which  I  beg  to  refer  the  reader  who  wishes  for  more  particulars  respecting  the  'Kunst  iiber  alle  Kiinste'. 

1  The  earliest  and  indeed  the  only  source  to  which  it  can  be  traced  is  Gottsched,  Nothiger  Verrath  etc. 
Vol.  I,  p.  210,  where  it  is  mentioned,  under  the  date  of  1658,  in  conjunction  with  three  other  pieces.  "Vier 
Schauspiele.  1.  Androfilo  oder  gottliche  Wunderliebe.  —  2.  Sylvia  oder  wunderthdtige  Liebe.  —  3.  Der  kldgliche 
Bezwang.  —  4.  Die  wunderbare  Heurath  Petruvio  mit  der  bosen  Catharine,  den  5.  6.  7.  Martii  auf  dem  Zittauischen 
Schauplatze  vorgestellet.  Gott  gib  Delner  Crlstenhelt  FrleDen  hler,  Dort  SeLIgkelt.  M.  C.  K.  R.  S.  P." 
Gottsched  it  appears,  took  it  for  granted  that  the  four  pieces  were  printed  and  that  Christian  Keimann,  at  the 
time  Rector  of  the  Gymnasium  at  Zittau,  is  the  author  of  them.  He  is  mistaken  in  both  conjectures.  It  is  almost 
certain  that  'The  surprising  marriage'  has  never  been  printed.  After  I  had  ascertained  that  none  of  the  prin- 
cipal libraries  of  Germany  is  in  possession  of  it,  I  addressed  myself  to  Dr.  A.  Tobias,  the  librarian  to  the  Mu- 
nicipal Library  at  Zittau,  who  not  only  informed  me  that  no  such  piece  is  extant  in  the  library,  which  moreover 
has  received  Keimann's  and  his  son's  collections  of  books,  but  at  the  same  time  kindly  mentioned  the  circum- 
stances which  evidently  have  misled  Gottsched  in  his  conjecture.  The  four  pieces  have  undoubtedly  been  repre- 
sented at  Zittau  by  the  students  of  the  College,  and  it  was  a  custom  on  such  occasions  to  print  programs  of 
the  performances,  containing  the  "argument"  of  the  pieces,  which  by  way  of  invitation  were  sent  to  the  Muni- 
cipal authorities.  Such  a  program  of  the  performances  of  the  5th,  6th  and  7th  March  1658  may  have  come 
under  Gottsched's  notice,  and  as  Keimann,  the  author  of  it  and  the  superintendent  of  the  performances,  had 
put  his  initials  to  it,  Gottsched  took  him  for  the  author  of  the  plays  themselves  —  a  mistake  which  is  the 
more  pardonable,  as  Keimann  was  indeed  a  dramatic  author,  of  whom  several  pieces  are  preserved.  None  of 
the  four  pieces  however,  ascribed  to  him  by  Gottsched,  is  his.  A  list  of  his  works  is  to  be  found  in  H.  J. 
Ka'mmel,  Christian  Keimann.  Ein  Beitrag  zur  Geschichte  des  Zittauer  Gymnasiums.  4to.  Zittau  1856. 


CXXVI  SHAKESPEARE  IN  GERMANY. 

composed  it  for  its  clever  style,  and  have  altered  it  as  it  pleased  me  out  of  my  own  head, 
and  have  added  to  it,  just  as  the  rapid  fancies  suggested  to  me,  without  much  puzzling 
my  head  about  it."1 

We  learn  from  this  address  that  in  or  immediately  before  1672  the  piece  was  still 
given  by  the  Comedians  with  the  original  names  of  the  characters,  and  as  we  have  the 
author's  own  confession,  that  he  altered  it  "as  it  pleased  him  out  of  his  own  head",  we 
may  fairly  assume  that  it  was  brought  before  the  Public  in  its  genuine  Shakespearian 
shape.  Even  in  its  altered  form,  in  which  it  is  before  us,  it  follows  Shakespeare  almost 
scene  by  scene,  and  also  the  dialogue  may,  in  a  great  many  instances,  be  retranslated  into 
Shakespeare's  text  without  many  deviations  from  the  language  of  the  German  imitator. 
The  manner  in  which  the  latter  has  acquitted  himself  of  his  task,  places  him  far  above 
those  of  his  predecessors  with  whom  we  have  had  to  deal  in  the  preceding  pages,  and 
though  under  his  hands  too,  nearly  all  the  more  delicate  charms  of  the  Shakespearian  muse 
have  disappeared,  it  must  be  admitted  that  he  possesses  a  certain  amount  of  dramatic  power. 
The  following  list  of  Dramatis  Personae  in,  and  extracts  from  the  German  piece  will  convey 
ari  idea  of  the  spirit  in  which  it  has  been  composed  and  the  abilities  which  are  at  the 
command  of  its  author: 

Personen  dieses  Freuden.- Spiels. 

Der  geduldige  Hiob  in  des  frommen  Socratis  Hosen,  Vorredner. 

Herr  Theobald  von  Grifflingen [Baptisla. 

Jungfer  Catbarina  Hurleputz     )      ,  ,       ,     ~..  ,  ,  [Catharina. 

°..     0  ,  .  ..  ,\  dessen  beyde   lochter .     .     .     ^ 

Jungfer  Sabma  feupmaulcnen     )  [manca. 

Veit  Schnitzer,  Diener. 

Sibilla  Flohpeltz,  Cammermagd. 

Herr  Hartman  Dollfeder,  Erbsas  zum  Wilrbelwind,   Jungfer  Catharinen  Freyer     [Petruchio. 

Ludolf  Wurmbrand,  Diener [Grumio. 

.          Edelleute  und 
Herr  Sebastian  von  Unvermogen [Gremio 

Herr  Alfons  von  Nestlingen,  ein  zeitlang  ein  verkleideter  Musicus [Hortensio 


Mitbuhler 

bey  Jnngfer 

Sabinen. 


1  "Gunstgeneigter  Leser.  Von  diesem  Freudenspiele  kann  ich  sagen,  dafs  es  eines  andern  und  doch  auch 
mein  seye.  Eines  andern  ist  es,  weil  es  nicht  allein  schon  offt  von  Comoedianten  auff  dem  Schauplatz  fur  ge- 
stellet  worden,  sondern  auch  die  Erfindung,  alte  Nahmen,  und  Redensarten,  deme,  so  es  zuvor  angesehen  und 
gehoret,  zeigen,  dafs  es  von  Italianischem  Ursprunge:  Mein  kann  ich  es  nennen,  dieweil  ich  solchs,  wegen  seiner 
artigen  Manier,  gefasset,  und  aufs  meinem  Kopff'e,  wie  es  mir  gefallen,  geandert,  und  hingeschrieben,  nach  dem 
es  die  geschwinden  Einfiille,  ohne  Kopff  brechen  gegeben."  —  Eschenburg,  the  celebrated  translator  of  Shake- 
speare —  (See  William  Shakes2)eares  Schauspiele.  Neue  Ausgabe.  Von  Joh.  Joach.  Eschenburg.  Vol.  iv.  8vo. 
Zurich  1775,  p.  398),  who  pointed  out  the  first  the  connection  of  the  German  piece  with  Shakespeare's  comedy, 
is  puzzled  by  the  words  "that  it  is  of  Italian  origin"  and  doubts  whether  there  may  be  an  old  Italian  piece 
extant  from  which  both  authors  may  have  copied.  Such  a  position  however  cannot  be  maintained  for  a  moment. 
The  evident  conclusion  from  the  above  passage  is  this:  that  the  piece  had  been  given  to  the  author  by  the  Co- 
medians, and  as  the  English  origin  of  it  was  unknown  to  him,  he  concluded  the  Italian  origin  from  the  Italian 
names  of  the  characters.  Eschenburg  himself  has  felt  the  weakness  of  his  argument,  for  he  points  out  phrases 
and  expressions  which  can  only  have  been  translated  from  the  English. 


SHAKESPEARE  IN  GERMANY.  CXXVII 

Herr  Adrian  von  Liebenthal,  der  altere .;     .     ...     .  [Vincentio. 

Herr  Hilarius   von  Liebenthal,   der  Jiinger,  Jungfer  Sabinen   Freyer,   und   der 

verkleidete  Herr  Johannes [Lucentio. 

Felix  Vielwind,  Cammerdiener,  und  verstellete  Jilngere  von  Liebenthal    .     .     .  [Tranio. 

Fabian  Affenschwantz,  Diener [Biondello. 

Frau  Eulalia  von  Hohunk  Wittib,  Herr  Alfons  Vertraute [Widow. 

Mag.  Blasius  Nasenweis,  Rector  paganus,  der  verstellete  Aeltere  von  Liebenthal  [Magister. 
Meister  Fritz  Fingerhut  vom  Kratzenberg,  kunstreicher  Schneider  und  Kleider- 

macher [Tailor. 

Matz  Triimper,  wohlbestellter  Ofenschiirer  und  Feuerverwahrer [Curtis. 

Faulwamst,  Immernafs,  Schliugenstrick.     Drei  Diener  so  nur  ein  Wort  reden. 

(*  tftfv  \f-r; 

\^ 

Act  n. 

(See  Shakespeare's  'Taming  of  the  Shrew'.     Act  II,  sc.  1.) 

Cdth.  Bekenne  mir  hier  also  bald  und  rund  heraus,  welchen  du  unter  deinen  Buhlern  am 
liebsten  habest,  und  spare  mir  ja  die  Wahrheit  nicht:  Oder  ich  will  deines  Fells  nicht  schonen. 

Sab.  Glaube  mir,  als  wie  der  Wahrheit  selbst,  dafs  unter  alien  Manns -Personen,  so  mir  zu 
Gesichte  gekommen,  noch  keiner  in  mein  Hertz  genommen  (ist). 

Cath.  Auff  eine  Luge  gehoret  eine  Maulschelle  (schlagt  sie).  Du  lose  Katze  hast  du  dich 
nicht  an  Alfons  vergaffet? 

Sab.  Ich  gedencke  meine  Schwester  du  liebst  ihn,  wann  dieses  ist,  sey  nur  zufrieden.  Ich 
will  dir  ihn  herzlich  gern  iiberlassen. 

Cath.     O  ich  sehe  nun  wohl,  dein  Ehrgeitz  und  leichter  Sinn  trachtet  nach  Reichthum  .  .  . 

Sab.  Du  thust  mir  grofs  unrecht,  wie  in  vielen  Dingen.  Wann  es  urn  seinet  Willen  ist,  dafs 
du  mir  so  feind  bist,  kanstu  deinen  Sinn  wohl  andern.  (Cath.  bindet  ihr  die  Hande.)  Aber  was 
fangst  du  doch  fur  Kurtzweil  mit  mir  an. 

Cath.  Ich  sehe  wohl,  die  Jungfer  will  gekurtzweilet  seyn.  Wart,  (schlagt  sie)  wann  dieses 
dann  Kurtzweil  ist,  so  ist  alles  andere  Kurtzweil  gewesen. 

Theob.  Wie  nun,  du  rasendes  Thier?  Was  ist  hier  zu  thun?  Was  ist  dies  fur  ein  boshaffiter 
Muthwill ;  wer  hat  dir  die  Macht  gegeben  iiber  dies .  arme .  Kind  wiitherisch  zu  herrschen  ?  Ich  glaube 
du  wilst  gar  zu  einem  Henker  an  ihr  werden,  du  boshaffter  Schinder.  Gehe  hinein  mein  Kind,  und 
bleibe  von  diesem  Lindwurm.  (Sab.  weint.) 

Cath.  Wollet  ihr  mich  noch  aufhalten,  mich  an  ihr  zu  rechen?  Ich  sehe  nun,  dafs  ich  gantz 
bey  auch  aufsgethan  bin,  diese  untuchtige  aber  euer  Augapfel  ist,  den  man  nicht  anriihren  darf. 
. .  .  Doch  nein  sie  mufs  einen  Mann  haben,  der  ihr  auffwartet :  ...  darmit  ich  ihr  zu  Ehren  auff  der 
Hochzeit  barfui's  tantzen  moge. 

TRANSLATION. 

Cath.  Confess  then  to  me  openly  and  at  once,  which  of  your  suitors  dost  thou  love  the  best, 
and  be  not  -sparing  with  the  truth,  or  I  shall  not  spare  thy  hide. 

Sab.  Believe  me  as  the  truth  itself,  that  of  all  the  men  I  ever  set  eyes  on,  not  one  has  yet 
been  taken  into  my  heart. 

Cath.  To  a  lie  belongs  a  box  on  the  ears.  (Striking  her.)  Thou  loose  cat,  hast  thou  not 
got  foolish  about  Alfonso? 

Sab.  I  think,  sister,  thou  lovest  him.  If  this  be  so,  be  quite  at  ease.  I  will  most  gladly 
leave  him  to  thee. 

Cath.     Oh,  I  see  now,  thy  ambition  and  trivial  mind  aim  at  riches . .  . 


CXXVHI  SHAKESPEARE  IN  GERMANY. 

Sab.  Thou  art  very  unjust  to  me  in  this  as  in  many  things.  If  it  is  on  his  account  that 
thou  art  so  angry  with  me,  thou  canst  change  thy  mind.  (Cath.  binds  her  hands).  But  what  jest 
is  this  that  thou  wilt  play  with  me? 

Cath.  I  see  indeed,  the  maiden  will  be  jested  with.  (Beating  her).  If  this  then  is  jest,  then 
has  all  the  rest  been  jest. 

Theob.  How  now,  thou  mad  animal!  What  is  to  be  done  now?  What  malicious  insolence  is 
this?  Who  has  given  thee  the  power  to  domineer  so  fiercely  over  this  poor  child?  I  believe  thou 
really  wishest  to  be  her  executioner,  thou  malicious  hangman.  Go  in  my  child,  and  keep  away  from 
this  dragon.  (Sabine  cries) 

Cath.  Will  you  prevent  me  from  having  my  revenge  on  her?  I  see  now  that  I  am  quite  put 
aside  by  you,  but  this  good-for-nothing  is  the  apple  of  your  eye,  whom  one  must  not  touch  . . .  but 
no,  she  must  have  a  husband  to  wait  on  her  .  . .  that  I  may  dance  barefoot  at  her  wedding  in 
her  honour. 

Act  H. 
(See  Shakespeare's  'Taming  of  the  Shrew'.     Act  I,  sc.  5.) 

Hartm.     Wann  mir  recht  ist,  so  ist  diese  Herrn  Alfons  Behausung.     Du,  schlag  einmal  an. 

Wurmb.  Was  schlag?  Wann,  was  soil  ich  schlagen?  Sehe  ich  doch  niemand.  Hat  euch  ja 
auch  niemand  leid  gethan,  den  ich  schlagen  miifste. 

Hartm.     Schelm  ich  sage  schlag  an,  und  schlag  nur  stark  an. 

Wurmb.  Dieses  ist  abermahl  eine  Ursach,  pro  more,  vom  Jauer,  meinen  Buckel  auf  schlagen 
zu  beschweren.  Soil  ich  euch  schlagen?  Da  behiite  mich  St.  Niclas  fur. 

Hart.  Narr  ich  sage  dir,  da  schlag  mir  an,  und  stark  genug,  oder  ich  will  dir  deinen  schel- 
mischen  Kopf  zerschlagen. 

Wurmb.  Ich  gedachte  wohl,  das  Lied  wurde  in  solchem  Thon  aushalten.  Mein  Herr  hat 
gewifs  einmal  Lerm  in  seinem  Kopffe,  und  haben  jhm  die  Horniissen  das  Gehirn  zerwiihlet.  Ich  soil 
jhn  schlagen?  der  Teuffel  schlagen  jhn.  Ja,  wann  es  nicht  uber  mich  aufsgienge. 

Hartm.  Ich  sehe  wohl  die  Glocke  will  nicht  lauten,  ich  ziehe  denn  den  Schwengel.  Ich  wil 
dir  die  Ohren  recken,  und  sehen  ob  du  kanst  fa,  sol,  la,  singen.  (Er  ziehet  jhn  bey  den  Ohren  hin 
und  her.) 

Wurmb.  Mordio,  Mordio,  Lerm  in  alien  Gassen.  Helfio,  Helfio!  Mein  Herr  ist  dem  Verstand 
entlauffen,  und  wil  sich  bey  mir  aufhalten. 

Hartm.     Leichtfertiger  Vogel,  willtu  nun  singen? 

TRANSLATION. 

Hartm.     If  I  am  not  mistaken,  this  is  Signer  Alfonso's  house.     Just  knock  once. 

Wurmb.  Knock  what?  When,  what  shall  I  knock?  I  do  not  see  anybody.  Nobody  has  done 
you  any  injury  that  I  must  knock  him. 

Hartm.     Rogue,  I  tell  you,  knock,  and  knock  hard. 

Wurmb.  This  is  another  cause  according  to  the  custom  of  Jauer,  to  get  a  load  of  blows  upon 
my  back.  Shall  I  knock  you?  St.  Nicholas  forbid! 

Hartm.  Fool  I  tell  thee,  knock  there  for  me,  and  hard  enough,  or  I  will  knock  that  roguish 
head  of  yours  to  pieces. 

Wurmb.  I  thought  that  would  be  the  end  of  the  song.  My  master  has  certainly  got  a  noise 
in  his  head,  and  the  hornets  have  been  rummaging  in  his  brain.  I  beat  him!  The  devil  may  give 
him  a  beating,  if  it  do  not  pass  over  me. 

Hartm.  I  see  that  the  bell  will  not  ring,  until  I  pull  the  clapper.  I  will  stretch  your  ears 
for  you,  and  see  whether  you  can  sing  fa,  sol,  la.  (Pulls  him  backwards  and  forwards  by  the  ears.) 


SHAKESPEARE  IN  GERMANY.  CXXIX 

Wurmb.  Murder!  murder!  an  alarm  in  all  the  streets!  Help,  help!  My  master  has  run  away 
from  his  senses,  and  wants  to  lodge  with  me. 

Hartm.     You  mad  bird,  will  you  sing  now? 

Act  IV. 

(See  Shakespeare's  'Taming  of  the  Shrew.'     Act.  IV,  sc.  5.) 

Hartm.  Nun  wollen  wir  den  alten  Herrn  Theobald  wacker  uberfallen.  Wie  scheinet  der 
Mond  so  hell,  wir  haben  gewifs  Vollmond. 

Cath.     Der  Mond?  Ei  Schatz,  es  ist  ja  die  Sonne. 

Hartm.  Was  Sonne,  soil  ich  wieder  nicht  recht  sehen,  Wurmbrand  die  Pferde  aus  dem  Wirths- 
hause.  Wir  mussen  bei  diesem  Mondesschein  wiedrum  zurucke,  welcher  so  gewifs  scheinet,  als  meines 
Vatters  Sohn  in  meinen  Hosen  steckt. 

Alf.     Sagt  doch  wie  er  will.     Jhr  wifst  ja  seinen  Sinn. 

Cath.     Nun  so  bleibe  doch  bei  diesem  Mondesschein  hier. 

Hartm.     Ich  sage  es  noch  einmal,  es  ist  der  Mond. 

Cath.     Ich  sehe  es  nun  selbst,  dafs  es  nicht  anders  ist. 

Hartm.     Nun  irrest  du  dich  doch,  es  ist  ja  die  gesegnete  Sonne. 

Cath.  Gott  lasse  es  dann  die  Sonne  sein.  Ich  bin  wohl  zufrieden,  lasset  es  ein  Wachslicht, 
Stern,  Fackel,  oder  was  ihr  wollet  sein. 

Alf.     Der  Bruder  kann   nun  gemachlich   die  Wafien   niederlegen  das  Feld   ist  schon  erhalten. 

TRANSLATION. 

Hartm.  Now  will  we  come  in  upon  the  old  Sir  Theobald.  How  bright  the  moon  shines!  It 
must  surely  be  full  moon. 

Cath.     The  moon!  Why,  love,  it  is  the  sun. 

Hartm.  What,  the  sun!  So  again  I  cannot  see  right!  Wurmbrand,  bring  the  horses  out  from 
the  inn.  We  must  turn  round  and  go  home  again  by  this  moonlight,  which  is  shining  now  as  surely 
as  that  my  father's  son  is  in  my  breeches. 

Alf.     Say  as  he  wishes.     You  know  his  humour  well  enough. 

Cath.     Well  then,  remain  here  by  this  moonshine. 

Hartm.     I  repeat  it  once  more,  it  is  the  moon. 

Cath.     I  now  say  myself,  that  it  is  nothing  else. 

Hartm.     Now  you  are  wrong  though;  it  is  the  blessed  sun. 

Cath.     God  let  it  be  the  sun  then;  I  am  content,  let  it  be  a  waxlight,  star,  torch,  or  what  you  will. 

Alf.     My  brother  may  now  quietly  lay  down  his  arms.  '  The  field  is  already  won. 

Many  of  the  phrases  and  turns  of  expression  bear  on  the  face  of  them  evident  traces 
of  having  been  translated  from  the  English;  and  these  passages  are  so  numerous,  and  for 
the  most  part  are  such  a  literal  translation  of  Shakespeare's  text,  that  it  may  be  safely 
asserted,  that  a,  German  version  of  Shakespeare's  'Taming  of  the  Shrew'  in  its  original  form 
had  been  placed  in  the  author's  hands.1  The  deviation's  from  the  original  in  the  piece 
before  us  are,  as  we  have  seen,  his  own  work,  and  not  that  of  the  players.  The  piece 
offers  many  points  of  connection  with  others  from  the  library  of  the  English  Comedians. 

1  Simrock's  conjecture,  that  the  'Surprising  marriage  of  Petruvio'  etc.  was  the -original  from  which  the 
author  altered  his  piece,  is  plausible  enough.  See  Quellen  des  Shakespeare  etc.  Vol.  iii,  p.  241. 

R 


CXXX  SHAKESPEARE  IN  GERMANY. 

Thus,  for  instance,  the  "Sword  dance"  ("Schwerd  Tantz")  is  mentioned  (p.  38)  which  is  also 
introduced  at  the  conclusion  of  'Julius  and  Hippolyta.'  At  p.  126  we  find  the  same  play 
on  the  words  "rapier"  and  "warm  beer"  ("Rappier"  and  "Warmbier'')  as  in  the  German 
'Hamlet'  (p.  299).  Also  English  expressions,  such  as  "Ruffian"  at  p.  80  have  been  retained. 
Several  passages  seem  to  point  to  a  South-German  origin:  p.  83,  "But  as  my  affair  has 
so  far  gone  on  well,  I  must  go  to  Frankfort"  ("Aber  weil  nun  meine  Sache  so  weit  richtig, 
muss  ich  nach  Franckfort").  Hartman-Petruchio  is  a  native  of  Worms.  But  then  Hanover 
is  also  mentioned  (p.  57):  "It  is  also  fair-time  at  Hanover"  ("zu  Hannover  ist  es  auch 
Markt").  Scraps  of  French  and  Latin  are  of  frequent  recurrence.  We  have  seen  above 
from  the  passage  at  the  conclusion,  that  the  piece  has  been  often  acted,  and  there  cannot 
exist  a  doubt  that  the  'Comedy  of  the  angry  Catharine'  which  was  performed  in  Dresden 
in  1672,  is  identical  with  the  piece  before  us. 

At  a  later  period,  Christian  Weise  also  chose  the  same  subject  for  his  'Comedy  of 
the  angry  Catharine'  ("Die  bose  Catharina"),  which  was  performed  in  Zittau  in  1705.1 
Everything  in  this  piece  is  so  flat  and  common-place,  that  it  is  hardly  possible  to  recognize 
a  trace  of  Shakespeare  in  it.  Incidents  which  are  not  found  in  Shakespeare's  comedy  have 
been  added,  and  the  dialogue  has  no  connection  with  Shakespeare's  text.  We  should  have 
been  inclined  to  imagine  that  Weise  was  entirely  unacquainted  with  Shakespeare's  play,  if 
the  names  of  his  characters,  Baptista,  Catharine,  and  Bianca,  had  not  corresponded  with 
those  in  the  'Taming  of  the  Shrew.'  He  could  not  have  taken  them  from  Straparola's 
tale  in  the  'Piacevoli  Notti,'  as  the  names  in  it  are  different.  It  may  be  taken  for  granted 
therefore  that  Weise  had  seen  the  piece  acted  somewhere  in  Germany,  and  perhaps  at  his 
native  town  Zittau,  in  its  first  form,  and  then  wrote  his  comedy  from  it,  which  is  of  far 
inferior  merit  to  the  'Art  above  all  arts.'  The  late  date  at  which  it  was  composed  renders 
it  unnecessary  for  us  to  consider  Weise's  piece  more 'at  length. 

The  Comedy  of  the  clowns  in  Shakespeare's  'Midsummer  Night's  Dream'  must  have 
come  to  Germany  before  1636,  as  the  'Absurda  Comica,  or  Mr.  Peter  Squenz'2  of  Andreas 

1  Two  Ms.  copies   of   it  are  at  the  Municipal  Library   at  Zittau,    one    of  which  was  kindly  sent  me  by 
Dr.  A.  Tobias.     The  piece  has  never  been  printed. 

2  Absurda  Comica.    Oder  Herr  Peter  Squentz,  Schimpff  Spiel.    8vo.   s.  1.  e.  a.  (circa  1660).     Two  editions 
probably  printed  in  the  same  year.     Reprinted  in  the  collective  edition  of  Gryphius's  works,    8vo.  Breslau  1698, 
in  Tieck's  Deutsches  Theater,  Vol.  ii,  and  in  G.  Bredow's  edition  8vo.   Breslau  1823.  —   There  has  been  a  good 
deal  of  dispute  about  the  first  invention   of  the  story   on  which  the  Interlude  of  the  Clowns  in  the  "Midsummer 
Nights  Dream'  is  founded.    Henry  Schmid  (Nekrolog  der  deutschen  Dichter,  Vol.  i.  8vo.  Berlin  1785,  p.  122)  main- 
tains that  it  is  of  French  origin,  but  he  has  not  brought  forward  the  proof  which  he  promised.    Bredow  (in  the 
work  mentioned  above,  p.  103),  Wachler  (Vorlesungen  iiber  Deutsche  Literatur,  8vo.  Frankfurt  1818,  Vol.  ii,  p.  60) 
and  H.  L.  Voss  (Shakespeare's  Dramatische   Werke,  Vol.  i,  p.  505)   contend  that  the   older  play  from  which  Gry- 
phius   copied   was   composed  in   imitation  of  a  German   farce.     The  extracts  given  above  will  clearly  shew  that 

'  Gryphius's  piece  is  derived  directly  from  Shakespeare.  According  to  Bredow,  Peter  Squenz  was  from  an  early 
period  a  current  designation-  of  a  clown.  —  A  parody  of  Gryphius's  piece  is  Christian  Weise's  Neue  Parodie  eines 
Neuen  Peter  Squenzes  von  lauter  Absurdis  comicis,  in  Zittauisches  Theatrum,  8vo.  Zittau  1683. 


SHAKESPEARE  IN  GERMANY.  CXXXI 

Gryphius'  (born  1616,  the  year  of  Shakespeare's  death,  died  1664,  a  hundred  years  after 
Shakespeare's  birth)  is  an  imitation  of  it,  which  the  author  confessed  to  have  taken  from 
a  version  by  Daniel  Schwenter,  who  died  in  1636.  His  piece,  which  appears  to  be  lost, 
must  have  been  very  popular,  as  may  be  concluded  from  Gryphius's  'Address  to  the  reader' 
which  is  as  follows: 

"Kind  and  honoured  reader.  Mr.  Peter  Squenz,  now  no  longer  unknown  in  Ger- 
many, and  in  his  own  opinion  greatly  celebrated,  is  here  presented  to  you.  Although  his 
ideas  may  not  all  have  quite  so  much  point  as  he  vainly  imagines  to  himself,  they  have 
nevertheless  till  now  been  accepted  and  laughed  at  in  different  theatres,  not  without  the 
special  favour  and  amusement  of  the  spectators.  For  which  reason  then,  persons  have 
been  found  here  and  there,  who  have  had  neither  shame  nor  scruple  to  give  themselves 
out  for  his  father.  ...  But  that  he  may  no  longer  have  to  thank  strangers  for  his  origin, 
know  that  Daniel  Schwenter,  who  has  deserved  well  of  all  Germany,  and  is  well  practised 
in  all  sorts  of  languages  and  mathematical  sciences,  first  brought  him  upon  the  stage  in 
Altdorf,  from  which  place  he  wandered  further  and  further,  till  at  last  he  met  my  dearest 
friend,  who  equipped  him  better,  added  to  him  some  new  characters,  and  had  him  repre- 
sented together  with  one  of  his  tragedies,  to  the  eyes  and  judgment  of  all.  But  as  he 

'-  was  afterwards  quite  forgotten  by  him,  more  important  affairs  engrossing  his  attention,  I 
have  been  so  bold  as  to  demand  him  from  the  library  of  my  said  friend,  to  have  him 
printed,  and  sent  to  you,  my  gentle  and  most  honoured  reader." 

Tieck's  conjecture  that  Schwenter  wrote  his  Peter  Squenz  after  the  interlude  of 
"Bottom  the  Weaver,"  is  altogether  false,  as  Bottom  the  Weaver  was  not  printed  till  1660, 

I  and  certainly  not  played  much  before  that  time.  Nothing  can  be  more  probable  than  that 
Shakespeare's  piece  was  brought  to  Germany  by  the  English  Comedians.  Such  a  farce 
must  have  been  especially  suitable  for  their  object.  That  the  whole  of  the  'Midsummer 
Night's  Dream'  belonged  to  the  acting  stock  of  the  Comedians,  is  very  unlikely.  On  the 
contrary,  they  probably  only  took  from  it  the  comedy  of  the  clowns,  as  may  also  have 
been  done  occasionally  in  England.  That  Gryphius's  piece  is  derived  directly  from  Shake- 
speare must  be  evident  to  everybody  at  the  first  glance.  It  is  almost  the  same  arrange- 
ment, scene  for  scene,  and  hardly  one  of  Shakespeare's  jokes  has  been  omitted.  The  few 
following  passages  may  serve  as  a  specimen: 

Act  I. 

Pickelharing.  .  .  .  Aber  saget  Herr  Peter  Squenz.     Hat  der  Lowe  auch  viel  zu  reden? 

Peter  Squenz.  Nein,  der  Lowe  mufs  nur  brullen. 

Pickelharing.  Ey  so  wil  ich  der  Lowe  seyn,    denn  ich  lerne  nicht  gerne  viel  auswendig. 

Peter  Squenz.  Ey  nein!  Mons.  Pickelharing  mufs  ein  Hauptperson  agiren. 

Kricks.     Ja  mich  diinket  aber,  es  solte  zu  schrecklich  lauten,   wenn  ein  grimmiger  L5we  her- 
eingesprungen  kame,  und  gar  kein  Wort  sagte,  das  Frauenzimmer  wtirde  sich  zu  heftig  entsetzen. 

R2 


CXXXH  SHAKESPEARE  IN  GERMANY. 

Klotz  George.  Ich  halte  es  auch  dafiir.  Sonderlich  ware  rathsam  wegen  schwangerer  Weiber, 
dafs  ihr  nur  bald  anfanglich  sagtet,  ihr  waret  kein  rechter  Lowe,  sondern  nur  Meister  Klipperl,  der 
Schreiner 

Kricks.  Kummert  euch  nicht  darum  lieber  Schwager,  Herr  Peter  Squentz  1st  ein  gescheidener 
Mann,  er  wird  dem  Lowen  wol  zu  reden  machen. 

Klipperl.  Kummert  euch  uicht,  kiimmert  euch  nicht,  ich  wil  so  lieblich  brullen,  dafs  der  Konig 
und  die  Konigin  sagen  solleu,  mein  liebes  Lowichen  brulle  noch  einmal 

Peter  Squenz.  Lasset  euch  unterdessen  die  Nagel  fein  lang  wachsen,  und  den  Bart  nicht 

abscheren,  so  sehet  ihr  einem  Lowen  desto  ahnlicher Der  Kirchen-Lehrer  Ovidius  schreibet, 

dafs  der  Monden  geschieneu  habe,  nun  wissen  wir  nicht  ob  der  Monde  auch  scheinen  werde,  wenn 
wir  das  Spiel  tragiren  werden. 

Kricks.  Dem  ist  leicht  zu  helfen,  wir  miissen  im  Calender  sehen,  ob  der  Mond  denselben 
Tag  scheinen  wird. 

Klotz  George.     Ja,  wenn  wir  nur  einen  batten. 

Meister  Lollinger.  Hier  habe  ich  einen,  den  habe  ich  von  meines  Grofs-Vatern  Muhme 
ererbet  &c.  . ' 

Kricks.  Hort,  was  mir  eingefallen  ist,  ich  wil  mir  einen  Pusch  um  den  Leib  binden,  und  ein 
Licht  in  einer  Laterne  tragen,  und  den  Monden  tragiren,  was  diincket  euch  zu  der  Sachen? 

Peter  Squenz.  .  .  .  Wie  werden  wir  es  mit  der  Wand  rnachen?  .  .  .  Piramus  und  Thisbe 
miissen  mit  einander  durch  das  Loch  in  der  Wand  reden. 

Klipperl.  Mich  diiucket,  es  ware  am  besten,  man  beschmierte  einen  um  und  um  mit  Leim- 
wellern,  und  steckte  ihn  auf  die  Biihne,  er  miiste  sagen  dafs  er  die  Wand  ware,  wenn  nun  Piramus 
reden  soil,  miiste  er  ihme  zum  Maule,  das  ist  zum  Loch,  hineinreden.  Wenn  nun  Thisbe  was  sagen 
wolte,  miiste  er  das  Maul  nach  der  Thisbe  kehren. 

TRANSLATION. 

Clown.     .  .  .  But  tell  us  Master  Peter  Squenz,  has  the  lion  much  to  speak? 
Peter  Squenz.     No,  he  has  only  to  roar. 

Pickelhdring.     Well,  then  let  me  be  the  lion;  for  I  don  "t  like  having  to  learn  much  by  heart. 
Peter  Squenz.     Oh  no,  M.  Pickelharing  must  act  a  principal  part. 

Kricks.  Yes,  but  I  rather  think  it  would  sound  too  awful  for  a  furious  lion  to  come  in  bound- 
ing upon  the  stage,  without  saying  anything;  the  ladies  would  be  too  much  frightened. 

Klotz  George.  I  think  so  too.  On  account  of  the  pregnant  women  particularly,  it  would  be 
advisable,  to  say  at  the  beginning  that  you  are  no  lion  at  all,  but  only  Master  Klipperl,  the  joiner. 

Kricks.  Don  't  be  afraid  of  that  my  dear  brother  in  law,  Master  Peter  Squenz  is  a  clever 
man,  he  is  sure  to  make  the  lion  speak. 

Klipperl.  ^  Don  't  be  afraid  of  that;  I  will  roar  so  charmingly  that  the  King  and  Queen  shall 
say:  My  sweet  lion,  pray  roar  again. 

Peter  Squenz.  Let  your  nails  meanwhile  grow  nice  and  long,  and  do  not  have  your  beard 
shaved,  and  you  will  resemble  the  lion  all  the  more.  . .  .  Ovidius,  the  Ecclesiastic,  says,  the  moon  did 
shine,  but  we  don  't  know  whether  the  moon  will  shine  when  we  shall  act  the  play. 

Kricks.  That  is  easily  managed,  we  must  refer  to  the  Calendar,  and  see  if  the  moon  will 
shine  on  that  day. 

Klotz  George.     Yes,  if  we  only  had  got  one. 


SHAKESPEARE  IN  GERMANY.  CXXXIII 

Master  Lollinger.     Here  I  have  one;  it  is  a  legacy  from  my  grandfather's  aunt. 

Kricks.  Listen  to  what  has  occurred  to  me!  I  will  tie  a  plush  round  my  body  and  carry  a 
light  in  a  lantern,  and  thus  represent  the  moon;  what  do  you  think  of  that? 

Peter  Squenz.  How  shall  we  do  for  a  wall?  .  . .  Pyramus  and  Thisbe  must  talk  together 
through  the  chink  in  the  wall. 

Klipperl.  I  think  it  would  be  best  to  paint  one  of  you  with  lime-water  and  to  put  him  on 
the  stage.  He  would  have  to  say,  he  was  the  wall;  and  when  Pyramus  is  to  speak  into  his  mouth, 
he  must  speak  into  the  chink,  and  if  Thisbe  should  want  to  say  anything  he  would  have  to  turn  his 
mouth  to  Thisbe. 

Compare  with  the  above  scene,  Shakespeare's  Midsummernight's  Dream,  Act  I,  sc.  2, 
and  Act  III,  sc.  1 . 

Towards  the  end  of  the  century,  Michael  Kongehl,  a  German  Poet,  (born  1646,  died 
1710)  directed  his  attention  to  Shakespearian  subjects.  We  have  from  his  pen  the 'Phoenicia 
awakened  from  death'1  and  'The  innocence  of  the  innocently  accused  Innocentia.'2  The 
former  handles  the  plot  of  'Much  Ado  about  nothing',  the  latter,  that  of  'Cymbeline'.  Kon- 
gehl has  probably  not  known  Shakespeare,  and  yet  there  are  many  passages  differing  from 
the  tales,  from  which  we  should  feel  inclined  to  conclude  that  he  did  not  derive  his  sub- 
ject directly  from  Bandello  or  Boccaccio,  but  that  there  were  some  dramatic  intermediate 
links  from  which  he  copied.  Perhaps  he  may  have  seen  similar  pieces  acted  by  the  com- 
panies of  actors.3  His  'Phoenicia'  agrees  with  Ayrer's  piece  as  far  as  to  the  courtship  of 
Tymbor,  but  the  characteristic  comic  scenes  as  also  the  characters  of  Venus  and  Cupid 
are  omitted.  In  the  place  of  Venus  we  have  here  Tisiphone  "a  Fury  from  Hell"  (see  the  old 
German  'Hamlet'),  who  makes  Gerando  her  tool  for  the  destruction  of  Phoenicia.  In  other 
respects  the  progress  of  the  two  pieces  is  very  nearly  the  same,  only  that  Kongehl  is  nearer 
than  Ayrer  to  Bandello.  Similarly  in  Kongehl's  'Innocentia'  there  is  nearly  everything  which  we 
find  in  Boccaccio's  tale,  on  which  Shakespeare's  'Cymbeline'  is  based,  and  yet  there  are 
deviations  also  here  which,  like  the  whole  management  of  the  piece,  would  lead  us  to 
suppose  he  had  some  dramatic  model. 

We  may  here  remark  that  the  Imperial  Library  at  Vienna  contains  a  number  of 
MS.  dramas  of  the  seventeenth  century,  several  of  which  are  new  versions  of  English  pieces, 
which  me  must  also  reckon  as  having  belonged  to  the  Acting  library  of  the  English  players. 
To  one  of  these  MSS.  we  have  already  had  occasion  to  refer  (p.  cxvii).  Another  without  a 

1  Die  vom  Tode   erweckte  Phonicia.     Eine   anmuthige  Sicilianische  Geschicht  in   einem  Mischspiel  (Tragico 
Comoedia)  auf  die  Schaubiihne  gebracht.    8vo.    Konigsberg  s.  a. 

2  Der  unschuldig   beschuldigten  Innocentien   Unsclmld.     Eine  nachdenkliche    Genuesische  Geschicht   in   einem 
Mischspiel  (Tragico  Comoedia)  auf  die  Schaubiihne  gefiihrt.    8vo.    Ibid.  s.  a.  —  Gottsched,  Nb'ihiger  Vorrath,  Vol.  i, 
p.  243 — 244,  and  after  him  K.  Goedeke,   Grundrifs  Vol.  ii,  p.  519,  mention  the  year  1680  as  the  date  of  the  im- 
pression of  both  pieces,   which  however   cannot  have  been   printed  before  1682  as  Kongehl  calls  himself  on  the 
title-pages  "Churfurstl.  Brandenb.  Secretarius",  a  dignity  which  he  acquired  only  in  1682. 

3  The  old  German  play  of  'The  Merchant  of  Padua'  (see  p.  Ivii)  may  have  been  known  to  Kongehl. 


CXXXIV  SHAKESPEARE  IN  GERMANY. 

title,  (MS.  Suppl.  1136)  treats  the  subject  which  forms  the  second  part  of  Shakespeare's 
Winter's  Tale.  Dimas,  the  son  of  Damon,  the  shepherd,  plays  here  the  part  of  Autolycus. 
Then  we  have  a  'Merchant  of  London,'  undoubtedly  John  Ford's  'London  Merchant,'  and 
the  'Honest  Mistress',  which  is  of  course  Thomas  Dekker's  'Honest  Whore',  and  was  first 
printed  in  1G64.  In  addition  to  these  there  is  a  copy  of  the  date  of  1755,  of  a  probably 
much  older  piece,  'Phaeton,'  perhaps  a  late  imitation  of  Dekker's  lost  drama  of  this  name. 
I  have  not  seen  these  manuscripts,1  as  I  did  not  hear  of  them  till  the  present  work  was 
nearly  through  the  press. 

A  Fragment  of  some  English  verses,  falsely  described  as  part  of  a  Moral  Play, 
which  first  came  to  light  in  Germany  a  few  years  ago,  and  consists  of  a  single  leaf  in 
folio,  printed,  as  it  appears,  from  a  block,  has  also  been  brought  into  connection  with 
the  English  Comedians.2  There  is  no  other  argument  for  this  assumption  than  the  circum- 
stance that  this  fragment  appears  to  have  been  printed  on  the  Continent.  We  quite  agree 
with  the  following  remarks  of  Mr.  Henry  Bradshaw  3 :  "The  fragment  cannot  be  considered  part 
of  a  moral  play,  or  any  such  production.  If  any  one  will  glance  at  the  various  lists  of  John 
Lydgate's  works,  he  will  see  enough  to  show  him  that  this  is  a  set  of  stanzas  on  the  seven 
theological  virtues,  written  most  probably  for  scrolls  to  be  put  above  or  beneath  figures 
representing  these  virtues  on  the  wall  of  a  room,  or  in  some  such  position  as  many  of 
Lydgate's  verses  are  known  to  have  been".  The  Fragment  also  belongs  to  a  period,  (the 
reign  of  Henry  vm  or  Mary)  w^hen  there  were  no  strolling  companies  of  English  actors  on 
the  Continent  of  which  we  have  any  knowledge. 

In  conclusion,  we  have  to  make  a  few  observations  as  toyp  how  these  English  players 
performed.  Various  surmises  have  been  made  concerning  the  language  in  which  they  de- 
livered themselves  before  the  German  public,  and  till  very  recently  writers  of  note  have 
considered  it  doubtful  whether  the  English  language  was  used  in  those  performances 
on  the  German  stage.  It  will  be  remembered  that  even  the  nationality  of  the  English 
Comedians  has  been  considered  till  lately  an  open  question;  but  we  trust  that  the  facts 
alleged  in  the  preceding  pages  have  definitely  set  at  rest  all  misgivings  on  this  point,  and 
if  the  contemporary  evidence  we  have  brought  to  light  should  have  still  left  any  doubt  respect- 
ing the  language  employed,  a  document  which  we  are  enabled  to  adduce  will  conclusively 
settle  that  point  also.  We  find  the  following  entry  in  Rochell's  Chronicle  of  the  city  of 
Miinster  (edited  by  Joh.  Janssen,  Miinster  1852): 

"Den  26.  Novembris  (1599)  sindt  alhir  ange-  i        On  the  26th  of  November  1599  there  arrived  here 


kommen  elven  Engellender,  so  alle  jungi  und  rasche 
Gesellen  waren,  ausgenommen  einer,  so  tzemlichen 
althers  war,  der  alle  dinge  regerede.  Dieselben 


eleven  Englishmen,  all  young  and  lively  fellows, 
with  the  exception  of  one,  a  rather  elderly  man, 
who  had  everything  under  his  management.  They 


'  I  am  indebted  for  a  descriptive  list  of  them  to  Mr.  Joseph  Haupt  of  the  Imperial  Library.  Vienna. 
*  See  Athenaeum,  1856,  Sept.  6,  No.  1506.     Dr.  W.  Bell,  Shakespeare's  Puck  etc.    Vol.  ii,  p.  268. 
3  See  Le  Bibliophile  illustre.     1.  Decemb.  1863,  p.  141. 


SHAKESPEARE  IN  GERMANY. 


cxxxv 


acted  on  five  successive  days  five  different  come- 
dies in  their  own  English  tongue.  They  carried 
with  them  various  musical  intruments,  such  as 
lutes,  cithern,  fiddles,  fifes,  and  such  like;  they 
danced  many  new  and  foreign  dances  (not  usual 
in  this  country)  at  the  beginning  and  at  the  end 
of  their  comedies.  They  were  accompanied  by 
a  clown,  who,  when  a  new  act  had  to  commence 
and  when  they  had  to  change  their  costume,  made 
many  antics  and  pranks  in  German  during  the  perfor- 
mance, by  which  he  amused  the  audience.  They  were 
licensed  by  the  Town-Council  for  six  days  only,  after 
which  time  they  had  to  depart.  During  those  five 
days  they  took  a  great  deal  of  money  from  those 
who  wished  to  hear  and  see  them,  for  every  per- 
son had  to  give  a  [Bremen?]  shilling  to  each  of 
them  at  their  departure. 


agerden  vif  Tage  uf  den  riidthuse  achter-einandern 
vif  verscheiden  comedienin  ihrerengelscherSprache. 
Sie  hetten  bi  sich  vielle  verschieden  instrumente, 
dar  sie  uf  speleten,  als  luten,  zitteren,  fiolen,  pipen 
und  dergelichen;  sie  dantzeden  vielle  neuwe  und 
frommede  dent7,e  (so  hier  zu  lande  nicht  ge- 
pruechlich)  in  anfang  und  Ende  der  comedien. 
Sie  hetten  bei  sich  einen  schalkes  naren,  so  in 
duescher  sprache  vielle  botze  und  geckerie  machede 
under  den  ageren,  wann  sie  einen  neuen  actum 
wollten  anfangen  und  sich  umbkledden,  darmidt 
ehr  das  volck  lachent  machede.  Sie  waren  von 
den  rade  vergeliedet  nich  lenger  als  ses  taghe. 
Do  die  umb  waren.  mosten  sie  wedder  wichen. 
Sie  kregen  in  den  vif  taghen  von  den,  so  es  horen 
und  sehen  wolten,  vielle  geldes;  dan  ein  jeder 
*moste  ihnen  geben  zu  jeder  reise  einen  schillinck/' 

This  may  have  been  the  same  company  which  had  performed  in  the  English  language 
at  Hildesheim  in  1599  (see  p.  Ixi.).  It  is  probable  that  all  these  English  players  soon  acquired  a 
familiarity  with  the  German  language,  or  that  they  associated  themselves  with  Germans  and 
then  merely  undertook  the  managing  part  of  the  performances.  As  early  as  1600,  Landgrave 
Maurice  of  Hesse,  in  an  agreement  with  his  English  players,  stipulated  that  at  his  demand 
they  should  arrange  such  comedies,  tragedies  and  histories  as  he  or  they  might  wish  to  be 
acted  on  the  stage.1  Thus  we  also  find  at  a  much  later  period,  in  1659,  that  the  English 
Comedians  at  the  Dresden  Court  had  to  provide  German  translations  of  the  plays  which 
they  intended  to  act  (see  p.  cxviii).  That  those  who  settled  in  Germany  acquired  a  per- 
fect mastery  of  the  German  language,  may  be  concluded  from  the  facsimiles  of  the  autographs 
of  Thomas  Sackville  and  John  Breadstreet,  to  be  found  in  the  present  work.  The  above 
extract  shows  moreover  that  the  German  language  was  not  altogether  excluded  from 
performances  enacted  in  English.  It  is  most  likely  that  the  gart  of  the  clown  was  usually 
given  by  a  German,  w.ho  frequently  availed  himself  of  his  privilege  to  interpret  to  the 
German  audience  the  foreign  idiom  of  his  fellow -players.  We  learn  further  from  the 
passage  in  Rochell's  chronicle  that  the  performances  were  opened  and  concluded  by  music 
;  and  dancing.  The  intervals  between  the  acts  were  not  always  filled  up  by  the  jests  of 
<  the  clown,  but  more  frequently  by  music,  as  we  are  told  by  Michael  Prastorius,2  one  of  the 
!  principal  writers  on  music  at  that  time: 


....  "Und  gleich  wie  in  comedien  jedem  Actu 
erne  feine  liebliche  Musica  Instrumental,  mit  cor- 
netten,  Violen  oder  andern  dergleichen  Instrumen- 
ten  umbwechselnde ,  bisweilen  auch  mit  Vocal- 


....  So  it  is  also  done  in  comedies,  where 
a  sweet  and  lovely  Musica  instrumentalis  is  per- 
formed between  the  acts,  with  cornets,  fiddles,  and 
other  similar  instruments,  varying  sometimes  with 


1  See  Rommel,  GescMchte  von  Hessen,  Vol.  VI,  pag.  401. 

2  Michael  Praetorius,  Syntagma  Musicum.     4to.     Wittenbergae  1615,  pars  III,  p.   110. 


CXXXVI 


SHAKESPEARE  IN  GERMANY. 


Stimmen  angeordnet  und  von  den  Italis  Intermedia 
genennet  wird;  Darait  unterdessen  die  personatae 
personae  sich  anders  vmbkleideu  und  zu  folgendem 
Actu  praepariren,  auch  etwas  respiriren  und  sich 
erholen  konnen"  etc. 


vocal  music,  called  Intermedia  by  the  Italians,  in 
order  that  the  personatae  personae  might  be  en- 
abled to  change  their  costume,  to  prepare  them- 
selves for  the  next  acts  and  to  recreate  them- 
selves. 


The  variety  and  brilliancy  of  the  theatrical  costume  of  the  English  Comedians  has  been 
noticed  by  another  well-known  writer  of  the  period,  John  Soinmer,  commonly  called  Johannes 
Olorinus  Variscus,  who  in  his  work  "Geldtklage" !  thus  reflects  on  the  luxury  of  his  con- 
temporaries : 


"Da  miissen  die  Kragen  mit  Perlen  besetzet 
werden,  vnnd  wird  ein  solcher  Pracht  gesehen, 
dass  sie  einher  gehen,  wie  die  Englischen  Como- 
dienspieler  in  Theatre." 


Their  collars  must  be  set  with  pearls,  and  such 
a  display  of  finery  is  indulged  in,  that  they 
strut  along  like  the  English  Comedians  in  the 
theatre. 


These  were  the  actors,  who,  as  the  earliest  representatives  of  the  English  stage 
abroad,  initiated  the  Germans  into  dramatic  art  and,  when  Shakespeare  was  still  living,  trans- 
ferred his  works  on  German  ground;  but  nearly  a  century  elapsed  after  the  English  Co- 
medians had  disappeared,  until  Shakespeare's  name  appeared  in  Germany.  The  Gallomania 
which  infected  the  nation,  exhausted  by  the  thirty  years'  war,  and  corrupted  its  morals, 
gradually  destroyed  the  effect  of  English  influence  and  interrupted  for  a  long  time  that 
development  of  free  dramatic  art,  so  auspiciously  begun  under  an  early  impulse,  received 
from  the  representatives  of  the  old  English  stage.  It  was  only  in  an  indirect  manner 

and  most  probably  without  any  acquaintance  with  Shakespeare  himself,  that  Andreas  Gryphius, 
the  only  German  dramatist  of  note  in  the  seventeenth  century,  became  indebted  to  English 
models  for  the  vast  superiority  which  he  attained  over  his  contemporaries.  —  Shakespeare's 
name  occurs  for  the  first  time  in  Germany  in  MorhofFs  "Unterricht  von  der  deutschen 
Sprache  und  Poesie",  1682,  but  the  author  at  the  same  time  confesses  himself  per- 
fectly unacquainted  with  his  works.  We  next  meet  with  Shakespeare's  name  in  Barthold 
Feind's  "Gedanken  von  der  Opera"  preceding  a  collection  of  his  poems,  1708;  but  all  that 
he  has  to  say  of  Shakespeare  is,  that  according  to  "M.  le  chevalier  Temple"  some 
persons,  on  hearing  a  reading  of  the  tragedies  of  "the  famous  English  tragedian  Shakespeare", 
could  not  help  sobbing  loudly  and  shedding  floods  of  tears.  As  late  as  1740  the  name 
of  Shakespeare  could  appear  in  the  works  of  the  learned  Bodmer  in  the  guise  of  "Saspar"" 
—  the  best  proof  that  he  knew  Shakespeare  only  from  hearsay.  The  first  who  was  fa- 
voured with  the  gift  of  appreciating  Shakespeare  to  a  certain  extent  wras  a  Baron  von 
Borck,  Prussian  ambassador  in  London,  who  in  1741,  translated  'Julius  Csesar'  into  German 
Alexandrines,  a  very  creditable  performance  for  that  time,  which  however  was  taboed  by' 
Gottsched  and  his  school.  But  what  must  have  been  the  mortification  of  the  latter,  when 
he  saw  his  disciple  John  Elias  Schlegel,  the  dramatist,  so  much  appreciating  Shake- 


1  Joh.  Olorinus  Variscus,  Ethnographia  mundi,  pars  IV,  Geldtklage.     8vo.     Magdeburgk  (1614)  p.  472. 


SHAKESPEARE  IN  GERMANY.  CXXXVII 

speare  as  to  admit  his  superiority  over  Gryphius;  and  this  he  really  did  in  a  periodical 
founded  by  Gottsched  himself,  the  blind  worshipper  of  French  taste.  A  few  other 
faint  voices  made  themselves  heard  in  praise  of  Shakespeare;  the  boldest  of  these  be- 
longs to  a  writer  in  a  periodical  "Der  Englische  Zuschauer"  1742,  who  had  the  courage  to 
confess  that  he  would  much  rather  read  any  play  of  Shakespeare,  however  "irregular", 
than  any  of  the  most  "regular"  productions  of  the  leading  school.  A  few  persons  only, 
however,  could  boast  of  so  intimate  an  acquaintance  with  Shakespeark,  and  for  a  series 
of  years  the  latter  continued  to  remain  almost  unknown  in  Germany.  In  Zedler's  large 
Cyclopaedia,  1743,  Shakespeare  is  mentioned  as  having  achieved  great  skill  in  poetry, 
"although  he  was  no  great  scholar",  and  as  having  had  "some  subtle  controversies  with 
Ben  Jonson,  to  the  advantage  of  neither  of  them";  and  even  in  1751  the  learnd  Jocher, 
in  his  "Gelehrten-Lexicon"  copied  this  luminous  dictum  with  the  only  addition:  "He  had 
a  humourous  turn  of  mind,  but  sometimes  could  be  also  very  grave  and  excelled  in 
Tragedies." 

It  was  reserved  for  Lessing,  the  great  regenerator  of  the  German  drama,  to  impress 
his  countrymen  with  the  genius  of  Shakespeare  and  with  the  conviction  that  a  conscien- 
tious study  of  his  works  was  the  only  means  of  rescuing  the  drama  from  total  decline. 
The  enthusiasm  with  which  the  Germans  responded  to  this  call  of  their  greatest  critic, 
and  the  results  since  obtained  by  them  in  the  field  of  Shakespearean  literature,  are  suffi- 
ciently well  known;  and  it  cannot  be  denied  that  no  other  nation  has  ever  made  a  foreign 
poet  so  completely  its  own,  as  the  Germans  have  done  in  the  case  of  Shakespeare. 


ADDENDA. 


Pag.  lix.  The  Company  of  English  Comedians  whom  we  meet  at  Frankfort  in  1597  appears 
to  have  visited  Stuttgart  in  the  same  year.  Pfaff,  Geschichte  der  Stadt  Stuttgart,  I,  p. 
116  relates:  "A  regular  company  of  actors  came  to  Stuttgart  for  the  first  time  in 
May  1597;  they  were  Englishmen,  who  performed  during  seven  days  before  the  court,  and 
in  recompense  received  from  Duke  Frederick  I  300  florins,  besides  having  their  expenses 
defrayed."  Duke  Frederick  I,  it  will  be  remembered,  had  visited  England  in  1592. 

Pag.  xcvii.  According  to  the  Beschreibung  des  Stadt-  mid  Direktionsbezirkes  Stuttgart,  her- 
ausgeg.  von  dem  K.  Statist.  Topogr.  Bureau.  8vo.  1856,  p.  417  there  was  a  company 
of  six  English  Comedians  at  the  Court  of  Stuttgart  in  1625,  who  held  a  permanent  ap- 
pointment. One  of  them  was  John  Price  who  is  spoken  of  as  early  as  1609,  and  who 
received  a  salary  of  270  florins,  besides  his  expenses  at  court,  clothing,  and  other  emo- 
luments. Other  names  given  are  John  and  David  Morell,  and  John  Dixon.  —  We  have 
met  with  one  John  Price,  a  celebrated  musician,  at  the  Dresden  court.  See  p.  xcvii,  note. 
The  company  to  which  he  belonged  in  1609  must  have  been  the  .one  which  performed 
at  Dresden  in  the  same  year,  and  which  in  June  1610  performed  at  the  festivities  men- 
tioned at  p.  Ixxxiii.  A  company  of  Englishmen  "who  had  also  played  before  at  Stutt- 
gart" is  expressly  mentioned  in  the  quotation  from  an  unpublished  MS.  given  at 
p.  Ixxxiii. 

Pag.  cvii.  Another  acknowledgement  of  the  superiority  of  the  English  Comedians  by  a 
contemporary  author  will  be  found  in  Daniel  von  Wensin's  Oratio  contra  Britanniam, 
delivered  at  Tubingen  hi  1613:  "Nee  diu  est  cum  plerique  artifices  in  Anglia  peregrini 
et  exteri  et  aurifabri  Londini  pene  omnes  fuerunt  Germani:  Anglis  interea  gulae  volup- 
tatibus  .  .  .  .  et  rebus  nihili,  atque  adeo  histrionae  jugiter  operam  dantibus;  in  qua  sic 
profecerunty  ut  jam  apud  nos  Angli  histriones  omnium  maxime  delectant  etc.  —  (Nor  is  it 
long  since  that  the  majority  of  artisans  in  England  were  aliens  and  foreigners,  and  the 
goldsmiths  in  London  were  nearly  all  Germans.  Meanwhile  the  English  have  given 
their  constant  attention  to  culinary  pleasures  and  to  trifles,  but  also  constantly  to  the 
histrionic  art,  in  which  they  have  attained  to  such  perfection  that  the  English  players 
delight  us  the  most  of  all  etc.)  See  Fr.  Achillis  Ducis  Wiirtemberg.  Consultatio  de  prin- 
cipatu  inter  provincias  Enropae  habita  Tnbingae  in  illustri  collegia.  4to.  Tubing.  1613. 


For  these  addenda  I  am  indebted  to  Mr.  W.  B.  Rye  of  the  British  Museum,  who 
is  in  the  possession  of  valuable  materials  respecting  Foreign  travellers  in  England  under 
Queen  Elizabeth  arid  the  subsequent  reign. 


PART  II: 


TEXTS. 


COMEDY  OF  THE  BEAUTIFUL  SIDEA 

BY  JACOB  AYRER  OF  NUREMBERG. 


(CIRCA  1595.) 


In  JACOB  AYRER'S    Opus   theatricum,  Nuremberg   1618,   in-fol.,  the  BEAUTIFUL   SIDEA   occupies   folio  433 
recto,  col.  2,  to  folio  442.     It  is  entitled: 

(EomeMa 

Don  irer  fdjonen 

3ibea1  rote  t$  jljr  Mft  ju  jrer 
Derhciiratung  mjangen, 

16.  <pfr|onfn,  Dnb  l)at 
5.  3, 


(COMEDY  OF  THE  BEAUTIFUL  SIDEA,   AND  WHAT  BEFEL  HER  TILL  THE  TIME  THAT  SHE  GOT  MARRIED. 

WITH   16  PERSONS  AND  IN  5  ACTS.) 


The  play  has  been  reprinted  in:  Deutsches  Theater.  Herausgegeben  von  LUDEWIG  TIECK.  Erster  Band. 
Berlin  1817,  in-Svo,  where  it  occupies  pages  323  to  365. 

A  considerable  want  of  care  is  perceptible  in  TIECK'S  edition  which,  in  many  places,  deviates  from  the 
original  impression.  Nearly  all  the  deviations  are  printer's  blunders,  no  editorial  alterations.  Grammar  and  Or- 
thography have  been  equally  disregarded,  syllables  and  words  and  indeed  in  one  instance  a  whole  line,  have  been 
omitted. 

In  the  present  impression  of  the  German  text  the  original  has  been  strictly  followed,  even  in  its  irre- 
gularities and  punctuation. 


COMEDIA 
VON  DER  SCHONEN  SIDEA. 


Volgen  die  Personen  in  difs  Spil.  ' 

LUDOLFK  der  Fiirst  in  Littau  1 

SIDEA  sein  Tochter 

LEUDEGAST  der  Fiirst  in  der  \Viltau  3 

FRANCISCUS  )  4 

_  ;•    seme  zwen  Kahte 

ELEMAUS       ^  o 

ENGELBRECHT  defz  Fiirsten  Sohn  6 

FAMULUS  sein  Jung  7 
JULIA  defz  Fiirsten  in  der  Wilte  fremde  Jungkl'rau    8 

JAHN  MOLITOR  der  Miiller  9 

ROLLUS  der  Bauer  10 

DIETERICH  der  Schuster  1 1 

FINELIA  sein  Weib  12 

AGNES  defz  Schusters  Tochter  13 

ELA  defz  Baurn  Tochter  14 

RUPRECHT  der  Postbott  I  5 

RUNCIFALL  der  Teuffel  16 


ACTUS  PRIMUS.  3 

RUPRECHT  DER  POSTPOTT  geht  ein,  tregt  ein  Brieff  in 

einer  kluppen  vnd  S.  * 
fechweigt  still  vnd  hort  mir  ein  weng  zu 
Ein  absag  Brieff  ich  bringen  thu 
Von  Leudegast  dem  grofsmechtigen  Fiirsten 
Der  wil  Ludolffen  den  gediirsten 
Vberziehen  mit  grosem  Heer 
Sehen  das  er  sein  hochmuth  wehr 
Vnd  will  auch  nicht  ehr  lassen  ab 
Bifs  er  jhn  gar  vertrieben  hab 
Weil  jhm  so  iibel  ist  mit  fridt 
Helt  kein  Vertrag  vnd  Bundnufs  nit 
Darumb  will  ich  each  alien  rathen 
Wo  jhr  nicht  kommen  wolt  zu  schaden 
So  seh  ein  jeder  zu  dem  sein 
Sie  zihen  schon  vom  Berg  herein 


COMEDY 
OF  THE  BEAUTIFUL  SIDEA. 


his  two   counsellors. 


Persons  represented: 

LUDOLFF,  Prince  of  Lithuania. 

SIDEA,   his  daughter. 

LEUDEGAST,  Prince  of  the  Wiltau. 

FRANCISCUS, 

ELEMAUS, 

ENGELBRECHT,  the  Prince's  son. 

FAMULUS,  his  boy. 

JULIA,   the  Prince  in  the  Wiltau's  foreign  lady. 

JOHN  MOLITOR,  the  miller. 

ROLLUS,   the  peasant. 

DIETRICH,   the  shoemaker. 

FINELIA,   his  wife. 

AGNES,  the  shoemaker's  daughter. 

ELA,  the  peasant's  daughter. 

RUPRECHT,   the  postman. 

RUNCIFALL,  the  devil. 


ACT  I. 

Enter  RUPRECHT,  THE  POSTMAN,  bringing  a  letter  in  a 

clip. 

_De  silent  all  and  list  to  me: 
I  bear  high  words  of  enmity 
From  Leudegast,  the  mighty  king, 
Who  means  an  armed  host  to  bring. 
Attack  Ludolff,  that  man  of  greed, 
See  how  pride  stands  him  in  his  need. 
Nor  leave  him  till  the  recreant  yield. 
And  vanquished  fly  the  battle  field. 
For  peace  with  him  is  nought  but  ill; 
He  neither  pact  nor  treaty  will. 
If  therefore  you  would  grief  eschew, 
This  counsel  I  would  give  to  you: 
Let  each  unto  his  own  look  well. 
E'en  now  they  rush  from  hill  and  fell. 


1  In  the  'Opus  theatricum'  all  the  lists  of  Persons  represented  are  placed  at  the  end  of  each  play. 

2  A  Princess  of  Poland. 

3  All  the  designations  of  acts  .are  placed  at  the  end  of  each  act  throughout  the   '  Opus  theatricum'. 

4  vnd  S.   —   i.  e.  und  sagt,   and  says.     The  same  note,    or  the  letter  S   only,    is  appended  to  all  the  characters'  names  in  the 
'Opus  theatricum'. 

1* 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


Darumb  mufs  ich  eylendt  Postirn 
Vnd  disen  Brieff  bait  Praesentirn 

[Er  geht  ab. 

Kompt  ROLLUS  DER  BAUR  schlegt  in  die  hend 
Ja  der  Dieb  hat  zu  vil  genriitzt 
'•IcK  hab'.das  Meel  geknetten  jetzt 
Es  gehn.mifga  schir  zwen  Laib  ab 
.  :Se;wejig'icfa-lang  nicht  bachen  hab 
Vnd  wenn  ich  jetzt  den  Dieb  ergriff 
Ich  jhn  mit  Fausten  alsbalt  anlieff 
Wolt  jhm  das  Meel  vom  Halfs  rab  schlagen 

JAHN  MOLITOR  geht  ein  in  gestallt  eines  Milliners 
Sich  Eolle  mein,  ich  mufs  dich  fragen 
Wer  ist  der  dort  so  eylend  Reit 
Vnd  sag  mir  auch  was  es  bedeut 
Er  fiihrt  ein  Brieff  in  einer  kluppen 

ROLLUS 

Du  Dieb  das  dich  ankumb  die  schnuppen 
Was  hab  ich  nach  dem  Renter  zu  fragen 
Hor  Muller  thu  mir  das  vor  sagen 
Warumb  stahlstu  mir  von  mein  Meel 

JAHN  MOLITOR 
Ich  habs  nit  than  bey  meiner  Seel 

ROLLUS 

So  hats  aber  dein  Weib  than  die  Hur 
JAHN  MOLITOR  sagt  gar  ernsilich 
Ey  nein  mein  Metz  die  nim  ich  nur 
Aufs  deinem  Sack  von  deinem  Korn 
Vnd  was  das  selbig  mehr  ist  worn 
Aber  vom  Meel  nim  ich  kein  staub 

ROLLUS 

Ja  dasselb  ich  auch  gar  wol  glaub 
Stihlstu  vil  Korn  aufs  dem  Sack  raufs 
So  wird  dest  weniger  Meel  daraufs 
Defs  ich  bin  heut  wol  worn  innen 
Hab  kaum  zehen  Laib  bachen  kiinnen 
i  Der  jhr  doch  solten  zwolff  worden  sein 

JAHN  MOLITOR 

Hor  wann  du  die  Laib  machest  klein 
So  kanstu  jhr  wol  achtzehen  bachen 

ROLLUS 

Kom  her  vnd  lern  mich  Haufslaib  machen 
Vnd  spott  mich  noch  wol  aufs  darzu 
Ein  rechter  arger  Dieb  bistu 
Von  dem  kombt  niemand  vnbetrogen 

JAHN  MOLITOR 

Ey  das  ist  auff  mein  Seel  erlogen 
Ich  bin  nicht  alzeit  in  der  Miihl 
Wie  kont  ich  dann  stehts  nemen  zu  vil 


And  therefore  must  I  post  away, 
This  letter  to  present  to-day. 


[Exit. 


Enter  ROLLUS,  THE  PEASANT,  clasping  his  hands  together. 
Yes,  the  thief  has  cribbed  too  much; 
I  have  the  meal  just  kneaded,  such 
Should  give  at  least  two  good  loaves  more. 
So  little  I  ne'er  baked  before. 
And  if  I  now  could  catch  the  thief, 
My  fists  should  bring  him  soon  to  grief 
Till  from  his  neck  the  flour  ran. 

• 
Enter  JOHN  MOLITOR  in  the  form  of  a  miller. 

Tell  me,  my  Roily,  if  you  can, 
Who's  riding  there  so  fast  away? 
And  what  it  means,  I  prythee,  say, 
He  bears  a  letter  in  a  clip. 

ROLLUS. 

You  thief!    Pox  take  you!    What's  the  rip. 
And  rider  too  indeed,  to  me? 
Hark,  Miller,  tell  me  honestly, 
Why  of  my  meal  so  much  you  stole? 

JOHN  MOLITOR. 
I?  not  a  jot!   Upon  my  soul. 

ROLLUS. 
Your  wife  has  done  it  then,  the  whore. 

JOHN  MOLITOR,  very  earnestly. 
Oh  no,  my  measure,  never  more, 
From  out  your  sack  of  corn  1  take, 
And  just  whatever  more  it  make. 
But  of  the  meal,  —  no  jot,  no  jot. 

ROLLUS. 

Aye,  as  for  that,  I  doubt  it  not. 
For  if  the  corn  you  freely  steal, 
The  less  remains  to  grind  to  meal. 
I'm  up  to  that,  my  man,  to-day. 
Could  scarcely  bake  ten  loaves,  I  say! 
Though  twelve  there  should  have  been  in  all. 

JOHN  MOLITOR. 

Why,  if  you  would  but  have  them  small. 
Eighteen  at  least  you  well  might  make. 

ROLLUS. 

Hallo!    You'd  teach  me  how  to  bake. 
And  cut  your  jokes  upon  me  too! 
A  regular  vile  thief  are  you, 
Who  never  fail  to  pluck  your  bird. 

JOHN  MOLITOR. 

Now  that's  a  lie,  upon  my  word. 
I  am  not  always  in  the  mill; 
How  can  I  then  the  flour  pill? 


9 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


10 


So  hab  ich  lauter  gar  from  Knecht 
Die  thun  den  Bauren  nit  vnrecht 
.     Zu  mahl  wann  sie  jhn  was  verehrn 
Drumb  mag  ich  dir  nit  mehr  zuhorn 
Es  mocht  sich  zu  weit  reissen  ein 

[Jetzt  drommet  man, 

ROLLUS 

Hor  hor  frembt  Leut  im  Lande  sein 
Ich  wil  gehn  zu  den  meinen  sehen 
Das  mir  kein  schaden  thu  geschehen 

[Sie  gehn  ab. 

LUDOLFF  geht  ein  mit  SIDEA  seiner  Tochter  in  Heidnischen 
kleidern  unit  zweyen  Trabanten,  setzt  sich  vnd  sagt  zornig. 
Sidea  liebe  Tochter  mein 
Jetzund  wir  Bottschaft  gwertig  sein 
Was  der  Fiirst  in  Littau  wird  sagen 
Dem  wir  sein  Gsanden  habn  erschlagen 
Dem  vnser  gmiith  nit  gfelt  gar  wol 
Dann  vnser  hertz  steckt  zorens  vol 
Vnd  so  bait  wir  es  kiinnen  fiigen 
So  woll  wir  jhn  mit  gwalt  bekriegen 
Vnd  treiben  von  sein  Leut  vnd  Landen 

SIDEA 

Herr  Vatter  nichts  guts  thut  mich  anden 
Wir  haben  vns  wol  fur  zuschauen 
Dann  keinem  Feind  ist  nicht  zutrauen 
Darzu  ist  vnser  Feind  auch  starck 
Ist  darzu  sehr  listig  vnd  arck 
Dorfft  vns  mit  gegen  wehr  begegen 
Dar  zu  alles  vngliick  anlegen 
So  hett  wir  den  schimpff  allezeit 
Von  wegen  der  vermessenheit 
Die  wir  bifsher  haben  begangen 
Doch  mag  eur  Lieb  auch  raht  empfangen 
Von  jhren  wol  verstendigen  Ra'hten 
Die  solch  sach  bafs  erfahren  theten 
Als  ich  arme  junge  Jungfrau 

LUDOLFF 

Trabant  bait  zu  der  Pforten  schau 
Seind  Leut  draufs  die  fur  vns  begern 
Lafs  sie  nur  rein  das  wir  sie  horn 

Ein  Trabant  geht  hin  thut  auff,  so  kompt  RUPRECHT  DER 

POST  BOTT  tregt  ein  Brief  in  einer  kluppen,  neigt  sich  vor 

dem  Fursten 

RUPRECHT 

Durchleuchtigster  Fiirst  ich  bin  ein  Bott 
Gefreyt  vor  aller  gfahr  vnd  noht 
Gleich  wol  so  bitt  ich  vmb  genaxl 
Hertzog  Leudegast  mich  her  gschickt  hat 


My  men  are  in  the  pious  way, 

Won't  cheat  a  peasant,  no,  not  they; 

Especially  if  tipp'd  before; 

And  therefore  I  will  hear  no  more. 

The  thing  might  get  beyond  a  joke. 

[Drumming  without. 
ROLLUS. 

Hark!  hark!   I  fear  that's  foreign  folk. 

I'll  go  and  mind  my  chattels  all; 

Lest  any  damage  me  befall. 

[Exeunt: 

Enter  LUDOLFF  with  SIDEA,  his  daughter,  in  heathen  costume, 
with  two  attendants.  LUDOLFF  sits  down,  and  says  angrily: 

Oh  daughter  sweet,  my  own  Sidea, 

The  answer  now  must  soon  be  here, 

What  will  the  prince  in  Littau  say, 

That  we  his  envoy  dared  to  slay. 

Our  spirit  liketh  him  not  well, 

For  anger  doth  our  bosom  swell. 

As  soon  as  we  can  war  prepare, 

He'll  taste  our  mettle  then  and  there. 

We'll  drive  him  from  his  land,  we  will. 
SIDEA. 

My  heart  forebodes,  sir,  nought  but  ill. 

We  for  ourselves  may  well  take  heed; 

For  who  would  trust  a  foe  indeed? 

Besides  our  enemy  is  strong, 

And  cunning  in  devising  wrong, 

Perhaps  may  offer  opposition, 

And  lead  us  on  to  our  perdition. 

And  thus,  my  father,  would  our  name 

Be  covered  with  undying  shame 

For  those  presumptuous  acts  of  thine. 

Oh,  rather  may  thy  heart  incline 

To  those,  who  can  with  counsel  aid 

Far  better  than  a  simple  maid, 

Men,  whose  experience  is  great. 
LUDOLFF. 

Attendant,  look  thou  to  the  gate, 

Admit  all  who  an  audience  seek; 

We'll  hear  them,  let  them  freely  speak. 

The  attendant  opens  the  door.  Enter  RUPRECHT,  THE  POST- 
MAN, carrying  a  letter  in  a  clip,  and  makes  obeisance  to 
the  Prince. 
RUPRECHT. 

Most  noble  Prince,  I  come  to  thee, 
As  envoy  from  all  danger  free, 
But  still  your  grace  I'd  humbly  crave. 
Duke  Leudegast  the  missive  gave, 


11 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


12 


1m  zorn  mit  diesem  absag  Brieff 
Was  der  inhalt  gibt  sein  begrieff 

FURST  LUDOLFF  nimbt  den  Brieff  mit  zorn  aufs  der 

kluppen,  liest  den  vnd  sagt  zornig 
Dein  Fiirst  der  ist  vns  leiden  gut 
Sag  wenn  er  hab  eins  Helden  muth 
Vnd  will  vns  lernen  kennen  bafs 
Thu  er  was  er  sich  gliisten  lafs 
Wir  wolln  alhie  seiner  warten 
In  der  mafs  schlagen  auff  die  schwarten 
Das  er  sol  sein  hochmuth  verstehn 
Vnd  du  magst  deins  wegs  wol  fort  gehn 
Oder  wir  wolln  dir  fiifs  macben 
Ruprecht  der  Bott  neigt  sich  vnd  geht  ab,  der  Furst 

sagt  weiter. 

Nun  mufs  wir  auch  thun  zu  den  sacben 
Vnd  ein  gewaltigs  Heer  bestelln 
Dem  Fiirstn  sein  hochmuth  dempffn  wolln 

SIDEA  sagt  kleglich 
Ach  jhr  G  otter  last  euch  erbarmen 
Es  ist  zu  thun  nur  vmb  mich  armen 
Ach  thuts  nicht  lieber  Hen-  Vatter  mein 

LUDOLFF 
Halt  nur  das  maul  es  mufs  doch  sein 

[Abgang  jhr  aller. 

Kompt  LEUDEGAST  DER  FURST  IN  DER  WILTAU  mit  FRAN- 
CISCO vnd  ELEMAUS  sein  zweyen  Rdhten  geriist 

LEUDEGAST 

Weil  der  zenckisch  Hertzog  Leupolt 
Den  Krieg  vnd  zanck  hat  also  holt 
Das  er  vns  fordert  in  sein  Land 
So  seit  nur  behertzt  allesand 
Last  vns  erlangen  Gut  vnd  Ehr 
Kein  Fried  treff  wir  mit  jhm  nicht  mehr 
So  lang  wir  vnd  er  thut  leben 
Wir  haben  vns  darein  ergeben 
Das  die  Feindschafft  so  lang  soil  bleiben 
Bifs  einer  den  andern  thu  vertreiben 
Von  seinem  Fiirstenthumb  vnd  Land 

FRAXCISCUS 

Darzu  sind  wir  geriist  alsand 
Vnd  haben  vns  schon  drein  ergeben 
Daran  zu  setzen  Leib  vnd  Leben 
Vnd  alles  was  von  noten  thut 

ELEMAUS 

Ja  das  Lebn,  den  Leib,  auch  das  Gut 
Vnd  alles  das   so  wir  vermugen 
Wenden  wir  als  an  zu  bekriegen 
Dem  stoltzen  Fiirsten  in  Littau 


In  wrathful  mood.    This  hostile  letter 
Informs  thee  of  the  import  better. 

PRINCE  LUDOLFF,  frowning,  takes  the  letter  out  of  the 

clip,  reads  it,  and  then  says  angrily: 
Thy  prince  doth  please  us  passing  well; 
And  if  a  hero's  courage  dwell 
Within  his  bosom,  which  he  still 
Would  prove,  why  let  him  do  his  will. 
We  will  his  coming  here  abide, 
And  leave  such  marks  upon  his  hide, 
That  he  his  insolence  shall  learn. 
The  way  you  came,  you  may  return. 
Or  we  will  teach  you  expedition. 
Exit  Ruprecht,  the  postman,  making  obeisance.     The 

Prince  continues: 

We  now  must  look  to  our  position, 
A  mighty  army  too  provide, 
To  tame  this  haughty  prince's  pride. 
SIDEA,  in  a  melancholy  voice. 
Ye  Gods!  that  this  should  e'er  befall 
Through  wretched  me,  the  cause  of  all! 
Do  it  not,  father  mine!  oh  no! 

LUDOLFF. 
Girl,  hold  thy  tongue;  it  must  be  so. 

[Exeunt. 

Enter  LEUDEGAST,  THE  PRINCE  OF  WILTAU,  with  his  two 
counsellors,  FRANCISCO  and  ELEMAUS,  all  armed. 

LEUDEGAST. 

Duke  Leupold  so  loves  strife  and  brawl. 
That  now  he's  challenged  us  to  fall 
Upon  his  land,  and  fight  it  out. 
Let's  meet  him  then  with  hearts  as  stout. 
Honour  and  wealth  will  we  obtain. 
And  ne'er  make  peace  with  him  again, 
As  long  as  both  of  us  shall  live. 
Ourselves  unto  the  cause  we  give, 
Our  enmity  will  never  smother, 
Till  one  of  us  shall  drive  the  other 
From  principality  and  land. 
FRANCISCUS. 

'Tis  for  that  end  in  arms  we  stand. 
Devote  ourselves  unto  the  strife. 
Though  it  may  cost  us  limb  and  life, 
And  all  that  man  has  dear  to  him. 

ELEMAUS. 

Aye  land,  and  goods,  and  life,  and  limb. 
All,  all  we'll  venture,  all  we  can 
We'll  do,  to  conquer  that  proud  man. 
Who  now  in  Littau  holds  the  sway. 


13 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


14 


FRANCISCUS 

Wenn  einer  sicht  von  ferrn  gar  gnau 
So  geht  irn  Feld  dort  auff  ein  staub 
Das  ist  der  Feind  wie  ich  gelaub 
Drumb  hab  acht  es  wird  kappen  geben 

LEUDEGAST 

Ja  wir  sehen  die  Fahnlein  schweben 
Darumb  seit  keck  vnd  auch  bereit 
Es  wird  geben  ein  kampff  vnd  streit 
Die  Feind  greift'en  vns  hinden  an 
Drumb  wehret  euch  nur  dran,  dran,  dran 
Lau/en  Ilertzog  LUDOLFFS  gesind  ein,  kemp/en  lang  mit 
einander    vnd   werden   LUDOLFFS    Lent   alle    erschlagen, 
LUDOLFF  fellt  zu  fu/s 

LUDOLFF 

Ach  vngluck  ist  auff  meiner  seiten 
Allein  kan  ich  kein  Heer  bestreiten 
Drumb  bitt  ich  vmb  genad  vnd  hult 

HERTZOG  LEUDEGAST 
Das  vngluck  ist  allein  dein  schuld 
Vnd  ich  hett  gut  vrsach  vnd  recht 
Das  ich  dich  also  bait  vmbrecht 
Mit  eim  grausamen  bosen  todt 
Doch  wil  ich  dich  zu  schand  vnd  spot 
Lebendig  jagen  aufs  dem  Land 
Bait  glob  vnd  schwer  mit  Mund   und  Hand 
Das  du  vns  das  Land  raumen  wolst 
Vnd  darein  nicht  mehr  kommen  solst 
Allein  so  viel  sey  dir  vergiint 
Was  du  vnd  auch  dein  Tochter  kiind 
Beide  mit  euch  von  hinnen  tragen 
Vngefuhrt  auff  Karn  vnd  Wagen 
Dasselbig  miigt  behalten  jhr 
Wiltu  das  thun  so  glob  es  mir 

LUDOLFF  DER  HERTZOG  sagt  kleglich 
Als  ich  hab  mir  zu  vil  vertraut 
Zu  sehr  auff  meinen  gwalt  gebaut 
Drumb  die  Grub  die  ich  graben  hab 
Darin  fall  den  halfs  ich  selbst  ab 

\_Er  globt  an  vnd  geht  traurig  ab 

HERTZOG  LEUDEGAST 
Jr  lieben  Kriegsleut  kompt  herein 
Last  vns  die  Stadt  auch  nemen  ein 
Nun  hab  wir  gwunnen  Ehr  vnd  Gut 
Zerstort  des  Fiirsten  vbermuht 
Darfiir  thun  wir  euch  vil  dancks  sagen 
Das  jhr  thet  leib  vnd  leben  wagen 
Vnd  wolln  vnter  euch  jetzunder 
Aufs  theiln  in  der  Stadt  den  blunder 

\_Sie  gehn  alle  ab 


FRANCISCUS. 

I  think  if  you  would  look  this  way, 
You'll  see  a -field  a  cloud  of  dust; 
It  is  the  enemy  I  trust; 
Take  heed,  for  there  are  helmets  there. 

LEUDEGAST. 

And  standards  floating  in  the  air. 
Therefore  prepare  ye  for  the  fight, 
Your  courage,  as  your  weapons,  bright. 
The  foe  attacks  us  from  the  rear; 
But  at  them!  at  them!  Never  fear! 
Duke  LUDOLFF'S  people  rush  in  and  fight  for  some  time. 
At    last   they   are  all   killed.     LUDOLFF  falls    at    Duke 
LEUDEGAST'S  feet. 

LUDOLFF. 

Ill  fortune  to  my  side  hath  flown! 
I  cannot  fight  a  host  alone; 
Therefore  for  quarter  humbly  sue. 

LEUDEGAST. 

Ill  fortune  is  but  thy  just  due; 
And  rightful  cause  would  fail  me  not, 
If  I  would  kill  thee  on  the  spot, 
With  torture,  yet  I  deem  it  best 
To  let  thee  live  the  scorn  and  jest 
Of  men,  and  chase  thee  from  the  land. 
But  swear  to  me  with  mouth  and  hand. 
To  cede  the  whole  of  thy  domain 
To  us,  nor  e'er  return  again. 
But  then  thus  much  I  thee  allow: 
Of  all  thy  goods,  whatever  thou 
And  daughter  too  together  can 
Convey  by  waggon,  cart,  or  van, 
The  same  to  keep.     If  thou  agree 
To  these  conditions,  swear  to  me. 

LUDOLFF,  piteously. 
Alas!  alas!  I  see  at  length, 
I  built  too  much  upon  my  strength; 
And  therefore  while  I  dug  a  pit 
For  others,  fell  myself  in  it. 

[He  takes  the  oath.     Exit  sorrowfully. 

LEUDEGAST. 

The  town  is  ours,  enter  here 
And  occupy  it,  comrades  dear. 
For  wealth  and  honour  you  have  gained, 
The  prince's  arrogance  restrained, 
Great  services  with  peril  rendered, 
For  which  our  thanks  to  you  are  tendered. 
So  on  to  town,  among  you  there 
The  plunder  we  will  freely  share. 

[Exeunt, 


15 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


16 


Kompt  LUDOLFF  mit  SIDEA,    tregt  einen  weisen  Silbern 
Stab  in  der  hand. 

LUDOLFF 

Ach  wie  thut  mir  die  spot  vnd  schand 
Vber  die  mafs  so  weh  vnd  and 
Es  mocht  mir  wol  mein  hertz  zerbrechen 
Das  ich  mich  difsmal  nit  kan  rechen 
Hab  verloren  mein  Fiirstenthum 
Mein  Reichtum  Wolfahrt  Ehr  vnd  Ruhm 
Vnd  ob  ich  schon  kein  Land  mehr  hab 
Will  ich  jedoch  nit  lasen  ab 
Gebrauchen  alle  renck  vnd  tiick 
Bifs  mir  \viderumb  scheint  das  gliick 
Vnd  ich  sey  an  meim  Feind  gerochen 

SIDEA 

Herr  Vatter  ich  hab  die  gantze  Wochen 
In  meinem  hertzen  gehabt  grofs  pein 
Hab  kein  stund  kiinnen  frolich  sein 
Dann  es  hat  wol  mein  hertz  geand 
Ach  weh  des  jammers  spot  vnd  schand 
Kein  wunder  wer  das  mir  vor  schmertz 
In  tausent  stucken  zerspreng  mein  hertz 
Vor  lebt  ich  in  Fiirstlichem  Stand 
Jetzt  hab  ich  weder  Leut  noch  Land 
Vor  nennt  man  mich  Furstlichs  Fraulein 
Jetzund  mufs  ich  ein  Bettlerin  sein 
Vor  hett  ich  als  vol  auff  vngemessen 
Jetzt  wers  noht  das  ich  grafs  thet  essen 
Vor  hett  ich  viel  die  vmb  mich  worben 
Jetzt  mufs  es  sein  einsam  gestorben 
Vnd  weifs  nicht  wie  es  nimbt  ein  end 

LUDOLFF  ist  zornig,  zuckt  den  stab. 
Halts  maul  das  dich  Jupiter  schend 
Vnd  hab  ein  zeit  gedult  mit  mir 
Jetzt  will  ich  bringen  mein  Geist  herfiir 
Der  mufs  mir  sagen  wi^  vns  auff  Erd 
Bifs  zu  dem  todt  ergehn  noch  werd 

[Er  macht  ein  kreifs  mit  dem  stab  vnnd  etliche 
C'aracteres  darein 

SIDEA 

Ach  wolt  jhr  den  Geist  thun  beschwern 
Last  mich  zuvor  von  hinnen  kehrn 
Dann  er  ist  gar  zu  forchtsam  mir 

LUDOLFF 
Schweig  still  er  ist  vnschedlich  dir. 

[Er  macht  den  Kreifs  aufs,  vnd  klopfft  mit  dem 
Stdblein  auff  das  loch,  so  springt  der  TEUFFEL 
heraufs,  speit  Feur  aufs,  geht  in  Kreifs  vnd 
sagt  zornig: 


Enter  LUDOLFF  with  SIDEA,  carrying  a  white  silver  wand 
in  his  hand. 

LUDOLFF. 

Alas!  What  torture  'tis  to  face 
Indignity  and  foul  disgrace! 
My  heart  indeed  is  like  to  break 
That  now  I  can  no  vengeance  take. 
I've  lost  my  kingdom,  lost  my  name, 
My  wealth,  my  honour,  and  my  fame! 
And  though  no  more  of  land  possess'd, 
Yet  not  a  moment  will  I  rest, 
But  use  all  stratagem  and  wile, 
Till  once  more  fortune  on  me  smile, 
And  vengeance  on  my  foe  I  wreak. 

SIDEA. 

Alas,  my  father!  all  this  week 
Such  trouble  doth  my  heart  oppress, 
I've  known  no  moment's  happiness. 
Too  truly  did  my  heart  forebode 
Of  foul  disgrace  this  weary  load. 
It  is  no  wonder,  then,  the  smart 
In  thousand  pieces  burst  my  heart. 
In  princely  state  I  lived  before; 
Now  suite  and  land  are  mine  no  more. 
And  princely  rank  belonged  to  me; 
But  now  a  beggar  1  must  be. 
Before  I  ne'er  knew  stint  nor  need; 
But  now  on  herbage  I  may  feed. 
Before  would  lovers  round  me  sigh;  J 
But  now  unwedded  must  I  die,  j 

Nor  know  I  what  the  end  will  be.     1 

LUDOLFF  angrily,  twitching  at  his  wand: 
Silence!  May  Jove  dishonour  thee! 
Have  patience  with  me  while  I  call 
My  spirit,  he  shall  tell  me  all 
Will  happen  to  us  here  below 
Till  death,  for  I'm  resolved  to  know. 

[He  draws  a  circle  with  his  wand,  and  describes 
certain  characters  in  it. 

SIDEA. 

Ah,  if  the  spirit  thou  would'st  raise, 
I  pray  thee  let  me  go  my  ways. 
The  thought  doth  fill  me  with  alarm. 

LUDOLFF. 
Silence!  he  will  not  do  thee  harm. 

[He  opens  the  circles,  and  strikes  the  opening 
with  his  wand.  The  DEVIL  springs  out  of  it, 
spits  out  fire,  walks  round  in  the  circle,  and 
says  angrily: 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


18 


Ludolff  du  bist  ein  boser  Mann 

Vor  dir  ich  nirgent  bleiben  kan 

So  bait  dir  nur  was  schlechts  fellt  ein 

Meinstu  ich  mufs  schlechts  bey  dir  sein 

Nun  magstu  wissen  vnd  das  ich 

Noch  mehr  beschwerer  hab  als  dich 

Vnd  kan  dir  nicht  so  gschwind  auffhupffen 

Obs  dir  schon  thut  ind  nasen  schnupffen 

Drumb  sag  mir  bait  was  wiltu  mein 

LUDOLFF 

Du  Schelm  wann  du  so  stoltz  wilt  sein 
So  sag  mich  ledig  meiner  glueb 
Oder  mir  alsbalt  antwort  gib 
Warumb  ich  dich  jetzund  thu  fragen 

RUNCIFAL   DER   TfiUFFEL 

Was  wiltu  dann  so  thu  mir  sagen 
Wiltus  nit  sagen  so  ziech  ich  bin 
Meins  wegs  wo  ich  herkommen  bin 
Du  horsts  das  ich  mufs  weiters  fort 

LUDOLFF 

So  sag  mir  bait  mit  einem  wort 
Ob  ich  mich  kan  an  meim  Feind  rechen 

RUNCIFAL 

In  warheit  thu  ich  dir  versprechen 
Es  wird  geschehen  nicht  nach  langen 
Wirstu  deins  Feindes  Sohne  fangen 
Vnd  der  wird  dir  lang  Dienstbar  sein 
Vnd  nach  lang  aufsgestandner  pein 
Wird  er  von  dir  ledig  durchaufs 
Kompt  wider  seim  Vatter  zu  Haufs 
Als  dann  wirstu  wider  zu  ehrn 
Vnd  wider  guts  gliick  zu  dir  kehrn 
Ein  mehrers  kan  ich  dir  nicht  sagen 

[Runcifal  der  Teuffel  fehrt  ab 

LUDOLFF 

So  du  im  Walt  horst  jemand  Jagen 
So  zeig  mirs  an  als  bait  will  ich 
Auff  das  best  wol  fiirsehen  mich 
Das  ich  auch  etwas  thu  erlangen 
Kond  ich  den  Jungen  Fursten  fangen 
Vnd  das  ich  mich  kondt  an  jhm  rechen 
So  will  ich  dir  hiemit  versprechen 
Das  er  mufs  bleiben  mein  Leib  eygen 
Wolt  jhm  auch  alles  bofs  erzeigen 
Wie  vns  sein  Vatter  hat  gethan 
Nun  Ms  vns  in  die  Hiitten  gahn 
Weil  wirs  doch  jetzt  nit  besser  han 

[Abgang. 


Ludolff,  thou  art  a  wicked  man; 

For  thee  I  nowhere  tarry  can. 

Whene'er  thou  mischief  meditate, 

Thou  thinkst  I  must  be  with  thee  straight. 

Now  know,  1  serve  not  thee  alone, 

But  others  too  for  masters  own, 

And  can't  hop  up  at  such  a  pace, 

E'en  though  thou  pull'st  so  long  a  face; 

Say  quickly  what  thou  wouldst  with  me? 

LUDOLFF. 

Thou  rogue!  if  thou  so  proud  wilt  be, 
Either  release  me  from  my  vow, 
Or  give  immediate  answer  now, 
Whatever  I  may  ask  of  thee. 

RUNCIFAL. 

What  is  it  then?  Come  tell  it  me; 
If  not,  why  then  the  way  is  clear    \  < 
For  my  return,  which  I  came  here. 
For  I  must  forth,  as  thou  hast  heard. 

LUDOLFF. 

Then  tell  me  quickly  in  a  word, 
Can  I  revenge  me  on  my  foe? 

RUNCIFAL. 

Thus  much  'tis  given  thee  to  know: 
Not  many  days  will  lapse,  I  wis, 
Before  his  son  thy  prisoner  is. 
And  he  will  serve  thee  long,  at  last 
When  that  his  term  of  trial  's  past, 
He  will  from  thee  his  freedom  earn. 
And  to  his  father's  house  return. 
Thy  honours  then  will  be  restored, 
And  fortune  too  be  thy  reward. 
But  more  I'm  not  allowed  to  say. 

[Exit  Euncifal,  the  devil. 

LUDOLFF. 

Shouldst  thou  hear  huntsmen  pass  this  way, 
Inform  me  quickly,  then  will  I 
Arrange  my  plans  so  craftily, 
That  I  may  also  something  take: 
Could  I  the  prince  my  prisoner  make. 
And  wreak  my  vengeance  on  him  too, 
Why  then  I  promise  this  to  you: 
That  he  as  slave  remain  behind, 
And  such  ill-treatment  shall  he  find, 
As  we  must  from  his  father  bear. 
Now  let  us  to  the  hut  repair, 
As  there  is  nothing  better  there. 

[Exeunt. 


19 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


ACTUS  SECUNDUS. 

Kompt  JAHN  MOLITOR  ist  sehr  staubig  von  Meet,  lacht 
Ein  Miihl  die  da  Wassers  gnug  hat 
Das  es  kan  treiben  nur  drey  Ralit 
Kan  sich  des  nutzens  nicht  erwehrn 
Vnd  wol  ein  faulln  Miiller  ernehrn 
Beydes  mit  Weib  vnd  auch  mit  Kind 
Vnd  mit  all  seinem  Haufsgesind 
Dann  kein  Ampt  ist  auff  diser  Erd 
AVers  vbel  braucht  ist  Henckens  wehrt 
Vnd  weil  die  Miiller  miitzen  gern 
Den  Baurn  die  Seek  zu  gar  weit  lern 
So  miissen  sie  jhr  Dieb  auch  sein 
Das  klingt  vor  den  Leuten  nicht  fein 
Aber  was  ist  daran  gelegen 
Man  thut  doch  als  nur  von  Gelts  wegen 
Vnd  wenn  des  Menschen  lust  nicht  wehr 
O  die  Welt  sti'md  jetzt  nimmermehr 
Daher  wird  einer  ein  ankleger 
Der  ander  wird  ein  Hundts  schleger 
Der  dritt  ein  Stattknecht  oder  Biittel 
Der  viert  ein  Baur  in  seinem  Kiittel 
Der  fiinfft  wird  ein  Schalck  vnd  Verrather 
Der  sechst  ein  Morder  vnd  Vblthater 
Der  sibend  ein  Wuchrer  werden  thut 
Der  acht  hat  ein  leichtfertigen  mut 
Der  neund  purgiret  die  privet 
Der  zehend  mit  bosen  schaden  vmbgeht 
Der  eylfft  Peinlich  sach  exequirt 
Der  zwolfft  desselben  lehrknecht  wirdt 
Vnd  also  fort  durch  alle  Stiindt 
So  viel  der  tadelhafftig  send 
Vnd  die  man  scheulich  acht  darneben 
Dennoch  thut  man  sich  drein  ergeben 
Das  schafft  allein  die  Lieb  vnd  lust 
Ich  wer  kein  Miiller  worden  sunst 
Wenn  ich  nit  so  wol  hett  gewist 
Was  groser  Nutz  beym  Miihlwerck  ist 
Ich  mest  all  Jar  etliche  Schwein 
Kauffen  von  mir  die  Metzger  ein 
Fragen  nit  wo  ichs  hab  genummen 
Guts  Dreits  gnug  kan  ich  vberkummen 
Das  ich  nit  als  verzehren  kan 
Ein  gmesten  Ochsen  ich  drinn  han 
Den  schlag  ich  mir  jetzt  in  mein  Haufs 
Ich  mach  Kefs  vnd  riihr  auch  Schmaltz  aufs 
Vnd  hab  mein  bares  Gelt  dar  zu 
Allein  das  bringt  mir  grofs  vnruh 
Das  ich  Heur  hab  mein  Weib  verlohrn 


ACT  II. 

Enter  JOHN  MOLITOU,  covered  with  flour,  and  laughing. 
A  mill,  which  only  has  indeed 
Water  enough  three  wheels  to  feed, 
Brings  cash  enough  at  least  for  that, 
To  keep  a  lazy  miller  fat, 
His  children  too,  and  eke  his  spouse, 
And  all  the  servants  in  his  house. 
Each  trade  must  its  own  pickings  bring. 
But  not  for  that  should  tradesmen  swing. 
And  as  the  millers  like  their  snack, 
Dig  somewhat  deep  in  peasant's  sack, 
Why  truly  they  are  thieves,  but  then 
The  word  sounds  ill  to  other  men. 
Yet  who  for  that  need  take  offence? 
.   It's  only  done  for  sake  of  pence. 
If  man's  desires  lost  their  power, 
The  world  could  never  last  an  hour. 
One  man  informs  against  his  brother; 
As  dog -killer  too  lives  another. 
The  third  as  beadle  may  be  seen; 
The  fourth  a  clown  in  gabardine. 
The  fifth,  a  rogue,  betrays  his  friends; 
The  sixth  cuts  throats  to  gain  his  ends. 
The  seventh  takes  his  cent  per  cent; 
The  eighth's  on  idle  pleasure  bent. 
The  ninth  cleans  privies  out  for  pay; 
The  tenth  malicious  plots  will  lay. 
Th'elev'nth  for  debt  doth  chattels  seize; 
The  twelfth  —  his  prentice  if  you  please. 
Thus  through  all  trades  it  is  the  same; 
There's  always  much  deserves  our  blame. 
And  though  they  may  detest  the  thing, 
Yet  use  doth  resignation  bring. 
The  only  joy  is  cash  to  win; 
For  I  no  miller  should  have  been, 
Had  I  not  known  the  way  a  mill 
May  well  be  made  one's  purse  to  fill. 
Each  year  I  fatten  swine ,  you  see, 
And  these  the  butchers  buy  of  me. 
They  don't  ask  how  I  fill  the  trough. 
With  three  good  pigs  I  come  well  off. 
For  I  can  never  eat  them  all. 
A  fatten'd  ox  have  I  in  stall, 
Which  I  shall  slaughter  in  my  yard; 
Besides,  I  make  both  cheese  and  lard. 
Of  ready  cash  I  have  a  store : 
But  one  thing  troubles  me  full  sore; 
This  year  hath  ta'en  my  wife  from  me,  , 


COMEDY  OF  THE  BEAUTIFUL  SIDE  A. 


22 


Wer  sunst  lieber  ein  Muller  worn 
Als  der  best  Doctor  in  der  Statt 

ROLLUS  DER  BAUR  gelit  mit  ELA  seiner  Tochter  ein,  die 
tregt  ein  eingewickelts  Kindt. 

ROLLUS 

Sie  da  El  dort  steht  der  vnflat 
Dem  wolln  wir  dein  Kindt  heim  tragen 
Vnd,  das  er  dich  bhalt,  zu  jhm  sagen 
Thut  ers  nit  so  verklag  ich  jhn 

ELA 
O  lafs  vns  nur  bait  zu  jhm  bin 

[Sie  gehn  zu  John  Molitor 
ROLLUS 

Ey  Muller  da  find  wir  euch  recht 
Weil  jhr  mir  habt  mein  Tochter   gschwecht 
Die  mit  euch  hat  tragen  ein  Kindt 
So  must  jhr  euch  erkleren  gschwindt 
Ob  jhrs  wolt  wider  zu  ehrn  bringen 

JAHN  MOLITOR  kratzt  sich  im  kopff 
Jr  sagt  mir  von  seltzamen  dingen 
Ich  sol  eur  Tochter  bringen  zu  ehrn 
Dergleichen  Kunst  thet  ich  nie  lehrn 
Dann  an  ehrn  mir  selbst  mangeln  thut 
1st  eur  Tochter  gut  so  bleibs  gut 
Ich  bin  des  Kindes  Vatter  nicht 

ROLLUS 

Ja  du  Schelm  du  hast  jhrs  zugricht 
Wil  ich  bei  meinem  Eid  erhalten 
JAHN  MOLITOR  lacht,  deut  auff  den  Baurn 
Schau  einer  den  leichtfertigen  Altn 
Der  schwert  da  fur  die  Tochter  sein 
Vnd  glaubt  was  sie  jhm  bildet  ein 
Vnd  er  hats  weder  ghort  noch  gsehen 

ELA 

Nein  es  ist  dennoch  also  gschehen 
Vnd  du  laugnest  so  hart  darfiir 
Das  Kind  hab  ich  allein  von  dir 
Schaus  nur  es  ist  ein  schons  Sohnlein 

JAHN  MOHTOR 

Ists  schon  so  solts  ein  Maidlein  sein 
So  gried  es  seiner  Mutter  nach 
Gebt  mir  ein  bedacht  heint  den  tag 
Als  dann  so  will  ich  mich  erklern 

ROLLUS 
Ey  gut  das  woll  wir  thun  gar  gern 

[Sie  gehn  ein  wenig  auff  die  Seiten,  reden  zusammen 

in  die  Ohren,  John  lacht,  so  kompt  DIETRICH 

mit  AGNES,  seiner  Tochter,  die  tregt  auch  ein 

Kind,  DIETRICH  gelit  zu  jhm,  vnd  sagt  zornig. 

Find  ich  dich  hie  du  ehrlicher  Mann 


Else  I  would  rather  miller  be 
Than  the  best  doctor  in  the  town! 
Enter  ROLLUS,  THE  PEASANT,  with  ELA,  his  daughter, 
carrying  a  baby  in  swaddling  clothes. 

ROLLUS. 

Look,  Ela,  look!  There  stands  the  clown. 
We'll  tell  him  that  thy  child  thou'st  brought. 
That  he  must  both  of  you  support; 
If  not,  I'll  prosecute  the  loon. 
ELA. 

0  father,  let  us  at  him  soon. 

[They  walk  up  to  John  Molitor. 

ROLLUS. 

How  lucky,  miller,  thou  art  there! 
For  thou  to  me  must  now  declare, 
As  thou  my  daughter  hast  defiled, 
And  she  hath  borne  to  thee  a  child. 
If  thou'lt  restore  her  honest  name. 

JOHN  MOHTOR,  scratching  his  head. 
That's  a  queer  notion,  —  is  that  same; 

1  should  her  honesty  restore, 
Yet  never  had  the  thing  before ! 
My  stock  of  it  is  nearly  drained. 
If  honest  once,  she's  so  remained. 
I'm  not  the  father  of  her  child. 

ROLLUS. 

Thou  rogue!  I  know  thou'st  her  beguiled. 
Can  take  my  solemn  oath,  I  can! 
JOHN  MOLITOR  laughing,  and  pointing  at  the  peasant. 
Now  look  at  that  old  hasty  man! 
For  daughter  there  he'll  swear  away. 
Believe  whate'er  the  wench  may  say! 
He  neither  saw  nor  heard  the  act. 

ELA. 

Nevertheless,  the  thing  's  a  fact. 
And  yet  indeed  thou  wilt  not  own 
I  had  the  child  by  thee  alone ! 
As  pretty  a  boy  as  one  may  see. 

JOHN  MOLITOR. 

If  pretty,  it  a  girl  should  be,  — 
Take  after  its  own  mother  more. 
Give  me  to-night  to  think  it  o'er, 
And  then  I'll  tell  you  my  intent. 

ROLLUS. 
Aye,  aye,  —  to  that  we  will  consent. 

[They    walk   a   little  on  one  side,   and   whisper 

together.     John  laughs. 

Enter  DIETRICH  with  AGNES,  his  daughter,  carrying  a  baby. 
He  walks  up  to  the  miller,  and  says  angrily: 
Thou  honest  man!  I  find  thee  here? 

2* 


23 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


24 


JAHN  erschrickt,  kratzt  sich  im  kopff 
Ja  was  hab  ich  dann  dir  gethan 

DIETRICH 

Mein  Tochter  hast  mir  zschauden  gmacht 
Da  hab  wir  dir  das  Kind  gebracht 
Das  wird  dir  zu  ziehen  gebiirn 
Auch  so  mustu  gen  Kirchen  fuhrn 
Mein  Tochter  bhalten  zu  der  Eh 

JAHN  MOLITOR 

Deiner  Tochter  ich  keins  Kinds  gsteh 
So  hab  ich  sie  auch  nit  genommen 

DIETRICH 

Lestus  fur  die  Obrigkeit  kommen 
So  wirst  wol  sehen  was  du  gwinst 
Du  must  ins  gfengknus  auffs  aller  minst 
Vnd  dennoch  bhalten  die  Tochter  mein 
Ich  will  dir  ein  guter  Schwer  sein 
Vnd  hundert  gulten  geben  darzu 

JOHAN1   MOLITOR 

Hundert  gultn  vnd  wolt  mir  flicken  die  Schu 
Das  ich  euch  nichts  darff  lohnen  darfur 
Ein  Weib  ist  not  zu   nemen  mir 
Dann  ichs  mit  meinen  Maid  vnd  Knechten 
Nicht  als  kan  erstreiten  vnd  fechten 
Aber  verziecht  ein  weil  hierinnen 
Ich  mufs  mich  vor  darauff  besinnen 
\_Er  geht  abwdrts,wo  der  JRollus  mit  seiner  Tochter  steht 

JAHN 

Hort  was  wolt  jhr  mir  geben  dar  zu 
Wann  ich  eur  Tochter  nemen  thu 
Zu  eim  ehrlichen  Heiirat  Gut 

ROLLUS 

Wann  jhr  mein  Tochter  nemen  thut 
Gib  ich  euch  hundert  gulten  mit  jhr 
JAHN  deut  auff  den  Schuster 
O  der  beut  hundert  Thaler  mir 
Vnd  hat  mir  noch  verheissen  darzu 
Vmb  sunst  zu  flicken  all  mein  Schu 
Vnd  ist  sein  Tochtr  schoner  als  die 

ROLLUS 

Wiltu  zu  Kirchen  fiihren  sie 
So  gib  ich  dir  ein  guten  zahler 
Zu  jhr  anderthalb  hundert  Tahler 
Vnd  fiihr  dir  vmb  sunst  aus  dein  mist 

JAHN  schmutzt 

Das  alles  dennoch  gut  mit  ist 
Verziecht  ich  mufs  nur  etwas  fragen 
Ich  will  euch  bait  gut  antwort  sagen 


JOHN  frightened,  and  scratching  his  head. 
What  have  I  done  to  thee?   Oh  dear! 

DIETRICH. 

What?   Why  my  daughter  thou'st  defiled; 
And  now  we've  brought  to  thee  the  child, 
Which  it's  thy  duty  to  maintain. 
And  after  that,  of  course  'tis  plain, 
Thou  must  in  church  my  daughter  wed. 

JOHN  MOLITOR. 

Through  me  she  ne'er  was  brought  to  bed, 
Ne'er  did  I  treat  her  in  that  sort. 

DIETRICH. 

Then  let  us  go  before  the  court, 
And  thou  wilt  see  what  thou  wilt  gain: 
At  least  in  prison  to  remain, 
And  wed  my  daughter  none  the  less. 
As  father,  I'll  the  marriage  bless 
With  hundred  florins  if  you  choose. 

JOHN  MOLITOR. 

A  hundred  down,  and  mend  my  shoes, 
And  nothing  for  it  have  to  pay? 
I  want  a  wife  too  any  way. 
For  with  my  maid  and  servants  too, 
I  cannot  all  the  work  get  through. 
Excuse  me  while  I  step  aside, 
And  think  before  I  choose  my  bride. 

[Aside  to  Bollus  who  is  standing  near  his  daughter. 

JOHN. 

Now  tell  me,  how  much  wilt  thou  give, 
If  I  thy  daughter  take  to  live 
With  me,  I  mean  in  wedlock  fast. 

ROLLUS. 

If  thou  my  daughter  take  at  last, 
I  will  a  hundred  florins  say. 

JOHN,  pointing  to  the  shoemaker. 
T'other  will  hundred  dollars  pay, 
And  promises  he'll  not  refuse 
To  mend  for  nothing  all  my  shoes. 
His  daughter's  handsomer  than  she. 

ROLLUS. 

If  thou  to  marry  her  agree, 
I'll  pay  of  dollars  without  fail 
Hundred  and  fifty  on  the  nail, 
Thy  dung  besides  for  nothing  cart. 

JOHN,  chuckling. 

That  is  worth  something  too,  as  part. 
Your  pardon,  —  I'd  a  word  to  say 
To  him;  —  I'll  answer  you  to-day. 


1    Sic  in  the   original  impression. 


25 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


26 


JAHN  lacht 

Wann  sie  nicht  wolln  hocher  nauif 
So  wird  aufs  dem  gebot  kein  kauff 

[Er  geht  zu  dem  Schuster 
Hort  jhr  mein  Meister  Dietrich 
Fur  war  eur  Tochter  ist  nicht  fur  mich 
Ihr  gebt  jhr  zu  weng  Heiirat  Gut 
Der  Rollus  mir  anbieten  thut 
Zwey  hundert  Thaler,  das  jhrs  wist 
Vnd  will  mir  aufs  fiihrn  all  mein  mist 
So  lang  ich  vnd  er  thut  leben 

DIETRICH  verwundert  sick 
Zwey  hundert  Gultn  wil  ich  dir  geben 
Ich  meint  ich  thet  der  sach  genug 

JAHN  MOLITOR 

So  habt  noch  ein  kleinen  verzug 
Ich  wils  gehn  dem  Rollus  abschlagen 

[Die  zwey  der  Schuster  vnd  sein  Tochter  stosen 
die  kopff  zusammen,  er  geht  zum  Rollo. 

(JAHN) 

Hort  mit  eim  wort  wil  ichs  euch  sagen 
Er  will  zwey  hundert  Thaler  geben 
Vnd  mein  Schu  flicken  weil  wir  leben 
Nun  ist  sein  Tochtr  ein  Burgers  Kind 
Die  ehrlicher  als  die  Baurn  sind 
Darumb  wil  ich  diesejben  nemen 

ROLLUS 

Ey,  ich  wolt  mich  in  mein  hertz  schemen 
Das  ich  nit  so  gut  als  er  wer 
Vil  mag  dir  wol  verheisen  er 
Nicht  weifs  ich  wie  er  zahln  wiir 
Jedoch  so  will  ich  geben  dir 
Zwey  hundert  Thaler  wie  vor  gemelt 

JAHN 

Zwey  hundert  Thaler  ist  vil  gelt 
Nun  hab  ich  zu  bedencken  frey 
Welche  mir  die  nutzlichste  sey 

[Er  geht  wegk  vnd  eh   er  zum  Schuster  kompt 

sagt  er 

Ich  mag  ebn  der  Hum  keine  nit 
Jetzt  wil  ich  machen  ein  vnfrid 
Das  die  zwen  sollen  vneins  wern 
Vnd  weil  sie  aneinander  bern 
Die  weil  so  treh  ich  mich  davon 

[Er  geht  zum  Dietrich 
Was  sol  ich  mit  deiner  Tochter  than 
Rollus  sagt  vnverholn  vnd  frey 
Das  sie  doch  nur  dein  Hurnkind  sey 
Vnd  du  seist  auch  nit  Ehlich  geborn 


JOHN,  laughing. 

If  they  their  highest  bid  have  made, 
We  shan't  do  business  I'm  afraid. 

[Walking  up  to  the  shoemaker. 
Now  master  Dietrich,  do  you  see, 
Your  daughter's  not  the  girl  for  me. 
You  will  not  dower  give  enough. 
'Tis  Rollus  offers  me  the  stuff. 
Two  hundred  dollars  will  he  pay, 
And  all  my  dung  will  cart  away, 
As  long  as  both  of  us  shall  live. 

DIETRICH,  much  surprised. 
Two  hundred  florins  will  I  give; 
If  that  won't  do,  the  deuce  is  in  it. 

JOHN  MOLITOR. 

Be  kind  enough  to  wait  a  minute, 
While  I  shew  Rollus  to  the  door. 

[ The  shoemaker  and  his  daughter  put  their  heads 
together,  while  John  walks  up  to  Eollus. 

JOHN. 

I  wish  to  say  just  one  word  more: 
He  will  two  hundred  dollars  give, 
And  mend  my  shoes  while  both  do  live. 
His  girl,  as  burgher's  daughter,  too 
Ranks  higher  than  the  peasants  do. 
And  therefore  she  shall  bear  my  name. 

ROLLUS. 

'Twould  be  for  me  a  downright  shame, 
Were  I  not  quite  as  good  as  he. 
Though  much  indeed  he  promise  thee 
I  don't  know  how  he'll  ever  pay. 
But  yet  two  hundred  will  I  say 
Before  the  wedding,  come  now,  —  come! 

JOHN. 

Two  hundred  is  a  good  round  sum. 
I'll  take  my  leisure  to  reflect, 
From  which  I  may  most  help  expect. 

[He  goes  aside,  but  before  he  turns   to  the  shoe- 
maker, continues: 

I  don't  like  either  wench,  —  not  I, 
So  to  get  up  a  brawl  will  try. 
That  they  from  words  may  come  to  blows, 
Exchange  black  eyes  for  bloody  nose ; 
Then  in  the  midst  I'll  take  my  leave. 

[Walking  up  to  Dietrich. 
Thy  daughter  I  can  ne'er  receive. 
For  Rollus  says  quite  openly, 
No  honest  woman's  child  is  she. 
And  thou  thyself  a  bastard  born. 


27 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


28 


DIETRICH  sagt  zornig 
Das  sey  dem  schelm  ein  Eyd  geschworn 
Wolt  er  solchs  ding  von  vns  aufs  geben 
Es  must  jhn  kosten  leib  vnd  leben 
Ich  will  jhm  sein  Leib  Himlblau  schlagen 

JAHN 
Verzeich  ich  wil  jhn  vor  recht  fragen 

[Er  geht  zum  Eollus 
Rollus  dein  Tochter  ich  nit  mag 
Geh  hor  was  Dietrich  von  dir  sag 
Du  seist  ein  schelrn  solst  gedencken 
Man  thet  dir  dein  Vatter  erhencken 
Auch  hab  man  dir  ein  Bruder  gricht 

ROLLUS  lau/t  zum  Schuster 
Du  leugst  wie  ein  schelm  vnd  bofswicht 
Ey  schweig  ich  wil  dich  lernen  liigen 

DIETRICH 

Komb  her  du  solst  deins  Manns  wol  kriegen 
[Sie  schlagen  einander,  John  lacht,  schlegt  die  hend 
zusammen  vnd  laufft  ab,  sie  schlagen  auch  ein- 
ander ab. 

LEUDEGAST  DER  FURST  IN  DER  WILTAU  mit  FRANCISCO  vnnd 

ELEMAO  seinenzweyenEdhten  vnd  sewiem$o^nExGELBRECHT 

sein  auser  defs  Fiirsten,  wie  Jdger  staffirt,  geht  ein. 

LEUDEGAST 

Weil  jhr  je  naufs  wolt  auff  das  Jagen 
So  wil  ichs  euch  mit  treuen  sagen 
Das  jhr  gebt  auff  einander  acht 
Jr  wist  das  der  Feind  stettigs  wacht 
Solt  der  euch  Wehrlofs  im  Walt  finden 
Oder  mit  Waffen  fiber  windeu 
So  leget  er  euch  an  grofs  leidt 
Darumb  brauchet  bescheidenheit 
Vnd  halt  zusammen  alle  sander 

ENGELBRECHT 

Wir  lassen  gar  nicht  von  einander 
Hett  sich  einer  verriten  schon 
So  kan  er  durch  der  horner  thon 
Leichtlich  aus  der  jrr  werden  bracht 

FRANCISCUS 

Defs  Ludolffs  gwalt  ich  wenig  acht 
Der  hat  kein  Leut  vnd  Land  nicht  mehr 
Das  man  auff  jhn  darff  sehen  sehr 
Zu  dem  wer  weifs  wo  er  vmb  zeucht 
Vor  vns  in  fleder  Meufs  winkl  kreucht 
Er  setzt  sich  gwifslich  daher  nicht 

ELEMAIS 

Er  kompt  vns  nimmermehr  zu  gsicht 
Seinthalb  hat  es  kein  mangel  nit 


DIETRICH,  angrily. 
On  that  the  rascal  shall  be  sworn. 
If  such  things  are  maintained  by  him, 
The  lie  shall  cost  him  life  and  limb. 
I'll  beat  him  till  his  body  burst. 

JOHN. 
Pardon,  —  I'll  ask  about  it  first. 

[Going  up  to  Bollux. 
Rollus,  thy  daughter  will  not  suit; 
For  Dietrich  says,  that  by  repute, 
Thou  art  a  rascal,  and  should  rather 
Remember  that  they  hanged  thy  father, 
And  brother  too,  as  far  as  that. 

ROLLUS,  rushing  up  to  the  shoemaker. 
Thou  liest,  thou  rogue,  I  tell  thee  flat! 
Silence!    I'll  teach  thee  lies  to  hatch! 

•  DIETRICH. 

Come  on!  come  on  then!   I'm  your  match! 

[They  fight.   John  laughs  and  clasps  his  hands  to- 
gether.   The  others  beat  each  other  off  the  stage. 

Enter  LEUDEGAST,  THE  PRINCE  OF  THEWILTAU,  with  his  two 
counsellors,  FRANCISCUS  and  ELEMAUS,  and  his  son  ENGEL- 
BRECHT.   All,  except  the  prince,  in  huntsman's  costume. 
LEUDEGAST. 

As  you've  resolved  to  hunt  to-day. 

I'll  a  few  words  of  counsel  say. 

Each  of  you  keep  the  rest  in  view; 

Be  sure  the  foe  is  watchful  too. 

If  he  surprise  you  in  the  wood 

Unarmed,  or  if  by  force  he  should 

Subdue  you,  he'll  do  you  a  harm. 

So  stand  prepared  at  each  alarm, 

Nor  separate,  —  lest  ill  befall. 
ENGELBRECHT. 

We  will  not  separate  at  all; 

If  one  of  us  should  ride  astray, 

By  sounding  of  our  horns,  we  may 

Easily  guide  the  truant  right. 
FRANCISCUS. 

I  don't  think  much  of  Ludolff's  might. 

He  has  nor  land  nor  people  more, 

That  we  should  heed  him  as  before. 

Besides,  who  knows  where  he  may  prowl, 

Hiding  perhaps  like  bat  or  owl? 

You  may  be  sure  he  is  not  here. 
ELEMAUS. 

Nor  will  again  to  us  appear; 

We  may  for  him  be  quite  at  ease. 


29 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


30 


LEUDEGAST  DER  FURST 
Nun  wol  so  ziehet  bin  in  frid 
Der  Hirsch  1st  jetzund  in  der  feist 
Secht  das  jhr  jhn  abbruch  beweist 

[Sie  gehn  alle  ab. 
Kompt  LTJDOLFF  mit  SIDEA,  hat  ein  jedes  ein  weissen  stab, 

LUDOLFF 

Mein  geist  thet  mir  heint  offenbarn 

Das  in  dem  Walt  auffs  gejaid  woll  fahrn 

Defs  Hertzogen  Sohn  Engelbrecht 

Der  soil  mir  kommen  eben  recht 

Den  wil  ich  in  dem  Walt  aufsspiirn 

Fangen  vnd  der  mafs  tribulirn 

Der  gleichen  keim  zuvor  ist  gschehen 

SIDEA 

Fiirwar  das  wolt  ich  gern  sehen 
Wann  wir  den  Vogl  kriegen  theten 
Als  dann  wir  gut  hoffnung  hetten 
Wider  zu  bringen  in  die  hend 
Das  gantz  Furstliche  Regiment 
Vnd  woltn  jhn  weidlich  Rancionirn 
Vnd  wolt  er  das  leben  nicht  verliern 
Must  er  vns  wider  setzen  ein 

LUDOLFF 

Schweig  nur  es  soil  sich  schicken  fein 
Dann  ich  wil  mich  kurtz  an  jhm  rechen 
Oder  mich  vnd  dich  selbsf  erstechen 

[Er  laufft  mit  der  Tochter  gantz  traurig  ab. 

Kompt  ENGELBRECHT  mitseinenFamulo,  schreien  erstlich  im 
eingang:  holla,  holla,  holla,  alsdann  sie  aufziehen,  sagt 

ENGELBRECHT 

Wir  sind  weit  kommen  von  der  Strassen 
Wir  schreyen  oder  die  Horner  blasen 
So  gibt  man  vns  doch  kein  antwort 
Schau,  schau,  was  gehn  fur  Leut  nur  dort 
Sie  lauffen  warlich  auff  vns  zu 
Darumb  dich  wol  fiirsehen  thu 
Sie  greiffen  zu  den  Eappirn,  kompt  LUDOLFF  DER  FURST 
mit  der  SDDEA,  hat  in  der  ein  hand  ein  blose  Wehr,  in  der 
andern  ein  weisen  stab 

LUDOLFF 
Du  Junger  Fiirst  bait  gib  dich  gfangen 

ENGELBRECHT 

Den  Raub  wirstu  heiit  nicht  erlangen 
Famule  stofs  durch  jhn  die  Klingen 
Sie  wollen  von  Leder  ziehen,  LUDOLFF  schlegt  mit  den  stab 

auff  die  Wehr,  FAMULUS 
Mein  Wehr  kan  ich  nicht  heraufs  bringen 
Ich  glaub  das  sie  bezaubert  sey 


LEUDEGAST. 

'Tis  good,  my  friends,  then  go  in  peace. 
The  stag  just  now  is  gaining  fat; 
See  how  you  put  a  stop  to  that. 

[Exeunt. 
Enter  LUDOLFF  with  SIDEA,  each  bearing  a  white  wand. 

LUDOLFF. 

Last  night,  the  spirit  did  declare, 
That  Engelbrecht,  the  Prince's  heir. 
Will  in  the  forest  hunt  to-day. 
To  me  he's  welcome  any  way. 
For  I  will  follow  on  his  track, 
Catch  him,  and  plague  him,  that,  good  lack ! 
The  like  was  never  heard  before! 

SLDEA. 

Nothing  indeed  would  please  me  more. 
If  we  could  only  catch  this  bird, 
Our  hope  might  not  be  long  deferred, 
To  get  once  more  into  our  hands 
Our  princely  government  and  lands. 
And  then  hard  blows  should  be  so  rife, 
That  if  he  would   not  lose  his  life, 
He  must  us  quickly  reinstate. 

LUDOLFF. 

Cunning's  the  thing,  so  hold  your  prate. 
For  vengeance  take  on  him  I  will, 
Or  me,  and  eke  thyself,  will  kill. 

[Exeunt,  very  sorrowfully. 

Enter  ENGELBRECHT  with  his  squire.  They  first  shout  as  they 
enter:  holla!  holla!  holla!  and  then  advance  to  the  front. 

ENGELBRECHT. 

From  the  right  way  we've  wandered  out, 
And  when  we  blow  the  horn  or  shout, 
No  answer's  borne  upon  the  air. 
Look!  look!  what  people  are  they  there? 
Indeed  they're  making  straight  this  way! 
Therefore  be  on  your  guard,  I  pray. 
They  lay   their  hands  upon  their  swords.     Enter  PRINCE 
LUDOLFF  with  SIDEA,  carrying  a  drawn  sword  in  one  hand, 
and  in  the  other  a  white  wand. 

LUDOLFF. 
Young  Prince,  I  thee  my  prisoner  make. 

ENGELBRECHT. 

To-day  thou  no  such  prize  shalt  take. 
Boy,  draw  your  sword,  and  him  transfix. 
They  try  to  draw.  LUDOLFF  strikes  their  sword  with  his  wand. 

THE  SQUIRE. 

My  sword,  sir,  in  its  scabbard  sticks; 
I  think  it  must  enchanted  be. 


31 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


32 


ENGELBRECHT 
Ja  es  ist  lauter  Zauberey 
Ich  bin  erlembt  an  beyden  henden 
Kan  mich  nicht  wol  rucken  vnd  wenden 
Derhalb  weils  nit  kan  anderst  sein 
So  mufs  ich  sein  der  gfangen  dein 
Vnd  difsmals  deines  willens  geleben 

LUDOLFF 

So  thu  mir  defs  dein  treu  bait  geben 
Du  lecker  aber  bait  troll  dich  wegk 
Oder  ich  tritt  dich  in  den  dreck 
Vnd  hau  dir  alle  viere  ab 
Das  ich  vor  dir  zu  bleiben  hab 
Vnd  das  dich  fressen  Krahen  vnd  Raben 

FAMULUS 

Ach  weh  ein  bose  Jagt  wir  haben 
Gnediger  Fiirst  in  grosen  Leid 
Ich  zu  demmal  von  euch  abscheid 

[Famulus  geht  ab. 

LUDOLFF 

Jetzt  bistu  mein  Leib  eygner  Knecht 
Wie  mich  dein  Vatter  wider  recht 
Hat  getrieben  von  Leut  vnd  Land 
Vnd  auffgethan  grofs  schmach  vnd  schand 
Also  solstu  geschieden  seyn 
Von  jhm  vnd  gantzer  Landschafft  dein 
Solst  meiner  Tochter  Holtz  tragen 
Vnd  alles  was  sie  dir  thut  sagen 
Solstu  verrichten  vnd  volbringen 
Darzu  soils  dich  mit  schlegen  zwingen 
Vnd  wo  sie  klags  weis  bringt  fur  mich 
Das  du  wolst  etwas  weigern  dich 
Als  bait  wil  dich  erschlagen  ich 

[Er  stost  jhm  zum  dbgang,  scJilegt  jhn  mit  dem 
stab  auff  die  Lend,  also  auch  die  Tochter,  vnd 
gehn  alle  ab. 


ACTUS  TERTIUS. 

Kommen  DIETERICH  vnd  ROLLUS  mit  eim  grosen  geschrey 

gelo/en, 

ROLLUS 

Nun  hor  auff  wenns  anderst  ist  gnug 
Kein  Mensch  mich  mein  tag  also  schlug 
Vnd  ich  hab  dir  kein  leid  gethan 

DIETRICH 

Bin  ich  ein  Hurn  Kind  so  zeig  an 
Vnd  von  wem  du  es  hast  vernommen 

ROLLUS 
Es  ist  mir  aufs  meim  maul  nie  kommen 


ENGELBRECHT. 

Yes,  it  is  nought  but  sorcery. 
That  from  my  lamed  limbs  I  learn, 
For  I  can  neither  move  nor  turn; 
And  therefore,   as  no  choice  I  see, 
Thy  prisoner  I  acknowledge  me, 
Will  after  thy  good  pleasure  live. 

LUDOLFF. 

Of  this  at  once  thy  promise  give. 
As  for  you,  jackanapes,  pack  quick. 
Or  I'll  thee  in  the  kennel  kick, 
Thy  limbs  from  off  thy  body  hack. 
That  I  on  thee  must  turn  my  back, 
And  crows  and  ravens  feed  on  thee. 

SQUIRE. 

Alas!  what  a  sad  hunt  have  we! 
O  gracious  Prince,  I  sorely  grieve, 
That  thus  I  from  you  take  my  leave. 


[Exit. 


LUDOLFF. 

Now  art  thou  verily  my  slave! 
And  as  before  thy  father  drave 
Me  most  unjustly  from  my  place, 
And  heaped  upon  me  foul  disgrace, 
In  the  same  way  thou  partest  here 
From  father,  country,  all  that's  dear. 
Shalt  for  my  daughter  carry  wood, 
Whatever  else  too  she  think  good 
To  order,  see  thou  dost  it  well, 
Or  heavy  blows  shall  thee  compel. 
And  should  she  e'er  complain  to  me, 
Thou  shew'st  thyself  refractory, 
Upon  the  spot  I'll  murder  thee. 

[He  beats  him  off,  strikes  Mm  on  the  leg  ivith  his 
ivand.    Sidea  does  the  same.    Exeunt. 


ACT  III. 

Enter  hastily  DIETRICH  and  ROLLUS  with  a  great  deal 

of  noise. 

ROLLUS. 

Hold!  hold!  enough,  enough!  Oh!  oh! 
No  mortal  man  e'er  beat  me  so! 
And  I  to  thee  no  wrong  have  done. 

DIETRICH. 

Tell  me,  am  I  a  strumpets  son, 
From  whom  too  thou  the  lie  hast  heard? 

ROLLUS. 
My  mouth  ne'er  uttered  such  a  word; 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


34 


Der  Miiller  aber  sagen  thet 
Ein  Schelmen  jhr  mich  gschmehet  hett 
Vnd  man  hett  mein  Vatter  ghangen 
Also  wers  auch  meim  Bruder  gangen 
Das  selbig  wolt  aufsfiihren  ich 

DIETRICH 

Ich  hab  kein  schelm  gscholten  dich 
So  ist  mir  auch  nie  ingedencken 
Von  deins  Vatters  vnd  Bruders  hencken 
Wie  ich  dann  kein  Wort  weifs  davon 

ROLLUS 

So  hat  vns  also  ghetzet  an 
Der  Miiller,  dem  woll  wirs  nit  schencken 
Den  schelm  selber  lasen  hencken 
Wir  wollen  jhn  vor  dem  Schultheifs  verklagen 
Vnd  nicht  mehr  dencken  an  das  schlagen  ' 
Weil  wir  darzu  seind  worden  ghetzt 
Es  soil  an  jhm  aufs  gehn  zuletzt 

[Sie  lauffen  ab,  kommen  zur  andern  seiten  wider  rein 

DIETRICH 
Der  schelm  hat  sich  gedrehet  aufs 

ROLLUS 

Ja  er  ist  je  nit  in  seim  Haufs 
Jedoch  so  lafs  ich  gar  nit  ab 
Bis  ich  den  Hudler  gfunden  hab 

Kompt  JAHN,  hat  sich  wie  ein  alt  Weib  verkleid,  geht  an 
einem  Kriicklein, 

DIETRICH 

Mein  liebe  alte  thu  mir  verjehen 
Hastu  nit  den  Jahn  Miiller  gsehen 

JAHN  MOLITOR  in  einer  alien  Frauengstalt,  sagt  klein 
Jahn  Miiller  was  soil  ich  jhn  gsehn  han 
Was  Teuffls  hab  ich  mit  jhm  zu  than 
Fragt  ander  Leut  die  wissen  drum 

ROLLUS 

Ey  liebe  alte  Mutter  kum 
Ich  kenn  ein  wol  den  wil  ich  fragen 
Was  gelts  er  wirdts  vns  gar  bait  sagen 

JAHN  in  gestalt  der  alien  Frauen 
Ja  wenn  er  das  kan  so  ists  viel 
Derhalb  ich  auch  mit  euch  gehn  wil 

[Sie  gehn  alle  ab 

Kompt  LEUDEGAST  DER  FURST  mit  FRANCISCO  vnd 
ELEMAUS,  setzt  sich 

LEUDEGAST 

Es  kombt  mir  zwar  gar  seltzam  fur 
Das  allein  zuhaufs  kommet  jhr 


The  miller  though  declared  before, 
Thou  said'st  I  was  a  rogue,  and  more, 
That  father  dangled  in  a  noose, 
And  brother  died  too  in  his  shoes; 
That  was  the  debt  I  wished  to  pay. 

DIETRICH. 

I  never  called  thee  rogue,  I  say 
Nor  came  it  e'er  into  my  head, 
But  what  thy  friends  had  died  in  bed. 
I  know  no  word  about  the  matter. 

ROLLUS. 

The  miller  by  his  lies  and  chatter 
Hath  set  us  on,  but  we'll  be  quit; 
The  rogue  himself  shall  hang  for  it. 
Before  the  mayor  we'll  him  arraign, 
But  won't  try  fisticuffs  again. 
And  if  he  set  us  on  before, 
'Tis  he  at  last  shall  pay  the  score. 

[They  run  off  at  one  side,  and  return  on  the  other, 

DIETRICH. 
Hulloa!  the  rogue  has  bolted  clean! 

ROLLUS. 

At  home  he's  never  to  be  seen. 
But  hang  me,  if  I  leave  the  lout, 
Until  I've  found  the  fellow  out. 

Enter  JOHN,  disguised  as  an  old  woman,  and  walking 
with  a  crutch. 

DIETRICH. 

Pardon  old  lady;  hast  thou  seen 
If  John,  the  miller,  here  has  been? 

JOHN,  speaking  in  a  weak  voice,  like  an  old  woman. 
The  miller?  What  the  deuce  should  he, 
A  miller,  have  to  do  with  me? 
Ask  other  people,  who  may  know. 

ROLLUS. 

Come  then,  old  lady,  let  us  go. 
I'll  ask  a  man,  whom  I  know  well, 
I'H  lay  a  wager,  he  can  tell. 

JOHN,  still  imitating  an  old  woman. 
That  is  no  trifle,  if  he  can; 
And  therefore  I'll  go  too,  young  man. 

[Exeunt. 

Enter  PRINCE  LEUDEGAST  with  FRANCISCUS  and  ELEMAUS. 
The  Prince  sits  down. 

LEUDEGAST. 

It  seems  to  me  most  strange,  I  own, 
That  you  should  now  come  home  alone, 


1    This  line  is  omitted  in  Tieck's  edition. 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


36 


Vnd  last  mir  aufs  mein  lieben  Sohn 

Den  ich  euch  hoch  befohlen  ban 

Darm  jhr  ja  sollet  bey  ihm  bleiben 

Last  vns  an  alle  ortter  scbreiben 

Das  ich  erforsch  wo  er  bin  kura 

Dann  jhr  brecht  mich  sunst  rait  jhm  vmb 

Das  wer  mir  ein  traurigs  gejaid 

FRANCISCUS 

Es  ist  vns  gar  ein  treulichs  Leid 
Das  er  so  von  vns  kommen  soil 
Ein  Hirschen  hett  wir  im  gestell 
Den  wolt  der  junge  Fiirst  selbst  biirschen 
Vnd  wird  verlorn  mit  sambt  dem  Hirschen 
Dem  macbt  wir  nach  ein  Jager  gschrey 
Bliesen  vnser1  Homer  dabey 
Vermeinten  er  solt  wider  kehrn 
So  kond  wir  jhn  nicht  sehen  noch  horn 
Doch  seind  wir  nicht  verzaget  gar 
Weil  wir  wusten  das  bey  jhm  war 
Sein  Leib  Jung,  der  geht  da  herein 

FAMULUS  geht  ein. 

FURST 

Wo  lestu  dann  den  Sohne  mein? 
Wie  hats  euch  auff  der  Jagt  ergangen 

FAMULUS 

Ach  weh  der  Jung  Herr  ist  gefangen 
A  Is  er  nach  Jaget  einem  Hirschen 
Den  er  wolt  aus  seim  gschofs  erbiirschen 
Hat  sich  derselbig  Hirsch  verlorn 
Vnd  sind  wir  in  dem  Walt  jrr  worn 
Weder  Hund  noch  Jager  horn  kunden 
Als  wir  gleich  in  gedancken  stunden 
Stiefs  vns  ein  Weib  auf  vnd  ein  Mann 
Der  selbig  grieff  vns  kecklich  an 
Wolt  wir  solten  vns  gfangen  geben 
Vnd  betroht  vns  gar  hart  darneben 
Wir  aber  grieffen  zu  den  Wehrn 
Wolten  jhn  von  vns  mit  abkehrn 
So  hett  er  in  der  hand  ein  stab 
Ein  klein  streich  auf  die  Wehr  vns  gab 
Da  kond  wir  keine  ziehen  aufs 
Vnd  kam  vns  an  ein  solcher  graufs 
Das  wir  vns  musten  geben  gfangen 
Vnd  als  er  vns  hart  troht  nach  langen 
Hat  er  mich  meins  wegs  heisen  gahn 
Vnd  hat  bhalten  eur  Gnaden  Sohn 
Also  hat  sich  all  sach  zu  tragen 

LEUDEGAST 
Ach  du  bofs  vngluckliches  Jagen 


And  leave  my  own  dear  son  and  heir. 
Whom  I  entrusted  to  your  care, 
Most  faithfully  on  him  to  tend. 
Now  everywhere  I'll  letters  send, 
To  find  out  where  the  prince  may  be. 
If  lost,  with  him  you've  murdered  me. 
That  were  a  sorry  hunt  indeed! 

FRANCISCUS. 

Oh  Prince!  our  hearts  within  us  bleed, 
That  we  your  son  have  not  brought  back: 
We  found  a  deer,  were  on  the  track, 
The  prince  himself  would  shoot  the  same, 
And  thus  we  lost  both  prince  and  game. 
We  shouted  loud,  as  huntsmen  do, 
And  also  on  our  horns  we  blew; 
We  thought  he'd  soon  again  appear. 
But  nought  of  him  could  see  or  hear. 
Yet  this  did  no  alarm  inspire, 
Because  we  knew  his  faithful  squire 
Was  with  him,  —  he  who  enters  here. 

Enter  THE  SQUIRE. 

THE  PRINCE. 

Where  hast  thou  left  my  son  so  dear? 
What  of  the  hunt,  I  prythee,  say? 

THE  SQUIRE. 

The  Prince  is  taken,  —  woe  the  day! 
As  eager  in  the  hot  pursuit, 
He  would  himself  the  quarry  shoot, 
He  lost  it,  —  then  we  missed  the  way, 
And  in  the  forest  went  astray. 
Nor  hound  nor  huntsman  succour  brought; 
When  as  we  stood,  absorbed  in  thought. 
A  woman  came,  and  then  a  man, 
Who  straight  a  fierce  attack  began, 
Demanded  we  should  yield,  and  let 
His  rage  appear  in  many  a  threat. 
However,  we  clapped  hand  on  sword. 
Hoping  the  base  attack  to  ward, 
When  he,  who  bore  a  wand,  just  laid 
The  lightest  touch  upon  the  blade, 
And  then  we  found  we  could  not  draw, 
But  were  so  struck  with  dread  and  awe, 
That  we  submitted  us  in  fear; 
And  after  many  a  threat  severe, 
At  last  he  bade  me  go  my  way, 
But  forced  your  Highness'  son  to  stay. 
And  this  is  how  the  thing  befell. 

LEUDEGAST. 
Oh  wretched  hunt,  how  sad  to  tell! 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


38 


Wie  ubel  kombstu  mir  zu  Haufs 
Vnd  \venn  ich  wer  gezogen  naufs 
So  wer  es  mir  auch  also  gangen 
Wie  sol  ich  nun  mein  sach  anfangen 
Das  ich  mein  Sohn  wider  erlofs 
Ludolff  der  meints  gegen  vns  gar  bofs 
1st  ers  der  mein  Sohn  hat  bekommen 
So  wird  jhm  gwifs  das  leben  gnommen 
Darumb  so  dorff  wir  feyern  nicht 

ELEMAUS 

Es  ist  ein  seltzame  geschicht 
Davon  nicht  gut  ist  vil  zusagen 
Vnd  doch  hochnotig  zu  Rathschlagen 
Wie  man  alle  sach  fang  kluglich  an 

LEUDEGAST 

So  kombt  last  vns  reden  davon 
Lang  daher  stehn  ist  wenig  nutz 
Meim  Sohn  dem  miifs  wir  suchen  schutz 

\_Sie  gehn  alle  ab. 

Kompt  LUDOLFF  DER  FURST  mit  seinem  stab 
Jetzt  hat  sich  das  gliick  wider  gwend 
Vnd  ich  hab  mein  Feind  in  der  hend 
Dem  will  ich  jetzund  hart  gnug  sein 
Schau  was  kompt  da  fur  gsind  herein 

Kommen  DIETRICH  vnd  ROLLUS  mit  JAHN  MOLITOR  in 
Weibskleidern, 

DlETERICH   DER    SCHUSTER 

Gnediger  Herr  wir  bede  hetten 
Mit  euch  etwas  heimlichs  zu  reden 
Weil  wirs  nicht  konnen  erfahren  sunst 
.  So  helfft  vns  mit  eur  Zauber  kunst 
Wir  wolln  euch  gern  reichlich  lohnen 
Ein  Miiller  thut  naht  bey  vns  wohnen 
Der  hat  vns  zugfiigt  grose  schmach 
Zu  dem  wir  haben  schwere  klag 
So  lest  er  sich  daheim  nit  finnen 
Vnd  duncket  vns  in  vnser  sinnen 
Die  alte  Frau  wifs  wo  er  sey 

JAHN  MOLITOR  in  gestalt  eines  alien   Weibs 
Nein  ich  weifs  nit  bey  meiner  treu 
So  weifs  ich  auch  nicht  wer  er  ist 

LUDOLFF  DER  FURST  schuttelt  den  Kopff,  legt  jhr  den 

stab  auff  den  Kopff 
Ein  recht  lose  Hur  du  bist 
Ich  kenn  dich  wol  du  loser  dropff 
Thu  mir  den  stauchen  von  dem  kopff 
So  woll  wir  bait  den  Miiller  finnen 


How  fatal  to  my  house  thou  art! 
And  had  I  also  taken  part, 
I  might  have  been  a  prisoner  too. 
Now  must  I  try  what  I  can  do, 
My  son  to  rescue  from  his  fate. 
Ludolff  doth  bear  us  bitter  hate, 
And  if  my  son  'is  in  his  power, 
His  life  is  hardly  worth  an  hour; 
Therefore  we  may  not  idle  be. 

ELEMAUS. 

It  is  a  curious  history; 

And  though  there's  not  much  hope  indeed. 
Of  counsel  there  is  utmost  need, 
What  course  were  wisest  to  pursue. 

LEUDEGAST. 

Come,  let  us  talk  the  matter  through. 
For  idling  here's  a  useless  thing, 
If  we  my  son  would  succour  bring. 

[Exeunt  omnes. 

Enter  PRINCE  LUDOLFF  with  his  wand. 
Once  more  hath  fortune  changed,  and  I 
Have  in  my  hands  mine  enemy. 
Hard  measure  shall  he  have:  but  see! 
Who  can  these  common  people  be? 

Enter  DIETRICH  and  ROLLUS  with  JOHN  MOLITOR  in 

woman's  clothes. 
DIETRICH  THE  SHOEMAKER. 
There  is  a  secret,  which  we  two, 
Most  gracious  sir,  would  learn  of  you. 
What  otherwise  we  cannot  know, 
Oh  lend  thy  magic  art  to  shew, 
And  for  thy  pains  we'll  pay  thee  well. 
Near  us  there  doth  a  miller  dwell, 
Who  both  of  us  hath  put  to  shame, 
And  'gainst  him  we  would   now  reclaim. 
But  he  won't  let  himself  be  caught 
At  home,  and  somehow  we  have  thought 
This  old  one,  where  he  hides,  could  shew. 

JOHN  MOLITOR,  as  an  old  woman. 
Now  by  my  faith  it  is'nt  so, 
Nor  know  I  who  he  is,  I  vow. 

PRINCE  LUDOLFF,  shakes  his  head,  and  lays  his  wand 

upon  Johns  head. 
A  regular  loose  wench  art  thou! 
I  know  thee  well,  thou  slipp'ry  chap! 
Old  lady,  just  take  off  that  cap, 
The  miller  then  will  soon  appear. 

3* 


39 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


40 


Er  schlecht  jhm  den  stauchen  mit  den  stab  vom  kop/,  so 
ists  der  John  Molitor, 

DIETRICH 

Nun  kombst  nit  lebendig  von  hinnen 
Wir  wolln  dich  strafFn  nach  vnsern  sinn 
Das  durch  dich  nicht  werd,  als  vorhin 
Ein  guter  Mann  bracht  in  vnrath 

JAHN  MOLITOR 

O  Herr  Zaubrer  ich  bitt  vmb  gnad 
Eur  Kunst  ist  besser  als  die  mein 

LUDOLFF 

Was  begert  jhr  denn  fur  ein  pein 
Das  ich  sol  jhm  anlegen  fluchfs 

ROLLUS 

Herr  Zaubrer  macht  jhn  zu  eim  Fuchfs 
Das  er  fort  nicht  sey  so  vermessen 

JAHN  MOLITOR 

So  wolt  ich  dir  dein  Hiiner  fressen 
Vnd  noch  mehr  vbls  als  jetzo  than 

DIETERICH 

Herr  Zauberer  wenns  der  Herr  kann 
So  mach  der  Herr  ein  Esel  aufs  jhm 

JOHAN  MOLITOR 

Mein  Narrischer  Schuster,  so  vernim 
Wenn  du  zum  Esel  machest  mich 
So  wolt  ich  gar  verderben  dich 
Das  in  dem  Land  Kiih,  Pfert,  vnd  Schwein 
Miisten  lauter  Esel  werffen  allein 
Der  Heut  zeucht  man  nur  auff  die  Drummen 
Wo  wolstu  Narr  Leder  bekummen 
"Was  gelts  ich  wolt  dirs  Esels  geben 

DIETERICH 

Ey  so  last  jhn  ein  Menschen  leben 
Vnd  straffet  jhn  nach  eurem  sinn 

LUDOLFF  DER  FURST 
Defs  selben  ich  schon  willens  bin 
Im  Walt  soil  er  hie  bey  mir  bleiben 
Vnd  das  keine  loffley  nit  treiben 
Mein  Tochter  vnd  der  Engelbrecht 
Soil  er  auff  sie  acht  haben  schlecht 
Vnd  mir  dasselbig  zeigen  an 
Glob  mirs  bait  an  dastus  wilt  than 

[Er  globt  an,  vnd  sie  gehn  alle  ab. 
SIDEA  bringt  den  Jungen  Fiirsten  ENGELBRECHT  gar  ubel 
bekleid,  der  tregt  etliche  klotz  holtz  vnd  ein  holtz  hacken, 
legt  sie  nider  SIDEA  throt  jhm  mit  dem  stab 

SIDEA 

Bait  keil  du  mir  das  Holtz  zu  scheiten 
Wiltu  anderst  die  streich  nit  leiden 
Du  bist  ein  rechter  fauler  Hund 


He  strikes  the  cap  off  his  head,  and  it  appears  to  be 
John  Molitor. 

DIETRICH. 

Never  alive  go'st  thou  from  here. 
We'll  punish  thee  in  our  own  way, 
That  no  good  man  be  led  astray 
By  thee  again  to  his  perdition. 

JOHN  MOLITOR. 

I  sue  for  pardon,  great  magician ; 
Thy  art  is  better  far  than  mine. 

LUDOLFF. 

What  punishment  do  you  incline 
To  choose  for  him,  say  what's  your  whim? 

ROLLUS. 

Magician,  make  a  fox  of  him, 
And  so  take  down  his  impudence. 

JOHN  MOLITOR. 

Then  I  will  eat  your  cocks  and  hens, 
And  do  more  harm  than  now,  my  man. 

DIETRICH. 

Mr.  Magician,  if  you  can, 
Pray  let  him  then  a  donkey  be. 

JOHN  MOLITOR. 

My  foolish  cobbler,  dost  thou  see, 
If  thou  wilt  make  an  ass  of  me, 
I'll  thus  contrive  to  ruin  thee. 
All  thro'  the  land,  cow,  pig,  and  mare. 
Shall  nought  but  little  asses  bear, 
Whose  hide  is  only  good  for  drums. 
Tell  me,  whence  then  thy  leather  comes? 
That  thou  the  donkey  art,  is  plain. 

DIETRICH. 

Why  let  him  then  a  man  remain. 
And  punish  him  as  you  deem  fit. 

PRINCE  LUDOLFF. 
Already  I'd  determined  it. 
He  shall  remain  then  with  me  here. 
And  lest  the  prince  and  my  Sidea 
Some  passages  of  love  should  try, 
He  shall  on  both  keep  watchful  eye, 
And  tell  me  all  that  happens  there; 
But  first  he  shall  obedience  swear. 

[He  swears.    Exeunt  omnes. 

Enter  SIDEA  with  the  young  Prince  ENGELBRECHT,   very 

meanly  attired.    He  carries  some  logs  of  wood  and  an  axe, 

and  lays  them  down.  SIDEA  threatens  him  with  her  wand. 

SIDEA. 

>    Now  cut  those  logs,  and  do  it  quick. 
I   Unless  thou  wish  to  feel  the  stick! 
y  A  lazy  idle  dog  thou  art! 


41 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


42 


ENGELBRECHT  fellt  jhr  zu  fufs,  hebt  die  Jiend  auff 

ENGELBRECHT 

Ach  ich  bin  kranck  von  hertzen  grund 
Vnd  weis  mir  nicht  welter  zu  gehn 
Noch  einiger  Arbeit  vorzustehn 
Dann  ich  bin  aufsgemergelt  matt 
Mein  gantzer  Leib  kein  krafft  mehr  hat 
Besser  ists  ich  \verd  erschlagen 
Dann  taglich  solchen  last  zu  tragen 
Vnd  solche  schwere  arbeit  zu  than 
Ich  bitt  so  hoch  ich  bitten  kan 
Erschlaget  mich  folgents  zu  todt 

SIDEA  sagt  zum  Leuten 
Wie  wol  in  grofs  vngliick  vnd  noth 
Sein  Vatter  bringt  den  Vatter  mein 
Vnd  mich  sein  Furstlichs  Frauelein 
Das  wir  hetten  vrsach  zur  Rach 
Doch  wenn  ich  denck  den  sachen  nach 
So  ist  er  auch  Fiirstlich  geborn 
Vnd  an  vns  gar  nicht  schuldig  worn 
Darumb  er,  die  warheit  zu  melden 
Seins  Vatters  nit  hat  zu  entgelten 
So  ist  er  ein  solche  Person 
Dem  ich  schon  halb  nicht  feind  sein  kan 
Vnd  wenn  ich  gleich  solcher  gestalt 
Lang  bleiben  must  in  disen  Walt 
Was  hett  ich  lust  vnd  freud  dabey 
Wenn  er  mir  wolt  erweisen  treu 
Vnd  mich  behalten  zu  der  Eh 
Wolt  ich  jhm  helffen  aufs  noth  vnd  weh 
Ich  wils  jhm  heimlich  zeigen  an 

[Sie  geht  zu  ihm. 

Mein  Engelbrecht  was  wolstu  than 
Wenn  ich  dir  deiner  Dienstbarkeit 
Zu  wegen  brecht  jetzt  ein  froyheit 
Vnd  dich  als  dann  nem  zu  der  Eh 

ENGELBRECHT  fellt  nider  zu  fufs 
Ach  schweigt,  verstiirtzt  ich  gar  vergeh 
All  lebendig  Cotter  diser  Erden 
Konnen  nicht  machen  das  war  mog  werden 
Wenn  aber  das  war  werden  kiind 
Mein  sach  zum  aller  besten  stiind 
Ja  ich  wolt  mich  eur  Lieb  ergebfn 
Zu  dienst  mit  Leib  vnd  auch  Leben 
Vnd  euch  zu  einer  Fiirstin  machen 

SIDEA 
Dorfft  ich  dir  trauen  in  den  sachen 


ENGELBRECHT  falls  at  her  feet,  and  raises  his  hands. 

ENGELBRECHT. 

Alas!   I  am  so  sick  at  heart, 
Can  hardly  drag  along  my  feet, 
My  task  appointed  to  complete. 
For  I  am  tired  out  at  length, 
Nor  has  my  body  any  strength. 
'Twere  better  far  I  murder'd  were, 
Than  everv  day  such  burdens  bear, 
And  such  hard  work  do  evermore. 
Most  earnestly  I  thee  implore, 
That  thou  at  once  wilt  strike  me  dead! 

SIDEA,  ad  spectatores. 
Although  his  father  mine  hath  led 
Into  sore  trouble  and  distress, 
And  me  his  daughter,  a  princess, 
That  he  our  vengeance  might  expect, 
Yet  when  I  on  the  thing  reflect, 
He  also  is  a  prince's  son, 
And  to  ourselves  no  ill  hath  done, 
And  should  not  therefore,  truth  to  say, 
Be  forced  his  father's  debt  to  pay. 
And  then  such  beauty  too  hath  he, 
I  could  not  be  his  enemy; 
And  if  I  long  such  life  must  lead 
Here  in  the  forest,  why  indeed, 
What  happiness  and  joy  to  me, 
If  he  would  true  and  faithful  be, 
And  take  me  as  his  wedded  wife! 
I'd  help  him  out  of  all  this  strife. 
My  thought  I'll  tell  him  secretly.  - 

[She  walks  up  to  him. 
My  Engelbrecht,  how  would  it  be 
If  I,   thy  service  to  reward, 
To  thee  thy  freedom  would  accord, 
And  then  thee  for  my  husband  take? 

ENGELBRECHT,  falls  at  her  feet. 
Oh  speak  not,  or  my  heart  will  break, 
For  all  the  gods  that  rule  below, 
Could  never  make  it  happen  so; 
But  could  it  really  so  befall, 
My  fortunes  then  stood  best  of  all ; 
I  would  to  thee  my  service  give, 
And  ever  love  thee  while  I  live; 
Thou  shouldst  a  royal  station  grace. 

SIDEA. 
If  I  my  trust  in  thee  may  place, 


43 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


44 


Vnd  du  wilt  dem  so  kommen  nach 
Mir  mit  der  Hand  vnd  Mund  zusag 
So  will  ich  ferners  reden  mit  dir 

ENGELBRECHT 

Ja  dasselb  solt  jhr  trauen  mir 
Vnd  jhr  solt  auch  mein  Gemahl  sein 

[Sie  geben  die  hend  aneinander 
SIDEA 
Bistu  denn  mein 

ENGELBRECHT 
Ja 

SIDEA 

So  bleib  ich  dein 

Die  Gotter  bleiben  mit  vns  beyden 
Nun  soil  vns  nichts  als  der  todt  scheiden 
Vnd  das  du  meinen  ernst  auch  spiirst 
Zih  ich  mit  dir  wo  du  mich  hinfiihrst 

Sie  trucken  einander,  kompt  RUNCIFALL  DEK  TEUFFEL 
Sidea  disen  deinen  anschlag 
Ich  deinem  Vatter  strachs  ansag 
Dann  es  will  sich  gar  nicht  gebiirn 
Das  du  dich  lest  von  hinnen  fiihrn 

SIDEA  nimbi  jhrn  stab  schlegt  jhn  mit  auffs  maul,  der  deut- 
er  kb'nn  nicht  reden,  vnd  geht  traurig  ab,  ahdan 

spricht  sie 

Also  kan  vns  der  Geist  zu  schaden 
Bey  meinem  Vatter  nicht  verrahten 
So  konnen  wir  all  bede  sand 
Die  weil  kommen  aufs  disem  Land 

[Sie  gehn  ab 

Kompt  LUDOLFF  DER  FiJRST  mit  JAHN  MOLITOR,  ist  gar 
zornig  schlegt  den  Jahnnen  mit  dem  stab  auff  den  kopff 
Wo  ist  Sidea  sag  mir  bait 

JAHN  MOLITOR 

Ich  weis  nit  ist  sie  nit  im  Walt 
So  ist  sie  bey  dem  Engelbrecht 

LUDOLFF 

Bistu  nicht  mein  Leibeigner  Knecht 
Der  achtung  auff  sie  haben  sol 

JAHN  MOLITOR 

Ja,  ja,  dasselbig  weis  ich  wol 
Aber  Gnediger  Herr  jhr  sein  zwen 
Vnd  sagn  mir  nicht  wo  sie  hin  gehn 
Drumb  weis  ich  gar  nit  wu  sie  sein 

LUDOLFF 

Das  sol  dir  kosten  das  leben  dein 
Drumb  zih  hin  vnd  such  wo  sie  sind 


And  thou  wilt  aid  in  my  intent, 

And  with  both  hand  and  mouth  consent, 

I  will  hold  further  talk  with  thee. 

ENGELBRECHT. 

Thou  mayst  place  all  thy  trust  in  me, 
And  thou  as  consort  soon  be  mine. 

[They  give  their  hands  to  each  other. 

SIDEA. 
Art  thou  then  mine? 

ENGELBRECHT. 
Yi*. 
SIDEA. 
Then  I'm  thine. 

0  may  the  gods  desert  us  never! 
Hence  nought  but  death  shall  us  dissever! 
To  prove  that  'tis  my  will  indeed, 

I'll  follow  thee  where'er  thou  lead. 

They  embrace  each  other.    Enter  RUXCIFALL  THE  DEVIL. 
Sidea,  to  thy  father  straight 

1  go,  and  this  thy  plan  relate. 
For  most  unseemly  't  will  appear. 
If  thou  art  led  away  from  here. 

SIDEA  takes  her  wand,  strikes  him  with  it  on  the  mouth. 
He  makes  signs  that  he  cannot  speak,  and  walks  away 

melancholy. 

Now  can  he  us  to  our  dismay 
No  longer  to  my  sire  betray; 
But  we  together,  hand  in  hand. 
May  for  the  present  leave  the  land. 

[Exeunt. 

Enter  LUDOLFF  THE  PRINCE,  with  JOHN  MOLITOR.   He  is 
very  angry,  and  strikes  John  on  the  head  with  his  staff". 
Now  tell  me  quickly,  where's  Sidea. 

JOHN  MOLITOR. 

I  know  not,  but  if  she's  not  here, 
She's  sure  with  Engelbrecht  to  be. 

LUDOLFF. 

Now  art  thou  not  a  slave  to  me, 
Who  had   to  keep  them  both  in  view? 

JOHN  MOLITOR. 

Oh  yes,  I  know,  that's  very  true: 
But  then,  my  Lord,  they're  two,  you  see. 
And  where  they  go,  they  tell  not  me. 
Therefore  I  know  not   where  they  be. 

LUDOLFF. 

That,  rogue,  shall  cost  thy  life  to  thee. 
But  go  at  once,  seek  far  and  wide. 


COMEDY  OF  THE  BEAUTIFUL  SIDE  A. 


46 


Vnd  wirstu  sie  nit  bringen  gschwind 
So  schlag  ich  dir  ab  deinen  grint 

[Jahn  Molitor  kratzt  sich  im  kopff  vnd  gehn  ab. 


ACTUS  QUARTUS. 

Kommen  ENGELBREOHT  vnd  SIDEA 

(SIDEA) 

Ich  hoff  \vir  sollu  den  Vatter  mein 
Nunmehr  meinsts  theils  entrunnen  sein 
Jedoch  bin  ich  so  mild  von  gehn 
Wenn  ich  naichs  gleich  wolt  vnterstehn 
Vnd  leg  mir  leib  vnd  leben  dran 
Jedoch  nit  welters  ich  gehn  kan 
Ach  weh  wer  ich  daheimen  blieben 
Die  brinnet  Lieb  hat  mich  getrieben 
Das  ich  mich  gab  in  solch  gefehr 

ENGELBRECHT 

Ach  last  euch  sein  die  sach  nit  schwer 
Wann  jhr  nicht  weiters  kiind  zu  fufs 
Man  euch  zu  Kutschen  fiihren  mufs 
Wart  mein  alhie  bifs  ich  zuriick 
Euch  wider  ein  Kutschen  raufs  schick 
Mit  Knechten  die  sollen  euch  holn 

SIDEA 

Von  meim  Vatter  hab  ich  mich  gstoln 
Meint  jhr  vnd  das  er  es  vnderlafs 
Mir  nicht  nach  forsch  auff  alle  strafs 
Vnd  wenn  er  mich  hie  finden  thet 
Ich  euch  das  letzt  mal  gsehen  hett 
Vnd  must  sterben  vor  seim  angsicht 

ENGELBRECHT 

Ey  das  wolln  ja  die  Gotter  nicht 
Das  euch  eur  Vatter  nicht  mehr  find 
Jr  auff  den  Baum  nauff  sitzen  kiind 
Darunder  laufft  er  sechsmal  fur 
Eh  vnd  wann  er  euch  da  aufs  spiir 
Darzu  blcibt  jhr  alhie  nit  lang 

SIDEA 

Ach  wie  ist  mir  so  angst  vnd  bang 
Dann  ich  fiircht  jhr  vergesset  mein 

ENGELBRECHT 

Ach  hertz  Lieb  last  das  sorgen  sein 
Ich  verheifs  euch  mein  treu  vnd  ehr 
Die  vergifs  ich  mein  tag  nit  mehr 

[Er  hebt  sie  auff  den  Baum,  sie  sagt 

(SIDEA) 

Ich  hoff  ich  will  da  sicher  sein 
Doch  bitt  ich  euch  vergest  nit  mein 


If  soon  I  hear  not  where  they  bide, 
I'll  lay  my  stick  about  thy  hide. 

[John  Molitor  scratches  his  head.    Exeunt. 


ACT  IV. 

Enter  ENGELBRECHT  and  SIDEA. 

SIDEA. 

I  hope  that  now  all  danger's  past, 
And  father  we've  escaped  at  last. 
For  if  I  the  attempt  would  make, 
And  life  and  limb  thereon  would  stake, 
So  weary  am  I,  that  I  know, 
I  could  not  one  step  further  go. 
Oh,  that  I  had  remained  at  home! 
But  burning  love  forced  me  to  roam, 
And  this  fatigue  and  danger  share. 

ENGELBRECHT. 

Oh  yield  not  thou  to  such  despair! 
For  if  to  walk  thou  art  too  weak, 
Why  then  I  must  a  carriage  seek; 
Till  I  return,   wait  here  for  me, 
And  I'll  a  carriage  send  to  thee, 
And  what  attendants  thou  require. 

SIDEA. 

'Twas  secretly  I  left  my  sire; 
Dost  think  he  ever  will  forbear 
To  have  me  searched  for  everywhere? 
And  if  perchance  he  find  me  here, 
I  ne'er  again  should  see  thee,  dear; 
His  presence  would  prove  death  to  me. 

ENGELBRECHT. 

Be  sure,  that's  not  the  god's  decree. 
But  that  his  search  may  fruitless  be, 
Perhaps  you'd  better  climb  this  tree. 
Six  times  he  may  run  round,  and  more, 
Ere  he  thy  hiding-place  explore. 
Besides,  thou  needst  not  long  remain. 

SIDEA. 

My  fears  I  can  no  more  restrain, 
Lest  thou  forget  that  I  am  there. 

ENGELBRECHT. 

Oh  dearest  lay  aside  thy  care. 
My  word  of  honor  will  I  give, 
I'll  not  forget  thee  while  I  live. 

[He  assists  her  to  climb  the  tree. 

SIDEA. 

I  hope  in  safety  I  shall  be, 
But  do  entreat,  forget  not  me. 


47 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


48 


ENGELBRECHT 

Ey  was  sol  das  vergessens  vil 
Als  bait  ich  euch  da  holen  wil 

[Er  geht  ab. 

Die  Jungfrau  sitzt  auff  den  Baum,  vnd  sagt  kleglich 
Ach  solt  mich  der  Fiirst  setzen  an 
Dem  ich  hab  so  vil  guts  gethan 
So  wolt  ich  jetzt  vnd  all  mein  tag 
Vber  jhn  schreyen  straff  vnd  rach 
Kompt  FINELIA,  des  Schusters  Weib,  will  wasser  holn 

tregt  ein  Krug 

Alhie  in  dieser  armen  Stadt 
Es  kein  guten  trinck  Brunnen  hat 
Miissen  das  trinck  wasser  weit  holn 
Mein  Mann  mir  daheira  hat  befohln 
Ich  solt  eillend  ein  wasser  bringen 
Wasser  macht  weder  Tantzen  noch  springen 
Darumb  ich  bath  vnd  haben  wolt 
Das  er  ein  Bier  doch  kauffen  solt 
So  ist  der  Narr  so  karck  vnd  gnau 

[Sie  geht  zum  Brunnen  als  woll  sie  eins  schopffen 
Ey,  ey,  jetzund  ich  mich  beschau 
Aufs  dern  schatten  in  dem  Brunnen 

[Sie  wirfft  den  Krug  nider,  schwantzt  auff  der 

Brucken  rumb 

Meins  gleichen  nicht  allhie  wird  gfunnen 
Ein  aufsbiindig  schon  Creatur 
Was  hab  ich  mich  geziehen  nur 
Das  ich  hab  gnommen  den  Pechpatzen 
Den  hefslichen  vngschaffnen  Fratzen 
Nun  will  ich  bey  jhm  nicht  mehr  leben 
Sender  mich  strachs  gen  Hof  begeben 

[Sie  geht  ab. 

EL  A  die  Bauern  Magd  geht  ein  rn.it  einem  geschirr  Wasser 
zuholen,  kommt  zum  Brunnen  will  einschopffen  sieht  den 

schatten 

Nicht  gnug  kan  ich  verwundern  mich 
Jetzt  so  ich  meinen  schatten  sich 
Befind  ich  wie  ich  so  schon  bin 
Ey  ey  wo  hab  ich  nur  dacht  hin 
Das  ich  vermeint  den  Miiller  zu  nemen 
Ich  wolt  michs  in  mein  hertz  nein  schemen 
Ob  ich  schon  hab  ein  Eyssen  abgrendt 
Jedoch  vil  Leut  in  der  Welt  sendt 
Die  es  nicht  wissen  oder  schmecken 
Vnd  ich  solt  mich  zu  jhm  verstecken 
O  nein  ich  mag  den  Muller  nimmer 
Ich  will  gehn  Hof  ins  Frauenzimmer 

[Sie  wirfft  jhr  Gefdfs  auch  hin,   vnd  geht  gar 
stoltz  ab. 


ENGELBRECHT. 

Why  say  so  much  about  forget? 
Ere  long,  we  shall  again  have  met. 


[Exit. 


The  maiden  sits  down  in  the  tree,  and  says  in  a  melancholy  tone : 
Ah  if  the  prince  should  me  betray. 
And  thus  my  services  repay, 
Then  would  I  now,  and  evermore. 
Dire  vengeance  on  his  head  implore. 
Enter  FINELIA,  the  shoemakers  wife,  carrying  a  pitcher 

to  fetch  water. 

In  all  this  town  the  water's  bad; 
None  fit  for  drinking  to  be  had; 
We  fetch  it  from  a  distant  spring. 
I  now  must  for  my  husband  bring 
Some  in  a  hurry,  water  can 
Excite  to  dance  no  mortal  man, 
And  therefore  I  did  beg  and  pray 
The  fool  would  buy  some  beer  to-day; 
But  no,  —  he  loves  too  well  his  pelf. 

[She  goes  to  the  spring  to  draw  water. 
Aye!   Now  that  I  behold  myself 
There  in  my  image,  all  around 
My  like  is  nowhere  to  be  found. 
[She  throws  down  the  pitcher,  and  loalks  coquettishly 

about  the  platform  round  the  well. 
A  creature  most  exceeding  fair! 
Oh  what  a  blunder  made  I  there, 
When  I  took  up  that  cobbler  wight, 
An  awful,  awkward,  ugly,  fright! 
I'll  live  with  him  no  more,  I  swear, 
But  straight  unto  the  court  repair. 

[Exit. 

Enter  ELA,  the  peasant's  daughter,  with  a  pitcher  to  fetch 
water.    She  goes  to  the  well,  and  is  about  to  draw  some 

when  she  sees  the  image. 
My  wonder's  more  than  I  can  tell! 
For  now  I  view  my  image  well, 
I  see  that  I  am  fair  indeed; 
Ah,  what  could  ever  me  mislead 
To  think  I  could  the  miller  take? 
My  heart  for  very  shame  doth  ache. 
Although  I  out  of  jail  have  got, 
Yet  many  men,  who  know  it  not, 
Are  in  the  world,  —  that  were  a  whim. 
To  hide  myself  with  such  as  him! 
Oh  no.  he'll  never  do  for  me; 
A  grand  court-lady  will  I  be. 

[She  also  throws  down  her  pitcher,  and  walks 
haughtily  away. 


4!) 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


50 


JAHN  MOLITOR  geht  ein 

Mein  Herr  thut  grausam  schwermen  vnd  fluchen 
Ich  soil  sein  Tochter  wider  suchen 
Weil  ich  nicht  recht  auff  sie  thet  sehen 
Thet  mich  lestern  schenden  vnd  schmehen 
Ja  er  thet  mirs  vnters  gsicht  sagen 
Find  ichs  nicht,  wolt  er  mich  erschlagen 
Ich  bin  den  gantzen  Walt  durchloffen 
Hab  nichts  gefressen  noch  gesoffen 
Vnd  brennd  so  mechtig  heifs  die  Sunnen 
Schau  da  vnten  hats  ein  schon  Brunnen 
Da  will  ich  mich  ein  wenig  laben, 

[Er  geht  zum  Brunnen  sicht  nein,  steht  wider  auff, 

siclit  auff  den  Baum. 

Vor  dem  schatten  bin  ich  erschrocken 
Wie  tregt  der  Baum  die  schonsten  Docken 
Ach  wie  der  aller  gliicklichst  Brunnen 
Weil  ich  da  hab  die  Jungkfrau  gfunnen 
Nun  will  ich  gehn  sagen  meim  Herrn 
Der  wird  sie  gar  bald  holn  wern 

[Jahn  geht  ab. 

SIDEA  sagt  auff  dem  Baumen  kleglich 
Ach  wehe  wo  soil  ich  nun  hinimfs 
Mein  hertzliebster  bleibt  zu  lang  aufs 
Vnd  ich  bin  durch  defs  Wassers  schatten 
Dem  Jahn  Molitor  schon  verrahten 
Vnd  er  wirds  sagen  dem  Vatter  mein 
Ach  weh  des  jammers  vnd  der  pein 
Nun  steh  ich  hie  in  neuer  gfahr 
Engelbrecht  hat  mein  vergessen  gar 
Ach  jammer  weh  wo  soil  ich  hin 
Das  aller  elendst  Mensch  ich  bin 
Das  nicht  auff  dieser  Welt  kan  leben 
Ach  wie  thu  ich  in  hertzleid  schweben 
O  jammer  weh  ich  hor  schon  Leut 
DIETERICH  DER  SCHUSTER  geht  ein  vnd  spricht 
Ich  weifs  nicht  was  es  doch  bedeut 
Meiner  Frauen  hab  ich  befohln 
Das  sie  mir  soil  ein  Wasser  holn, 
So  kompt  sie  heimb  so  vnbesunnen 
Sagt  sie  hab  gsehen  in  den  Brunnen 
Wo  sie  sey  so  ein  schones  Weib 
Darumb  sie  nicht  mehr  bey  mir  bleib, 
Sonder  will  kommen  ins  Frauenzimmer 
So  kan  ich  den  durst  leiden  nimmer 
Denn  will  ich  nicht  vor  durst  versincken 
Mufs  ich  mir  selbst  holen  zu  Trincken 
Darneben  will  ich  auch  beschauen 
Was  so  narrisch  hab  "gmacht  mein  Frauen 

[Er  geht  zum  Brunnen  schopfft  Wasser. 


Enter  JOHN  MOLITOR. 
My  master  kicks  up  such  a  rout, 
Swears  I  must  find  his  daughter  out; 
'Cause  I  don't  watch  her  like  her  nurse, 
He  must  forsooth,  storm,  swear,  and  curse. 
Indeed  he  to  my  face  hath  said, 
If  she's  not  found,  he'll  strike  me  dead. 
I  the  whole  forest  through  have  beat. 
And  nothing  had  to  drink  or  eat. 
And  'tis  so  hot  in  such  a  sun; 
Down  there  I  see  some  water  run. 
I  will  refresh  me  with  a  draught. 

[He  goes  to  the  spring,  looks  into  it,  gets  up  again 

and  looks  up  into  the  tree. 
The  shadow  almost  frightened  me! 
A  pretty  head-dress  for  a  tree! 
Most  fortunate  of  springs  art  thou! 
Through  thee  I've  found  the  maiden  now. 
I'll  go  at  once,  my  master  tell, 
And  he'll  soon  fetch  her  from  the  well. 

[Exit. 

SIDEA   in  the  tree,  says  in   a  melancholy  tone: 
Alas!    Shall  I  now  fly  or  stay? 
Too  long  rny  love  remains  away! 
The  image  that  the  water  made, 
Me  to  the  miller  has  betrayed. 
To  tell  my  father  would  he  go; 
Alas!   oh  misery  and  woe! 
Now  am  I  in  new  danger  here. 
Forgotten  by  my  love  so  dear; 
Alas!    Oh  whither  shall  I  hie? 
Most  wretched   of  all  mortals  I! 
But  death  must  soon  my  troubles  cure,    ' 
Such  bitter  anguish  I  endure! 
Oh  misery!   I  hear  them  near! 

Enter  DIETRICH,  THE  SHOEMAKER. 
What  it  all  means,  I've  no  idea! 
To-day  I  told  my  wife  to  bring 
Some  water  for  me  from  the  spring; 
And  ever  since  she  has  returned, 
She's  lost  her  wits,  and  says  she's  learned. 
Through  her  fair  image  in  the  well. 
She's  far  too  beautiful  to  dwell 
With  me,  but  will  to  court  repair. 
This  thirst  I  can  no  longer  bear: 
And  as  for  thirst  I  would  not  sink, 
Some  water  I  will  fetch  to  drink; 
And  also  look  into  the  pool, 
To  see  what's  made  her  such  a  fool. 

[Goes  to  the  well  to  draw  water. 
4 


51 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


52 


Der  Brunnen  giebt  von  sich  ein  schein 
Ein  schones  Weibsbild  mufs  da  sein 
Vnd  hie  fiber  den  Brunnen  sitzen 

[Er  siecht  sich  umb,  ersicht  die  Sidea 
Ja  ich  habs  schon  ersehen  jetzen 
Ach  zarte  Jungfrau  saget  mir 
Was  machet  auff  dem  Baumen  jhr 
Wem  steht  jhr  zu  wo  kompt  jhr  her, 

SIDEA  hebt  die  Hand  auff 
Ach  guter  Freund  ich  bitt  euch  sehr 
Jhr  wollet  mir  doch  helffen  wider 
Das  ich  komb  von  dem  Baum  hernider 
Vnd  beherbrigt  mich  nur  zwen  tag 
Das  ich  ein  weng  aufsruhen  mag 
Vnd  entgeh  meim  Feind  aufs  den  henden 
Helfft  jhr  mir  das  vngluck  abwenden 
Ich  will  each  geben  reichen  lohn, 

DEETERICH  DER  SCHUSTER  hebt  sie  von  dem  Baumen 
Ey  ja  das  will  ich  gerne  thon 
Jedoch  es  geht  bey  mir  schlecht  zu, 

SIDEA 

Drinnen  ich  euch  als  sagen  thu. 
"Wie  ich  bin  leider  kommen  her 
Dann  ich  furcht  mich  sehr  das  ich  wer 
Gefangen  wenn  ich  lang  hie  stehe 
So  kem  ich  in  jammer  vnd  wehe 

[Sie  gehn  mit  einander  ab. 

Kompt  LUDOLFF    DER   FlJRST 

Allhie  wart  ich  auff  meinen  Geist 
Wenn  mir  der  nicht  mein  Tochter  weist 
So  ists  mit  dem  Milliner  verlorn 
Vnd  sey  jhm  dann  ein  Eyd  geschworn 
Er  mufs  sterben  von  meiner  hand 

Jetzt  macht  LUDOLFF  mit  seinem  Stab  ein  kreifs,  so 
springt  RUNCIFALL  heraufs, 

LUDOLFF 

Runcifall  mach  du  mir  bekannt 
Wo  ist  mein  Tochter  kommen  hin 
Auff  dicb  ich  hart  erzornet  bin 
Das  du  sie  hast  glassen  davon 
Vnd  mir  solches  nicht  zeiget  an 

[Runcifall  deut  er  hab  kein  schuld  daran,  er  kiinne 
nicht  reden, 

LUDOLFF 
Wie  stellst  du'dicb,  bald  red  mit  mir, 

[Runcifall  deut  er  konns  nicht 


The  water  does  a  form  reflect; 
A  handsome  woman,  I  expect, 
Is  sitting  somewhere  up  on  high. 

[He  looks  round  and  sees  Sidea. 
Yes,  —  I  already  her  espy. 
Ah,  gentle  lady,  say  to  me, 
What  you  are  doing  in  the  tree? 
Whom  you  belong  to,  whence  you  came? 

SIDEA  raising  her  hands. 
Oh  friend,  your  kindness  would  I  claim, 
And  beg  that  you  your  aid  will  lend, 
To  help  me  from  the  tree  descend, 
For  two  days  yield  me  an  asyle, 
Where  I  myself  may  rest  awhile, 
And  also  may  escape  my  foe. 
If  thus  you  help  avert  the  blow, 
A  rich  reward  I'll  give  to  you. 

DIETRICH,  THE  SHOEMAKER,  helps  her  down  from  the  tree. 
Oh  yes,  all  that  I'll  gladly  do; 
My  house  though  is  a  wretched  place. 

SIDEA. 

When  there,  I'll  tell  you  all  my  case, 
How  I  unhappily  came  here; 
For  if  I  tarry  long,  I  fear, 
I  may  be  taken,  which  to  me 
Would  bring  much  grief  and  misery. 

[Exeunt  together. 

Enter  PRINCE  LUDOLFF. 
My  spirit  I'm  expecting  here. 
Should  he  not  shew  me  my  Sidea, 
The  miller's  a  lost  man,  for  now 
I've  sworn  to  him  a  solemn  vow, 
That  he  by  my  own  hand  shall  die. 

LUDOLFF  makes  a  circle  with  his  wand.     RUNCIFALL 
springs  out  of  it. 

LUDOLFF. 

Now  Runcifall,  resolved  am  I 
To  learn  where  my  Sidea  may  be. 
And  know  I'm  very  wrath  with  thee, 
That  thou  hast  let  her  run  away, 
And  not  a  word  to  me  didst  say. 

[Runcifall  intimates  by  signs  that  that  is  not  his 
fault,  as  he  cannot  speak. 

LUDOLFF. 
What  mean  those  gestures?    Speak  to  me. 

[Runcifall  makes  signs  that  he  cannot  speak. 


53 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


54 


LUDOLFF 

Er  ist  verzaubert  das  merck  ich  schir, 

[Er  schlegt  den  Teuffel  mit  dem  stab  auffs  maul, 

RUNCIFALL 

Dein  Tochter  hat  den  Fvirsten  gnommen 
Vnd  ich  bin  eben  darzu  kommen 
Vnd  hab  dir  dasselb  wollen  sagen 
So  hat  sie  mich  auffs  maul  geschlagen 
Das  mir  mein  Zung  verstummen  thet 
Vnd  hab  seither  kein  Wort  mehr  gredt. 
Wie  hab  ich  dirs  dann  sagen  konnen 
Alsdann  theten  sie  dir  endrinnen 
Vnd  ziehen  zu  seim  Vatter  hin, 
LUDOLFF  sagt  kleglich 
Nun  ich  erst  gar  verdorben  bin 
Find  sie  mein  Jahn  Molitor  nit 
So  hat  mein  hertz  nimmer  kein  frid 

In  dem  gehet  JAHN  MOLITOR  ein,  hat  ein  Drummelein  vnd 
Pfei/en,  er  pfei/t,  der  Teuffel  hebt  an  zu  Tantzen, 

LUDOLFFUS 

Jahn  weil  du  Pfeiffst  vnd  lustig  bist 
So  sag  mir  wo  mein  Tochter  ist 

JAHN 
Eur  Tochter, 

[Er  Pfei/t  wider  vnd  Drummelt 

LUDOLFF 

Ja  meine  Tochter  wo  ist  sie 

JAHN  MOLITOR 

Ich  hab  gar  wol  gesehen  die 

[Jahn  Pfei/t  vnd  Drummelt  wider,  so  tantzt  all- 
weg  der  Teuffel, 

LUDOLFF 

Wo  hastn  sie  gsehen  zeig  an 
JAHN  MOLITOR 
Ich  sah  sie 

[Er  Pfei/t  wieder,  dann  sagt  er 
auff  eim  Baumen  stahn 

LUDOLFF  sagt  zornig 
Hor  auff  deins  Pfeiffens,  sag  darfiir 
Von  meiner  lieben  Tochter  mir 

[Jahn  Pfei/t  vnnd  Drummelt,  der  Teuffel  Tantzt, 
lauffen  etliche  Teuffel  raufs,  die  alle  Tantzen, 
endtlich  hort  Jahn  Molitor  auff, 

LUDOLFF 

Ich  glaub  du  seyst  gar  toricht  worn 
Dafs  du  thust  so  grausam  rumorn 
Jhr  Geister  ziecht  eurs  wegs  bald  fort 
Vnd  du  sag  mir  bald  mit  eim  wort 
Wo  du  mein  Tochter  gsehen  hast 


LUDOLFF. 

He  is  enchanted,  that  I  see.  t 

\He  strikes  the  devil  on  the  mouth  with  his  wand. 

RUNCIFALL. 

Thy  daughter  with  the  prince  would  fly. 
Just  at  that  minute,  up  popped  I. 
And  as  I  wished  to  let  thee  know, 
She  gave  me  on  the  mouth  a  blow, 
Which  made  me  dumb,  nor  any  word 
Since  then  hath  from  my  mouth  been  heard. 
How  could  I  then  tell  thee  indeed? 
On  which  they  fled  with  utmost  speed, 
And  hurried  towards  his  father's  seat. 

LUDOLFF,  says  piteously. 
Oh  now  my  ruin  is  complete! 
And  should  the  miller's  search  prove  vain, 
My  heart  will  ne'er  know  peace  again. 

Enter  JOHN  MOLITOR  with  a  little  drum  and  a  whistle. 
He  whistles,  and  the  devil  begins  to  dance. 

LUDOLFF. 

John,  as  you  whistle  and  are  gay. 
Where  is  my  daughter,  prythee  say? 

JOHN  MOLITOR. 
Your  daughter,  — 

[he  whistles  and  drums  again. 

LUDOLFF. 

Yes,  pray  tell  me,  do. 
JOHN  MOLITOR. 
That  I  have  seen  her  is  most  true. 

[John  whistles  and  drums  again,   and  the  devil 
continues  to  dance. 

LUDOLFF. 
Where  have  you  seen  her?  —  tell  it  me. 

9    JOHN  MOLITOR. 
I  saw  her  — 

[whistling  again 
standing  on  a  tree. 

LUDOLFF,  angrily. 

Now  cease  that  whistling!   Do  you  hear? 
And  tell  me  of  my  daughter  dear. 

[John  whistles  and  drums.  The  devil  dances.  Other 
devils  appear,  who  all  dance  too.  At  last  John 
leaves  off. 

LUDOLFF. 

You  must  have  lost  your  wits,  'tis  clear, 
To  kick  up  such  a  shindy  here. 
Ye  spirits,  take  yourselves  away. 
But,  you  sir,  in  a  word,  I  pray, 
Where  did  you  see  my  daughter  now? 

4* 


55 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


56 


JAHN  MOLITOR 

Sie  sitzt  dort  auff  eins  Baumens  ast 
Zu  allernechsten  bey  dem  Brunnen 
Vnd  weil  ich  sie  hab  wider  gfunnen 
Bin  ich  erfreuet  worden  hoch 
Kompt  her  wir  wollens  finden  noch 
Ich  zwar  hett  sie  gesehen  nit 
Der  schattn  im  Brunnen  sie  verrieht 
Als  ich  eben  da  trincken  wolt 

LUDOLFF 

Ach  das  ichs  wider  kriegen  solt 
Drumb  geh  bald  fort  thu  dich  nicht  bsinnen 
Hilff  mir  wider  mein  Tochter  finnen 

[Sie  gehn  ab. 

Kompt  DIETERICH  DER  SCHUSTER  mit  seiner  Frauen, 

DlETERICH 

Finelia  mein  sag  doch  mir 

Was  hastu  eingebildet  dir 

Das  du  mir  kein  gut  mehr  wilt  than 

FINELIA 

Mich  reuts  das  ich  dich  gnommen  han 
Vnd  darzu  das  ich  bey  dir  bleib 
Ich  bin  ein  herrlichs  schones  Weib 
Dergleich  keine  ist  in  der  Statt 

DIETERICH 

Sag  wer  dir  solchs  gesaget  hat 
Der  hat  dich  ubel  iiberredt 

FINELIA 

Der  widerschein  mirs  sagen  thet 
Welchen  ich  durch  den  schein  der  Sunnen 
Hab  aufs  dem  Wasser  in  dem  Brunnen 
Besser  gesehen  als  zuvor  nie 

DIETERICH 

So  komb  mit  mir  zum  Brunnen,  vnd  sih 
Ob  du  nicht  selbst  betrogen  worn 

FINELIA  geht  mit  jhm  zum  Brunnen,  sicht  hinein 
Mein  vorige  gstalt  hab  ich  verlorn 
Also  wie  ich  jetzunder  sich 
Kan  ich  gar  nicht  verwechfsln  mich 
Vnd  ich  bin  dir  kaum  gut  genug 
Aber  da  ich  zerwarff  den  Krug 
Da  wart  ich  also  zart  vnd  schon 
"Wie  die  Jungkfrauen  zu  Hof  hergehn 
Defamal  daucht  ich  mich  dir  zu  gut 

DIETERICH 

Mein  Finelia  sey  gemuht 
Schau  dorten  dritt  ein  Jungkfrau  rein 
Die  gab  in  Brunnen  diesen  schein 


JOHN  MOLITOR. 

Sitting  aloft  there  on  a  bough. 
The  tree  is  very  near  the  water, 
And  just  because  I  found  your  daughter, 
I'm  now  in  such  a  merry  cue; 
You'll  find  her  still,  if  you  come  too. 
It's  true,  I  have  not  seen  the  maid; 
She  through  her  image  was  betrayed, 
As  I  my  thirst  prepared  to  quench. 

LUDOLFF. 

Oh,  that  I  could  but  catch  the  wench! 
So  go  at  once,  in  thinking  waste  • 

No  time,  till  we've  my  daughter  traced. 

[Exeunt. 

Enter  DIETRICH,  THE  SHOEMAKER,   with  his  wife. 

DIETRICH. 

Finelia  mine,  explain  to  me. 
What  fancy  has  come  over  thee, 
That  thou  no  service  do  me  more? 

FINELIA. 

That  I  e'er  took  thee,  I  deplore, 
And  also  that  I  live  with  thee; 
I  am  so  beautiful  to  see, 
My  like's  not  in  the  town,  I  know. 

DIETRICH. 

Tell, me,  who  was  it  told  thee  so? 
His  counsel  was  n't  very  good. 

FINELIA. 

'Twas  the  reflection.   Where  I  stood, 
The  sunbeams  on  the  water  fell. 
And  shewed  my  image  in  the  well. 
I'd  never  seen  it  so  before. 

DIETRICH. 

Then  come  with  me,  and  see  once  more 
Whether  it  was  not  a  delusion. 

FINELIA  goes  to  the  well,  and  looks  into  it. 
My  beauty's  gone,  to  my  confusion! 
And  now  I  see  myself  so  plain, 
I  can't  mistake  myself  again. 
For  thee  I'm  hardly  good  enough; 
But  when  the  pitcher,  in  a  huff, 
I  threw  away,  I  was,  methought, 
As  fair  as  ladies  of  the  Court. 
And  so  I  seem'd  for  thee  too  good. 

DIETRICH.    . 

Finelia  mine,  now  if  you  would 
Look  there,  a  maiden's  coming  here, 
Who  caused  the  image  to  appear; 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


58 


Die  ich  fand  sitzen  auff  dem  Baum 
Dein  schon  war  ein  erdichter  traura 
Dann  dein  schon  taug  zu  der  gar  nit 

SIDEA  geht  ein 

Mein  Meister  Schuster  es  ist  mein  bitt 
Jhr  wolt  euch  willig  lassen  finnen 
Mir  eurs  Weibs  kleider  vergiinnen 
Das  ichs  anleg  auff  der  Strassen 
Vnd  wolt  sie  mit  mir  gehn  lassen 
Das  sie  trag  meine  kleider  mir 
Reichlich  will  ichs  belohnen  jhr 
Dann  ich  je  nicht  weiter  beger 
Als  das  ans  Fiirsten  Hof  ich  wer 
Ich  will  sie  bait  schicken  zuriick 

DIETERICII 

Das  als  soil  sein,  darzu  mit  gliick 
Wolln  euch  die  Gotter  beleiten 
Vnd  das  wir  mit  bessern  freiiden 
Bait  wider  zammen  kommen  miigen 
Das  wollen  alle  Gotter  fiiegen 

[Sie  gehn  alle  ab. 

Kompt  LUDOLFF  DER  FuRST  mit  JAHN  MOLITOR 

JAHN 

Auff  diesem  Baum  ob  diesen  Brunnen 
Hab  ich  eur  Gnaden  Tochter  gfunnen 
Sie  ist  aber  jetzt  nicht  m'ehr  do. 
LUDOLFF  DER  FURST 
Deins  findensts  bin  ich  so  nicht  fro 
Such  sie  wo  sie  wird  sein  hinkommen 
Du  solst  sie  haben  mit  dir  gnommen 
Vnd  sie  mit  dir  heim  haben  bracht 

JAHN  MOLITOR  « 

Vor  freud  hab  ich  daran  nicht  dacht 
Verrneint  wenn  eur  Gnad  selbst  kemen 
Vnd  die  Jungkfrau  vom  Baum  nemen 
So  wer  es  vil  ein  grossre  freud 

LUDOLFF  schlegt  jhn  mit , den  stab 
Was  ists  aber  jetzt  fur  ein  Leit 
Du  vnbesunner  grober  knopff 
Du  bist  ein  einfeltiger  tropff 
Vnd  gar  ein  einfeltiges  Kalb 
Was  du  solst  thun  thustu  nicht  halb 
Das  mustu  zahlen  mit  der  haut 

RUNCIFALL  DER  TEUFFEL  lau/t  ein 
Es  ist  vergebens  was  jhr  streit 
Ich  bin  jhr  allenthalb  nach  zogen 
Wir  sind  durch  list  von  jhr  betrogen 


I  found  her  sitting  on  the  tree. 

Thy  beauty  was  all  fantasy; 

It  can't  at  all  with  hers  compare. 

Enter  SIDEA. 

Oh  Mister  cobbler,  might  I  dare 
Ask  your  permission  to  propose, 
Your  wife  should  lend  me  all  her  clothes, 
To  wear  them  on  the  public  way, 
And  also  that  she  with  me  stay 
To  bear  my  clothes  for  me,  which  aid 
Shall  liberally  be  repaid. 
For  nothing  I  desire  indeed 
More  than  to  reach  the  court  with  speed; 
I  soon  will  send  her  back  to  you. 

DIETRICH. 

It  shall  be  so.    With  fortune  too 
May  all  the  gods  thy  steps  attend, 
And  may  they  grant  that  in  the  end, 
We  meet  once  more,  and  days  enjoy 
Of  happiness  without  alloy! 

[Exeunt  omnex. 

Enter  PRINCE  LUDOLFF  with  JOHN  MOLITOR. 

JOHN  MOLITOR. 

Upon  this  tree,  above  the  water 
It  was,  I  found  your  Grace's  daughter. 
But  she's  no  longer  there,  I  see. 

PRINCE  LUDOLFF. 

Your  finding's  not  much  gain  to  me. 
Learn  where  she's  gone  to,  if  you  can : 
You  should  have  ta'en  her  with  you,  man. 
And  home  unto  her  father  led. 

JOHN  MOLITOR. 

That  never  came  into  my  head 
For  joy;  I  thought  that  if  should  be, 
Your  Grace  should  fetch  her  from  the  tree. 
It  would  be  a  much  greater  pleasure. 

LUDOLFF,  striking  him  with  his  wand. 
But  now  a  trouble  without  measure, 
Thou  thoughtless  stupid  blockhead,  thou! 
Thou  art  a  simpleton,  I  vow, 
Oh  silliest  of  silly  calves! 
What  thou  must  do,  ne'er  do  by  halves; 
For  that  thou  payest  with  thy  hide. 

RUNCIFALL  THE  DEVIL  runs  in. 
It's  useless  now  to  storm  and  chide. 
For  everywhere  I've  sought  thy  child ; 
We  all  by  her  have  been  beguiled. 


59 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


60 


Sie  zicht  zum  Fiirsten  von  Wiltau 
Da  wird  sie  defs  Engelbrechts  Frau 
Darumb  last  eur  nachfolgen  bleiben 

LUDOLFF 

Mein  vngluck  ist  nicht  zu  beschreiben 
Jetzt  komb  ich  in  mehr  leids  vnd  schaden 
Ich  bin  verkaufft  vnd  auch  verrahten 
Weis  nicht  wie  ich  mein  sach  anfang 
Darumb  last  vns  nicht  warten  lang 
Sondern  hinein  gehn  in  mein  holn 
Allda  wir  still  abreden  wolln 
Wie  ich  mog  meine  sach  anstelln 

[Abgang  jhr  otter. 


ACTUS  QUINTUS. 

Kompt  LEUDEGAST  DER  FITRST  INN  DER  WILTAU  mit 
FRANCISCO  vnd  ELEMAO  vnd  sagt  kleglich 

(LEUDEGAST) 

Ach  wie  soil  ich  meim  hertzleid  thon 
.  Das  Engelbrecht  mein  einiger  Sohn 
In  seiner  schrecklichen  Gefengknufs 
So  lang  auffgehalten  werden  mufs 
Wir  haben  vil  nach  jhm  aufsgsand 
Aber  es  findet  jhn  niemand 
Das  ich  besorg  er  sey  schon  gstorben 
Nun  hab  ich  jhm  ein  Weib  erworben 
Nemlich  defs  Konigs  Tochter  aufs  Poln 
Die  wir  schon  haben  her  lassen  holn 
Die  wartet  seiner  mit  verlangen 
Vnd  als  sie  hort  das  er  ist  gfangen 
Will  sie  sich  nimmer  trosten  lahn 
Sie  auch  nicht  mehr  erhalten  kan 
Sie  will  morgen  wider  heimb  fahrn 

FRANCISCUS 

Wir  sollen  keinen  fleifs  nicht  sparn 
Sender  dran  wenden   was  wir  kunnen 
Bifs  wir  den  Jungen  Fiirsten  finnen 
Auch  soil  man  bey  nacht  vnd  bey  tag 
Mit  Kriegsnoacht  Ludolff  folgen  nach 
Vnd  jhn  erschlagen  wie  ein  Hund 
Dann  er  feirt  doch  zu  keiner  stund 
Vns  vnd  dem  Land  schaden  zu  thon 

ELEMAUS 

Woll  wir  eur  Ffirstlich  Gnaden  Sohn 
Bringen  aufs  defs  Ludolffen  Henden 
Mufs  wir  ein  groses  Heer  aufssenden 
Vnd  jhm  den  mit  gwalt  tringen  ab 


To  Wiltau's  prince  thy  daughter  sped, 
There  with  young  Engelbrecht  to  wed; 
To  cease  pursuit  were  therefore  well. 

LUDOLFF. 

My  fate  is  worse  than  words  can  tell! 
On  me  new  trials  now  are  laid. 
I've  been  deceived!    I've  been  betrayed! 
I  do  not  know  what  course  to  choose! 
'Tis  better  then  no  time  to  lose, 
But  to  my  cave  at  once  repair, 
And  we  can  then  determine  there, 
How  best  to  manage  the  affair. 

[Exeunt  omnes. 


ACT  V. 

Enter  LEUDEGAST,  PRINCE  OF  WILTAU,  with  FRANCISCUS 

and  ELEMAUS. 

LEUDEGAST,  in  a  piteous  tone. 
What  words  can  all  my  anguish  say, 
That  P^ngelbrecht  remains  away! 
My  only  son,  —  so  long  remains, 
And  wears  a  wretched  captive's  chains! 
We've  sent  to  search  the  country  round, 
But  yet  he's  nowhere  to  be  found, 
That  I'm  afraid  he  must  have  died. 
Now  I  have  found  for  him  a  bride: 
The  daughter  she  of  Poland's  king, 
Whom  messengers  I  sent  to  bring. 
With  longing  waits  she  his  return; 
And  when  she  does  his  story  learn, 
No  consolation  will  accept, 
Nor  let  herself  be  longer  kept. 
To-morrow  will  she  homewards  wend. 

FRANCISCUS. 

Now  all  our  efforts  will  we  spend, 
Nor  any  trouble  will  we  spare, 
Until  again  the  Prince  is  there. 
By  day  and  night  we  will  pursue 
This  Ludolff,  with  our  forces  too, 
And  like  a  dog,  this  prince  we'll  kill. 
For  if  he  can  but  do  us  ill, 
He  knows  no  rest  until  it's  done. 

ELEMAUS. 

We'll  get  your  Princely  Grace's  son 
Out  of  this  Ludolff 's  hands,  although 
A  mighty  host  must  strike  the  blow, 
And  carry  him  by  force  away. 


(il 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


62 


Mich  dunckt  wie  ich  vernomrnen  hab 
Das  sich  Leut  tinden  vor  der  Thiir 

LEUDEGAST 

Was  draussen  ist  das  lafs  als  fur 
Vielleicht  kompt  vns  ein  Bottschaft  her 
Von  meinem  Sohn  ohn  als  gefehr 

ELEMAUS  thut  auff,  so  gehet  ENGELBRECHT  gar  iibel  zer- 

rissen  ein,  LEUDEGAST  DER  FURST  stehet  auff,  gehet  jhm 

entgegen, 

(LEUDEGAST) 

Ach  secht  ach  weh  was  soil  wir  thon 
Ach  sey  vns  willkomm  lieber  Sohn 
Ach  solstu  sein  ein  Fiirst  geborn 
Vnd  so  gar  iibl  sein  ghalten  worn 
Ach  wo  bistu  blieben  die  zeit 
Geht  eylend  vnd  bringt  jhm  ein  Kleid 
•Neii  Schu  vnd  auch  ein  Finger  Ring 
Vnd  seyt  mit  niir  all  guter  ding 
Du  aber  sag  wie  ist  dirs  gangen 

ENGELBRECHT 

Ludolff  der  Fiirst  hat  mich  gefangen 
Durch  den  kam  ich  in  grofs  vnruh 
Must  jhm  holtz  genug  tragen  zu 
Vnd  auch  dasselb  schneiden  vnd  spalten 
Vnd  thet  mich  auch  gar  iibel  halten 
Vnd  seiner  Tochter  iibergeben 
Die  mir  bait  gnommen  hett  das  leben 
Dann  thet  sie  sich  iiber  mich  armen 
Halb  todt  krancken  Menschen  erbarmen 
Thet  mir  forthin  nicht  mehr  so  wehe 
Die  hat  mich  gnommen  zu  der  Ehe 
Ist  mit  mir  zogen  bifs  nahend  her 
Als  sie  kund  nicht  fort  kommen  mehr 
Hab  ich  sie  abwegs  von  der  Strassen 
Auff  einen  Baumen  steigen  lassen 
Auff  einer  Kutschen  her  zuholn 
Drumb  Herr  Vatter  es  werd  befohln 
Das  man  Sidea  fuhrt  hie  her 

\Jetzt  kommen  die  Edht  bring  en  jhm  kleider  leg  en 
jhn  an, 

LEUDEGAST 

Mein  lieber  Sohn  was  fehlt  dir  mehr 
Dann  alles  was  du  thust  begern 
Das  woll  wir  dich  gnedig  gewern 
Auch  theten  wir  dir  vmbschauen 
Nach  der  aller  schonsten  Jungkfrauen 
Die  solstu  nemen  zu  eim  Weib 
Derhalb  mein  Sohn  fort  bey  vns  bleib 
Vnd  gib  dich  nicht  wie  vor  in  gfehr 
Jhr  Herrn  bringt  doch  die  Jungkfrau  her 


Unless  my  ear  deceives  me,  they 
Are  persons  at  the  door  I  hear. 

LEUDEGAST. 

Whoe'er  they  be,  they  may  appear. 
Perhaps  they  bring  the  news  to  me, 
My  son's  regained  his  liberty. 

ELEMAUS  opens  the  door,   and  ENGELBRECHT   enters  very 
shabbily  dressed.     PRINCE  LEUDEGAST  rises,  and  goes 

to  meet  him. 

LEUDEGAST. 

Oh  see!  alas!    What  must  be  done? 
Oh!  welcome  home  beloved  son! 
Alas,  that  thou  a  prince  by  right 
Should  e'er  return  in  such  a  plight! 
Where  didst  thou  of  thy  time  dispose? 
Go  quick,  and  fetch  him  other  clothes, 
New  shoes,  and  eke  a  ring.    Ye  may 
Rejoice  with  me   my  friends  to-day. 
But  tell  me,  how's  it  gone  with  ihe 

ENGELBRECHT. 

Ludolff,  the  Prince,  has  taken  me. 
Through  him  I  came  to  grief  and 
And  logs  enough  too  had  to  bear, 
Must  cut  and  split  them  at  his  will. 
He  treated  me  extremely  ill, 
And  gave  me  over  to  Sidea. 
At  first  I  for  my  life  did  fear; 
But  soon  she  did  commiserate 
My  wretched  and  half-dying  state; 
No  longer  would  she  give  me  pain ; 
As  husband  would  she  me  have  ta'en: 
Has  walked  with  me,  until  to-day, 
Not  far  from  here,  her  strength  gave  way. 
I  led  her  from  the  road  aside, 
And  helped  her  up  a  tree  to  hide, 
Until  a  carriage  could  be  got. 
And  therefore,  Sire,  deny  me  not, 
But  orders  give  to  fetch  her  here.  » 

\The  counsellors  return  with  clothes  which  they  put 
on  Engelbrecht. 

LEUDEGAST. 

Wouldst  thou  aught  else,  o  son,  most  dear? 
For  all  thy  wish,  whate'er  it  be, 
We  graciously  will  grant  to  thee. 
We've  also  look'd  around  to  find 
The  fairest  of  all  womankind, 
Whom  thou,  my  son,  as  wife  shalt  take, 
And  stay  with  us  for  her  dear  sake, 
And  keep  thyself  from  danger  clear. 
But  now,  sirs,  bring  the  lady  here, 


63 


COMEDY  OF  THE  BEAUTIFUL  S1DEA. 


64 


Die  hie  schon  lang  gewartet  dein 
Die  wind  auch   hoch  erfreuet  sein 

ELEMAUS  geht  db,  tregt  die  Kleider  ab,  kompt  under 
bringt  JULIAM  die  Jungkfrau 

(ELEMAUS) 

Gnediger  Furst  ich  bring  die  Jungkfrau 
Das  sie  eur  Gnaden  Sohn  anschau 
Dem  wir  mit  freuden  theten  sehen 

JULIA  die  Jungkfrau 
Den  Gottern  woll  wir  lob  verjehen  ' 
Die  eur  lieb  zu  Land  gholffen  ban 

ENGELBRECHT 

Mein  freud  ich  nicht  aufssprechen  kan 
Das  ich  die  stund  hab  eine  gnoramen 
Vnd  das  vngluck  daraufs  ich  kommen 
Kan  mir.  kein  Mensch  glauben  auff  Erden 
Doch  hoff  ich  es  soil  besser  werden 
Nach  Regen  kompt  der  Sonnenschein 

LEUDEGAST  DER  FURST 
Hertzlieber  Sohn  so  komb  herein 
So  woll  wir  reden  von  den  Sachen 
Wie  wir  auffs  ehest  ein  Hochzeit  macheii 
Vnd  als  auffs  kostlichst  richten  zu 
Das  es  an  nichten  mangeln  thu 

[Sie  gehn  alle  ab 
ENGELBRECHT  fuhret  die  Jungkfrau,  LUDOLFF  DER  HERTZOG 

geht  ein  mit  seinem  JAHNEN 
Jahn  Molitor  nun  sein  wir  verdorben 
Es  mufs  sein  gwunnen  oder  gstorben 
Mein  Tpchter  will  ich  wider  han 
Oder  mein  leben  setzen  dran 
Will  der  Jung  Furst  Sidea  bhalten 
Mufs  er  mich  beim  Vatter  dem  alten 
Wider  zu  hult  vnd  gnaden  bringen 
Weil  du  bist  schuldig  an  den  dingen 
Das  Sidea  ist  zogen  davon 
„         So  wirstu  wissen  das  best  zuthon 
Oder  zu  zahlen  mit  der  haut 

JAHX  MOLITOR  ziecht  ab, 
Ein  kluger  Mann  ward  ich  allzeit 
Drumb  wenn  eur  Gnad  mir  folgen  wolt 
Mein  Kleider  jhr  anziehen  solt 
So  wolt  ich  eure  ziehen  an 
Vnd  darinn  auch  gen  Hof  mit  gahn 
So  vil  practict  suchen  vnd  finden 
Wie  wir  wider  wegk  fiihren  kiinden 
Die  Sideam  oder  den  Jungen 
Dardurch  wird  der  alt  Furst  bezwungen 


Who  long  has  waited  his  return. 
Which  she  will  be  rejoiced  to  learn. 

Exit  ELEMAUS,  taking  Engelbrechts  former  clothes  with" 
him.    He  returns  again,  leading  the  lady  JULIA. 

ELEMAUS. 

Oh  Gracious  Prince,  I  bring  to  thee 
The  maid,  your  Grace's  son  to  see, 
Whom  we  so  joyfully  did  greet. 

JULIA. 

We'll  thank  the  gods  with  praises  meet. 
Who  helped  thee  to  thy  happiness. 

ENGELBRECHT. 

I  cannot  all  my  joy  express, 
That  such  an  hour  was  granted  me. 
The  misery,  from  which  I  flee, 
None  can  believe  me  when  I  tell; 
But  now  I  hope  that  all  is  well; 
The  sun  will  after  rain  appear. 

LEUDEGAST. 

My  dearest  son,  just  enter  here, 
And  we'll  discuss  the  whole  affair. 
How  best  a  wedding  to  prepare. 
And  all  on  such  a  costly  scale, 
That  nought  of  pomp  or  splendour  fail. 

[Exeunt. 
ENGELBRECHT,  leading  in  the  lady.   Enter  DUKE  LUDOLFF 

with  his  JOHN. 

John  Molitor,  our  day's  gone  by, 
And  we  must  either  win  or  die. 
My  daughter  I  will  have  again. 
Or  stake  my  life  upon  the  main. 
If  the  young  Prince  will  keep  Sidea. 
Then  his  old  father,  that  is  clear, 
Must  me  his  former  favour  shew. 
And  as  it  is  your  fault,  you  know, 
That  my  Sidea  has  run  away, 
Why  manage  it,  as  best  you  may, 
Or  with  your  back  you'll  pay  for  it. 

JOHN  MOLITOR,  pulling  off  his  coat. 
I  never  wanted  much  for  wit; 
So  if  your  Grace  my  counsel  take, 
To  wear  my  clothes  a  shift  would  make, 
I  then  your  Grace's  clothes  would  wear. 
And  to  the  court  we'd  both  repair; 
And  there  such  cunning  plans  we'd  lay. 
How  we  again  could  bring  away 
Either  Sidea  or  the  Prince, 
As  soon  his  father  would  convince, 


65 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


66 


Das  er  zu  fiirkommung  den  schaden 
Eiir  Fiirstlich  Gnad  auch  thet  begnaden 
Vnd  machet  mit  euch  einen  Fridt 

LUDOLFFUS   DER  FlJRST 

Ja  wol  versucken  schadt  doch  nit 

Wir  wolln  versuchen  vnser  Heil 

Guts  gliick  woll  sein  auff  vnserm  theil 

[Sie  gehn  ab 

Kompt  JULIA  vnd  sagt  traurig 
Ach  ich  bin  in  erfahrung  kommen 
Fiirst  Engelbrecht  hab  vorhin  gnornmen 
Sideam  die  allrschonst  Jungkfrau 
Defs  Fiirsten  Tochter  in  Littau 
Ach  weh  vnd  wann  das  war  soil  sein 
So  wiird  sie  sich  auch  lassen  ein 
Mein  Verliebnufs  zu  disputirn 
So  must  ich  als  die  letzt  verliern 
Darzu  bestehn  in  spot  vnd  schand 
Vor  Reich  vnd-Armen  in  dem  Land 
Ach  wenn  ich  das  solt  haben  gwist 
Es  hett  mich  keines  Menschen  list 
In  das  Land  nimmermehr  gebracht 
Der  Fiirst  mir  die  sach  wol  gut  macht 
Verheist  mir  Silber  Hugel  vnd  Berg 
Geht  mir  derhalb  nichts  iiber  zwerg 
Mocht  ich  villeicht  noch  wol  bestehn 
Ich  will  jetzt  in  mein  Gmach  nein  gehn 

[Abgang. 

Kompt  SIDEA,  hat  iiber  jhre  schb'ne  Kleider  eine  schlechte 

Schauben  an,  eine  stauchen  auff,  die  sie  bald  vonjhr  werffen 

kan,  tregt  ein  Scheurn  voll  Getrancks 

(SIDEA) 

Nun  bin  ich  wol  gen  Hot'  her  kommen 
Aber  sehr  bose  mehr  vernommen 
Nemlich  das  der  Fiirst  Englbrecht 
Hab  nun  mehr  gar  vergessen  schlecht 
Mein  wohlthat  die  ich  jhm  gethan 
Auch  leib  vnd  leben  gwaget  dran 
Aller  dings  aufs  den  augen  gsetzt 
Vnd  ein  andere  gnommen  zu  letzt 
Mit  der  er  heint  belt  sein  Hochzeit 
So  hab  ich  jhm  ein  Trunck  bereit 
Mit  dem  ich  schleich  nein  zu  den  Gasten 
Vnd  wenn  sie  sind  bereit  am  besten 
So  beut  ich  jhm  den  trunck  zu  Trincken 
Den  ersten  tropffen  den  er  will  schlincken 
Der  macht  das  er  mich  mufs  erkennen 
Mich  ehrn  vnd  mit  Namen  nennen 
Vnd  denkeu  was  er  mir  versprach 
Mich  zu  Kirchen  fiihren  darnach 


That  he,  his  losses  to  replace, 

To  favour  must  restore  your  Grace, 

And  then  a  peace  conclude  with  you. 
LUDOLFF. 

'Tis  well;  th'attempt  no  harm  can  do. 

Once  more  then  shall  our  luck  be  tried ; 

Oh  fortune  favour  thou  our  side! 

[Exeunt. 
Enter  JULIA,  and  says  sorrowfully. 

Alas!  already,  as  I  hear, 

The  Prince  was  plighted  to  Sidea, 

Most  beautiful  all  men  have  thought  her, 

In  Littau  she  the  Prince's  daughter. 

Oh  woe  is  me!   for  if  it's  true, 

There's  one  thing  she'll  not  fail  to  do, 

My  claim  to  Engelbrecht  refuse, 

And  I,  as  last,  must  surely  lose, 

The  mark  of  jest  and  scorn  to  stand 

To  rich  and  poor  throughout  the  land. 

Ah!  had  I  known  all  that  before, 

The  arts  of  man  had  nevermore 

Persuaded  me  to  venture  here. 

The  Prince  doth  generous  appear, 

Promises  silver,  hill,  and  vale; 

For  that  indeed  I  need  not  fail, 

Perhaps  I  still  might  hold  my  own. 

But  now  I'll  to  my  room  alone. 

[Exit. 

Enter  SIDEA  with  a  shabby  cloak  over  her  fine  clothes,  and 

a  hood  on,  all  of  which  she  can  throw  off.    She  bears  a 

goblet  full  of  some  beverage. 

SIDEA. 

'Tis  true,  I  now  have  reached  the  court. 

But  with  it  sad  experience  bought. 

For  young  Prince  Engelbrecht,  I  hear. 

Hath  now  alas!  forgotten  sheer 

The  services  I  rendered  him, 

At  peril  too  of  life  and  limb; 

Hath  cast  me,  wretched  maid,  aside. 

To  take  another  for  his  bride! 

To-night  he  means  to  wed  the  fair. 

So  I  have  got  a  potion  rare, 

With  which  I  too  will  be  a  guest; 

And  when  the  moment  seems  the  best, 

Will  ask  him  just  to  take  a  sip, 

And  when  a  drop  hath  touched  his  lip, 

He'll  know  me,  —  will  me  honour  do,  — 

And  by  my  name  will  call  me  too, 

Will  recollect  his  plighted  troth, 

To  wed  me  then  be  nothing  loth, 

5 


67 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


68 


Damit  vnser  traurigkeit  anfang 
Gewinn  ein  frolichen  aufsgang 

[Sie  geht  ab 

Kompt  LEUDEGAST  DER  FURST  mit  seinen  Rahten  FRAN- 
CISCO vnd  ELEMAO,  JULIA  vnnd  ENGELBRECHT  seinem  Sohn, 

setzt  sich, 
(LEUDEGAST) 

Nun  weil  heut  ist  der  Hochzeit  tag 

So  legt  von  euch  als  leit  vnd  klag 

Es  samblen  sich  die  Fiirsten  vnd  Herrn 

Von  allem  Landen  weit  vnd  ferrn 

Die  begeren  vns  difs  Fest  zu  zirn 

Darumb  so  wil  vns  auch  gebiirn 

Das  wir  jhn  erzeigen  als  guts 

Darumb  seit  alle  gutes  muts 

Bait  woll  wir  nach  altem  Exempl 

Gehn  in  Jovis  des  grosen  Tempi 

Euch  darinn  lassen  Copulirn 

Essen  Trincken  vnd  Musicirn 

Rennen,  Stechen,  Streiten  vnd  Kempffen 

Mit  kurtzweil  alles  trauren  dernpffen 

Darumb  empfangt  die  frembten  Gast 

Vnd  ehret  sie  auffs  aller  best 

Sie  neigen  sich  alle,   Kompt  SIDEA,  wie  vor  gemelt,  ver- 

kleidet,  tregt  jhre  Scheurn  in  henden,  gibt  jnen  die  hend, 

sagt  darnach  zum  Breutigam 

(SIDEA) 

Herr  Breutigam  ich  bin  ein  gsande 

Villeicht  euch  gar  ein  vnbekante 

Doch  von  grossen  Leuten  hergschickt 

Das  jhr  euch  jetzt  stattlich  erquickt 

Vnd  heut  erfahrt  das  jhr  nicht  west 

So  trinckt  den  Wein,  der  ist  der  best 

Den  wil  ich  euch  verehren  heut 

Auff  euer  Furstliche  Hochzeit 

ENGELBRECHT  nimbt  die  Scheurn  sicht  sie  an  trinckt  legt 
die  hend  zusammen 

(ENGELBRECHT) 

Ach  weh  ich  bin  je  gwest  vermessen 
Das  ich  hab  so  schendlich  vergessen 
Sidea  der  hertzliebsten  mein 
O  weh  weh  jammer  angst  vnd  pein 
Weh  hertzenleid  seufftzen  vnd  schmertzen 

[Er  zuckt  den  Dolchen 
Ich  will  meinem  betriibten  hertzen 
Hiemit  helffen  aufs  langer  pein 
Vnd  mir  selbsten  ein  Richter  sein 
Das  ich  meiner  liebsten  vergessen 

[Sidea  fellt  in  Dolchen,  sie  lauffen  alle  zu, 


And  thus  what  hath  begun  in  sorrow, 
May  end  in  joy  upon  the  morrow. 


[Exit. 


Enter  PRINCE  LEUDEGAST,  with  his  counsellors  FRANCISCUS 

and  ELEMAUS,  his  son  ENGELBRECHT  and  JULIA. 

LEUDEGAST  sits  down. 

LEUDEGAST. 

As  we've  a  wedding  here  to-day, 

I  pray  you,  put  all  care  away. 

The  lords  and  princes,  far  and  wide, 

Are  thronging  in  from  every  side. 

They  wish  to  honour  this  our  feast, 

A  hearty  welcome  then  at  least 

Is  due  to  them,  and  all  of  you 

Should  wear  a  cheery  visage  too. 

We  soon,  old  custom  to  obey, 

To  great  Jove's  temple  wend  our  way, 

In  wedlock  join  the  youthful  pair, 

With  feasting  and  with  music  there, 

We'll  race,  we'll  tilt  in  mimic  fight, 

With  mirth  all  sorrow  put  to  flight. 

Therefore  receive  the  stranger  guest 

And  honour  him,  as  you  may  best. 

They  all  bow.   Enter  SIDEA,  disguised  as  already  described. 

She  bears  a  goblet  in  her  hands.    She  gives  them  her  hand, 

and  then  turns  to  the  bridegroom. 

SIDEA. 

Sir  Bridegroom,  I  am  sent  to  you. 

Perhaps  a  stranger,  it  is  true, 

But  sent  by  those  of  high  repute 

That  you  your  strength  might  now  recruit. 

And  learn,  what  else  you'd  ne'er  have  guessed. 

Drink  then  this  wine,  it  is  the  best. 

This  offering  at  your  feet  I  lay, 

As  present  on  your  wedding-day. 

ENGELBRECHT  takes  the  goblet,  looks  at  it,  drinks,  and 
clasps  his  hands  together. 

ENGELBRECHT. 

Alas!  how  heartless!  was  it  not? 
That  I  so  shamefully  forgot 
Sidea,  the  loved  one  of  my  heart! 
Oh  woe  and  anguish!  pain  and  smart! 
Alas!  oh  misery,  and  grief! 

[He  lays  his  hand  on  his  dagger. 
This  burdened  heart  I'll  bring  relief, 
From  longer  torture  will  I  free, 
And  to  myself  my  judge  will  be, 
That  I  forgot  my  dearest  —  best! 

[Sidea  snatches  at  his  dagger,  and  the  others  run  up. 


69 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


70 


SIDEA 

Mit  was  thorheit  seit  jhr  besessen 
Seit  getrost  all  sach  wird  noch  gut 
Drumb  fast  euch  selbst  ein  kecken  mut 
Ob  jhr  schon  auff  der  wilten  Strafsen 
Sideam  auff  dem  Baum  verlassen 
So  lebt  sie  doch  noch  frisch  vnd  gsund 
Vnd  jhr  solt  sie  sehen  jetzund. 

SIDEA  wirfft  die  schauben  vnd  stauchen  von  sich,  ENGEL- 
BRECHT  fellt  dem  Vatter  zu  fufs 

(ENGELBRECHT) 

Ach  Herr  Vatter  erbarmt  euch  mein 
Secht  das  Mensch  das  da  kompt  herein 
1st  ein  Tochter  Fiirsten  Ludolffs 
Defs  gmiit  war  boser  denn  eins  Wolffs 
Der  hat  mich  jhr  zu  eygen  geben 
Die  hat  mich  erhalten  beim  leben 
Vnd  hett  die  Jungkfrau  nicht  gethan 
Wehr  ich  vor  lengst  erfaulet  schon 
Der  versprach  ich  Ehliche  pflicht 
Vnd  als  sie  fort  konnt  kommen  nicht 
Stellt  ichs  auff  einem  Baum  im  Walt 
Verhiefs  sie  her  zu  holen  bait 
Wie  ich  euch  zeigt  Herr  Vatter  an 
Darnach  ich  es  vergessen  ban 
Vnd  mich  mit  Julia  verlobt 
Derhalb  mein  gwissen  also  tobt 
Das  ichs  nicht  kan  zu  Kirchen  fuhrn 
Will  eh  mein  leben  drob  verliehrn 

Zu  der  Julia  sagt  er 
Drumb  bitt  ich  Fiirstlichs  Frauelein 
Last  euch  erbarmen  meiner  pein 
Vnd  gebt  mich   meiner  Ehpflicht  lofs 

JULIA 

Es  ist  daran  nicht  glegen  grofs 
Wann  jhr  sie  vor  mir  habt  genommen 
Solt  ich  billich  nicht  her  sein  kommen 
Dann  das  erst  geliibt  gehet  doch  vor 
Also  mufs  ich  nun  armer  thor 
Von  jederman  grofs  schimpff  einnemen 
Doch  habt  jhrs  euch  noch  mehr  zu  schemen 
Als  ich  die  ich  nichts  darumb  west 

LEUDEGAST  DER  FURST 
Ach  last  bey  euch  bestehn  das  best 
Ist  es  gschehen  vnwissent  doch 
Das  euch  kein  schimpff  so  grofs  vnd  hoch 
Wie  jhr  vermelt  draufs  kan  entstehn 
Thut  mit  vns  in  die  Kirchen  gehn 
Wir  wollen  euch  mit  seines  gleichen 
Ein  Gfiirsten  Sohn  schonen  vnd  reichen 


SIDEA. 

What  madness  now  hath  thee  possessed? 
Take  comfort!  all  is  well  at  last. 
Be  of  good  cheer,  the  danger's  past, 
Although  upon  the  road,  so  drear, 
Thou  in  a  tree  hast  left  Sidea, 
She's  still  alive,  and  fresh  and  healthy, 
As  thy  own  eyes  shall  shortly  tell  thee. 
SIDEA  throws  off  her  cloak  and  hood.  ENGELBRECHT  falls 
at  his  fathers  feet. 

ENGELBRECHT. 

Take  pity  on  me,  Father  dear! 
Seest  thou  that  person  coming  here? 
The  daughter  of  Prince  Ludolff  she, 
And  fiercer  than  a  wolf  is  he. 
He  gave  me  to  her  for  her  own, 
I  owe  my  life  to  her  alone. 
Had  she  not  helped  me  in  my  need. 
I'd  perished  long  ere  this  indeed. 
I  vowed  to  marry  her,  and  so, 
Until  she  could  no  further  go, 
We  fled,  and  then  upon  a  tree 
She  sat,  and  was  to  wait  for  me. 
All  this  I  did  to  you  explain, 
But  soon  forgot  it  all  again; 
My  troth  to  Julia  did  I  vow, 
For  which  my  conscience  stings  me  now. 
She  cannot  therefore  be  my  wife, 
And  should  it  even  cost  my  life. 

Turning  to  Julia,  he  continues 
Oh  Lady!    I  would  thee  implore, 
Take  pity  on  my  trouble  sore, 
And  give  me  back  my  plighted  troth! 

JULIA. 

To  do  so  I  am  nothing  loth. 
If  thou  before  hast  ta'en  Sidea, 
'Twere  better  I  had  ne'er  come  here. 
The  prior  vow  is  here  the  rule, 
And  therefore  I  alas !  poor  fool 
Am  now  exposed  to  scorn  and  blame, 
And  yet  thou  hast  more  cause  for  shame 
Than  I,  who  nought  about  it  knew. 

LEUDEGAST. 

Bear  us  no  grudge,  whate'er  thou  do; 
'Twas  but  an  error  after  all. 
That  no  dishonour  thee  befall, 
So  great  as  thou  hast  pictured,   thou 
Hadst  better  grace  the  wedding  now. 
I  promise  thee,  ere  we  have  done, 
We'll  wed  thee  to  a  prince's  son, 
5* 


71 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


72 


Eh  jhr  wegk  kompt  noch  wol  begaben 
Auch  solt  jhr  von  vns  abtrag  haben 
Alles  eurs  schadens  grofs  vnd  klein 

[Er  geht  zu  der  Sidea  gibt  jhr  die  hend 
Ach  solt  ihr  denn  mein  Schnur  fort  sein 
Eur  Vatter  1st  mein  ergster  Feindt 
So  wolt  ich  das  er  auch  kom  heint 
Wir  wolten  vns  beede  vertragen 
Vnd  forthin  bey  all  vnsern  tagen 
Kein  vnfried  haben  nimmermehr 
Auch  habet  danck  der  treu  vnd  ehr 
Die  jhr  habt  meinem  Sohn  gethan 

[Man  klopfft, 
DER  FURST 
Lieber  sich  wer  klopffet  an 

Man  thut  auff,  geht  LUDOLFFUS  DER  FURST  mit  JAHN 
MOLITOR  ein,  stellt  sich  in  ein  ecken, 

HERTZOG  LEUDEGAST 
Wer  seint  die  Leut  die  herein  gehn 
Zwar  gar  ungleicher  Gsellen  zwen 

SIDEA  sicht  vmb  erkennt  als  bait  jhrn  Vatter 
Ach  weh  es  ist  der  Vatter  mein 
Wie  waget  er  sich  da  herein 

Zu  jhrem  Vatter  sagt  sie 
Ach  Herr  Vatter  was  macht  jhr  hie 
Fiir  euch  bin  ich  erschrocken  je 
Das  jhr  euch  daher  wagen  thut 

LUDOLFF 

Ach  solstu  sein  mein  fleisch  vnd  blut 
Vnd  mich  so  jammerlich  verrahten 

[Er  geht  zu  Leudegast 
Ich  bitt  eur  Lieb  woll  mich  begnaden 
Weil  sich  die  sach  so  hat  begeben 
So  will  ich  fort  bey  meinem  leben 
Nimmermehr  thun  wider  eur  Liebt 

LEUDEGAST  DER  FURST  gibt  jhm  die  hend 
Weil  sich  all  ding  also  begibt 
Das  wir  nun  sollen  gut  Freund  sein 
Gib  ich  euch  eur  Land  wider  ein 
Vnd  mach  mit  euch  ein  stetten  Fried 
Das  keiner  mehr  den  breche  nit 
Sender  es  stets  dabey  soil  bleiben 
So  woll  wir  den  fleissig  beschreiben 
Nach  dem  wir  vns  werden  bereden 
Vnd  Sigln  mit  vnsern  Secreten 
So  bait  die  Hochzeit  hat  ein  end 


Handsome  and  rich  too  shall  he  be, 
And  recompense  we'll  give  to  thee 
For  all  thy  losses  great  and  small. 

[He  goes  to  Sidea,  and  gives  her  his  hand. 
Henceforth  I  thee  my  daughter  call. 
Thy  father  is  my  bitter  foe. 
Would  he  were  here  to-night,  that  so 
We  might  at  once  here  end  our  strife, 
And  live  as  neighbours  all  our  life, 
Nor  cause  again  for  quarrel  find! 
My  thanks  for  all  the  service  kind 
That  thou  hast  shewn  my  son  before. 

[Knocking  without. 
LEUDEGAST. 
See  there,  who's  knocking  at  the  door. 

The  door  is  opened.    Enter  PRINCE  LUDOLFF  with  JOHN 
MOLITOR,  and  stands  in  a  corner. 

LEUDEGAST. 

Who  are  those  persons  that  I  see? 
They're  most  unequal  company. 

SIDEA  looks  round,  and  immediately  recognizes  her  father. 
Alas!  it  is  my  father's  face! 
How  could  he  venture  to  this  place? 
Turning  to  her  father  she  continues, 

0  father  say,  what  brings  thee  here? 

1  must  for  thy  dear  safety  fear, 
That  thou  so  great  a  risk  should  run. 

LUDOLFF. 

My  flesh  and  blood!    Oh  thou  art  none, 
Myself  so  vilely  to  betray! 

[Turning  to  Leudegast 
Your  Grace's  pardon  I  would  pray. 
As  that's  the  turn  which  the  affair 
Has  taken,  by  my  life  I  swear, 
Your  Grace  I'll  ne'er  again  offend. 

LEUDEGAST,  giving  him  his  hand. 
As  all  things  seem  that  way  to  tend. 
That  we  henceforth  good  friends  should  be, 
I  will  restore  thy  lands  to  thee. 
A  lasting  peace  too  will  I  make, 
Which  neither  of  us  e'er  shall  break, 
But  always  faithfully  maintain. 
The  terms  set  down  in  language  plain 
After  due  consultation,  we'll 
Affix  our  signature  and  seal, 
Soon  as  the  wedding's  taken  place. 


73 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


74 


LUDOLFF 

Aller  vnfried  soil  sein  verwend 
In  lauter  Lieb  vnd  gut  Freundschafft 
Das  auch  fort  derselbig  hat  krafft 
Vnd  fang  bait  an  zu  dieser  stund 
Versprich  ich  euch  mit  Hand  vnd  Mund 

LUDOLFF  gibt  jhm  die  Hand,  vnd  sagt  zu  seinem  Eyden, 
Nun  wiinsch  ich  euch  vil  gliicks  vnd  heil 
Wiewol  ich  euch  hart  hielt  zum  theil 
1st  es  doch  abgangen  ohn  schaden 
Vnd  noch  alles  zum  besten  grahten 

LUDOLFF  sagt  zum  JAHNEN 
Seh  hin,  hab  dein  Kleider  wider 
Leg  mir  dargegen  meine  nider 

Er  legt  sick  Hochzeitlich  an,  LEUDEGAST  nimbt  JULIAM 
bey  der  hand. 
(LEUDEGAST) 

Weil  sich  dann  das  gliick  zu  vns  wend 
Vnd  alle  feindschafft  hat  ein  end 
So  kompt  allsampt  mit  vns  herein 
Last  vns  lustig  vnd  frolich  sein 
Vnd  die  Hochzeit  anfangen  schan 
Euch  Julia  gebn  wir  zum  Mann 
Vnsern  Fiirsten  Herrn  Franciscum 
Mit  einem  zimlichen  Reichthum 
Auff  das  dest  grosser  werd  die  Freud 

[Er  fiihrt  sie  zum  Fiirsten  FRANCISCO  giebt  sie 

zusammen 

So  gebn  wir  euch  zusammen  beyd 
So  geht  die  Hochzeit  in  eim  hin 

FRANCISCUS 

Es  ist  kein  schad  es  bringt  ein  gwin 
Hertz  allerliebste  nun  seit  getrost 
Aus  allem  leidt  seit  jhr  erlost 
Die  Heurath  soil  euch   nicht  gereuhen 

JULIA 

Wenns  eur  Lieb  meint  gen  mir  in  treuen 
Ich  mit  eur  Lieb  zu  frieden  bin 
Vnd  ist  mir  alles  trauren  hin     • 
Will  auch  als  thun  was  euch  gefellt 

LEUDEGAST  DER  FURST 
Weil  dann  alle  ding  ist  bestellt 
Vnd  die  zeit  ist  vorhanden  schon 
Das  man  die  Hochzeit  fange  an 


LUDOLFF. 

My  love  and  friendship  for  your  Grace 
Shall  terminate  our  difference. 
And  that  the  same  at  once  commence, 
Aye  from  this  very  moment  too, 
With  hand  and  mouth  I  promise  you. 

LUDOLFF  gives  him  his  hand,  and  says  to  ENGELBRECHT: 
I  wish  thee  joy  for  many  a  year; 
And  though  thy  treatment  was  severe, 
There's  no  great  harm  now  all  is  past, 
For  it  has  turned  out  well  at  last. 

Turning  to  JOHN  MOLITOR. 
Just  take  these  clothes,  for  they  are  thine; 
And  then  I'll  beg  thee,  put  off  mine. 

LUDOLFF  puts  on  a  wedding  garment,  and  LEUDEGAST 
takes  JULIA  by  the  hand. 

LEUDEGAST. 

As  fortune  now  to  us  doth  wend, 
And  all  our  discord's  at  an  end, 
Let's  all  together  step  in  here, 
Be  joyful  and  of  merry  cheer. 
The  wedding  shall  at  once  proceed, 
And  Prince  Franciscus,  he  shall  lead 
Thee  Julia  to  the  altar,  who 
Shalt  have  with  him  a  fortune  too. 
This  will  enhance  our  great  delight. 

[He  leads  JULIA  to  FRANCISCUS,  and  joins  their 

hands. 

Thus  then  do  we  you  two  unite, 
And  both  the  weddings  join  in  one. 

FRANCISCUS. 

Our  gain  is  great,  our  loss  is  none. 
Oh  dearest  heart,  have  comfort  thou, 
Released  from  all  thy  troubles  now! 
This  marriage  thou  shalt  ne'er  repent. 

JULIA. 

If  in  good  faith  thy  love  is  meant, 
I  with  thy  love  am  satisfied, 
Henceforth  will  lay  all  care  aside, 
And  all  thy  pleasure  try  to  do. 

LEUDEGAST. 

As  every  thing's  prepared  for  you, 
And  now  the  time  has  come  indeed, 
In  which  the  nuptials  should  proceed, 


75 


COMEDY  OF  THE  BEAUTIFUL  SIDEA. 


76 


So  folget  vns  allsampt  hernach 
Vnd  leget  von  each  alle  klag 
Heut  ist  eur  aller  Freuden  tag 

[Sie  gehn  alle  in  einer  Ordnung  ab. 


JAHN  MOLITOR  bleibt  heraufs  vnd  beschleust 
Diese  History  zeiget  an 
Bofs  sey  dem  sterckern  stand  zuthan 
Derhalben  wo  es  sich  zutregt 
Das  man  zu  zoren  wird  bewegt 
Das  man  sich  darinn  moderir 
Bedenck  wenn  man  die  sach  verlier 
Was  schads  vnd  nachtheyl  draufs  entstehe 
Wol  sagt  man  aygner  schad  thut  wehe 
Jedoch  soil  man  den  sterckern  reichen 
Viel  lieber  schweigen  oder  weichen 
Als  sich  mit  jhm  in  zanck  begeben 
Dann  der  sterckst  thut  gmeincklich  ob  schwebe 
Vnd  ob  schon  der  gering  hernach 
Erfind  ein  vortheil  zu  der  rach 
Soil  er  sich  doch  defs  nicht  anmassen 
Vermeints  gliick  nicht  verfiihrn  lassen 
Dieweil  es  sich  offt  thut  begeben 
Das  beut  ein  theil  thut  oben  schweben 
Das  er  doch  kiirtzlich  wider  fellt 
Dann  girigkeit  Gott  nicht  gefellt: 
Sender  wie  die  Schrifft  thut  melten 
Woll  er  das  bofs  selbst  vergelten 
Drumb  thu  man  ein  wenig  gemach 
Vnd  handel  also  in  der  sach 
Das  sichs  zu  beyden  theilen  leit 
Vnd  aufs  vorigen  zanck  vnd  streit 
Werde  ein  ewig  einigkeit. 

[Abgang. 

ENDE. 


Follow  me  all  of  you,  I  pray, 
And  put  all  care  from  you  away, 
That  all  of  us  rejoice  to-day. 

[Exeunt  omnes  in  procession. 


JOHN  MOLITOR  remains,  and  says  in  conclusion: 
Of  this  our  story,  hear  the  gist! 
Tis  ill  the  stronger  to  resist. 
Wherever  therefore  it  may  prove, 
That  stronger  men  our  anger  move, 
'Tis  best  our  anger  to  allay. 
Remember,  if  we  lose  the  day 
What  damage  may  to  us  be  done: 
Wise  proverb:  'Look  to  number  one.' 
Tow'rds  those  who  rich  and  stronger  are. 
Quiet  submission's  better  far 
Than  eagerly  the  thing  contest; 
For  stronger  mostly  comes  off  best. 
Though  afterwards  indeed  the  weak 
Devise  how  they  may  vengeance  wreak, 
They  should  not  think  themselves  too  sure. — 
Let  fancied  fortune  them  allure. 
For  often  doth  it  chance,  I  say. 
That  he  who's  uppermost  to-day, 
To-morrow  must  endure  a  fall: 
God  loves  not  arrogance  at  all. 
For  in  the  Scripture  there's  a  line: 
"All  vengeance,"  saith  the  Lord,  "is  mine!" 
Be  gentle  therefore  to  thy  foe, 
And  bear  thee  in  thy  quarrel  so. 
That  each  may  due  forbearance  shew, 
And  out  of  former  strife  and  woe. 
Eternal  amity  may  grow. 

[Exit. 

THE  END. 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA 

BY  JACOB  AYRER  OF  NUREMBERG. 


(CIRCA  1595.) 


In  JACOB  AYRER'S  Opus  theatricum,  Nuremberg  1618,   in-fol.,  the  COMEDY  OF  THE  BEAUTIFUL  PHAENICIA 
occupies  folio  408  recto,  col.  2,  to  folio  433  recto,  col.  1.     It  is  entitled: 

Spiegel  UJeiblidjer  judjt  tnb  CEIjr. 


Han  &er  flatten 

$  I)  aroma  tmfr 
bri  J»0n  (iolifon  cufs 
rote  es  jljueu  in  jljrcr  ^l)rlid)en  ficb  gangen, 
bt("9  |tc  (£l)clid)  jufammen  hoinen,  ^it 
17.  Jlerfonen,  nnb  Ijat 
6.  3-ctus. 

(MIRROR   OF  MAIDENLY  VIRTUE  AND  HONOUR.     COMEDY   OF   THE    BEAUTIFUL  PHAENICIA   AND   COUNT  TYMBRI  OF 
GOLISON  FROM  ARRAGON,  AND  HOW  THEY  FARED  IN  THEIR  HONORABLE  LOVE  UNTIL  THEY  GOT  MARRIED. 

WITH  17  PERSONS  AND  IN  6  ACTS.) 

Reprinted  in:  Deutsches  Theater.   Herausgegeben  von  LUDEWIG  TIECK.    Erster  Band,  Berlin  1817,  in-Svo, 
where  it  occupies  pages  252  to  321. 


COMEDIA 
VON  DER  SCHONEN  PHAENICIA. 


Die  Personen  in  dise  Comedi. 


seine  beede  Rath 


PETRUS  der  Koenig  in  Arragonien 

TYMBORUS  der  Graf  von  Golison  sein  Kriegs  Rath 

REINHART 

DIETERICH 

LIONITO  VON  TONETEN,  der  Alte  Edelmanu 

VERACUNDIA  sein  Gemahl 

PHAENICIA  sein  Tochter 

BELLEFLURA  Phaenicia  Schwester 

VENUS  die  Gottin  der  Lieb 

CUPIDO  jhr  Kindt  mit  sein  Pfeil  vnd  Bogen 

PHILLIS  der  Phaenicia  Kammer  Frau 

LIONATUS  ein  Alter  vom  Adel,  zu  Messina 

GERANDO  ein  Ritter,  OLERIUS  VALERIAN  genandt 

ANNA  MARIA  ein  Kammer  Jungfrau 

JAHN  der  kurtzweiler 

MALCHUS  der  pracher  od.  betriger 

GERWALT  der  betriegerisch  Edelma 


ACTUS  PRIMUS. 

VENUS  die  Gottin  geht  ein,  mit  blosen  halfs  vnd  armen,  hat  ein 
fliegents  gewand,  vnd  ist  gar  Gottisch  gekleit  ist  zornig  vnd  S. 

_Lch  wolt  hie  gern  klagen  mein  not 
Das  mich  vnd  mein  Sohn  macht  zu  spot 
Tymborius  der  Graf  von  Golison 
An  Konigs  Hof  zu  Arragon 
Der  belt  sich  Mannlich  starck  vnd  vest 
Hat  im  nechsten  Krieg  than  das  best 
Da  Prochyte  angfangen  hat 
In  Sicilien  das  grofs  blutbad 


COMEDY 
OF  THE  BEAUTIFUL  PHAENICIA. 


his  two  counsellors. 


Persons  represented: 

PETER,  King  of  Arragon. 

TYMBORUS,  Count  of  Golison,  his  counsellor  of  war. 

REINHART, 

DIETERICH, 

LIONITO  OF  TONETE,  the  old  nobleman. 

VERACUNDIA,  his  wife. 

PHAENICIA,  his  daughter. 

BELLEFLURA,  Phoenicia's  sister. 

VENUS,  the  goddess  of  love. 

CUPID,  her  child  with  his  arrow  and  bow. 

PHILLIS,  Phaenicia's  attendant. 

LIONATUS,  an  old  nobleman  of  Messina. 

GERANDO,  a  Knight,  called  OLERIUS  VALERIAN. 

ANNA  MARIA,  a  maid  of  honour. 

JOHN,  the  clown. 

MALCHUS,  the  swaggerer  or  impostor. 

GERWALT,  the  false  nobleman. 


ACT  I. 

Enter  VENUS  with  bare  neck  and  arms  wearing  a  loose  robe. 
She  has  the  attire  of  a  goddess,  and  says  angrily : 

-L  would  complain,  my  son  and  I 
Have  now  become  the  mockery 
Of  Tymbor,  Count  of  Golison, 
Of  the  King's  Court  of  Arragon. 
He  bears  him  manly,  stout,  and  true; 
In  the  last  war  the  most  did  do, 
When  Prochyte  the  slaughter  great 
In  Sicily  did  perpetrate. 


[She  relates  further,  that  she  had  caused  many  a  hero  to  desert  the  profession  of  arms  for 
the  love  of  women;  but  that  the  Count  offered  the  most  obstinate  resistance,  and  did  not  care  for 
women  at  all.] 


Cupido  hat  vil  Pfeil  verschossen 
Nach  jhm  send  all  gangen  in  windt 
Vulcan  us  ist  zornig  vnd  geschwindt 
Vnd  will  jhm  keine  Pfeil  mehr  schmiden 
Wird  offt  mit  mir  drob  zu  vnfrieden 


Cupid  has  many  arrows  shot 
At  him,  which  all  in  air  are  spent. 
Vulcan  is  wrath  and  violent, 
Will  no  more  arrows  for  him  make. 
And  at  me  too  offence  doth  take. 

6 


83 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


Darumb  so  mufs  ich  mich  bedencken  Therefore  I  must  devise  a  way, 

Wie  ich  den  Ritter  mocht  ablencken  How  I  the  knight  inveigle  may, 

Das  er  auch  Weiber  lieb  mocht  han.  That  he  may  love  the  ladies  too. 

[She  then  proceeds  to  state,  that  the  beautiful  Phaeuicia  was  to  appear  at  the  tournament  which 
Peter,  King1  of  Arragon,  intended  to  hold  at  Messina;  the  Count  was  to  fall  in  love  with  her  there, 
and  then  she,  (Venus)  would  soon  tame  him.] 

CUPIDO  geht  ein,  wie  er  gemalt  wird,  mit  verbunden  augen,      Enter  CUPID,  as  he  is  painted,  with  his  eyes  bound,  and 


hat  ein  Pfeil  auff  sein  bogen. 
Frau  Mutter  habt  fort  kein  verdrufs 
Mein  Vatter  der  zornig  Vulcanus 
Der  hat  mir  etlich  Pfeil  geschmit 
Vnd  sagt  ich  konn  mit  fehlen  nit 
Sonder  treff  was  ich  treffen  sol. 


an  arrow  in  his  bow. 
Dear  mother  lay  aside  thine  ire, 
For  Vulcan  now,  my  wrathful  sire. 
Has  a  few  arrows  forged  for  me, 
And  says  that  they  unerring  be, 
And  hit  whatever  I  may  wish. 


[At  this  Venus  is  very  much  delighted,  and  promises  Cupid  a  new  tunic,  if  he  hits  Tymborus 
well.  Exeunt  Venus  and  Cupid.  Upon  this  John  enters,  wounded  by  Cupid's  arrow,  which  is  still 
sticking  in  his  back.  He  exclaims  that  he  is  suffering  violent  pains  in  his  heart  through  love  for  Anna 
Maria,  without  whom  he  cannot  live.  He  then  abuses  Cupid,  and  draws  the  arrow  out  of  the  wound. 
His  master  Gerando  enters,  attracted  by  the  noise.  John  complains  to  him  of  his  miserable  condition, 
and  Gerando  promises  to  assist  him,  and  to  plead  his  cause  with  Anna  Maria.  Exeunt  John  and  Ge- 
rando.  —  Enter  the  King  and  two  Counsellors.  The  tournament  is  to  take  place.  'In  the  mean  time 
all  the  ladies  ascend  the  battlements,  and  look  down  from  them.'  l  Tymborus  beats  all  his  adver- 
saries, (Lionito,  Lionatus,  and  Gerando)  in  single  combat.  The  King  closes  the  tournament;  his  guests 
follow  him  to  join  in  the  dance.] 


GERANDO  geht  allein  ein. 
Tymbor  der  Graf  von  Golison 
Legt  vns  hie  alien  grofs  schandt  an       . 
Der  thut  gar  hoch  herprechen  sich 
Weil  er  im  Franckreichischen  Krieg 
Durch  verrehterey  angericht  hat 
Vberaufs  ein  sehr  groses  blutbadt 
Das  man  Sicilisch  Vesper  heist 
Vnd  jhn  der  Konig  so  gar  hoch  preist 
Des  belt  er  sich  dest  steiiff  vnd  strenger 
Vnd  ander  gegen  jhm  vil  wenger 
Sein  Kiinheit  wechst  von  tag  zu  tagen 
Der  hats  im  Turnir  als  wegk  gschlagen 
Vnd  ist  beim  Koniglichen  Abent  essen 
Zu  nechst  oben  bey  dem  Koriig  gesessen 
Bey  jhm  das  Koniglich  Frauen  /immer 
Das  ich  es  kan  zusehen  nimmer 
Sonder  bin  gleich  gangen  davon 
Weil  ich  schir  safs  zu  vnderst  an 
Vnd  will  der  sachen  dencken  nach 


GERANDO,  returns  alone. 
Tymbor,  the  Count  of  Golison, 
Most  dire  disgrace  is  laying  on 
Us  all,  pretensions  doth  advance, 
Because  that  in  the  war  with  France 
He  a  most  treach'rous  plan  had  laid, 
A  dreadful  massacre  had  made. 
Sicilian  Vespers  called,  a  thing 
For  which  he's  lauded  by  the  king. 
He  holds  himself  so  stiff  and  high, 
Treats  others  so  disdainfully, 
He  bolder  grows  from  day  to  day. 
In  tourney  bears  each  prize  away, 
And  at  the  royal  supper,  he 
Was  seated  next  his  Majesty. 
I  saw  the  royal  lady  there 
Sit  next  him,  which  I  could  not  boar. 
But  soon  determined  me  to  go, 
Because  I  sat  far  down  below; 
And  now  some  stratagem  I'll  seek, 


1   This  stage  direction  possesses  a  peculiar  interest,   as  giving  us  some  insight  into  the  arrangement  of  the  German  stage  at  that 
time.    It  appears  to  have  been  similar  to  that  of  the  English  stage.    The  whole  space  was  divided  into  two  parts,  separated  from  each   « 
other  by  a  curtain.     The  battlements   from  which  the  ladies  look  down,  were  a  raised  gallery  at  the  back  of  the  stage.     The  change 
of  the  locality  was  effected  by  the  drawing  or  closing  of  the  curtain  in  the  back-ground. 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


86 


Wie  ich  mich  an  jbm  rechen  mag 

Nun  ists  mit  Kempffen  gar  vergebens 

Mir  schad  der  schimpif  die  zeit  meins  lebens 

Er  ist  zu  Khun,  liistig  vnd  scharff 

An  jhn  ich  mich  nicht  richten  darff 

Bonder  mufs  mich  nur  dahin  schicken 

Das  ich  mit  falschem  Practicken 

Ihm  etwa  schand  vnd  schimpff  beweifs 

Ich  will  ankehren  alien  fleifs 

Vnd  will  mich  an  dem  Grafen  rechen 

Mir  woll  dann  Gott  das  leben  brechen. 

\Er  geht  zornig  ab. 


How  I  on  him  may  vengeance  wreak. 
'Tis  vain  with  arms  to  wage  the  strife, 
It  brings  dishonor  for  my  life, 
He  is  too  bold,  too  strong  of  limb, 
I  should  have  no  success  with  him; 
Must  therefore  some  sly  plan  devise, 
By  which  with  cunning  and  with  li 
Dishonor  on  his  name  may  rest. 
I'll  spare  no  pains,  but  do  my  best 
Against  the  Count  for  vengeance'  sake. 
Then  God  be  pleased  my  life  lo  take. 

[Exit  angrily. 


[Venus  and  Cupid  return,  and  place  themselves  in  ambush.  Trumpets  are  heard.  Enter  the 
King  and  his  Counsellors.  1  All  sorts  of  side-play.  Then  Tymborus  with  Phaenicia  and  all  the  rest 
in  couples,  begin  the  dance.  Cupid  shoots  his  arrow  at  the  Count.  The  latter  is  hit,  and  immediately 
struck  by  Phaenicia's  beauty.  The  King  breaks  off  the  dance,  and  leads  the  guests  to  supper.  Venus 
and  Cupid  remain  behind  alone.  Venus  says  she  will  urge  the  Count  to  woo  Phaenicia  in  dishonor- 
able love,  but  that  she  shall  only  become  his  in  lawful  wedlock.] 

ACT  II. 

[Enter  Gerando.  He  repeats  his  complaints  of  the  arrogance  of  Tymborus,  whom  the  King's- 
favour  has  made  proud.  Anna  Maria  joins  him.  Gerando  informs  her  of  the  passion  which  his  ser- 
vant John  entertains  for  her.  Anna  Maria  is  highly  exasperated,  and  Gerando  finds  her  very  ready 
agree  to  his  plan  for  deceiving  Jonm  The  latter  enters,  and  to  his  delight  learns  from  his  master 
that  Anna  Maria  is  burning  with  love  for  him,  and  has  appointed  to  give  him  a  meeting  that  night. 
The  clown  praises  his  own  cleverness,  and  then  walks  away  with  his  master.  Enter  Tymborus.  He 
complains  of  the  pains  of  love,  and  considers  how  he  may  win  -the  beautiful  Phaenicia.  At  first  he 
thinks  of  writing  her  a  letter,  but  afterward  determines  to  serenade  her.  Exit.  —  Enter  Gerando.  He 

O  ' 

goes  to  Anna  Maria's  house  to  wait  for  John  at  the  place  of  rendezvous,  and  then  to  cool  his  burn- 
ing love  by  throwing  a  pail  of  water  over  his  head.  The  poor  fool  appears  and  makes  his  presence 
known.  Gerando  answers  in  a  feigned  voice,  and  the  above-mentioned  cooling-process  follows.  John 
runs  away,  forswearing  all  love  for  the  future.  Then  follows  Tymborus's  serenade  before  Phaenicia's 
house.  He  appears  with  his  musicians.  After  they  have  given  a  specimen  of  their  art,  a  singer  en- 
deavours to  allure  the  fair  one  with  a  love  song  of  six  verses.  The  lover  is  not  listened  to,  and  with- 
draws with  his  musicians. 

Enter  Lionito,  Phaenicia's  father,  and  Veracundia,  her  mother,  —  soon  afterwards  Phaenicia, 
who  on  being  asked,  whether  she  knew  who  had  serenaded  her,  replies,  that  it  must  have  been  Tym- 
borus, as  he  had  given  signs  of  his  passion  for  her  during  the  dance.  After  some  advice  from  her 
mother,  they  all  withdraw.  An  interview  follows  between  Tymborus  and  Phaenicia,  which  gives  him 
no  more  grounds  for  hope  than  his  serenade  had  done  before.] 

ACT   III. 
[The  first  scene  forms  an  episode,  which  like  John's   courtship   of  Anna  Maria,   stands  in  no 

1    At  the  end  of  the  last  scene,    the  procession    had  certainly  left   the  front    part   of  the  stage  by   passing   through    the  opened 
curtain.      It  now  returns,  and  the  front  of  the  stage  represents  the  royal  saloon. 

6* 


87 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


88 


connection  with  the  principal  action.  'Malchus,  the  cheat,'  pretends  to  be  the  ghost  of  John's  mother, 
and  swindles  John  out  of  all  the  ready  cash  he  had  inherited  from  her.  l 

Tymborus  has  now  written  a  letter  to  Phaenicia,  which  has  been  delivered  by  Phillis,  the  lady's 
maid,  who  endeavours  to  promote  the  interests  of  Tymborus  with  her  mistress.  In  the  next  scene,  in 
spite  of  all  Phillis's  persuasion,  Phaenicia  declares  angrily  that  'she  does  not  wish  to  receive  any  more 
letters.  -  Tymborus  is  very  much  disheartened  at  this  answer. 

'Therefore  have  I  put  all  my  misery  and  pain  into  this  song,' 

which  Phillis  is  to  bring  her  mistress.  Tymborus  declares  that  he  wishes  to  die,  if  Phaenicia  will  not 
listen  to  his  suit.  Hitherto  he  had  only  endeavoured  to  obtain  her  love,  not  her  hand,  as  she,  a  poor 
though  noble  lady,  was  not  of  equal  birth  with  himself,  a  rich  Count.  But  now  he  determines  to  sue 
for  her  hand,  as  he  cannot  possess  her  on  any  other  terms.  Lionatus  'the  old  nobleman,'  is  to  con- 
vey his  proposals  to  her  parents.3  In  the  following  scene,  Phillis  sings  Tymborus's  song,  which  is 
also  six  verses,  to  her  mistress.  The  latter  confesses  that  she  had  never  heard  a  more  beautiful  song. 
After  this,  her  father  and  mother  inform  Phaenicia  of  the  offer  of  Tymborus.  Phaenicia  gives  her 
consent.] 

ACT  IV. 

[In  the  first  scene  of  this  act,  John  recovers  the  stolen  money  from  Malchus. 

Gerando  appears,  and  declares  his  great  vexation  that  Tymborus  was  affianced  to  Phaenicia, 
as  she  had  also  won  his  own  heart.  He  confides  his  unhappiness  to  John,  and  orders  him  to  bring 
Gerwalt,  as  he  wishes  to  ask  his  counsel.  The  latter  is  then  also  informed  of  Gerando's  unhappy  love.] 


GERWALT 

So  geh  ich  zu  dem  Grafen  bin 
Phanicia  auffs  hochst  verklag 
Wie  das  man  vnehr  von  jhr  sag 
Mit  jungen  Gesellen  in  jhren  Garten 
Will  jhn  darinnen  lassen  warten 
Zu  nachts  wol  bey  den  Moneschein 
Steigen  mit  eurn  Knecht  allein 
In  Weibers  kleidern,  mit  den  wil  ich 
Gar  freundlichen  besprechen  mich 
Als  ob  er  Phanicia  wer 
Ihn  fiihrn  in  Garten  bin  vnd  her 
Endlichen  mich  in  einer  ecken 
Mit  jhn  verliru  vnd  verstecken 
Das  vns  der  Graf  nicht  mehr  kan  sehen 
So  meint  er,  es  sey  mit  jhr  geschehen 
Wird  jhr  die  Heiirat  wider  auff  sagen 

GERANDO 
Was  ich  hab  will  ich  als  dran  wagen 


GERWALT. 

I'll  go  unto  the  Count  at  once, 
Phaenicia  gravely  will  defame, 
Assert  she's  lost  her  own  good  name 
In  her  own  garden  with  young  men, 
To  which  he  shall  have  entrance  then 
At  night,  by  moonshine,  where  too  we, 
Your  servant  and  myself,  will  be; 
He  in  girl's  clothes.    With  him  I'll  walk, 
And  in  a  friendly  manner  talk, 
As  if  that  he  Phaenicia  were, 
And  lead  him  round  the  garden  there; 
Then  with  your  man  I'll  step  aside, 
And  somewhere  in  a  corner  hide. 
Where  both  of  us  are  out  of  sight. 
Then  thinks  the  Count,  she's  ruined  quite, 
Will  therefore  his  engagement  break. 

GERANDO. 
All  that  I  have,  for  that  I'd  stake. 


1  These  episodes  shew  that  the  Clown  had  become  a  want  on  the  German  stage,  which  it  was  absolutely  necessary  to  satisfy, 

probably  to  please  the  'groundlings'  in  the  pit. 

!  This  scene  reminds  one  very  forcibly  of  the  scene  between  Julia  and  Lucetta  in  the  'Two  Gentlemen  of  Verona.' 

3  In  Bandello,  this  mediator  is  called  'the  Messenian  nobleman.' 


89 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


90 


Geht  nur  bin,  richt  die  sacb  wol  aufs 
Ich  will  wider  schleichen  zuhaufs 

[Sie  gehn  mit  einander  ab,  schwatzen  gemechlich 

mit  ein  ander. 

Dann  kompt  TYMBOR  DER  GRAF 
Heut  ist  der  aller  gliicklichst  tag 
Weil  mir  ist  geschehen  die  zusag 
Das  Phanicia  mein  soil  sein 
Verschwunden  ist  all  schmertz  vnd  pein 
All  meih  anfechtung  ist  vergangen 
Zu  jhr  steht  mir  all  mein  verlangen 
Dann  ich  hab  warlich  recht  gethan 
Das  ich  mehr  hab  gesehen  an 
Jhr  Tugent,  zucht,  dann  zeitlichs  gut 
Nun  bin  ich  frolich,  vnd  wolgemuth 
Gott  helff  vns  beiden  gliicklich  zammen 
Vnd  lafs  vns  auch  lang  leben  beysammen 
Der  Graf  spacirt  hin  vnd  under,  ficht  mit  den  henden,  in 
dem  geht  GERWALT  der  Edelman  ein. 

(GERWALT) 

Gnediger  Herr  verzeihet  mir 
Was  haben  euer  Gnaden  fiir 
Das  sie  also  melancolirn 

TYMBOR 

Nein  zwar  ich  geh  sonst  hie  spacirn 
In  lieblichen  siissen  gedancken 
Vor  hett  ich  schmertzen  wie  die  krancken 
Die  send  mir  Gott  lob  all  verschwunden 
Das  bin  ich  fro,  wie  andere  gsunden 
Alles  leid  hab  ich  gelegt  ab 
Dieweil  ich  nun  bekommen  hab 
Phanicia  die  aller  schonst  Jungfrauen 

GERWALT 

Gnediger  Herr  thut  mit  zuschauen 
Das  jhr  nit  werd  betrogen  mit 
Ich  wolts  eur  Gnaden  gonnen  nit 
•     Phaniciam  kennt  jhr  nicht  recht 

TYMBOR 

Last  jhr  mir  mein  Braut  vngeschmecht 
Wolt  jhr  mit  mir  bleiben  zufrid 

GERWALT 

Gnediger  Herr  ich  schmech  sie  nit 
Bonder  sag  eur  Gnad  soil  zuschauen 
Vnd  jhr  so  vil  guts  nicht  vertrauen 
Als  eur  Gnad  jhr  mocht  bilten  ein 

TYMBOR 

Soil  dann  das  nicht  geschmehet  sein 
Nun  solt  jhr  nicht  kommen  von  mir 
Jhr  sagt  dann  was  jhr  wist  von  jhr 
Oder  ich  werd  eins  mit  euch  wagen 


Go,  put  thy  project  well  in  train; 
I'll  quietly  slip  home  again. 

{Exeunt  conversing  together  in  a  friendly  manner. 

Enter  COUNT  TYMBORUS. 
To-day's  the  happiest  of  all 
I've  known,  it  gives  me  right  to  call 
My  own  Phaenicia  mine  alone. 
All  pain  and  trouble  now  have  flown, 
All  opposition  now  is  past, 
All  my  desire's  on  her  cast. 
For  I  in  this  have  rightly  done, 
That  I  by  virtue  have  been  won, 
And  not  by  riches  or  by  greed. 
Now  am  I  happy,  blest  indeed! 
May  God  to  both  his  favour  shew, 
And  length  of  days  on  us  bestow! 
The  Count  walks  up  and  down,  and  throws  his  arms  about. 
In  the  mean  time,  enter  GERWALT  the  nobleman. 

GERWALT. 

My  gracious  Lord,  pray  pardon  me. 
What  may  your  Grace's  reason  be, 
That  you  so  very  sad  appear? 

TYMBORUS. 

No,  faith!  --  I'm  only  walking  here, 
In  pleasant  thought,  although  before 
A  sick  man's  pains  indeed  I  bore. 
But  now,  thank  God!  all  that  is  past, 
Like  healthy  men,  I'm  blest  at  last. 
All  grief -and  care  I've  laid  aside, 
Since  I  have  won  her  for  my  bride, 
Phaenicia, —  fairest  of  the  fair! 

GERWALT. 

O  gracious  Lord,  I  pray  take  care, 
Lest  you  in  her  should  be  deceived; 
For  I  should  be  most  truly  grieved; 
Should  you  not  judge  the  maid  aright. 

TYMBORUS. 

Against  my  bride  no  word  of  slight, 
Or  all  our  friendship  is  forgot. 

GERWALT. 

O  gracious  Lord,  I  slight  her  not, 
But  say,  your  Grace  yourself  should  see, 
Nor  trust  that  so  much  good  there  be 
In  her,  as  to  you  seemeth  now. 

TYMBORUS. 

Are  not  those  slighting  words?   I  vow, 
Ere  from  this  spot  I  let  you  stir, 
You  tell  me  what  you  know  of  her, 
Or  we'll  decide  it  with  the  sword. 


91 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


92 


GERWALT 

Gnediger  Herr  ich  wils  nicht  sagen 
Sender  heut  die  nacht  solt  jhr  sehen 
Was  thu  in  jhren  Garten  gschehen 
In  einer  stunden  bey  dem  Monschein 

TYMBOR 

Ja  wie  solt  ich  kommen  hinein 
Dieweil  die  Pforten  ist  verspert 

GERWALT 

Ein  gute  Lattern  darzu  gehort 
Da  kriecht  jhr  in  die  Haselstauden 
Halt  euch  drin  ohn  regen  vnd  schnauden 
Da  werd  jhr  kennen  vnd  horn  mich 
Was  mit  jhr  werd  fiirbringen  ich 
Das  jhr,  jhr  werd  nicht  mehr  vertrauen 

TYMBOR 

Ich  glaub  es  nicht  von  der  Jungfrauen 
Doch  was  des  Menschen  Aug  selbst  sicht 
Das  kan  das  hertz  betrigen  nicht 
Ziecht  hin  die  nacht  bricht  schon  herein 
Ich  will  bait  in  dem  Garten  sein 

[Tymbor  geltt  ab. 
GERWALT 

So  geh  ich  recht  zum  Jahnnen  zu 
Das  ich  den  Grafen  betrigen  thu 

[Er  geht  aucli  ab. 

[A  short  scene  follows  between  Veracundia 
gratitude  to  her  parents.] 

Jetzund  wird  ein  Lattern  aufsen   des  eingangs  angeleint,  \ 
daran  steigt  TYMBOR  herunder,  als  wenn  er  vber  ein  Maurn 

stieg,  vnd  dann  so  sagt  er. 
Alhie  so  bin  ich  in  dein  Garten 
Vnd  will  der  Abentheur  erwarten 
Die  mir  Gerwalt  thet  offenbarn 
Die  warheit  dardurch  zu  erfahrn 

[Er  steckt  sich  in  ein  ecken, 
Alda  kan  ich  bey  dem  Monschein 
Sehen  wer  hie  geht  aufs  vnd  ein 

Es  steigt  GERWALT,  vnd  dann  der  verkleidt  JAHX,  in  Wei- 
berkleidern  auch  herab ,    Gerwalt  fiihrt  Jahnnen  bey   der  \ 
hand,  John  brangt  wie  ein   Weib, 

GERWALT 

Ach  Phanicia  hertzliebste  mein 
Jetzt  send  wir  abermahl  allein 
Vnser  Bulwerck  hie  zuverbringen 

JAHN 

Ey  schweigt  nur  gar  still  zu  den  dingen 
Das  es  mein  Vatter  nicht  erfahr 

[Sie  gehn  im  Garten  hin  vnd  wider,  setzen  sich 
zusammen 


GERWALT. 

I  will  not  say  a  word,  my  Lord; 
This  night  though  will  I  shew  to  you, 
What  in  her  garden  she  will  do 
By  moonlight,  —  in  another  hour. 

TTMBORUS. 

To  get  there  is  not  in  my  power; 
Ere  then,  they've  always  locked  the  door. 

GEUWALT. 

I'll  have  a  ladder  there  before. 
You'll  creep  in  near  the  hazel-trees, 
But  must  not  either  move  or  sneeze, 
And  then  you'll  hear  and  see  me  too, 
And  mark  what  I  with  her  shall  do, 
Nor  longer  in  the  maid  confide. 

TYMBORUS. 

I  cannot  think  it  of  my  bride. 
By  what  the  eye  of  man  can  see, 
His  heart  can  ne'er  deluded  be. 
But  h'ence;  the  day  is  breaking,  so 
I  soon  will  to  the  garden  go. 

GERWALT. 

Now  I  at  once  to  John  will  hie. 
That  I  the  Count  may  mystify. 


[Exit. 


[Exit. 
and  Phaenicia,   in  which  the  latter  expresses  her 

A  ladder  is  placed  against  the  wall  outside  the  entrance. 
TYMBORUS  comes  down  by  it,  as  if  he  had  climbed  over  the 

wall. 

Here  in  the  garden  will  I  bide, 
Till  the  adventure  should  betide. 
Which  Gerwalt  did  to  me  declare. 
And  learn  the  truth  of  the  affair. 

[Conceals  himself  in  a  corner. 
The  moonshine  here  will  plainly  shew 
Whoever  in  or  out  may  go. 

GERWALT  also  comes  down  the  ladder,  and  then  JOHN,  dis- 
guised in  woman  s  clothes.  Gerwalt  leads  John  by  the  hand, 
who  makes  a  little  parade  to  shew  himself  off,  like  a  woman. 

GERWALT. 

Phaenicia!  Ah,  my  love,  my  own! 
Now  are  we  once  again  alone. 
And  can  enjoy  our  dalliance  sweet. 

JOHN. 

Speak  not  so  loud,  I  do  entreat, 
Lest  that  my  father  hear  thee  too. 

[They  walk  up  and  down   the  garden,   and  then 
sit  down  together. 


93 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


94 


TYMBOR  DER  GRAF 
O  ho  vnd  ist  das  gleichwol  wahr 
Uas  hett  ich  nicht  glaubt  mufs  ich  jehen 
Hett  ichs  nicht  ghort  vnd  zum  theil  gsehen 
Nun  pack  dich  hin  zum  Teuffel  wegk 
Du  leichtfertiger  loser  schandfleck 
Ich  meint  du  werst  in  dein  geberten 
Die  aller  ziichtigst  auff  der  Erden 
So  bistu  ein  loser  hurnsack 
x      An  liechten  galgen  dich  wegk  pack 
Ich  will  gehn  Lionito  sagen 
Jhr  die  Heiirat  wider  abzuschlagen 

\_Er  ist  gar  zornig  vnd  geht  ab, 
GERWALT  sagt  zu  Jahnnen 
So  komb  wir  wollen  auch  zuhaufs 

JAHN 

Was  hab  wir  hie  gerichtet  aufs 
Nichts,  dann  ich  hab  je  kein  Menschen  gsehen 

GERWALT 
Du  erfehrst  wol,  was  ist  geschehen 

[Sie  steigen  wider  vber  die  Latter  ab. 

[The  preparations    are   now   made   for   the 

Tymborus.] 

MONATUS  DER  EoELMAN  geht  ein  beut  jhn  alien  die  hand 
sie  empfangen  jhn  gar  freundlich 

LlONATUS 

Hertz  lieber  Vatter  es  ist  mein  bitt 

Jhr  wolt  mirs  alles  verargen  nit 

Ich  bring  euch  ein  Bottschaff't  zu  haufs 

LIONITO  DER  ALT 

Mein  Vetter  was  ists  sagts  nur  raufs 
Es  soil  euch  sein  ohn  alien  schaden 

LlONATUS 

Es  schicken  mich  her  jhr  Genaden 

Vnd  kiinden  euch  die  Heiirat  ab 

Die  ich  jhm  neulich  geworben  hab 

Vnd  lest  euch  anzeigen  dabey 

Eur  Tochter  nicht  frum  von  Ehrn  sey 

Drumb  woll  seim  stand  nicht  gebiirn 

Ein  solche  dim  zu  Kirchen  zufiihrn 

Was  er  jhr  geschenckt  das  mag  sie  bhalten 

PHANICIA  geht  herfiir 
Ach  dafs  sein  ewig  Gott  mufs  walten 
Wer  hat  das  zeigt  dem  Grafen  an 
Das  ich  hett  wider  Ehr  gethan 
Der  thut  mir  grofs  gwalt  vnd  vnrecht 
All  Vppigkeit  hab  ich  verschmecht 
Auch  mir  mein  tag  nie  fiir  genommen 
Das  mir  jetzt  von  euch  ist  furkommen 


TYMBORUS. 

0  ho!    And  is  it  really  true! 

1  never  had  believed  it  —  no, 
Had  I  not  heard  and  seen  it  so. 
Oh,  may  the  devil  take  thee  now! 

A  loose  and  shameless  wanton  thou! 
Oh!  when  I  thought  upon  thy  worth, 
'Twas  as  the  chastest  maid  on  earth. 
But  thou'rt  a  wanton  whore,  I  see. 
So  get  thee  to  the  gallow's  tree! 
To  Lionito  I'll  explain, 
The  marriage  must  be  off  again. 

[Exit  very  angry. 
GERWALT,  to  John. 
Come  let  us  homewards  wend  our  way. 

JOHN. 

But  what  have  we  done  here,  I  pray? 
Nothing,  —  for  people  I've  seen  none. 

GERWALT. 

Oh,  you'll  soon  learn  what  we  have  done. 
[They  climb  over  the  wall  again  by  means  of  the  ladder. 

wedding,   but  are  interrupted   by   a  message   from 


Enter  LIONATUS  THE  NOBLEMAN.   He  offers  the  hand  to  all 
the  others.    They  receive  him  in  a  very  friendly  manner. 

LlONATUS. 

My  Lord,  I  have  to  you  a  suit, 
That  you  'no  blame  to  me  impute, 
About  a  message  that  I  bear. 

LIONITO. 

What  is  it,  cousin?    Quick,  declare; 
You  shall  not  suffer,  —  never  fear. 

LlONATUS. 

The  Count  hath  pleased  to  send  me  here, 
To  say  that  now  his  mind  is  changed 
About  the  marriage  just  arranged, 
And  add,  your  daughter,  shame  upon  her, 
Hath  altogether  lost  her  honour. 
With  such  a  wench  his  rank  allows 
No  interchange  of  marriage-bows. 
His  presents  though  she  may  retain. 

PHAENICIA,  advancing. 
To  think  that  God  doth  o'er  us  reign! 
Who  to  the  Count  has  me  accused 
Of  ever  having  been  abused? 
He  wrongs  me,  —  has  misjudged  me  quite, 
I've  scorned  whate'er  seems  loose  or  light, 
And  never  planned  in  all  my  days 
Such  things  as  to  my  charge  he  lays. 


95 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


96 


Das  ruff  ich  Gott  zu  zeigen  an 

Das  heifs  eysen   auch  tragen  kan 

Zu  bewehrung  meiner  vnschult 

Ach  Gott  solt  ich  dann  deine  hult 

In  vnehrlicher  lieb   verlirn 

Mich  Bose  begirt  lassen  verfiihrn 

Das  sey  jmmermehr  weit  von  mir 

O  Herr  Gott  ich  befelch  mich  dir 

Vor  angst  mufs  ich  mein  geist  auff  geben 

[Sie  singt  darnider,  sie  halten  sie, 

LIONITO 

Ach  sol  mein  Tochter  kommen  vmbs  leben 
Ehe  sie  jhr  vnschult  thut  purgirn 
So  will  ichs  nach  jhrem  todt  atifsfiihrn 
Dann  ich  weifs  das  jhr  vnrecht  gschicht 

LIONATUS 

Herr  Vatter  habt  mirs  friibel  nicht 
Ich  kan  meins  theils  davon  nit  sagen 
Wers  also  hat  in  Grafen  tragen 
Doch  kan  mans  noch  wol  werden  innen 

[Er  geht  ab 
VERACUNDIA 

Philis  in  meinen  Kestlein  drinnen 
Hab  ich  ein  kostliches  Aquavit 
Vnd  bringt  auch  ander  labung  mit 

Zu  Phdnicia  sagt  sie 
Hertz  liebe  Tochter  lafs  dich  erweichen 
Lebstu  noch,  so  gib  mir  ein  zeichen 

LIONITO 

Was  sol  sie  geben  sie  ist  schon  todt 
Jhr  woll  gnaden  der  liebe  Gott 
Sie  lest  von  sich  fallen  alle  glieder 

[PMllis  kombt  mit  dem  wasser  vnd  labung,  man 
streicht  sie  an, 

VERACUNDIA 

Jhr  krefft  kommen  ein  wenig  wider 
Sie  hat  jetzund  ein  Athem  gholt 

LIONITO 

Ich  bitt  sie  bait  abtragen  wolt 
Kombpt  sie  wider  zu  jhrer  Krafft 
Soil  der  sach  schon  raht  werden  gschafft 

Sie  gehn  mit  jhr  vmb,  auff  die  letzt  sagt  PHANICIA 
Ach  Gott,  ach  wie  ist  mir  geschehen 
Wie  so  vil  schones  ding  hab  ich  gesehen 
Das  ich  gwiefs  mercken  mufs  dabey 
Das  ich  im  Himel  gwcsen  sey 
Ach  fiihret  mich  ein  wenig  ab 
Dann  mein  kraff  ich  verlorn  hab 

[Die  Weibs  Personen  fiirn  sie  ab, 


I  call  on  God  to  shew  to  you, 

That  I  can  bear  hot  iron  too, 

My  innocence  to  certify. 

Oh  God!  and  is  it  like  that  I 

Would  lose  thy  grace  in  love  impure.  — 

Let  foul  desires  me  allure? 

Such  things  be  ever  far  from  me! 

O  God,  I  place  my  trust  in  thee. 

For  anguish  I  must  yield  my  breath. 

[She  sinks  down,  the  others  support  her. 

LIONITO. 

Ah!  should  it  prove  my  daughter's  death, 
Before  her  innocence  is  clear, 
I'll  make  it  afterwards  appear; 
For  I  am  sure  she  injured  is. 
LIONATUS. 

0  Cousin,  take  it  not  amiss. 

1  cannot,  for  my  part,  declare, 
Who  told  the  Count  of  the  affair. 
Perhaps  though  we  the  source  may  trace. 

[Exit. 

VERACUNDIA. 

You'll  find  within  the  house  a  case 
Of  precious  cordials,  Phillis  dear; 
And  also  bring  refreshments  here. 
Turning  to  Phaenida: 

0  daughter  dear,  if  thou  dost  live, 

1  beg  of  thee  some  token  give! 

LIOXITO. 

What  should  she  give?    She  is  quite  dead. 
May  God  shed  blessings  on  her  head! 
You  see  her  members  lifeless  sink. 

[Phillis  returns  with  water  and  refreshments.  They 
endeavour  to  restore  her. 

VERACUNDIA. 

Her  strength  is  coming  back,  I  think, 
For  she  just  now  has  fetched  a  sigh. 

LIONITO. 

Bear  her  away  immediately. 
And  when  she  has  again  come  to, 
We'll  think  what  course  we  should  pursue. 

They  walk  about  with  her,  at  last  PHAENICIA  says: 
Oh  God!   Oh  what  does  it  all  mean? 
How  have  I  so  much  beauty  seen, 
That  I  must  certainly  believe, 
'Twas  Heaven  did  my  soul  receive? 
Oh,  lead  me  hence  some  rest  to  seek, 
For  still  I  feel  extremely  weak. 

[The  women  lead  her  away. 


97 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


98 


LlONITO 

Auff  das  es  ein  weil  bleib  dabey 

Das  Phanicia  gestorben  sey 

So  wollen  wirs  in  kleidern  beklagen 

Ein  toden  Sarg  gen  Kirchen  tragen 

Denselben  an  jhrer  statt  begraben 

Villeicht  mocht  der  Graf  ein  reuhen  haben 

Was  er  hat  an  jhr  begangen 

Vnd  mocht  ein  bessern  bericht  empfangen 

Das  sie  die  schand  nicht  hab  gethan 

Sich  wider  vmb  sie  nemen  an 

Dann  ich  weifs  das  jhr  vnrecht  gschicht 

So  lests  auch  Gott  geschehen  nicht 

Das  die  Wahrheit  verdrucket  werd 

Villeicht  sich  dann  der  Graf  vmbkebrt 

Vnd  seiner  Braut  auffs  neu  begert, 

[Abgang. 


LIONITO. 

In  order  that  it  may  be  said 
Phaenicia  is  already  dead, 
We  will  funereal  garments  wear,    • 
To  church  an  empty  coffin  bear, 
And  bury  it  without  a  corse. 
Perhaps  the  Count  may  feel  remorse, 
That  he  hath  done  her  such  great  wrong, 
The  truth  discover  too  ere  long, 
That  she  ne'er  merited  disgrace, 
And  then  restore  her  to  her  place. 
That  she's  been  wronged,  I  surely  know, 
Nor  will  God  leave  the  matter  so, 
That  truth  at  last  should  be  suppressed. 
Perhaps  the  Count  then  will  not  rest, 
Till  of  his  bride  again  possessed. 

[Exeunt 


ACT  V. 

[Servants  in  mourning  bring  in  a  coffin  upon  which  is  written:  To  the  Memory  of  the  innocent, 
noble  and  virtuous  Phaenicia  of  the  Lionitos.  Exeunt.  Enter  John,  reads  the  inscription  on  the  coffin,  is 
surprised  at  Phaenicia's  death,  remembers  having  played  Phaenicia  in  the  garden,  and  goes  to  his  master 
to  bring  him  the  news  of  her  death. 

The  Count  now  appears,  and  soon  afterwards  Gerando,  both  in  mourning,  and  lament  the  death 
of  the  beautiful  Phaenicia.  Gerando  expresses  his  great  sorrow  that  he  has  been  the  cause  of  her 
death.  The  Count  asks  the  meaning  of  these  remarks.  Gerando  begs  him  to  follow  him  to  the  church, 
where  he  will  then  confess  every  thing.  They  both  withdraw,  but  soon  appear  again,  and  the  scene 
in  the  church  is  left  to  the  spectator's  imagination.  Thfe  agony  of  remorse  completely  overcomes  the 
Count,  and  he  is  about  to  take  his  own  life.  Gerando  however  prevents  him,  throws  his  sword  at  his 
feet,  kneels  down  before  him,  confesses  the  treachery  which  Gerwalt  had  practised  against  the  Count, 
and  begs  the  latter  to  take  vengeance  on  himself.  The  Count  is  touched  by  this  honest  confession, 
and  forgives  the  great  wrong  that  has  been  done  him  on  condition  that  he  will  beg  for  pardon  of  the 
parents  and  their  deceased  daughter.  They  then  kneel  at  the  coffin  in  prayer,  rise,  and  clasp  each 
others'  hands.  John,  who  had  been  sent  after  Gerwalt,  now  returns  with  the  intelligence  that  he  had 
decamped.  The  Count  vows  revenge,  and  then  goes  with  Gerando  to  seek  Phaenicia's  parents. 

Enter  Lionito  and  Veracundia.  The  former  informs  his  wife  of  the  great  grief  of  Tymborus 
for  Phaenicia.] 


Es  geht  GRAF  TYMBOR  ein,  mit  GERANDO  DEM  RITTER, 

tragen  alle  beede  leidt. 

LIONITO  DER  ALT  EDELMAN  empfengt  sie,   desgleichen 
auch  geben  sie  alien  die  Jiend, 

TYMBOR 

Herr  Schwehr  mir  ist  leid  eur  vnmuth 
Der  mich  nicht  wenig  krencken  thut 
Als  ob  der  wer  selbst  eigen  mein 


Enter  COUNT  TYMBORUS  and  GERANDO  THE  KNIGHT,  both 

in  mourning.   LIONITO,  THE  OLD  NOBLEMAN,  receives  them. 

They  all  shake  hands. 

TYMBORUS. 

Father,  your  sorrow  grieves  me  sore. 
Indeed,  it  could  not  grieve  me  more, 
Had  I  alone  to  bear  the  same. 

7 


99 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


100 


LlONITO 

Wehe  denen  die  dran  schultig  sein 

Das  ich  bin  vmb  mein  liebs  Kind  kommen 

Jedoch  weil  sie  Gott  hat  genommen 

Zu  jhm  aufs  diesem  armen  leben 

So  kan  ers  auch  wol  wider  geben 

Wenn  es  ist  sein  Gottlicher  will 

TYMBOR  fellt  zu  fufs 
Ach  Gott  ich  bin  dran  schultig  vil 
Wolt  Gott  das  ichs  kond  widerbringen 

GERANDO  fellt  auch  zu  fufs, 
Ich  bin  die  grost  vrsach  der  dingen 
Die  seind  erfolgt  aufs  bosem  raht 
Aber  ich  bitt  durch  Gott  vmb  gnad 
Vnd  wollt  jhrs  nicht  verzeihen  mir 
So  stosset  in  mich  mein  Rappir 
Als  ich  es  wol  verschultet  hab 

TYMBOR 

Ach  Gott,  die  grost  vrsach  ich  hab 
Das  ich  die  Heurat  hab  auff  kundt 
Ich  hab  began  gen  ein  grose  siindt 
Die  mir  nicht  wol  kan  werden  vergeben 
Dann  ich  bracht  sie  damit  vmbs  leben 
Ach  Herr  Schwehr  wenn  es  sein  kan 
So  nembt  mich  wider  zu  gnaden  an 
Ich  weifs  wol  das  ich  hab  vnrecht 
Vnd  eur  Tochter  vnschultig  gschmecht 
Vnd  das  ich  hab  geglaubt  zu  bait 
Ich  ergieb  mich  in  euren  gwalt 
Schafft  mit  mir  was  euch  selbst  gefelt 

LIONITO 

Gnediger  Herr  vnd  Strenger  belt 
Eur  Gnaden  haben  glaubt  zugeschwind 
Vnd  mich  gebracht  vmb  mein  frombs  Kindt 
Das  ich  in  Tugent  hab  erzogen 
Das  hab  ich  offt  hertzlich  erwogen 
Vnd  bringet  mir  auch  grosen  schmertzen 

TYMBOR 

Ich  trag  die  grost  pein  vnd  schmertzen 
Erstlich  das  ich  hab  glaubt  so  gern 
Vnd  das  ich  jhr  nun  mufs  entpern 
Aber  was  soil  ich  armer  than 
Niemand  dann  Gott  mir  helffen  kan 
Vnd  meinen  schmertzen  mir  abladen 
Ich  bitt  Herr  Vatter  thut  mich  begnaden 
Last  mich  gleichwol  euren  Sohn  sein 
Ich  will  die  zeit  des  lebens  mein 
Euch  in  keinem  punct  wider  streben 


LlONITO. 

Woe,  woe  to  those  who  are  to  blame 
That  I  my  own  dear  child  should  lose! 
But  as  God  to  himself  did  choose 
To  take  her  from  this"  life  of  pain, 
He  can  too  give  her  back  again, 
If  it  should  be  his  holy  will. 

TYMBORUS,  falling  at  his  feet. 
Ah  God!   In  this  have  I  done  ill! 
Oh  that  I  could  her  life  restore! 

GERANDO,  also  falling  at  his  feet. 
For  this  I  am  to  blame  far  more, 
As  the  result  of  counsels  base. 
But  in  God's  name  I  sue  for  grace! 
And  should  it  be  refused  by  you, 
Then  with  my  rapier  run  me  through,     , 
As  I  deserve  most  thoroughly. 

TYMBORUS. 

Ah  God!  the  chiefest  cause  was  I! 
That  I  the  marriage  did  decline, 
I  must  confess  great  sin  was  mine, 
Which  you  indeed  can  ne'er  forgive; 
For  otherwise  she  still  might  live. 

0  father,  if  it  still  might  be, 
Your  favour  shew  again  to  me! 

1  know  indeed  the  wrong  I  wrought  her, 
That  I  ill  used  your  blameless  daughter, 
Believed  on  evidence  too  slender. 
Myself  I  therefore  now  surrender: 

Do  with  me  what  seems  good  to  you. 

LlONITO. 

My  gracious  Lord,  it  is  most  true, 
Your  Grace  too  lightly  has  believed, 
And  of  my  daughter  me  bereaved, 
Whom  I  in  virtue's  paths  had  led. 
This  often  to  my  heart  I've  said; 
Great  pain  too  has  it  given  me. 

TYMBORUS. 

Mine  is  the  greatest  misery: 
First  that  I  have  so  soon  believed, 
And  now  that  I'm  of  her  bereaved. 
But  what  can  I,  most  wretched,  do? 
'Tis  God  alone  can  help  me  through, 
Relieve  me  of  my  present  pain. 
Q  father,  take  me  back  again 
To  favour!  treat  me  as  thy  son! 
And  while  my  course  of  life  doth  run, 
I  will  in  nought  oppose  thy  will. 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


102 


LlONITO 

Eur  Gnaden  sey  es  als  vergeben 
So  fern  mir  eur  Gnad  saget  zu 
Wenn  sich  die  verheiirathen  thu 
Das  sie  Heiirathen  mit  raeim  Raht 
Ich  hoff  zu  Gott,  es  gescheh  ohn  schad 
Dann  ich  jhr  nichts  bofs  rahten  will 

TYMBOR 

Defs  erbietten  ist  vil  zu  vil 
Ich  hets  euch  nicht  dorffen  anmuten 
Darumb  so  nemb  ichs  auff  in  guten 
Vnd  glob  euch  das  an  Eydsstat  an 
Ohn  eur  wissen  nichts  mehr  zu  than 
Bey  den  alten  find  man  gut  raht 

GERANDO 

So  bitt  ich  gleicher  weifs  vmb  gnad 
Ob  ich  schon  thoricht  gbandelt  hab 
So  bitt  ichs  eur  Lieb  wider  ab 
Wie  auch  Phanicia  ich  hab  than 

LIONITO 

Es  ist  leider  geschehen  schon 
Doch  ist  es  mir  ein  groser  schad 
Das  jhr  so  eim  Narrischen  raht 
So  vnbesunnen  habt  nachgsetzt 
Mich  vnd  mein  gantzes  gschlecht  verletzt 
Jhr  solts  auch  bey  mir  nicht  endgelten 
Jedoch  thut  nichts  mehr  davon  melten 
Wie  jhr  mein  Tochter  habt  vmbbracht 
Das  mir  mein  leid  nicht  werd  neu  gmacht 
Kombt  rein  vnd  Est  mit  mir  zunacht 

[Sie  gehn  alle  ab. 


LIONITO.        \ 

Your  Grace  has  my  forgiveness;  still, 
Only  in  case  it's  understood, 
That  when  to  marry  you  think  good, 
You'll  marry  as  I  may  advise. 
God  grant  no  harm  may  thence  arise, 
For  my  advice  shall  not  mislead. 

TYMBORUS. 

The  offer's  generous  indeed ! 
To  your  forgiveness  I'd  no  claim, 
So  gratefully  accept  the  same. 
In  place  of  oath,  I  promise  you, 
Without  your  knowledge  nought  to  do; 
The  aged  ever  are  discreet. 

GERANDO. 

I  too  forgiveness  would  entreat. 
Although  I  acted  foolishly, 
I  pray  your  love  to  pardon  me, 
As  I  Phaenicia  too  implore. 

LIONITO. 

Alas!  it  can't  be  undone  more. 
But  great  the  loss  to  me,  that  you 
Such  foolish  counsel  did  pursue, 
So  thoughtlessly  have  injured  me 
Alas!  and  all  my  family! 
I  from  all  vengeance  shall  abstain; 
But  do  not  speak  of  it  again, 
How  'twas  that  you  my  daughter  slew, 
Lest  that  my  grief  break  out  ,anew- 
I  go  to  supper.   Pray  cdme;tfiQi    v  , 


,  {Exeunt. 


ACT  VI. 

[Enter  John  and  his  master  Gerando.  John  informs  the  latter,  that  he  does  not  wish  to  serve 
him  any  longer.  Lionito  then  explains  to  his  wife,  that  he  only  wished  to  carry  out  his  plan  respect- 
ing the  union  of  Phaenicia  with  the  Count.  They  are  joined  by  the  Count  and  Gerando.] 


LIONITO 

Jhr  lieben  Herrn  gebt  euch  zufrieden 
Vergest  der  alt  geschehen  Dingen 
Die  man  je  nicht  kan  wieder  bringen 
Doch  solche  schwermuth  abzuladen 
So  west  ich  erstlich  eur  Gnaden 
Ein  aufs  piindig  schone  Jungfrauen 
Vnd  eur  Gnad  soil  mir  das  vertrauen 


LIONITO. 

My  Lords,  I  pray  ye,  be  content! 
Forget  the  things  of  long  ago! 
You  cannot  bring  them  back,  you  know. 
Your  Grace's  spirits  though  to  raise, 
I  know  a  maid  whose  beauty's  praise 
Must  rank  her  fairest  of  the  fair. 
Your  Grace  may  also  trust  me  there, 
7* 


103 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


104 


Sie  ist  Edel  doch  nicht  gar  reich 

In  dem  der  Phanicien  gleich 

Auoh  ist  sie,  wol  so  schon  als  sie 

Vnd  ist  kein  Maler  gewesen  nie 

Der  sie  gleicher  abmahlen  kond 

Ja  wenn  sie  lebendig  selbst  da  stiindt 

Kunt  man  finden  kein  vnderscheid 

Defs  gleich  in  zucht  vnd  hoflichkeit 

Ist  sie  gleich  der  Phanicia 

Vnd  wiird  genand  Lucilia 

Wolt  ich  eur  Gnad  zum  Gemahl  geben 

TYMBOR 

Wie  wol  ich  hab  begert  zu  leben 
Einig  hinfurter  ohn  ein  Weib 
Jedoch  ich  auch  bestendig  bleib 
In  dem  was  ich  eur  Lieb  verhiefs 
Das  ich  derselben  wolt  folgen  gewiefs 
Das  will  ich  halten  weil  ich  thu  leben 
Vnd  wenn  jhr  mir  ein  Weib  wolt  geben 
So  felt  sie  mir  zuhabn  nit  schwer 
Wenns  nur  eines  Baurn  Tochter  wer 
Wenn  michs  eur  Lieb  kan  lassen  sehen 

LIONITO 

Eur  Gnad  kumb  mit  mir  es  soil  gschehen 
Doch  hab  ich  sie  nicht  in  meim  haufs 
Sonder  auff  meinen  Schlosse  draufs 
Dahin  woll  wir  zu  Gast  vns  laden 
Ich  hoff  es  soil  vns  sein  ohn  schaden 

[Sie  gehn  alle  ab. 


Though  poor,  she  is  of  noble  race, 

May  by  Phaenicia  take  her  place; 

And  beautiful  indeed  as  she. 

No  painter  too,  whoe'er  he  be, 

Could  make  a  likeness  to  compare. 

And  were  my  daughter  standing  there 

Alive,  no  difference  you'd  see. 

In  manners  and  in  courtesy 

She  is  just  like  Phaenicia, 

Her  name  though  is  Lucilia 

Her  would  I  give  your  Grace  as  wife. 

TYMBORUS. 

Although  I  wished  to  pass  my  life 
Henceforth  as  single  and  unwed, 
Yet  I  adhere  to  what  I  said, 
When  I  your  Lordship  gave  my  word, 
My  choice  to  you  should  be  referred. 
I'll  keep  this  promise  while  I  live; 
And  if  to  me  a  wife  you'd  give, 
I'll  make  no  difficulty  there, 
Though  she  a  peasant's  daughter  were. 
Might  I  perhaps  the  lady  see? 

LIONITO. 

With  pleasure,  if  you'll  come  with  me. 
We  cannot  here  the  lady  meet, 
Because  she's  at  my  country  seat. 
We  will  as  guests  ourselves  invite, 
And  then  I  hope  'twill  all  come  right. 

[Exeunt  omnes. 


[A  short  iCQriyprsation  ensues  between  Phaenicia  and  Belleflura.  The  scene  must  be  imagined 
as  taking. .place,  at  the  palace,  whither  Lionito  had  ordered  his  daughter  to  be  brought.  The  sound  of 
the  trumpets •  is- heaird,- Which  announce  the  arrival  of  Lionito  and  the  two  suitors.  The  ladies  with- 
draw. The  persons  thus  announced  now  enter.  Lionito  bids  them  welcome  to  his  palace.] 


LIONITO 

Gnediger  Herr  ist  euch  zu  Sinn 
Wie  ich  vor  mit  euch  redet  drinn 
Das  jhr  die  Jungfrau  haben  wolt 
Jr  sie  zu  sehen  kriegen  solt 

TYMBOR 

Was  ich  vor  einmal  hab  geredt 
Das  beger  ich  zu  halten  stet 
Das  sollen  mir  eur  Lieb  zutrauen 

LIONITO  sagt  zu  Gerando. 
Vnd  jhr  solt  auch  ein  Jungfrau  schauen 


LIONITO. 

Do  you,  my  Lord,  still  recollect, 
How  we  agreed  to  the  effect, 
That  you  should  take  the  maid  to  be 
Your  wife,  and  that  you  her  should  see? 

TYMBORUS. 

Whatever  I  may  once  decide, 
By  that  I  always  will  abide; 
I  beg,  dear  Sir,  place  trust  in  me. 

LIONITO,  to  Gerando. 
And  you  shall  too  a  maiden  see 


105 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


106 


Die  euch  auch  mocht  werden  zu  theil 
Jedoch  bitt  ich  each  keine  fell 
Warumb  das  aber  thut  geschehen 
Das  werd  jhr  noch  wol  horn  vnd  sehen 
Ich  meins  mit  euch  alln  beeden  gut 

GERANDO 

Was  eur  Lieb  will  ist,  dasselb  thut, 
Dann  wir  beede  eur  Diener  seia 

LIONITO 
Kammer  Frau  heist  die  Jungfrau  rein 

Sie  Trincken,  in  diesen  kompt  PHANICIA  vnd  BELLEFLTJRA 

vnd  geht  jhn  die  Kammer  Frau  nach,  gar  schon  geputzt, 

in  groser  Zucht  vnnd  Demut,  geben  erstlich  den  Frembden 

Herren,    darnach  auch  jhr  en   Eltern  die   Hand,   nemen 

als  dann  die  Collation,   tragens  vmb,  vnd  schencken  ein, 

Tymbor  sicht  die  Phdnicia  an,  filhrt  Gerando  auff  die 

seiten.' 

(TYMBOR) 

Ach  Gerando  nun  glaub  ich  frey 
Das  der  Phanicien  Seele  sey 
Leibhafftig  in  das  Mensch  gefahrn 
Sie  kan  gleich  eben  wie  sie  gebarn 
Sie  kan  jhr  sitten  vnd,  gepreng 
Hat  auch  jhr  alter  vnd  jhr  leng 
Das  ich  jhr  gar  nicht  feind  sein  kan 

GERANDO 

Ach  weh,  ach  Gott  was  hab  ich  than 
All  mein  hertzleid  wird  mir  verneut 
Das  ich  sie  hab  so  vervntreut 
Defs  mufs  ich  in  mein  hertz  mich  schemen 

TYMBOR 

Ey  solt  ich  dises  Mensch  nicht  nemen 
Ich  nembs,  wenn  ich  schon  Keiser  wehr 

GERANDO 

Ach  Gott  erst  wird  mein  leid  mir  schwer 
Doch  weil  hie  seind  der  Jungfrau  zwu 
Villeicht  ghort  mir  die  ander  zu 

[Sie  gehn  wider  mit  groser  Eeverentz  zu  den  an- 
dern  Gdsten, 

LIONITO  sagt  zu  Phdnicia. 
Lucilia  ist  dir  zu  muth 
Mein  gnedign  Herrn  den  Grafn  zu  nemen 


Who  wishes  to  be  yours,  but  still 
I  only  mean,  if  'tis  your  will. 
But  how  this  is,  shall  soon  appear, 
That  presently  you'll  see  and  hear. 
For  what  I  do  is  kindly  meant. 

GERANDO. 

Whate'er  you  do,  we  are  content; 
As  servants  to  your  will  we  bow. 

LIONITO. 
Woman,  call  in  your  mistress  now. 

They  drink.  In  the  mean  time  enter  PHAENICIA  and  BELLE- 
FLURA,  followed  by  the  waiting-woman.  They  are  hand- 
somely attired,  bear  themselves  with  great  modesty  and  de- 
corum, first  offer  their  hands  to  the  strangers,  and  then  to 
their  parents.  After  this  they  hand  round  the  refreshments, 
and  pour  out  the  wine.  Tymbor  looks  at  Phaenicia,  and 
then  leads  Gerando  aside. 

TYMBORUS. 

Gerando,  I  must  freely  own, 
I  think  Phaenicia's  soul  alone 
Can  animate  that  maiden's  frame. 
For  all  her  gestures  are  the  same; 
She  has  her  style  and  manners  quite, 
Her  age  she  has,  and  also  height; 
That  she  my  liking  too  hath  won. 

GERANDO. 

Alas!    Oh  God,  what  have  I  done! 
Now  all  my  grief  breaks  out  anew 
That  I  such  treach'rous  acts  could  do! 
To  my  heart's  core  I  feel  my  shame. 

TYMBORUS. 

Aye,  shall  I  not  the  maiden  claim? 
I'd  take  her,  though  a  crown  I  wore! 

GERANDO. 

I  ne'er  felt  all  my  grief  before! 
But  as  two  maidens  here  I  see, 
Perhaps  the  other  falls  to  me. 

[They  return  to  the  other  guests,  making  low 
obeisance. 

LIONITO,  to  Phaenicia: 
Lucilia,  do  you  feel  inclined 
My  gracious  Lord,  the  Count,  to  take? 


107 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


108 


PHANICIA  neigt  sich  gegen  dem  Vatter  vnd  dem 

Grafen, 

Wenn  sich  jr  Gnaden  mein  nit  wol  schemen 
Vnd  das  nicht  halten  fiir  ein  Tatel 
Dieweil  ich  allein  bin  vom  Adel 
Nicht  hohs  herkommen  wie  sein  Gnad 

Zu  Lionito. 

Vnd  eur  Lieb  befind  das  im  Rath 
So  folg  ich  ear  Lieb  allezeit 

TYMBOR 

Ach  diser  Red  zufriden  seit 
Die  Tugent  Edel  machen  kan 
Das  Weib  kriegt  den  stand  durch  den  Mann 
Wie  er  ist,  also  ist  auch  sie 
Dieweil  er  lebet  je  vnd  je 
Seit  jhr  schon  nur  Edel  geborn 
Seit  jhr  doch  heut  zur  Gra'fin  worn 
Dann  euch  will  ich  vnd  keine  mehr 

LIONITO  gibt  sie  zusammen, 
So  geb  ich  euch  zu  Gottes  Ehr 
Beide  Ehelichen  zusammen 
Gott  geb  euch  gliick, 

TYMBOR  vnd  sein  Bruder  sagen 
Amen,  Amen. 

[Er  zeicht  ein  Sing  von  der  handt  vnd  ein  Ketten 
von  halfs  henckt  jhrs  an,  steckt  jhr  den  Eing 
an,  vnd  trucket  sie,  helt  sie  bey  der  hand. 

PHANICIA 

Ach  Edler  Gemahl  saget  mir 
Ward  vormals  auch  verheiirat  jhr 
Ehe  vnd  wann  eur  Gnad  mich  namb 

TYMBOR  schlegt  an  sein  Brust 
Ach  schrecklicher  red  mir  nie  fiir  kam 
Ach  diese  frag  bringt  mir  grofs  schmertzen 
Vnd  gehet  mir  so  tieff  zum  hertzen 
Das  sie  mich  gleich  gar  will  vmbbringen 
Thut  mich  ein  Mann  zu  weinen  zwingen 
O  Phanicia  was  hab  ich  thon 
Ich  wolt  ich  wer  gestorben  schon 
Fur  dich,  wie  schweb  ich  in  vnmuth 

PHANICIA 

Gnediger  Herr  habt  mirs  zu  gut 
Ich  hab  in  alien  guten  gfragt 


PHAENICIA  bows  to  her  father,  and  then  turns  to  the 

Count. 

If  you  should  no  objection  make, 
My  Lord,  or  hold  it  cause  of  shame, 
I  only  bear  a  noble  name, 
Not  so  illustrious  as  your  Grace, 

To  Lionito: 

You  find  it  too,  my  sire,  in  place, 
I'll  follow  you  for  evermore. 

TYMBORUS. 

No  more  of  this,  I  do  implore. 
Virtue  a  noble's  rank  affords; 
The  wife's  rank's  settled  by  her  lord's. 
For  she  who  bears  a  noble's  name, 
Must,  while  he  lives,  be  just  the  same. 
If  only  noble,  as  you  say, 
A  countess  you  become  to-day; 
I'll  have  no  other  all  my  life. 

LIONITO,  joining  their  hands. 
I  join  ye  thus  as  man  and  wife 
Together,  to  God's  honour,  then. 
God  grant  you  happiness! 

TYMBORUS  and  GERANDO. 
Amen! 

[He  takes  a  ring  from  his  hand  and  a  chain  from 
his  neck,  hangs  the  chain  upon  her,  and  putt 
the  ring  on  her  finger.  He  embraces  her,  and 
holds  her  by  the  hand. 

PHAENICIA. 

Ah,  noble  husband,  tell  me  now, 
Have  you  been  bound  by  marriage  vow 
Before  your  Grace  hath  taken  me? 

TYMBORUS,  beating  his  breast. 
A  sadder,  question  could  not  be. 
Your  words  occasion  me  great  pain, 
And  pierce  me  to  the  heart  again. 
Strike  at  my  life,  and  strike  so  deep, 
That  I,  a  man  indeed,  must  weep. 
What  have  I  done,  my  sainted  bride! 
Would  that  I  had  already  died 
For  thee!   What  misery  is  this! 

PHAENICIA. 

My  Lord,  pray,  take  it  not  amiss! 
My  question  was  but  meant  in  love. 


COMEDY  OF  THE  BEAUTIFUL  PHAENICIA. 


110 


TYMBOR 

Ach  das  sey  Gott  im  Himel  klagt 
Mein  voriges  Lieb  thut  todt  liegen 
Fur  die  ich  in  die  Holl  wehr  gstiegen 
Wie  auch  Orpheus  hat  gethan 
Solt  ich  all  verdambt  Seel  bestahn 
Wie  Hercules,  vnd  sie  erquicken 
Wolt  ich  mich  alsbalt  dar  zu  schicken 
Aber  es  kan  doch  je  nicht  sein 
Defs  ist  desto  groser  mein  pein 
Die  kein  Mensch  auff  Erd  kan  ermessen 

LIONITO 

Ey  schweigt  thut  diser  klag  vergessen 
Lang  gnug  ich  euch  auffzogen  han 
Secht  eur  vertraute  doch  recht  an 
Wie  wenn  sie  eur  Phanicia  wehr 

TYMBOR  sicht  sie  an 
Auif  der  Welt  sehe  ichs  nimmermehr 
Werd  jhrs  aber,  wers  mir  dest  lieber 
Vnd  ich  wolt  als  erleyden  drtiber 
Vnd  mein  halbe  Grafschafft  drumb  geben 

LIONITO 

Hie  steht  sie,  vnd  thut  warhafft  leben 
Wiewol  wir  meinten  sie  wer  todt 
Hat  sie  doch  wider  erquicket  Gott 
Welcher  gewifslich  haben  wolt 
Das  sie  eur  Gemahl  werdeu  solt 
Die  hab  ich  euch  an  die  hand  geben 

TYMBOR  sicht  sie  an,  verwundert  sich 
Ach  Phanicia  thustu  noch  leben 
So  solst  mir  desto  lieber  sein 

[Er  fellt  jhr  vmb  den  halfs 

Ach  Phanicia  die  allerliebste  mein 
Nun  sey  Gott  gelobt  vnd  geehrt 
Der  mir  dich  auch  hat  wider  bschert 
Du  bist  mein  auffenthalt  vnd  freud 

PHANICIA 

Der  sey  globt  vnd  gebenedeyt 
Der  vns  nach  soldi  grosen  Triibsal 
Hat  gnediglich  gholffen  ein  mal 
Der  geb  vns  Segen,  Heil  vnd  gliick. 


TYMBORUS. 

My  plaint  was  meant  for  God  above! 
My  former  bride,  now  dead  and  cold, 
For  her,  as  Orpheus  did  of  old, 
To  hell  I'd  go,  —  though  there  to  see 
All  the  damned  souls  in  misery, 
As  Hercules,  —  and  her  awake 
To  life  — :  would  straight  the  journey  take. 
But  that  can  never  be,  I  know; 
And  all  the  greater  is  my  woe. 
How  great  indeed,  can  none  conceive. 

LIONITO. 

Hush,  hush,  from  henceforth  cease  to  grieve. 
My  jest  has  long  enough  been  tried; 
I  pray  look  closer  at  your  bride. 
What,  should  it  your  Phaenicia  be? 

TYMBORUS,  looking  at  her. 
O  ne'er  shall  I  that  maiden  see! 
But  were  it  she,  how  glad  were  I! 
I'd  suffer  all  most  cheerfully, 
And  half  my  earldom  would  I  give. 

LIONITO. 

Here  stands  she.  and  doth  really  live. 
Though  God  we  thought  the  maid  had  ta'en, 
Yet  hath  he  quickened  her  again ; 
And  it  mos.t  surely  was  his  will, 
That  she  should  be  your  consort  still; 
'Twas  she  whom  I  your  Grace  would  give. 

TYMBORUS,  looking  at  Tier  in  astonishment. 
Phaenicia,  dost  thou  really  live? 
Thus  art  thou  dearer  than  before! 

[Embracing  her. 

Phaenicia,  loved  for  evermore, 
Praise  be  to  God,  and  honour  too, 
Through  whom  again,  I'm  blessed  in  you! 
You  are  my  joy,  my  hope,  my  stay! 

PHAENICIA. 

Praise  be  to  him  alone,  alway, 
Who  after  such  great  grief  and  pain, 
Hath  helped  us  graciously  again. 
O  may  he  grant  us  happiness ! 


[  Gerando  now  receives  Belleflura  as  his  bride,  and  Lionito  announces  that  the  double  nuptials, 
to  which   Peter,   King  of  Arragon,  is  to  be  invited,  will  be   solemnized   on  the   following   day.     The 


Ill 


COMDEY  OF  THE  BEAUTIFUL  PHAENICIA. 


112 


piece  now  concludes  with  a  moral  song  of 
virtues  of  the  Maiden  are  celebrated.  The 
and  the  last.] 

i. 

Ihr  zarten  Jungfraun  hort  mir  zu 

Von  aller  Jungfrau  Spiegel, 

Vnd  merckt  was  ich  euch  singen  thu 

Von  der  zucht  wahren  Spiegel, 

Gottes  forcht  wist 

Der  anfang  ist 

Vnd  weg  zu  der  "Weifsheite, 

Wer  den  Weg  geht 

Gar  wol  besteht,  ja  wol  besteht, 

Vnd  liebt  auch  Gott  allzeite. 

2. 

Dann  wer  Gott  fiircht,  der  liebt  auch  jhn 
Vnd  belt  ob  seinen  worten, 
Vnd  wandelt  fleissiglich  darinn, 
Helt  die  an  alien  orten, 
Das  vierdt  Gebott 
Hat  geben  Gott, 
Das  man  sol  Eltern  ehren, 
Wer  dasselb  thut 
Der  hat  es  gut,  ja  hat  es  gut, 
Gott  wird  jhn  vil  bescheren. 

11. 

Schliefslich  so  ist  mein  fleissig  bitt 
An  all  zarten  Jungfrauen, 
Jr  wolt  es  doch  vergessen  nit 
In  den  Spiegel  offt  schauen, 
Der  weiset  gleich 
Was  fehlet  euch, 
Thut  eure  Mangel  kehren, 
Wenn  jhr  das  thut 
So  habt  jhrs  gut,  so  habt  jhrs  gut, 
Kompt  hie  vnd  dort  zu  Ehren. 

ENDE. 


eleven  verses,  called  'The  Maiden's  Mirror,'  in  which  the 
following  are  three  of  the  eleven  verses,  viz.  the  two  first 


Ye  tender  virgins,  list  to  me, 

What  is  the  virgin's  mirror; 

And  mark  what  I  shall  sing  to  ye, 

Of  chastity's  true  mirror. 

God's  fear,  I  wist, 

The  first  thing  is't, 

And  way  to  Wisdom's  door; 

Who  that  way  go 

Shall  stand,  ye  know,  stand  firm,  ye  know, 

And  love  God  evermore. 

2. 

For  who  fears  God,  he  loves  him  too, 
Doth  make  his  word  his  care, 
His  way  therein  with  zeal  pursue, 
And  keep  it  everywhere. 
Commandment  named 
The  fourth,  proclaimed 
By  God,  is,  parents  honour, 
What  maid  doth  so 

Doth  thrive,  ye  know,  yes  thrive,  ye  know, 
God  showers  his  blessings  on  her. 

11. 

To  end  my  song,  one  prayer  I  raise 
To  ah1  ye  virgins  soft, 
That  ye  will  not  forget  to  gaze 
Into  the  mirror  oft. 
It  makes  appear 
Your  failings  clear, 
Your  faults  will  drive  away  too, 
If  ye  do  so, 

Ye'll  thrive,  ye  know,  ye'll  thrive,  ye  know, 
To  honours  come  some  day  too. 

THE  END. 


ACTED  IN  GERMANY,  ABOUT  THE  YEAR  1600,   BY  ENGLISH  PLAYERS. 


The  TRAGEDY  OF  JULIUS  AND  HYPPOLITA  forms  part  of  the  first  volume  of  "Englische  Comedien  vndf 
Tragedien"  1620,  12mo,  reprinted  1624,  12mo.  In  the  edition  of  1620,  from  which  the  present  impression  has  been 
taken,  it  occupies  folio  Kk,  7  verso  to  folio  N  n,  4  recto.  It  is  entitled: 

vn. 

Tragaedia. 
Don  Julio  tmfo  Hyppolita. 

(TRAGEDY  OF  JULIUS  AND  HYPPOLITA.) 


TRAG^DIA 
VON  JULIO  VND  HYPPOLITA. 


PersoncB. 


FURST. 

HYPPOLITA  Filrstliches  Frawlein. 

ROMULUS 

JULIUS 

GROBIANUS  PICKELHERING  oder  Julij  Diener. 

ROMULI  DIENER. 


zweene  Romer. 


ACTUS  PRIMUS. 

Jetzt  kompt  der  FURST,  ROMULUS,  JULIUS  vnd  HYPPOLITA 

heraufs,  der  Furst  steigt  hinauf,  Julius  stehet  gar  melan- 

cholisch  auff  der  Seiten. 

FURST. 

Jbjdeler  Romer,  ein  Monat  habt  jhr  nun  gewartet, 
nach  detn  jhr  mich  angesprochen ,  dafs  ich  euch  meine 
Tochter  zum  Gemahl  geben  solt.  Sagt  mir  nun  liebt 
jhr  sie  von  Hertzen? 

ROMULUS. 
Von  Grund  meines  Hertzen  thue  ich  sie  lieben. 

FURST. 
Liebe  Tochter  sag  an,  hastu  Romulum  lieb? 

HYPPOLITA. 

Ja  hertzlieber  Vater  vnnd  dafern  es  ewer  Will,  hab 
ich  jhn  vor  mein  Gemahl  aufserkoren. 

FURST. 

So  babe  ich  genug,  als  wunsche  ich  euch  hierzu 
ein  langes  Leben,  vnnd  gebe  euch  meine  junge  Toch- 
ter, mein  einige  Hoffnung  vnd  Trost  auff  Erden. 

ROMULUS. 

Gnadiger  Herr  dieses  schone  Frawlein  ewer  ge- 
liebte  Tochter,  thue  ich  hoher  achten,  denn  Silber  vnd 
alles  Goldt,  vnd  thu  mich  vor  dieses  Kleinodt  hochlich 
bedancken. 

[Hat  sie  bey  der  Handt. 


Persons  represented: 


THE  PRINCE. 

HYPPOLITA,  the  princess. 

ROMULUS 

JULIUS 

GROBIANUS  PICKELHERING  (the  Clown),  servant  to  Julius. 

SERVANT  to  Romulus. 


two  Romans. 


ACT  I.  . 

Enter  the  PRINCE,    ROMULUS,  JULIUS,   and  HYPPOLITA. 

The  Prince   comes  forward.     Julius  stands  a  little  apart 

from  the  others,  very  melancholy. 

PRINCE. 

JN  oble  Roman ,  you  have  now  waited  one  month, 
since  you  urged  your  suit  for  my  dear  daughter's  hand. 
Tell  me  now  truly,  do  you  love  her  with  all  your  heart? 

ROMULUS. 
I  love  her  from  the  bottom  of  my  heart. 

PRINCE. 
Dear  daughter,  say,  dost  thou  love  Romulus? 

HYPPOLITA. 

Yes,  dear  father,  and  an  it  be  your  will  I  have 
chosen  him  for  my  husband. 

PRINCE. 

Enough,  enough.  I  wish  you  a  long  life,  and  give 
you  my  young  daughter,  my  only  hope  and  comfort  upon 
earth. 

ROMULUS. 

My  lord,  I  esteem  this  beautiful  lady,  your  be- 
loved daughter,  more  highly  than  silver  and  gold,  and 
render  you  my  hearty  thanks  for  this  your  Jewel. 

[Holds  her  by  the  hand. 


119 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


120 


FURST. 

Wann  gefelt  euch  dann  Hochzeit  zu  halten. 

ROMULUS. 

O  Gnadiger  Herr,  lieber  heut  denn  morgen,  aber 
es  wil  mir  erstlich  gebiihren,  dafs  ich  nach  Rom  ziehe, 
vnd  es  meinen  Eltern  ansagen,  dann  wann  sie  gar 
nichts  von  meiner  Heyrath  wissen  solten,  wiirde  es  jnen 
vbel  gefallen,  hoffe  in  kurtzer  Zeit  wieder  allhier  zu- 
seyn.  Derhalben  begehre  ich  von  ewer  Gnaden,  vnnd 
von  meiner  hertz  allerliebsten  Vrlaub. 

FURST. 

Edler  Romer,  kan  diese  Reise  keinen  Anstandt  ha- 
ben,  bifs  nach  Vollendung  der  Hochzeit.  Ich  bitte  be- 
dencket  euch,  sehet  zu  dz  jhr  verreist,  Hochzeit  haltet. 

ROMULUS. 

Gnadiger  Herr,  solches  hab  ich  zuvor  bey  mir  be- 
dacht,  aber  es  kan  nicht  sein,  denn  sein  Eltern  mufs 
man  hierin  nicht  gantz  vnd  gar  hinden  setzen.  Bitte 
derwegen  vmb  Vrlaub. 

FURST. 

Mufs  es  denn  so  seyn,  so  gebe  ich  meinen  Willen 
drein,  hoff  jhr  werdet  euch  nicht  lassen  auffhalten. 

HYPPOLITA. 

Ach  mein  hertz  allerliebster,  kans  miiglich  seyn, 
so  verharret,  warumb  wollet  jhr  doch  so  vnbarmhertzig 
seyn,  vnd  von  mir  ziehen. 

ROMULUS. 

Mein  getrewes  Lieb,  wie  Vngern  ich  von  euch 
scheide,  kont  jhr  nicht  gleuben,  aber  es  kan  nicht  an- 
ders  seyn,  dennoch  habt  dieses  zum  Troste,  meinen 
getrewen  Freund  vnd  Bruder  Julium,  wil  ich  euch  be- 
fehlen,  dafs  er  euch  in  meiner  Absentz  mit  lieblichen 
discursen  ergetze  vnd  also  die  Zeit  verkurtzere.  Da 
steht  er,  wir  wollen  zu  jhm  gehen.  Getrewester  Freundt 
vnd  Bruder  Juli  wie  so  melancholisch. 

JULIUS. 

Getrewer  vnd  liebster  Bruder,  ich  bin  nicht  melan- 
cholisch. 

ROMULUS. 

O  Bruder  sag  mir  die  Vrsach  deiner  Betrubniifs, 
du  woltest  dich  hart  halten,  aber  kontest  nicbt,  kan 
ichs  mit  meinem  Blut  wenden,  wil  ichs  nicht  lassen. 

JULIUS. 

Die  Warheit  zu  sagen  liebster  Bruder,  so  machet 
mich  deine  Reise  betriibt,  denn  du  weist  wie  sehr  ich  dich 
liebe,  ja  mein  leben  vor  dich  hin  zugeben,  ich  gering 
achtete.  O  unmiiglich  solt  ich  nicht  trawrig  seyn. 

ROMULUS. 
Es  ist  war.    Von  Jugend  auff  seyn  wir  vns  getrew 


PRINCE. 

When  is  it  then  your  pleasure  to  celebrate  your 
nuptials  ? 

ROMULUS. 

My  lord,  I  should  prefer  to-day  to  to-morrow.  But 
it  is  my  duty  first  to  go  to  Rome  to  announce  my  in- 
tended marriage  to  my  parents,  lest,  if  they  hear  nothing 
of  it,  they  should  take  offence.  I  trust  shortly  to  be  here 
again,  and  therefore  I  beg  your  Grace  and  my  best  be- 
loved, to  grant  me  leave  to  go. 

PRINCE. 

Noble  Roman,  cannot  this  journey  be  postponed  till 
after  the  solemnization  of  the  marriage.  Pray  bethink  you, 
and  celebrate  your  nuptials,  ere  you  undertake  this  journey. 

ROMULUS. 

My  lord,  I  have  considered  the  thing  well;  but  it 
cannot  be,  for  in  such  a  matter  we  must  not  quite  ne- 
glect our  parents.  I  pray  you  therefore,  grant  me  leave 
to  go. 

PRINCE. 

Since  it  must  be  so,  I  give  my  consent.  But  do  not 
suffer  yourself  to  be  detained. 

HYPPOLITA. 

Sweet  my  love,  an  it  be  possible,  remain ;  —  why  will 
ye  be  so  unmerciful  as  to  go  from  me? 

ROMULUS. 

Mine  own  dear  love,  you  know  not  how  loath  I  am 
to  go  from  you;  but  it  must  be  so.  And  take  comfort 
for  I  commit  you  to  the  loving  care  of  my  faithful 
friend  and  brother  Julius,  who  in  my  absence  will  de- 
light you  with  pleasant  speech  and  thus  while  the  hours 
away.  There  he  stands,  let's  go  to  him.  Most  faithful 
friend  and  brother  Julius,  why  so  melancholy? 

JULIUS. 
Gentle  and  beloved  brother,  I  am  not  melancholy. 

ROMULUS. 

O  brother,  disclose  to  me  the  cause  of  thy  sadness! 
thou  would'st  fain  shut  it  up  within  thyself,  but  canst 
not.  I  would  shed  my  blood  to  turn  it  from  thee. 

JULIUS. 

In  truth,  dear  brother,  thy  journey  makes  me  sad. 
Thou  know'st  what  love  I  bear  thee,  and  that  I  ac- 
count my  life  as  naught  to  serve  thee.  O  how  can  I  be 
otherwise  than  sad? 

ROMULUS. 
'Tis  true.     From  childhood  have  we  been   faithful 


121 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


122 


igewesen,  aber  liebster  Bruder,  wormit  sol  ich  solches 
i  recompensiren,  sage  hierin  abe  den  Weiblichen  Hertze, 
'vnnd  betriibe  dich  nicht  meines  hinweg  reifsens,  denn 
es  kan  nicht  anders  seyn,  darumb  mein  getrewer  Freundt, 
>vnd  Bruder,  befehle  ich  dir  mein  schon  Hyppolitam 
i  mein  allerliebste,  ich  bitte  tractire  sie  mir  freundlich  in 
imeiner  absentia.  Vnd  schone  Hyppolita  betriibet  euch 
nicht,  denn  ich  hoffe  in  gar  kurtzen,  ewer  hell  Christall 
Augen  wieder  anzuschawen  mit  Mercurii  Fliigeln  wil 
ich  eilen  wieder  zu  euch  zu  kommen,  darzu  so  bald 
ich  zu  Rom  angelange,  wil  ich  euch  mit  Schrifften  vi- 
'Sitiren. 

FfJRST 

Last  vns  jetzt  hinein  gehen,  vnd  Juli  kompt  mit 
ivns,  dafs  wir  Romulo  das  Geleit  geben. 

[Sie  gehen  hinein  Julius  betriibt. 

JULIUS. 
Wie  Vngern,  sehe  ich  dich  von  hinnen  ziehen: 

[Felt  auff  die  Knie. 

O  ich  wolte  dafs  du  nimmer  widerkemest,  alsdenn  wer 
ich  der  gliickseligste.  Mensch,  vnd  mach  mir  schon  etc. ' 

ROMULUS.     Kompt  wieder. 

Warumb  folgestu  nicht  lieber  Bruder?  Was  bedeu- 
tet,  dafs  du  auff  den  Knieen  sitzet? 

JULIUS. 

Hertzlieber  Bruder  ich  ruffe  die  Gotter  an,  dafs 
sie  dir  wollen  favorabiles  seyn,  vnd  in  kurtzen  wieder 
ianhero  verfugen. 

ROMULUS. 

O  du  bist  mir  ein  getrewer  Freundt,  deines  glei- 
chen  an  Trewheit,  hab  ich  noch  nie  in  der  Welt  fun- 
<den.  Derhalben  befehle  ich  dir  noch  eines,  ergetze 
imein  allerliebste,  in  meiner  absentia  mit  lieblichen  dis- 
cursen  vnnd  tractire  sie  mir  wol,  denn  ich  weifs  du 
jbist  mir  der  getreweste,  darumb  ich  sie  auch  nur  dir 
allein  befehle. 

JULIUS. 

O  mich  getrew.    [Fellet  auff  die  Knie.]   Ich  schwere 
y  der  Sonnen,  Monden  vnd  Sternen  etc. 

ROMULUS. 

Stehe  auff  getrewester  Freundt  vnd  Bruder,  kein 
Eydt  begehre  ich  von  dir  zu  haben,  meynestu  dafs  ich 
dir  ohne  das  nicht  gleuben  thue.  Nun  ade,  ade,  mein 
gelrcwer  Freundt,  wie  Vngern  ich  von  dir  scheide, 
kanstu  nicht  gleuben,  Ade  ade,  je  lenger  hie  je  lenger 
dort. 

[Gehet  hinein. 


to  each  other.  But,  gentle  brother,  how  can  I  recompense 
thee?  —  Here  say  adieu  to  thy  woman's  heart,  and  grieve 
not  for  my  journey,  for  so  it  must  be.  Wherefore,  my 
faithful  friend  and  brother,  I  do  commend  to  thee  my 
fair  Hyppolita,  my  sweet  love,  and  beg  thee  to  entreat  . 
her  kindly  in  my  absence.  And  fair  Hyppolita,  do  not 
afflict  yourself,  for  I  trust  ere  long,  again  to  behold  your 
clear  crystal  eyes.  I'll  hasten  back  to  you  on  the  wings 
of  Mercury,  and  as  soon  as  I  have  arrived  in  Rome  I 
will  visit  you  with  letters. 


-> 

PRINCE.  I    ' 

Now  let  us  go  in,  and  Julius  comes  witftsufi^hat J 
we  may  see  Romulus  on  his  way. 

[Exeunt  the  Prince,  Romulus  and  Hyppolita.  Julius  is  sad.  ' 

JULIUS. 
How  loath  am  I  to  see  thee  depart! 

[Falls  on  his  knees. 

O  that  thou  never  would'st  return!  Then  should  I 
be  happiest  of  mortals,  and  even  now  I  make  me  etc. ' 

Re-enter  ROMULUS. 

Wherefore  didst  thou  not  follow  us,  dear  brother? 
What  means  this  kneeling? 

JULIUS. 

Gentle  brother,  I  am  calling  upon  the  gods  to  be 
favourable  to  thee,  and  to  bring  thee  soon  back  again. 

ROMULUS. 

O  thou  art  a  true  friend  to  me.  Thy  like  for  faith- 
fulness have  I  nowhere  found  in  all  the  world.  Where- 
fore once  more  I  pray  thee,  delight  my  love  in  my  ab- 
sence with  sweet  discourses,  and  entreat  her  well  for 
the  love  thou  bear'st  me.  And  for  as  much  as  I  know 
thou  art  of  all  the  most  faithful  to  me,  I  commend  her 
to  thee  alone. 

JULIUS. 

O  me,  faithful!  [Falls  on  his  knees.]  I  swear  by  the 
sun,  moon,  and  stars  etc. 

ROMULUS. 

Rise  up,  most  faithful  friend  and  brother!  I  crave 
no  oath  of  thee;  think'st  thou  I  cannot  trust  thee  with- 
out one?  Now  farewell,  —  thou  canst  not  know  how 
loath  I  am  to  part  from  thee.  Adieu,  adieu,  the  longer 
here,  the  longer  there. 

[Exit. 


1  These  unfinished  passages,  which  occur  frequently  not  only  in  this,  but  in  all  the  other  pieces  of  the  collection  of  "Englische 
Comedien  vnd  Tragedien"  prove  that  the  texts  have  been  hastily  got  up  for  the  press  and  that  the  writers  themselves  could  not  have 
had  any  share  in  the  publication. 


123 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


124 


JULIUS. 

Ziehe  dafs  du  mogst  den  Halfs  brechen,  vnd  nicht 
wieder  kommen.  Jetzt  mufs  ich  auff  Prakticken  den- 
cken,  Romule  Romule  getrewer  Freundt  bistu  wol,  aber 
jetzt  mufs  ich  dir  vntrewe  Brtiderschafft  beweisen.  O 
schon  Hyppolita  was  kan  dein  schon  Gestalt,  nicht  zu 
wegen  bringen,  O  was  solte  Liebes  Brunst  nicht  aufs- 
richten.  O  Hyppolita  du  Wunder  unter  alien  Weibes- 
personen,  du  must  mein  seyn,  oder  ich  mufs  nicht 
leben,  nun  mufs  ich  gedencken  wie  ichs  wolle  anfahen, 
man  sagt,  practica  est  multiplex,  nun  ich  mufs  auch 
eins  darvon  versuche. 

[Gehet  db. 


ACTUS   SECUNDUS. 

JULIO. 

Juli  bedencke  dich  nun  wol,  was  du  bey  Romulo 
thust.  Hie  habe  ich  Brieffe  von  Rom  bekommen,  die 
sol  ich  der  schon  Hyppolita  seiner  allerliebsten  vber- 
geben,  aber  es  kan  nicht  seyn,  dieselbigen  mufs  ich 
vnterschlagen,  vnd  an  dessen  Statt  habe  ich  andere  ge- 
schrieben.  Bedencke  dich'nun  wol  Juli  es  ist  ein  R6- 
mer  den  du  betreugst,  sie  suchen  Rache  vber  ihre  Feinde, 
vnd  triumphiren  stets  vber  alle  ander,  in  der  gantzen 
Welt.  Aber  wenn  du  auch  der  streitbahrste  Romer 
werest,  wolte  vnnd  konte  ich  nicht  vnterlassen,  dir  jetzt 
vntrew  zu  werden ,  mein  Vorhaben  mufs  ich  nun  fort- 
setzen,  denn  was  thut  Liebe,  nicht  vmb  dero  willen, 
ich  jetzt  mein  Leben  in  die  eufserste  Gefahr  setze, 
wolan  es  mufs  so  seyn.  Holla  mein  Diener  Grobiane 
kom  heraufs. 

GROBIANUS  kompt  heraufs,  der  Herr  pfeiffet.    Stehet  still. 

GROBIAXUS. 

Mein  Herr  mufs  ja  meynen,  dafs  er  einen  Hundt 
vor  sich  habe. 

[Julius  pfeiffet  noch  einmal. 
GROBIANUS. 
Pfeiff  du  jmmer  bin,  ich  bin  dein  Hundt  nicht. 

JULIUS. 

Jung  hastu  nicht  gehoret,  dafs  ich  dich  geruffen, 
wornach  siehestu  dann? 

GROBIANUS. 

Nein  Gnadiger  Herr,  ich  hab  kein  ruffen  gehort, 
sondern  pfeiffen,  vnd  gemeinet  jhr  Gn.  hetten  den  Hundt 
zu  sich  gepfiflfen. 

JULIUS. 
Kom   hier    Grobiane    vnd    observire    mein   Worter 


JULIUS. 

Ay,  go,  —  and  so  that  thou  break  thy  neck  and 
never  return.  Now  must  I  contrive  my  plan.  Romu- 
lus, Romulus!  a  faithful  friend  art  thou  to  me,  'tis 
true;  but  now  must  I  prove  to  thee  what  faithless 
brotherhood  is.  O!  lovely  Hyppolita,  what  cannot  thy 
fair  form  effect.  O!  what  cannot  love  accomplish.  O! 
Hyppolita,  thou  wonder  amongst  women,  thou  must  be 
mine,  else  I  cannot  live.  Now  I  must  bethink  me  how 
to  set  about  it.  Men  say  'practica  est  multiplex';  —  now 
'tis  for  me  to  try  one. 

[Exit. 


ACT  H. 

JULIUS. 

Julius,  consider  well  how  thou  dost  act  by  Romu- 
lus. Here  have  I  letters  to  deliver  to  fair  Hyppolita, 
his  sweet  love ;  but  it  must  not  be,  —  I  must  keep  them 
back,  and  in  their  stead  I  have  writ  others.  Pause  and 
weigh  well,  Julius  —  'tis  to  a  Roman  thou  play'st  the 
knave,  and  they  seek  vengeance  on  their  foes  and  tri- 
umph over  all  others  in  the  world.  Ay,  an  wert  thou 
the  most  contentious  of  all  Romans,  I  would  not,  couh 
not  refrain  from  being  faithless  to  thee  in  this  matter 
I  must  fulfil  my  purpose  now;  —  for  what  will  not  love 
do,  for  whose  sweet  sake  I  place  my  life  in  jeopardy 
Well,  it  must  be  so.  Ho!  my  servant  Grobianus,  ho! 


Enter  GROBIANUS,  his  master  whistles.    He  stands  still. 

GROBIANUS. 

May -be   my  master   thinks    he  has   a   dog  befor 
him. 

[Julius  whistles  again. 
GROBIANUS. 
Whistle  away,  I  am  not  thy  dog. 

JULIUS. 

Boy,  hast  thou  not  heard  me  call?   Wherefore  dost 
thou  stand  so? 

GROBIANUS. 

My  lord.   I   heard   no  calling,  but  whistling,   and 
thought  your  worship  was  whistling  to  his  dog. 

^^. 

JULIUS. 
Come  hither,  knave,  and  mark  ye  well  my  words. 


125 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


126 


wol,  diese  Brieffe  soltu  tragen  zu  der  schonen  Hyppo- 
lita,  dich  anthun,  gleich  einen  Postboten  vnd  zu  jr  sa- 
gen,  dafs  dich  Romulus  von  Rom  zu  jhr  gesant,  mit 
diesen  Brieffen.  Sieh  hie  hastu  Geldt,  verrichte  es  trew- 
lich  hernach  soltu  mehr  von  meinen  Handen  empfangen. 

GROBIANUS. 

Gnadiger  Herr,  was  solte  ich  vmbs  Geldt  nicht 
aufsrichten?  Wenn  ich  konte  Geldt  darfiir  bekommen, 
so  wolt  ich  meine  Mutter  eine  Hur  vnd  meinen  Vater 
einen  Schelm  heissen,  ewern  Befehl  wil  ich  trewlich 
aufsrichten. 

JULIUS. 

So  mache  dich  bald  fertig,  vnd  iibergieb  jhr  die 
Brieife. 

GROBIANUS. 
Es  sol  geschehen. 

[Gehet  weg. 

JULIUS. 

Also  hoffe  ich  die  schone  Hyppolitam  vor  mein 
eigen  Gemahl  zubekommen,  Juli  fast  ein  Hertz,  ja  ein 
eyssern  Hertz,  denn  ein  holies  hastu  angefangen,  das- 
selbe  mustu  aufsfiihren. 

Stehet  allein  in  tieffen  Gedancken.     Kompt  heraufs  der 
FURST.    HYPPOLITA  ist  betriibet,  geht  sitzen. 

FURST. 

Es  ist  vmb  das  Weibesvolck  ein  seltzam  Manier, 
vornemlich  gar  wunderlich,  wenn  sie  verliebet  seynd, 
denn  schreyen,  heulen,  vnd  weinen,  ist  jhr  taglich 
Speise,  so  jhr  liebster  nicht  bey  jhnen  ist.  Wie  zum 
Krankheit  Tochter  bistu  so  narrisch?  wirdt  doch  dein 
iRpmulus  wieder  kommen,  warumb  betrubstu  dich  dann. 

HYPPOLITA. 

O  Vater  ich  habe  Vrsache  zu  weinen,  weil  ich  nicht 
weifs,  ob  mein  liebster  ist  gsundt  nach  Rom  kommen 
denn  die  Zeit  ist  nun  verflossen,  in  der  er  gelobet  vo 
der  zuschreiben.  Da  sehe  ich  Jul.  in  tieffen  gedancken 
stehen,  liebr  Vater  wollen  wir  nicht  zu  jhm  gehen,  vnnd 
fragen  ob  er  nichts  von  Rom  bekommen, 

[Gehen  zu  jhm. 
FURST  TOCHTER. 
Einen  guten  Morgen  Juli. 
JULIUS. 
Ich   sage  jhr  Gn.   auch  schonen  Frawlein  hochlich 


FURST. 

Juli  wisset  jr  nicht  was  jhm  zu  than  sey,  denn 
meine  Tochter  gar  verzweifeln  wil,  weil  jhr  liebster  ein 
(wenig  von  jhr  gewesen? 

JULIUS. 
0   Gnadiger  Herr,    darfiir   wird    man  bey  keinen 


Bear  these  letters  to  fair  Hyppolita,  dress  thee  as  a 
postboy,  and  say  that  Romulus  charged  thee  with  these 
letters  from  Rome.  Here  is  money,  perform  thy  errand 
faithfully,  and  by  and  by  my  hands  shall  be  more  liberal. 

GROBIANUS. 

My  lord,  what  would  I  not  do  for  money!  An  I 
could  get  money  for't,  I'd  throw  whore  at  my  mother 
and  call  my  father  rogue.  A  trusty  messenger  I'll  prove 
to  do  your  bidding. 


'Tis  well 
letters. 


JULIUS. 
prepare  thee  quickly,  and  go  deliver  the 


GROBIANUS. 


On  the  instant. 


[Exit. 


JULIUS. 

So  may  I  hope  to  possess  fair  Hyppolita  as  my 
own  wife.  Julius,  take  heart,  ay  an  iron  heart.  Thou 
play'st  a  high  game  and  must  not  faint  in  the  midst 
of  it. 

[Stands  apart  in  deep  thought. 
Enter  the  PRINCE.     HYPPOLITA  is  sad  and  sits  down. 

PRINCE. 

How  strange  are  women's  ways,  how  passing  strange! 
When  they  are  in  love,  crying,  weeping,  roaring  is  their 
food,  an  their  sweetheart  is  not  with  them.  Daughter,  thy 
folly  will  cause  thee  to  fall  sick,  thy  Romulus  will  surely 
come  to  thee  again;  wherefore  then  grievest  thou? 

HYPPOLITA. 

O  father,  I  have  cause  to  weep,  for  I  know  not 
whether  my  sweet  love  hath  reached  Rome  in  safety,  as 
the  time  is  past  in  which  he  swore  to  write  from  thence. 
There  I  see  Julius  standing  in  deep  thought.  Dear  father, 
let's  go  to  him,  and  learn  whether  he  has  received  aught 
from  Rome. 

[They  approach  Julius. 
HYPPOLITA. 
A  good  morning,  Julius. 

JULIUS. 
Have  thanks  your  worship,  and  you  too,  fair  lady. 

PRINCE. 

Julius,  can  you  not  advise  me?  My  daughter  is 
quite  desperate  because  her  love  hath  left  her  for  a  short 
time. 

JULIUS. 
My  lord,  no  doctor  hath   a  remedy  for  that,    for 


127 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


128 


Doctore  einig  Mittel  finden,  denn  es  vns  Menschen  von 
Natur  angebohren,  vnd  wircket  solches  die  inbriinstige 
Liebe. 

HYPPOLITA. 

Guter  Freundt  habt  jhr  nicht  Schreiben  von  Rom 
bekommen. 

JULIUS. 
Nein  schones  Frawlein  gar  keine. 

HYPPOLITA. 

O  die  Zeit  ist  gleich  schon  verflossen.  in  der  er 
mir  bey  seiner  getrew  Lieb  geschworen  zuschreiben. 

JULIUS. 

Schones  Frawlein  traget  gar  keinen  zweifel,  ich 
weifs  vnd  kenne  sein  Hertz,  dafs  was  er  zusaget,  ge- 
wifslich  belt,  vnd  kan  seyn  dafs  der  Bote,  welchen  er 
gesand,  nicbt  eile. 

Kompt  GROBIAN. 

GROBIANUS. 
Gluck  vnd  all  Heil  schones  Frawlein. 

HYPPOLITA. 

Ich  dancke  dir  Bote  von  Hertzen,  O  sage  mir  bald 
kompstu  nicht  von  Rom. 

GROBIANUS. 

Ihr  habt  es  errathen  von  Rom  kom  ich,  vnd  bin 
von  Romulo  zu  euch  gesandt. 

HYPPOLITA. 

O  gliickselige  Stunde,  O  gluckseliger  Bote,  zeig 
mir  bald  den  Brieff  von  Romulo  meinen  Hertzaller- 
liebsten. 

GROBIANUS. 

Verziehet  ein  wenig,  ihr  musset  erstlich  den  Boten 
sein  penunse  geben. 

HYPPOLITA. 

Sieh  da  hastu,  thu  bald  den  Brieff  her,  wornach 
ich  ein  grofs  verlangen  gehabt. 

GROBLINUS. 

Da  seyn  die  Brieffe,  so  mir  mein  Herr  Romulus 
gegeben. 

[Sie  kilsset  den  Brie/. 
HYPPOLITA. 

O  sey  mir  willkommen.  Hier  seyn  noch  zwey 
Brieffe.  einer  an  Julium,  der  ander  an  euch  hertzlieber 
Vater. 

FURST. 

An  vns  auch  Tochter?  das  ist  sehr  gut.  Weine 
nun  auch  Tochter,  ich  weifs  wol ,  dafs  der  gute  Romu- 
lus zuschreiben  nicht  vnterlassen  wurde. 

[Lesen,  sie  verwundern  sich  sdmptlich,  kratzen  sich 
bey  den  Haaren. 


we    mortals    are    born    with   it,    and    ardent    love    ef- 
fects it. 

HYPPOLITA. 

Good  friend,  have  you  received  no  writing  from 
Rome? 

JULIUS. 
Fair  lady,  none  whatever. 

HYPPOLITA. 

0  the  time  is  already  past,  in  which  he  swore  by 
his  true  love  to  write  to  me. 

JULIUS. 

Fair  lady,  do  not  torment  yourself  with  doubts,  for 
full  well  I  know  his  heart,  that  what  he  has  surely  pro- 
mised he  will  as  surely  hold.  It  may  be  that  the  mes- 
senger whom  he  has  despatched  tarries  on  the  way. 

Enter  GROBIANUS. 

GROBIANUS. 

All  happiness  and  peace  to  you,  fair  lady! 
HYPPOLITA. 

1  thank  thee,  messenger,  most  heartily!    O  tell  me 
quick,  dost  thou  come  from  Rome? 

GROBIANUS. 

You  have  hit  it;  from  Rome  I  come,  and  am  sent 
to  you  by  Romulus. 

HYPPOLITA. 

O  blessed  hour!  O  blessed  messenger!  show  me 
quick  the  letter  from  Romulus,  my  heart's  treasure! 

GROBLVNUS. 

Wait  a  little.  First  you  must  remember  the  mes- 
senger. 

HYPPOLITA. 

Take  this;  —  produce  the  letter  speedily  for  which 
I  have  so  yearned. 

GROBIANUS. 

There  be  the  letters,  as  delivered  to  me  by  my 
master  Romulus. 

[She  kisses  the  letter. 
HYPPOLITA. 

Welcome,  o  welcome!  here  are  two  other  letters, 
one  to  Julius,  and  one  to  you,  dear  father. 

PRINCE. 

For  us  too,  daughter?  that  is  well.  —  very  well. 
Weep  now  too,  daughter.  I  knew  that  good  Romulus 
would  not  fail  to  write. 

[They  read,  are  one  and  all  astonished,  and  scratch 
their  heads. 


129 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


130 


HYPPOL-ITA. 

O  weh  O  weh  Eva  im  Paradiese,  wie  schandlich 
wtirdestu  betrogen? 

FURST. 

0  Stadt  Troja,  durch  list  wordestu  gewonnen. 

[Sie  lesen  noch  besser. 
JULIUS. 

O  du  betrieglichster  Mensch  vnter  alien  Mannsper- 
sonen,  du  Eckel  vnd  Schandfleck  vnter  alien,  wie  hastu 
dieses  konnen  vber  dein  Hertz  bringen. 
HYPPOLITA. 

O  Angst,  0  Todes  Angst,  grosser  schmertzen  hab 
ich  niemaln  auff  Erden  empfunden.  O  verfluchet  seystu 
Romule,  verflucht  sey  die  Stunde,  worin  ich  dich  zum 
ersten  ansichtig  worden.  O  warumb  haben  die  Gotter 
eucb  Mannsbilder  ordiniret  vnd  erschaffen,  dafs  jhr  vnsere 
arme  Jungfrawliche  Hertzen  so  peinigen  vn  angstigen 
miisset.  O  jhr  Poeten  warumb  schreibet  jhr  die  Wei- 
bespersonen  seyn  wanckelmiitig?  O  nein  jhr  thut  vns 
vnrecht,  jhr  Mannespersonen  seyd  voller  Wanckelmii- 
tigkeit,  die  vngetrewesten,  vnbarmhertzigsten  Creaturen 
auff  Erden ,  jhr  seyd  gleich  wie  der  Wind  wehet.  O 
verfluchter  vntrewer  Romule,  ist  dafs  die  trewe  Liebe, 
so  du  mir  zugesagt  vnd  geschworen,  hey  jhr  vnsterbli- 
chen  Gotter,  verkurtzet  mif  doch  mein  Leben,  auff  dafs 
mein  Hertzleidt  ein  ende  nehme. 
FURST. 

Liebe  Tochter,    stell    dich    zu    frieden,   denn    dein 
Wehklagen  dir  nichts  nutzen  wird.    Pfui  du  verfluchter 
Romule,  wie  bistu  so  voller  Vntrew  worden? 
JULIUS. 

Ja  wol  voller  Vntrew  vnd  Schande,  schad  ists, 
dafs  er  ein  Romer  gebohren.  Pfui  du  verfluchter  vn- 
trewer Mensche,  nun  sol  dir  all  dein  Freundschafft  ab- 
gesaget  seyn,  dargegen  aber  wil  ich  dich  mit  Hafs  vnd 
Feindschafft  verfolgen  thun,  weil  du  so  vntrew  vnd  vn- 
barmhertzig  an  der  jenigen  thust,  welche  jhr  Leben  vor 
dich  hette  geben,  dir  sol  alle  Freundschafft  auffgesagt 
seyn,  vnd  gleub  gewifs,  dafs  ich  solches  rechnen  wil, 
darumb  schone  Princessin  seyd  nicht  betriibet,  denn  ich 
alles  solches  rechnen  wil.  Erfrewet  euch  vnter  dessen, 
dafs  jhr  solch  ein  vngetrewen  Menschen  nicht  seyd  theil- 
hafftig  worden. 

FURST. 

Lieber  Juli,  sagt  vns  was  euch  doch  der  verriitbe- 
rische  Bosewicht  geschrieben. 
JULIUS. 

Gnadiger  Herr,  es  ist  einerley  Meynung,  aufsge^ 
nommen  hier  hat  er  vnter  geschrieben.  Grufse  mir  den 
alten  Narren,  Hyppolitae  Vater  den  alien  Scheisser, 


HYPPOLITA. 

Alas!  alas!  Eve  in  Paradise  how  shamefully  wert 
thou  deceived! 

PRINCE. 
O!  Troy  thou  wert  taken  by  stratagem. 

[They  read  on. 
JULIUS. 

O  thou  most  deceitful  amongst  men,  thou  abomi- 
nation and  disgrace,  how  couldst  thou  find  it  in  thy 
heart ! 

HYPPOLITA. 

O  anguish!  O  mortal  anguish!  never  have  I  ex- 
perienced such  sore  pain  on  earth.  0!  cursed  be  thou 
Romulus,  cursed  be  the  hour  when  first  I  set  my  eyes 
on  thee!  O  wherefore  have  the  Gods  made  and  created 
you  men  to  wring  with  anguish  our  poor  virgin  hearts! 
O,  ye  poets!  wherefore  do  you  write  that  women  are 
fickle!  O  no!  you  do  us  wrong,  you  men,  'tis  you  who 
are  full  of  fickleness,  the  most  perfidious,  the  most  un- 
merciful creatures  on  earth,  who  change  with  every  wind. 
O  accursed,  o  false  Romulus,  is  that  the  constant  love 
you  promised  and  swore  to  me?  Ho!  ye  immortal  gods 
shorten  my  days,  that  the  troubles  of  my  heart  may 
cease! 


PRINCE. 

Dear  daughter,  be  calm,  for  thy  lamentations  can 
avail  thee  nothing.  Fie,  thou  accursed  Romulus!  How 
couldst  thou  be  so  false? 

JULIUS. 

Ay,  full  of  perfidy  and  shame!  Pity  is  it  that  he 
is  born  a  Roman.  Fie,  thou  accursed  treacherous  man! 
Henceforth  do  I  renounce  thy  friendship,  nay  more,  I 
will  pursue  thee  with  my  hate  and  enmity,  that  thou 
hast  acted  so  perfidiously,  so  mercilessly  towards  her, 
who  would  have  given  her  life  -for  thine.  All  friendship 
be  henceforth  withdrawn  from  thee,  and,  trust  me,  I  will 
call  him  to  account.  Therefore,  fair  Princess,  grieve  'no 
more,  for  I  will  surely  call  him  to  account  for  this. 
Meanwhile  rejoice  that  you  have  not  become  the  consort 
of  so  vile  a  man. 

PRINCE. 

Dear  Julius,  pray  tell  us  what  this  treacherous  vil- 
lain has  writ  to  you. 

JULIUS. 

My  lord,  it  is  all  to  the  same  effect,  save  the  post- 
script here:  'greet  that  old  fool,  that  simpleton,  Hyppo- 
lita's  father  of  whom  I  have  made  a  laughing-stock.  You 

9 


131 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


132 


mit  dera  ich  ja  wol  den  Narren  getrieben.  Sie  meynen 
last  es  was  sachte  angehen,  hem,  hem,  hem,  meynen 
sachte.  , 

FURST. 

Hem,  was  der  Teuffel  schilt  er  mich  vor  einen 
alten  Narren  vnd  Scheisser,  der  Teuffel  danck  dirs. 
Aber  was  schreibt  der  lose  Kerl  mehr? 

JULIUS. 
Da  lese  es  Jhr  Gn.  selber. 

[lAst,  schiittelt  den  Kopff. 
FURST. 

Aber  wie  zum  Element  sol  ich  dieses  verstehen? 
So  meynen  lafs  es  was  sachte  etc. 

JULIUS. 

Ich  kans  nicht  errathen,  ich  wil  aber  wol  glauben, 
dafs  Jhr  Gn.  solches  wird  vor  ein  gewonliche  Rede 
gehabt  haben. 

FURST. 

Ja  es  ist  recht  nun  befinde  ich  mich.  Wenn  der 
lose  Kerl  bey  meiner  Tochter  zu  sitzen,  vnd  sie  zu 
hertzen  pflegte,  hatte  ich  vor  eine  gewonheit  also  zu 
redent.  Nun  spottet  er  vnser  noch  zu  vnsern  Schaden. 
Ist  difs  das  Deo  gratias  vor  alle  Wolthat?  Der  Teuffel 
mufs  mir  ja  den  losen  Kerl  zu  erst  zugefiihret  haben. 
Nun  sehe  ich  wenn  er  sich  so  freundlich  vnd  demiitig 
gegen  mir  gestellet,  hat  er  den  Geek  mit  mir  getrieben, 
hole  der  Teuffel  solche  Gaste,  ich  begehre  dein  nicht. 

GROBIANUS. 

Schones  Frawlein,  was  vor  Antwort  sol  ich  Ro- 
mulo  bringen. 

HYPPOLITA. 
[Eeisset  den  Brie/  entzwey ,  vnd  wirfft  jhn  auff 

die  Erden. 
Also,  also  bring  ich  dieses  zur  Antwort. 

FURST. 

[Eeisset  seinen  auch  entzwey. 
Vnd  also  bring  ich  von  mir  Antwort. 

GROBIANUS. 

Gnadiger  Herr  was  vor  Antwort  sol  ich  von  Jhr 
Gn.  haben. 

JULIUS. 

Bescheidt  haben?  O  sag  den  Grewel  vnd  Vnzier 
vnter  alien  Mannespersonen ,  den  verfluchten  vntrewen 
Romulo,  dafs  ich  sein  argster  Feind  seyn  wil,  zu  vnser 
beyder  Tagen  ihn  solches  nimmer  zuvergessen,  vnd  so 
vnd  so 

[reist  entzwey. 
wil  ich  jhn  antworten. 


think  I  should  go  to  work  gently,  hm.  hm,  hm,  gently 
I  say'. 

PRINCE. 

Hm!  Why  the  devil  does  he  call  me  an  old  fool 
and  a  simpleton?  —  the  devil  thank  him  for  it!  But 
what  more  does  the  varlet  write? 

JULIUS. 
Perhaps  you  had  better  read  it  yourself. 

[He  reads,  and  shakes  his  head. 

PRINCE. 

But  how,  by  all  the  elements,  am  I  to  understand 
this?  Think  I  should  go  to  work  gently,  etc. 

JULIUS. 

I  cannot  guess,  but  should  be  inclined  to  think  that 
perchance  my  lord  has  been  accustomed  to  employ  this 
manner  of  speech. 

PRINCE. 

Ay,  ay,  now  I  understand  it.  When  the  varlet  used 
to  sit  by  my  daughter  and  embrace  her,  it  was  my 
custom  so  to  speak;  and  now  he  scoffs  at  us  to  our 
hurt!  Is  this  the  Deo  gratias  for  all  our  benefits?  It 
must  have  been  the  devil  himself  that  sent  the  rascal  to 
us.  Now  I  know  that  while  he  was  pretending  such 
kindness  and  humility,  he  was  only  making  a  fool  o 
me.  Devil  take  such  guests,  I'll  none  of  them. 

GROBIANUS. 
Fair  lady,  what  answer  shall  I  take  to  Romulus? 

HYPPOLITA. 

[Tears  the  letter  and  throws  it  on  the  grouna 

That,  that  is  my  answer. 


PRINCE. 


That  is  my  answer  too. 


[Tears  his  also. 


GROBIANUS. 
My  lord,  what  answer  from  your  lordship? 

JULIUS. 

What  answer?  O  tell  this  monster,  this  abomination 
of  men,  this  accursed  perfidious  Romulus,  that  I  am  hi 
bitterest  enemy,   and   never  to  the  end  of  my  life   wil 
forget  it,  and  so  and  so 

[tearing  the  letter 
do  I  answer  him. 


133 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


134 


GROBIANUS. 

Ich  wils  wol  glauben,  dafs  Jhr  Gn.  sein  iirgester 
Feind  ist  vnd  bleiben  wird.  Also  ade  von  hinnen  ich 
mich  mache. 

[Geht  weg. 
JULIUS. 

Schones  Frawlein ,  achtet  jhr  wol  wirdig  vmb  des 
verfluchten  vntrewen  Romuli  wegen  betrubt  zu  seyn. 

HYPPOLITA. 

Ja  ich  bin  betrubet,  vnd  das  betrubste  Weibesbild 
auff  der  Welt. 

JULIUS. 

Ich  bitte  verbannet  jhn  aufs  ewern  Sinn  vnd  Ge- 
dancken,  so  seyd  jhr  mit  Froligkeit  wider  ernewert. 

FURST. 

Solches  ist  auch  mein  Rath,  Hebe  Tochter,  dafs  du 
jhn  gar  aufs  deinen  Hertzen  verbannest,  vnd  nimmer 
an  jhn  gedenckest,  sonsten  wird  das  winseln,  wehklagen 
kein  Ende  haben,  lasset  vns  hinein  kehren,  vnd  nicht 
mehr  an  jhn  gedencken,  denn  ich  habe  Vrsache,  solche 
Schmach  aber  werde  ich  mein  Tage  nicht  vergessen. 


ACTUS  TERTIUS. 

JULIUS. 
Holla,  holla  Diener  Grobiane  kom  heraufs. 

GROBIANUS. 

Hie  bin  ich  gnadiger  Herr. 
JULIUS. 

Hor  Diener,  dir  ich  am  meisten  vertrawe,  wie  du 
auch  selbst  weist,  dafs  ich  dir  vertrawt,  welches  ich 
sonst  leichtlich  keinen  gethan  hette,  fahr  also  fort,  es 
sol  dein  Schade  nimmer  seyn. 

GROBIANUS. 

Gnadiger  Herr,  ich  bin  bereit  Jhr  Gn.  in  alien  zu 
folgen  vnd  zu  gehorsamen,  auch  die  Sachen  also  zu- 
verrichten,  dafs  es  Jhr  Gn.  nicht  besser  begehren  sol. 

JULIUS. 

Du  bist  mein  getrewester  Diener,  darumb  ich  dich 
auch  allein  zu  meinen  geheimen  Sachen  brauch.  Nim 
hin  diesen  Brieff,  trag  jhn  alsobald  zur  schonen  Hyppo- 
lita,  vermelde  jhr  darneben  mein  freundlichen  Grufs 
vnd  Dienste,  sag  vnd  machs  jhr  grofs  vor,  wie  hefftig 
ich  in  jhr  verliebet,  wie  jammerlich  ich  mich  gebehre, 
dafs  ich  weder  esse  noch  trincke,  auch  keirie  Ruhe 
haben  kan,  sondern  stets  seufftze:  In  Summa  mache 


GROBLANUS. 

I  fully  believe,  my  lord,  that  you  are,  and  will  re- 
main, his  bitterest  foe.     Farewell,  I  hie  me  hence. 

[Exit. 

JULIUS. 

Fair  lady,  do  you  hold  it  worth  your  while  to  be 
sad  for  that  accursed  false  Romulus? 

HYPPOLITA. 
Ay,  I  am  sad,  and  the  saddest  woman  on  earth^- 


JULIUS. 

Pray  banish  him  from  your  thoughts  and  heart, 
and  let  joy  restore  you. 

PRINCE. 

Such  is  my  counsel  too,  dear  daughter.  Banish  him 
quite  out  of  thy  heart  and  never  think  of  him  more; 
else  will  there  be  no  end  of  tears  and  lamentations. 
Let  us  go  in  and  never  mention  him  again,  for  indeed 
I  have  reason.  But  never  to  the  end  of  my  life  shall  1 
forget  such  outrage  and  dishonour. 


ACT  III. 

JULIUS. 
What  ho!    Grobianus  come  here! 

GROBIANUS. 
Here  I  am,  my  lord. 

JULIUS. 

Listen,  knave.  In  thee  have  I  placed  most  confi- 
dence. Thou  knowest  I  have  trusted  thee,  a  thing  I  do 
but  rarely;  go  on  as  thou  hast  begun,  thou  shalt  never 
rue  it. 

GROBIANUS. 

My  lord,  I  am  ready  to  follow  and  obey  your  lord- 
ship and  to  manage  everything  so,  that  your  Lordship 
shall  not  wish  to  have  it  better. 

JULIUS. 

Thou  art  my  trusty  knave,  therefore  I  use  thee  in 
my  secret  matters.  Here,  take  this  letter,  bear  it  with- 
out delay  to  fair  Hyppolita,  convey  to  her  my  sweet 
greeting  and  humble  service,  unfold  to  her  in  many 
words  how  sick  I  am  for  love,  how  pitiably  I  bear  my- 
self, that  I  can  neither  eat  nor  drink  nor  rest,  but  am 
always  sighing.  In  fine,  make  the  devil  big  and  ten 
times  bigger  than  he  is.  I  promise  thee,  knave,  thy  suit 

9* 


135 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


136 


den  Teuffel  grofs  vnd  zehenmal  mehr,  denn  es  1st,  fur- 
war  Diener  wirstu  etwas  mit  deinen  procuriren  erhalten, 
Goldt,  Silber,  vnd  grofs  Gnad  sol  dein  recompension 
seyn,  mach  dich  nun  auff,  zur  Stunde,  vnd  brauch  ja 
wol  deine  Zunge. 

GROBIANUS. 

Gnadiger  Herr,  Jhr  Gn.  gleuben  mir,  dafs  ich  mit 
hochstem  Fleifs  die  Sache  wil  anbringen. 

[Nimpt  den  Brieff,  gehen  hinein. 
HYPPOLITA. 

Weil  Trew  vnd  Glaube  ist  worden  klein,  werd  ich 
nun  bleiben  gar  allein.  In  Betriibnifs  Jammer  vnd 
Elend  wil  ich  nun  mein  gantzes  Leben  zubringen,  stets 
seufftzen  vnd  Thranen  mussen  meine  Speise  seyn.  So 
bald  des  Tages  Liecht  anbricht,  werde  ich  eingedenck 
seyn  wie  ein  Mensch  voller  Vntrew  stetigs  pflag  zu 
mir  zu  kommen.  All  getrew  Lieb  thu  ich  verfluchen. 
Mit  Standthafftigkeit  hab  ich  getrewe  Lieb  zu  halten 
mir  angelegen  seyn  lassen,  aber  es  ist  mir  vbel  belohnet 
worden,  was  mag  von  mir  haben  wollen,  der  so  eilends 
zu  mir  kompt. 

[Kompt  Grobianus. 

Mich  deucht  ich  nie  ein  grewlichern  Kerl  gese- 
hen  hab. 

GROBIANUS. 

Schones  Frawlein,  meines  jetzigen  Handwercks  ich 
ein  Briefftrager  bin,  hie  hab  ich  einen  an  Jhr  Gn.  mit 
demutiger  Bitte,  denselben  zu  vberlesen.  Mein  Herr 
Julius  lest  Jhr  Gn.  zu  1000.  malen  griissen,  von  welchen 
ich  auch  diesen  Brieff  habe. 

HYPPOLITA. 

O  das  tausendtmal  griissen  thonet  noch  stets  vor 
meinen  Ohren.  Es  kompt  mir  aber  dieses  gar  seltzam 
vor  vom  Julio,  sintemal  ich  zuvor  nur  eins  von  jhm 
zu  empfahen  pflag.  Hie  steht:  Schonest  auff  Erden, 
die  inbriinstig  grosse  Liebe,  so  ich  zu  euch  trage  zwin- 
get  mich  nunmehro  mit  aller  Macht  euch  solches  zu 
offenbaren.  Weil  ich  aber  also  in  ewren  Stricken  ge- 
fangen  liege,  habe  ich  nimmer  keine  Ruhe,  all  Witz 
vnd  Verstandt  thut  mir  schier  vergehen.  Ich  kan  mit 
Warheit  wol  klagen,  dafs  ich  der  vngluckseligste  Mensch 
auff  Erden  sey.  Werde  ich  aber  von  diesen  Banden 
auffgeloset,  schatz  ich  mich  vor  den  Gluckseligsten. 
Darumb  schonest  Hyppolita,  die  jhr  mein  Leben  in 
ewren  Handen,  vnd  gefangen  habt,  beweist  mir  Liebe, 
weil  ich  gegen  euch  mit  solcher  inbriinstigen  liebe  vmb- 
geben,  weil  es  Venus  vnd  Cupido  in  jhren  choro  also 
beschlossen.  O  reist  abe  die  Bande,  thut  mich  nicht 
langer  krancken,  sondern  gluckselig  machen.  Dieser 
Brieff  ist  vergeblich  geschrieben.  Liebe,  Liebe,  ich  bin 


shall  bring  thee  recompense  in  gold,   silver   and   great 
favour.    Be  gone  this  instant,  and  use  thy  tongue  well. 


GROBIANUS. 

My  lord,  your  lordship  may  rely  on  me  to  speed 
your  cause  with  all  diligence. 

[He  takes  the  letter.     Exeunt. 
HYPPOLITA. 

Since  faith  and  trust  are  gone,  I'll  spend  my  virgin 
days  alone.  In  sadness,  wretchedness,  and  misery,  must 
I  pass  my  whole  life;  sighs  and  tears  must  be  my  daily 
food.  As  soon  as  day  dawns,  I  shall  remember  how  a 
man,  false  and  perfidious,  used  to  come  to  me.  I'll 
execrate  all  true  love.  It  has  been  my  heart's  desire  to 
love  with  constancy,  but  my  love  has  met  with  but  a 
poor  return.  —  What  can  this  man  want  of  me,  who  is 
coming  in  such  haste. 

[Enter  GroUanus. 

Methinks  I  have  never  seen  a  more  detestable 
fellow. 


GROBIANUS. 

By  trade,  fair  lady,  I'm  a  letter -bearer,  and  bear 
one  for  you,  which  I  humbly  entreat  you  to  peruse. 
My  master  Julius  sends  a  thousand  greetings  to  you, 
lady,  and  this  letter. 

HYPPOLITA. 

O  how  the  thousand  greetings  still  resound  in  mine 
ears!  Yet  still,  from  Julius  metbinks  'tis  strange,  see- 
ing one  greeting  was  his  wont  before.  Thus  he  writes : 
'Fairest  on  earth,  the  great  and  fiery  love  1  bear  you 
compels  me  now  with  irresistible  power  to  reveal  it  to 
you.  My  wits  and  understanding  are  clean  gone,  and 
I  know  no  rest,  because  I  am  a  captive  to  your  charms. 
I  can  with  truth  complain  that  I  am  the  most  wretched 
man  on  earth.  But  were  I  once  liberated  from  these 
bonds,  I  were  the  happiest.  Wherefore,  fairest  Hyppolita, 
who  doth  hold  my  life  in  her  hands,  show  me  a  little 
love,  seeing  that  I  bear  you  such  great  and  fiery  love, 
and  that  Venus  and  Cupid  have  decreed  it  in  their  choir. 

0  burst   these  bonds,    afflict  me   no  longer,   but  make 
me  happy.'  —  This  letter  is  writ  in  vain.     Love,  love, 

1  have  had  my  fill  of  thee!     I  have  loved  enough,  and 
thereby  the  matter  is  at  rest  for  ever.  Shall  I  love  again? 
Nevermore!     Ye  false  men,  ye  are  born  but  to   make 
fools   of  us   women,   with   your  whining  words.     Hear 


137 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


138 


deiner  satt,  genug  habe  ich  geliebet,  vnd  darbey  sol  es 
gantzlich  beschlossen  seyn.  Solt  ich  nun  wiederumb 
lieben  ?  Nimmermehr :  Jhr  betrieglichen  Mannespersonen 
seyd  nur  gebohren,  mit  klaglichen  Worten  die  Jung- 
frawen  ins  Narrenseil  zu  fuhren.  Hore  Diener  sage 
deinem  Herrn,  dafs  ich  den  Brieff  empfangen,  Antwort 
darauff,  achte  ich  vnnotig. 

GROBIANUS. 

Schones  Frawlein,  dofern  ich  kein  andere  Antwort 
von  Jhr  Gn.  erlange,  so  hengt  er  sich  vor  alien  Ele- 
ment auff,  dann  schones  Frawlein,  jhr,  konnet  nicht 
glauben,  wie  voller  Pfeilen  er  geschossen.  Fiirwar  er 
klaget  sehr  vmb  E.  Gn.  sie  sey  dessen  allein  ein  Vr- 
sache,  ich  verleih  ein  gut  Wort  vor  meinen  Herrn,  denn 
er  mich  sehr  darumb  gebeten,  ich  sol  es  hoher  vor  Jhr 
Gn.  anbringen,  als  es  jmmer  ist,  er  isset  vnd  trincket 
i  nicht,  er  hat  auch  keine  Ruhe,  so  hefftig  ist  er  gegen 
Jhr  Gn.  verliebet,  vnd  wenn  er  noch  schlafft,  seufftzet 
er,  redet  im  Schlaffe:  Hyppolita,:,  darumb  gnadiges 
IFrawlein,  Jhr  Gn.  machen  ein  grofs  Vnruh,  dafern  sie 
dieses  nicht  wendet. 

HYPPOLITA. 

Meinethalben  kan  er  wol  zu  frieden  seyn,  mache 
dich  nur  von  hinnen,  vnd  bringe  deinen  Herrn  zur 
Antwort,  dafs  ich  den  Brieff  empfangen. 

GROBIANUS. 

So    werde    ich  meinem   Herrn   ein    vnangenehmer 

IBote  seyn,   Botenlohn,  Goldt,  Silber  vnd  grofs  Gnade, 

t  welches  mir  mein  Herr  zugesagt,  werde  ich  nun  miissig 

k  gehen.      Damit   ich   dennoch   etwas   darvor  habe ,   bitte 

ic\i  Jhr  Gn.  mir  ein  Zehrpfennig  mitzutheilen. 

HYPPOLITA. 

Begehrestu  nur  das?  Sieh  da  hastu  einen  Ducaten, 
damit  mache  dich  von  hinnen. 

[Nimpt. 
GROBIANUS. 

Hochlich  Jhr  Gn.   ich   dancken   thu,  allerschonest, 
allertugendtreichstes  Frawlein,  dessen  lobwirdig  Nahme 
i  erschallet  in  alle  Welt,  die  Warheit  auch  zu  sagen,  jhr 
I  Gn.   ist   die  Allerschonest   auff  Erden ,   ich  hette  es  nie 
p  glauben  wollen,   wenn  ichs  nicht  gesehen.     An  Schon- 
theit    thu   ich   Jhr   Gn.   vergleichen    der   Gottin  Veneri. 
An  Tugenden  der  Gottin  Dianae.    Ich  kan  nicht  Worter 
i  finden  zu  preisen,  wie  wol  billich. 
HYPPOLITA. 

Nach  solchen  Lob  ich  auch  wenig  fragen  thu,  hette 
<ich  dir  keinen  Ducaten  geben,  so  were  ich  auch  nicht 
;in  dein  Lob  gerathen,  mach  dich  alsobald  aufs  meiner 
'praesentz,  weil  ich  deiner  nicht  langer  allhie  begehre. 

[Gehen  Jtinein. 


me,  knave,   tell  thy  master  I  have  received  his  letter, 
further  answer  is  unnecessary. 


GROBIANUS. 

Fair  lady,  if  so  be  I  get  no  other  answer  from 
your  ladyship,  he'll  go  hang  himself  in  face  of  all  the 
elements,  for,  sweet  lady,  you  cannot  imagine  how  full 
of  darts  he  is.  In  sooth  he  suffers  much ;  and  you  lady 
are  the  sole  cause.  I  would  put  in  a  good  word  for  my 
master,  because  he  entreated  me  to  do  so,  and  tell  to  you, 
gracious  lady,  how  he  can  neither  eat  nor  drink  nor  yet 
find  rest,  so  violently  is  he  in  love  with  your  ladyship, 
and  when  he  sleeps  he  sighs,  and  exclaims,  '  Hyppolita ! ' 
Wherefore,  gracious  lady,  you  will  cause  him  much  dis- 
quietude, if  so  be  you  are  not  minded  to  avert  it. 


HYPPOLITA. 

He  may  be  happy  for  aught  it  concerns  me.  Be 
gone,  and  take  this  answer  to  your  master  —  I  have  re- 
ceived his  letter. 

GROBIANUS. 

Thus  I  shall  be  an  unwelcome  messenger  to  my 
master,  and  I  must  lack  the  recompense,  the  gold,  the 
silver,  and  the  great  favour,  my  master  promised  me. 
But  that  I  may  have  somewhat  for  my  pains,  I  beg  a 
bounty  of  you,  gracious  lady. 

HYPPOLITA. 

Desirest  thou  naught  but  that?  Hold,  take  this  du- 
cat and  be  gone  with  thee. 

[He  takes  it. 
GROBIANUS. 

•  I  give  you  my  best  thanks,  most  virtuous  and  most 
beauteous  lady,  whose  matchless  name  resounds  through- 
out the  world.  To  speak  the  simple  truth,  your  ladyship 
is  the  most  beautiful  lady  on  earth.  I  could  never  have 
believed  it,  had  I  not  seen  it.  In  beauty  I  compare  you 
Madam  to  the  goddess  Venus,  in  virtue  to  the  goddess 
Diana.  I  have  no  words  to  praise  you  as  'tis  meet. 

HYPPOLITA. 

I  care  but  little  for  such  praise;  had  I  given  no 
ducat  I  had  received  no  praise ;  wherefore  begone  from 
my  presence,  as  I  have  no  longer  any  need  of  you. 

{Exeunt. 


139 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


140 


Kompt  der  FURST  vnd  JULIUS. 

FURST. 

Juli  sender  guter  Freund,  wol  hab  ich  euch  obser- 
viret  vnd  angehoret  bitten  vmb  meiner  Tochter  Hyppo- 
litam.  Es  1st  euch  nun  bewust,  wie  Romulus  sich  mit 
jhr  verbunden  vnd  verlobet,  vnd  wie  das  vntrewe 
Mensch  sie  verlassen,  was  Schimpff  vnd  Spott  mir,  so 
wol  meiner  Tochter  dardurch  kommen.  Derhalben  ich 
nichts  liebers  sehe,  dafs  sie  nur  in  diesem  Gewasch 
inoge  vermahlet  werden.  Ich  euch  zu  jhr  wol  tuchtig 
erkenne,  darumb  gebe  ich  meinen  "Willen  darein,  dafs 
sie  euch  moge  vermahlet  werden,  dennoch  in  meinen 
Willen  es  nicht  allein,  sondern  auch  in  jhren  stehet, 
darumb  ist  mein  Rath,  dafs  jhr  sie  selber  anredet,  vnd 
ewer  Liebe  jhr  an  praesentiret. 
JULIUS. 

Wie  hoch  ich  erfrewet  kan  Jhr  Gn.  nicht  glauben, 
ich  bitte  Jhr  Gn.  vnterthanig,  dafs  er  sie  zu  sich  wolle 
kommen  lassen,  auch  Jhr  Gn.  wolle  helffen  sie  darzu 
bereden. 

FURST. 

Gar  wol,  ich  hoff  es  sol  alles  gut  werden.  Holla 
Hyppolita  kom  eilends  zu  mir. 

[Kompt. 
HYPPOLITA. 
Gnadiger  Herr  Vater. 

FURST. 

Liebe  Tochter,  dieser  junge  Cavallier  Julius  mit 
dir  etwas  zu  reden  hat,  hor  jhn  wol  zu,  vnd  thue  jhn 
guten  Bescheidt  geben. 

HYPPOLITA. 

Gnadiger  Herr  Vater,  guten  Bescheidt  jhr  jhn  wol 
geben  konnet,  mich  deucht  ich  sein  Anbringen  zuvor 
wissen  soil. 

FURST. 
Zuvor  wissen,  so  mustu  ein  Prophetin  seyn. 

JULIUS. 

Schonest  Creatur,  so  du  jemaln  den  Erdboden  be- 
treten,  die  inbrunstig  lieb,  so  ich  zu  euch  trage,  zwin- 
get  mich  mit  Macht  es  euch  zuoffenbaren.  Seynd  mich 
der  bliride  Cupido  geschossen,  bin  ich  ein  ander  Mensch 
worden,  da  ich  war  zuvor  frolich,  bin  ich  nun  trawrig, 
vnd  nach  dem  ich  noch  nicht  occasion  habe  gehabt  mit 
euch  allein  Gesprach  zuhalten ,  vnd  mein  Anliegen  zu 
offenbaren,  bin  ich  stets  in  Betriibnifs  gewesen.  Weil 
ich  denn  jetzt  so  gar  in  ewer  Macht  vnd  Gewalt,  so 
komme  ich  demutig  bittend,  O  Vrsache  habe  ich  zu 
bitten,  Jhr  Lieb  wol  mir  dieses  wenden,  vnd  von  der 
Last  erledigen,  O  schones  Frawlein  meiner  Hoffnung 
nicht  mehr  ich  wiinschen  wolt.  denn  dafs  Jhr  Lieb  in 


Enter  the  PRINCE  and  JULIUS. 

PRINCE. 

Julius,  my  rare  good  friend,  I  have  observed  you  * 
closely  and  heard  your  suit  for  my  daughter  Hyppolita. 
It  is  known  to  you  how  Romulus  was  bound  and  be- 
trothed to  her,  and  how  the  perfidious  wretch  aban- 
doned her,  and  with  what  infamy  and  ridicule  he  co- 
vered both  me  and  my  daughter.  For  this  reason  I  de- 
sire nothing  better,  than  that  she  should  be  married, 
and  get  clear  of  all  this  gossip.  And  as  I  acknowledge 
you  to  be  quite  worthy  of  her,  I  give  my  consent  to 
the  marriage.  Nevertheless,  as  the  matter  does  not  lie 
in  my  will  alone,  but  also  in  hers,  my  counsel  is,  tha* 
you  address  yourself  to  her  and  disclose  your  love. 

JULIUS. 

Your  grace  cannot  conceive  how  rejoiced  I  am  to 
hear  it.  I  humbly  entreat  your  grace  to  call  her  hither, 
that  so  your  grace  may  lend  your  powers  of  persua- 
sion. 

PRINCE. 

I  hope  thy  suit  will  prosper.   Ho!  Hyppolita,  come  ! 
here  directly! 

Enter  HYPPOLITA. 
My  gracious  lord  and  father. 

PRINCE. 

Dear  daughter,  this  young  cavalier  Julius  hath 
somewhat  to  say  to  thee;  listen  to  him  and  give  him  a 
favourable  answer. 

HYPPOLITA. 

My  gracious  lord  and  father,  you  may  give  answer 
for  me.  Methinks  his  petition  is  foreknown  to  me. 

PRINCE. 

Foreknown!  then  must  thou  be  a  prophetess. 
JULIUS. 

Most  fair  and  lovely  creature  that  ever  trod  the 
earth,  the  fervid  love  I  bear  you  compels  me  with  ir- 
resistible power  to  disclose  it  to  you.  Since  blind  Cupid 
has  shot  at  me  I  am  become  another  man;  whereas 
formerly  I  was  joyous,  I  am  now  sad,  and  since  I  lacked 
opportunity  to  hold  discourse  with  you  alone,  to  lay  my 
petition  before  you,  I  have  been  in  constant  sorrow.  As 
then  I  am  so  wholly  in  your  might  and  power,  I  come 
to  yo,u  with  a  humble  entreaty.  Oh  I  have  cause  to  pray 
that  your  love  may  avert  this  from  me,  and  relieve  me 
of  my  burden.  O  lovely  lady  of  my  hope,  I  could  wish 
nothing  better  than  that  you  might  look  into  my  heart 
as  through  a  window,  and  behold  its  temper,  and  know 


141 


TRAGF:DY  OF  JULIUS  AND  HYPPOLITA. 


142 


nic'iu  Hertz  gleich  durch  ein  Fenster  sehen  konte,  wie 
cs  jetzt  beschafFen,  wie  es-  im  Fewr  lieget  vnd  brennet, 
O  konte  ich  wiinschen,  das  zugleich  auff  mein  Hertz 
geschrieben  stunde,  wie  es  mit  jhn  beschaffen,  getrewen 
Liebhaber  wiirde  man  mich  nennen,  darumb  schonest 
mein  tausendt  vnd  aufserwehlten  Schatz  mein  hertz- 
allerliebste  nehmet  dieses  zu  Hertzen,  machet  mich 
gliickselig,  erzeiget  mir  recompension,  vnd  beweiset  mir 
liebe. 

HYPPOLITA. 

Lieben  vnd  liebhaben  ist  nicht  zu  reden,  solt  ich 
noch  lieben?  O  nein,  denn  lieben  ist  gewifs  betriiben, 
es  liebe  mich  einer  getrewlich  oder  nicht',  so  thue  ich 
doch  alles  in  den  Wind  schlagen.  Freund  Juli  warumb 
bittet  jhr,  vmb  solches  welches  jhr  zuvor  wisset,  dafs 
es  nicht  seyn  kan,  es  ist  euch  bewust,  wie  ich  geliebet, 
vnnd  wie  ich  bezahlet,  derhalben  schwere  ich  im  Tern- 
pel,  vor  der  Gottin  Diana  allein  zu  dienen,  darbey  auch 
ein  keusches,  reines  vnd  Jungfrawliches  leben  zu  fuhren. 
Zwar  Juli  euch  ich  nicht  verachten  thue,  denn  jhr  mei- 
ner  wol  wirdig,  aber  dieses  kan  nicht  seyn,  vnnd  alle 
ewer  lieb,  die  jhr  bey  euch  traget,  were  mein  Rath, 
dafs  jhr  es  gar  in  der  Lufft  vertreibet,  last  abe,  last 
abe  von  lieben,  jhr  liebet  vmbsonst  vnd  vergebens,  vnd 
machet  euch  nur  zum  Narren. 

JULIUS. 

Zum  Narren,  zum  Narren,  ich  wils  fiirwar  wol 
gleuben  schonst  Hyppolita,  E.  L.  beweiset  mir  jetzund 
die  groste  Vnbarmhertzigkeit.  Jetzt  wird  eines  verra- 
therlichen  Mannes  Vbelthat  alien  Mannspersonen  zuge- 
rechnet,  allerschonest  Hyppolita,  Jhr  L.  bedencke  dieses, 
dafs  bei  Romulo  vngetrew  vnd  falsche  liebe  war,  in 
mir  aber  ist  getrewe,  standthafftige  vnd  inbriinstige  liebe. 
Ad  spectator®. 

O  nicht  inbriinstige  liebe,  warumb  ward  ich  mei- 
nem  Getrewesten  auff  Erden  vngetrew?  O  schones 
Friiwlein,  seyd  nicht  so  gar  vnbarmhertzig,  last  erwei- 
chen  ewr  hart  vnd  kaltstalern  Hertz,  O  loset  auif  den 
der  so  schwer  in  ewer  Gewalt  gefangen  lieget,  bewei- 
•  set  mir  liebe,  sonst  komme  ich  in  hochste  Noth  vnd 
Jammer. 

HYPPOLITA. 

Fiirwar  Juli  ich  bedencke  solches,  wie  Romulus 
•ein  vngetrewe  liebe,  vnd  jhr  ein  getrewe  liebe  fiihret. 
Ich  weifs  mich  noch  zuentsinnen,  dafs  Romulus  eben 
wie  jhr  sein  getrew  mir  vorzusagen  wuste.  Nein,  nein, 
ich  begehre  mit  keinen  getrewen  Hertzen  vmbzugehen, 
last  ab  : , :  fiiget  euch  zu  einer  andern  Madon  mit  ewern 
.getrewen  Hertzen,  es  ist  vergebens,  ja  gar  vergebens. 


how  it  is  consumed  with  a  burning  fire.  O  could  you 
read  what  is  written  on  my  heart,  you- would  call  me  a 
true  lover.  Therefore,  most  fair,  most  exquisite  and 
rarest  treasure,  my  best  beloved,  take  this  to  thy  heart; 
make  me  blessed,  and  return  my  love! 


HYPPOLITA. 

It  is  easy  to  prate  of  love  and  loving  —  can  1  still 
love?  O  no,  for  to  love  were  but  to  bring  sorrow. 
Whether  I  am  loved  faithfully  or  no,  I  cast  love  to  the 
winds.  Friend  Julius,  wherefore  do  you  wish  for  that, 
which  you  know*  before  I  cannot  give.  You  are  not  igno- 
rant how  I  have  loved,  how  I  have  been  repaid.  There- 
fore, in  the  temple,  before  the  goddess  Diana  I  swear 
to  serve  no  one  but  her,  and  to  lead  a  chaste,  pure 
and  virgin  life.  'Tis  true,  Julius,  I  despise  you  not, 
and  you  are  worthy  of  me;  but  this  cannot  be.  Be  ad- 
vised, scatter  to  the  winds  all  the  love  you  bear  within 
you.  Cease,  cease  from  loving,  you  love  in  vain,  you 
love  hopelessly,  and  only  play  the  fool. 


JULIUS. 

Ha!  Play  the  fool,  play  the  fool,  fair  Hyppolita, 
in  sooth  I  fear  it!  Dear  lady,  how  cruel  do  you  show 
yourself  in  this!  You  impute  one  false  man's  misdeed  to 
all  men.  Fairest  and  most  beautiful  Hyppolita,  weigh 
this:  though  Romulus'  love  was  false  and  treacherous, 
mine  is  faithful,  constant  and  most  fervent  love. 

Ad  spectatores. 

O  not  fervent  love,  wherefore  was  I  false  to  the 
truest  on  earth?  —  O  sweet  lady,  be  not  so  very  un- 
merciful, —  suffer  your  hard  and  flinty  heart  to  be  sof- 
tened! O  liberate  him  who  lies  so  heavily  fettered  by 
your  power,  and  show  me  some  love,  else  I  perish  in 
deepest  wretchedness  and  woe! 

HYPPOLITA. 

In  truth  Julius  I  do  believe  that  Romulus  bore  me 
a  false  love,  and  you  a  true.  I  well  remember,  that 
Romulus,  like  yourself  could  discourse  fluently  of  love. 
No,  no,  I  desire  to  ensnare  no  faithful  heart,  —  desist: 
get  you  to  another  Madonna  with  your  faithful  heart;  it 
is  in  vain,  —  altogether  in  vain. 


143 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


144 


JULIUS. 

O  Vnbannhertzigkeit  bistu  doch  eben  so  machtig, 
wie  der  Donner  vnter  den  Himmel,  gleich  eine  Don- 
nerkeil  schlegstu  jetzt  durch  mein  junges  Hertz,  vnd 
thust  es  noch  hafftiger  vorsehren  vnd  verderben,  O 
warumb  lieb  ich,  du  grimmiger  Todt,  warumb  wilstu 
meiner  nicht  begehren,  ich  vngliickseeligster  Mensch. 
Mein  Vorhaben  gehet  den  Krebsgang. 

Ad  spectatores. 

Was  ist  mir  nun  geliistet,  mein  Vntrew,  so  ich  an 
meinen  getrewesten  Freunde  auff  Erden,  der  sein  Leben 
vor  mich  gelassen,  vollnbracht.  Juli  Juli.  Worein  hastu 
dich  gefiihret? 

[Steht  betrubt. 

FURST. 

Juli   warumb   so   betrubt?   Sagt  mir  vnnd  was  jhr 
guts  erhalten  bey  meiner  Tochter? 
JULIUS. 

Gnadiger  Herr,  die  Vrsach  meines  Betriibniifs  ist 
diese,  dais  ich  nichts  erhalten  mag,  jhr  Gn.  Tochter 
wil  gar  nichts  horen,  von  der  trewen  Lieb,  die  ich  zu 
jhr  trage,  sie  gedenck  dafs  die  Vntrew  Romuli,  so  tieff 
in  jhren  Hertzen  stecke,  auff  dafs  auch  jemaln  ein  man 
so  gliickseelig  seyn  sol,  jhrer  theilhafftig  zu  werden. 
Denn  sie  auch  bey  der  Gottin  Diana  geschworen,  Jhre 
Tag  in  Jungfrawlichen  Leben  zu  vollnbringen.  O  wann 
nun  jhr  Gn.  mein  procurator  seyn  wolten,  so  gebe  ich 
mich  ein  wenig  zufrieden. 

FURST. 

Wolan  gebt  euch  zufrieden,  ich  wil  mein  Fleifs 
thun,  dafs  sie  euch  liebe.  Hyppolita.  Liebste  vnd  eigne 
Tochter,  du  weist  wie  ich  dich  von'Jugend  auff  hefftig 
geliebet,  gleich  einen  Vater  mag  gebuhren.  Nun  bistu 
zu  deinen  Jahren  kommen,  derowegen  mir  dich  zuver- 
sehen  gebuhren  wil,  alfs  habe  ich  diesen  jungen  Printz 
Julio  dich  jhm  zu  eigen  zugesaget,  drumb  lafs  dirs  ge- 
fallen,  weil  er  dein  an  gebiirth  Tugenden  vnd  Reich- 
thumb  wol  wirdig  ist. 

HYPPOLITA. 

Liebster  Herr  vnd  Vater  mein,  Julius  der  junge 
Printz,  ist  meiner  liebe  wol  wirdig,  aber  jhr  liebde 
bedenck  zuvor  die  grosse  Vntrew,  so  Romulus  an  mir 
bewiesen,  welches  mir  so  sehr  eingetrieben ,  dafs  ich 
mirs  gantzlich  vorgenommen,  mich  nimmermehr  zuver- 
heyrahten. 

FURST. 

Liebe  vnd  einige  Tochter  du  thust  gar  weit  jrren, 
die  vberfliissigen  Gedancken  thun  dir  deinen  verstandt 
gar  benehmen,  bedencke  dieses  hinwieder  Romulus  ist 
mit  falscher  vnd  vntrewer  Liebe  dir  gewogen  gewesen, 


JULIUS. 

O  cruelty,  thou  art  as  mighty  as  the  thunder  from 
heaven!  like  a  thunderbolt  dost  thou  fall  now  into  my 
young  heart,  searing  and  withering  it  up!  O  wherefore 
do  I  love,  thou  grim  fierce  death,  wherefore  dost  thou 
not  desire  me,  most  miserable  of  men !  My  design  goes 
backwards. 

Ad  spectatores. 

What  boots  the  perfidy  I've  practised  on  my  most 
faithful  friend  on  earth,  who  would  have  given  his  life 
for  mine.  Julius,  Julius,  what  hast  thou  brought  thy- 
self to! 

[Stands  melancholy. 
PRINCE. 

Julius,  wherefore  so  sad?  Tell  me,  what  favours 
from  my  daughter? 

JULIUS. 

My  lord,  the  cause  of  my  sadness  is  this,  that  I 
have  had  none.  Your  daughter  will  listen  to  naught  of 
the  true  love  I  bear  to  her.  She  fancies  that  the  faith- 
less Romulus  so  holds  her  heart,  that  another  can  never 
be  blessed  by  possessing  her.  Moreover  she  has  sworn 
by  the  goddess  Diana  to  spend  her  days  in  virginity.  O ! 
if  your  grace  would  sue  for  me,  I  could  be  somewhat 
more  at  ease. 


PRINCE. 

Well  now,  compose  yourself,  I  will  do  my  utmost 
for  that  she  may  love  you.  Hyppolita,  my  dear  and 
only  daughter,  thou  know'st  how  fervently  I've  loved 
thee  from  thy  youth  as  a  father  may.  Now  hast  thou 
come  to  that  age,  when  it  is  fitting  that  I  should  endow 
thee;  for  which  purppse  I  have  promised  thee  to  this 
young  Prince  Julius.  Be  content  therefore,  seeing  he 
is  equal  to  thee  in  birth,  virtues,  and  riches. 

HYPPOLITA. 

Dearest  sir  and  father  mine,  Julius,  the  young 
Prince,  is  well  worthy  of  my  love;  but  consider  first 
the  great  unfaithfulness,  which  Romulus  has  practised 
towards  me,  and  which  has  struck  so  deep,  that  I  have 
quite  determined  never  to  wed. 

PRINCE. 

Dear  and  only  daughter,  thou  goest  far  astray;  thy 
too  luxuriant  fancies  deprive  thee  of  thy  wits.  Weigh 
this  again.  Romulus  with  his  false  and  treacherous  love 
was  dear  to  thee ;  but  this  Julius,  as  1  do  well  observe, 


145 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


146 


dieser  Julius  aber  liebet  dich  von  Hertzen,  wie  ich  von 
alien  Vmbstanden  mercken  kan,  also  dafs  ich  fast  mein 
Tage  keinen  Menschen  gehoret,  d'  hoher  were  verliebet 
gewesen,  fiirwar  Tochter  du  magst  gar  kein  Vnter- 
scheidt  zwischen  guten  vn  bosen,  du  bist  mein  einig 
Erbe  des  Fiirstenthumbs ,  vnd  soltestu  nicht  vermahlet 
werden,  so  wiirden  wir  die  frolichsten  Tage  erlebet 
haben,  vnd  das  landt  wiirde  dardurch  in  frembde  pos- 
session gerahten,  nicht  also  liebe  Tochter,  thue  dem- 
selben,  der  falsch  vnd  vntrew  mit  dir  gehandelt,  nicht 
die  liebe  an,  dafs  du  soltest  besitzen  bleiben.  Wirstu 
mich  lieben,  so  wirstu  mir  auch  folgen. 

JULIUS. 

O  schone  Hyppolita  was  ist  auff  der  Welt,  da  man 
wahre  liebe  kan  an  den  Tag  geben,  vnd  mehr  in  War- 
heit  bekrafftigen ,  denn  durch  einen  Eydt,  welchen  ich 
denn  jetzt  auff  meinen  Knieen  ablege,  vor  jhr  liebten. 
So  thue  ich  nun  schweren  vor  alien  vnsterblichen  Got- 
tern,  dafs  die  Liebe,  so  ich  schones  Frawlein  zu  euch 
trage,  vnverfalschet  sey,  sondern  getrew,  standthafftig, 
ja  dafs  sich  mein  Hertz  nimmer  zur  Ruhe  geben  wird, 
ich  bin  denn  zuvor  ewer  Liebte  theilhafftig  worden,  die 
brennend  vnd  trewe  Liebe  lest  nimmer  nach,  sie  macht 
offt  den  trawrigsten  Menschen,  auch  oift  den  frolichsten 
von  derer  beyden  eins,  ich  werde  ersettiget  werden. 
O  schonest  Frawlein,  wen  ich  nicht  mit  recompensiren 
bezahlet  werde,  so  mufs  ich  ohn  Zweifel  sterben,  wenn 
denn  ein  solches  geschehe,  man  sprechen  mochte,  dafs 
jhr,  an  meinem  Tode  ein  Vrsach,  vnd  dessen  hernach 
kleiner  Ehre  hettet.  Vnd  fiirwar  ich  gleub,  wenn  E.  L. 
ein  solches  bedachten,  das  Gewissen  sich  betriiben 
wiirde,  dafs  sie  ein  solch  Vnbarmhertzigkeit  an  mir  ge- 
than  hette,  vnd  zu  sich  selbsten  sprechen  werde,  O  weh 
O  weh,  was  grosses  vbel  ich  begangen,  dafs  ich  mich 
nicht  vber  Julium  den  getrewesten  Liebhaber  erbarmet 
habe?  O  weh  mir  jmmer,  dafs  ich  jhn  so  jammerlich 
mit  meiner  Vnbarmhertzigkeit  getodt  habe :  Solch  Weh- 
klagen  vnnd  Gedancken  weren  doch  alle  verlohren,  vnd 
weren  nur  Vrsache  die  Vnruhe  zuvermehren.  Vnd  da- 
mit  E.  L.  nicht  zu  solchen  komme,  lafs  sie  doch  jhr 
steinern  Hertz  erweichen,  vnd  mich  Gnade  empfangen, 
ehe  denn  ich  den  Todt  leide. 
FURST. 

Liebste  Tochter,  du  hast  ja  nun  genugsam  ange- 
horet,  mit  was  inbriinstiger  liebe  dieser  junge  Printz 
Julius  kegen  dir  vmbgeben,  drumb  lafs  doch  abe  von 
deinen  Vorsatz,  vnd  dafern  du  mich  jemaln  geehret,  so 
lafs  dir  Julium  gefallen,  vnd  gib  jhn  dein  Hertz,  gleich 
wie  er  dir  gethan  hat. 


loves  thee  in  his  heart,  so  that,  as  I  can  perceive  from 
all  the  circumstances,  I  have  hardly  ever  known  a  man 
more  deeply  in  love  than  he.  In  sooth,  daughter,  thou 
mak'st  no  difference  between  good  and  bad;  thou  art 
the  sole  heir  of  my  princedom  and  shouldst  thou  not 
wed,  our  happiest  days  would  be  at  an  end,  and  my 
lands  would  fall  into  stranger's  hands.  Wherefore  do 
not,  dear  daughter,  -do  not  remain  unwed  for  love  to 
one  who  has  repaid  thee  with  falsehood  and  perfidy. 
If  thou  dost  love  me,  do  my  will. 


JULIUS. 

O  fair  and  lovely  Hyppolita,  what  else  is  there  in 
the  world  to  prove  and  confirm  true  love  more  than  a 
solemn  oath,  which  here  upon  my  knees  I  swear  before 
you,  dear  lady.  Before  the  immortal  Gods  I  swear,  the 
love  I  bear  you,  fair  lady,  is  no  feigned  love,  but  true  and 
constant,  nay  that  my  heart  will  never  know  peace  till 
it  becomes  a  sharer  in  your  love.  True  and  fiery  love 
never  ceases,  it  often  makes  the  saddest  men,  and  often 
too  the  gayest,  and  one  of  these  I  must  surely  be.  O 
fairest  lady,  if  you  do  not  reward  me,  doubtless  I  must 
die;  and  should  this  happen,  they  will  say  you  are  the 
cause  of  my  death,  and  you  will  reap  little  honour  by  it. 
And  verily,  I  do  believe,  my  lady,  if  you  will  consider 
this,  your  conscience  would  be  sad  and  sore  at  such 
hideous  cruelty,  and  would  thus  discourse:  Alas!  alas! 
how  great  a  sin  have  I  committed,  in  not  taking  pity 
on  Julius,  the  most  true  and  faithful  of  lovers.  Woe  is 
me,  that  I  have  murdered  him  miserably  with  my  hideous 
cruelty!  Such  bitter  thoughts  and  regrets  would  be  all 
in  vain,  and  would  only  add  to  your  remorse.  That  you 
be  not,  my  lady,  reduced  to  such  sad  state,  pray  suffer 
your  hard  heart  to  be  softened,  and  show  me  grace,  ere 
I  endure  this  death! 


PRINCE. 

Dearest  daughter,  thou  hast  surely  listened  to  the 
fill  to  this  fiery  tale  of  love  from  Prince  Julius.  Where- 
fore desist  from  thy  resolve,  and  if  ever  thou  hast  ho- 
noured me,  admit  Julius  to  thy  favour,  and  bestow  on 
him  thy  heart  as  he  has  his  on  thee. 


10 


147 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


148 


HYPPOLITA. 

Hertzliebster  Vater,  well  es  dann  ewer  hertzlicher 
Wille,  das  ich  mit  Julio  sol  vermahlet  werden,  vnd  er 
mir  getrewe  liebe  zugeschworen ,  ich  auch  nichts  mehr 
von  jhn  fordern  kan,  so  lafs  ich  es  mir  alles  wolge- 
fallen,  vnd  nach  ewren  Willen  zu  leben,  bin  ich  pflicht- 
schuldig. 

FURST. 

Hertzliebe  Tochter,  du  thust  mich  jetzt  hochlich 
erfrewen. 

JULTOS. 

Aber  mich  1000  mal  mehr,  gliickseelig  sey  die 
Stunde,  in  welcher  mir  die  lieblichen  Worter  zu  Ohren 
kommen. 

FURST. 

Wolan  Juli.  Hie  empfanget  mein  Tochter,  lebet 
lang  mit  jhr  in  Friede  vnd  Frewde. 

JULIUS. 

Die  Gotter  all  in  gemein  seynd  jetzt  gepreiset  dafs 
sie  mich  diesen  Tag  erleben  lassen.  Vnd  Gnadiger 
Fiirst  demiitig  thue  ich  mich  bedancken,  dafs  mir  jhr 
Gn.  gewirdiget  vnd  seine  einig  Tochter  geben,  was  in 
Menschlichen  Krafften  stehet  zuwieder  gelten,  mit  liebe, 
Frewde,  vnd  wie  es  jmmer  seyn  moge,  daran  jhr  Gn. 
Frewde  vnd  Trost  an  vns  haben  moge,  sol  nur  mein 
stetes  nachtrachten  seyn. 

FURST. 

Ich  zweifel  nicht,  jhr  werdet  mir  ein  Trost  in  mei- 
nem  Alter  seyn,  aber  hiervon  darnach  weiter,  jetzt  last 
vns  hienein  kehren,  vnd  bedencken  wie  ehest  das  Bey- 
lager  in  alien  Frewden  moge  gehalten  werden. 


ACTUS  QUARTUS. 

ROMULUS. 

O  lieber  Gott  was  hab  ich  gehoret,  dafs  mein  vn- 
getrewer  Gesell  Julius,  mir  meine  hertz  allerliebste  Braut 
entfreyet,  nun  ich  komme  vnd  gedencke  mit  jhr  meine 
Frewde  zu  haben,  so  ist  es  durch  Falschheit  vnd  Be- 
trug  alles  vorgebauet.  O  kein  Wort  kan  ich  bald  vor 
schrecken  mehr  reden.  O  du  vngetrewer  verrahterli- 
cher  Bosewicht,  verflucht  seystu,  vnd  deiner  Seelen 
musse  nimmer  Rath  werden 

Zum  Diener. 

Aber  du  mein  getrewer  Freundt,  ich  bitte  sag  nie- 
mand  ein  Wort  darvon,  dafs  du  mich  hie  gesehen  best. 


HYPPOLITA. 

Dearly  beloved  father,  as  it  is  your  hearty  will  that 
I  should  wed  Julius,  and  he  has  sworn  to  love  me  truly, 
I  can  demand  no  more  and  must  submit,  as  it  is  my 
bounden  duty  to  obey  your  will. 


PRINCE. 
Beloved  daughter,  now  dost  thou  rejoice  me  much. 

JULIUS. 

And  me  a  thousand  times  more;  blessed  be  the 
hour,  that  brought  the  sweet  words  to  my  ear! 

PRINCE. 

Well  Julius,  here  receive  my  daughter,  live  long 
with  her  in  .peace  and  happiness. 

JULIUS. 

Be  all  the  gods  together  praised  for  this  dayl  And, 
gracious  Prince,  be  humbly  thanked  that  you  have  held 
me  worthy  of  your  only  daughter  I  Whatever  is  in  mortal 
power,  to  recompense  with  love,  and  joy,  whatever  may 
yield  your  grace  comfort  and  delight  in  us,  shall  be  my 
sole  and  constant  aim. 


PRINCE. 

Doubtless  you  will  prove  a  comfort  to  me  in  my 
old  age.  But  more  of  this  anon.  Now  let  us  go  in  and 
confer  on  the  festivities  which  shall  soon  be  held  in 
great  joy  and  mirth. 


ACT   IV. 

ROMULUS. 

O  Heavens,  what  have  I  heard!  that  my  perfidious 
fellow  Julius  hath  robbed  me  of  my  sweet  bride  and 
wedded  her,  now  that  I  am  come  expecting  to  find  my 
joy  in  her!  All,  all  is  lost  through  his  perfidy  and  false- 
hood. I  scarce  can  utter  a  word  for  horror.  O  thou  per- 
fidious, treacherous  villain,  my  curses  light  upon  thee, 
and  may  thy  soul  never  know  peace! 

To  the  servant: 
But  thou,  my  faithful  friend,  say  no  word  to  any- 
body that  thou  hast  seen  me  here. 


149 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


150 


DlENER. 

Gnadiger  Herr,  ich  wil  es  also  machen,  vnd  keinen 
Menschen  ein  einiges  Wort  von  ewer  Wiederkunfft 
sagen. 

[Der  Diener  gehet  weg ,  aber  Romulus  gehet  in 
grossen  Betriibnufs,  vnd  findet  mitler  Weile 
denfalschen  Brieff,  welchen  des  Fiirsten  Toch- 
ter  vor  Vnwillen  in  zwey  Stuck  zerrissen. 

ROMULUS. 

Allhie  finde  ich  einen  Brieff.  Mich  diinckt  ich  sol 
die  Handt  kennen.  Wunder:,:  Siehe  dafs  ist  meines 
vngetrewen  Bruders  Julii  Handtschrifft,  hier  stehet  also 
geschrieben. 

\_Liest  den  Brieff. 

Schones  Frawlein  jhr  sollet  wissen,  dafs  jhr  mir 
nicht  zu  Theil  werdet  werden,  denn  ich  mich  schon 
allhier  zu  Rom  mit  einer  vermahlen  lassen,  die  da  viel 
schoner  vnd  reicher  ist, .denn  jhr  seyd. 

[Lest  den  Brie/  fallen,  vnd  spricht. 

O  weh  der  verrahterlichen  That,  was  ist  diese  Welt? 
Nichts  anders  denn  eine  Grundsuppen,  aller  Betriege- 
rey,  O  mag  doch  niemals  solch  betrugliche  That  ge- 
schehen  seyn.  O  lenger  nunmehr  zu  leben  were,  mir 
Helles  Qual.  O  das  doch  nur  der  bleiche  Todt  mochte 
vber  mein  Hertz  triumphiren.  Aber  lafs  mich  vor  Recht 
bedencken.  Wer  wolt  sich  alfsdenn  an  meinen  Feindt 
rechen?  Nein  nein,  meine  Handt  sol  noch  heute  in  dei- 
nen  Blute  baden.  Rache  vnd  resors  mufs  ich  vber  dich 
schreyen,  ja  nimmermehr  soltu  jhres  stoltzen  leibes  theil- 
hafftig  werden,  denn  wenn  du  auff  den  Abend  am  aller 
frolichsten  seyn  wirst,  wil  ich  dir  im  Tantze  jammer- 
lich  dein  leben  nehmen,  damit  du  hinfuro  niemand  mehr 
betriiben  miigest,  wie  du  eben  jetzo  mir  gethan  hast. 
Aber  sieh  da  kompt  der  vngliickseelig  vngetrew  Mensch, 
in  grosser  Pracht  vnd  Herrligkeit  triumphirende  aufs 
der  Kirchen,  ich  weifs  was  ich  thun  wil,  ich  wil  mich 
bald  bey  Seits  machen,  mich  mit  einen  Diener  verwan- 
deln,  dir  helffen  den  Brauttantz  tantzen.  Aber  solch 
ein  Tragsedien  wil  ich  mit  dir  agiren,  dafs  du  kein  Tag 
kein  Mensch  mehr  betriegen,  betriiben  sollest. 

JULIUS. 

[Kompt  mit  der  Braut  aufs  der  Kirchen.  Romu- 
lus stehet  von  feme  vnd  siehet  zu,  gehet  dar- 
nach  weg,   vnd  vermummet  sich,  man  fang et 
an  zu  tantzen.    Julius  spricht  zu  Hyppolita. 
Saget   mir  doch  mein  tausent  Schatz,  wie  gefallen 
euch  die  Musicanten  vnd  Comsedianten  so  gestriges  Ta- 
ges  die  Tragaediam  agirten. 


SERVANT. 

My  lord,  I'll  do  your  bidding,  and  not  say  a  word 
of  your  return  to  any  one. 

[Exit  servant.  Romulus  paces  up  and  down  in 
great  dejection,  and  meanwhile  finds  the  false 
letter  which  the  Prince's  daughter  in  her  rage 
had  torn  in  two  pieces. 

ROMULUS. 

Here  I  find  a  letter.  Methinks  I  ought  to  know  this 
hand.  O  wonder  see,  it  is  my  perfidious  brother  Julius' 
handwriting!  It  runs  thus: 

[Reads  the  letter. 

Fair  lady,  1  hereby  make  known  to  you,  that  you 
can  never  be  mine,  for  I  am  already  wedded  here  at 
Rome  to  one  much  fairer  and  richer  than  yourself. 

[Drops  the  letter  and  speaks: 

O  woe  to  the  treacherous  deed!  What  is  this  world? 
Naught  but  the  dregs  of  infamy  and  lies.  O  that  such 
an  infamous  deed  had  never  been !  O  now  to  live  longer 
were  a  torment  of  hell.  O  would  that  pale  death  might 
triumph  o'er  my  heart!  But  let  me  think  of  justice,  for 
who  would  then  revenge  me  on  my  foes?  Nay,  nay, 
this  very  day  my  hand  shall  bathe  in  thy  blood.  Revenge 
and  to  the  rescue  will  I  shout  out  after  thee.  Nay, 
nevermore  is  her  proud  body  destined  for  thy  arms;  for 
in  the  evening  when  thy  mirth  is  greatest,  I'll  take  thy 
life  miserably  in  the  dance,  that  henceforth  thou  mayest 
nevermore  deceive,  as  thou  at  present  hast  done  by  me. 
But  see,  there  comes  the  false  wretched  man  out  of  the 
church  triumphantly  in  great  state  and  splendour.  I  know 
what  I  will  do :  I  will  retire,  disguise  myself  as  a  servant, 
and  help  thee  dance  the  bridal  dance,  but  such  a  tragedy 
I  will  act  with  thee,  that  never  shalt  thou  deceive  and 
sadden  any  one  more. 


JULIUS. 

[Enters  with  his  bride  from  the  church.    Romulus 
stands  at  a  distance  looking  on,  goes  away 
after  a  time  and  disguises  himself.   They  begin 
to  dance.    Julius  speaks  to  Hyppolita: 
Pray,  tell  me,  my  rare  treasure,   how  did  you  like 
the   musicians   and   comedians    that    acted    the   tragedy 
yesterday? 

10* 


151 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


152 


HYPPOLITA. 

Schones  Lieb  die  Musicanten  gefallen  mir  nicht  vbel, 
die  Comoedianten  aber  gefielen  mir  aufs  dermassen  wol, 
denn  ein  jeglicher  agirte  seine  Person  wol  vnd  prachtig. 

FURST. 

Sieh  da  sieh  da,  was  macht  jhr  beyde,  lieber  last 
vns  nun  lustig  vnd  frolich,  diese  Hochzeit  verbringen, 
junger  Printz  wie  stehet  jhr  so  stille,  wollet  jhr  mit 
ewrer  Braut  nicht  zu  tantze. 

JULIUS. 

Gnadiger  Herr  vnnd  Vater,  jetzt  wollen  wir  zu 
tantzen  anfahen,  holla  jhr  Musicanten  seyd  lustig  vnd 
last  euch  horen. 

'[Jetzt  fdnget  man  an  zutantzen,  da  der  volln- 
bracht  kompt  Romulus  sampt  ander  vermummet, 
vnd  prcesentiret  sieh  vor  einen  Mittdntzer,  wie 
jJin  Julius  siehet  spricht  er. 

Sieh  sieh  wer  ist  der,  es  mag  wol  keine  geringe 
Person  vnd  vns  zu  ehren  anhero  kommen  seyn.  Geht 
zu  jhm,  willkommen  willkommen,  mein  Freundt,  wollet 
jhr  vns  zu  Ehren  ein  Tantzlein  mit  vollnbringen? 

{Eomulus  schweiget  still,  wil  nicht  reden,  machet 
tieffe  JReverentz. 

DlENER. 

Gnadigster  Printz,  ich  vernehme  es  wird  ein  Stu- 
dent von  Padua  seyn,  so  also  vermummet  E.  F.  G. 
Beylager  hat  wollen  condecoriren  helffen,  denn  diesel- 
ben  solches  wol  in  Gebrauch  zu  haben  pflegen. 

JULIUS. 

Nun  so  thue  ich  mich  kegen  euch,  jhr  seyd  wer  jhr 
wollet  gnadig  bedancken,  vnd  thue  euch  meine  aller- 
liebste  hiemit  ein  Frantzosisch  Tantzlein  zu  vollnbrin- 
gen, vbergeben. 

ROMULUS  acceptiret  sie,  machet  hohe  Eeverentz  so  wol 
kegen  dem  Breutgam,  als  Braut,  wie  er  aufsgetantzet, 
prcesentiret  er  sie  den  Breutgam  wieder,  vnd  spricht  zu 
Julio. 

Gnadigster  Printz,  E.  F.  G.  wolle  nun  mit  seiner 
liebsten  Princessin,  auch  ein  Tantzlein  verrichten  E.  F.  G. 
lasse  jhr  doch  wie  es  dero  nicht  zu  wieder,  den  Tra- 
gaedien  Tantz  auffmachen. 

JULIUS. 

Warurnb  dafs  mein  Freundt?  Warumb  nicht  ein 
andern  lustigen  Tantz. 

DIENER. 

O  gnediger  Fiirst  vnd  Herr  es  ist  ein  prave  Tantz, 
gehet  sehr  schon  vnd  lieblich,  vnd  gezimet  wol  solchen 
Personen,  als  E.  F.  G.  zu  tantzen. 


HYPPOLITA. 

Dear  love,  the  musicians  were  not  amiss;  but  the 
comedians  pleased  me  mightily,  for  each  acted  his  part 
splendidly. 

PRINCE. 

What,  what,  ho!  what  are  you  two  about?  Come, 
let  us  be  mirthful  at  this  wedding.  Young  Prince,  how 
is  it  you're  so  still?  Lead  your  bride  out  to  the  dance! 

JULIUS. 

My  gracious  lord  and  father,  we  will  now  begin. 
Ho!  musicians,  strike  up,  give  us  a  merry  measure. 

[The  dancing  begins.  When  it  is  finished,  Eomulus 
and 'others  enter  masked;  he  presents  himself 
to  a  partner,  Julius  remarks  him  and  speaks: 

Ha !  see,  who  is  he  ?  It  is  most  surely  no  low  per- 
son, who  comes  hither  to  do  us  honour.  Let  us  go  to 
him.  Welcome,  welcome,  my  friend!  we  pray  you,  do 
us  the  honour  of  joining  in  the  dance! 

{Eomulus  remains  silent,  he  will  not  speak,  bows 
low. 

SERVANT. 

Most  gracious  prince,  I  have  learned  that  this  mask 
may  be  a  student  from  Padua,  come  to  grace  your 
princely  festivities,  as  is  their  custom. 


JULIUS. 

Be  ye  who  ye  may,  I  thank  you  graciously  for 
your  presence  and  give  you  my  sweetheart  as  partner 
in  a  French  dance. 


ROMULUS  accepts  her,  bows  profoundly  to  the  bridegroom 

as  also  to  the  bride.     The  dance  finished,  he  presents  her 

to  the  bridegroom  and  speaks  to  Julius: 

Most  gracious  prince,  I  pray  your  grace  to  try  a 
dance  with  your  sweet  princess,  the  tragedy  dance,  if 
your  grace  has  no  dislike  to  it. 

JULIUS. 

Wherefore  that,  my  friend?  Why  not  some  other 
merry  dance? 

SERVANT. 

My  gracious  lord  and  prince,  it  is  a  brave  dance, 
goes  very  sweetly  and  beautifully,  and  it  becometh  well 
such  persons  as  your  grace,  to  dance  it. 


153 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


154 


JULIUS. 

So  machet  auff  jhr  Musicanten,  machet  auff  den 
Tragsedien  Tantz. 

[Die  Musicanten  machen  auff,  Julius  tantzet  mit 
der  Brant,  vnter  dessen  giebt  sich  Romulus 
zuerkennen,  zeucht  die  Kappen  ab,  vnd  mit 
blossen  Dolch  spricht  er  zu  Julio. 

ROMULUS. 

Sieh  du  vntrewer  verrahterlicher  Mensch  kennestu 
mich  noch  wol.  Siehe  hie  diese  Tragaediam  hastu  ge- 
tantzet. 

[Ersticht  jhn  mit  den  Dolchen  vnd  wirfftjhn  her- 
nach  auff  die,  Erden,  der  Fiirst  vnd  seine 
Tochter  erzitternfur  schrecken,  Romulus  spricht 
zu  jhr. 

Vnd  du  vntreweste  Creatur,  warumb  bistu  mir  so 
vntrew  worden,  ist  die  recompens  meiner  getrewen  be- 
!  standigen  Liebe?  O  Hyppolita,  Hyppolita,  ist  deine 
Liebe  so  gering  kegen  mir  gewesen,  vnd  hast  dich  von 
mir  deinen  getrewen  Liebhaber  zu  dem  Schandtfleck 
aller  Manspersonen,  den  vngetrewen  Julio  gewandt. 

HYPPOLITA. 
[Ist  noch  in  der  Meynung,  dz  Romulus  die  Brieffe 

geschrieben. 

O  weh,  O  weh,  wie  angst  ist  meinen  jungen  be- 
triibten  Her<<zen,  O  weh,  O  weh,  sol  dann  nun  vmb 
meinet  willen  vngestrafft,  ein  solcher  Mordt  geschehen, 
Nein  nein  das  mufs  nicht  seyn,  sondern  hiemit  .wil  ichs 
biissen. 

[Nimpt  den  Dolch  von  der  Erden  auff,  vnd  ersticht 
sich. 

FURST. 

O  du  Morder,  eines  schrecklichen  Todes  mustu 
sterben. 

ROMULUS. 

Ja  frewlich,  ja  ja  das  wil  ich  auch  thun,  aber  dafs 
ich  den  Schaum  vnd  Vnflat,  aller  bosen  Menschen,  den 
vngetrewen  Verrahter  erstochen,  habe  ich  grosse  Vr- 
sach,  vnd  wenn  ichs  nicht  gethan,  wo  It  ich  es  noch 
thun.  Von  grosser  Qual  vnnd  Hellen  Angst  meines 
Hertzens,  kan  mein  Mundt  kein  Wort  mehr  reden. 
Dennoch  solt  jhr  wissen,  dafs  ich  die  Brieffe  nicht  ge- 
schrieben, sondern  dieser  verfluchte  vntrewe  Mensch, 
hat  es  aufs  lauter  Falschheit  Vntrew  vnd  Abgunst  in 
meinen  Namen  verfertiget,  vnd  diese  jammerliche  Tra- 
gsedien angerichtet.  Aber  diese  Princessin,  die  arme 
Creatur  hat  sich  erbarmlich,  vnd  vnschuldig  vmb  jhr 
i  Leben  gebracht.  Nun  nun  wil  ich  jhr  in  der  Vnschuldt 
vnnd  Tode,  gleicher  Gesellschafft  leisten.  O  Fortuna, 


JULIUS. 

Ho!  musicians,  strike  up  then,  strike  up  the  tra- 
gedy dance. 

[The  musicians  strike  up,  Julius  dances  with  his 
bride,  meanwhile  Romulus  discovers  himself, 
draws  off  Ms  cap  and  speaks  to  Julius  with 
a  naked  dagger  in  his  hand. 

ROMULUS. 

Look,  perfidious  treacherous  wretch,  dost  thou  re- 
cognize me?  See  here  this  is  the  tragedy  thou  hast 
danced. 

[He  stabs  him  with  the  dagger  and  then  throws 
him  to  the  ground.  The  prince  and  his  daugh- 
ter tremble  with  terror.  Romulus  speaks  to  her: 

And  thou,  most  faithless  creature,  wherefore  wert 
thou  false  to  me  ?  Is  that  the  recompense  of  my  true  and 
constant  love?  O  Hyppolita,  Hyppolita  I  was  then  thy 
love  for  me  so  slight  that  thou  could'st  turn  from  me, 
thy  true  and  faithful  lover,  to  that  plaguespot  amongst 
mankind,  that  false  Julius? 

HYPPOLITA. 
[Still  believing  that  Romulus  had  written  the  letters. 

Woe,  woe  is  me!  What  anguish  for  my  sad  young 
heart!  alack  and  well-a-day,  shall  such  a  foul  murder, 
committed  for  my  sake,  pass  unrevenged?  Nay,  nay, 
that  must  not  be,  thus  shall  I  expiate  it. 

[Raises  the  dagger  from  the  ground  and  stabs  her- 
self. 

PRINCE. 
O  thou  murderer!  thou  must  die  a  dreadful  death. 

ROMULUS. 

Ay  verily,  ay,  ay,  I  will  do  that  too,  but  for  stabb- 
ing that  false  traitor,  that  scum  and  dregs  of  mankind, 
I  had  great  cause;  and  were't  not  done  I'd  do  it  still. 
The  torments  and  anguish  of  the  hell  within  me  prevent 
my  utterance.  Nevertheless  be  it  known  to  you,  that  it 
was  not  I  who  wrote  the  letters,  but  this  false  accursed 
man,  out  of  falsehood,  perfidy,  and  spite,  devised  them  in 
my  name  and  brought  about  this  miserable  tragedy.  But 
this  princess,  poor  creature,  has  miserably  and  innocently 
taken  away  her  own  life.  Well,  I  will  bear  her  company 
in  innocence  and  death  alike.  O  Fortuna,  Fortuna,  see- 
ing thou  hast  so  sorely  deprived  us  of  thy  favours,  I 
will  sacrifice  myself  in  defiance  of  thee  and  the  whole 
world.  Ho !  take  example  by  me  ye  deceitful  hearts,  ho ! 


155 


TRAGEDY  OF  JULIUS  AND  HYPPOLITA. 


156 


Fortuna,  diewil  du  vns  deine  Gaben  so  sehr  entzogen, 
wil  ich  dir  vnnd  der  gantzen  Welt  zu  Trotz  mein 
Leben  dahin  opffern,  buy  nempt  ein  Exempel  jbr  be- 
triiglichen  Hertzen,  buy  nempt  ein  Exempel  jhr  ge- 
trewen  Hertzen,  nempt  ein  Exempel  jbr  Liebhaber, 
nehmt  ein  Exempel  jhr  Liebhaberin,  vertrawet  keinem 
als  ewern  eigen  Hertzen.  Ade  ade. 

[Ersticht  sich. 
FURST. 

Ach  web  vnnd  vber  web,  dafs  ich  solch  elend  ja 
erbarmliche  Tragaedien,  babe  mit  meinen  betrubten  Au^ 
gen  ansehen  miissen.  Nun  nun  schwere  ich  bey  alien 
Gottern,  dafs  ich  die  Tage  meines  Lebens  in  keines 
Menscben  Angesicht  hinfuro  mehr  kommen  wil,  son- 
dern  wil  alfsbald  in  einen  finstern  vnnd  wilden  Waldt 
gehen,  vnnd  ein  Einsiedels  Leben  fiihren,  mit  meinen 
Fingern  wil  ich  eine  Hole  in  die  Erden  graben,  vnnd 
darin  mein  stetiges  Lager  haben.  Neun  Stunden  lang 
wil  ich  mein  Andlitz  taglich  zur  Erden  legen,  vnnd 
vmb  meiner  Tochter  todt  schreyen  vnnd  weinen,  die 
Wurtzeln  sollen  meine  Speise,  vnnd  dafs  Brunnwasser 
mein  Getranck  seyn,  ich  wil  nicht  auffhoren  mit  schreyen 
vnnd  jammerlichen  Wehklagen,  bifs  der  grimmig  Todt 
sein  gifftig  Pfeil  durch  mein  zermalmtes  vnnd  betriibtes 
Hertz  schiessen  wird.  Nun  ade  Ade  du  bose  Welt, 
ein  einsam  Leben  mir  jetzt  gefelt.  Ich  gehe  jetzt  bin 
mein  Strassen  thue  dich  gantzlich  verlassen,  Ade  Ade. 


FINIS. 


take  example  by  me  ye  faithful  hearts,  take  example 
ye  lovers,  take  example  ye  fair  ladies,  trust  to  no  heart 
but  to  your  own.  Farewell,  farewell. 

[Stabs  himself. 


PRINCE. 

Ah!  woe  and  thrice  woe,  that  my  sad  eyes  have 
beheld  such  pitiful  distressful  tragedies!  Now,  now  I 
swear  by  all  the  gods,  that  henceforth  I  will  no  longer 
live  in  the  sight  of  man,  but  go  into  a  dark  savage 
wood  and  lead  a  hermit's  life,  with  my  fingers  will  I  dig 
a  hole  in  the  earth,  and  there  will  I  make  my  nightly 
couch.  Every  day  will  I  lie  for  nine  hours  with  my  face 
to  the  earth,  and  cry  and  weep  for  my  daughter's  death. 
Roots  shall  be  my  food,  and  water  from  the  well  my 
drink.  I  will  not  cease  my  cries  and  pitiable  lamenta- 
tions, till  grim  death  has  shot  his  poisoned  arrow  into 
my  bruised,  afflicted  heart.  Now  farewell,  farewell  thou 
wicked  world,  a  solitary  life  is  now  my  sole  desire.  I 
go  from  hence  and  quit  for  ever  thy  frequented  paths. 
Adieu,  adieu! 


THE  END. 


TRAGEDY  OF  TITUS  ANDRONICUS 


ACTED  IN  GERMANY,  ABOUT  THE  YEAR  1600,  BY  ENGLISH  PLAYERS. 


The  TRAGEDY  OF  TITUS  ANDRONICUS  forms  part  of  the  first  volume  of  "Englische  Comedien  vnd  Trage- 
dien",  1620,  12mo,  reprinted  in  1624,  12mo.  Republished  by  LUDEWIG  TIECK,  in  Deutsches  Theater,  Band  I, 
Berlin  1817,  in-8vo,  pag.  367—407. 

In  the  present  impression  the  first  edition  of  1620  has  been  strictly  followed.  In  the  latter  the  play 
occupies  folio  Nn,  4  verso  to  folio  Ss,  4  recto,  and  is  entitled: 

VIII. 

€ine  feljr  klfiglidje  Tragsedia  tion 

Tito  Andronico  tw&  tor  j)0flferti0en 

^tatjferin,  fcarinnen  bencknwrMge 

actiones  jttbffm&en. 

(A  MOST  LAMENTABLE  TRAGEDY  OF  TITUS  ANDRONICUS  AND  THE  HAUGHTY  EMPRESS,  WHEREIN  ARE  FOUND 

MEMORABLE  EVENTS.) 


TRAG^DIA 
VON  TITO  ANDRONICO. 


Person  <B. 

VESPASIANUS. 

ROMISCHE  KAYSEB. 

TITUS  ANDRONICDS. 

ANDRONICA. 

^ETIOPISSA  Konigin  aufs  Mohrenland.    Kftyserin. 

MORIAN. 

HELICATES  Konigin  aufs  Mohren,  erster  Sohn. 
SAPHONUS  Konigin  aufs  Mohren,  ander  Sohn. 
ANDRONIC.S:  GEMAHL. 
VICTORIADES. 

BOTE. 

WEISE  WACHTER. 


ACTUS  PRIMUS. 

1  Jetzt  kompt  her  aufs  Vespasianus  vnd  hat  die  Edmische 
'Krone  in  der  Hand.  Titus  Andronicus  hat  ein  Lorbeer 
'•Krantz  auff  seinem  Hdupte,  ouch  kompt  der  Keyser,  aber 
:damalen  war  er  noch  nicht  Romischer  Keyser.  Audi  die 
^Konigin  aufs  Morenlandt,  welche  schb'n  vnd  weifs,  sampt 
jhren  zween  Sohnen;  vnd  der  Morian,  welcher  schwartz 
vnd  geringe  Gewandt  vber  seine  prechtige  Kleider  gezogen, 
vnd  welcher  der  Kb'niginnen  Diener,  vnd  heimlich  mit  jhr 
'buhlet.  Diese  mere  aber  hat  Titus  Andronicus  gefangen 
genommen.  Auch  ist  da  die  Andronica. 

VESPASIANUS. 

Jhr  edelen  Romer  wisset  euch  zu  entsinnen,  wie 
dafs  vnser  Kayserthumb  jetzt  leer  vnd  verstorben  ist, 
;derhalben  wil  sich  gebiihren,  dafs  man  bey  Zeite  darzu 
sehe,  dafs  ein  Kayser  wiederumb  erwelet  werde,  damit 
sman  die  grosse  Vneinigkeit  vnd  Zanck  des  gemeinen 
'Mannes  mtige  zuvor  kommen.  Weil  ich  dann  nun  kei- 
men  andern  wiiste,  dem  es  solte  zuerkandt  werden,  als 
diesem  Titum  Andronicum,  weil  er  jetzt  der  vornembste 
vnd  neheste  darzu  ist,  auch  niemandt  in  dieser  Stadt 
vRom,  der  sich  besser  vmb  sie  verdienet,  mit  blutigen 
gefehrlichen  Kriegeswesen,  als  er,  vnd  auch  ein  jeglich 


TRAGEDY 
OF  TITUS  ANDRONICUS. 


Persons  represented: 

VESPASIAN. 

THE  ROMAN  EMPEROR. 

TITUS  ANDRONICUS.    / 

ANDRONICA.  4.^" 

^ETIOPISSA,  Queen  of  Ethiopia,  Empress. 

MORIAN. 

HELICATES,  eldest  son  of  JStiopissa. 

SAPHONUS,  second  son  of  ^Etiopissa. 

CONSORT  OF  ANDRONICA. 

VICTORIADES.      :  *>-  »U-  ^ 

MESSENGER. 

WHITE  GUARDS. 


ACT  I. 

Enter  Vespasian  with  the  Boman  Crown  in  his  hand; 
Titus  Andronicus  with  a  laurel- crown  on  his  head;  the 
Emperor  of  Some  that  was  to  be.  The  Queen  of  Ethio- 
pia, lovely  and  of  fair  complexion,  together  with  her  two 
sons;  Morian,  the  Queens  attendant  and  pafamour,  with 
a  plain  black  mantle  over  his  handsome  dress.  The  four 
last  are  captives  of  Titus  Andronicus.  Andronica. 


VESPASIAN. 

JNoble  Romans,  it  is  well  known  to  you,  how 
that  our  Empire  is  now  vacant  and  demised,  wherefore 
it  is  meet  to  look  to  it  in  time  that  an  Emperor  is 
elected,  that  we  may  ward  off  discord  and  strife  in  the 
commonalty.  And  as  1  know  no  other  fitting  candi- 
date than  this  Titus  Andronicus,  in  as  much  as  he  is 
the  most  exalted  and  the  best  entitled;  and  as  there  is 
no  man  in  this  city  of  Rome  whose  deserts  to  her  in 
bloody  and  perilous  battles  were  greater  than  his;  and 
as  every  body  loudly  says  that  the  Roman  crown  is 
due  to  him  by  right,  so  let  us  all  wish  him  joy,  place 

11 


TRAGEDY  OF  TITUS  ANDRONICUS. 


164 


Mann  schreyet,  dafs  jhm  von  Rechtes  wegen  die  R6- 
mische  Krone  gebiihret  zutragen.  So  last  vns  sa'mpt- 
lich  jhn  darzu  Gliick  wiinschen,  die  Krone  auff  sein 
Ha'upt  setzen,  vnd  jhn  allezeit  fiir  vnsern  gnadigsten 
Keyser  halten  vnd  ehren. 

KEYSER. 

Was?  solte  nun  Titus  Andronicus  die  Krone  fiir 
mich  auff  sein  Ha'upt  setzen,  nein,  nimmermehr  mufs 
das  geschehen,  dann  ich  der  neheste  bin,  vnd  sie  mir 
von  Rechteswegen  gebiihret  zutragen.  Derhalben  jhr 
Romer  bedencket  euch  wol  vnd  weifslich  was  jhr  thut, 
damit  in  dieser  edelen  Stadt  Rom  sich  kein  Auffruhr 
vnter  vns  errege,  vnd  sie  nicht  in  Noth  vnd  Gefahr 
komme. 

TITUS  ANDRONICUS. 

Ihr  Romer  solt  wissen,  dafs  mir  doch  nichtes  vmb 
dieses  Keyserthumb  zu  thunde  ist,  dann  ich  nun  ein 
alter  betagter  Mann,  vnd  die  Zeit  meines  Lebens  in 
steten  vnd  gefahrlichsten  Kriegen  mich  habe  gebrauchen 
lassen.  Ob  nun  wol  alle  Stimmen  auff  mich  gehen,  vnd 
ein  jeglich  Mann  mir  das  Keyserthumb  zueignet.  So 
sollet  jhr  dennoch  sehen,  dafs  ich  vmb  Friedes  willen 
gerne  einem  andern  vbergeben  wil,  dafs  durch  concor- 
diam  vnd  Eintracht  zwischen  dem  Keyser  vnd  dem 
Rathe,  auch  dem  gemeinem  Manne  ist  Rom  das  Ha'upt 
der  gantzen  Welt  geworden,  solte  denn  nun  in  der 
Mawren  an  despennation  vnd  Zweytracht  sich  erheben, 
so  wu'rde  es  mussen  zu  grunde  gehen.  Derhalben  wil 
ich  die  Hoffart  an  die  Seite  werffen,  vnd  mich  vielmehr 
der  Demuth  befleissigen :  So  kompt  jetzt  alle  heran, 
vnd  lasset  vns  den  Keyser  kronen,  wiinschet  jhm  alle 
mit  lauter  Stimme  Gliick  vnd  Heil. 

[Titus  Andronicus  setzet  jhm  die  Krone  auff  sein 
Hdupt,  vnd  sag  en  alle  mit  lauter  Stimme: 

Langes  Leben,  viel  Gliick  vnd  Heil,  wiinsche  ich 
dem  vnuberwindlichsten  vnd  Grofsma'chtigsten  Romi- 
schen  Keyser. 

KEYSER. 

Nun  meine  liebe  Getrewen,  weil  jhr  mich  dann 
fiir  eweren  Keyser  erwehlet,  vnnd  haltet,  so  verpflichte 
ich  mich  auch  widerumb  euch  mit  sonderlichen  Frey- 
heiten  zu  privilegiren,  Leib  vnd  Blut  mit  euch,  fiir  vnser 
Vaterlandt,  wagen,  vnd  allzeit  mit  trewen  meynen.  Vnd 
Titus  Andronicus  die  jhr  mir  dieses  Keyserthumb  gerne 
vnd  willig  vmb  der  gemeinen  Nutz  vnd  Friedes  willen, 
vbergeben,  bin  ich  sonderlich  mit  grosse  liebe  vnd  Trewe 
gewogen,  begehre  derhalben  ewre  schone  Tochter  An- 
dronica  fur  meine  Keyserin,  vnd  sol  heute,  wie  eine 
Keyserin  gekronet,  vnd  mir  vermahlet  werden,  so  jhr 
ein  Gefallen  dran  habet. 


the  crown   on  his  head,   and  consider   and   honour  him 
as  our  most  gracious  Emperor. 


EMPEROR. 

What!  shall  Titus  Andronicus  place  the  crown  on 
his  head  instead  of  me?  No,  that  shall  never  happen, 
for  1  am  the  next  heir  and  it  belongs  to  me  by  right. 
Therefore  Romans,  consider  well  and  wisely  what  it  is 
ye  do,  that  there  may  be  no  insurrection  in  our  noble 
city  which  might  place  it  in  great  peril. 


TITUS  ANDRONICUS. 

Romans!  you  shall  know,  that  I  care  nought  for 
Imperial  rule,  for  I  am  now  far  advanced  in  years,  and 
have  been  engaged  all  the  days  of  my  life  in  long  and 
perilous  wars.  Although  all  voices  are  for  me,  and 
everybody  bestows  the  Imperial  title  upon  me,  you  shall 
see,  that  for  the  sake  of  peace  I  will  make  way  for 
him;  for  it  is  by  concord  and  unison  between  the  Em- 
peror, the  Senate,  and  the  commonalty,  that  Rome  has 
become  the  head  of  the  whole  world.  Should  dissension 
now  arise  within  her  walls,  it  would  infallibly  work  her 
ruin.  Therefore  I  will  now  give  up  all  pride,  and  will 
practise  humility:  So  come  and  let  us  crown  the  Em- 
peror, let  us  salute  him  with  uplifted  voices. 


[He  places  the  crown  on  the  Emperor's  head,  and 

all  cry: 

Long  lifjp  and  great  happiness  to  the  invincible  and 
most  powerful  Roman  Emperor! 

EMPEROR. 

Well  then  beloved  citizens,  as  you  elect  and  con- 
sider me  your  Emperor,  I  bind  myself  in  return  to  grant 
you  privileges  and  special  liberties,  to  stake  with  you 
my  life  and  blood  for  our  beloved  country,  and  ever  to 
act  in  good  faith.  And  to  you  Andronicus,  who  for 
the  common  weal  and  the  sake  of  peace  willingly  gave 
up  the  Imperial  crown  to  me,  I  am  beholden  in  love 
and  fidelity,  and  therefore  solicit  your  fair  daughter 
Andronica  as  my  Empress,  and  she  shall  be  crowned 
to-day  and  be  wedded  to  me,  an  it  please  you. 


165 


TRAGEDY  OF  TITUS  ANDRONICUS. 


166 


TITUS  ANDRON: 

Grofsmachtigster  vnd  vniiberwindlichster  Keyser, 
i  ich  lafs  mir  solches  sonderlich  wol  gefallen,  dafs  er 
i  meine  hertzliebe  Tochter  Andronicam  zur  Keyserin  be- 

•  gehret,  damit  desto  mehr  Friede  vnd  Freundschafft  vnter 
'  vns  losiren,  so  vbergebe  ich  euch  hiermit  meine  Tochter, 

•  vnd  wunsche    euch  beyde   ein  friedsames,    langes  vnd 
;  gliickseliges  leben. 

[Vbergibt  jhm  seine  Tochter,   der  Keyser  nimpt 
sie  ley  der  Hand. 

KEYSER. 

In  grossen  Ehren  vnd  Wiirden  sol  sie  von  mir  ge- 
i  halten  werden,  aber  ich  bitte,  saget  mir,  was  seyn  das 
i  fur  welche,  die  da  hinter  euch  stehen. 

TITUS  ANDRONICUS. 

Grofsmachtigst  Keyser,  dieses  Weibesbild  ist  die 
Konigin  aufs  Morenlandt,  die  zweene  seyn  jhre  Sohne, 
der  Schwartze  aber  ist  jhr  Diener,  welche  ich  alle  ge- 
fanglich  mit  mir  aufs  ^Etiopia  mithero  gebracht. 

KEYSER. 

Sie  thun  mir  sonderlich  wolgefallen,  fiirnemblich 
das  Weibliche  Creatur,  vnd  wolte  wiinschen,  dafs  sie 
meine  mochten  seyn. 

TITUS  ANDRONICUS. 

Grofsmachtigst  Keyser,  so  sie  Ewer  May  :  gefallen, 
wil  ich  sie  jhm  wol  verehret  haben. 

[Nimpt  die  Konigin,  vnd  fiihrt  siefilr  den  Keyser. 
Also  Konigin  aufs  Mohrenlandt,  spreche  ich  euch 
jetzt  von  mir  frey  vnd  lofs,  vnd  schencke  euch  hie  mei- 
nem  gnadigen  Herrn  Keysern. 

^ 
KONIGIN  AUSS  MOHRENLANDT. 

Grofs  vnd  machtig  Keyser  von  Rom,  ich  bin  jetzt 
sampt  meinem  Sohne  vnd  Diener  E.  May:  Gefangene, 
vbergeben  vnd  offeriren  vns  selbst  Ewer  May:  fur  seine 
geringste  Diener,  er  mache  es  mit  vns  was  sein  Wille  ist. 
KEYSER. 

Schone  Konigin  aufs  Morenlandt,  ich  bin  euch  gun- 
stig,  vnd  in  grossen  Gnaden  sampt  den  ewrigen  gewo- 
gen:  Derhalben  seyd  nicht  melancholisch  vnd  betriibet, 
sondern  fasset  ein  frolich  Gemiithe,  denn  zu  grossen 
Dingen  wil  ich  euch  erheben,  vnd  solt  bey  ewrem  vo- 
rigen  Stande  gleich  einer  Hochgebornen  Koniginnen  ge- 
i  halten  werden. 


Allergnadigster  vnd  Grofsmachtigster  Keyser,  fur 
idiese  grosse  Gnade,  thue  ich  mich  gegen  E.  May:  in 
•  Vnterthanigkeit  bedancken. 


TITUS  ANDRONICUS. 

Most  mighty  and  invincible  Emperor  I  am  right 
well  pleased  that  you  solicit  my  most  beloved  daughter 
for  your  Empress,  that  there  may  reign  more  peace 
and  friendship  between  us.  I  hereby  give  you  my 
daughter,  and  wish  you  both  a  peaceful  long  and  happy 
life. 


[Presents  him  his  daughter, 
her  hand. 


The  Emperor  takes 


EMPEROR. 

She  shall  be  held  by  me  in  high  respect  and  ho- 
nour. But  pray  tell  me  who  are  those  who  stand  behind 
you? 

TITUS  ANDRONICUS. 

High  and  mighty  Emperor,  this  woman  is  Queen 
of  Ethiopia,  those  two  are  her  sons,  the  black  man  is 
her  attendant,  all  of  whom  I  brought  away  with  me 
as  captives  from  Ethiopia. 

EMPEROR. 

They  please  me  right  well,  and  the  woman  in  par- 
ticular. I  could  wish  they  were  mine. 

TITUS  ANDRONICUS. 

High  and  mighty  Emperor,  an  they  please  your 
Majesty,  accept  them  as  presents  from  me. 

[Presenting  the  Queen  to  the  Emperor. 
And  thus  Queen  of  Ethiopia  do  I  release  you,  and 
present  you  to  my  gracious  Lord  and  Emperor. 


High   and  mighty  Emperor  of  Rome,    I   am   now 
together  with  my  sons  and  servants  your  Majesty's  cap- 
tives.   We  surrender  and  offer  ourselves  to  your  Majesty, 
as  your  most  humble  servants;  dispose  of  us  at  will. 
EMPEROR. 

Beautiful  Queen  of  Ethiopia,  I  am  favourably  dis- 
posed to  you  and  yours.  Therefore  grieve  and  repine 
not,  but  be  of  good  cheer;  for  I  will  raise  you  to  high 
position,  and  you  shall  be  maintained  in  your  former  sta- 
tion as  a  high  born  Queen. 


Most  gracious   and   high  and  mighty   Emperor,   I 
thank  your  Majesty  most  humbly  for  this  great  favour. 


11* 


167 


TRAGEDY  OF  TITUS  ANDRONICUS. 


168 


KEYSER. 

Nun  die  Zeit  ist  verflossen,  so  last  vns  jetzt  nur 
samptlich  hinein  kehren. 

[Gehen  hinein,  der  Morian  bleibet. 
MORIAN. 

Lafs  mich  auch  nu  diese  alte  Lumpen  ablegen,  weil 
ich  sehe,  dafs  meine  heimliche  Bulinne  Gunst  vnd  Gnad 
beym  Keyser  hat. 

[Ziehet  den  alien  Rock  abe. 

Denn  ich  hoffe  sie  wird  noch  vielmehr  grosser 
Gnad  vnd  gratia  bey  jhm  erlangen,  vnd  mit  jhrem 
schmeichel  vnd  liebkosen  zu  wege  bringen,  dafs  er  sie 
lieb  gewinne,  vnd  Keyseriri  in  Rom  werde,  wenn  dann 
das  also  kerne,  so  mache  ich  den  Keyser  warlich  zum 
Hanrey,  vnd  treib  vielmehr  meine  Lust  vnd  Frewde  mit 
jhr,  denn  der  Keyser.  Aber  ein  jeglicher  meynte,  ich 
were  nur  der  Koniginnen  Diener,  nein  warlich,  ich  bin 
allzeit  jhr  heimlicher  Buhle  gewest,  vnd  vielmehr  bey 
jhr  geschlaffen,  denn  der  Konig  aufs  Morenlandt  jhr 
Gemahl,  dafs  er  auch  zuletzt  Vnrath  an  mir  vnd  der 
Koniginnen  vermercket,  liefs  derhalben  grosse  acht  auff 
mich  haben,  dafs  ich  nicht  zu  jhr  kommen  kondte,  wor- 
iiber  dann  die  Konigin  auff  jhrem  Gemahl  sehr  vnge- 
duldig  war,  dafs  ich  nicht,  weil  er  mich  so  sehre  be- 
wachen  liefs,  in  vierzehen  Tagen  nicht  kundte  zu  jhr 
kommen,  dann  der  Keyser  kundte  jhr  nicht  halb  so 
wol  die  Lauten  schlagen,  denn  ich.  Nam  derhalben 
veniam,  vnd  vergab  jhme  damit  in  ein  Becher  Weins, 
jhren  Konig,  dafs  ich  also  meinen  freyen  Pafs  wieder 
zu  jhr  hette:  Ja  viele,  die  meine  Bulinne  vnd  mich  nicht 
gerne  da  sahen,  habe  ich  heimlich  in  jhre  Schlaffkammer 
bey  Nachte  ermordet,  tausendt  vnd  tausendt  Schelmerey 
vnnd  Rauberey  hab  ich  vollenbracht,  vnd  duncket  mir 
gleichwol,  dafs  ich  noch  nicht  genung  Schelmerey  ge- 
than  habe,  ja  der  Konig  selbst,  vnd  ein  jeglich  Mann, 
hatten  eine  grosse  Furcht  fiir  mir,  wegen  meinen  grosse 
Ritterlichen  Thaten  vnd  Kriegesmacht,  dann  ich  allewege 
in  Schlacht  Ordnungen,  auch  gefehrlichen  Kriegen  vmb 
mich  geschlagen,  gleich  wie  ein  grimmiger  Lowe,  auch 
nicht  wie  ein  Mensche,  sondern  wie  ein  lebendiger 
Teuffel,  dafs  ich  nun  zu  letzt  durch  alle  Welt,  durch 
meine  grosse,  vnmenschliche  Mannliche  Thaten  bin  be- 
kandt  worden,  vnd  mir  der  Name  gegeben,  der  Blitz 
vnd  Donner  aufs  Moren  Land:  Dieses  mein  Geschrey 
kam  auch  zuletzt  fiir  die  Romer,  die  sich  dann  mit  ge- 
waltiger  Hand  auffmacheten,  vnd  zu  vns  in  ^Etiopia 
kamen,  verhereten  vnd  verderbeten  das  Land  so  graw- 
sam,  wie  niemalen  mag  erhoret  seyn.  Ich  aber  machete 
mich  da  gegen  sie  auff,  mit  meinem  Heere,  in  Mey- 
nung,  sie  solten  mich  nicht  viele  Wesens  machen,  vnd 


EMPEROR. 

Time  is  growing  short,  so  let  us  now  all  go  in. 
[Exeunt.     Morian  remains. 

MORIAN. 

Let  me  now  put  off  these  old  rags,  as  I  see  that 
my  secret  mistress  has  the  good  favour  of  the  Em- 
peror. 

[Takes  off  the  old  mantle. 

For  I  hope,  that  she  will  obtain  higher  favours  of 
him,  and  so  manage  him  with  flattery  and  caresses, 
that  hjs  will  become  so  fond  of  her,  as  to  make  her 
Empress  of  Rome.  And  if  that  really  comes  to  pass, 
I  vow  I  will  make  a  cuckold  of  the  Emperor,  and 
will  enjoy  her  more  than  the  Emperor.  Everybody 
thought  that  I  was  merely  the  Queen's  servant;  no  in- 
deed I  have  always  been  her  paramour,  and  slept  of- 
tener  with  her,  than  the  King  of  Ethiopia  her  husband, 
so  that  he  at  last  grew  suspicious  of  me  and  the  Queen. 
He  therefore  had  me  watched  that  I  could  not  come 
to  her,  wherefore  the  Queen  became  very  impatient  of 
her  husband  and  I,  having  been  watched  closely,  could 
not  see  her  for  a  whole  fortnight,  for  the  Emperor 
could  not  satisfy  her  half  as  well  as  I.  She  therefore 
took  the  liberty  to  poison  him  with  a  cup  of  wine, 
so  that  I  had  again  free  access  to  her.  Indeed  many 
who  disliked  me  and  my  concubine  have  been  killed 
by  me  in  their  sleeping  chamber  at  night.  Thousands 
and  thousands  of  villainies  and  robberies  have  I  com- 
mitted, and  yet  it  appears  to  me  that  I  have  not  had 
enough  of  them.  The  King  himself  and  everybody  feared 
me  much  on  account  of  my  valorous  deeds  and  my 
prowess;  for  in  all  battles  and  perilous  wars  1  fought 
like  a  fierce  lion,  not  like  a  man  but  like  a  furious  devil, 
so  that  I  became  renowned  all  over  the  world  by  my 
great  superhuman  deeds,  and  obtained  the  name:  The 
Lightning  and  Thunder  of  Ethiopia.  This  fame  at  last 
also  reached  the  Romans,  who  thereupon  set  out  upon 
an  armed  expedition  for  Ethiopia,  desolating  and  de- 
vastating the  land  with  an  atrocity  such  as  has  not 
been  heard  of  within  the  memory  of  man.  So  I  set 
out  against  them  with  my  army,  thinking  to  make  short 
work  with  them  and  to  drive  them  back  in  such  a 
manner  that  none  should  return  to  Rome  alive.  But 
when  the  battle  began,  I  saw  how  dreadfully  old  Titus 
Andronicus  met  my  blows,  that  he  was  my  superior 
and  ten  times  more  daring  than  I.  Nor  have  I  seen 
in  all  the  days  of  my  life  more  warlike  and  better 
tried  troops  than  those  Romans.  I  was  quite  dismayed 
at  this,  for  I  saw  that  my  battle  array  was  thrown  into 


169 


TRAGEDY  OF  TITUS  ANDRONICUS. 


170 


wolte  sie  also  zu  riicke  treiben,  dafs  keiner  wiedermjib 
lebendig  nach  Rom  kommen  solte.  Da  sich  aber  der 
Streit  erhub  sahe  ich  wie  grewlich  der  alte  Titus  An- 
dronicus  dagegen  schlagete,  mein  Vbermann  ward,  vnd 
zehenmal  toller  denn  ich  war.  Ich  auch  die  Tage  mei- 
nes  Lebens  kein  streitbarer  oder  versucheter  Krieges- 
volck  gesehen,  als  eben  die  Romer.  Woriiber  ich  dann 
gar  verschrocken  ward,  weil  ich  sahe,  dafs  meine  Ord- 
nung  gar  zertrennet  ward,  vnd  die  meinen  dahin  ge- 
schlagen  wurden,  gleich  wie  die  Hunde.  Nicht  lange 
darnach  kam  der  alte  Titus  zu  mir  mit  eil  rennen,  vnd 
stosset  mich  mit  sein  Glene  so  grawsam  von  meinem 
Pferde  (welches  noch  niemalen  kein  Mensche  gethan) 

•  dafs  ich  auch  von  mir  selbst  nichtes  wuste,  ob  ich  le- 
bendig oder  todt  war,  vnd  zerschlugen  darnach  alle- 
sampt,  das  kein  einiger  mehr  darvon  kam.  Nahmen 

i  darnach  ein   grofs  Geldt,  sampt  mir,  die  Konigin,  vnd 

ijhren  Herren  Sohnen,  vnd  brachten  nach  Rom,  jetzt 
aber  wil  ich  hingehen,  vnd  horen  was  weiter  wird  vor- 

I  fallen. 

[Gehet  weg. 


ACTUS  SECUNDUS. 

Jetzt  kompt  heraufs  der  Keyser,  Konigin,  sampt  jhren 
zweyen  Sohnen  vnd  Morian. 

KEYSER. 

Schone  Konigin,  zehenmal  grosser  lust  vnd  Be- 
gierden  habe  ich  zu  euch  dann  zu  des  Titi  Andronici 
Tochter,  welche  ich  jhm  wieder  gesandt,  vnd  sagen 
lassen,  dafs  sie  mir  nicht  gefelt,  auch  nicht  Keyserin 
zu  Rom  wird  werden,  derhalben  sollet  jhr  nun  hinfuhro 
nicht  mehr  gefangene  Konigin  genennet  werden,  son- 
dern  Keyserin  von  Rom,  so  setze  ich  euch  jetzt  auff 
ewer  Ha'upt  die  Crone,  vnd  sollet  meine  getrewe  Ge- 
mahlin  seyn,  denn'Gottin  Venus  hat  mich  so  sehr  gegen 
euch  verwundt,  dafs  ich  auch  keine  Ruhe  habe,  ehe  dafs 
ich  ewres  stoltzen  Leibs  theilhafftig  werde. 

[Setzet  jhr  die  Krone  auff. 
KEYSERIN. 

Grofsmachtig  Keyser  diese  grosse  Ehre  vnd  digni- 
teten,  so  mir  von  Ewer  Majestat  wieder  verehret,  bin 
ich  vnwirdig.  Ob  mich  aber  auch  wol  Gottin  Venus 
sehr  vnd  hefftig  gegen  Ewer  Majestat  aufs  Blodigkeit 
nicht  diirffen  offenbaren. 

KEYSER. 

So  last  vns  nun,  meine  schone  Keyserin,  hinein 
gehen,  vnd  vnser  Zeit  in  frewden  vertreiben. 

\_Nimpt  sie  bey  der  Hand,  vnd  gehen  hinein,  Morian 
folget  ein,  die  zween  Sohne  bleiben. 


disorder,  and  my  men  beaten  like  dogs.  Presently  old 
Titus  ran  up  to  me  and  so  cruelly  threw  me  from  my 
horse  with  his  lance  (which  no  man  ever  did  to  me  be- 
fore) that  I  did  not  know  whether  I  were  alive  or  dead. 
They  then  cut  down  every  man,  that  none  escaped. 
Whereupon  they  took  rich  treasures,  together  with  me, 
the  Queen  and  her  sons,  and  brought  us  to  Rome. 
Now  I  will  go  and  watch  the  coming  events. 

[Exit. 


ACT  II. 

Enter   the  Emperor,   the  Queen  with  her   two  sons,   and 
Morian. 

EMPEROR. 

Lovely  Queen,  my  love  and  passion  for  you  is  ten 
times  greater  than  for  the  daughter  of  Titus  Andronicus, 
whom  1  have  sent  back  to  him  with  the  message  that 
I  liked  her  not;  nor  is  she  to  become  Empress  of  Rome. 
Wherefore,  from  henceforth,  you  shall  not  be  called  a 
captive  Queen,  but  Empress  of  Rome.  I  now  place 
the  crown  on  your  head,  and  you  shall  be  my  trusty 
consort;  for  Goddess  Venus  has  so  possessed  me  in 
your  favour,  that  I  shall  have  no  rest  until  I  enjoy  your 
stately  person. 

[He  places  the  crown  on  her  head. 

EMPRESS. 

Most  mighty  Emperor,  I  feel  unworthy  of  the  great 
honor  and  dignity  which  your  Majesty  bestows  on  me. 
And  although  the  Goddess  Venus  has  inflamed  me  with 
a  violent  desire  for  your  Majesty,  I  was  too  timid  to 
show  it. 

EMPEROR. 

So  let  us  then,  my  beautiful  Empress,  go  in  and 
pass  our  time  in  pleasure. 

[He  takes  her  hand.     Exeunt.     Morian  follows, 
the  two  sons  remain. 


171 


TRAGEDY  OF  TITUS  ANDRONICUS. 


172 


HELICATES. 

Hertzlieber  Bruder,  last  vns  nun  in  Frewde  vnd 
Wonne  leben,  denn  diese  vnsere  Gefengnifs  ist  vns 
nicht  zum  Schaden  vnd  Nachtheil,  sondern  gereichet 
vielmehr  zu  grossen  Ehren,  ich  frage  hertzlieber  Bruder, 
wo  wolte  vnsere  Fraw  Mutter  doch  zu  grosseren  vnd 
hoheren  Ehren  gekommen  seyn,  denn  allhie,  well  sie 
Romische  Keyserin  worden  ist. 
SAPHONUS. 

Ja  hertzlieber  Bruder,  fur  grosser  Frewde  meines 
Hertzens  kan  ich  nicht  genug  driiber  jubiliren,  denn 
im  Morenlandt  weren  wir  doch  nimmermehr  so  hoch 
erhoben  worden,  als  hie,  von  wegen  vnser  Fraw  Mut- 
ter, vnter  diesen  edlen  Romern,  die  da  vber  der  gantzen 
Welt  beschreyet  seyn,  derhalben  wolte  ich  auch  wol  mit 
frolich  seyn,  aber  einerley  peiniget  vnd  k'rancket  mein 
Hertz  sehr. 

HELICATES. 

Hertzlieber  Bruder,  solche  Betriibnifs  des  Hertzens 
mochte  ich  gerne  wissen. 

SAPHONUS. 

O  hertzlieber  Bruder,  du  solt  wissen,  dafs  ich  gegen 
die  schone  Andronica  so  hefftig  sehre  mit  Liebes  Brunst 
vmbfangen,  dafs  ich  auch  nicht  weifs  was  ich  bald  an- 
fangen  sol.  Aber  dieses  betriibet  mich  zum  meisten, 
dafs  sie  schon  einen  hat  mit  welchem  sie  vermahlet 
worden. 

HELICAT. 

Lieber  Bruder  an  demselben  liege  ich  jetzt  auch 
schwerlich  kranck,  vnd  wil  nicht  gleuben,  dafs  du  so 
hefftig  gegen  sie  solt  verliebet  seyn,  als  ich,  derhalben 
lafs  ab  von  solchen  Gedancken  denn  ich  bin  der  Elteste, 
vnd  wil  jhren  Leib  theilhafftig  werden,  derhalben  mufs 
ich  auff  Mittel  vnd  Wege  dencken,  vnd  mit  vnser  Fraw 
Mutter  Diener  darumb  consuliren,  wie  man  jhrem  Ge- 
mahle  sein  Leben  heimlich  nehme. 
SAPHO : 

Wie  Bruder,  ob  du  wol  elter  bist  denn  ich,  so  solt 
du  mir  dennoch  keinen  Abtrag  hierinnen  thun,  ich  hoffe 
habe  eben  so  viele  was  einem  Manne  gebuhret  dann 
du,  vnd  wenn  es  solte  eine  Wette  gelten,  wer  sich  zum 
meisten  in  den  Venus  Kampff  brauchen  kondte,  weifs 
ich  warlich  ich  wolte  dir  abgewinnen.  Derhalben  lieber 
Bruder,  lafs  mir  dieses  allein,  vnd  suche  dir  ein  andere, 
denn  von  dieser  wil  ich  nimmermehr  lassen,  vnd  sol 
kein  ander  darzu  kommen,  denn  nur  allein  ich. 
HELICAT. 

0  du  armer  Narre,  was  woltu  doch  breit  einem 
Weibe  zu  schaffen  geben,  nein  warlich  du  bist  nicht 
tuchtig  darzu,  lafs  abe,  lafs  abe  Bruder,  sie  mufs  meine 


HELICATES. 

Dearest  brother,  let  us  now  live  in  joy  and  plea- 
sure, for  this  captivity  is  not  to  our  disadvantage,  but 
rather  to  our  great  honour.  I  ask  you,  beloved  brother, 
where  would  our  mother  come  to  greater  honours  than 
here  as  she  has  now  become  a  Roman  Empress. 


SAPHONUS. 

Yes,  dear  brother;  my  heart  is  so  elated  that  I 
cannot  sufficiently  express  my  joy;  for  in  the  East  we 
should  never  have  been  raised  so  high  as  here  on  ac- 
count of  our  mother,  among  these  Romans  who  are  so 
renowned  all  over  the  world.  Therefore  I  would  also 
gladly  rejoice  with  you,  but  one  thing  pains  and  tortures 
my  heart. 

HELICATES. 

Dearest  brother  I  would  wish  to  know  what  ails 
your  heart. 

SAPHONUS. 

O  dearest  brother,  you  must  know  that  I  am  so 
violently  taken  with  love's  desire  for  this  fair  Andro- 
nica, that  I  know  not  what  to  do.  But  it  grieves  me 
most  to  know  that  she  is  already  married  with  an- 
other. 

HELICATES. 

Dear  brother,  I  deeply  suffer  from  the  same  illness, 
and  cannot  believe  that  you  are  so  much  in  love  with 
her  as  I;  therefore  give  up  this  idea,  for  I  am  the 
eldest  and  will  possess  her  body.  I  must  therefore  con- 
sult with  my  mother's  servant,  and  find  means  to  take 
away  her  husband's  life. 


SAPHONUS. 

Being  my  brother,  although  you  are  the  eldest,  you 
ought  not  to  thwart  me.  I  hope  that  I  have  as  much 
of  a  man  in  me  as  you;  and  if  we  were  to  lay  a  wager 
as  to  who  would  be  the  better  champion  of  Venus,  ] 
am  confident,  I  should  get  the  victory.  Therefore,  dear 
brother,  stand  not  in  my  way  and  seek  another  mistress; 
for  I  shall  never  give  this  one  up,  and  no  other  shall 
possess  her  but  myself. 

HELICATES. 

O  you  poor  fool,  how  can  you  think  of  meddling 
with  women  ?  No  in  truth  you  are  not  fit  for  it.  Give  it 
up,  brother,  give  it  up;  she  must  be  mine.  You  are  too 


173 


TRAGEDY  OF  TITUS  ANDRONICUS. 


174 


werden,   vnd   bist  gar  geringe  darzu,   dafs  du  mir  dar- 
von  solt  abdringen,  oder  aber  wir  werden   vns  darumb 
|  schlagen,  dafs  die  Hunde  das  Blut  lecken. 

SAPHO. 

Bruder  ich  sag  dafs  kein  grosser  Narr  in  der  Welt 
ist  dann  du,  dafs  ich  aber  von  jhr  solte  ablassen,  vnd 
du  sie  haben  woltest,  sol  dir  nimmermehr  angehen,  vnd 
ist  war,  dafs  sie  nur  einen  haben  kan,  derhalben  so 
ziehe  vom  Leder,  vnd  wollen  Ritterlich  darumb  kempffen, 
denn  ehe  sie  einen  andern  fur  mir  bekommen  solte, 
wil  ich  viellieber  mein  Leben  darfiir  lassen. 

HELICATES. 

Ja  Bruder  gerne,  denn  einer  von  vns  beyde  mufs 
weggereumet  werden,  vnd  sage  eben  so,  ehe  du  sie  fur 
mir  solt  theilhafftig  werden,  wil  ich  mein  Leben  auch 
dafiir  lassen,  derhalben  lafs  vns  an  einander  gehen,  vnd 
nichts  schonen,  hawe  nun  fort. 

[Hawen  schon  gegen  einander)  mittler  weile  kompt 
der  Morian,  vnd  rennet  darzwischen. 

MORIAN. 

Nicht,  nicht  jhr  Herren,  was  wolt  jhr  nun  zu  tau- 
sendt  Teuffel  anfahen,  wolt  jhr  zween  Bruder  euch  dann 
so  feindlich  einander  nach  dem  Leben  setzen,  nein  das 
sol  kurtzumb  nicht  geschehen,  weil  ich  noch  bey  euch 
bin,  vnd  gebet  euch  zu  frieden,  oder  ich  schlag  auff 
euch  beyde,  dafs  jhr  die  Elemente  krieget  dann  jhr 
wisset,  so  ich  auch  anfahe,  bin  ich  erger  denn  der 
Teuffel:  Aber  saget  mir,  was  ist  die  Vrsache,  dafs  jhr 
euch  so  sehre  gehessig  seyd. 

HELICATES. 

Mein  lieber  Morian,  jhr  sollet  wissen,  dafs  ich  hefftig 
verliebet  gegen  die  Andronica,  mein  Bruder  saget  auch 
dafs  er  sehre  gegen  sie  verliebet,  derhalben  haben  wir 
I  vns  darumb  gezancket,  ich  wil  sie  haben,  vnd  er  wil 
sie  auch  haben,  hat  mich  derhalben  den  Kampff  ange- 
boten,  weil  sie  nur  einen  kan  haben. 

MORIAN. 

Mufs  ich  nun  nicht  lachen,  dafs  sich  jhre  zwey 
vmb  eine  Jungfrawe  schlagen,  die  bereits  einen  Mann 
hat,  aber  horet  mich  Saphonus,  mich  diincket  es  were 
besser,  dafs  jhr  ewren  Bruder,  der  da  elter  ist,  die  An- 
dronica allein  liesset,  vnnd  jhr  euch  eine  alleine  aufs- 
suchet,  dann  es  seyn  mehr  schone  Romische  Frawen, 
denn  Andronica. 

SAPHONUS. 

Nein  mein  lieber  Morian,  das  kan  nicht  seyn,  denn 

in  die  Andronica  bin  ich  gar  zu  sehr  verliebet,  vnd  wil 

nimmermehr  von  jhr  lassen,  derhalben  last  vns  kempffen. 

[Saphonus  wil  wieder  zu  jhm  an,  Morian  gehet 

dazwischen. 


unworthy  to  make  me  yield,   or  we   shall  fight  it  out 
that  the  dogs  shall  lick  our  blood. 

SAPHONUS. 

Brother,  1  tell  you  there  is  no  greater  fool  in  the 
world  than  you;  you  shall  never  succeed  in  making  me 
give  her  up  to  you.  In  truth  she  can  only  have  one 
of  us,  therefore  unsheath  your  sword  and  let  us  fight 
for  her  like  true  men;  for  rather  than  permit  her  to 
have  another,  I  will  stake  my  life. 

HELICATES. 

Yes  brother,  willingly;  for  one  of  us  must  be  put 
out  of  the  way.  And  I  also  say,  rather  than  you  shall 
share  her  with  me,  I 'will  give  up  my  life.  Therefore 
let  us  have  at  each  other  and  shew  no  mercy.  Strike! 

[They  fight.     Morian  rushes  in  and  interposes. 

MORIAN. 

Not  so,  my  lords!  What  the  devil  are  you  at? 
Will  two  brothers  thus  beset  each  other  in  deadly  strife  ? 
No,  that  shall  never  be,  I  vow,  as  long  as  I  am  with 
you.  Peace!  or  I  beat  you  black  and  blue.  For  you 
know  when  I  once  begin  I  am  worse  than  the  devil 
himself.  But  tell  me  the  cause  of  your  animosity. 


HELICATES. 

My  dear  Morian,  you  must  know  that  I  am  violently 
in  love  with  Andronica.  My  brother  says  that  he  also 
loves  her  deeply.  This  is  the  cause  of  our  quarrel.  I 
wish  to  have  her,  and  he  also  wishes  to  have  her,  and 
so  he  challenged  me  to  combat,  because  she  can  only 
have  one  of  us. 

MORIAN. 

Must  I  not  laugh  to  think  that  you  would  fight  for 
a  dame  who  has  a  husband  already!  But  listen  to  me, 
Saphonus.  It  seems  to  me  that  you  had  better  leave 
Andronica  to  your  brother  who  is  your  elder,  and  seek 
one  for  yourself,  as  there  are  other  handsome  Roman 
ladies  besides  Andronica. 

SAPHONUS. 

No,  no  my  dear  Morian,  this  cannot  be;  for  I  am 
too  fond  of  Andronica  to  give  her  up.  Therefore  let 
us  fight. 

•  •  .  •       [He  makes  another  attack,  Morian  interposes. 


175 


TRAGEDY  OF  TITUS  ANDRONICUS. 


176 


MORIAN. 

Nein  nicht  also,  horet  mich  weiter,  was  diincket 
each,  dann  Helicates  verlasset  jhr  die  Andronica,  vnd 
suchet  euch  ein  andere  vnd  beste  in  gantz  Rom  aufs, 
ich  wil  euch  darzu  behulfflich  seyn  vnd  sie  verschaffen. 

HELICATES. 

Nein  ich  kan  von  sie  nicht  lassen,  denn  zu  hefftig 
sehre  bin  ich  in  sie  verliebet,  denvegen  wollen  wir  vns 
beyde  darumb  schlagen,  vnd  nicht  auffhoren,  bifs  einer 
darvon  beliegen  bleibet. 

[  Wollen  wiederumb  zusammen.,  der  Marian  stosset 
sie  mit  gewalt  von  einander. 

MORIAN. 

Was  dem  Teuifel,  wollet  jhr  dann  nun  gantz  vnd 
gar  wiederumb  zusammen,  ich  rathe  euch  noch  einmal, 
seyd  zufrieden,  oder  ich  schlage  warlich  darzwischen, 
dz  jhr  beyde  zeter  schreyt.  Vnd  horet  mich  nun  wei- 
ter, was  ich  euch  sagen  wil,  vnd  seyd  jhr  dann  da 
nicht  mit  zu  frieden,  so  weifs  ich  euch  nichts  mehr  zu 
thunde.  Weil  dann  nun  keiner  von  sie  lassen  wil,  sol- 
let  jhr  derhalben  ewer  leben  nicht  nehmen,  sondern 
ich  wil  euch  darzu  behulfflich  seyn,  dafs  jhr  Gemahl 
sol  vmbs  leben  kommen,  vnd  nehmet  sie  denn  alle 
beyde,  vnd  brauchet  sie  genugsam. 

HELICAT. 

Mein  lieber  Morian,   ich  bin  damit  gar  wol  zufrie- 
den, seyd  vns  behulfflich  darzu. 
SAPHON. 
Ich  bin  dar  auch  wol  mit  content. 

MORIAN. 

So  folget  mich  nun  jhr  Herren,  vnd  last  vns  wei- 
ter bedencken,  wie  wir  die  Sache  anfahen  sollen. 


ACTUS  TERTIUS. 

Jetzt  kompt  heraufs   der  Keyser  mit  der  Keyserin,  auch 
Titus  Andronicus. 

TITUS  ANDRON: 

Orofs  vnd  machtiger  Keyser,  ich  habe  Jhr  May: 
sampt  dero  vielgeliebten  Keyserin,  zu  ehren  eine  schone 
Hirschgejaget  auff  den  morgenden  Tag  anstellen  lassen, 
vnd  bitte  Ewer  May:  auch  die  schone  Kayserin  vnter- 
thanig,  sie  wollen  sich  in  der  Friihe  auff  der  Jaget  fin- 
den  lassen,  vnnd  die  Zeit  in  Frewd  vnnd  lust  vertreiben. 

KAYSER. 

Lieber  Titus  Andronicus  in  der  Morgens'tunde,  wil 
ich  mich  mit  meiner  schonen  Kayserin  auffmachen.  vnd 
auff  der  Jaget  erscheinen,  aber  saget  mir,  werden  viele 
Romer  mit  reiten. 


MORIAN. 

No,  not  so !  listen  to  what  I  have  to  suggest.  Sup- 
pose, Helicates,  you  were  to  give  up  Andronica,  and 
seek  another  lady  for  your  love,  the  best  in  Rome;  I 
will  assist  you  in  this. 

HELICATES. 

No,  I  cannot  give  her  up,  for  I  am  too  deeply  in 
love  with  her.  So  let  us  rather  fight  for  it,  and  not 
desist  until  one  of  us  be  killed. 

[They  close,  Morian  separates  them. 

MORIAN. 

What,  the  devil  I  Are  you  determined  to  be  at  each 
other's  throats  then?  Once  more  I  advise  you  to  keep 
the  peace,  or  else  I  shall  join  in,  till  I  make  you  both 
howl  again.  And  listen  further  to  what  I  have  to  say, 
and  if  you  are  not  pleased  then,  I  know  not  what  to 
do.  You  shall  not  kill  one  another  for  being  unwilling 
to  give  her  up;  but  I  will  assist  you  to  kill  her  hus- 
band, and  then  you  can  take  her,  and  use  her  at  your 
will. 


HELICATES. 

My  dear  Morian,  I  am  well  pleased  with  this  pro- 
posal; lend  us  your  assistance. 

SAPHONUS. 
I  am  likewise  contented. 

MORIAN. 

So  follow  me,  sirs,  and  let  us  further  consider  how 
to  go  about  the  matter. 


ACT  HI. 

Enter  the  Emperor  with  the  Empress,  also  Titus 

Andronicus. 
TITUS  ANDRONICUS. 

High  and  mighty  Emperor,  in  honor  of  your  Ma- 
jesty and  your  well  beloved  Empress  I  have  ordered 
a  stag  hunt  for  to-morrow,  and  most  humbly  beseech 
your  Majesty  and  the  fair  Empress  to  be  present  at 
an  early  hour  and  to  pass  the  time  in  joy  and  pleasure. 

EMPEROR. 

Beloved  Titus  I  will  set  out  early  in  the  morning 
with  my  lovely  Empress  to  be  present  at  the  hunt.  But 
tell  me  shall  we  be  joined  by  many  Romans? 


177 


TRAGEDY  OF  TITUS  ANDRONICUS. 


178 


TITUS. 

Ja  .Grofsmachtigster  Kayser,   zimlich   viel  werden 
allda  erscheinen,  mein  Bruder  Victoriades  Brutinen  vnd 
mein  Tochter  Androva  Gemahl. 
KAYSER. 

So,  es  ist  gut  mein  lieber  Titus  Andronicus,  wir 
wollen  vns  nun  darzu  pi-aepariren. 

[Gehen  ein. 

Nun  ist  die  Morgenstunde  heran  gekommen,  vnd  man  jaget 

die  Jdgerhorne  vnd  Trumpeten  werden  geblasen. 

Titus  Andronicus  kompt  heraufs. 

TITUS  ANDRON: 

O  wie  lieblich  vnd  freundlich  singen  jetzt  die  Vo- 
gel  in  den  Lufften,  ein  jeglich  suchet  jetzt  seine  Nah- 
rung,  vnd  die  Jaget  ist  auch  schon  angefangen,  in 
Frewde  vnd  Herrligk^it.  Aber  mein  Hertz  ist  mir  den- 
noch  beangstiget  vnd  beschweret  denn  ich  diese  ver- 
gangen  Nacht,  solch  ein  schrecklichen  Traum  gehabt, 
vnd  nicht  weifs  was  er  mir  bedeuten  wirdt.  Nun  mufs 
ich  wiederumb  zum  Kayser  reiten,  der  personlich  bey 
der  Jagt  vorhanden. 

[Gehet  weg  etc. 
Jetzt  kompt  hera^lfs  Andronica,  hat  jhr  Gemahl  bey  der 
Handt,  die  Kdyserin  kompt  jhm  entgegen,  die  Jdger  blasen. 

ANDRONICA. 

Hertzliebes  Gemahl,  schoner  vnnd  lustiger  Jaget 
habe  ich  mein  Tage  nicht  gesehen. 

GEMAHL. 

Ich  auch  mein  schone  Gemahlin  kan  mit  Warheit 
sagen,  dafs  ich  auff  vielen  Jagten  gewest,  aber  nimmer- 
mehr  lustiger  vnnd  frewdiger  gesehen.  Was  aber  sehe 
ich  jetzt  fur  ein  Wunder  die  Kayserin  die  da  gar  alleine 
eilents  zu  vns  spatzieret. 

[Kayserin  kompt  zu  jhnen. 
KAYSERIN. 

Sieh  welch  grofs  Wunder  nimpt  mir  doch  diese 
Andronica,  wie  gehestu  mit  deinem  Gemahl  so  gar  allein. 
Hastu  nicht  ein  tausent  Reuter  vnnd  Fufsvolck  hinter 
dich,  die  da  auff  euch  warten. 

ANDRONICA. 

Schone  Kayserin  ich  frage  euch  wieder,  wie  kompts 
dafs  jhr  alleine  gehet,  vnnd  auch  nicht  ein  Hauffen 
Diener  auff  euch  bestellet  haben,  Aber  ewren  Spott  den 
jhr  jetzt  an  vns  treibet,  thue  ich  doch  weniger  denn 
nichtes  achten,  von  jhne  auch  leichtlich  vertragen.  Ver- 
hoffe  auch  wann  es  wiirde  von  nothen  seyn,  wolte  ich 
eben  so  wol  ein  tausent  Reuter  vnnd  Fufsvolck  konnen 
auffbringen  dann  jhr. 

KAYSERIN. 
Andronica   dafs   du  jetzt   so   frech  vnnd  mit  spitz- 


TITUS  ANDRONICUS. 

Yes  truly,  most  high  and  mighty  Emperor,  a  goodly 
number  will  attend;  also  my  brother  Victoriades  and 
the  husband  of  my  daughter  Andronica. 

EMPEROR. 

Very  well,  my  dear  Titus  Andronicus,  we  shall  hold 
ourselves  ready. 

[Exeunt. 

The  morning  hour  is  now  arrived,  they  hunt;   blowing  of 
horns  and  trumpets. 

Enter  TITUS  ANDRONICUS. 

O  how  sweetly  and  pleasantly  do  the  birds  sing  in 
the  airj  each  seeking  its  food;  and  the  hunt  has  like- 
wise commenced  in  joy  and  splendour.  But  yet  my 
heart  is  oppressed  and  uneasy,  for  that  I  had  last  night 
a  most  dreadful  dream,  and  know  not  what  it  portends. 
I  must  now  again  join  the  Emperor  who  is  present 
at  the  hunt  in  person. 

[Exit. 


Enter  the  husband  of  Andronica  leading  her  by  the  hand;  the 

Empress  advances  to  meet  him;  the  huntsmen  blow  their  horns. 

ANDRONICA. 

My  most  beloved  husband,  a  finer  and  more  enter- 
taining hunt  I  never  saw  in  all  my  life. 
HUSBAND. 

I  also  my  fair  wife,  can  truly  say  that  I  have  been 
at  many  hunts,  but  never  did  I  see  a  gayer  and  merrier 
one.  But  what  wonder  do  I  see?  The  Empress  is 
coming  hurriedly  towards  us! 


EMPRESS,  coming  up. 

How  greatly  do  I  feel  surprised  at  this  Andronica! 
How  comes  it  that  you  and  your  husband  are  quite 
alone?  Have  you  not  a  thousand  followers  on  horseback 
and  on  foot  to  attend  you? 

ANDRONICA. 

My  fine  Empress,  I  ask  you  in  return,  how  comes 
it  that  you  walk  alone  and  have  not  a  host  of  servants 
waiting  upon  you?  But  I  scorn  your  railery,  and  can 
easily  bear  it.  I  hope  that  I  could  as  easily  as  your- 
self raise  a  thousand  followers  on  horse  and  foot,  if 
it  were  necessary. 


EMPRESS. 

Andronica,  as  you  ask  me  so  pertly  and  insolently 

12 


179 


TRAGEDY  OF  TITUS  ANDRONICUS. 


180 


finnigen  Worten  wiederumb  fragest,  warumb  ich  auch 
alleine  gehe,  soltu  wissen,  dafs  es  mir  also  gefelt.  Aber 
ich  frage  wie  kompts  doch,  dafs  du  mir  so  frech  vnd 
trotziglich  darffest  antworten.  Bin  ich  nicht  deine  Kay- 
serin,  vnnd  solst  nicht  wissen,  wie  hoch  du  mich  ehren 
sol  test,  gedenck  nun  aber  nicht,  dafs  ichs  also  darbey 
wil  bleiben  lassen. 

ANDRONICA. 

Ja  Kayserin,  wie  man  ins  Holtz  ruffet,  also  krie- 
get  man  ein  Wiederschall,  denn  wie  jhr  mich  aufs  hof- 
fertigen  Gemuth  fraget,  so  antworte  ich  euch.  Ob  jhr 
aber  wol  Kayserin  seyd,  wil  ich  euch  drumb  nicht  vnter 
den  Fiissen  liegen,  denn  bedencket  dieses,  waret  jhr 
nicht  erstlich  meines  Herren  Vater  Gefangen,  vnnd  nun 
weil  jhr  Kayserin  worden  seyd,  wisset  nicht  wie  jhr 
euch  fur  Hoffart  lassen  wollet.  Derhalben  konnet  jhr 
wol  jmmer  hinfahren  in  ewer  Hoffart,  vnd  mich  bleiben 
lassen  wer  ich  bin.  Ich  frage,  was  hat  diese  Stadt 
Rom  fiir  Nutz  von  euch  vnnd  den  ewren  gehabt,  was 
hat  sie  aber  fiir  Nutz  von  den  meinigen,  vnd  mein 
Herr  Vater,  ja  warlich  wenn  der  es  nicht  gethan,  vnd 
mit  seinen  Ritterlichen  Ha'nden  erhalten,  dafs  Kayser- 
thumb  vnnd  gantz  Rom  wiirde  vorlangst  zu  Boden  gan- 
gen  seyn,  thut(aber  so  viele  boses  an  mir,  was  jhr 
nicht  lassen  konnet. 

KAYSERIN. 

O  mein  Hertz  wil  mir  im  Leibe  zerspringen,  gehe 
mir  aufs  meine  Augen  du  verfluchete  Creatur,  wann 
ich  dann  dein  Hochmuth  nicht  straffen  konte,  so  wolte 
ich  mich  selbest  todten.  Sieh  ich  thu  schweren  bey 
alien  Gottern,  dz  ich  zuvor  nicht  essen  oder  trincken, 
auch  nunmehr  mein  Ha'upt  sanffte  legen  wil,  bifs  ich 
mein  Muth  sats  vnd  genugsam  an  dich  gekiilet,  vnd 
mit  Frewden  vber  dir  triumphiret. 

[Gehet  ein  Schritt  sex  fort,  da  kommenjhre  zween 

Sohne  zu  jhr,  die  Andronica  redet  vnter  dessen 

in  geheim  mit  jhr  em  Gemahl. 

HELICATES. 

Gnadige  Fraw  Mutter,  es  nimpt  vns  grofs  Wun- 
der,  dafs  jhr  so  gar  allein,  vnnd  von  alien  spatzieren 
gangen.  Aber  vielmehr  thun  wir  vns  verwunderen, 
warumb  jhr  so  sehre  betriibet,  vnnd  in  schwermiitigen 
Gedancken  gehet. 

MUTTER. 

O  mein  liebe  Sohne,  offenet  ewre  Ohren,  vnd  ob- 
serviret  meine  Worter  wol,  jhr  sollet  wissen,  dafs  ich 
nit  weit  von  hie  einem  Orte  spatzierte,  da  die  Andro- 
nica sampt  jhrem  Gemahl  ist,  welche  mich  also  erfas- 
set  vnd  mit  spottischen  vnnd  honischen  Worten,  wer 
vber  mich  bald  toll  vnd  vnsinnig  worden,  derhalben 


why  I  am  also  walking  alone,  you  must  know  that  it  is 
my  pleasure  to  do  so.  But  I  ask  how  comes  it  that  you 
dare  answer  me  so  insolently  and  defiantly?  Am  I  not 
your  Empress,  and  do  you  not  know  that  you  ought  to 
treat  me  respectfully?  But  do  not  imagine,  that  I  shall 
not  resent  it 

ANDRONICA. 

Well,  Empress,  it  is  only  a  Rowland  for  an  Oliver ; 
for  if  you  question  me  haughtily,  I  answer  you  in  the  same 
manner.  Although  you  are  Empress,  I  will  not  lie  at  your 
feet;  for  you  must  consider  that  you  were  at  first  my 
father's  captive,  and  now  that  you  are  Empress,  your  pride 
knows  no  bounds.  You  may  keep  up  your  pride,  but 
let  me  also  be  as  I  am.  What  is  the  benefit,  I  ask  you, 
that  this  city  of  Rome  has  derived  from  you  and  your 
kinsmen,  to  what  she  has  reaped  from  mine?  Forsooth 
my  father  had  not  preserved  her  with  his  chivalrous  arms, 
the  Empire  and  all  Rome  would  have  perished  long  ere 
this;  but  you  may  do  me  as  much  harm  as  you  like. 


EMPRESS. 

O  my  heart  will  burst!  Get  out  of  my  sight,  you 
accursed  creature!  If  I  could  not  punish  your  insolence 
I  would  kill  myself.  I  swear  by  all  the  Gods  that  I  will 
neither  eat  nor  drink  nor  lay  me  down  to  rest,  until  1 
have  taken  my  fill  of  revenge  on  you,  and  have  tri- 
umphed over  you. 

[She  walks  a  little  further  and  meets  her  two  sons, 
meanwhile  Andronica  speaks  softly  to  her  hus- 
band. 


HELICATES. 

My  gracious  mother,  we  are  much  surprised,  that 
you  walked  away  quite  alone;  but  much  more  are  we 
lost  in  wonder  as  to  what  may  be  the  cause  of  your 
grief  and  melancholy. 

EMPRESS. 

O  my  dear  sons,  give  ear  to  my  words,  and  mark 
them  well;  you  must  know,  that  I  was  walking  not  far 
from  here  to  a  spot  where  I  found  Andronica  and  her 
husband,  whereupon  she  assailed  me  with  jeering  anc 
scornful  words  in  a  manner  to  drive  me  mad ;  therefore 
come  and  take  signal  revenge  on  her,  treat  her  cruelly 


181 


TRAGEDY  OF  TITUS  ANDRONICUS. 


182 


kompst  nur  vn  rechnet  euch  machtiglich  wieder  an  sie, 
vnd  gehet  erbarmlich  mit  jr  vmb,  vn  erstecht  jr  alfs- 
bald  jren  Gemahl  an  d'  Seiten,  davorn  jr  mich  lieb 
habet,  so  jhrs  aber  nicht  thut,  so  wil  ich  euch  verflu- 
chen  vnnd  nicht  fiir  meine  Sohne  halten. 

SOHNE. 

Gnadige  Fraw  Mutter,  wir  seynd  willich  euch  zu 
gehorsamen.  Kompt  nu  mit  vnd  zeiget  vns  an  welchen 
Orte  sie  seyn,  so  wil  ich  jhm  alfsbald  sein  Leben 
nehmen. 

MUTTER. 

Nun  so  folget  mir  vnd  habt  keine  Erbarmnifs 
mit  sie. 

[Gehen  zu  jhm. 
Helicates  ziehet  sein  Schwerdt. 

HELICATES. 

Sich  finden  wir  euch  hie,  du  hast  nun  gar  zu  lange 
gelebet. 

[Ersticht  jhn. 
O  mordio  mordio. 

ANDRONICA. 

Ach  wehe,  ach  wehe,  ist  dar  denn  kein  wehe  vnd 
zeter  dieser  mordtliche  Todt. 

[Gehet  fiir  den  todten  Cb'rper  auff  die  Erde  sitzen. 

KAYSERIN. 

Sieh  nun  du  hoffertiges  Weib,  wie  gefelt  dir  difs, 
was  diincket  dir,  hab  ich  den  Eydt  nicht  gehalten,  wel- 
chen ich  geschworen;  Ja  dieses  sol  noch  gar  nichts 
seyn,  sondern  so  wil  ich  dich  zamen,  dafs  du  mir  vnter 
meinen  Fufssolen  solt  liegen,  vnd  ich  vber  deinem  Leich- 
nam  trete,  dein  gantz  Geschlechte,  mit  sampt  deinem 
Vateren  vnd  Briider  wil  ich  gar  aufsrotten,  vnnd  bey 
meinem  Gnadigsten  Herrn  Kayser  mit  List  vnd  Prac- 
ticken  zu  wege  bringen,  dafs  sie  alle  eines  jammerlichen 
Todes  sterben  sollen,  aber  ich  bin  dir  hoffertige  Men- 
sche  so  spinne  feindt,  dan  mir  vnmiiglich  ist,  lenger 
lebendig  fiir  meine  Augen  zusehen.  Derohalben  mein 
lieber  Sohn,  thue  mir  jetzt  dein  Schwerdt,  damit  wil 
ich  jhr  selbst  jammerlich  jhr  Leben  nehmen. 

[Wil  jhm  das  Schwerdt  nehmen. 
SAPHO : 

Hertzliebe  Fraw  Mutter,   dasselbige  kan  ich  thuen, 
derhalben  bedenckt  euch  erstlich  recht. 
ANDRONICA. 

O  du  aller  vnbarmhertzigste  Weibesbildt,  ist  dann 
kein  Fiincklein  Erbarmnifs  in  dir,  ja  wann  mein  Herr 
Vater  wissen  solte,  sie  wiirden  nicht  wissen  wie  grim- 
miglich,  sie  sich  wiederumb  an  euch  rechnen,  solte, 
keinen  Stein  wiirden  sie  auff  dem  andern  liegen  lassen, 


and,  if  you  love  me,  kill  her  husband  by  her  side;  but 
if  you  do  it  not  I  will  curse  you,  and  henceforth  never- 
more regard  you  as  sons  of  mine. 


HELICATES  and  S-APHONUS. 

Gracious  mother,  We  are  willing  to  obey  you.  Only 
come  with  us  and  show  us  where  they  are,  and  we  will 
forthwith  take  away  his  life. 


EMPRESS. 
Well  then  follow  me,    and    have  no    mercy  upon 


them. 


[They  go  up  to  them. 


HELICATES,  drawing  his  sword. 
Ah,  do  we  find  you  here?  you  have  now  lived  much 
too  long.  [Runs  him  through  with  his  sword. 

(HUSBAND.) 
O  murder,  murder! 

ANDRONICA. 

O  misery!  Is  there  no  one  to  proclaim  this  horrible 
murder! 

[She  sits  down  by  the  corpse. 

EMPRESS. 

Look  you  now,  you  haughty  woman.  How  like  you 
this?  What  think  you,  have  I  not  kept  my  vow?  But 
this  is  only  the  merest  trifle.  I  will  so  tame  you  that 
you  shall  lie  under  my  feet,  I  will  tread  on  your  corpse, 
I  will  exterminate  your  whole  kindred  with  your  parents 
and  brothers,  and  by  my  cunning  and  crafty  designs  will 
prevail  upon  the  Emperor  to  let  them  die  a  miserable 
death.  But  you,  proud  woman,  are  so  hateful  to  me, 
that  I  can  no  longer  bear  to  see  you  alive.  Therefore, 
my  dear  son,  give  me  your  sword,  that  I  may  take  away 
her  life  myself. 

[She  wishes  to  take  his  sword. 


SAPHONUS. 

Dearest  mother,  I  can  do  that;  therefore  first  be- 
think yourself. 

ANDRONICA. 

O  you  most  merciless  woman,  is  there  not  a  spark 
of  compassion  in  you !  Ah,  if  my  father  could  but  know 
this,  he  would  think  no  revenge  cruel  enough;  he  would 
not  leave  one  stone  in  its  place,  but  would  would  rip  up 
the  very  earth  on  which  you  stand.  Oh,  haughty  Empress, 

12* 


183 


TRAGEDY  OF  TITUS  ANDRONICCS. 


184 


sondern  die  Erde,  worauff  jhr  stehet  gar  vmbreissen. 
O  weh  du  hoffertige  Kayserin  erbarm  dich  vber  mich, 
vnd  nim  mir  auch  jetzt  mein  Leben,  denn  lenger  ist 
mir  vnmiiglich,  vnnd  bringet  mir  Hellen  Angest. 

KAYSERIN. 

Ja  ich  gleube  es  wol,  wanns  dein  Vater  vnd  Bru- 
der  wiisten,  die  da  nicht  streiten  wie  Menschen,  son- 
dern arger  wie  der  Teufel,  so  solten  sie  wol  bald  der- 
halben  gantz  Rom  mit  der  Kayserlichen  Pallast  zu 
Grunde  reissen,  vnnd  wie  die  vngestumme  Lowen  ru- 
moren,  aber  demselben  mufs  ich  zuvor  kommen,  vnd 
darauff  bedacht  seyn,  dafs  sie  es  nimmermehr  zu  wis- 
sen  bekommen.  Weil  ich  dann  aber  hore,  dafs  dir 
lenger  zu  leben  Hellen  Angest  wer,  ich  auch  das  argeste 
nicht  erdencken  kan,  wormit  ich  dich  quele,  so  wil  ich 
dich  noch  eine  zeitlang  leben  lassen:  Vnd  jhr  meine 
liebe  Sohne,  ich  weifs  dafs  jhr  grosse  Lust  zur  Bulerey 
habet,  vnd  voll  Venus  Safft  seyd,  derhalben  vbergebe 
ich  sie  euch,  gehet  mit  jhr  an  den  grawsamesten  Orten 
dieses  Waldes,  vnnd  brauchet  beyde  ewer  Lust  genug- 
sam  an  sie,  vnd  richtet  sie  also  zu,  dafs  sie  keines 
Menschen  gleich  ist,  werdet  jhr  aber  ein  Erbarmen  mit 
jhr  haben,  so  gedencke  dafs  mein  Zorn  weit  vber  euch 
ergrimmen,  vnd  nicht  viele  gutes  bedeuten  wirdt. 

SOHN. 

Gnadige  fraw  Mutter,  wir  sein  ewren  Befehl  ge- 
horsam. 

[Gehen  zu  Andronica,  wollen  sie  auffheben  vnd 
mit  jhr  davon  gehen. 

ANDRONICA. 

O  ist  das  denn  keine  Hiilffe,  O  ist  da  kein  Er- 
barmnifs,  ich  bitte  last  mich  bleiben,  vnd  nehmet  mir 
mein  Leben. 

KAYSERIN. 

Nein  ich  wil  durchaufs  die  geringste  Erbarmnifs 
nicht  mit  dir  haben.  Nun  Sohne  nehmet  sie  alfsbald 
hinweg  fur  meinen  Augen. 

\_Nehmen  sie  hinweg,  gehen  mit  jr  ins  Holtz,  alfs- 
bald kompt  der  Morian. 

,     MORIAN. 

Sieh  wunder  vnd  vber  wunder,  was  zum  Teufel 
bedeutet  vns  dieses  Kayserin,  dafs  jhr  hie  so  gar  im 
Walde  allein  gehet,  jetzt  hat  mir  der  Kayser  befohlen 
euch  zu  suchen. 

KAYSERIN. 

Mein  getrewer  Bule,  lafs  dich  nicht  wunder  neh- 
men.  vnd  sey  nicht  so  zornich,  denn  ich  hette  lust  alleine 
zu  spatzieren,  wil  aber  alfsbald  mit  dir  zum  Kayser 
gehen.  Aber  mein  hertzlieber  Bule,  wir  seyn  jetzt  gar 


have  mercy  on  me,  and  take  away  my  life  also!  for  it 
is  impossible  for  me  to  live  any  longer;  it  would  be 
the  torture  of  hell. 

EMPRESS. 

I  believe  it  indeed,  if  your  father  and  your  brother 
knew  this,  they  who  fight  not  like  men  but  more  fier- 
cely than  devils,  they  would  forthwith  pull  down  all 
Rome  together  with  the  Imperial  palace,  and  would 
rage  like  lions;  but  I  must  prevent  this,  and  take  care 
that  they  shall  never  know  it.  And  as  I  hear  that  life 
is  hell's  torture  to  you,  and  as  I  cannot  now  think  upon 
a  greater  torment  for  you,  I  will  let  you  live  a  little 
longer.  And  as  I  know,  my  dear  sons,  that  you  have 
a  great  desire  for  love's  pleasures,  I  give  her  up  to  you. 
Go  with  her  to  the  wildest  parts  of  this  forest  and  sa- 
tisfy your  desires  fully;  and  treat  her  so  that  she  shall 
no  longer  resemble  a  human  being;  but  if  you  have  pity 
on  her,  remember  that  my  anger  will  be  roused  against 
you,  and  portend  you  little  good. 


HELICATES  and  SAPHONUS. 
Gracious  mother,  we  will  obey  your  order. 

[They  go  up  to  Andronica,  attempt  to  raise  her, 
and  carry  her  off. 

ANDRONICA. 

O  is  there  no  help?  Is  there  no  pity?  I  implore 
you  let  me  remain  here,  and  take  away  my  life! 

EMPRESS. 

No,  I  will  have  no  pity  on  you.  Well,  sons,  take 
her  out  of  my  sight. 

[_They  carry  her  off  into   the  forest.     Presently 
enter  Morian. 

MORIAN. 

Behold  this  wonder  of  all  wonders !  What  the  devil 
does  this  signify,  Empress,  that  you  are  walking  alone 
in  the  forest?  The  Emperor  ordered  me  to  look  for 
you. 

EMPRESS. 

My  faithful  lover,  be  not  surprised;  neither  be  so 
angry,  that  I  had  a  wish  to  walk  alone.  I  will  now  go 
with  you  to  the  Emperor.  But,  my  sweet  lover,  we  are 
now  quite  alone  in  this  fine  and  delightful  wood,  and  I 


185 


TRAGEDY  OF  TITUS  ANDRONICUS. 


186 


alleine  in  diesem  schonen  lustigen  Waldt,  vnd  ich  ein 
grofs  appetit  gekriegen  zum  Spiele  der  Gottin  Venere, 
derhalben  lafs  mir  von  dir  ergetzet  werden,  vnd  mache 
mir  Frewde. 

MORIAN. 

Nein  schone  Kayserin,  ob  each  jetzt  wol  die  Got- 
tin Venus  gewaltig  thut  reitzen  zu  jhren  Spiele,  so 
regieret,  vnd  hat  mich  doch  wiederumb  eingenommen 
Gott  Mars.  Kan  derhalben  jetzt  nicht  seyn,  vnd  wer- 
det  auff  difsmal  meinen  Leib  nicht  theilhafftig  werden 
so  last  vns  jetzt  gehen  zum  Kayser,  der  da  lange  nach 
euch  gewartet  hat:  [Gehet  hienein. 


ACTUS  QUARTUS. 

Jetzt  kompt  heraufs  Titus  Andronicus,  Vespasianus, 
Victoriades  stehen  betriibt. 

TITUS  ANDRON: 

O  hertzlieber  wie  sehre  ist  mir  mein  Hertz  beiing- 
stiget,  drumb  dafs  der  Kayser  meine  zween  Sohne  in 
Gefangnifs  eingezogen,  weifs  aber  im  geringesten  nicht 
was  die  Vrsache  ist,  ich  habe  an  den  Kayser  geschrie- 
ben,  er  wolle  mir  die  Vrsache  vermelden,  warumb  meine 
Sohne  so  schleunig  seyn  gefangen  genommen,  der  mir 
dann  wiederumb  geschrieben,  dafs  meine  Sohne  der 
Kayserin  gefangen  weren,  vnd  sie  groblich  wieder  jhr 
mifsgethan,  sich  mit  Calumnien  vnd  schmehen  Worten 
an  sie  vergriifen,  derhalben  miissen  sie  eines  eiligen 
Todes  sterben,  solte  ich  dann  mein  eigen  Fleisch  vnd 
Blut  dahin  richten  sehen,  wiirde  mir  grofs  Schmertz 
vnd  Peine  bringen:  Aber  wem  sehe  ich  da  zu  mir  kom- 
men,  der  Kayserinnen  Morian. 

Jetzt  kompt  Morian  zu  Andronicus. 

MORIAN. 

Gluck  zu  alte  Titus  Andronicus.  Seyd  nun  guter 
Dinge  vnd  frolich,  dann  gute  Botschafft  bring  ich  euch. 

TITUS  ANDRON: 

Danck  habet  Morian,  saget  an  was  bringet  jhr  fur 
Zeitung. 

MORIAN. 

Jhr  solt  wissen  dafs  mich  die  Kayserin  zu  euch 
gesandt,  lest  euch  sagen,  daferne  jhr  ewere  Sohne  lieb 
habt,  vnnd  sie  vom  Tode  erretten  wollet,  sollet  jhr  ewre 
rechte  Handt  abhawen,  vnd  sie  durch  mich  vberschik- 
ken,  so  sollen  sie  euch  alfsbald  wiederumb  zugestellet 
••  werden. 

TITUS  ANDRON: 

O  mein  lieber  Morian,  wie  frolich  Botschafft  brin- 
gestu  mir.  Ja  wenn  die  Kayserin  auch  alle  beyde 


have   a   great  longing   for  the  pastime   of  the  goddess 
Venus,  so  let  us  disport  and  enjoy  ourselves. 


MORIAN. 

My  lovely  Empress,  if  you  are  under  the  influence  of 
the  goddess  Venus,  I  am  ruled  and  mastered  by  god 
Mars.  Therefore  it  cannot  be  now;  but  let  us  go  to 
the  Emperor,  who  has  been  long  waiting  for  you. 

[Exeunt. 


ACT  IV. 

Enter  Titus  Andronicus,  Vespasian,    Victoriades 

sorrowfully. 
TITUS  ANDRONICUS. 

0  my  beloved,  how  oppressed  is  my  heart,  that  the 
Emperor  has  put  my  two  sons  into  prison!  I  have  not 
the  slightest  knowledge  of  the  cause  of  it,  and  wrote  to 
ask  him  to  let  me  know  why  he  so  suddenly  imprisoned 
my  sons.  To  this  he  replied,  that  my  sons  were  im- 
prisoned on  account  of  the  Empress  whom  they  had 
grossly  insulted  and  offended  with  slanderous  and  scorn- 
ful words.  For  this  reason  they  are  to  be  put  to  death 
speedily.  Were  I  to  see  my  own  flesh  and  blood  exe- 
cuted it  would  cause  me  great  pain.  But  who  is  ap- 
proaching yonder?  It  is  Morian,  the  attendant  of  the 
Empress. 


MORIAN,  approaches.  ' 

I  give  you  joy,  old  Titus  Andronicus !  Be  of  good 
cheer,  for  I  bring  you  a  welcome  message. 

TITUS  ANDRON. 
Thanks,  Morian,  say  what  news  you  bring. 

MORIAN. 

You  must  know  that  the  Empress  sends  me  to  you 
to  tell  you,  that  if  you  love  your  sons  and  Avish  to  save 
them  from  death,  you  must  cut  off  your  right  hand  and 
send  it  through  me.  They  shall  then  be  sent  back  to 
you  immediately. 

TITUS  ANDRONICUS. 

Oh,  my  dear  Morian,  what  a  joyful  message  you 
bring  me!  Nay  even  if  the  Empress  desired  both  my 


187 


TRAGEDY  OF  TITUS  ANDRONICUS. 


188 


Hande  begehrete,  wolte  ich  sie  gerne  abhawen,  aber 
jetzt  wil  ich  meine  Handt  abhawen,  vnd  sie  dir  vber- 
geben.  etc. 

VICTORIADES. 

Hertzlieber  ich  bitte,  last  mir  meine  Handt  ab- 
haweji,  denn  solt  jhr  ewer  Ritterliche  Handt  abhawen, 
were  zuerbarmen. 

VESPASIANUS. 

O  hertzlieber  Vater  ich  bitte  lasset  zu,  dafs  ich 
meine  Handt  abhawe,  denn  es  seyn  meine  hertzliebe 
Bruder. 

TITUS  ANDRON: 

Nein  mein  hertzlieber  Bruder,  auch  mein  lieber, 
ewre  Handt  sollet  jhr  nicht  darfiir  geben,  sondern  mir 

wils  gebiihren. 

[Fallen  fur  jfim  auff  die  Knie. 

VICTORIADES. 

Hertzlieber  Bruder  wir  thun  einen  Fufsfall  vnnd 
bitten  zum  hochsten,  dafs  jhr  wollet  ewre  Handt  vnbe- 
schadiget  lassen,  vnnd  dafs  ich  nur  meine  Handt  abhawe. 

TITUS  ANDRON: 

Stehet  auff-  vnd  kniet  nicht  fur  mir,  well  jhr  dann 
also  ernsthafftig  drein  dringet,  mufs  ichs  wieder  meinen 
willen  nachgeben,  vertraget  euch  nun  beyde  drumb,  wer 
seine  Handt  verlieren  soil. 

VICTORIADES. 

Ja  hertzlieber  Bruder,  wir  wollen  darumb  losen, 
jetzt  aber  wollen  wir  hinein  gehen,  vnd  ein  Beil  holen, 
dem  es  aber  trifft,  sol  alfsbald  fur  jedermanniglichen 
seine  Handt  abhawen. 

[Victoria.   Vespasianus  gehen  hinein. 

TITUS  ANDRON: 

Ich  wil  euch  gleichwol  nun  beyde  vexiren,  denn 
vnter  dessen  jhr  loset  vnd  das  Beil  holet  wil  ich  meine 
Handt  abhawen. 

[Gehet  ein. 
MORIAN. 

Mufs  dann  nun  das  vexieren  heissen,  so  pfleget 
der  Teufel  seine  Muttel  vexieren,  aber  du  alte  Titus 
Andronicus,  ob  ich  wol  ein  vnharmhertziges  Hertz  habe, 
so  tawret  mir  dennoch  deiner  den  die  Kayserin  vexi- 
ret  dir  jetzt  deine  Handt  abe,  damit  du  nicht  dermal 
eins  Rom  mochtest  vmbkehren,  wann  du  aber  meynest, 
wirst  deine  Sohne  bekomnien,  so  wirstu  nur  allein  die 
Haupter  dafiir  zusehen  kriegen. 

Jetzt  kb'mpt  Titus  hat  seine  Handt  abgehawen  Victoriades, 
Vespasianus  komen  auch. 

VESPASIANUS. 
Gnadiger  Herr  Vater,  ich  habe  gewunnen,  dafs  ich 


hands,  I  would  willingly  cut  them  off.    But  now  I  will 
cut  off  my  hand  and  give  it  to  you. 

VICTORIADES. 

Dearest  brother,  I  implore  you  let  me  have  mine 
cut  off,  for  it  were  a  pity  indeed  to  cut  off  your  chival- 
rous hand. 

VESPASIAN. 

O  beloved  father,  I  implore  you  let  me  cut  off  my 
own  hand,  as  it  is  for  my  dear  brothers. 

TITUS  ANDRONICUS. 

No,  my  dearest  brother,  no,  dearest  son,  you  shall 
not  give  your  hands,  for  that  part  belongs  to  myself 
alone. 

[They  kneel  down  before  him. 

VICTORIADES. 

Dearest  brother,  we  implore  you  on  our  knees,  to 
preserve  your  hand  unhurt,  and  to  let  me  cut  off  mine. 

TITUS  ANDRONICUS. 

Rise,  and  kneel  not  before  me.  As  you  insist  upon 
it  so  earnestly,  I  must  yield  against  my  will,  therefore 
agree  between  you,  which  is  to  lose  his  hand. 

VICTORIADES. 

Yes,  dear  brother,  let  us  cast  lots  for  it.   Now  let 
us  go  fetch  an  axe,  and  he  on  whom  the  lot  falls  shall 
forthwith  cut  off  his  own  hand  instead  of  the  other. 
[Exeunt  Victoriades  and  Vespasian. 

TITUS  ANDRONICUS. 

Nevertheless  I  only  wish  to  deceive  you  both;  for 
while  you  are  casting  lots  and  fetching  the  axe,  I  will 
cut  off  my  own  hand. 

[Exit. 
MORIAN. 

If  that  be  called  deceit,  the  devil  also  deceives  his 
mother;  but  although  I  have  a  pitiless  heart,  1  feel  for 
you,  old  Titus  Andronicus,  for  the  Empress  tricks  you 
out  of  your  hand  that  you  may  not  some  day  overturn 
Rome;  but  when  you  hope  to  have  your  sons  again,  you 
will  only  get  their  heads  instead. 


Enter  Titus   with   his  hand  cut  off",   also   Victoriadex  and 
Vespasian.  § 

VESPASIAN. 
Father,  1  have  won.    I  may  now  —  O  woeful  sight! 


189 


TRAGEDY  OF  TITUS  ANDRONICUS. 


190 


:  sol  jetzt:  O  wehe  O  wehe,  warumb  habt  jhr  doch  ewer 
Handt  abgehawen,  dieses  ist  ja  warlich  zu  erbarmen, 
hertzlieber  Vater. 

TITUS  ANDRONICUS. 

Ich  bitte  sagt  nun  nichtes  mehr  davon,  denn  es  ist 
all  geschehen,  sehet  hie  Morian,  bringet  diese  meine 
Handt  der  Kayserinnen  vnd  fuhret  alfsbald  meine  liebe 
Sohne  wiederumb  zu  mir. 

MORIAN. 

Nun  ade,  ich  werde  auch  ja  etwas  davon  bringen. 
[Gehen  zusammen  hinein. 

Jetzt  kompt  heraufs  Helicates  vnd  Saphonus,  welche  zuvor 
mit  der  Andronica  in  den  Walde  gangen,  jhre  Wollust 
mit  sie  gebrauchet,  vnd  sie  jdmmerlich  zugerichtet ,  beyde 
Hdnde  haben  sie  jhr  abgehawen,  vnd  die  Zunge  aufs  dem 
Munde  gerissen,  haben  sie  zwischen  sich. 

HELICATES. 

Also  mufs  man  es  machen,  wenn  man  bey  scho- 
nen  Frawen  geschlaffen,  dafs  sie  es  nicht  konnen  nach- 
sagen,  die  Zungen  mufs  man  jhr  aufsschneiden ,  damit 
sie  es  nicht  sagen,  auch  jhre  beyde  Hande  abhawen, 
dafs  sie  es  auch  nicht  schreiben,  gleich  wie  es  hier  mit 
dieser  gemachet,  aber  was  sol  man  nun  weiter  mit  jhr 
anfahen,  wir  miissen  sie  hie  im  wilden  Walde  gehen 
lassen,  dafs  sie  nur  zu  letzt  doch  den  wilden  Thieren 
zu  Theil  werden.  So  kom  lieber  Bruder  lafs  vns  gehen. 
'•  Nun  ade  ade  Andronica. 

[Gehen  weg. 

Andronica  bleibet  alleine  seufftzen  siehet  kldglich  kegen 
'  Himmel:  Nicht  lange  darnach  kompt  jhr  Vater  Victoriades, 
vnd  siehet  sie,  da  sie  jhn  aber  siehet  leu/et  sie  ins  Holtz. 

VICTORIADES. 

Ach  wehe,  ach  wehe,  was  fur  ein  grofs  Vngliick 
finde  ich  hie,  die  Andronica  die  da  nicht  eines  Men- 
schen  gleich  ist.  O  verberge  dich  nicht  fur  mir. 

[Leufft  hinein,  holet  sie  wiederumb  heraufs. 
O  du  armes  Creatur,  wer  hat  dich  so  erbarmlich 
vnd  vnmenschlich  zugerichtet,  ach  wehe  deine  Zunge 
fist  dir  aufsgerissen ,  deine  beyde  Hande  sein  dir  abge- 
hawen, O  wehe  dieses  mogt  einem  Stein  erbarmen,  O 
kom  mit  mir,  du  solt  hie  nicht  bleiben. 

[Gehet  hinein. 

'Nun  kompt  heraufs  Titus  Andronicus,    Vespasianus,  als- 

bald  kompt  der  Morian  bringet  die  beyden  Hdupter  vnd 

die  Handt. 

MORIAN. 

Sehet  hie  alter  Titus,  ich  habe  ein  Erbarmnifs  mit 
euch,  dafs  ewre  edle  vnd  streitbare  Hand  also  ist  ab- 


Why  have  you  cut  off  your  hand,  dearest  father?  This 
is  a  piteous  sight! 

TITUS  ANDRONICUS. 

I  entreat  you,  say  no  more  about  it,  for  it  is  al- 
ready done.  Look  here,  Morian,  take  this  hand  t©  the 
Empress  and  bring  me  back  my  dear  sons  quickly. 

MORIAN. 

Well  adieu,  I  will  indeed  bring  back  something  of 
them. 

[Exeunt. 

Enter  Helicates  and  Saphonus,  who  had  gone  into  the 

forest  with  Andronica  upon  whom  they  satisfied  their  lust. 

Having   also   barbarously  mutilated  her,   cut  off  both  her 

hands,  and  torn  out  her  tongue,  they  now  bring  them 

with  them. 

HELICATES. 

Thus  must  a  man  act  when  he  has  slept  with  a  hand- 
some woman,  so  that  she  may  not  divulge  it.  He  must 
cut  off  her  tongue,  that  she  may  not  tell  it,  and  cut  off 
both  her  hands,  that  she  may  not  write  it,  as  we  have 
done  to  this  one.  But  what  shall  we  do  with  her  now? 
We  must  leave  her  in  this  dismal  forest,  that  she  may 
be  devoured  by  wild  beasts.  Come,  dear  brother,  let 
us  go.  Farewell  now,  Andronica. 

[Exeunt. 


Andronica  alone,    sighing  and  looking  up   weepingly   to 
heaven.     Presently  enter  her  uncle  Victoriades.     He  per- 
ceives her;  but  on  seeing  him  she  runs  into  the  wood. 

VICTORIADES. 

Woe  is  me!  What  great  misfortune  do  I  find  here! 
Andronica  no  longer  in  the  resemblance  of  a  human 
being!  0  hide  not  yourself  from  me. 

[He  runs  out  to  bring  her  back. 
O  you  poor  creature  who  has  so  cruelly  and  foully 
maimed  you?   Alas!  your  tongue  is  torn  out,  both  your 
hands  are   cut  off.     O  this  is  enough   to  melt  a  stone! 
Come  with  me;  you  shall  not  remain  here. 

[Exit. 

Enter  Titus  Andronicus,  Vespasian,  and  soon  after  Morian, 
carrying  two  heads  and  hands. 

MORIAN. 

Behold  Titus,  I  feel  pity  for  you,  that  your  noble 
and  chivalrous  hand  has  been  cut  off  thus.  The  Em- 


191 


TRAGEDY  OF  TITUS  ANDRONICUS. 


192 


gevexiret  worden.     Hie  schicket  sie  euch  die  Keyserin 
wieder,  vnd  dieses  seyn  ewre  beyde  Sohnes  Haupter. 
[Morian  leget  siefiirjhm.    Titus  vnd  Vespasianus 
konnen  kein  Wort  mehr  fiir  Angst  reden,  ste- 
hen  gleich  als  todte  Menschen. 

Nun  ich  gehe  weiter  von  hinnen,  wirstu  aber  dieses 
also  darbey  bleiben  lassen,  so  wird  dich  die  Keyserin 
sampt  deinem  Geschlechte ,  mit  Betriibnifs  vnd  Verra- 
therey  aufstilgen,  vnd  euch  also  weg  reumen. 

[Gehen  weg. 
TITUS  ANDRON: 

Ach,  ach,  ach  zeter  vnd  mordio,  vber  dich  Blut- 
gierige,  betriegliche  Weibesbild,  wor  ist  wol  jemals  ein 
betrieglichers,  hoffertigers  vnd  Blutdiirstigers  Weib  ge- 
wesen,  denn  diese  verfluchete  Keyserin,  0  selber  mag 
ich  mich  anspeyen,  dafs  ich  sie  habe  leben  lassen,  vnd 
nicht  die  Gurgel  abgestochen,  da  sie  mein  Gefangene 
war,  O  du  vnbarmhertzigste  vnd  vndanckbareste  Wei- 
besbild, wie  kan  doch  miiglich  seyn,  dafs  die  Sternen 
am  Himmel  dir  nicht  sollen  feind  seyn,  ja  die  vnver- 
niinfftigen  Creatur  werden  mit  mir  weinen  vnd  betriibet 
seyn.  O  jhr  himlischen  Go'tter  werdet  solche  Vbelthat 
nicht  dulden  konnen,  ach  verleihet  mir  Witz  vnd  Ver- 
standt,  dafs  ich  mo'ge  weifslich  bedencken,  wie  ich  mich 
an  die  hoffertige  Keyserin  moge  doppeltfeltig  rechnen. 
O  du.  verfluchte  Creatur,  wie  hastu  mich  doch  so  be- 
trieglich  vmb  meine  Hand  gebracht. 

[Ximpt  die  Hand  auff  von  der  Erden. 

Ja  du  edele  Hand,  wie  bistu  so  bezahlet  fiir  deine 
trewe  Dienste,  O  du  vndanckbare  Rom,  diese  Hand  hat 
dich  offte  vnd  vielmal  von  deinen  grawsamen  Feinden 
errettet.  Ja  wann  die  es  nicht  gethan,  wiirdestu  vor- 
langst  zerschleiffet  seyn,  von  keinem  Romer  wiiste  man 
mehr  zu  sagen ,  O  wie  offte  hastu  edele  Hand  gegen 
tausendt  Hande  streiten  miissen,  vnd  die  gefahrlichsten 
blutigsten  Kriege  hastu  mit  victoria  vberwunden,  ach 
meine  liebe  Sohne,  welche  Angst  vnd  Pein  bringet  es 
mir,  dafs  ich  ewre  Haupter  also  mufs  fur  mir  liegen 
sehen,  O  nimmermehr  solt  jhr  \veg  gesetzet  werden,  ehe 
ich  dann  meines  Feindes  Haupter  dabey  habe,  Ach 
wehe,  ach  wehe,  Ritterlich  vnd  Mannlich  habet  jhr  fiir 
Rom  gestritten,  auch  ein  streitbar  Hertze  von  mir  ge- 
erbet,  aber  du  vndanckbare  Rom,  wie  hastu  es  jhnen 
bezahlet,  O  vndanckbare  Rom,  wrie  eilestu  zu  nach  dei- 
nem Vngliicke. 

VESPASIANUS. 

O  hertzlieber  Vater,  solche  Tyranney  vnd  Teuffels 
Vndanckbarkeit  ist  nicht  erhoret,  so  lang  die  Welt  ge- 
standen,  so  ichs  aber  nicht  solte  rechnen,  were  ich 
nicht  werth,  dafs  ich  den  Erdboden  betreten  solte,  der- 


press  sends  them  back  to  you,   and  here  are  the  heads 
of  your  two  sons. 

[He   puts   them   down   before   him.       Titus    and  > 
Vespasian  stand  speechless  and  almost  lifeless 
with  horror. 

I  am  going  now,  but  if  you  rest  (not?)  satisfied 
with  this  the  Empress  will  exterminate  you  and  your 
stock  by  affliction  and  treachery,  and  thus  put  you  out 
of  the  way. 

[Exit. 

TITUS  ANDRONICUS. 

O  bloody  treacherous  woman!  Was  there  ever  a 
more  perfidious  haughty  and  bloodthirsty  woman  than 
this  accursed  Empress!  O  I  could  spit  at  myself,  that 
I  allowed  her  to  live  instead  of  cutting  her  throat  when 
she  was  my  captive.  O  you  most  pitiless  and  ungrate- 
ful woman,  how  is  it  possible  that  the  stars  in  heavens 
are  not  your  enemies!  Even  brute  creation  will  weep 
and  wail  with  me :  Ye  gods  in  heaven !  you  will  not 
tolerate  such  iniquity!  Oh  grant  me  sense  to  bethink 
myself  wisely,  how  to  be  doubly  revenged  upon  this 
haughty  Empress.  Accursed  creature,  how  treacherously 
have  you  robbed  me  of  my  hand! 


[Takes  up  the  hand. 

Noble  hand,  how  have  your  faithful  services  beenj 
requited!  O  ungrateful  Rome,  this  hand  often  saved 
you  from  your  cruel  enemies.  Had  it  not  done  so,  you 
would  ere  this  have  been  torn  to  pieces,  —  there  would 
be  no  trace  of  Rome  now.  How  often,  noble  hand, 
had  you  to  do  battle  against  a  thousand  hands !  the  most 
perilous  and  sanguinary  wars  have  been  victoriously 
fought  by  you.  Ah  me,  my  dear  sons,  what  anguish 
and  pain  do  I  suffer  to  see  your  heads  before  me!  O 
you  shall  not  be  put  aside,  until  I  also  have  the  heads 
of  my  enemies.  Alas,  alas !  you  fought  bravely  and  nobly 
for  Rome,  and  you  had  inherited  a  brave  heart  from 
myself.  But  ungrateful  Rome,  how  have  you  repaid  it! 
O  ungrateful  Rome,  how  quickly  do  you  hasten  towards 
your  downfall! 


VESPASIAN. 

O  beloved  father!  such  savagery  and  diabolical  in- 
gratitude has  not  been  heard  off  since  the  beginning 
of  the  world.  But  I  should  not  be  worthy  to  tread 
this  earth  if  I  did  not  avenge  it.  Therefore  I  can  no 


193 


TRAGEDY  OF  TITUS  ANDRONICUS. 


194 


1  halben  kan  ich  mich  nicht  lunger  enthalten,  vnd  bitte, 
3  leget  mich  an  Wehr  vnd  Waifen,  vnd  gebet  mir  in 
I  beyde  Hande  ein  lang  streitbares  Schwerdt ,  damit  ich 

igehe  zum  Pallast,  vnd  alles  was  mir  ankompt,  wil  ich 
darnieder  hawen,  auch  nicht  streiten  wie  ein  Mensche, 
sondern  wie  ein  rasender  Teuffel,  keine  Eiserne  Thiire 
sol  mir  so  starck  seyn,  sondern  wil  es  zermalmen  vnd 
zerbrechen,  vnnd  wann  ich  dann  den  Keyser  mit  der 
Keyserinnen  habe  darnieder  geleget,  wil  ich  noch  in 
die  vndanckbaren  Romer  hawen,  so  lang  ich  jmmer 
kan  vnd  mag,  mich  auch  darnach  gerne  wil  nieder 
schlagen  lassen,  dann  ich  mein  Leben  nichtes  mehr 
achte. 

TITUS  ANDRONICUS. 

Ach  nein  hertzlieber  Sohn,  solches  ist  dir  vnmiig- 
lich,  du  wiirdest  doch  nicht  lebendig  in  den  Pallast 
kommen,  du  bist  nun  mein  einiger  hertzlieber  Sohn, 
wir  mussen  vns  nun  recht  bedencken,  wie  wir  vns  an 
gie  rechnen,  ob  ich  aber  wol  eine  Hand,  so  wil  ich 
dennoch  genugsam  damit  verletzen  vnd  beschadigen,  du 
aber  hertzlieber  Sohn  must  das  beste  thun. 

Jetzt  kompt  Victoriades,  bringet  die  Andronica. 

VlCTORIADES. 

O  hertzlieber  Bruder,  das  grewlichste  spectacul,  so 

i  jemalen  fur  ewren  Augen  kommen,  sehet  jhr  nun.    Hie 

ist  ewre  Tochter  Andronica,  welche  ich  also  im  Walde 

gefunden,  jhre  Zunge  ist  jhr  aufsgerissen,   vnd  beyde 

Ha'nde  abgehawen. 

[Titus  verschrecket  sich  grawsamlich,  zittert  vnd 
bebet,  treibet  grofs  Elende. 

VESPASIANUS. 
O  wehe,  o  wehe. 

[Fellet  in  Ohnmacht  nieder  zur  Erden,  Victoria- 
des gehet  zu  den  Hdupten,  weinet  bitterlich 
Titus  geht  auff  die  Knie  sitzen. 

TITUS  ANDRON: 

Ach,  ach  du  grosses  Vngluck,  wie  vberfelstu  mich 
so  schleunig,  auch  wunder  dafs  mein  Hertz  nicht  zu 
stiicken  springet.  Ach  mordio  ach  mordio,  diese  vn- 
menschliche  Vbelthaten,  ach  wehe,  ach  wehe,  dir  Stein 
thu  ichs  klagen,  vnd  ob  du  mir  wol  nicht  helffen  kanst, 
so  gibstu  mir  dennoch  kein  Widerwort,  vnd  liegest  stille, 
hie-  wil  ich  liegen,  vnd  mit  bitterlichen  weinen  nicht 
auffhoren,  bifs  so  lang  das  eine  grosse  Fluth  von  mei- 
nen  Thranen  von  mir  fliesset,  bey  Winterzeiten  wil  ich 
den  Schnee  vnd  Frost  mit  meinen  Thranen  weg  schmelt- 
zen,  Ach  wehe,  ach  wehe,  dieser  grawsame  vnd  tyran- 
nische  Rath  ist  gar  zu  erbarmlich. 

\_Stehet  auff,  gehet  zur  Tochter. 
Ach  du  mein  hertzliebe  Tochter,  wer  hat  dir  deine 


longer  restrain  myself.  Pray  give  me  my  armour,  and 
put  a  long  and  warlike  sword  in  my  hands,  that  I  may 
go  to  the  palace  and  cut  down  everything,  that  comes 
in  my  way.  I  shall  not  fight  like  a  man,  but  like  a 
furious  devil.  No  iron  door  shall  be  too  strong  to  be 
forced  and  shattered;  and  when  1  have  laid  low  the 
Emperor  and  the  Empress,  I  will  also  "cut  down  the  un- 
grateful Romans  as  long  as  I  have  strength  and  will 
left  me,  and  until  I  am  struck  down  myself;  for  I  no 
longer  value  my  life. 


TITUS  ANDRONICUS. 
Oh  my  dear  son,  that  is  impossible;  you  would  not 
get  into  the  palace  alive.  You  are  now  my  only  be- 
loved son.  We  must  now  consider  well  how  we  may 
best  revenge  ourselves;  and  although  I  have  only  one 
hand,  I  will  do  harm  and  injury  enough  with  it.  But 
you,  dearest  son,  must  do  your  best. 

Enter  Victoriades  with  Andronica. 

VICTORIADES. 

Oh  my  beloved  brother,  behold  the  most  horrible 
sight  that  ever  met  your  eyes!  Here  is  your  daughter 
Andronica,  whom  I  found  in  the  forest,  her  tongue  torn 
out  and  both  her  hands  cut  off. 

[Titus  is  horror-struck  and  violently  agitated. 

VESPASIAN. 
0  woeful,  woeful  spectacle! 

[He  sinks  down  in  a  swoon;  Victoriades  ap- 
proaches the  heads  and  weeps  bitterly.  Titus 
falls  on  his  knees. 

TITUS  ANDRONICUS. 

Alas,  alas !  how  rapidly  and  suddenly  do  misfortunes 
fall  upon  me!  It  is  wonderful  that  my  heart  does  not 
break.  Oh  murder,  murder!  These  inhuman  misdeeds! 
Ah  woe  is  me !  woe  is  me !  I  tell  my  sorrows  to  thee, 
o  stone,  and  although  thou  canst  not  help  me,  thou 
answerest  not  and  remainest  silent.  Here  will  I  lie  and 
not  leave  off  crying  until  I  have  flooded  the  earth  with 
my  tears;  in  winter  they  shall  melt  away  the  snow  and 
frost.  Alas,  alas !  this  cruel  and  tyrannical  Senate  is  too 
contemptible. 


[He  rises,  and  goes  towards  his  daughter. 
Ah  my  dearly  beloved  daughter,'  who  is  it  that  has 

13 


195 


TRAGEDY  OF  TITUS  ANDRONICUS. 


196 


Zunge  aufsgerissen,  ich  kan  wol  erachten,  dafs  du  dei- 
ner  Keusfinheit  beraubet  bist,  vnd  dir  derhalben  deine 
Zunge  aufsgerissen,  damit  du  den  Thater  nicht  aufssa- 
gest,  dennoch  haben  sie  dir  auch  deine  schneeweisse 
Hand  abhawen,  wormit  du  es  nicht  Schrifftlich  soltest 
oiFenbaren,  ist  es  so  nicht  hertzliebe  Tochter,  Ach  wehe, 
ach  wehe,  du  kanst  es  nicht  sagen. 

[Seu/tzet  sehr,  wincket  mit  dem  Hdupte. 

Du  must  ja  vielleicht  mit  dem  wincken  anzeigen, 
dafs  es  also  ist. 

[Wincket  mit  dem  Hdupte  noch  einmal. 

Aber  hertzliebe  Tochter,  allhie  seyn  deine  beyden 
Briider  Haupte,  welche  die  hoifertige  Keyserinne  hat 
abhawen  lassen. 

[Sie  verschricket  sich  sehr,  siehet  vnd  seufftzet  gegen 
Himmel,  gehet  zu  den  Hduptern,  vnd  kiisset  sie. 

VICTORIADES. 

O  vber  dieses  grosse  Elende  mogen  sich  die  Steine 
erbarmen,  aber  was  hilffts  vns,  dafs  wir  hier  stehen  vnd 
weheklagen,  last  vns  nun  samptlichen  hinein  gehen, 
vnd  bedencken,  wie  wir  dieselben,  welche  sie  also  zu- 
gerichtet,  erfahren. 

TITUS  ANDRON: 

Ja  hertzlieber  Bruder,  es  ist  der  beste  Rath,  wir 
wollen  hinein  gehen,  auch  keine  Ruhe  habe,n,  bifs  wir 
sie  erfahren. 

[Gehen  hinein. 


ACTUS  QUINTUS. 

ANDRONICUS,  ANDRONICA,  VICTORIADES. 

TITUS  ANDRON: 

Ach  wehe,  ach  -wehe,  hertzliebe  Tochter,  mein  altes 
Hertz  wil  mir  im  Leibe  zerspringen,  dafs  ich  dich  so 
vnmenschlich  fur  meinen  Augen  sehe,  wie  lieb  vnd 
werth  habe  ich  dich  die  Tage  meines  Lebens  gehalten, 
mit  wie  viel  grosser  Miihe  vnd  Sorge  habe  ich  dich 
aufferzogen,  ja  wenn  ich  mit  Triumph  pflag  wiederumb 
nach  Rom  zu  kommen,  vnd  mein  Leichnam  vom  Feinde 
sehr  verwundet  war,  ich  auch  grawsame  schmertze  hatte, 
wenn  ich  aber  dich  gegen  mir  so  frolich  lauffende  kom- 
men sahe,  mit  deiner  Lauten,  mir  fiir  Frewde  zuem- 
pfahen,  vertriebestu  du  mir  damit  meine  wundliche 
Schmertzen,  auch  durch  deine  liebliche  Rede,  erfrische- 
test  du  offte  mein  altes  Hertze.  Aber  wormit  wiltu 


torn  out  your  tongue?  I  may  well  guess  that  you  are 
robbed  of  your  chastity,  and  that  your  tongue  has  been 
torn  out  that  you  may  not  betray  the  evil-doer;  but 
they  have  also  cut  off  your  snow  white  hand,  that  you 
may  not  reveal  it  by  writing.  Is  it  not  so  dearest 
daughter?  Alas,  alas!  you  cannot  tell  me. 

[She  sighs  and  nods. 


You    must    perhaps    tell    me    with    signs    that    it 


is  so. 


[She  nods  again. 


But  dearest  daughter,  here  are  the  heads  of  your 
two  brothers,  which  the  Empress  has  caused  to  be 
cut  off. 

[She   stands   appalled,   looks  up   to  heaven  and 
sighs,  then  goes  to  the  heads  and  kisses  them. 

VICTORIADES. 

Oh,  this  great  misery  is  enough  to  soften  a  stone. 
But  what  avails  our  standing  and  wailing  here  ?  Let  us 
all  go  in  and  deliberate  how  to  detect  those  who  thus 
martyred  her. 

TITUS  ANDRONICUS. 

Well  counselled,  dear  brother.  We  will  go  in,  and 
know  no  rest  until  we  have  found  them  out. 

[Exeunt. 


ACT  V. 

ANDRONICUS,  ANDRONICA,  VICTORIADES. 

TITUS  ANDRONICUS. 

Alas,  my  most  beloved  daughter,  my  old  heart  al- 
most breaks  to  see  you  in  this  pitiful  state.  How  dear 
to  my  heart  have  you  always  been!  With  how  much 
trouble  and  care  have  I  brought  you  up !  When  I  used 
to  return  in  triumph  to  Rome,  suffering  much  pain  from 
the.  wounds  received  from  the  enemy,  and  saw  you  joy- 
fully hastening  to  meet  me  with  your  lute,  you  made 
me  forget  my  pain,  and  refreshed  my  old  heart  with 
your  pretty  innocent  talk.  But  wherewith  will  you  now 
play  the  lute  to  gladden  me,  and  wherewith  will  you 
speak  ?  You  are  robbed  of  all  this.  Shame,  shame  upon 
the  cruelty  done  to  you!  Ah,  if  I  only  knew  who  did 
it  —  who  has  mutilated  you  thus  inhumanly,  I  should 


197 


TRAGEDY  OF  TITUS  ANDRONICUS. 


198 


nun  die  Lauten  schlagen,  wormit  du  mich  erfrewest, 
auch  wormit  wiltu  reden,  solches  alles  1st  dir  beraubet, 
Adi.  ach,  der  grawsamen  an  dir  begangenen  That,  ach 
wehe  wann  ich  nur  wiiste,  wer  dir  es  gethan,  vnd  so 
vnmenschlich  zugerichtet  hette,  wolte  ich  mir  ein  wenig 
zufrieden  geben,  aber  es  ist  vnmiiglich,  dafs  du  es  kanst 
offenbaren,  sieh  da  kompt  dein  Bruder,  sage  mir,  was 
ist  das,  welches  du  bringest? 

[Vespasian:  hat  ein  Korb  mit  Sand,  vnd  ein  Stecken. 

VESPASIANUS. 

Hertzlieber   Vater,    ich    hab   hierinnen   Sand,    vnd 
meine   hertzliebe  Schwester  Andronica   solte  versuchen, 
.ob    sie    mit   diesem   Stecken    offenbaren    vnd   schreiben 
kondte,  welcher  sie  so  erbarmlich  zugerichtet. 

TITUS  ANDRON. 

O  hertzlieber  Sohn,  wann  sie  es  damit  konte  an 
den  Tag  geben,  wolte  ich  ein  wenig  ruhe  finden,  fur 
mein  altes  kranckes  Hertz.  Aber  giefs  nun  den  Sand 
aufs  auff  die  Erden,  vnd  thue  jhr  den  Stecken. 

[Er  giesset  den  Sand  an  die  Erden  Titus  Andron: 
thut  der  Tochter  den  Stock  zwischen  den  bey- 
den  Stummelen. 

Sieh  da  hertzliebe  Tochter,  vnd  schreib  damit  auffs 
Sand,  dieselben  Namen,  welche  dir  deine  Zung  vnd 
Hande  beraubt. 

[Sie  nimpt  den  Stecken,  vnd  schreibt  damit 

Ach  hertzliebe  Tochter,  nun  hab  ich  genug,  da 
stehet  Helicates  vnd  auch  Jagd.  O  hertzliebe  Tochter, 
ist  es  nicht  also ,  dafs  dich  Helicates  vnd  Saphonus  in 
der  nehesten  Jagd  also  zugerichtet. 

[Andronica  wincket  mit  dem  Hdupte  niederwerts. 

Zeige  mir  auch  hertzliebe  Tochter,  hat  die  Keyserin 
auch  schuldt  dran. 

[Neiget  das  Hdupt. 

O  verfluchet  sey  die  Jagd,  vnd  der  Tag,  worin  sie 
ist  gehalten  worden,  ich  meynte  die  solte  in  Frewden 
vollendet  werden ,  vnd  ich  dadurch  desto  mehr  Gnade 
beym  Keyser  erlangen  wolte,  aber  nun  sehe  ich,  dafs 
mein  allergrosseste  Vnglucke  dadurch  entstanden  ist. 
O  der  schreckliche  Trawm ,  der  mir  die  vorige  Nacht 
fur  der  Jagd  fiirkam,  hat  mir  dieses  Vnglucke  bedeu- 
det.  Nun  kom,  derhalben  wirstu  mussen  zu  grunde 
gehen,  so  horet  mir  nun  zu,  hertzlieber  Bruder,  auch 
hertzlieber  Sohn,  vnd  observiret  meine  Worter  wol,  wir 
mussen  vns  nun  prsepariren  zu  einem  gefahrlichen  blu- 


be  somewhat  consoled.  But  it  is  impossible  for  you  to 
disclose  it.  Here  comes  my  brother;  tell  me  what  it  is 
you  bring? 

[Enter  Vespasian  with  a  basket  of  sand  and  a 
staff. 


VESPASIAN. 

Dear  father,  I  have  brought  sand  here,  that  my 
sister  Andronica  may  try  whether  she  could  not  write 
with  this  staff  and  make  known  the  man  who  hath 
brought  her  to  this  pitiful  state. 

TITUS  ANDRONICUS. 

O  dear  son,  if  she  could  bring  this  deed  to  the  light 
of  day  I  should  find  some  rest  for  my  sick  old  heart. 
Spread  the  sand  on  the  floor  and  give  her  the  staff. 

[Vespasian  spreads  the  sand  on  the  floor.    Titus 
Andr.  puts  the  staff  between  her  stumps. 

Take  this,  my  dear  daughter,  and  write  in  the  sand 
the  names  of  those  who  deprived  you  of  your  tongue 
and  hands. 

[She  takes  the  staff  and  writes. 

Ah  dear  daughter,  now  I  know  enough,  I  read 
here  Helicates  and  hunt.  Dear  daughter,  is  it  not  that 
Helicates  and  Saphonus  have  thus  misused  you  during 
the  late  hunt? 

[Andronica  nods. 


Show   me   also    whether    the   Empress   shares   the 


guilt. 


[She  nods. 


Oh  accursed  be  the  hunt  and  the  day  it  was  held! 
I  hoped  it  would  end  in  joy,  and  that  I  should  endear 
myself  still  more  to  the  Emperor;  but  now  I  see  that 
it  has  been  the  cause  of  my  greatest  misfortunes.  Alas! 
the  awful  dream  I  had  in  the  night  before  the  hunt, 
betokened  this  misfortune.  Come  then,  if  we  are  doomed 
to  perish,  listen  to  me,  dearest  brother,  and  you  too, 
dearest  son,  and  mark  my  words  well.  We  must  now 
make  preparation  for  a  perilous  and  bloody  war,  and 
enlist  a  host  of  soldiers  wherewithal  to  overthrow  Rome. 
We  must  make  such  havoc  of  her  as  has  never  been 

13* 


199 


TRAGEDY  OF  TITUS  ANDRONICUS. 


200 


tigen  Kriege,  vnd  eine  grosse  mange  Soldaten  werben, 
damit  wir  Rom  rund  vmbkehren,  vnd  wollen  also  mit 
jhn  hausiren  vnd  vmbgehen,  wie  niemalfs  erhoret,  auch 
dafs  kein  Stein  vber  den  andern  sol  liegen  bleiben,  der- 
halben  wollen  wir  vns  hie  samptlich  verknupffen,  vnd 
zu  vnsern  Gottern  schweren,  nicht  auffzuhoren  mit  blu- 
tigen  gefahrlichen  Kriegen,  bifs  das  Rom  zu  grunde  ge- 
rissen,  den  Keyser  vnd  die  morderliche  Keyserin,  sampt 
jhren  zween  verfluchten  Sohnen  in  vnser  Gewalt  haben, 
dafs  wir  auch  nimmermehr  mit  jhn  ein  Vertrag  wollen 
machen,  auch  nicht  die  geringste  Erbarmnifs  haben,  son- 
dern  dafs  wir  zum  grawsamsten  vnd  schrecklichsten  mit 
jhnen  handlen  wollen,  auffs  argeste  es  einer  erdencken 
kan. 

VICTORIADES. 

Hertzlieber  Bruder,  ich  thue  schweren  bey  alien 
himlischen  Gottern,  dafs  ich  nicht  zu  rechnen  wil  auff- 
horen,  so  lang  ich  lebe,  bifs  wir  die  Keyserin  sampt 
jhren  Sohnen  in  vnser  Gewalt  haben,  all  mein  Gu'ter 
wil  ich  verkauffen,  vnd  dafiir  streitbare  Manner  werben 
lassen. 

TITUS  ANDRONICUS. 

O  hertzlieber  vnd  vertrawter  Bruder,  wie  hoch  er- 
frewet  mich,  dafs  jhr  mir  so  grosse  vnd  machtige  Hiilffe 
verheisset.  Nun  wil  ich  jetzt  anfahen  zu  schweren,  nit 
auffzuhoren  zu  rechnen,  bifs  so  lange  ich  lebe,  erstlich 
wil  ich  schweren  bey  meiner  gewesenen  streitbarn  Hand, 
darnach  bey  meines  Sohnes  Haupten,  darnach  vb^r  meine 
Tochter. 

Jetzt  gehet  Titus  Andron :  auff  die  Knie  sitzen,  vnd  fan- 
gen  an  ein  Klagelied  zu  spielen,  die  andern  alle  gehen 
vmbher,  sitzen  da  die  Hdupter  liegen.  Titus  nimpt  seine 
Hand,  helt  sie  vnd  siehet  gen  Himmel,  seufftzet,  schweret 
heimlich,  schldget  sick  fur  die  Brust,  leget  nach  vollen- 
dung  des  Eides  die  Hand  weg,  darnach  nimpt  er  das  eine 
Hdupt,  darnach  auch  das  ander,  schweret  bey  einem  jeg- 
lichen  besondern,  zu  letzt  gehet  er  zu  der  Andronicam 
auch,  die  da  auff  die  Knie  sitzet,  schweret  bey  derselben 
auch,  wie  er  zuvor  bey  den  andern,  darnach  stehen  sie 

samptlich  wieder  auff. 

Nun  den  Eid  hab  ich  abgelegt,  vnd  geschworen, 
alle  meine  Haabe  vnd  Guter  wil  ich  verkauffen,  vnd 
mein  Sohn  sol  die  streitbaresten  vnd  tapffersten  Man- 
ner daffir  werben.  Hore  hertzlieber  Sohn,  nim  alles 
grosse  Gut  aufs  meiner  Schatzkammer,  mach  dich  damit 
bald  von  hinnen,  vnd  werb  ein  grosse  mange  Volckes, 
so  viele  du  jmmer  bekommen  kanst. 

VESPASIANUS. 
Hertzlieber  Vater,    darzu   hab    ich    ein    grofs  Be- 


heard  of  before.  Not  one  stone  shall  lie  upon  another. 
Therefore  let  us  all  combine  and  swear  to  the  Gods, 
not  to  stay  our  bloody  warfare  until  Rome  be  over- 
thrown, and  until  we  have  the  Emperor  and  the  mur- 
derous Empress  with  her  cursed  sons  in  our  power, 
never  to  come  to  terms  with  them  nor  have  pity  on 
them,  but  to  treat  them  with  the  most  refined  and  dread- 
ful cruelty. 


VICTORIADES. 

Dear  brother,  I  swear  by  all  the  Gods  in  heaven  not 
to  stay  my  vengeance  as  long  as  I  live  until  we  have 
the  Empress  with  her  sons  in  our  power.  I  will  sell 
all  my  property  to  enlist  warlike  men. 


TITUS  ANDRONICUS. 

O  my  most  beloved  and  trusty  brother,  how  glad 
I  am  that  you  promise  me  such  great  and  powerful 
assistance.  I  will  now  swear  never  to  stay  my  ven- 
geance as  long  as  I  live.  Firstly  I  will  swear  by  the 
warlike  hand  that  once  was  mine,  then  by  the  heads 
of  my  sons,  and  then  by  my  daughter. 

Titus  kneels  down  and  begins  to  sing  a  dirge;  the  others 
sit  down  by  the  heads.  Titus  takes  up  his  hand,  raises 
it  and  looks  up  to  heaven,  sighs,  mutters  vows,  strikes  his 
breast,  and  puts  down  the  hand  after  having  sworn.  There- 
upon he  takes  up  the  heads  and  swears  by  each  of  them 
singly;  finally  he  approaches  the  kneeling  Andronica  and 
swears  by  her  as  before.  This  done,  they  all  rise  again. 


I  have  now  taken  my  oath,  and  vowed  to  sell  all 
my  property,  that  my  son  may  enlist  the  most  warlike 
and  the  bravest  men.  Hark  my  son,  take  all  my  great 
wealth  from  my  treasury;  depart  hence,  and  enlist  as 
many  warriors  as  you  can  get. 


VESPASIANUS. 
Dearest  father,    I  am  most  anxious  to  do    so,    and 


201 


TRAGEDY  OF  TITUS  ANDRONICUS. 


202 


gierde,  so  thue  dennoclr  erstlich  schweren  bey  dem  Gott 
i  Mars,  das  ich  nicht  zu  toben  vnd  wiiten  wil  auffhoren, 
bifs  so  lange  der  bleiche  Todt  vber  mein  Hertz  trium- 
phiret.  Nun  ade  0  hertz  vnd  trauter  Vater,  ich  ziehe 
von  hinnen,  streitbar  Volck  zu  werben,  nicht  lange,  so 
sollet  jhr  horen  die  Trommeten  blasen,  vnd  dafs  ich 
ein  grawsam  Volck  bringe,  die  da  sollen  rauben,  bren- 
nen  vnd  todten,  gleich  wie  der  Gott  Mars  selbst.  Also 
Ade,  ade. 

[Gehet  davon. 
TITUS  ANDRON  : 

Hertzlieber  Sohn,  die  Gotter  wollen  dir  gunstig 
seyn,  ob  ich  wol  meine  Hand  verlohren,  so  hoffe  ich 
doch,  mein  hertzlieber  Sohn  wird  desto  besser  streiten, 
denn  ich  jhn  in.  der  nehesten  Schlacht  mit  den  Moria- 
nern  fechten  sahe ,  gleich  wie  ein  grimmig  Tigerthier, 
'  an  dir  babe  ich  noch  alle  meine  Hoffnung,  vnd  so  ich 
mein  altes  Leben  hieriiber  miiste  enden,  weifs  ich,  du 
wirst  gleichwol  dich  an  den  Feinden  machtiglich  zu 
rechnen  wissen.  Nun  aber  wil  ich  dem  Keyser  ein 
ewigen  Vnfried  von  mir  ansagen  lassen.  Hollah  Bote 
kom  heraufs. 

[Kompt  heraufs. 
BOTE. 

Hie  bin  ich,  gnadiger  Herr,  habt  jhr  mir  etwas  zu 
befehlen? 

TITUS  ANDRON: 

Hore   vnd   observire   meine   Worter   wol,    was   ich 

dir  sage,  du  solt  hingehen  zum  Keyser,  vnd   vbergeben 

i  jhm  dieses  Schwerdt,   mit  diesen  Worten,   dafs  ich  wil 

sein  ewiger  Feind  seyn  vnd  bleiben,  vnd  meine  grosse- 

ste  Kriegesmacht   vber  jhn   aufsgiessen  wil,   auch  nim- 

|  mer  auffhoren  wil,  bifs  ich  jhn  sampt  der  Keyserin,  vnd 

j  seine  zweene  Sohne  in  meiner  Macht  vnd  Gewalt  habe, 

I  gehe  nur  hin,  vnd  verrichte  dieses  verstandig. 

BOTE. 

Gnadiger  Herr,   es   sol   von   mir   zum   besten   ver- 
j  richtet  werden. 

[Nimpt  das  Schwerdt. 

TITUS  ANDRON: 

Aber  hore  weiter,  wann  du  dann  dieses  gesaget 
hast,  so  vbergib  jhm  diesen  Brieff,  mit  dem  was  drin- 
nen  ist. 

[Nimpt  den  Brieff. 

Red  jhn  gar  trotziglich  an,  gleich  wie  einen  Vnfrie- 
•'  des  Boten  gebiihret. 

BOTE. 
Wolan  gnadiger  Herr,  ich  wil  jhm  alles  vbergeben. 


therefore  swear  by  the  God  Mars  not  to  check  my  rage 
and  fury  until  pale  death  triumph  over  my  heart.  Fare- 
well now  beloved  and  trusty  father,  I  depart  hence  to 
enlist  warlike  men.  Before  long  you  shall  hear  the  trum- 
pets blow,  and  know  that  I  am  bringing  with  me  a  ruth- 
less host,  that  shall  plunder,  burn,  and  kill,  like  the 
God  Mars  himself.  Farewell! 

[Exit. 


TITUS  ANDRONICUS. 

May  the  Gods  favour  you  my  son !  I  have  lost  my 
hand  indeed,  but  I  hope  that  my  dear  son  will  fight 
all  the  better;  for  in  the  last  battle  with  the  Moors  I 
saw  him  fight  like  a  fierce  tiger.  You  are  all  my  hope, 
and  even  if  I  had  to  end  my  old  days  in  this  attempt, 
I  know  that  you  will  take  signal  revenge  on  our  ene- 
mies. I  will  now  send  a  declaration  of  eternal  enmity 
to  the  Emperor.  Holla  messenger,  come  in! 


Enter  MESSENGER. 
Here  I  am,  my  lord,  have  you  any  orders  for  me? 

TITUS  ANDRONICUS. 

Hear  and  mark  my  words  well.  Go  to  the  Em- 
peror and  deliver  him  this  sword  with  the  message,  that 
I  am  and  remain  his  eternal  enemy,  that  I  shall  let 
loose  all  my  forces  against  him,  and  shall  not  rest  until 
I  have  him  together  with  the  Empress  and  her  two 
sons  in  my  power.  Go  and  deliver  this  rightly. 


MESSENGER. 
My  lord,  it  shall  be  done  to  the  best  of  my  power. 

[He  takes  the  sword. 

TITUS  ANDRONICUS. 

But  hear  me  further;  when  you  have  delivered  this 
message,  hand  him  also  this  letter  and  what  is  enclosed 
therein. 

[Messenger  takes  the  letter. 

Address  him  in  a  defiant  tone  as  befits  a  messenger 
of  war. 

MESSENGER. 
Very  well  my  lord,  I  will  deliver  it  all. 

[Exeunt. 


203 


TRAGEDY  OF  TITUS  ANDRONICUS. 


204 


Gehen  hinein.     Jetzt  kompt  heraufs  der  Keyser  vnd 
die  Key  serin. 

KAYSER. 

Schone  Keyserin,  ich  mufs  mich  vber  ewre  List 
verwundern,  da  jhr  des  Titi  Andronici  Sohne  die  Haup- 
ter  liesset  weg  schlagen,  die  da  groblich  wider  euch 
gesiindiget  hetten,  wie  jhr  saget,  damit  wir  aber  nicht 
derhalben  von  jhm  angefasset  werden,  habt  jr  jm  seine 
rechte  Hand  abvexiret,  wormit  er  dann  die  Tage  seines 
Lebens  ein  grawsam  Blut  vergossen. 

KEYSERIN. 

Ja  gnadiger  Herr  vnd  Keyser,  mufs  also  das  Vn- 
gliicke  zu  wider  kommen,  sonsten  wann  ich  die  Hand 
nicht  bekommen,  weifs  ich  warlich,  er  solte  den  Key- 
serlichen  Pallast  damit  zu  grunde  gerissen  haben.  Nun 
aber  wollen  wir  seine  Macht  nicht  grofs  achten,  vnd 
derselben  wol  widerstehen,  wiewol  er  gleichwol  nicht 
wird  ruhen,  vnd  mit  vns  ein  Streit  anfahen. 

KEYSER. 

Es  ist  war,  schone  Keyserin,  Titus  sol  nimmer 
keine  grosse  Zeichen  mehr  thun,  dennoch  fiirchte  ich 
mich  fur  seinem  Sohne  Vespasianum,  wie  man  von  jhm 
saget,  dais  er  dem  Vater  im  streiten  sol  gleich  seyn. 

KEYSERIN. 

Ja  gnadiger  Herr  vnd  Keyser,  ich  mufs  bekennen, 
dafs  er  in  ^Etiopia,  da  mir  sein  Vater  gefanglich  an- 
nam,  also  beschreyet  wurde,  dafs  er  gleich  grawsam 
dem  Vater  gestritteu  hette,  aber  gnadiger  Herr  vnd  Key- 
ser, traget  nun  fur  demselben  gar  keine  Sorge,  denn 
ich  da  mufs  mit  List  vnd  Practicken  darzu  verdacht 
seyn,  dafs  man  demselben  aufs  dem  Wege  reume.  AVas 
aber  mag  vns  das  newes  bedeuten,  dafs  der  so  eilends 
zu  vns  kompt. 

BOTE. 

Du  grofsmachtiger  Keyser  von  Rom,  ich  bin  ein 
Bote  an  dir  gesand  von  Tito  Andronico,  derselbe  thut 
ein  Schwerdt,  welches  bedeuten  sol  ein  ewigen  Krieg, 
zwischen  dir  vnd  jhm,  vbersenden.  Er  wil  allzeit  dein 
Recher  vnd  eusserster  Feind,  vnd  wil  auch  nimmermehr 
auffhoren,  bifs  er  dich,  sampt  der  Keyserinnen,  vnd 

jhren  zween  Sohnen  in  seiner  Macht  vnd  Gewalt  hat. 

- 

KEYSER. 

Wie  nun  Bote,  du  verrichtest  deine  Botschafft  noch 
trotzig  genug.  Wil  dann  nun  Titus  Andron:  einen  Blu- 
tigen  Krieg  mit  mir  anfahen,  solches  hette  ich  wol  nim- 
mermehr gemeynet.  So  gib  her  das  Schwerdt. 

[Nimpt  es. 
Vnd  sage  jhm  wieder,  weil  er  ja  zu  Vnfriede  lust, 


Enter  the  Emperor  with  the  Empress. 

EMPEROR. 

Lovely  Empress,  I  admire  the  stratagem,  by  which 
you  had  the  heads  of  the  sons  of  Titus  Andronicus  cut 
off,  for  having  so  grossly  offended  you  as  you  said ;  and 
by  which  you  prevented  him  from  harming  us  by  tricking 
him  out  of  his  right  hand,  with  which  he  has  caused  so 
much  cruel  bloodshed  all  his  life  tune. 

EMPRESS. 

Yes,  my  lord  and  Emperor,  it  is  thus  that  we  must 
avert  misfortune.  If  I  had  not  got  his  hand,  he  would 
assuredly  have  destroyed  the  Imperial  palace  with  it. 
Now  we  may  despise  his  power  and  resist  it;  though 
he  will  not  rest  before  he  can  wage  war  against  us. 


EMPEROR. 

Indeed,  lovely  Empress,  Titus  will  never  again  do 
great  wonders.  But  I  fear  his  son  Vespasian ;  they  say 
that  he  equals  his  father  in  battle. 


EMPRESS. 

Yes,  my  lord  and  Emperor,  I  must  avow  that  in 
Ethiopia,  where  his  father  made  me  his  captive,  he  was 
reputed  to  equal  his  father  in  fierce  bravery.  But  my 
lord  and  Emperor,  be  not  uneasy  on  his  account,  for  I 
will  devise  stratagems  to  put  him  out  of  the  way.  But 
what  tidings  can  that  man  bring,  that  he  comes  with 
such  haste? 


MESSENGER. 

High  and  mighty  Emperor,  I  come  as  a  messenger 
from  Titus  Andronicus,  who  sends  you  a  sword  which 
is  to  signify  eternal  war  between  you  and  him.  He  will 
always  wreak  revenge  upon  you,  and  be  your  mortal 
enemy,  and  will  never  rest  until  he  has  yourself,  and 
the  Empress  with  her  two  sons  in  his  power. 


EMPEROR. 

Messenger,  you  deliver  your  message  defiantly 
enough.  That  Titus  Andronicus  means  to  wage  bloody 
war  against  me  is  what  I  should  never  have  thought. 
Give  me  the  sword  then. 

[He  takes  it. 
Tell  him,   since  he  is  bent  upon  war,  I  boldly  ac- 


205 


TRAGEDY  OF  TITUS  ANDRONICUS. 


206 


wil  ich  Feindes  genug  seyn ,  vnd  dafs  ich  jetzt  seine 
geringe  Macht  leichtlich  widerstehen  wil,  vnd  nichtes 
achten  thue. 

BOTE. 

O  grofsmachtiger  Keyser,  ein  grofs  Vngliick  ist  dir 
sampt  den  deinen  bereitet,  vnd  ob  er  wol  seine  Hand 
nicht  mehr  hat,  so  wird  doch  sein  streitbarer  Sohn  desto 
besser  toben,  vnd  grawsamlicher  gegen  dir  wiiten,  wel- 
che  dann  jetzt  in  vielen  Konigreichen  herumb  ziehen, 
vnd  ein  grofs  vnd  machtig  streitbares  vnd  aufserlesenes 
Volck  thut  werben.  Derhalben  weifs  ich  gewifs  es  wird 
nicht  lange  weren,  so  wird  er  den  Pallast  mit  gewalti- 
ger  Hand  angreiffen,  vnd  rund  vmb  belageren,  auch 
nicht  auffhoren,  bifs  ers  rund  vmb  gekehret,  vnd  dich 
sampt  den  deinen  in  seine  Gewalt  hat,  hier  aber  habe 
ich  noch  einen  Brieff,  welchen  du  verlesen  solt. 

[Keyser  nimpt  den  Brieff. 

KEYSER. 

Du  vnverschambter  Bote,  wie  darffstu  mir  so  kiihn 
vnd  frech  thun  anreden,  so  thue  ich  schweren  bey  alle 
Gotter,  fur  dein  trotzigten  Worten  solt  du  nimmermehr 
von  hinnen  kommen,  vnd  wil  dich  genugsamlich  dafur 
straffen. 

\_Machet  den  Brieff  auff. 

Aber  was  finde  ich  hier  in  diesem  Brieffe,  ein  blos- 
ses  Schermesser,  nun  nimmermehr  sollen  mir  die  Got- 
ter helffen,  sondern  ich  wil  diesen  grossen  Frevel  vnd 
Trotz  rechen.  Aber  du  Bote,  solt  alfsbald  an  den  Gal- 
gen  gehencket  werden.  Diener  nim  jhn  alfsbald  von 
hinnen,  vnd  vberantworte  dem  Hencker,  dafs  er  jhn  von 
Stunden  an  weg  henge. 

BOTE. 

Gnadiger  Herr  Kayser,  ich  hoffe  nicht,  dafs  mir 
hie  wird  Gewalt  wiederfahren,  vnnd  den  Hencker  vber- 
antwortet  werden,  dann  solches  were  wieder  alien  Kriegs- 
gebruch,  ich  habe  ja  nichtes  mehr  gethan,  sondern  die 
Botschafft  meines  Herrn  also  aufsgerichtet ,  wie  er  sie 
mir  befohlen  hat. 

KEYSER. 

Es  hilffet  nichtes  dazu,  dein  Leben  mufs  dir  ge- 
nommen  werden,  horstu  nicht  Diener  nim  jhn  alfsfort 
fur  meinen  Augen  weg.  etc. 


cept   the   challenge,    that  I   can   now  easily   resist  his 
weak  force,  and  that  I  care  nought. 


MESSENGER. 

O  high  and  mighty  Emperor,  a  great  disaster  awaits 
you  and  yours;  and  though  he  is  deprived  of  his  hand, 
his  warlike  son,  who  is  now  wandering  through  many 
kingdoms  to  collect  a  large  and  mighty  army,  will  all 
the  more  furiously  make  you  feel  his  rage.  For  that 
I  am  certain  he  will  ere  long  attack  the  palace  with  a 
powerful  force,  and  beleaguer  it;  nor  will  he  desist 
until  he  has  turned  it  inside  out,  and  has  you  and  yours 
in  his  power;  I  have  also  a  letter  here  for  your  pe- 
rusal. 


EMPEROR,  taking  the  letter. 

Insolent  messenger,  how  darest  thou  address  me 
so  audaciously  and  impertinently !  I  swear  by  all  the 
Gods  not  to  let  thee  depart  hence,  but  to  punish  thee 
cruelly  for  thy  insolence. 

[He  opens  the  letter. 

What  do  I  find  in  this  letter!  Nothing  but  a  razor? 
May  the  Gods  never  help  me  if  I  do  not  avenge  this 
daring  outrage!  Come  sirrah,  you  must  be  hanged  pre- 
sently. Attendants  take  him  hence  and  deliver  him  up 
to  the  hangman,  that  he  may  hang  him  immediately. 


MESSENGER. 

Gracious  Emperor,  I  hope  they  will  not  lay  vio- 
lent hands  on  me  and  give  me  up  to  the  hangman,  for 
that  would  be  contrary  to  all  the  usages  of  war.  I  have 
done  no  more  than  deliver  my  lord's  message  as  I 
was  bid. 


EMPEROR. 

That  will  not  avail  you;  I  must  have  your  life. 
Do  you  not  hear,  attendant?  Take  him  instantly  out 
of  my  sight. 


207 


TRAGEDY  OF  TITUS  ANDRONICUS. 


208 


ACTUS  SEXTUS. 

Jetzt   kompt   heraufs  die   weise  Muhme,    hat   tin  junges 

Schwartzes  Kindt  im  Arm,   welches   der  Morian  mit  der 

Kdyserinnen  gezeuget. 

WEISE  MUTTER. 

Ich  suche  jetzt  allenthalben  den  Morian,  welchem 
ich  dieses  Kindt  sol  vberantworten ,  dafs  ers  sol  heim- 
lich  weg  bringen,  dann  diese  Nacht  hat  es  die  Kayserin 
zur  Welt  gebohren,  vns  es  mit  dem  Morian  welcher 
jhre  heimliche  Bule  gezeuget,  jetzt  aber  kan  ich  jhn  an 
keinem  Orte  finden,  weifs  nicht  wo  ich  mit  dem  Kinde 
hin  soil.  Aber  dar  kommen  der  Kiiyserinnen  Sohne, 
die  hievon  nichtes  wissen  sollen,  ach  wehe,  ich  weifs 
nicht  was  ich  nun  machen  soil. 
HELICATES. 

Last  mich  sehen  weifs  Mutter,  was  du  allda  bey 
dir  tragest,  hertzlieber  Bruder  kom  vnd  siehe  dieses 
grofs  Wunder,  ein  junger  schwartzer  Teufel  ist  hie  ver- 
handen. 

SAPHONUS. 

Ich  kan  mir  nicht  genugsam  druber  verwunderen, 
aber  horstu  weise  Mutter,  die  Warheit  soltu  vns'  be- 
kennen,  so  feme  du  wilt  lebendig  von  hie  gehen,  wer 
das  Kindes  Mutter  ist,  vnd  bey  welcher  vnser  Morian 
geschlaffen,  denn  ich  sehe  dafs  er  der  Vater  ist. 

WEISE  MUTTER. 

Gnadiger  Herr,  ich  wolt  es  euch  wol  offenbahren, 
wanns  jhr  wolt  in  geheim  vnd  still  bey  euch  behalten, 
denn  es  ist  keiner  der  darvon  weifs  denn  ich,  vnd  wann 
es  dieselbe  erfiihre,  dafs  es  were  von  mir  aufsgekom- 
men,  wiirde  ich  eines  elenden  Todes  sterben  mussen. 

SAPHONUS. 

Nein  weise  Mutter  nimmermehr  sol  es  von  vns 
aufskommen,  sondern  wollens  stille  bey  vns  behalten. 
bekenne  vnd  sage  vns  nun  die  Warheit.  So  du  vns 
aber  etwas  vorbringest,  vnd  wir  hernach  in  der  War- 
heit anders  erfahren,  so  soltu  nichts  gewissers  von  vns 
zuerwarten  haben,  denn  einen  grawsamen  Todt. 

WEISE  MUTTER. 

Nun  so  wil  ich  euch  die  Warheit  sagen,  jhr  sollet 
wissen,  dafs  der  schwartze  Morian  welcher  ewer  Fraw 
Mutter  heimlicher  Bule,  hat  dieses  Kindt  von  jhme  ge- 
zeuget, vnd  weil  sie  dann  nun  sahe,  dafs  das  Kindt 
schwartz  war.  verschrack  sie  sich  sehre  vnnd  befahl 
mir  alfsbald,  das  ich  heimlich  solte  zum  Morian  gehen, 


ACT  VI. 

Enter  the  midwife  with  a  black  child  in  her  arms,  which 
has  been  begotten  of  the  Empress  by  the  Moor. 

MIDWIFE. 

I  am  now  looking  everywhere  for  Morian  to  whom 
I  am  to  deliver  this  child,  that  he  may  secretly  put  it 
out  of  the  way.  The  Empress  brought  it  into  the 
world  last  night;  it  is  the  progeny  of  Morian  her  pa- 
ramour. But  I  cannot  find  him  anywhere,  nor  do  I 
know  whither  to  go  with  the  child.  But  here  come  the 
Empress's  sons  who  are  not  to  know  anything  about 
it.  Oh  dear,  I  know  not  what  to  do! 

HELICATES. 

Let  me  see,  midwife,  what  you  are  carrying  there. 
Sweet  brother,  come  and  look  at  this  great  wonder; 
here  is  a  young  black  devil. 

SAPHONUS. 

I  am  quite  amazed  at  it!  but  hark  ye,  midwife, 
as  you  love  your  life,  confess  the  truth.  Who  is  the 
mother  of  this  child  that  slept  with  Morian,  since  I  see 
that  he  is  the  father? 


MIDWIFE. 

My  lord,  I  will  readily  tell  it  you  if  you  will  keepj 
it  secret,  for  there  is  nobody  knows  about  it  but  my- 
self; and  if  she  happened  to  hear  that  I  had  divulged 
it,  I  should  have  to  die  a  miserable  death. 


SAPHONUS. 

Not  so.  It  shall  never  be  known  through  us;  we 
will  keep  it  secret.  Confess  now,  and  tell  us  the  truth. 
But  if  you  tell  us  anything  that  turns  out  to  be  untrue, 
you  may  rely  upon  it,  that  a  cruel  death  awaits  you  at 
our  hands. 


MIDWIFE. 

Well  then  I  will  tell  you  the  truth.  Know  then 
that  this  child  has  been  begotten  by  Morian,  who  is  the 
secret  lover  of  your  mother.  But  when  she  saw  that 
the  child  was  quite  black  she  was  frightened,  and  or- 
dered me  to  go  secretly  to  Morian  and  to  take  this 
child  to  him,  that  he  may  have  it  secretly  brought  up, 


209 


TRAGEDY  OF  TITUS  ANDRONICUS. 


210 


vnd  jhme  dieses  Kindt  bringen,   dafs  ers  heimlich  solte 
lassen   aufferziehen ,    damit  kein  Mensche  davon  etwas 
l[  erfahren  mochte,  nun   aber  etwas  suche  ich  vnd  kan 
jhn  nirgents  finden. 

[Sie  stehen,  sein  vber  jhrer  Rede  gar  erschrocken. 

SAPHONUS. 

Ach  wehe  diese  grosse  Schande,  verfluchet  sey  der 
ehrvergessen  Bosewicht,  der  Morian  der  vns  vnsere 
Mutter  zu  Schanden  gebracht  bat,  woruber  wir  dann 
[ein  ewig  Spott  vnd  Hon  davon  haben  miissen,  aber 
hertzlieber  Bruder,  lafs  vns  den  ehrvergessen  Schelm 
nicht  lenger  leiden  noch  dulden,  sondern  in  der  ersten 
vnser  Ansicbtigkeit ,  wollen  wir  jhme  jammerlich  er- 
schlagen. 

HELICATES. 

O  hertzlieber  Bruder,  mein  Hertz  ist  mir  betriibet. 
Das  ich  nicht  weifs,  was  ich  anfahen  soil,  drumb  dafs 
;  vns  der  morderliche  vnd  ehrvergessen  Schelm,  in  solche 
grosse  Schande  gebracht,  wer  derhalben  wol  werth,  dafs 
man  jhme  in  heissen  Oele  sieden  liesse.  Aber  was 
woUen  wir  mit  dem  vbergeben  Schelme  anfahen,  denn 
wiirden  wir  zu  streiten  mit  jhm  anfahen,  so  wurden 
wir  doch  nicht  lebendig  von  seinen  Handen  entrinnen 
konnen. 

SAPHONUS. 

So  weifs  ich  doch  warlich  nicht,  was  man  anfahen 
. sol,  bleibet  dz  Kindt  lebendig,   so  kompts  doch  entlich 
aufs,  vnd  wir  kommen  dadurch  zu  Schanden,   derhal- 
ben, so   thue   es  mir  jetzt  her,   das  ichs  alfsbald  vmb- 
bringe. 

Nimpt  das  Kindt  von  jhr,  ziehet  das  Schwerdt  aufs,  ml 

es  vmbbringen,  vnter   dessen  kompt  der  Morian  siehet  dz 

er  das  Kindt  wil  vmbbringen,  leuffet  eilents  zu  jhm,  reisset 

jhm  es  aufs  den  Handen. 

MORIAN. 

Nicht,  nicht  lafs  bleiben,  vnd  bring  es  mir  nicht 
vmbs  Leben,  denn  ich  mercke  es  ist  mein  Kindt,  oder 
ich  schlage  dich  zwischen  die  Ohren,  dafs  du  nimmer 
vonn  hinnen  kompst. 

SAPHONUS. 

O  du  ehrvorgessen  Schelm,  wie  hastu  vns  sampt 
vnser  Mutter  in  solche  grosse  Schande  gebracht,  wie 
hastu  durffen  so  kuhne  seyn,  mit  meiner  Mutter  die 
Wollust  zupflegen,  hastu  nicht  gedacht,  dafs  du  dein 
Leben  drumb  verlieren  miissest. 
MORIAN. 

Wo  nun  jhr  Herren,  seyd  nur  halb  so  zurnich, 
dann  es  ist  vnnohtig,  wollet  jhr  aber  zurnich  auff  mich 


so  that  nobody  should  know  anything  about  it.     I  am 
now  looking  for  him,  but  cannot  find  him  anywhere. 


[They  stand  in  dismay  at  her  words. 

SAPHONUS. 

Oh  what  a  burning  shame!  A  curse  upon  this  in- 
famous knave  Morian,  who  has  dishonoured  our  mother 
and  brought  us  into  ridicule  and  contempt !  Sweet  bro- 
ther, let  us  no  longer  tolerate  this  miscreant,  but  put 
him  to  a  miserable  death  as  soon  as  we  set  eyes  upon 
him. 


HELICATES. 

O  sweet  brother,  my  heart  is  sore  oppressed.  I 
know  not  what  to  do.  As  for  this  bloodthirsty  and  in- 
famous villain,  who  has  so  greatly  dishonoured  us,  he 
deserves  to  be  boiled  in  hot  oil.  But  what  are  we  to 
do  with  the  villain?  If  we  were  to  quarrel  with  him, 
we  should  not  escape  with  our  lives. 


SAPHONUS. 

I  know  not  indeed  what  to  do.  If  this  child  re- 
mains alive,  the  matter  will  be  known  and  we  shall  be 
disgraced.  Therefore  give  it  me  here,  that  I  may  kill 
it  at  once. 


He  takes  the  child,  draws  his  sword,  and  is  on  the  point 

of  killing  it;  meanwhile  Morian  comes  in,   and  on  seeing 

that  the  other  is  going  to  kill  the  child,  rushes  up   and 

snatches  it  out  of  his  hand. 

MORIAN. 

Leave  that  child  alone  and  don't  kill  it,  for  I  per- 
ceive it  is  mine,  or  else  I  will  knock  you  on  the  head 
so  that  you  will  never  again  stir  from  this  place. 

SAPHONUS. 

0  you  villainous  scoundrel,  how  have  you  disho- 
noured us  and  our  mother!  How  dared  you  satisfy  your 
lust  with  her?  Did  you  not  fear  to  atone  for  it  with 
your  life? 

MORIAN. 

How  now  Sirs!  why  are  you  so  incensed  against 
me?  There  is  no  occasion  for  it.  But  if  you  will  fall 

14 


211 


TRAGEDY  OF  TITUS  ANDRONICUS. 


212 


sein,  so  sollet  jhr  wissen,  dafs  jhr  euch  einen  argen 
Teufel  auff  den  Halfs  ladet,  vnnd  den  Gottern  thun 
dancken,  dafs  jhr  mir  wiederumb  zu  Freunde  habet, 
das  ich  aber  mit  ewer  Mutter  Bulerey  getrieben,  vnd 
sie  diesen  Sohne  von  mir  gezeuget,  frage  ich  erstlich, 
ob  ich  nit  jhr  Diener  gewesen,  vnd  alles  was  sie  hat 
von  mir  haben  wollen,  ich  alles  pflichtschuldig  zuver- 
richten  mir  gebiihren  wolte.  So  sollet  jhr  wissen:  dafs 
sie  mich  zur  Bulerey  getrieben  vnd  gezwungen,  weil 
jhr  ewern  Vater  die  Lauten  nicht  so  wol  hat  schlagen 
konnen,  auch  dieser  jetzige  Kayser  als  ich.  Derhalben 
jhr  Herren  gebet  euch  zufrieden,  vnd  seyn  mit  mir  con- 
tent, denn  ich  bin  ewer  Stieffvater,  vnd  dieser  mein 
Sohn  ist  ewer  Stieffbruder,  wie  kompts  dann  dafs  jhr 
wollet  auff  ewren  Vater  vnnd  Bruder  zornich  seyn. 

SAPHONUS. 

O  du  ehrvorgessen  Schelm,  magst  des  Teufels  Va- 
ter seyn  vnd  nicht  vnser,  ich  rate,  der  die  trotzigen 
Worter  jnne  hielte,  oder  es  wird  dir  vbel  bekommen, 
es  ist  genug,  dafs  du  vns  bereits  in  solche  Schmach 
vnd  Schande  gebracht. 

MORIAN. 

Was  jhr  Herren  wollet  jhr  noch  ziirniger  seyn,  ich 
thue  schweren  bey  alle  Gotter,  werdet  jhr  mir  nicht 
bald  aufs  meinen  Augen  gehen,  ich,  wil  kegen  euch 
beyde  schlagen,  dafs  man  darnach  die  Stucken  sol  zu- 
sammen  raffen  vnnd  suchen. 

[Morian  fdnget  an  zu  reden  mit  der  weise  Mutter, 
sie  schiltteln  jhre  Kopffe,  seyn  zornich  vnd  ge- 
hen davon. 

Aber  hore  du  weise  Mutter,  wie  ist  es  mit  der 
Kayserinnen,  ist  sie  auch  frolich  Mutter  worden,  vnnd 
wor  wiltu  mit  dem  Kinde  hingehen. 

WEISE  MUTTER. 

Ja  Gnadiger  Herr,  sie  ist  noch  wol  vnd  frisch  auff, 
vnd  eine  froliche  Mutter  worden,  sie  hat  mir  aber  be- 
fohlen,  das  ich  euch  suchen  solte,  vnd  das  Kindt  vber- 
antworten,  auch  dabey  vermelden ,  dafs  jhrs  solt  heim- 
lich  auff  den  Berg  Thaurin  tragen,  da  ewr  Vater  woh- 
net,  vnd  es  jhm  zu  aufferziehen  geben,  vnnd  dafs  es 
ja  nimmer  aufskeme,  dafs  es  von  der  Kayserinnen  ge- 
bohren  were. 

MORIAN. 

Es  ist  gut,  ich  wils  also  machen  aber  hor  mich 
weiter  vnd  sage,  weifs  auch  ein  einich  Mensche  vmb 
dieses  Kindt,  dafs  es  der  Kayserinnen  zugehoret,  vnd 
erzehle  mir  auch,  was  fur  welche  seyn  dabey  gewest, 
da  das  Kindlein  von  der  Mutter  empfangen  ist. 


out  with  me  I  wish  you  to  know,  that  you  will  have 
the  devil  to  pay,  and  will  thank  the  Gods  if  1  make 
friends  with  you  again.  That  I  should  have  had  con- 
nexion with  your  mother,  and  begotten  this  son,  what 
of  that?  I  ask  you  first,  have  I  not  been  her  attendant, 
and  was  it  not  my  bounden  duty  to  do  all  she  desired  ? 
You  shall  know  that  it  was  she  who  tempted  and  com- 
pelled me  to  commit  adultery,  for  neither  your  father 
nor  the  present  Emperor  could  satisfy  her  so  well  as  I. 
Therefore,  Sirs,  moderate  yourselves  and  be  not  dis- 
pleased with  me,  for  I  am  your  step-father,  and  this 
son  of  mine  is  your  half-brother.  How  can  you  be  angry 
with  your  father  and  brother? 


SAPHONUS. 

O  you  villainous  scoundrel,  you  may  be  the  devil's 
father,  not  ours.  I  advise  you  to  check  your  imperti- 
nence lest  you  come  to  grief.  It  is  enough  that  you 
have  dishonoured  us. 

MORIAN. 

Why  Sirs,  persist  in  your  ill-temper?  I  vow  by  all 
the  Gods  that  if  you  do  not  get  out  of  my  sight,  I  will 
cut  you  into  a  thousand  pieces. 


[He  talks  to  the  midwife;  the  brothers  shake  their 
heads  and  go  away. 

But  hark,  midwife!  How  is  the  Empress?  Was  she 
glad  to  become  a  mother,  and  where  art  thou  taking 
the  child  to? 

MIDWIFE. 

Yes  my  lord,  she  is  right  well  again  and  a  happy 
mother,  but  she  ordered  me  to  find  you  and  to  deliver 
the  child  to  you.  She  also  bids  me  tell  you  to  take  the 
child  secretly  to  Mount  Thaurin  where  your  father  re- 
sides, that  he  may  bring  it  up.  Nor  does  she  wish  it 
to  be  known  as  the  son  of  the  Empress. 


MORIAN. 

Very  well,  it  shall  be  done.  But  tell  me  further, 
does  any  body  else  know  this  child  belongs  to  the 
Empress?  tell  me  also  what  people  were  present  at 
the  child's  birth? 


213 


TRAGEDY  OF  TITUS  ANDRONICUS. 


214 


WEISE  MUTTER. 

Gnadiger  Herr  es  weifs   kein  lebendiger  Mensche 
i  davon,  dafs  es  der  Kayserin  zugehoret,  dann  mir  allein, 
i  ich  vnd  der  Kayserinnen  Sohne,  welche  da  ich  suchete, 
sie  mir  entkegen  kommen,   fragten  vnd  peinigten  mich 
;  alle,  das  ich  miiste  die  Warheit  bekennen,  wenn  es  recht 
zugehorete,  sonsten  hetten  sie  mich  getodtet.     Da  aber 
das  Kindt  entfangen  wurdt,  sollet  jhr  wissen  das  keiner 
bey  der  Kayserinnen  war  dann  ich  allein. 

MORIAN. 

Es  erfrewet  mich  aber  zwar  zehenmal  mehr,  das 
keiner  dabey  gewesen,  dann  nur  alleine  du,  aber  der- 
halben  mustu  hie  dein  Leben  verlieren. 

[Ziehet  das  Schwerdt  aufs,  ersticht  sie. 

WEISE  MUTTER. 
O  wehe,  O  wehe. 

[Felt  todt  zur  Erden. 

MORIAN. 

Sich  so  liege  nun  da,  ich  weifs  es  wird  nun  von 
dir  nicht  aufskommen,  denn  mit  deinem  Tode  bin  ich 
derhalben  versichert,  wann  dar  aber  weren  mehr  ge- 
west,  die  drumb  gewust,  solten  sie  fur  meinen  Ha'nden 
sterben,  es  weifs  ja  nun  niemandt,  denn  der  Kayserin- 
nen Sohne,  verhoffe  auch  die  werden  wol  still  schwei- 
gen,  vnd  jhre  eigen  Mutter  Schande  nicht  offenbahren, 
sondern  sie  vielemehr  helffen  bemandelen. 

[Stehet  still,  siehet  seinen  Sohn  dafs  Kindt  wel- 
ches er  in  dem  Arme  trdget  schlaffen. 

Du  aber  mein  hertzlieber  vnd  newgebohrner  Sohn, 
wolten  dich  deine  Briider  vmbbringen,  Nein  das  miisten 
sie  nicht  anfahen,  oder  sie  wiirden  mit  sterben  miissen, 
du  hast  eine  Gestalt  an  dir  gleich  wie  ich,  aufsgenom- 
men  eine  spitze  Nase  vnd  Kin  gleich  wie  die  Mutter 
hat,  aber  man  pfleget  zusagen,  dar  sitzet  der  Teufel 
ein,  du  bist  gleich  nun  Fleisch  von  meinem  Fleische 
vnd  Beine  von  meinem  Beine,  ich  mufs  nun  aber  dazu 
bedacht  seyn,  wie  ich  dich  aufferziehe,  dafs  du  dermal 
eins  gleich  deinem  Vater  kanst  nachthun,  Hundemilch 
Kase  vnd  Wasser  sol  deine  Nahrung  seyn,  bifs  so  lange 
du  gehen  kanst,  so  wil  ich  dich  in  alien  Sachen  vben, 
damit  du  solst  hart  lernen,  vnd  dermal  eins  ritterlich 
streiten  vnd  kempffen,  auch  Harnisch  fiir  deinen  Han- 
den  entzwey  reissen ,  gleich  wie  ich.  In  aller  Schel- 
merey  vnd  Morderey  wil  ich  dich  abrichten,  damit  du 
keinen  Teufel  achtest,  vnd  bey  grossen  vnd  hohen 
Weibsbildern  ein  solch  gratia  vnnd  Gnade  erlangest, 
gleich  wie  ich,  dz  sie  sich  auch  entlich  selbst  fiir  dir 


MIDWIFE. 

My  lord,  there  is  not  a  living  soul  knows  that  it 
belongs  to  the  Empress,  except  myself,  and  the  Em- 
press's sons  who  met  me  as  I  was  looking  for  you,  and 
extorted  the  truth  from  me  as  to  whom  it  belonged; 
had  I  not  told  them,  they  would  have  killed  me.  But 
when  the  child  came  into  the  world,  nobody  was  with 
the  Empress  but  myself. 


MORIAN.  * 

I  am  indeed  all  the  better  pleased  that  nobody  but 
yourself  was  present,  but  on  that  account  you  must 
now  die. 

[He  draws  his  swords  and  kills  her. 


MIDWIFE. 


O  me! 


[She  falls  down  dead. 


MORIAN. 

So  now  you  are  down,  and  I  know  the  matter 
will  not  get  abroad  through  you,  for  your  death  is  my 
security;  had  there  been  other  persons  who  knew  it, 
they  should  have  died  by  my  hands.  Now  no  one  knows 
it,  for  the  Empress's  sons  will  keep  the  secret  I  hope, 
and  not  proclaim  their  mother's  shame,  but  rather  help 
to  cloak  it. 

[He  pauses,  and  looks  at  the  sleeping  child  in  his 

arms. 

My  sweet  and  new-born  son,  thy  brothers  wished 
to  kill  thee.  No,  they  must  not  attempt  that,  or  they 
would  have  to  die  also.  Thou  hast  looks  like  mine 
own  except  a  sharp  nose  and  chin  like  thy  mother; 
but  they  say  that  therein  lurks  the  devil.  Thou  art 
indeed  flesh  of  my  flesh  and  bone  of  my  bone;  I 
must  now  consider  how  to  bring  thee  up,  that  thou  may 
one  day  emulate  thy  father.  Cheese  of  dog's  milk  with 
water  shall  be  thy  food,  till  thou  canst  walk.  I  will 
put  thee  to  all  kinds  of  exercises,  that  thou  mayst  be- 
come hardy,  and  learn  how  to  fight  bravely  and  to  tear 
up  a  coat  of  mail  with  thy  hands  like  myself.  I  will  || 
tutor  thee  in  villainies  and  bloody  deeds  of  all  kinds,  ! 
that  thou  needst  not  care  for  any  devil,  and,  like  my- 
self, shalt  obtain  such  favours  of  great  and  high-born 
ladies  as  will  even  make  them  fear  thee.  I  will  now 
take  my  child  to  my  father,  who  is  just  such  another 
black  devil  as  myself  and  lives  on  Mount  Thaurin, 
that  he  may  bring  it  up,  and  say  that  it  is  his  own, 

14* 


215 


TRAGEDY  OF  TITUS  ANDRONICUS. 


216 


furchten  miissen.  Nun  so  gehe  von  hinnen,  vnd  dieses 
mein  Kindt  wil  ich  bringen  zu  meinem  Vater,  der  dann 
auch  solch  ein  schwartzer  Teufel  ist  dann  ich,  vnd  auff 
dem  Berge  Thaurin  wohnet,  dafs  ers  mir  sol  aufferzie- 
hen,  vnnd  sagen  dafs  es  sein  eigen  ist,  damit  keiner 
erfahre  wem  es  zugehoret,  die  Kayserin  mag  nun  auff 
ein  frisches  dencken  auffs  folgende  Jahr. 


ACTUS  SEPTIMUS. 

Jetzt  werden  die  Heertrommel  geschlagen,  vnd  die  Trom- 
peten  blasen  auff,  vnd  ist  die  Zeit,  dafs  Vespasianus  sein 
Kriegesheer  welches  er  geworben  kegen  Rome  bringet,  hat 
grawsam  gewiltet,  alle  State  so  den  Rb'mern  zugehoret, 
rund  vmb  gekehret.  Kompt  heraufs. 

VESPASIANUS. 

Mit  einen  grossen  tapperen  vnd  aufserlesenen  ver- 
suchten  Kriegesvolcke  bin  ich  jetzund  kegen  Rome  kom- 
men,  sechtzig  tausent  Rauter  hab  ich  in  vollem  Kiirifs, 
vnd  hundert  tausent  man  zu  Fufs,  damit  ich  jetzt  durch 
gantz  Italiam  gezogen,  vnd  alle  State  worein  wir  ge- 
kommen  gar  zerschleiffet,  dafs  kein  Stein  mehr  auff  den 
andern  lieget,  auch  gantz  Italien  haben  wir  so  ver- 
schrocken,  dafs  sie  allenthalben  herumb  lauffen,  gleich 
wie  die  Feldtfliichtigen  vnnd  nirgents  Hiilffe  haben,  ein 
grawsam  vnd  vnzehlig  Volck  haben  wir  bereits  dahin 
geschlachtet,  dafs  ach  vnd  wehe  schreyet  man  allent- 
halben wo  wir  kommen,  aber  solches  ist  noch  gar  nichts 
zu  achten,  sondern  nun  sol  es  noch  erstlich  10.  mal  graw- 
samer  angehen,  auch  thue  ich  nochmalen  bey  alle  Got- 
ter  schweren,  nimmermehr  mit  meinem  Kriegsheere  ab- 
zuziehen,  bifs  ich  den  Kayser,  die  hoffertige  Kayserin 
sampt  jhren  zween  Sohnen  in  meiner  Gewalt  habe, 
aber  was  sehe  ich  jetzt  fur  ein  Wunder  zu  mir  kommen. 

Jetzt  kompt  ein  Soldat,  hat  den  Morian  sampt  dem 
Kinde  gefangen, 

SOLDAT. 

Gnadiger  Fiirst  vnd  Herr,  ich  thue  E.  F.  G.  diesen 
Morian  welchen  ich  fur  dem  Berge  Thaurin  gefangen, 
in  Vnterthanigkeit  fur  seinen  Gefangnen  vbergeben. 

VESPASIANUS. 

Du  mein  lieber  vnnd  getrewer  Soldate  vber  diesen 
Gefangen  bin  ich  hoch  erfrewet,  denn  es  ist  einer  von 
vnsern  eussersten  Feinden  der  Kayserinnen  Diener,  wel- 
chen ich  gar  wol  kenne,  horstu  schwartzer  Teufel  ein 


so  that  no  one  may  know  to  whom  it  belongs;  the 
Empress  may  now  turn  her  thoughts  to  a  fresh  one 
next  year. 


ACT  VII. 

Beat  of  drums  and  flourish  of  trumpets.     Vespasian  ap- 
proaches Rome  with  his  army,   having  made  great  havoc, 
and  desolated  all  the  cities  of  the  Romans. 


VESPASIAN. 

With  a  large  and  brave  army  of  picked  and  ex- 
perienced troops  do  I  now  march  against  Rome.  I  have 
sixty  thousand  horsemen  in  full  armour  and  a  hundred 
thousand  men  on  foot;  I  have  marched  through  the 
length  and  breadth  of  Italy,  and  have  razed  all  the  cities 
through  which  we  passed,  that  not  one  stone  lies  upon 
another.  I  have  struck  such  terror  into  all  Italy,  that 
the  people  wander  about  in  all  directions  like  deserters, 
and  know  not  where  to  look  for  help.  We  cruelly  have 
massacred  such  a  number  of  people,  that  we  hear  cries 
of  anguish  everywhere  on  our  march.  But  this  is  nothing, 
—  tenfold  more  cruel  work  shall  now  begin;  and  I  once 
more  swear  to  all  the  Gods  not  to  withdraw  with  my 
army  until  I  have  the  Emperor,  and  the  haughty  Em- 
press with  her  two  sons  in  my  power.  But  what  wonder 
do  I  see  here! 


Enter  a  soldier  with  Morian  and  the  child  as  captives. 

SOLDIER. 

My  prince  and  general,  I  humbly  deliver  up  to 
your  Highness  this  Morian,  whom  I  made  prisoner  of 
war  on  Mount  Thaurin. 

• 

VESPASIAN. 

My  dear  and  faithful  soldier,  I  am  highly  rejoiced 
at  this  prisoner,  for  he  is  one  of  our  greatest  ene- 
mies; he  is  the  Empress's  servant  whom  I  well  know. 
Hark  ye,  black  devil,  you  are  a  welcome  guest  to  me! 


217 


TRAGEDY  OF  TITUS  ANDRONICUS. 


218 


angenehmer  Gast  bistu  mir,   aber  sag  mir  was  woltu 

auff  dem  Berge  Thaurin  machen,   vnd  was  ist  das  fiir 

ein  schwartzer  Teufel,  dem  du  in  deinem  Arme  tragest. 

MORIAN. 

Hat  mich  darni  niemalen  ein  einiger  Kerl  so  schandt- 
lofs  gefangen  genommen,  weil  ich  gelebet,  dann  dieser. 
Ich  mag  wol  sagen  dafs  jhr  vnd  ewer  Anhang  die  Teu- 
fel selber  seyn  mit  streiten  vnd  kempffen.  Ich  bin  so 
toll  vnd  rasendlich  dafs  ich  nicht  weifs  was  ich  anfa- 
hen  soil,  ich  mag  mich  selbest  verfluchen,  ewer  Gefang- 
ner  bin  ich  jetzt,  wollet  jhr  mir  mein  Leben  schencken 
vnnd  Gnade  beweisen,  so  wil  ich  ewre  Ohren  erfiillen 
mit  grofs  Wunder  vnd  Admiration,  was  die  Kayserin 
mit  jhren  zween  Sohnen  an  ewre  Schwester  Andronica 
gethan,  auch  wie  ewre  Bruder  sein  vmbs  Leben  kom- 
men,  auch  so  wil  ich  euch  trewlich  dienen,  vnd  wieder 
den  Kayser  streiten  helifen,  wollet  jhr  aber  mir  nicht 
Gnade  beweisen,  so  wil  ich  euch  im  geringesten  nichts 
offenbahren,  denn  hie  bin  ich,  vnd  habe  mich  all  vber- 
geben,  kan  nun  eins  Todts  sterben. 
VESPASIA: 

Ob  du  schon  gefangen,  bistu  dennoch  trotzich  ge- 
nug,  erzehle  mir  aber  alle  Sachen  vnd  sage  mir  die 
Warheit,  wer,  an  welchem  Orte,  vnd  zu  welcher  Zeit, 
vnd  vmb  welcher  Vrsache  meine  Schwester  Andronica 
jhre  Hande  vnd  Zunge  so  jammerlich  beraubet.  Auch 
wie  meine  Bruder  sein  gefangen  genommen,  vnnd  vmb 
welche  Vrsache  sie  seyn  dem  Tode  vberantwortet  wor- 
den,  wann  ich  dann  nun  dasselbige  angehoret  soltu  dein 
|  Leben  behalten. 

MORIAN. 

So  eroffnet  nun  ewre  Ohren,  vnd  horet  mir  wol 
zu.  Jhr  sollet  wissen  dafs  ich  der  Kayserinnen  allezeit 
heimlicher  Bule  gewest,  aber  so  wol  wie  sie  noch  K6- 
nigin  in  Mohrenlandt  war,  wie  auch  hie  vnd  weil  sie 
dann  allzeit  ein  hoffertiges  vnd  vberaufs  hoffertiges  Ge- 
miihte  gehabt,  dafs  sie  auch  keinen  neben  sich  hat  lei- 
den  wollen,  vnnd  weil  sie  dann  sahe,  dafs  jhr  vnd  die 
ewren  in  solchem  grossen  vnd  hohen  Ruhm  waret,  auch 
so  machtig  vnd  reich,  dafs  jhr  dem  Kayser  gleich  waret, 
konte  sie  solches  in  jhrem  hoffertigem  Gemuhte  nicht 
dulden  noch  leiden,  sondern  hat  euch  je  vnd  allewege 
auffs  eusserste,  verfolget,  es  weren  aber  auch  der  Kay- 
serinnen Sohne  beyde  kegen  ewre  Schwester  Andronica 
mit  Liebe  entbrant,  hielten  mich  derwegen  dazu,  dafs 
ich  jrem  Gemahl  solte  auff  den  Dienst  warten  vnnd 
vmbbringen,  dafs  sie  darnach  jhre  Wollust  mit  sie  trei- 
ben  konten,  ich  aber  wartete  mit  allem  Fleifs  auff  jhn, 
dafs  ich  jhn  wolte  vmbbringen,  hatte  aber  niemalen  Ge- 
legenheit  dazu,  konte  jhn  auch  nicht  antreffen  vmbzu- 


But  what  was  your  business   on  Mount  Thaurin,   and 
who  is  the  black  devil  you  carry  in  your  arms? 

MORIAN. 

Never  in  all  my  life  did  a  fellow  singlehanded,  so 
ignominiously  make  me  his  prisoner  as  he  did.  I  make 
bold  to  say  that  you  and  your  party  are  the  veriest 
devils  for  fighting.  I  am  so  madly  enraged,  that  I  know 
not  what  to  do.  I  could  curse  myself.  I  am  now  your 
prisoner,  and  if  you  will  give  me  quarter  and  spare  my 
life,  I  will  fill  your  ears  with  wonder  and  amazement  at 
what  the  Empress  and  her  sons  have  done  to  your  sister 
Andronica,  and  in  what  manner  your  brothers  have  lost 
their  lives.  I  will  also  serve  you  faithfully  against  the 
Emperor;  but  if  you  will  not  give  me_quarter,  I  will 
not  disclose  anything,  since  having  once  surrendered  I 
can  only  die  once. 


VESPASIAN. 

You  assume  a  defiant  tone  for  a  prisoner,  at  a«y-  -^ 
rate.  But  tell  me  all  the  circumstances  and  the  real 
truth,  as  to  who  was  the  perpetrator,  the  whereabouts, 
at  what  time  and  for  what  cause  my  sister  Andronica 
lost  her  hands  and  tongue  so  pitifully;  also  the  way  my 
brothers  were  imprisoned,  and  the  cause  for  which  they 
were  deprived  of  their  lives.  When  I  have  learnt  all 
this,  you  shall  be  allowed  to  live. 

MORIAN. 

Then  open  your  ears  and  mark  me  well.  You  must 
know  that  I  always  was  the  paramour  of  the  Empress, 
both  when  she  was  still  Queen  of  Ethiopia,  and  here. 
But  being  of  so  overweening  a  disposition  that  she  could 
not  bear  a  rival,  and  seeing  that  you  and  your  family 
stood  in  such  high  renown,  and  that  you  were  so  power- 
ful and  rich  as  to  be  the  Emperor's  equal,  she  could 
not  endure  this  in  the  pride  of  her  heart,  but  seized  every 
opportunity  to  persecute  you  to  the  utmost.  But  the  Em- 
press's sons  fell  violently  in  love  with  your  sister  An- 
dronica, and  desired  me  to  watch  and  to  kill  her  hus- 
band, that  they  might  afterwards  gratify  their  lust  with 
her.  So  I  watched  him  anxiously  with  intent  to  kill 
him,  but  never  had  an  opportunity  of  doing  so.  Now 
at  the  time  when  your  father  Titus  Andronicus  had  the 
great  stag-hunt,  at  which  the  Emperor,  the  Empress 
with  her  two  sons,  and  likewise  your  sister  with  her 
husband  were  present,  it  happened  that  the  Empress 
was  walking  alone  in  the  forest  to  look  for  me.  She 


219 


TRAGEDY  OF  TITUS  ANDRONICUS. 


220 


bringen.  Da  nun  aber  die  Zeit  war,  dafs  ewer  Vater 
Titus  Andronicus  die  grosse  Hirschjagt  hielt,  worauff 
dann  war  der  Kayser  die  Kayserin  sampt  jhren  zween 
Sohnen  auch  ewre  Schwester  Andronica  sampt  jhrem 
Gemahl,  begibt  sich  dafs  die  Kayserin  nach  mich  gar 
alleine  im  Walde  suchet,  die  Wollust  mit  jhr  zutreiben, 
konte  mich  aber  nicht  finden,  kompt  aber  an  die  An- 
dronica vnd  jhren  Gemahl,  die  da  beyde  alleine  seyn, 
redet  sie  mit  gar  hoffertigen  Worten  an,  die  Andronica 
giebt  jhr  nicht  viele  nach,  sondern  antwortet  jhr  tro- 
tziglich,  Woriiber  dann  die  Kayserin  aufs  bofshafftigen 
Gemiihte  von  hinnen  rennet,  vorschweret  sich  so  hoch, 
dafs  sie  noch  essen  oder  trincken  wil,  ehe  dann  sie 
jhren  Muth  an  jhr  gekiihlet,  so  kommen  jhr  vngefahr 
jhre  Sohne  entkegen,  dieselben  vermahnet  sie  dafs  sie 
sich  sollen  an  der  Andronica  rechnen,  vnnd  jhren  Ge- 
mahl an  der  Seiten  erstechen,  oder  sie  wil  sie  nicht 
fur  jhre  Sohne  achten,  sie  aber  seyn  willig  gehen  mit 
jhr  an  den  Ort  da  Andronica  ist,  da  erstechen  sie  jhren 
Gemahl  an  der  Seiten,  darnach  befehlet  sie  jhnen,  dafs 
sie  die  Andronica  nehmen  sollen,  vnd  brauchen  jhre 
Wollust  beyde  an  sie,  vnnd  solten  sie  darnach  also  zu- 
richten,  dafs  sie  keines  Menschen  gleich  were,  also  neh- 
men sie  sie  weg,  hawen  jhr  darnach  beyde  Hande  abe, 
reissen  sie  jhr  die  Zunge  aufs,  so  hette  nun  die  Kay- 
serin weiter  im  Sinne,  ewer  gantze  Geschlechte  aufs- 
zurotten,  liefs  derhalben  ewren  zween  Bruderen,  durch 
mich  vnnd  durch  Angebung  meines  Rechtes  gefangen 
nehmen,  vmb  gar  nichtiger  Vrsachen  willen,  vnnd  liefs 
sie  also  enthauptgen.  Damit  sie  sich  aber  kiinfftiglich 
von  ewrem  Vater  keines  Vngliicks  zugewarten  hette, 
liefs  sie  jhin  sagen,  dafs  seine  Sohne  groblich  wieder 
jhr  gesundiget  hetten,  vnnd  mussen  derhalben  sterben. 
So  er  sie  aber  lieb  hette,  solte  er  seine  Handt  fur  sie 
geben,  alfsdann  solten  sie  jhm  lebendig  wieder  zuge- 
stellet  werden,  vexiret  jhn  also  dazu  seine  streitbahre 
Handt  abe,  schicket  sie  jhm  wieder  mit  den  Hauptern, 
also  habt  jhr  jetzt  nun  den  gantzen  Handel  von  mir 
erstanden,  auch  sollet  jhr  zu  letzte  wissen,  dafs  die 
Kayserin  dieses  Kindt  vonn  mir  gezeuget,  welches  ich 
wolte  auff  den  Berg  Thaurin  bringen. 

VESPASIANUS. 

Ja  mit  wunder  vnd  vber  wunder  sein  mir  jetzt 
meine  Ohren  vber  deine  Worter  erfiillet,  O  wehe  nim- 
mer  werde  dir  wol  du  hoffertige  Kayserin,  mit  sampt 
deinem  Sohne,  nun  so  bin  ich  dennoch  so  viele  froli- 
cher,  weil  ich  nun  alles  weifs,  wie  es  zugangen,  wor- 
nach  ich  mich  wieder  richten  kan,  denn  in  alien  sols 
dir  so  wieder  vnd  zehen  mal  arger  gehen.  Aber  ich 
habe  es  jetzt  auch  nicht  nohtig,  dafs  ich  dir  dasselbige 


could  not  find  me  but  met  Andronica  and  her  husband, 
who  were  there  alone.  She  addressed  them  in  haughty 
terms;  Andronica  was  not  behindhand  with  her,  but 
replied  sharply.  Hereupon  the  Empress  runs  off,  solemnly 
vowing  not  to  eat  or  drink  until  she  had  taken  revenge. 
It  so  happened  that  just  at  that  moment  she  met  her 
sons.  She  immediately  called  on  them  to  revenge  her 
on  Andronica  by  stabbing  her  hushand  at  her  side,  de- 
claring that  if  they  did  not,  she  would  not  own  them  as 
her  sons.  They  complied,  went  with  her  to  the  spot 
where  Andronica  was,  and  stabbed  her  husband  at  her 
side.  She  then  ordered  them  to  take  Andronica  with 
them  and  violate  her,  and  afterwards  mutilate  her  in 
such  a  manner,  that  she  should  no  longer  resemble  a 
human  being.  They  accordingly  carried  her  off,  cut  off 
both  her  hands,  and  tore  out  her  tongue.  The  Empress 
further  resolved  to  exterminate  your  whole  family,  and 
so  upon  my  advice  she  caused  your  two  brothers  to  be 
imprisoned  upon  some  trivial  pretence  and  to  be  be- 
headed. But  in  order  to  secure  herself  against  being 
harmed  by  your  father  she  sent  him  word,  to  say  that 
his  sons  had  outrageously  offended  her,  and  that  they 
must  die  on  that  account.  But  if  he  loved  them,  he  was 
to  give  up  his  hand  for  them  after  which  they  should  be 
returned  to  him  alive.  In  this  manner  she  tricked  him 
out  of  his  warlike  hand,  and  sent  it  back  together  with 
the  heads.  You  have  now  got  out  of  me  the  whole  affair, 
and  shall  know  in  conclusion  that  the  Empress  has  been 
delivered  of  this  child,  which  was  begotten  by  me,  and 
which  I  was  going  to  take  to  Mount  Thaurin. 


VESPASIAN. 

Indeed  your  words  fill  my  ears  with  wonder  and 
amazement!  O!  haughty  Empress,  I  shall  never  par- 
don you  and  your  sons.  But  I  am  now  much  more  re- 
signed since  I  know  how  it  all  came  about.  I  know 
now  how  to  act,  for  you  shall  pay  for  this  tenfold 
over.  Nor  am  I  bound  to  keep  my  promise  to  you, 
since  the  accursed  Empress,  who  had  demanded  my 
old  father's  warlike  hand,  promising  to  restore  his  sons 


221 


TRAGEDY  OF  TITUS  ANDRONICUS. 


222 


halte,  welches  ich  verheissen,  sintemal  die  verfluchte 
Kiiyserin  von  meinem  alten  Herr  Vater  seine  streitbare 
Handt  abfodert,  verheifs  jhm  darvor  seine  Herren  Sohne 
lebendig,  aber  es  ward  nicht  gehalten,  derhalben  Morian 
mustu  sterben  ohne  alle  Gnade  vnd  Barmhertzigkeit. 
Diener  nimb  jhn  von  hinnen.  Vberantwort  jhn  also- 
bald  dem  Hencker,  dafs  er  jhn  alfsbald  erhencke  mit 
seinen  Kindern. 

MORIAN. 

Wo  nun  dem  Teufel,  sol  ich  dann  nun  hangen, 
dafs  wird  mir  vbel  vnd  vngewonet  ankommen,  ist  dann 
gar  keine  Barmhertzigkeit,  ich  bitte  schencket  mir  jnein 
Leben. 

TESPASIANUS. 

Nein  dein  Leben  sol  dir  nicht  geschencket  seyn, 
vnd  nicht  die  geringeste  Gnade  haben,  derhalben  nimb 
jhn  von  hinnen,  dafs  er  alfsbald  wird  erhencket,  vnd 
das  Kind  mit  jhm. 

MORIAN. 

Wo  nun,  harre  ein  wenig,  sol  ich  Hangelbeeren 
fressen,  kom  ich  heute  noch  zeitig  genug,  kan  es  dann 
nicht  anders  seyn,  dafs  ich  sterben  mufs,  so  bin  ich 
willig,  weil  ichs  gar  wol  vnd  vorlangst  verdienet.  Aber 
ich  bitte  euch,  erbarmet  euch  meines  Kindes,  vnd  last 
es  nicht  mit  mir  sterben,  denn  es  hat  noch  nichtes  bo- 
ses  gethan,  lasset  es  aber  zur  Kriegesriistung  auffer- 
ziehen,  so  weifs  ich  fiirwar,  es  sol  ein  tapffer  vnd  streit- 
barer  Heldt  werden. 

VESPASIANUS. 

Deines  Kindes  wil  ich  mich  erbarmen,  vnd  es  zu 
streiten  vnd  kempffen  aufferziehen  lassen,  aber  du  mache 
dich  bald  von  hinnen. 

[Gehet  fort. 
MORIAN. 

Hette  ich  doch  all  mein  Tage,  nicht  gedacht,  dafs 
ich  noch  solte  auffs  letzte  erhencket  werden,  nun  so 
gehe  fort  vnd  erhencke  mich  geschwinde  weg,  ehe  ich 
noch  mehr  dran  gedencke. 

[Gehen  weg. 

Jetzt  kompt  der  Kdyser  heraufs. 

KAYSER. 

Solch  grofs  Blutvergiessen  vnd  gefahrlicher  Krieg 
mag  nicht  erhoret  seyn,  auch  dafs  Rom  in  solche  grosse 
Angst  vnd  Gefahr  gestanden,  denn  nun  so  hefftig  der 
Vespasianus  der  Stadt  zusetzet,  so  grawsam  hat  er  die 
vmbliegende  Sta'dte  verderbet,  dafs  es  mag  zu  erbar- 
men seyn ,  4.  Feldschlachten  haben  wir  mit  jhm  gehal- 
ten, aber  er  hat  sie  vns  alle  abgewonnen,  vnd  ein  graw- 
sam mange  Volcks  dahin  geschlachtet,  streitet  auch  so 


alive,  did  not  keep  her  promise.  Therefore  Morian  you 
must  now  die  without  mercy.  Attendant,  lead  him  away. 
Deliver  him  up  to  the  hangman  immediately,  that  he 
may  hang  him  together  with  his  child. 


MORIAN. 

If  the  devil  will  have  it  that  I  am  to  be  hanged, 
I  don't  think  it  will  agree  with  me,  for  I  am  not  used 
to  it.  Is  there  no  mercy?  Pray  spare  my  life. 

VESPASIAN. 

No,  I  shall  neither  spare  your  life  nor  have  the  least 
mercy  on  you.  Therefore  take  him  away  to  be  hanged 
immediately  together  with  his  child. 

MORIAN. 

Just  tarry  a  little,  if  I  must  eat  gallows  pears  the 
day  is  long  enough  for  it.  So  if  perforce  I  must  die, 
I  am  ready,  for  I  have  deserved  it  well  long  ago.  But 
pray  have  pity  on  my  child  —  take  not  away  its  life  also, 
for  it  is  still  quite  innocent!  Only  let  him  be  brought  up 
as  a  warrior  and  I  am  certain  that  he  will  become  a 
brave  and  warlike  hero. 


VESPASIAN. 

I  will  have  pity  on  your  child  and  bring  him  up 
as  a  warrior,  but  as  for  you,  take  yourself  off  instantly. 

[Exit. 

MORIAN. 

Indeed,  I  should  never  have  thought,  that  I  was 
destined  to  be  hanged.  Well  then  come  away  and  hang 
me  quickly  before  I  have  time  to  think  about  it. 

[Exeunt. 


Enter  EMPEROR. 

Such  dreadful  bloodshed,  —  so  dangerous  a  war  are 
things  unheard  of  till  now.  Never  has  Rome  been  in 
such  trouble  and  peril  before!  But  the  great  hardships 
which  Vespasian  inflicts  upon  Rome  are  quite  equalled 
by  his  cruel  devastation  of  the  surrounding  cities.  It  is 
piteous,  piteous!  Four  battles  have  we  fought  against 
him  and  lost.  He  has  slaughtered  such  numbers,  and  he 
fights  so  fiercely  that  nobody  dares  to  come  near  him 


223 


TRAGEDY  OF  TITUS  ANDRONICUS. 


224 


grawsam,  dafs  keiner  darff  in  der  Schlacht  an  jhm  na- 
hen,  sondern  fliehen  alle  fur  jhm.  Mein  Keyserlichen 
Pallast  hat  er  gestriges  Tages  mir  zu  trotze  voller  Flen- 
ten  geschlossen,  ja  alle  meine  Kriegsleute  seyn  schon 
zaghafftig,  diirfFen  sich  nicht  zu  jhm  hinaufs  nahen,  sa- 
gen,  dafs  sie  nun  in  die  tagliche  Erfahrung  kommen, 
dafs  alle  welche  zum  Feinde  hinaufs  ziehen,  gewifs  nicht 
wieder  kommen,  woruber  denn  nun  mein  Hertz  so  be- 
angstiget,  dafs  ich  nicht  weifs,  was  ich  anfahen  sol, 
denn  meine  Macht  wird  von  Tage  zu  Tage  kleiner,  vnd 
der  Feind  nimpt  jmmer  noch  machtiger  zu,  derhalben 
wir  seiner  Macht  nicht  mehr  konnen  oder  werden  Wi- 
derstand  thun,  wo  man  jhm  nicht  mit  List  oder  Betrug 
einen  Schaden  thut,  vnd  meine  Keyserinne,  die  sich 
jetzt  mit  jhren  Sohnen  vermumschantzet,  jhn  nicht  be- 
trieget,  jetzt  aber  ist  sie  hingangen,  die  Gotter  wollen 
jhn  darzu  favorales  seyn,  vnd  Gnade  verleihen,  ich  wil 
hinein  gehen,  vnd  erwarte  stets  mit  grossen  Begierden, 
was  sie  werden  aufsrichten  vnd  zu  wege  bringen  konnen. 

Gehet  hinein,  die  Keyserin  kompt  heraufs,  sampt  jhren 
zween  Sohnen,  haben  sich  vermumschantzet. 

KAYSERIN. 

Hertzliebe  Sohne,  jetzt  kennet  vns  niemandt,  denn 
wir  vns  gnug  vermumschantzet,  hort  mir  aber,  was  ewer 
Thun  allda  beym  Tito  Andronico  seyn  sol,  jhr  sollet 
nun  genawe  achtung  haben,  was  er  fur  listige  Krieges 
Practicken  sich  wider  den  Keyser  fiirnimpt,  dafs  wir 
vns  alfsbald  zu  wissen  thun,  damit  wir  vns  dafiir  zu 
hiiten  wissen,  so  jhr  werdet  sehen,  dafs  sein  toben  vnd 
wuten  sol  la'nger  wehren,  vnd  dieses  grawsam  Blutver- 
giessen  an  die  vnserigen  nicht  auffhoret,  so  sehet  zu, 
dafs  jhr  jhn,  sampt  seinen  streitbaren  Sohn  Vespasia- 
num  heimlich  ermordet,  also  wird  dann  dieser  gefehrlich 
Krieg  ein  Ende  gewinnen,  folget  mir  nun  nach,  wir 
wollen  gleich  zu  seinen  Pallast  gehen. 

[Gehen  hin  zu  dem  Pallast,  ruffet  den  alien  Titum. 
Holla,   holla  guter  Freund  Titus  Andronicus,   kom 
ein  wenig  zu  mir  herunter. 

[Titus  siehet  von  oben  hinunter. 
TITUS  ANDRON: 

Was  seyd  jhr  fur  welche,  dafs  jhr  so  vber  mich 
ruffet? 

KEYSERIN. 

Alter  Titus  Andronicus,  wir  sind  deine  guten  Freunde, 
vnd  die  Gotter  haben  mich  mit  diesen  zu  dir  gesand, 
dafs  ich  dir  diese  beyde  sol  vbergeben,  denn  sie  von 
den  Gottern  geordiniret,  in  dem  Krieges  Wesen  mit 
gutem  Rathe  behulfflich  zuseyn,  damit  man  seinen  Fein- 
den  in  kurtzen  vberwindet. 


in  battle,  but  all  fly  from  him.  He  invested  my  Imperial 
palace  yesterday  in  defiance  of  me,  —  nay  all  my  soldiers 
begin  to  flinch;  they  venture  not  to  sally  forth  to  engage 
him.  They  say  it  is  their  daily  experience,  that  all 
who  march  out  to  meet  the  enemy  are  sure  never  to 
return.  My  heart  is  so  oppressed  that  I  know  not 
what  to  do,  for  my  forces  are  daily  reduced,  and  those 
of  the  enemy  are  on  the  increase.  We  shall  not  be 
able  to  oppose  them  unless  we  ruin  him  by  cunning 
and  treachery,  and  unless  he  is  deceived  by  my  Em- 
press who  is  now  disguising  herself  with  her  sons.  She 
is  now  gone;  may  the  Gods  favour  her!  I  will  go  in 
and  anxiously  await  the  result. 

[Exit 


Enter  the  Empress  with  her  two  sons,  all  in  disguise. 

EMPRESS. 

My  sweet  sons,  nobody  will  know  us  now  in  this 
perfect  disguise;  but  now  listen  to  me.  This  shall  be 
your  business  with  Titus  Andronicus.  You  shall  closely 
watch  the  cunning  strategems  of  war  which  he  plans 
against  the  Emperor,  that  we  may  give  information  to 
each  other  and  be  on  our  guard.  And  if  you  see  that 
he  goes  on  devastating  the  land  and  ruthlessly  shed- 
ding our  blood,  then  contrive  to  assassinate  him  and 
his  warlike  son  Vespasian  and  thus  put  an  end  to  this 
desolating  war.  Follow  me  now  to  his  palace  imme- 
diately. 


[They  go  to  the  palace,  and  she  calls  old  Titus. 
Holla!  my  good  friend  Titus  Andronicus,  just  come 
down  for  a  minute. 

TITUS  ANDRONICUS,  looking  down. 
Who  calls  me  there? 

EMPRESS. 

Old  Titus  Andronicus,  we  are  your  good  friends, 
and  the  Gods  have  sent  me  to  you  with  these  men,  that 
I  may  deliver  them  both  to  you.  They  are  appointed  by 
the  Gods  to  assist  in  the  war  by  their  good  advice,  so 
that  we  may  soon  conquer  the  enemy. 


TRAGEDY  OF  TITUS  ANDRONICUS. 


226 


TITUS  ANDRON. 

O  dieselben  sollen  mir  gar  angeneme  seyn,  vnd  in 
grossen  Ehren  von  mir  gehalten  werden,  aber  jetzt  kom 
ich  zu  euch  hinunter,  mit  Frewden  zu  empfahen. 

[Gehet  hinunter. 
KAYSERIN. 

Nun  mein  Lieber,  ich  habe  jhn  euch  an  praesenti- 
ret,  vnnd  gehabt  euch  wol,  ich  gehe  von  hinnen. 

Gehet  weg,  nun  kompt  Titus  Andronicus  herausser. 

TITUS  ANDRON: 
Sagt  mir,  wo  ist  der  Dritte  geblieben? 

HELICATES. 

Sie  ist  wiederumb  von  hinnen  gangen,  da  sie  vns 
jhn  an  praesentiret  hat. 

TITUS  ANDRON: 

Ja  warlich  jhr  sollet  mir  solche  willkommene  Gaste 
seyn,  wie  ich  nimmermehr  gehabt,  Holla  Soldaten,  kom- 
met  eilends  herausser. 

[Kommen  jhrer  zween  herausser. 
Kompt  hie,   vnd  haltet  mir  diese  beyde  steiff  vnd 
feste.    Nun  jhr  ehrvergessene  vnd  morderliche  Schelme, 
meynt  jhr  dafs  ich  so  gar  von  sinnen  kommen  bin,  dafs 
ich  euch  nicht  kennen  solte. 

\_Ziehet  jhn  die  Kappe  vom  Angesichte. 
Seyd  jhr  nicht  der  Keyserinnen  Sohne,  vnd  meynet 
mich  verratherlich  vmb  mein  Leben  zu  bringen.  Aber 
jetzt  habe  ich,  woran  ich  mich  rechnen  kan,  bringt  mir 
da  alfsbald  ewer  ein,  ein  scharffes  Scheermesser  vnd 
ein  Schlacht  Tuch  herausser.  Ja  jetzt  hab  ich  ein  heim- 
lichen  Rath  bey  mir  erdacht,  worin  ich  alle  meine 
Feinde  fangen  wil,  vnd  meinen  Muth  wiederumb  genug- 
sam  an  sie  kiihlen. 

Jetzt  kompt  einer,   bringet  jhm  ein  scharffes  Scheermesser 
vnd  Schlacht  Tuch,  er  macht  das  Tuch  vmb,  gleich  als 

wenn  er  schlachten  will. 

Gehe  auch  geschwinde  hin,  vnd  hole  ein  Gefafs. 

[Gehet  hin. 

Vnd  du  kom  mit  demselben  Morder,  den  du  hast, 
hieher  vnd  halte  jhm  seine  Gurgel  heriiber,  dafs  ich 
sie  kan  abschneiden. 

[Bringt  Gefafs. 

Vnd  kom  du  hie  mit  deinem  Gefafs,  halt  es  jhme 
vnter  die  Gurgel,  vnd  fange  alles  Blut  darein. 

Der  elteste  Bruder  wird  erstlich  heriiber  gehalten,   er  wil 
reden,  aber  sie  halten  jhm  das  Maul  zu. 
Titus  schneidet  jhm  die  Gurgel  halb  abe. 

Das  Blut  rennet  in   das  Gefafs,  legen  jhn   da  das  Blut 
aufsgerennet,  todt  an  die  Erden. 


TITUS  ANDRONICUS. 

O  they  shall  be  most  welcome,  and  held  by  me  in 
great  honour.  I  will  come  down  directly,  and  give  them 
a  joyful  reception. 

[Goes  down. 
EMPRESS. 

My  sweet  sons,  now  I  have  introduced  you  to  him, 
farewell  I  depart, 

[Exit. 

Enter  TITUS  ANDRONICUS. 
Tell  me,  where  is  the  third  person  gone? 

HELICATES. 

She  went  away,  as  soon  .as  she  had  introduced  us 
to  you. 

TITUS  ANDRONICUS. 

Yes  indeed,  you  shall  be  such  welcome  guests  to 
me  as  I  have  never  had  before.  Holla  soldiers !  come 
here  quick! 

{Enter  two  soldiers. 

Come  here  and  hold  these  two  fellows  fast.  Now 
you  infamous  murderous  villains  I  do  you  think  that  I 
have  so  entirely  lost  my  senses  not  to  know  you? 

[He  unmasks  them. 

Are  you  not  the  sons  of  the  Empress,  and  do  you 
not  treacherously  seek  my  life?  But  now  I  can  take 
my  revenge.  Bring  me,  one  of  you  a  sharp  razor  and 
a  butcher's  apron.  I  have  devised  a  snare  wherein  I 
will  catch  all  my  enemies  to  satiate  my  revenge  on 
them. 


[A  sharp  razor  and  an  apron  are  brought.    He 
puts  on  the  apron,  and  makes  preparations  to 
slaughter  them. 
Now  go  and  fetch  a  basin  quickly. 

[Exit  soldier. 

And  you  come  hither  with  the  murderer  you  watch, 
and  hold  his  throat  that  I  may  cut  it. 

[A  basin  is  brought. 

And  you  come   here   with   the   basin  and  hold  it 
under  his  throat  to  gather  all  the  blood. 

[The  eldest  brother  is  first  held  down,  he  wishes 
to  speak,  but  they  stop  his  mouth.  Titus  half 
cuts  his  throat.  The  Hood  runs  into  the  basin. 
After  it  is  all  run  out,  they  lay  him  down 
dead  on  the  floor. 

15 


227 


TRAGEDY  OF  TITUS  ANDRONICUS. 


228 


Nun  kom  du  ander  auch  heran. 

Helt  jhn   eben  so   die   Gurgel  heruber.     Er  weigert  sich 
he/tig    zum   Tode,    wil  reden,    aber  sie  halten  jhm   das 

Maul  zu. 

Titus  schneidet  jhm  in  die  Gurgel,  das  Slut  wird  auffge- 
fangen,  darnach  todt  an  die  Erden  gelegt. 

Nun  habe  ich  jhnen  die  Gurgel  beyde  halb  abge- 
schnitten,  was  ich  aber  nun  geschlachtet,  daruber  wil 
ich  selber  Koch  seyn,  die  Haupter  wil  ich  gar  klein 
zuhacken,  vnd  sie  in  Pasteten  backen,  worauff  ich  denn 
den  Keyser  sampt  jhrer  Mutter  zu  gaste  bitten  wil,  vnd 
alfsbald  ein  Friedes  Boten  nach  dem  Keyser  schicken, 
jhr  aber  nempt  alfsbald  die  Corper,  vnd  bringet  sie  mir 
in  die  Kiichen. 

[Gehet  hinein. 
Bringen  die  Corper  weg. 


ACTUS  OCTAVUS. 

Jetzt  kompt  heraufs  der  Keyser,  auch  die  Key  serin. 

KAYSER. 

Schone  Keyserin,  ich  bitte  erzehlet  mir,  waren  dem 
Tito  Andronico  ewer  Sohne  auch  lieb,  die  jhr  jhm  an- 
prsesentiretet,  gleich  als  wen  sie  jhm  Gotter  schicketen. 

KEYSERIN. 

Gnadiger  Herr  vnd  Keyser,  der  alte  Titus  war 
sehr  froh  driiber,  kam  alfsbald  zu  jhnen  herunter,  vnter 
dessen  gieng  ich  wieder  weg,  verhoff  meine  Sohne  wer- 
den  in  grossen  Ehren  bey  jhm  erhalten  werden,  vnd 
alles  was  sie  jhm  rathen,  wird  er  folgen,  aber  da  kompt 
jetzt  ein  Bote,  was  mag  der  vns  gutes  bringen? 

Der  Bote  geht  fiirm  Keyser. 

BOTE. 

Gliick,  Heil  vnd  alle  Wolfahrt  warten  aufF  E.  Kays : 
May:  Grofsmachtigster  vnd  vnuberwindlichster  Keyser 
von  Rom,  ich  bin  ein  Bote,  vnd  gesand  von  meinem 
gnadigen  Herrn  Tito  Andronico  zu  Ewer  Keyserlichen 
May:  lest  ewer  May:  durch  mich  vermelden  Fried  vnd 
Einigkeit,  vnd  dafs  er  nimmermehr  keine  Wehr  noch 
Waffen  wider  Ewer  May:  fuhren  wil  sondern  ein  ewig 
Verbundnifs  vnd  Friede  mit  E.  May:  machen,  last  vns 
darneben  bitten,  E.  May:  wolln  mit  seine  schone  Key- 
serin  zu  jhm  auff  ein  Pancket  kommen,  dafs  also  desto 
mehr  Friede  vnd  Einigkeit  mochte  gemacht  werden. 


Now  come  here  too,  you  other. 

[Holds  his  throat  in  the  same  way.  He  resists 
violently  and  wishes  to  speak,  but  they  stop  his 
mouth.  Titus  cuts  his  throat,  the  blood  is  col- 
lected, after  which  they  lay  him  down  dead. 


I  have  now  cut  their  throats,  and  what  I  have 
slaughtered  I  will  cook  myself.  I  will  hash  up  these 
heads  and  bake  them  in  pasties;  then  I  will  invite  the 
Emperor  and  their  mother.  The  messenger  of  peace 
shall  be  sent  off  at  once  to  the  Emperor.  But  you 
make  haste,  take  these  dead  bodies  and  carry  them  into 
the  kitchen. 

[Exeunt  with  the  dead  bodies. 


ACT  VIII. 

Enter  the  Emperor  and  the  Empress. 

EMPEROR. 

My  lovely  Empress,  pray  tell  me  whether  Titus 
Andronicus  was  pleased  with  your  sons  whom  you  in- 
troduced as  being  sent  to  him  by  the  Gods. 

EMPRESS. 

My  lord  and  Emperor,  old  Titus  was  highly  pleased, 
and  came  down  immediately.  Meanwhile  I  came  away, 
hoping  that  my  sons  will  be  held  in  great  honour  by 
him,  and  that  he  will  follow  their  advice  in  everything. 
But  here  comes  a  messenger,  what  good  tidings  may 
he  bring  us? 


MESSENGER. 

All  hail  to  your  Imperial  Majesty,  high  and  mighty 
and  invincible  Emperor  of  Rome.  I  am  a  messenger  sent 
by  my  noble  lord  Titus  Andronicus  to  your  Imperial  Ma- 
jesty. He  bids  me  offer  you  peace  and  amity,  he  will 
never  again  wage  war  against  your  Majesty  but  wishes  to 
enter  into  an  eternal  bond  and  alliance  with  your  Ma- 
jesty. I  am  further  to  entreat  that  your  may  be  pleased 
to  come  with  your  lovely  Empress  to  a  banquet,  so 
that  peace  and  unity  may  be  all  the  better  esta- 
blished. 


229 


TRAGEDY  OF  TITUS  ANDRONICUS. 


230 


KAYSER. 

Diese  deine  angetragene  Botschafft,  machet  mir 
grosse  Frewde  vnd  Wonne  meines  Hertzens,  dafs  well 
der  alte  Titus  Andronicus  Friede  vnd  Einigkeit  mit  mir 
machen  wil,  sage  jhm  aber  wiederumb  von  mir,  dafs 
ich  mich  druber  sehre  erfrewet,  vnd  alfsbald  Personlich 
bey  jhm  mit  meiner  Keyserin  erscheinen  wil. 

BOTE. 

Grofsmachtiger  Keyser,  ich  wil  diese  Relation  weifs- 
lich  verrichten. 

[Gehet  weg. 
KEYSERIN. 

Dieses  ist  wol  gewifs,  gnadiger  Herr  vnd  Keyser, 
dafs  meine  zween  Sohne  zu  diesem  Friede  geredet,  wel- 
chen  denn  der  alte  Titus  folge  geleistet. 

KAYSER. 

Haben  sie  mir  dieses  zu  wegen  gebracht,  so  ver- 
heifs  ich  jhnen  warlich  dafur,  dafs  sie  derhalben  von 
mir  zu  hohen  Dingen  sollen  befordert  werden.  Aber 
schone  Keyserin,  wir  wollen  nicht  langer  seumen,  son- 
dern  vns  alfsbald  zu  dem  Tito  Andronico  verfugen. 

G  eli  en  hinein  zu  Titum,  sie  fang  en  an  zu  spielen,  vnter 
dessen  wird  die  Taffel  zugerichtet,  vnd  die  Pasteten  auff- 
getragen.  Nicht  lang  darnach  kompt  Titus  Andronicus 
heraufs,  hat  das  Tuch,  so  mit  Blut  besprenget,  noch  vmb, 
vnd  ein  Messer  in  der  Hand,  der  Keyser  vnd  die  Key- 
serin  gehen  hinter  jhm,  dar  folget  die  Andronica  vnd 
Vespasianus  vnd  Victoriades. 

TITUS  ANDRON: 

Grofsmachtiger  Keyser  vnd  schone  Keyserin  ich 
thue  mich  hochlich  bedancken,  dafs  jhr  auff  meine  Bitte 
erschienen  seyd.  Ich  bitte  aber  Ewer  Majestat  wolle 
sich  mit  seiner  Keyserinne  setzen,  vnd  dieses  mein  ge- 
ringe  tractament  vorlieb  auff  vnd  annehmen. 

KAYSER. 

Guter  Freund  Titus  Andronicus,  hochlich  bin  ich 
drob  erfrewet,  dafs  dieser  blutiger  gefahrlicher  Krieg 
ein  ende  genommen,  vnd  wir  zu  Fried  vnd  Eintracht 
seyn  gerathen. 

{Gehet  oben  an  die   Taffel  sitzen,  die  Keyserin 

bey  jhm. 
Aber  sagt  mir,  warumb  gehet  jhr  mit  der  Schurtzen  ? 

[Victoriades  gehet  sitzen. 
TITUS  ANDRON: 

Grofsmachtiger  Keyser,  ich  bin  selber  Koch  ge- 
worden,  vnd  die  Pasteten  fiir  E.  May:  zugerichtet. 

KAYSER. 

Nun  es  ist  alles  gut,  ich  bitte  Titus,  kompt  mit 
ewrem  Sohne  bey  vns  sitzen. 


EMPEROR. 

Your  message,  that  old  Titus  Andronicus  wishes  to 
make  peace  with  me,  rejoices  and  delights  my  heart. 
Tell  him  therefore  on  my  part,  that  I  am  highly  pleased, 
and  that  I  will  immediately  come  in  person  with  my 
Empress. 

MESSENGER. 

High  and  mighty  Emperor,  I  will  duly  deliver  this 
message. 

[Exit. 
EMPRESS. 

It  is  quite  certain,  my  lord  and  Emperor,  that  my 
sons  have  brought  about  this  tender  of  peace  from  old 
Titus. 

EMPEROR. 

If  so  be  that  they  have  brought  this  about,  I  pro- 
mise them  high  promotion.  So  lovely  Empress,  let  us 
not  tarry  longer,  but  betake  ourselves  forthwith  to  old 
Titus  Andronicus. 


They  go  to  Titus;  hautboys  sound,  while  the  table  is  being 
dressed  and  the  pies  served.  Presently  enter  Titus  An- 
dronicus still  wearing  the  blood-stained  apron,  and  with 
a  knife  in  his  hand.  The  Emperor  and  Empress  follow 
him,  then  Andronica,  Vespasian  and  Victoriades. 


TITUS  ANDRONICUS. 

Mighty  Emperor  and  lovely  Empress,  1  most  hum- 
bly thank  you  for  responding  to  my  invitation.  I  pray 
your  Majesty  and  the  Empress  to  be  seated  and  kindly 
to  partake  of  my  humble  repast. 

EMPEROR. 

My  good  friend  Titus  Andronicus,  I  am  highly  re- 
joiced that  this  bloody  and  desolating  war  is  come  to 
an  end,  and  that  we  are  joined  in  peace  and  amity. 

[He  sits  down  at  the  upper  end  of  the  table;  the 

Empress  sits  at  his  side. 
But  tell  me,  why  wear  you  this  apron? 

[Victoriades  sits  down* 
TITUS  ANDRONICUS. 

Mighty  Emperor,  I  have  become  cook  myself,  and 
have  made  pasties  for  your  Majesty. 

EMPEROR. 

I  am  right  pleased,  but  pray  Titus,  come  with  your 
son  and  sit  at  our  side. 

15* 


231 


TRAGEDY  OF  TITUS  ANDRONICUS. 


232 


TITUS  ANDRON: 

Nein  grofsmachtiger  Keyser,  ich  werde  jetzt  nicht 
sitzen  gehen,  sondern  wil  E.  May:  dienen,  du  aber  hertz- 
lieber  Sohn  Vespasianus,  gehe  sitzen,  vnd  leiste  dem 
Keyser  Freundschafft. 

VESPASIANUS. 

Ja  hertzlieber  Vater,  ewerm  Befehl  bin  ich  jeder- 
zeit  willig  nachzukommen. 

[Gehet  sitzen. 
KAYSERIN. 

Lieber  Titus  Andronicus,  ich  bitte  lasset  ewre  Toch- 
ter  Andronica  auch  sitzen. 

TITUS. 

Nein  schone  Keyserin,  dafs  kan  nicht  seyn,  sie  mufs 
fur  euch  stehen  vnd  dienen.  Ich  bitte  aber  E.  May: 
wollen  essen  vnd  frolich  seyn. 

Gehet  hin  zu  den  Pasteten,  schneidet  dem  Keyser,  auch 

der  Keyserin  davon  fur,  Vespasianus  aber  isset  nichts,  der 

alte  Titos  gehet  fiirm  Tische  betriibet  spatzieren. 

KAYSERIN. 

Warlich  die  Tage  meines  Lebens  hab  ich  nicht  bes- 
sers  von  Pasteten  gegessen,  alfs  jetzt,  kan  aber  nicht 
wissen,  worvon  es  moge  zugerichtet  seyn,  oder  was 
dasselbige  ist,  so  drein  gebacket. 

TITUS  ANDRON: 

O  schone  Keyserin,  ich  bitte,  esset  besser  davon, 
weil  er  euch  so  wol  thut  schmecken,  worvon  er  aber 
gemachet,  wil  ich  der  Keyserinnen  darnach  erzehlen. 

Schneidet  noch  ein  Stucklein  davon,  legts  der 
Keyserinnen  fur. 

KAYSERIN. 

Aber  mein  lieber  Titus  Andronicus,  saget  warumb 
seyd  jhr  so  melancholisch,  vnd  esset  nit. 

TITUS  ANDRON: 

O  schone  Keyserin,  esset  jhr  nun  wol  davon,  ich 
aber  bin  voll  grosser  Betrubnifs,  ja  der  Betriibste  in 
der  gantzen  Welt,  dafs  ich  auch  nicht  weifs,  was  ich 
vor  Angst  sol  thun  oder  anfahen. 

KAYSERIN. 

Aber  ich  bitte  euch,  saget  mir  warumb  seyd  jhr 
so  betrubet,  vnd  was  hat  euch  betrubt  gemacht? 

Titus  geht  fur  die  Andronica. 

TITUS  ANDRON: 

Keyserin,  durch  dieses  elende  Mensche,  meine  hertz- 
liebe  Tochter,  bin  ich  so  vnmenschlich  sehre  betrubet. 
Nun  aber  ist  mir  langer  vnmuglich,  dich  also  elendig- 


TITUS  ANDRONICUS. 

My  gracious  Emperor,  I  will  not  sit  down  now, 
but  will  wait  upon  you,  but  you  my  dear  son  Vespa- 
sian, go  and  bear  the  Emperor  company. 

VESPASIAN. 

Yes  my  beloved  father,  I  am  ever  ready  to  obey 
your  orders. 

[He  sits  down. 
EMPRESS. 

My  dear  Titus  Andronicus,  pray  bid  your  daughter 
sit  also. 

TITUS  ANDRONICUS. 

No  my  lovely  Empress,  that  cannot  be;  she  must 
stand  and  wait  upon  you.  But  I  entreat  your  Majesty 
to  eat  and  be  cheerful. 

[He  goes  up  to  the  pies,  carves  them,  and  places 
portions  of  them  before  the  Emperor  and  the 
Empress.  Vespasian  eats  nothing;  Titus  walks 
sorrowfully  up  and  down. 

EMPRESS. 

I  have  never  eaten  a  better  pie  than  this  in  all  my 
life,  but  I  cannot  imagine  what  they  are  made  of. 


TITUS  ANDRONICUS. 
O   my   lovely   Empress,   pray   take   some   more  as 
you  relish  it  so  much;  and  I  will  tell  my  Empress  after- 
wards what  they  were  made  of. 

[He  cuts  off  another  piece,  and  places  it  before  her. 

EMPRESS. 

But  my  dear  Titus  Andronicus,  tell  me  why  you 
are  so  melancholy,  and  why  you  do  not  eat. 

TITUS  ANDRONICUS. 

O    my  lovely  Empress,    please  you  eat    heartily 

As  to  myself  I  am  filled  with  grief,   indeed  the    most 

afflicted   man   in  the  world,    and  know  not  what  to  do 

in  my  affliction. 

EMPRESS. 

But  pray  tell  me  why  are  you  so  sorrowful,  ant 
what  has  caused  you  this  grief? 

TITUS  ANDRONICUS,  going  up  to  Andronica. 

My  Empress,  it  is  on  account  of  this  unhappy 
damsel,  my  beloved  daughter,  that  I  am  so  deeply  af- 
flicted. But  it  is  no  longer  possible  for  me  to  see  you  so 


233 


TRAGEDY  OF  TITUS  ANDRONICUS. 


234 


lich  fur  meinen  Augen  zusehen,  vnd  fur  Vngedult  wil 
mir  mein  Hertz  im  Leibe  zerplatzen,  sieh  da  nimb  das 
zu  dir. 

[Stosset  jhr  das  Messer  durchs  Hertz,  sie  felt 
todtlich  nieder  zu  der  Erden. 

KAYSER. 

Ach  ach  Titus  Andronicus,  seyd  jhr  auch  noch  bey 
Sinnen,  wie  kompts,  dafs  jhr  ewer  eigen  Fleisch  vnd 
Blut  ermordet,  ach  wehe  dieses  erbarmliche  Wesen. 

TITUS  ANDRON. 

Ja  Keyser,  die  grosseste  Pein  vnd  Hellen  Angest 
meines  Hertzen,  hab  ich  durch  jhr  empfangen,  aber 
hore  mich  recht  zu,  deine  verfluchte  vnd  hoffertige  Key- 
serin  ist  eine  Vrsache,  denn  sie  meine  armselige  Toch- 
ter  durch  jhre  Sohne,  die  Hande  hat  abhawen  lassen, 
auch  die  Zunge  aufsgerissen.  Wisse  aber  nun  du  ver- 
fluchte Keyserin,  dafs  du  jetzt  mit  grosser  Anmuth  von 
deines  Sohnes  Hauptern  gegessen  hast,  welche  ich  drin- 
nen  gebacket. 

[Keyserin  zittert  vnd  bebet,  verschrecket  sich  graw- 

samlich. 

Nun  aber  soltu  also  keinen  Menschen  mehr  betrii- 
ben,  wie  du  mich  gethan,  nim  also  dieses  dafiir. 

[Springet  mit  dem  Messer  zu  jhr,  ersticht  sie  an 
des  Keysers  Seiten  beym  Tische. 

O  mordio  wehe. 

[Felt  todt  zur  Erden. 
KEYSER. 

O  wehe  solte  ich  solche  Mordt  dulden,  das  ist  mir 
vnmuglich. 

[Zieht  das  Schwerdt  aufs,  ersticht  Titum  Andron: 
fiirm  Tische,  felt  todtlich  zur  Erden,  Vespa- 
sian: springet  vber  Tisch  zum  Keyser. 

VESPASIANUS. 

Nun  Keyser  du  must  wiederumb  sterben,  soltu  auch 
tausendt  Leiber  haben. 

[Ersticht  den  Kdyser,  felt  todt  zur  Erden. 

VICTORIADES. 

Ach  wehe,  ach  wehe,  difs  erbarmliche  vnd  klag- 
liche  Wesen,  0  wehe  nimmermehr  werde  ich  mich  kon- 
nen  zu  frieden  geben.  Nun  Vespasian:  das  Keyser- 
thumb  gehoret  euch  jetzt  zu,  setzet  die  Krone  auff  ewer 
Ha'upt,  vn  regierts  mit  frieden. 

VESPASIANUS. 

O  gnadiger  Herr  Vetter,  was  sol  ich  das  Keyser- 
thumb  regieren,  mein  Hertz  wil  mir  im  Leibe  zersprin- 
gen  wegen  dieser  Tragsedi,  welche  nimmermehr  mag 


unhappy   before  mine  eyes,   and   my  heart  is  breaking 
for  anguish.     Here  take  this. 

[He  stabs  her,  she  falls  down  dead. 

EMPEROR. 

O  Titus  Andronicus,  are  you  in  your  senses?  how 
comes  it  that  you  murder  your  own  flesh  and  blood? 
O  poor  hapless  creature? 

TITUS  ANDRONICUS. 

Ay,  Emperor,  my  heart  has  been  wrung  with  pain 
and  anguish  on  her  account;  but  hear  the  rest.  Your 
accursed  and  haughty  Empress  is  the  cause  of  this,  for 
it  is  she  who  made  her  sons  cut  off  the  hands  and 
tongue  of  my  unfortunate  daughter.  But  know  ye  now, 
you  accursed  Empress,  that  you  have  just  regaled  your- 
self upon  the  heads  of  your  sons  which  I  had  baked 
in  this  pie. 

[The  Empress   trembles  with  horror  and  dismay. 

But  you  shall  no  longer  afflict  any  man,  as  you 
have  done  me.  Take  this  in  return. 

[He  rushes  upon  her  with  the  knife,  and  stabs 
her  by  the  side  of  the  Emperor  at  table. 

(EMPRESS.) 
Help!  Murder! 

[She  dies. 
EMPEROR. 

O  horrible!  Shall  I  suffer  such  murder?  no,  im- 
possible ! 

[He  draws  his  sword  and  pierces  Titus  Andro- 
nicus, who  falls  down  dead.  Vespasian  leaps 
over  the  table  to  the  Emperor. 

VESPASIAN. 

Emperor,  now  must  you  die  in  your  turn,  and  though 
you  had  a  thousand  lives. 

[He  stabs  the  Emperor. 

VICTORIADES. 

O  woeful,  woeful !  most  harrowing  sight.  Ah,  I  shall 
never  be  happy  again.  Now  Vespasian  the  Empire  be- 
longs to  you;  place  the  crown  on  your  head,  and  rule 
in  peace. 

VESPASIAN. 

O  my  beloved  uncle!  how  can  I  rule  the  Empire, 
when  my  heart  is  ready  to  break  at  this  tragedy,  more 
pitiful  than  has  ever  been  heard  of  before?  I  know 


235 


TRAGEDY  OF  TITUS  ANDRONICUS. 


236 


klaglicher  erhoret,  ich  weifs  fur  grofs  Betriibnifs  nicht 
was  ich  sol  anfahen,  fiihrt  jhr  nun  die  Keyserliche  Crone 
auff  ewrem  Haupte,  dann  jhr  seyd  der  neheste  darzu. 

VICTORIADES. 

O  nein  ich  begehre  sie  nimmermehr  zufuhren,  jhr 
aber  seyd  ein  rechter  Erbe  dazu,  vnd  seyd  wegen  ewer 
tapifer  Thaten  beschreyet  worden  vber  die  gantze  Welt, 
das  ewers  gleichen  nirgends  ist.  So  wisset  jhr,  dafs 
das  Keyserthumb  viel  Anfechtung  vnd  Feinde  hat,  auch 
sehr  hoch  von  nothen  hat  einen  streitbaren  Regenten, 
derhalben  weigert  euch  nit,  vnd  empfahet  das  Keyser- 
thumb, vnd  machet  darnach  allenthalben  widerumb  Fried, 
vnd  regieret  es  mit  Einigkeit  vn  Frewde. 

VESPASIAN  :  • 

So  last  vns  nun  hinein  gehen,  dafs  ich  die  Krone 
fur  jedermanniglich  empfahe,  aber  nimmermehr  werd 
ich  konnen  frolich  sein. 

FINIS. 


not  what  to  do  in  my  great  sorrow.  Place  you  the 
Imperial  crown  on  your  head,  for  your  claim  is  the 
nearest. 

VICTORIADES. 

O  no!  I  will  never  wear  it.  You  are  the  lawful 
heir,  and  are  so  renowned  for  your  brave  deeds  all  over 
the  world,  that  you  have  not  your  equal.  Know  then 
that  the  Empire  has  many  troubles  and  enemies,  and 
wants  a  warlike  ruler.  Therefore  resist  not,  but  accept 
the  Empire.  Bring  about  a  general  peace,  and  rule  in 
joy  and  harmony. 


VESPASIAN. 

So  let  us  then  go  in,  that  I  may  receive  the  crown 
in  the  name  of  the  people;  but  I  shall  never  be  happy 
again. 

THE  END. 


TRAGEDY  OF  FRATRICIDE  PUNISHED 


OR 


PRINCE  HAMLET  OF  DENMARK 


ACTED  IN  GERMANY,  ABOUT  THE  YEAR  1603,  BY  ENGLISH  PLAYERS. 


The  TRAGEDY  or  PRINCE  HAMLET  has  been  preserved  to  us  only  by  a  late  and  modernised  copy  of  a 
much  older  manuscript.  That  copy,  bearing  the  date,  "Pretz,  den  27.  Oktober  1710",  has  once  been  in  the  pos- 
session of  CONRAD  EKHOF,  the  celebrated  actor  and  manager  of  the  Theatre  of  Gotha,  (born  at  Hamburg,  Aug. 
12,  1720  —  died  at  Gotha  June  16,  1778)  after  whose  death  some  extracts  of  it  were  published  in  the  "Theater- 
Kalender  auf  das  Jahr  1779"  Gotha  24mo,  pag.  47  to  60,  by  the  care  of  its  editor,  H.  A.  O.  REICHARD,  who  in 
1781  gave  the  full  text  of  the  play  in  his  Periodical,  "Olla  Potrida",  Berlin,  8vo,  Part  H  of  1781,  pag.  18  to  68. 
It  is  entitled: 

TEAGOEDIA. 

beftrafte  S3mbermorb 

ober: 

§amtet  aits  £>amtemart. 

(TRAGEDY.     FRATRICIDE  PUNISHED,  OR  PRINCE  HAMLET  OF  DENMARK.) 
In  the  present  impression  the  German  text  has  been  given  as  it  stands  in  the  "Olla  Potrida". 


TRAGCEDIA 

VON 

PRINZ  HAMLET  AUS  DlNNEMARK. 


Personen. 

1.    Im  Prologe. 

NACHT  in  einer  gestirnten  Maschine. 
ALECTO. 
THISIPHONE. 
MAGERA. 

2.    In  der  Tragoedie. 

GEIST  des  alten  Konigs  von  Dannemark. 
ERICO,  Bruder  des  Konigs. 
HAMLET,  Prinz  des  ermordeten  Konigs. 
SIGRIE,  die  Konigin,  Hamlets  Mutter. 
HORATIO,  ein  hoher  Freund  des  Prinzen. 
CORAMBUS,  Koniglicher  Hofmarschall. 
LEONHARDUS,  dessen  Sohn. 
OPHELIA,  dessen  Tochter. 
PHANTASMO,  Hofnarr. 
FRANCISCO,  Offizier  der  Wache. 
JENS,  ein  Bauer. 

CARL,  der  Principal  von  den  Comodianten. 
CORPORAL  von  der  Wache. 
ZWEI  REDENDE  BANDITEN. 
ZWEI  SCHILDWACHEN. 
TRABANTEN, 


HOFDIENER, 

ZWEI  COMODIANTEN, 


Stumme. 


PROLOGUS. 

DIE  NACHT  von  oben. 
_Lch  bin  die  dunkle  Nacht,  die  alles  schlafend  macht, 
Ich  bin  des  Morpheus  Weib,  der  Laster  Zeitvertreib, 
Ich  bin  der  Diebe  Schutz,  und  der  Verliebten  Trutz, 
Ich  bin  die  dunkle  Nacht,  und  hab  in  meiner  Macht, 
Die  Bosheit  auszuiiben,  die  Menschen  zu  betriiben, 
Mem  Mantel  decket  zu  der  Huren  Schand'  und  Ruh', 
Eh'  Phobus  noch  wird  prangen,  will  ich  ein  Spiel  anfangen ; 
Ihr  Kinder  meiner  Brust,  ihr  Tochter  meiner  Lust, 
Ihr  Furien,  auf,  auf,  hervor  und  last  euch  sehen, 
Kommt,  horet  fleifsig  zu,  was  kurzens  soil  geschehen. 


TRAGEDY 

OF 

PRINCE  HAMLET  OF  DENMARK. 


Persons  represented: 

1.  In  the  Prologue. 

NIGHT,  in  a  car,  covered  with  stars. 
ALECTO. 

THISIPHONE. 
Kawnu. 

2.  In  the  Tragedy. 

GHOST  of  the  old  King  of  Denmark. 
EEICO,  brother  to  the  King. 

HAMLET.  Prince,  son  of  the  murdered  King. 

SIGRIE,  the  Queen,  Hamlet's  mother. 

HORATIO,  the  Prince's  friend,  of  high  rank. 

CORAMBUS,  Lord  Chamberlain. 

LEONARDUS,  his  son. 

OPHELIA,  his  daughter. 

PHANTASMO,  the  clown. 

FRANCISCO,   Officer  of  the  guard. 

JENS,  a  peasant. 

CHARLES,  the  principal  of  the  comedians. 

A  CORPORAL  of  the  guard. 

Two  RUFFIANS. 

Two  SOLDIERS. 

LIFE-GUARDS        \ 

SERVANTS  >  Mute  persons. 

TWO    COMEDIANS  ) 


PROLOGUE. 

NIGHT,  from  above. 

JL  am  the  sable  Night,  all  feel  in  sleep  my  might. 
Of  Morpheus  I'm  the  wife,  in  vicious  pleasures  rife; 
I'm  guardian  of  the  thief,  I  bring  to  love  relief, 
I  am  the  sable  Night,  who  have  it  in  my  might 
All  wickedness  to  do,  and  cause  mankind  to  rue. 
Concealed  my  veil  shall  keep  the  harlot's  shame  and  sleep. 
Ere  Phoebus  lights  the  sky,  I  have  a  game  to  try. 
Ye  children  of  my  breast,  daughters  of  lust  confessed, 
Ye  furies,  up,  arise,  come  forth  and  shew  your  face, 
Come  listen  all  to  me  what  shortly  shall  take  place. 

16 


243 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


244 


ALECTO. 

Was  sagt  die  dunkle  Nacht,  die  Konigin  der  Stille, 
Was  giebt  sie  Neues  an,  was  ist  ihr  Lust  und  Wille? 

MAGERA. 

Aus  Acherons  finstrer  Hohle  komm  ich  Magera  her, 
Von  dir,  du  Unglucksfrau,  zu  horen  dein  Begehr. 

THISIPHONE. 

Und  ich  Thisiphone,  was  hast  du  vor,  sag  an, 
Du  schwarze  Hecate,  ob  ich  dir  dienen  kann? 

NACHT. 

Hort  an,  ihr  Furien  alle  drey,  hort  an,  ihr  Kinder 
der  Finsternifs  und  Gebarerin  alles  Ungliicks,  hort  an 
eure  mit  Mohnhaupter  gekronte  Konigin  der  Nacht,  eine 
Gebietherin  der  Diebe  und  Rauber,  eine  Freundin  und 
Klarheit  der  Mordbrenner,  eine  Liebhaberin  des  ver- 
stohlnen  Gutes,  und  hochstgeliebte  Gottin  der  Verlieb- 
ten  in  Unehren,  wie  ofte  wird  mein  Laster- Altar  durch 
diese  genannte  That  verehret!  Diese  Nacht  und  kunfti- 
gen  Tag  mufst  ihr  mir  beystehn,  denn  es  ist  der  Konig 
dieses  Reich  s  in  Liebe  gegen  seines  Bruders  Weib  ent- 
brannt,  welchen  er  um  ihrenthalben  ermordet,  um  sie 
und  das  Konigreich  zu  bekommen.  Nun  ist  die  Stunde 
vorhanden,  dafs  er  sein  Beylager  mit  ihr  halt,  ich  will 
meinen  Mantel  fiber  sie  decken,  dafs  sie  beyde  ihre  Sun- 
den  nicht  sehn  sollen,  derowegen  seyd  bereit,  den  Saa- 
men  der  Uneinigkeit  auszustreuen,  mischet  Gift  unter  ihre 
Eh',  und  Eifersucht  in  ihre  Herzen.  Legt  ein  Rachfeuer 
an,  lafst  die  Funken  in  dem  ganzen  Reich  herumfliegen, 
verwirret  die  Blutsfreunde  in  dem  Lasternetz,  und  macht 
der  Holle  eine  Freude,  damit  diejenigen,  welche  in  der 
Mord-See  schwimmen,  bald  ersaufen;  gehet,  eilet,  und 
verrichtet  meinen  Befehl. 

THISIPHONE. 

Ich  hore  schon  genung,  und  werde  bald  verrichten 
Mehr  als  die  dunkle  Nacht  von  ihr  selbst  kann  erdichten. 

MAGERA. 

Der  Pluto  selbst  soil  mir  so  viel  im  Sinn  nicht   geben, 
Als  man  in  kurzer  Zeit  von  mir  bald  wird  erleben. 

ALECTO. 

Ich  bias'  die  Funken  an,  und  mach'  das  Feuer  brennen, 
Ich  will,  eh's  zweymal  tagt,  die  ganze  Lust  zertrennen. 

NACHT. 
So  eilt,  ich  fahre  auf,  verrichtet  euren  Lauf. 

[Fdhrt  auf.     Musik. 


ALECTO. 

What  saith  the  sable  Night,  the  Queen  of  sleep  and  rest  ? 
What  is  her  wish  and  will,  what  thoughts  do  move  her  - 

breast? 

M2EGERA. 

From  Acheron's  dark  pit,  Maegera  I,  appear, 

From  thee,  ill-omened  hag,  thy  wishes  now  to  hear. 

THISIPHONE. 

And  I,  Thisiphone,  say  on  what  is  thy  plan, 
Hecate  thou  dark  one,  say,  I'll  serve  thee  if  1  can. 

NIGHT. 

Listen  ye  furies  all,  listen  ye  three,  offspring  of 
darkness,  messengers  of  hate,  listen  to  your  poppy- 
crowned  Queen  of  Night,  protectress  of  all  midnight 
thieves  and  robbers,  friend  and  light  to  the  incendiary, 
lover  of  stolen  property,  and  much-beloved  goddess  of 
all  secret  and  unhallowed  love,  how  often  is  my  altar 
honoured  by  this  said  deed!  This  night  and  coming 
day  I  pray  your  help,  for  the  sovereign  of  this  realm 
burns  in  lust  to  his  brother's  wife,  for  whose  sake  he 
hath  murdered  him  that  he  may  possess  her  and  the 
kingdom.  Now  is  the  hour  at  hand  in  which  they 
consummate  their  nuptials.  I  shall  cover  them  with 
my  mantle  that  they  see  not  their  sin.  Wherefore  be 
ready  to  sow  the  seeds  of  discord,  mingle  with  poison 
their  marriage  vows,  envenom  their  hearts  with  envy. 
Kindle  the  fire  of  revenge,  and  scatter  the  sparks 
throughout  the  kingdom,  lead  blindly  brother  blood  into 
the  snare  of  incest,  rejoice  the  infernal  regions  with 
deeds  of  ruth  and  rancorous  malice ;  be  gone,  speed  ye 
and  fulfill  my  behests. 


THISIPHONE. 

Enough.    I've  heard  enough,  I  hie  me  on  my  way, 
And  shall  do  more  than  Night  e'en  of  herself  can  say. 


Pluto  himself,  I  swear,  shall  not  such  things  conceive, 
As  soon  performed  by  me,  you  shortly  shall  believe. 

ALECTO. 

I'll  fan  the  glowing  spark,  make  fiercer  burn  the  flame, 
I  will,  ere  day  dawns  twice,  completely  spoil  the  game. 

NIGHT. 

Make  haste,  for  I  ascend,  quick  to  your  task  attend. 

[Ascends.     Music. 


245 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


246 


ERSTER  ACT. 

SCENE  I. 
(Zwei  Soldaten.) 

1.  SCHILDW.     Wer  da? 

2.  SCHILDW.     Gut  Freund! 

1.  SCHILDW.     Was  vor  Freund? 

2.  SCHILDW.     Schildwache! 

1.  SCHILDW.     Oho,  Camerad,  kommst  du,  mich  ab- 
zulosen,  ich   wiinsche,   dafs   dir  die  Stunde  nicht  moge 
so  lang  werden,  als  mir. 

2.  SCHILDW.     Ey,   Camerad,    es   1st  ja  nun  so  kalt 
nicht. 

1.  SCHILDW.   (<0b  es  gleich  kalt  ist,  so  hab  ich  doch 
hier  einen  Hollenschweifs  ausgehalten.j 

2.  SCHILDW.     Wie   so   zaghaftl    das   stehet  keinen 
Soldaten  an;  er  mufs  weder  Freund  noch  Feind,  ja  den 
Teufel  selbst  nicht  furchten. 

1.  SCHILDW.     Ja  wenn   er  dich  einst  bey  der  Car- 
tause  kriegen  wird,  du  wirst  das  Miserere  Domine  wohl 
beten  lernen? 

2.  SCHILDW.    Was  ist  denn  eigentlich  deine  Furcht? 

1.  SCHILDW.    Wisse  denn,  dafs  sich  ein  Gespenst  an 
der  Vorderseite   des   Castels   sehen  lafst,    es  hat  mich 
schon  wollen  zweymal  von  der  Bastey  herunterwerfen. 

2.  SCHILDW.     So  16s'  ab,  du  Narr,  ein  todter  Hund 
beist  nicht  mehr;  ich  werde  ja  sehen,  ob  ein  Geist,  wel- 
cher  weder  Fleisch  noch  Bein   hat,   mir  wird   schaden 
konnen. 

1.  SCHTLDW.     Siehe  nur  zu,  wenn  es  dir  anders  er- 
scheinen  wird,  was  es  vor  Handel  macht;  ich  gehe  nach 
der  Hauptwache.     Adieu.  [ab. 

2.  SCHILDW.    Gehe  du  nur  hin,  vielleicht  bist  du  ein 
Sonntagskind,  die  sollen  alle  Gespenster  sehen  konnen, 
ich  warte  meines  Dienstes. 

[Es  werden  inwendig  Gesundheiten  geblasen. 
2.  SCHILDW.    Unser  neuer  Konig  macht  sich  lustig; 
sie  trinken  Gesundheiten. 

SCENE  II. 
GEIST   des  Konigs   tritt  neben   die   Schildwache,   und  er- 

schrickt  ihn.  [ab. 

2.  SCHILDW.     Ach  heiliger  Anton  von  Padua  stehe 

mir  bey;  nun  sehe  ich  erstlich,  was  mein  Camerad  ge- 

sagt.    O  Saint  Velten,  wenn  nur  erstlich  die  Hauptrunde 

vorbey  ware,  ich  lief  als  ein  Schelm  von  der  Post  weg. 

[Es  wird  wieder  geblasen  und  gepauckt. 
2.  SCHILDW.      Hatte   ich   doch   einen   Trunk   Wein 
von  des  Konigs  Tafel,  damit  ich  mein  erschrocknes,  an- 
gebranntes  Herz  begiessen  konnte. 


ACT  1. 

SCENE  I. 
Two  Soldiers. 

1.  SENT.    Who's  there? 

2.  SENT.    A  friend! 

1.  SENT.    What  friend? 

2.  SENT.    Sentinel. 

1.  SENT.    Ho!    comrade,   you  come   to  relieve   me. 
I  wish  the  hours   may  not  be   so  long  to  you  as  they 
have  been  to  me. 

2.  SENT.    Nay,  comrade,  'tis  not  so  bitter  cold. 

1.  SENT.    Cold  or  no,  I  have  had  an  infernal  fright. 

2.  SENT.    How  now   so  chicken-hearted!   that  be- 
seemeth  not  a  soldier;   he  must  fear  neither  friend  nor 
foe,  nay,  nor  the  devil  himself. 

1.  SENT.    Ay,  if  he  once  grip  you  behind  he'll  teach 
you  to  pray  Miserere  Domine. 

2.  SENT.    Tell  me  then,  what  is  it  that  has  fright- 
ened you? 

1.  SENT.    Know   then  that  a  ghost  hath  appeared 
on  the  platform  of  the  castle;  twice  it  tried  to  cast  me 
down  from  the  battlements. 

2.  SENT.    Fool,  I'm  here  to  relieve  you,  a  dead  dog 
bites  not;  I  shall  soon  see  whether  a  ghost  which  hath 
neither  bones  nor  sinews  will  do  me  any  harm. 

1.  SENT.    Only  look  out  well,  what  trouble  he  may 
give  you,  if  he  appears  to  you;  I  go  to  the  guard-house. 
Farewell.  [Exit. 

2.  SENT.    Begone  with  you;   -  -  perhaps  you  were 
born  on  a  Sunday,  and  can  see  ghosts.   I'll  now  mount 
guard. 

[Healths  within  drunk,  with  a  flourish  of  trumpets. 
2.  SENT.    Our  new  King  takes  his  rouse  right  mer- 
rily; they  are  drinking  healths. 

SCENE  II. 
GHOST  of  the  King   approaches  the  Sentinel  and  startles 

him.  [Exit. 

2.  SENT.  O!  St.  Anthony  of  Padua,  defend  me! 
Now  I  see  for  the  first  time  what  my  comrade  spoke  of. 
O !  St.  Velten,  an  the  first  round  were  over  I'd  quit  my 
post  like  a  rogue. 

[Another  flourish  of  drums  and  kettle-drums. 
2.  SENT.    0 !  for  a  draught  of  wine  from  the  King's 
board  to  bedew  my  unmanned  cowardly  heart! 


247 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


giebt  von  hinten  der  Schildwache  eine  Ohr- 
feige,  dafs  er  die  Musquete  fallen  Idfst.    [ab. 
2.  SCHILDW.     Da  spielt  der  Teufel  leibhaftig  mit. 
Ach,  ich  bin  so  erschrocken,  dafs  ich  nicht  aus  der  Stelle 
kommen  kann. 

SCENE  III. 

HORATIO  UND  SOLDATEN. 
2.  SCHILDW.     Wer  da? 
HORAT.     Runde ! 
2.  SCHILDW.     Was  fur  Runde? 
HORAT.     Hauptrunde ! 

2.  SCHILDW.  Steh  Runde!  Corporal  heraus,  Bur- 
sche  ins  Gewehr! 

[FRANCISCO  und  Wache  heraus,  geben  das  Wort 

auf  der  andern  Seite. 

HORAT.  Schildwacht,  gieb  wol  Achtung  auf  deinen 
Posten,  der  Prinz  mochte  selbst  patrolliren;  dafs  du  ja 
nicht  etwan  schlafest,  sonst  kostet  es  deinen  besten  Hals. 

2.  SCHILDW.  Ach  wenn  auch  die  ganze  Compagnie 
hier  ware,  es  wurde  keiner  schlafen,  und  man  mufs  mich 
ablosen,  oder  ich  laufe  davon,  und  solt  ich  auch  morgen 
an  den  hochsten  Galgen  gehenkt  werden. 

HORAT.     Was  ist  denn  die  Ursach? 

2.  SCHILDW.  Ach,  gnadiger  Herr,  es  la'fst  sich  alle 
Viertelstunde  ein  Geist  allhier  sehn,  welcher  mir  so  viel 
zusetzt,  dafs  ich  mir  einbilden  mufs,  als  sasse  ich  leben- 
dig  im  Fegfeuer. 

FRANCISCO.  Eben  also  hat  mir  die  erste  Schildwacht 
auch  erzahlt,  welche  in  der  vorigen  Stunde  abgeloset. 

2.  SCHILDW.  Ja,  ja,  verziehet  nur  ein  wenig,  es 
wird  nicht  lange  bleiben. 

[Geist  gehet  iiber  das  Theater. 

HORAT.  Bey  meinem  Leben,  es  ist  ein  Geist,  und 
sieht  recht  ahnlich  dem  letztverstorbenen  Konig  von  Dan- 
nemark. 

FRANCISCO.  Er  gebehrdet  sich  klaglich,  und  lafst, 
als  ob  er  was  sagen  wollte. 

HORAT.     Hierunter  ist  etwas  verborgen. 

SCENE  IV. 
HAMLET. 

2.  SCHILDW.     Wer  da? 
HAMLET.     Schweig! 
2.  SCHILDW.     Wer  da? 
HAMLET.     Schweig ! 

2.  SCHILDW.  Antwort,  oder  ich  werde  dir  was  an- 
ders  weisen. 

HAMLET.     Freund ! 


[GHOST  gives  the  Sentinel  a  box  on  the  ear  from 
behind,  and  makes  him  drop  his  musket.  Exit. 
2.  SENT.    The  devil  himself  is  in  this  game.   O  I'm 
too  sore  afraid  to  move  from  the  spot. 

SCENE  III. 

HORATIO  AND  SOLDIERS. 
2.  SENT.    Who's  there? 
HORAT.    Watch ! 
2.  SENT.    Which? 
HORAT.    First! 
2.  SENT.    Stand,  watch  —  corporal  out!  to  arms! 

[FRANCISCO  and  watch  come  out,  give  the  word 
from  the  other  side. 

HORAT.  Sentinel,  look  well  to  your  post,  mayhap 
the  Prince  himself  will  go  the  rounds ;  look  to  it  ye 
be  not  found  asleep,  it  might  cost  you  the  best  head 
upon  your  shoulders. 

2.  SENT.  Oh!  I  warrant  were  the  whole  company 
here,  not  a  man  amongst  them  all  would  sleep  at  his 
post;  I  must  be  relieved,  else  I'll  run  for't  at  the  risk 
of  hanging  on  the  highest  gallows  to-morrow. 

HORAT.    And  wherefore? 

2.  SENT.  I'faith,  your  worship,  a  ghost  appears  here 
in  this  place  every  quarter  of  an  hour,  and  frightens  me 
so  horribly,  I'd  think  I  was  all  alive  in  purgatory. 

FRANCISCO.  The  first  sentinel,  who  watched  last 
hour,  has  just  told  me  the  same  story. 

2.  SENT.  Ay,  ay,  tarry  but  a  little  while,  it  will 
soon  appear  again. 

[Ghost  stalks  across  the  stage. 

HORAT.  Upon  my  life,  it  is  a  ghost,  and  looks  ex- 
tremely like  the  late  King  of  Denmark! 

FRANCISCO.    To  judge  by  his  gestures,  he  is  mise- 
rable, and  seems  as  if  he  wished  to  say  something. 
HORAT.    There  is  some  mystery  under  all  this. 

SCENE  IV. 
HAMLET. 

2.  SENT.    Who's  there? 
HAMLET.    Hush! 
2.  SENT.    Who's  there? 
HAMLET.    Hush ! 
2.  SENT.    Answer,   or  I'll   teach  thee  better  man- 


ners. 


HAMLET.    A  friend! 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


250 


2.  SCHILDW.     Was  vor  Freund? 

HAMLET.     Des  Reichs  Freund. 

FRANCISCO.     Bey  meinem  Leben,  es  ist  der  Prinz! 

HORAT.    Ihro  Durchlaucht,  sind  Sie  es,  oder  nicht? 

HAMLET.  Siehe,  Horatio,  seyd  Ihr  es !  Was  macht 
Ihr  hier? 

HORAT.  Ew.  Durchl.  aufzuwarten,  ich  habe  die 
Wachen  etwas  visitirt,  ob  auch  alle  Posten  wohl  besetzt 
seyn. 

HAMLET.  Ihr  thut,  als  ein  ehrlicher  Soldat,  denn 
auf  Euch  ruhet  des  Konigs  und  des  Reichs  Sicherheit. 

HORAT.  Ihro  Durchlaucht,  es  tragt  sich  ein  wun- 
derlicher  Casus  zu,  massen  sich  allhier  alle  Viertelstunde 
ein  Geist  sehn  lafst;  er  gleicht,  meinen  Einbildungen 
nach,  recht  dem  verstorbenen  Konig,  Dero  Herrn  Vater. 
Er  thut  auf  diesem  Rundeel  der  Schildwacht  grossen 
Schaden. 

HAMLET.  Das  will  ich  nicht  hoffen,  denn  die  See- 
lien  der  Frommen  ruhen  wohl  bis  zu  der  Zeit  ihrer  Er- 
sneurung. 

HORAT.  Es  ist  nicht  anders,  Ihro  Durchlaucht,  ich 
thabe  ihn  selbst  gesehn. 

FRANCISCO.  Mich  hat  er  sehr  erschreckt,  Ihro 
I  Durchl. 

2.  SCHILDW.  Und  mich  hat  er  eine  brave  Ohrfeige 
igegeben. 

HAMLET.     Wie  ist  es  an  der  Zeit? 

FRANCISCO.     Es  ist  recht  Mitternacht. 

HAMLET.  Eben  recht,  denn  um  dieselbe  Zeit  pfle- 
gen  sich  die  Geister  sehn  zu  lassen,  wenn  sie  wandeln. 
[Es  wird  wieder  Gesundheit  geblasen. 

HAMLET.     Holla!  was  ist  dieses? 

HORAT.  Mich  dunkt,  als  wann  sie  zu  Hofe  noch 
lustig  Gesundheiten  trinken. 

HAMLET.  Recht,  Horatio!  mein  Herr  Vater  und 
Vetter  wird  sich  mit  seinen  Adhoerenten  noch  wacker 
lustig  machen.  Ach!  Horatio,  ich  weifs  nicht,  warum 
nach  meines  Herrn  Vaters  Tod  ich  allezeit  solche  Her- 
zensangst  gehabt;  dahergegen  meine  Konigliche  Fran 
Mutter  ihn  gar  bald  vergessen,  dieser  Konig  aber  ihn 
noch  eher:  denn  weil  ich  in  Teutschland  gewesen,  hat 
er  sich  geschwinde  zum  Konig  in  Dannemark  kronen 
lassen,  unter  dem  Schein  des  Rechtens  aber  hat  er  mir 
die  Krone  von  Norwegen  iiberlassen,  und  beruft  sich 
auf  die  Wahl  der  Stande. 

SCENE  V. 

GEIST. 

2.  SCHILDW.     O  wehe,  der  Geist  kommt  wieder! 
HORAT.     Sehen  nun  Ihro  Durchlaucht? 


2.  SENT.    What  friend? 

HAMLET.    Friend  to  the  kingdom. 

FRANCISCO.     By  my  life,  it  is  the  Prince! 

HORAT.     Your  Highness,  is  it  you  or  no? 

HAMLET.  Ha!  Horatio,  is  it  you?  What  make  you 
here? 

HORAT.  Your  Highness,  I  have  gone  the  rounds, 
to  see  that  all  sentries  are  at  their  posts. 

HAMLET.  You  act  as  an  honest  soldier,  for  on  you 
rests  the  safety  of  the  king  and  kingdom. 

HORAT.  My  lord,  a  strange  thing  hath  happened, 
in  as  much  as  a  ghost  appears  here  every  quarter  of  an 
hour.  To  my  fancy,  he  is  very  like  your  father  the 
late  king.  He  doeth  much  harm  to  the  sentinels  on 
the  rounds. 

HAMLET.  I  hope  not,  for  the  souls  of  the  pious  rest 
quietly  till  the  day  of  their  revival. 

HORAT.  But  so  it  is,  my  lord;  I  have  seen  him 
myself. 

FRANCISCO.  He  frightened  me  most  horribly,  my 
lord. 

2.  SENT.   And  me  he  dealt  a  good  box  on  the  ears. 

HAMLET.    What  hour  now? 

FRANCISCO.    Midnight  hath  struck. 

HAMLET.  'Tis  well,  for  it  is  about  this  time  that  the 
spirits  are  accustomed  to  shew  themselves  when  they  walk. 
[Again  healths  drunk  to  sound  of  trumpets. 

HAMLET.    Ho!  What  does  this  mean? 

HORAT.  Methinks  that  at  court  they  are  still  very 
merry  with  their  health-drinking. 

HAMLET.  Ay  marry,  Horatio!  my  father  and  uncle 
keeps  wassail  still  with  his  friends  and  followers.  Ho- 
ratio, I  know  not  wherefore  since  my  father's  death 
so  strange  a  boding  doth  at  all  times  weigh  me  down ; 
whereas  my  royal  mother  hath  so  soon  forgot  him,  but 
this  king  still  sooner;  for  whilst  I  was  in  Germany,  he 
had  himself  crowned  in  all  haste  King  of  Denmark, 
and  under  semblance  of  right  made  over  to  me  the 
crown  of  Norway  appealing  to  the  election  of  the 
states. 


SCENE  V. 
GHOST. 

2.  SENT.     Look!  where  the  spirit  comes  again! 
HORAT.     Doth  your  lordship  see  now? 


251 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


252 


FRANCISCO.     Ihro  Durchlaucht  erschrecken  nicht! 
[Der  GEIST  geht  iiber  das  Theater,  und  winket 

Hamlet. 

HAMLET.  Der  Geist  winkt  mir;  Ihr  Herren,  Sie 
treten  ein  wenig  an  die  Seite,  Horatio  mache  dich  nicht 
zu  weit,  ich  will  den  Geist  folgen  und  sein  Begehren 
vernehmen.  [ab. 

HORATIO.  Ihr  Herren,  wir  wollen  ihm  folgen,  da- 
mit  ihm  kein  Leid  wiederfahre.  [gehen  ab. 

[GEIST   winket  bis  aufs  halbe  Theater,  und  thut 
etlichemal  das  Maul  auf. 

HAMLET.  Rede,  wer  du  bist,  und  sage,  was  du  be- 
gehrest. 

GEIST.     Hamlet! 

HAMLET.     Herr  I 

GEIST.     Hamlet! 

HAMLET.     Was  begehrst  du? 

GEIST/*"  (jHdre  mich,  Hamlet,  denn  die  Zeit  kommt 
bald,  dafs  ich  mich  wieder  an  denselben  Ort  begeben 
mufs,  wo  ich  hergekommenjjhore,  und  gieb  wohl  Ach- 
tung,  was  ich  dir  erzahlen  werde. 

HAMLET.  Rede,  du  seeliger  Schatten  meines  K6- 
niglichen  Herrn  Vaters. 

GEIST.  So  hore,  mein  Sohn  Hamlet,  was  ich  dir 
erzahlen  will  von  deines  Vaters  unnatiirlichem  Tode. 

HAMLET.     Was?  unnaturlichem  Tode? 

GEIST.  Ja,  unnaturlichem  Tode  !\Wisse,  dafs  ich 
den  Gebrauch  hatte,  welchen  mir  die  Natur  angewohnet, 
dafs  ich  taglich  nach  der  Mahlzeit  zu  Mittage  in  meinem 
Koniglichen  Lustgarten  zu  gehn  pflegte,  um  allda  mich 
eine  Stunde  der  Ruhe  zu  bedienen.  )Als  ich  denn  eines 
Tages  auch  also  that,  siehe  da  kommt  mein  Kronsiich- 
tiger  Bruder  zu  mir,  und  hatte  einen  subtilen  Saft  von 
Ebeno  genannt  bey  sich ;  dieses  Oel  oder  Saft  hat  diese 
Wirkung,  dafs,  sobald  etliche  Tropfen  von  diesen  unter 
das  menschliche  Gebliit  kommen,  sie  alsobald  alle  Le- 
bensadern  verstopfen,  und  ihm  das  Leben  nehmen. 
Diesen  Saft  gofs  er  mir,  als  ich  schlief,  in  meine  Ohren, 
sobald  dasselbe  in  den  Kopf  kam,  mufste  ich  augen- 
blicklich  sterben,  hernach  gab  ma^  vor,  ich  hatte  einen 
starken  Schlagflufs  bekommen.  \Also  bin  ich  meines 
Reichs,  meines  Weibes,  und  meines  Lebens  von  diesem 
Tyrannen  beraubt.  / 

HAMLET.  'Gerechter  Himmel,  wo  dieses  wahr,  so 
schwor  ich  dir  die  Rache. 

GEIST.  Ich  werde  nicht  eher  ruhen,  bis  mein  un- 
natiirlicher  Tod  gerochen  ist.  [ab. 

HAMLET.  Ich  schwore,  nicht  zu  ruhen,  bis  ich  mich 
an  diesem  Brudermorder  gerochen  habe. 


FRANCISCO.     Pray,  my  lord,  be  not  afraid. 

[The  ghost  stalks   over  the  stage  and  beckons  to 

Hamlet. 

HAMLET.  The  spirit  beckons  me  to  go  away  — 
Gentlemen  stand  aside.  Horatio,  do  not  go  too  far.  I 
will  follow  the  ghost  and  learn  his  will. 

[Exit. 

HORAT.  Gentlemen,  let's  follow  him  that  no  mis- 
chief happen  to  him.  [Exeunt. 

[The  ghost  beckons  Hamlet  to  the  middle  of  the 
stage,  and  opens  his  jaws  several  times. 

HAMLET.  Speak,  who  art  thou?  say,  what  thou 
desirest? 

GHOST.    Hamlet! 

HAMLET.    Sir! 

GHOST.     Hamlet! 

HAMLET.     What  desirest  thou? 

GHOST.  Mark  me,  Hamlet,  for  the  time  draws  near 
when  I  must  return  to  whence  I  came:  list,  and  mark 
thou  well  what  I  shall  tell  thee. 

HAMLET.  Speak,  thou  departed  spirit  of  my  royal 
father. 

GHOST.  Then  listen,  Hamlet,  my  son,  what  I'm 
about  to  tell  thee  of  thy  father's  most  unnatural  death. 

HAMLET.    What?    Unnatural  death? 

GHOST.  Ay,  unnatural  death.  Know  that  it  was 
my  custom,  which  nature  had  made  habitual  to  me,  to 
retire  every  afternoon  within  my  royal  orchard,  there 
to  enjoy  an  hour's  repose.  One  day,  when  doing  this 
as  usual,  behold  my  crown-thirsty  brother  comes  to  me, 
bearing  with  him  a  phial  of  the  subtle  juice  of  hebenon; 
this  oil  or  juice  hath  this  effect,  that  as  soon  as  a  few 
drops  of  it  mix  with  the  blood  of  man,  it  immediately 
stops  up  the  veins,  and  takes  away  life.  While  I  slept, 
he  poured  this  juice  into  my  ear,  which  entering  my 
head,  I  could  not  but  die  immediately;  whereupon  it 
was  given  out  I  had  died  of  apoplexy.  Thus  was  I 
robbed  of  kingdom,  wife,  and  life  by  this  foul  tyrant. 


HAMLET.  Just  heaven,  if  this  be  true,  I  swear  re- 
venge. 

GHOST.  I  cannot  rest  until  my  most  unnatural 
murder  be  revenged.  [Exit. 

HAMLET.  I  swe#r  I  will  not  rest  till  this  foul  mur- 
der be  revenged. 


253 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


254 


SCENE  VI. 
HORATIO.     HAMLET.     FRANCISCO. 

HORAT.  Wie  stehts  mit  Ihro  Durclilaucht?  wie  so 
erschrocken?  Haben  Sie  sich  vielleicht  alterirt? 

HAMLET.    Ach  freylich,  und  zwar  iiber  die  maafsen ! 

HORAT.    Haben  Ihro  Durchlaucht  den  Geist  gesehn  ? 

HAMLET.  Ja!  sicherlich  hab  ich  ihn  gesehn,  auch 
mit  ihm  geredet. 

HORAT.  0  Himmel,  dieses  wird  etwas  Sonderliches 
bedeuten! 

HAMLET.  Er  hat  mir  eine  greuliche  Sache  offenbart, 
darum  bitte  ich,  Ihr  Herren,  stehet  mir  bey  in  einer 
Sache,  welche  Rache  erfodert. 

HORAT.  Meiner  Treue  sind  Sie  gewifs  versichert, 
darum  offenbaren  Sie  mir  es  nur. 

FRANCISCO.  Ihro  Durchlaucht  zweifeln  an  meiner 
Hiilfe  auch  nicht! 

HAMLET.  Ihr  Herren,  ehe  und  bevor  ich  Euch  sol- 
ches  offenbare,  so  solt  Ihr  mir  bey  Ehre  und  Treu  ei- 
nen  Eid  schworen. 

FRANCISCO.  Ihro  Durchlaucht  wissen,  dafs  ich  Sie 
hochst  liebe,  ich  will  auch  gern  mein  Leben  darbey 
aufsetzen,  wenn  Sie  sich  riichen  wollen. 

HORAT.  Sie  fordern  nur  den  Eid  von  uns,  wir 
wollen  Sie  getreu  beystehn. 

HAMLET.  So  leget  Eure  Finger  auf  meinen  Degen : 
Wir  schworen. 

HORAT.  und  FRANCISCO.     Wir  schworen. 

GEIST  \inwendig].     Wir  schworen. 

HAMLET.  Holla!  was  ist  dieses?  Noch  einmal,  wir 
schworen. 

HORAT.  und  FRANCISCO.     Wir  schworen. 

GEIST.     Wir  schworen. 

HAMLET.  Dieses  mufs  was  Sonderliches  bedeuten. 
Kommt  noch  einmal,  wir  wollen  auf  die  andre  Seite 
gehn.  Wir  schworen. 

HORAT.  und  FRANCISCO.     Wir  schworen. 

GEIST.     Wir  schworen. 

HAMLET.  Was  ist  dieses  ?  Sollte  wohl  ein  Echo  den 
Wiederschall  von  unsern  Worten  wieder  zuriickschicken. 
Kommt  wir  wollen  noch  an  einen  andern  Ort  gehen. 
Wir  schworen. 

GEIST.     Wir  schworen. 

HAMLET.  O  ich  hore  schon,  was  dieses  ist:  es 
scheinet,  dafs  der  Geist  meines  Herrn  Vaters  nicht  da- 
mit  zufrieden,  dafs  ichs  offenbaren  soil.  Ihr  Herren, 
ich  bitte,  verlafst  mich,  ich  will  Euch  morgen  alles  of- 
fenbaren. 

HORAT.  und  FRANCISCO.  Ihro  Durchlaucht  leben 
wohl.  [Francisco  ab. 


SCENE  VI. 

HORATIO.     HAMLET.    FRANCISCO. 
HORAT.    How  is't,  my  noble  lord?    How  so  terror- 
stricken?    Mayhap  you've  suffered  offence? 

HAMLET.     Why  yes,  Horatio,  beyond  all  measure. 
HORAT.     Have  you  seen  the  ghost,  my  lord? 
HAMLET.    Ay,  verily  I  have  seen  it,   and  held  dis- 
course with  it  too. 

HORAT.    O  Heavens!  this  bodeth  something  strange! 

HAMLET.  He  hath  revealed  to  me  a  horrible  thing; 
therefore,  I  pray  you,  gentlemen,  stand  by  me  in  a 
matter  that  demandeth  vengeance. 

HORAT.  Most  certainly  you  are  assured  of  my 
loyalty;  only  explain,  my  lord. 

FRANCISCO.  Your  lordship  cannot  doubt  of  my  aid 
in  this  matter. 

HAMLET.  Gentlemen,  before  I  make  this  matter 
known  to  you,  you  must  swear  an  oath  by  your  loyalty 
and  honour. 

FRANCISCO.  Your  lordship  knows  the  love  I  bear 
you  —  and  how  willingly  I  would  lend  my  life  if  you 
wish  to  be  revenged. 

HORAT.  Ask  us  then  to  swear,  and  we  will  stand 
by  you  loyally  and  faithfully. 

HAMLET.     Then  swear  by  my  sword. 

HORAT.  and  FRANCISCO.     We  swear. 

GHOST  [within].     We  swear. 

HAMLET.    Ha,  ha,  what's  this!    Again,  we  swear. 

HORAT.  and  FRANCISCO.     We  swear. 
GHOST.     We  swear. 

HAMLET.  O  this  is  wondrous  strange!  Come,  once 
more;  we  will  shift  our  ground.  We  swear. 

HORAT.  and  FRANCISCO.     We  swear. 

GHOST.     We  swear. 

HAMLET.  What  is  this?  Can  there  be  an  echo  here, 
to  give  us  back  our  words?  Come,  gentlemen,  we  will 
go  to  another  spot.  We  swear. 

GHOST.     We  swear. 

HAMLET.  O!  now  I  understand  what  it  is.  The 
spirit  of  my  father  is  perturbed  that  I  should  make  this 
matter  known.  Good  friends,  leave  me  —  to-morrow 
I  will  reveal  the  whole  to  you. 

HORAT.  and  FRANCISCO.     My  lord,  farewell! 

[Exit  Francisco. 


255 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


256 


HAMLET.     Horatio,  komm  her. 

HORAT.     Was  verlangen  Eure  Durchlaucht? 

HAMLET.     1st  der  andre  weg? 

HORAT.     Ja,  er  ist  schon  weg. 

HAMLET.  Ich  weifs,  Horatio,  du  bist  mir  jederzeit 
getreu  gewesen,  dir  will  ichs  offenbaren,  was  mir  der 
Geist  gesagt,  nemlich  dafs  mein  Vater  eines  unnatiirli- 
chen  Todes  gestorben.  Mein  Vater,  der  anjetzo  auch 
mein  Yater  ist,  der  hat  ihn  ermordet. 

HORAT.     O  Himmel,  was  hore  ich! 

HAMLET.  Du  weifst,  Horatio,  dafs  mein  seeliger  Herr 
Vater  die  Gewohnheit  hatte,  dafs  er  taglich  nach  der 
Mittagsmahkeit  in  seinem  Lustgarten  sich  einer  Stunde 
des  Schlafs  bediente.  Solches  dieser  Bosewicht  wissend, 
kommt  zu  meinem  Herrn  Vater,  und  im  Schlaf  giefst 
er  ihm  den  Saft  von  Ebeno  in  das  Ohr,  dafs  er  also- 
bald  von  diesem  starken  Gift  mufs  den  Geist  aufgeben. 
Dieses  hat  der  verfluchte  Hund  darum  gethan,  die  Krone 
zu  erlangen:  aber  von  dieser  Stunde  an  will  ich  anfan- 
gen  eine  simulirte  Tollheit,  und  in  derselben  Simulation 
will  ich  meine  Rolle  so  artig  spielen,  bis  ich  Gelegen- 
heit  finde,  meines  Herrn  Vaters  Tod  zu  rachen. 

HORAT.  Ist  es  also,  Ihro  Durchlaucht,  so  will  ich 
Sie  getreue  Hand  bieten. 

HAMLET.  /  Horatio,   ich  will  mich  an  diesen  Kron- 
siichtigen,  an  diesen  Ehebrecher  und  Morder  also  rachen, 
dafs   die  Nachwelt  der  Ewigkeit  da  von  nachsagen  soil;) 
ich  will  itzund  gehn,   und  ihm  verstellterweise  aufwar- 
ten,  bis  dafs  ich  Gelegenheit  finde,  die  Rache  auszuiiben. 

[Gehen  db. 
SCENE  VII. 
KONIG.      KONIGINN.      HAMLET.      CORAMBUS   und  Stddt. 

KONIG.  ^Obschon  unsers  Herrn  Bruders  Tod  noch 
in  frischem  Gedachtnifs  bey  jedermann  ist,  und  uns  ge- 
bietet,  alle  Solennitaten  einzustellen,  werden  wir  doch 
anjetzo  genothiget,  unsere  schwarze  Trauerkleider  in  Car- 
mosin,  Purpur  und  Scharlach  zu  verandern,  weil  nun- 
mehro  meines  seeligen  Herrn  Bruders  hinterbliebene 
Wittwe  unsere  liebste  Gemahlin  worden ;  darum  erzeige 
sich  ein  jeder  freudig,  und  mache  sich  unser  Lust  theil- 
haftig.  J  Ihr  aber,  Prinz  Hamlet,  gebet  Euch  zufrieden; 
sehet  hier  Eure  Frau  Mutter,  wie  traurig  und  betrubt 
dafs  sie  ist  iiber  Eure  Melancholie.  Auch  haben  wir 
vernommen,  dafs  Ihr  gesonnen  seyd,  wieder  nach  "Wit- 
tenberg zu  reisen,  thut  solches  nicht  Eurer  Mutter  we- 
gen ;  bleibt  hier,  denn  wir  Euch  lieben  und  gerne  sehen, 
wollten  also  nicht  gerne,  dafs  Euch  einiger  Schade  wie- 
derfahren  sollte,  bleibt  bey  uns  am  Hofe,  oder  wo  ja 
nicht,  so  konnt  Ihr  Euch  nach  Norwegen  in  Euer  K6- 
nigreich  begeben. 


HAMLET.     Come  hither,  Horatio. 

HORAT.     My  lord,  what  is  your  will? 

HAMLET.     Is  the  other  away? 

HORAT.     Ay,  he  is  away. 

HAMLET.  I  know,  Horatio,  thou  hast  at  all  times 
been  faithful  to  me,  wherefore  to  thee  will  I  reveal  what 
the  ghost  hath  told  me,  namely,  that  my  father  died  an 
unnatural  death.  My  father,  he  who  is  now  my  father, 
hath  murdered  him. 

HORAT.     O  heavens!  what  do  I  hear! 

HAMLET.  Thou  know'st,  Horatio,  that  my  late  father 
was  accustomed  to  sleep  an  hour  every  day  after  dinner 
within  his  orchard.  Knowing  this,  the  villain  comes  to 
my  father  and  pours  the  juice  of  hebenon  into  his  ear 
while  he  is  asleep ;  and  thereupon,  affected  by  this  strong 
poison,  he  immediately  yields  up  the  ghost.  And  this 
the  accursed  dog  hath  done  to  win  the  crown:  but  from 
this  hour  I  will  put  on  the  semblance  of  madness,  and 
play  my  part  so  prettily,  that  surely  I  shall  find  occasion 
to  revenge  my  father's  death. 


HORAT.  My  lord,  if  the  matter  stands  thus,  I  offer 
you  the  hand  of  faithful  fellowship. 

HAMLET.  Horatio,  I  swear  so  to  revenge  myself 
on  this  envious  thief,  this  adulterer,  this  murderer,  that 
posterity  shall  speak  of  it  to  all  eternity;  now  I  go, 
and  with  dissembling  art  will  wait  upon  him  till  I  find 
an  opportunity  to  take  revenge. 

[Exeunt. 
SCENE  VII. 

KING,  QUEEN,  HAMLET,  CORAMBUS,  and  Attendants. 

KING.  Though  yet  of  our  dear  brother's  death  the 
memory  is  green  to  all  and  it  befitteth  us  to  suspend 
all  joyous  demonstrations,  yet  from  this  time  'tis  meet 
we  change  our  suits  of  solemn  black  to  crimson,  purple, 
and  scarlet,  seeing  my  sometime  late  brother's  widow  has 
now  become  our  dearest  spouse.  Wherefore  I  pray  you, 
let  each  one  show  a  joyous  countenance  and  share  our 
mirth.  But  you,  Prince  Hamlet,  content  ye;  see  here 
your  mother,  how  sad  and  full  of  grief  she  is  that  ye 
are  melancholy.  Likewise  we  have  learned  your  intent 
to  go  back  to  Wittenberg.  We  do  beseech  you  remain 
here  for  the  sake  of  your  mother.  Stay  with  us,  for  we 
love  you  and  like  to  see  you,  and  should  not  like  any 
harm  to  overtake  you.  Stay  with  us  at  court,  or  if  not, 
betake  yourself  to  Norway,  to  your  kingdom. 


257 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


258 


KONIGIN.  Vielgeliebter  Sbhn  Prinz  Hamlet,  es  nimmt 
uns  grofs  Wunder,  dafs  Ihr  Euch  habt  vorgenommen, 
von  hier  zu  reisen,  und  Euch  nacher  Wittenberg  zu  be- 
geben.  Nun  wisset  Ihr  ja  wohl,  dafs  Euer  Koniglicher 
Herr  Vater  unlangst  Todes  verblichen,  weswegen  uns 
grofse  Traurigkeit  und  Melancholie  zu  Herzen  gestofsen, 
und  wenn  Ihr  solltet  von  uns  reisen,  wiirde  sich  dieselbe 
ein  grofses  vermehren ;  darum,  liebster  Sohn,  bleibt  hier : 
alle  Freude  und  Lust,  so  Euch  beliebt,  sollt  Ihr  ohne 
Weigerung  geniefsen. 

HAMLET.  Ihrem  Befehl  will  ich  von  Herzen  gern  ge- 
horsamen,  und  vor  diesesmal  hier  bleiben  und  nicht  ver- 
reisen. 

KONIG.  Thut  solches,  liebster  Prinz.  Aber  Coram- 
bus,  wie  ist  es  mit  eurem  Sohn  Leonhardo,  ist  er  schon 
hinweg  nacher  Frankreich  verreiset. 

CORAMB.  Ja,  gnadiger  Herr  und  Konig,  er  ist  schon 
weg. 

KONIG.     1st  es  aber  mit  eurem  Consens  geschehen  ? 

CORAMB.  vJa,  mit  Ober-Consens,  mit  Mittel-Con- 
sens  und  mit  Unter-Consens. )  O,  Ihro  Majestat,  er  hat 
einen  fiber  die  maafsen  herrlichen,  treflichen,  prachtigen 
Consens  von  mir  bekommen. 

KONIG.  Weilen  er  mit  eurem  Consens  verreiset,  so 
mag  es  ihm  wohlgehen,  und  die  Gotter  wollen  ihm  ge- 
sund  wieder  anhero  helfen.  Wir  aber  sind  gesonnen, 
ein  Carisell  anzustellen,  damit  unserer  liebsten  Gemah- 
lin  die  Traurigkeit  vergehe.  Ihr  aber,  Prinz  Hamlet, 
sollet  Euch  auch  nebst  andern  hohen  Personen  lustig 
erzeigen,  vor  diesesmal  aber  wollen  wir  der  Lustig- 
keit  ein  Ende  machen,  weil  der  Tag  sich  nahet,  die 
schwarze  Nacht  zu  vertreiben.  Sie  aber,  wertheste  Ge- 
mahlin,  werd  ich  nach  Ihrem  Schlafgemach  begleiten. 
Kommt,  lafst  uns  Hand  in  Hand,  und  Arm  um  Arm 

einschliefsen, 
Lafst  uns  das  siifse  Pfand  der  Lieb  und  Huh  geniefsen. 


ZWEYTER  ACT. 

SCENE  I. 
K6NIG.     KONIGIN. 

KONIG.  Liebste  Gemahlin,  wie  kommt  es,  dafs  Ihr 
so  traurig  seyd,  Sie  entdecke  doch  die  Ursache  Ihrer  Be- 
triibnisse,  Sie  ist  ja  unsere  Konigin,  wir  lieben  Sie,  und 
alles,  was  das  ganze  Reich  vermag,  ist  Ihr  eigen,  wor- 
uber  hat  Sie  sich  denn  zu  betriiben? 

K6NIGIN.  Mein  Konig,  ich  habe  grofse  Betrubnisse 
uber  die  Melancholie  meines  Sohnes  Hamlets,  welcher 
mein  einziger  Prinz  ist,  und  dieses  schmerzt  mich. 


QUEEN.  My  much  loved  son,  Prince  Hamlet,  it 
greatly  doth  astonish  us  to  learn  your  intent  to  leave 
us  and  to  go  to  Wittenberg.  You  know  full  well  your 
royal  father  died  a  short  time  ago,  which  causeth  us 
great  sadness  and  heaviness  of  heart,  and  should  you 
go  from  us,  it  would  increase  the  same;  for  which 
reason,  dear  son,  stay  with  us:  you  shall  enjoy  your 
fill  of  pleasure  at  our  court  without  restraint,  an  it  so 
pleaseth  you. 

HAMLET.  I  shall  obey  you  with  all  my  heart,  Ma- 
dam, I  will  not  go,  but  will  remain  here. 

KING.  Do  so,  dear  Prince!  Say,  Corambus,  how 
is  it  with  your  son  Leonardo.  Is  he  already  gone  to 
France? 

CORAMB.     Ay,  my  gracious  lord  and  king,  he  is. 

KING.     But  had  he  your  consent,  Corambus? 

CORAMB.  Ay  marry,  your  majesty,  he  got  a  top 
consent,  a  bottom  consent,  and  a  middle  consent !  I'faith 
he  got  a  rare,  a  wonderful,  a  most  excellent  consent 
from  me. 

KING.  As  he  has  your  consent,  I  hope  he  may 
prosper,  and  that  the  gods  may  speed  him  hither  again 
in  peace  and  safety.  Now  for  ourself,  it  is  our  will  to 
hold  a  carousal,  that  an  end  may  be  put  to  our  dear 
spouse's  grief.  And  you,  Prince  Hamlet,  and  other  noble 
persons  of  our  court,  shew  yourselves  mirthful;  but  for 
this  present  we  shall  break  up  our  festivities,  for  the 
day  is  approaching  to  put  black  night  to  flight.  You, 
my  dearest  consort,  shall  I  follow  to  your  bed-chamber. 
Come,  let  us  hand  in  hand  and  arm  in  arm  entwine, 
Ourselves  to  the  sweet  joys  of  love  and  rest  resign. 


ACT  II. 

SCENE  I. 
KING.     QUEEN. 

KING.  Dearest  consort,  whence  comes  it  that  you 
are  so  sad?  Pray  tell  me  the  cause  of  your  melancholy! 
You  are  our  Queen;  we  love  you,  and  all  we  have  is 
yours,  even  to  the  whole  of  our  Kingdom.  What  is  it 
then  that  troubles  you? 

QUEEN.  My  gracious  lord  and  master,  I  am  greatly 
troubled  at  the  melancholy  of  my  son  Hamlet,  who  is 
my  only  prince;  it  is  this  that  grieves  me. 

17 


259 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


260 


KONIG.  Wie  ?  ist  er  melancholisch  ?  Wir  wollen  alle 
vornehme  Doctores  und  Aerzte  in  unserm  ganzen  Ko- 
nigreich  zusammen  verschreiben ,  damit  ihm  geholfen 
werde. 

SCENE  II. 
CORAMBUS  zu  diesen. 

CORAMBUS.  Neue  Zeutung,  gnadiger  Herr  und  Konig! 

KONIG.     Was  ist  denn  Neues  vorhanden? 

CORAMB.  ^  Prinz  Hamlet  ist  toll,  ja  so  toll,  als  der 
griechische  Tolleran  jemals  gewesen.^ 

KONIG.     Und  warum  ist  er  toll? 

CORAMB.     Darum,  dafs  er  seinen  Verstand  verloren. 

KONIG.    Wo  hat  er  denn  seinen  Verstand  verloren  ? 

CORAMB.  Das  weifs  ich  nicht,  das  mag  derjenige 
wissen,  welcher  ihn  gefunden  hat. 

SCENE  III. 
OPHELIA. 

OPHELIA.     Ach,  Herr  Vater,  beschirmet  mich! 

CORAMB.     Was  ist  es  denn,  mein  Kind? 

OPHELIA.  Ach,  Herr  Vater,  Prinz  Hamlet  plagt 
mich,  ich  kann  keinen  Frieden  fur  ihn  haben! 

CORAMB.  Stelle  dich  zufrieden,  Hebe  Tochter:  aber 
er  hat  dich  ja  sonsten  nichts  gethan.  0  nun  weifs  ich 
schon,  warum  Prinz  Hamlet  toll  ist;  er  ist  gewifs  in 
meine  Tochter  verliebt? 

KONIG.  Hat  denn  die  Liebe  eine  solche  Kraft,  einen 
Menschen  toll  zu  machen? 

CORAMB.  Gnadiger  Herr  und  Konig,  freylich  ist  sie 
kraftig  genug,  einen  Menschen  toll  zu  machen.  Denn 
ich  gedenke  noch,  da  ich  noch  Jung  war,  wie  mich  die 
Liebe  plagte,  ja  sie  hat  mich  so  toll  gemacht,  als  einen 
Marzhaasen,  anjetzo  aber  acht  ich  sie  nicht  mehr:  Ich 
sitze  lieber  bey  dem  Ofen,  und  zahle  meine  rothe  Pfen- 
nige,  und  trinke  Ihro  Majestat  Gesundheit. 

KONIG.  Kann  man  aber  seine  Raserey  und  Tollheit 
nicht  selbst  in  Augenschein  nehmen? 

CORAMB.  Ja,  Ihro  Majestat,  wir  wollen  nur  ein  we- 
nig  an  die  Seite  treten,  und  meine  Tochter  soil  ihm  das 
Kleinod,  welches  er  ihr  verehrt  hat,  zeigen,  so  konnen 
Ihro  Majestat  seine  Tollheit  sehn. 

KONIG.  Liebste  Gemahlin,  Sie  lasse  sich  belieben, 
in  Ihr  Gemach  zu  gehn,  wir  wollen  unterdessen  seine 
Tollheit  in  Augenschein  nehmen.  [verstecken  sich. 

SCENE  IV. 

HAMLET  und  OPHELIA. 

OPHELIA.  Eure  Durchlaucht  nehmen  doch  das  Kleinod 
wieder,  welches  Sie  mir  geschenket. 


KING.  What!  is  he  melancholy?  Then  will  we  gather 
together  all  the  learned  doctors  and  physicians  through- 
out our  whole  Kingdom,  that  they  may  bring  him  aid. 


SCENE  II. 
CORAMBUS,  to  the  above. 

CORAMB.   News,  news!  my  gracious  lord  and  king! 

KING.    What  news,   Corambus? 

CORAMB.  Prince  Hamlet  is  mad,  aye,  as  mad  as  ever 
the  Greek  madman  was. 

KING.     And  wherefore  is  he  mad? 

CORAMB.     Because  he  hath  lost  his  wits. 

KING.     Where  hath  he  lost  his  wits? 

CORAMB.  That  I  know  not,  mayhap  he  knows  who 
hath  found  them. 

SCENE  III. 
OPHELIA. 

OPHELIA.     Alas!  my  father  protect  me. 

CORAMB.     How  now  Ophelia,  what  aileth  thee? 

OPHELIA.  Alas!  my  father,  Prince  Hamlet  doth 
plague  me;  I  can  have  no  peace  for  him. 

CORAMB.  Never  mind  it,  my  dear  daughter.  But 
tell  me,  he  hath  not  done  anything  else  to  you?  O! 
now  I  know  why  Prince  Hamlet  is  mad :  he  is  certainly 
in  love  with  my  daughter. 

KING.  Hath  love  then  so  much  potency  that  it 
depriveth  a  man  of  his  wits. 

CORAMB.  My  gracious  master  and  king,  most  as- 
suredly is  love  potent  enough  to  deprive  a  man  of  his 
wits.  I  remember  when  I  myself  was  young,  how  love 
plagued  me,  —  nay,  but  it  made  me  mad  as  a  march 
hare.  But  now,  I  care  for  it  no  longer.  I  prefer  to  sit 
by  the  fire,  to  count  my  bright  new  coins,  and  drink 
your  Majesty's  health. 

KING.  May  we  not  ourselves  be  a  witness  to  his 
distempered  fancies? 

CORAMB.  Yes,  your  Majesty.  We  will  stand  a  little 
on  one  side,  and  my  daughter  shall  shew  him  the  jewel 
which  he  has  given  her.  Then  will  your  Majesty  be  able 
to  see  his  madness. 

KING.  Dearest  wife,  we  beseech  you,  go  to  your 
chamber.  Meanwhile  we  will  be  a  witness  of  his  mad- 
ness. [Hide  themselves. 

SCENE  IV. 

•  HAMLET.    OPHELIA. 

OPHELIA.  I  pray  your  Highness  to  take  back  the 
jewel  which  you  gave  me. 


261 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


262 


HAMLET.  Was,  Madchen,  willst  du  gem  einen  Mann 
haben?  Gehe  weg  von  mir  —  doch,  komm  her.  Hore, 
Madchen,  ihr  Jungfern,  ihr  that  nichts  anders,  als  die 
junge  Gesellen  verfuhren,  cure  Schonheit  kauft  ihr  bey 
den  Apothekern  und  Kramern :  horet,  ich  will  euch  eine 
Historic  'erzahlen.  Es  war  ein  Kavalier  in  Anion,  der 
verliebte  sich  in  eine  Dame,  welche  anzusehen  war  wie 
die  Gottin  Venus,  wie  sie  nun  sollten  zusammen  zu 
Bette  gehen,  ging  die  Braut  vor,  und  fing  an,  sich  aus- 
zuziehen,  nahm  erstlich  das  eine  Auge  aus,  welches  kiinst- 
licherweise  war  eingesetzt,  hernach  die  Vorderzahne, 
welche  von  Elfenbein  auch  so  kiinstlich  waren  einge- 
macht,  dafs  mans  nicht  sehn  konnte,  hernach  wusch  sie 
sich,  da  ging  die  Schminke,  womit  sie  sich  angestrichen 
hatte,  auch  fort.  Der  Brautigam  kam  endlich,  gedachte 
seine  Braut  zu  umfangen,  wie  er  sie  aber  ansichtig  ward, 
erschrak  er,  und  gedachte,  es  ware  ein  Gespenst.  Also 
betriigt  ihr  die  Junggesellen,  darum  horet  mich  auch. 
Aber  warte,  Maflchen  —  doch,  gehe  nur  fort  nach  dem 
Kloster,  aber  nicht  nach  einem  Kloster,  wo  zwey  Paar 
Pantoffeln  vor  dem  Bette  stehen.  [ab. 

CORAMB.  1st  er  nicht  perfect  und  veritabel  toll, 
gnadiger  Herr  und  Konig. 

K5NIG.  Corambus,  verlafs  uns,  wenn  wir  werden 
euch  vonnothen  haben,  wollen  wir  euch  schon  rufen 
lassen.  [Corambus  ab,]  Wir  haben  des  Prinzen  Tollheit 
und  Raserey  mit  grofser  Verwunderung  gesehn,  uns  dflnkt 
aber,  dafs  es  keine  rechte  Tollheit,  sondern  vielmehr  eine 
simulirte  Tollheit  sey;  wir  mussen  verschaffen,  dafs  er 
an  die  Seite  oder  gar  urns  Leben  gebracht  werde,  es 
mochte  sonst  was  Uebels  daraus  entstehen.  [ab. 

SCENE  V. 
HAMLET.    HORATIO. 

HAMLET.  Mein  werther  Freund,  Horatio,  durch  diese 
angenommene  Tollheit  hoffe  ich  Gelegenheit  zu  bekom- 
men,  meines  Vaters  Tod  zu  rachen.  Ihr  wifst  aber,  mein 
Vater  ist  allezeit  mit  vielen  Trabanten  umgeben,  darum 
so  es  etwa  mir  mifslingen  mochte,  und  ihr  etwa  meinen 
Leichnam  findet,  so  lafst  ihn  doch  ehrlich  zu  der  Erden 
bestatigen,  denn  die  erste  Gelegenheit,  die  ich  finde, 
werde  ich  mich  an  ihm  wagen. 

HORAT.  Ich  bitte  Ihro  Durchlaucht,  Sie  wollen 
solches  nicht  thun,  vielleicht  hat  Sie  der  Geist  betrogen. 

HAMLET.    O  nein,  seine  Worte  waren  allzuwohl  aus- 
gesprochen,   ich  kann  ihm  wohl  Glauben  geben.     Was 
aber  bringt  der  alte  Narr  Neues? 
SCENE  VI. 
CORAMBUS. 

CORAMB.  Neue  Zeitung,  gnadiger  Herr !  Die  Como- 
dianten  sind  angekommen. 


HAMLET.  What,  maiden!  dost  thou  want  a  husband? 
Get  thee  from  me  —  nay,  pr'ythee  come  back.  List  girl, 
you  maidens  do  make  nothing  but  fools  of  us  bachelors, 
you  buy  your  beauty  of  the  apothecaries  and  pedlers; 
listen  while  I  tell  thee  a  tale.  There  lived  once  a  cavalier 
in  Anion,  who  fell  in  love  with  a  lady,  who,  to  look 
at,  was  like  the  goddess  Venus.  Now  when  they  were  to 
go  to  bed  together,  the  bride  went  before  and  began  to 
undress.  First  she  took  out  one  eye,  which  had  been  set 
in  a  most  artificial  manner  —  then  the  front  teeth  made 
of  ivory,  likewise  wrought  with  utmost  art,  whereupon 
she  washed,  and  the  skillfully  laid  on  paint  disappeared 
also.  At  length  came  the  bridegroom  expecting  to  em- 
brace his  bride.  But  as  soon  as  he  caught  sight  of  her, 
he  started  back,  for  he  thought  he  saw  a  ghost.  Thus 
it  is  ye  deceive  us  bachelors;  therefore  listen  to  me. 
Pr'ythee  tarry  maiden  —  nay  go,  go  thy  ways  to  a  nun- 
nery, but  not  to  a  nunnery  where  two  pair  of  slippers 
stand  at  the  bedside. 

[Exit. 

CORAMB.  Is  he  not  truly  and  veritably  mad  my 
gracious  lord? 

KING.  Corambus  leave  us  now.  When  we  have 
need  of  you,  we'll  send  for  you.  [Exit  Coramb.]  We 
have  heard  the  Prince's  distempered  fancies  with  great 
wonder  and  astonishment.  It  seems  to  us  no  real  mad- 
ness, but  rather  dissembled.  We  must  contrive  to  get 
rid  of  him,  or  perhaps  indeed  put  him  out  of  the  way 
.altogether,  or  else  some  harm  may  come  of  it. 

[Exit. 
SCENE  V. 
y    HAMLET.     HORATIO. 

HAMLET.  Horatio,  my  good  friend,  I  trust  by  my 
dissembled  madness  to  hit  upon  a  fitting  time  for  re- 
venging my  father's  death.  (You  know  my  father  is  at 
all  times  surrounded  with  his  guards,  for  which  reason 
my  attempt  may  fail.  I  Should  you  perchance  find  my 
body,  have  it  honourably  buried,  for  on  the  first  occa- 
sion which  present  itself,  I  shall  try  my  chance  with  him. 

HORAT.  I  entreat  your  lordship  to  do  nothing  of 
the  kind.  Perchance  the  ghost  hath  deceived  you. 

HAMLET.   No,  oh  no!  the  words  he  uttered  were  too 
lucid  and   distinctly   spoken.     I  believe  him,  ay,  that  I 
do.    Ha!  what  news  brings  that  old  fool? 
SCENE  VI. 
CORAMBUS. 

CORAMB.  News,  news!  my  lord!  1  have  news  to 
tell  you.  The  actors  are  come,  my  lord. 

17* 


263 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


264 


HAMLET.  Da  Marus  Russig  ein  Comodiant  war  zu 
Rom,  was  war  da  vor  eine  schone  Zeit! 

CORAMB.  Ha,  ha,  ha!  Allezeit  vexiren  mich  Ihro 
Hoheiten. 

HAMLET.  O  Jeptha,  Jeptha,  was  hast  du  vor  ein 
schones  Tochterlein ! 

CORAMB.  Alle  Zeiten  wollen  Ihro  Hoheiten,  dafs 
meine  Tochter  soil  herhalten. 

HAMLET.  Wohlan,  Alter,  lafs  den  Meister  von  den 
Comodianten  hereinkommen. 

CORAMB.     Es  soil  geschehn.  [ab. 

HAMLET.  Diese  Comodianten  kommen  eben  recht, 
denn  durch  ihnen  will  ich  probiren,  ob  mich  der  Geist 
mit  Wahrheit  berichtet,  oder  nicht.  Ich  habe  vor  diesem 
eine  Tragodie  gesehn,  dafs  ein  Bruder  den  andern  im 
Garten  ermordet,  diese  sollen  sie  agiren;  wird  sich  der 
Konig  nun  entfarben,  so  hat  er  gethan,  was  mir  der 
Geist  gesagt  hat. 

SCENE  VII. 

COMODIANTEN.    PRINCIPAL  CARL. 

CARL.  Ihro  Hoheiten  wollen  die  Gotter  allezeit  mit 
Seegen,  Gliick  und  Gesundheit  beschenken. 

HAMLET.  Ich  dank  euch,  mein  Freund,  was  ver- 
langet  ihr? 

CARL.  Ihro  Hoheiten  wollen  uns  in  Gnaden  ver- 
zeihen,  wir  sind  fremde  hochteutsche  Comodianten,  und 
hatten  gewiinscht,  das  Gliick  zu  haben,  auf  Ihro  Ma- 
jestat  des  Konigs  Beylager  zu  agiren,  allein  das  Gliick 
hat  uns  den  Riicken,  der  contraire  Wind  aber  das  Ge- 
sichte  zugekehret,  ersuchen  also  an  Ihro  Hoheiten,  ob 
wir  nicht  noch  eine  Historic  vorstellen  konnten,  damit 
wir  unsere  weite  Reise  nicht  gar  umsonst  mochten  ge- 
than haben. 

HAMLET.  Seyd  ihr  nicht  vor  wenig  Jahren  zu  Wit- 
tenberg auf  der  Universitat  gewesen,  mich  diinckt,  ich 
habe  euch  da  sehn  agiren. 

CARL.  Ja,  Ihro  Hoheiten,  wir  sind  von  denselben 
Comodianten. 

HAMLET.  Habt  ihr  dieselbe  Compagnie  noch  ganz 
bey  euch. 

CARL.  Wir  sind  zwar  nicht  so  stark,  weilen  etliche 
Studenten  in  Hamburg  Condition  genommen,  doch  seynd 
wir  zu  vielen  lustigen  Comodien  und  Tragodien  stark 
genug. 

HAMLET.  Konnt  ihr  uns  nun  wohl  diese  Nacht  eine 
Comodie  prasentiren? 

CARL.  Ja,  Ihro  Hoheiten,  wir  sind  stark  und  exer- 
cirt  genug. 


HAMLET.  When  Marius  Roscius  was  an  actor  at 
Rome,  what  fine  times  those  were! 

CORAMB.  Ha,  ha,  ha,  how  you  always  do  laugh  at 
me,  my  lord! 

HAMLET.  O!  Jephthah,  Jephthah!  what  a  fair 
daughter  hast  thou! 

CORAMB.  Why,  my  lord,  you  are  still  harping  on 
my  daughter. 

HAMLET.  Well,  well,  old  graybeard,  let  the  master 
of  the  actors  come  in. 

CORAMB.     I  will,  my  lord.  [Exit. 

HAMLET.  These  actors  come  in  the  nick  of  time, 
for  through  them  I  shall  prove  whether  the  ghost's  story 
is  true  or  no.  I  have  once  seen  a  tragedy  wherein  one 
brother  murders  the  other  in  the  garden";  this  shall  they 
act.  And  if  the  king  turn  pale,  then  has  he  done  what 
the  ghost  has  told  me. 


SCENE  VII. 

ACTORS.    CHARLES,  THE  PRINCIPAL. 

CHARLES.  May  the  gods  bestow  on  your  Highness 
peace,  happiness,  and  health! 

HAMLET.  I  thank  you,  my  friend.  What  brings 
you  hither? 

CHARLES.  Pardon,  your  Highness,  but  we  are  strange 
High-German  actors,  and  were  ambitious  of  the  honour 
of  acting  at  his  Majesty's  wedding.  But  Fortune  turned 
her  back  on  us,  and  contrary  winds  their  face  towards 
us.  We  therefore  beseech  your  Highness  to  allow  us  to 
act  a  -story,  that  our  long  journey  be  not  all  in  vain. 


HAMLET.  Were  you  not  some  years  ago  at  the 
University  at  Wittenberg?  It  seems  to  me  I  have  seen 
you  act  before. 

CHARLES.  Yes,  your  Highness,  we  are  the  self  same 
actors. 

HAMLET.  Have  you  the  whole  of  the  same  company 
still? 

CHARLES.  We  are  not  quite  so  numerous,  because 
some  students  took  engagements  in  Hamburg.  Never- 
theless we  are  numerous  enough  for  many  merry  co- 
medies and  tragedies. 

HAMLET.     Could  you  give  us  a  play  to-night? 

CHARLES.  Yes,  your  Highness,  we  are  numerous 
enough,  and  well  practised. 


265 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


266 


HAMLET.  Habt  ihr  noch  alle  drey  Weibspersonen 
bey  euch,  sie  agirten  sehr  wohl? 

CARL.  Nein,  nur  zwey,  die  eine  ist  mit  ihrem  Mann 
an  den  Sachsischen  Hof  geblieben. 

HAMLET.  Wie  ihr  zu  Wittenberg  waret,  so  agirtet 
ihr  dazumal  gute  Comodien.  Allein,  ihr  hattet  etliche 
Bursche  bey  euch,  die  hatten  gute  Kleider  an,  aber 
schwarze  Hemden,  etliche  hatten  Stiefeln  an,  aber  keine 
Sporen. 

CARL.  Ihro  Hoheiten,  man  kann  oft  nicht  alles 
haben,  vielleicht  haben  sie  gedacht,  sie  diirfen  nicht 
reiten. 

HAMLET.  Doch  ist  es  besser,  wenn  alles  accurat  ist: 
doch  horet  noch  mehr,  und  bitte  zu  verzeihen,  ihr  horet 
oft  nicht  gleich,  was  die  Zuschauer  urtheilen,  denn  da 
waren  auch  etliche,  die  hatten  seidne  Strumpfe  und  weisse 
Schuh  an,  aber  auf  dem  Haupte  hatten  sie  schwarze 
Hiite,  die  waren  voll  Federn,  unten  bald  so  voll  als 
oben,  die  Plomaschen  waren,  ich  glaube,  sie  musten  an- 
statt  der  Schlafmutzen  damit  in  den  Betten  gelegen 
haben,  das  steht  so  schlimm,  und  ist  leicht  zu  andern. 
Auch  konnt  ihr  wohl  etlichen  davon  sagen,  wenn  sie 
eine  konigliche  oder  fiirstliche  Person  agiren,  dafs  sie  doch 
nicht  so  sehr  gucken,  wenn  sie  ein  Compliment  gegen 
eine  Dame  machen,  auch  nicht  so  viel  spanische  Pfauen- 
tritte  und  solche  Fechtermienen,  denn  ein  Potentat  lacht 
dariiber,  fein  naturell  ist  das  beste:  der  einen  Konig 
agiret,  mufs  sich  einbilden,  dafs  er  in  dem  Spiel  ein 
Konig  sey,  und  ein  Bauer  auch  wie  ein  Bauer. 

CARL.  Ihro  Hoheit,  ich  nehme  mit  unterthaniger 
Ehrerbietung  diese  Correction  an,  und  werden  uns  kiinf- 
tig  besser  gewohnen. 

HAMLET.  Ich  bin  ein  grofser  Liebhaber  eurer  Ex- 
ercitien,  und  meine  es  nicht  iibel,  denn  man  kan  in  ei- 
nem  Spiegel  seine  Flecken  sehen:  Horet  mir  nun,  ihr 
agirtet  dazumahlen  eine  Materie  in  Wittenberg  von  dem 
Konig  Pir  Pir  —  es  pirt  sich  so. 

CARL.  Ach  es  wird  vielleicht  von  dem  grossen 
Konig  Pyrro  seyn? 

HAMLET.  Mich  diinkt  es,  doch  weifs  ich  es  eigent- 
lich  nicht. 

CARL.  Wenn  Ihro  Hoheit  nur  noch  etliche  Personen 
nennen,  oder  etwas  von  dem  Inhalt  melden  wollten. 

HAMLET.  Es  war  so,  dafs  ein  Bruder  den  andern 
im  Garten  ermordet. 

CARL.  So  wird  es  doch  diese  Materie  seyn.  Giefst 
des  Konigs  Bruder  nicht  dem  Konige  einen  Gift  in 
das  Ohr? 

HAMLET.  Recht,  recht,  eben  dieselbe  ist  es;  konnt 
ihr  wohl  sie  diesen  Abend  noch  prasentiren? 


HAMLET.  Have  you  still  the  three  actresses  with 
you?  They  used  to  play  well. 

CHARLES.  No,  only  two,  the  one  stayed  behind  with 
her  husband  at  the  court  of  Saxony. 

HAMLET.  You  acted  good  comedies  in  Wittenberg 
at  that  time.  But  you  had  some  fellows  in  your  com- 
pany, who  had  good  clothes,  but  black  shirts,  others, 
who  had  boots  but  no  spurs. 

CHARLES.  Your  Highness,  it  is  often  hard  to  procure 
everything;  perchance  they  thought  they  might  not  ride. 

HAMLET.  Still  it  is  better  to  have  everything  cor- 
rect. But  listen  to  another  thing  or  two,  and  excuse 
me,  for  you  do  not  often  hear  directly  what  judgments 
the  spectators  pass  on  you.  There  were  also  a  few  who 
wore  silk  stockings  and  white  shoes,  but  had  on  their 
heads  black  hats  full  of  feathers,  nearly  as  many  below 
as  on  the  top ;  and  for  my  part,  I  think  they  must  have 
gone  to  bed  in  them  instead  nightcaps.  Now  that  does 
not  look  well,  and  may  easily  be  reformed.  Moreover 
you  may  tell  some  of  them,  that  when  they  have  to  act 
a  royal  or  a  princely  personage,  they  should  not  make 
such  eyes  whenever  they  pay  a  lady  a  compliment. 
Neither  should  they  strut,  nor  take  on  such  braggart 
airs;  a  potentate  laughs  at  such  things.  Natural  ease 
and  elegance  is  the  best.  He  who  plays  a  king  must 
in  the  play  fancy  himself  a  king;  and  he  who  plays  a 
peasant,  must  fancy  himself  a  peasant. 

CHARLES.  Your  Highness,  I  accept  your  Higness' 
reproof  with  the  deepest  respect  and  will  endeavour  to 
do  better  in  future. 

HAMLET.  I  am  a  great  lover  of  your  art,  and  mean 
you  well,  for  it  is  in  a  mirror  that  one  can  best  see 
one's  blemishes.  I  remember  you  once  acted  a  piece  in 
Wittenberg  about  a  King  Pyr,  Pyr  —  Pyr  something. 

CHARLES.  Ah,  it  was  perhaps  about  the  great  king 
Pyrrhus? 

HAMLET.  Methinks  it  was,  but  I  am  not  quite 
sure. 

CHARLES.  Perhaps  your  Highness  would  name  some 
persons  in  it,  or  give  me  some  idea  of  the  matter. 

HAMLET.  Let  me  see  —  one  brother  murdered 
the  other  in  the  garden. 

CHARLES.  Ay,  ay,  I'll  swear  'tis  the  same.  Did  not 
the  king's  brother  pour  poison  into  the  king's  ear? 

HAMLET.  True,  true,  the  self  same  story;  could  you 
play  that  piece  to-night? 


267 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


268 


CARL.  O  ja,  das  konnen  wir  leicht  machen,  derm 
es  kommen  wenig  Personen  dazu. 

HAMLET.  So  gehet  bin,  machet  das  Theater  fertig 
in  dem  grofsen  Saal;  was  euch  an  Beholzung  mangel t, 
konnt  ihr  von  dem  Schlofsbaumeister  fordern ;  steht  euch 
etwas  aus  der  Rustkammer  an,  oder  habt  ihr  nicht  Klei- 
der  genug,  so  meldet  euch  bey  den  Quatrober  oder  In- 
tendanten  an,  wir  wollen,  dafs  euch  alles  soil  gefolgt 
werden. 

CARL.  Ich  bedanke  mich  in  Unterthanigkeit  gegen 
Eure  Hoheiten  fur  diese  hohe  Gnade,  wir  wollen  zum 
Anfang  eilen.  Sie  leben  wohl.  [ab. 

HAMLET.  Diese  Comodianten  kommen  mir  itzo  sehr 
wohl  zu  Passe.  Horatio,  gieb  wohl  acht  auf  den  K6- 
nig:  wo  er  sich  entfarbt  oder  alterirt,  so  hat  er  gewifs 
die  That  verrichtet,  denn  die  Comodianten  treffen  oft 
mit  ihren  erdichteten  Dingen  den  Zweck  der  Wahrheit. 
Hore,  ich  will  dir  eine  artige  Historic  erzahlen:  In 
Teutschland  hat  sich  zu  Strafsburg  ein  artiger  Casus 
zugetragen,  indem  ein  Weib  ihren  Mann  mit  einen 
Schuhpfriemen  durchs  Herze  ermordet,  hernach  hat  sie 
mit  ihrem  Hurenbuhler  den  Mann  unter  die  Thiirschwelle 
begraben,  solches  ist  neun  ganzer  Jahr  verborgen  ge- 
blieben,  bis  endlich  Comodianten  allda  zukamen,  und 
von  dergleichen  Dingen  eine  Tragodie  agirten ;  das  Weib, 
welches  mit  ihrem  Mann  auch  in  dem  Spiel  war,  fangt 
uberlaut  (weil  ihr  das  Gewissen  geruhret  wurde)  an  zu 
rufen,  und  schreyt:  o  weh,  das  trift  mich,  denn  also 
hab  ich  auch  meinen  unschuldigen  Ehemann  urns  Leben 
gebracht.  Sie  raufte  ihre  Haare,  lief  aus  dem  Schau- 
spiel  nach  dem  Richter,  bekannte  freywillig  ihren  Mord, 
und  als  solches  wahrhaft  befunden,  wurde  sie  in  grofser 
Reue  ihrer  Siinden  von  denen  Geistlichen  getrostet,  und 
in  wahrer  Bufse  iibergab  sie  ihren  Leib  den  Scharfrich- 
ter,  den  Himmel  aber  befahl  sie  ihre  Seele.  —  Ach, 
wo  mein  Vater  und  Vetter  auch  in  sich  gehen  mochte, 
wo  er  diese  Sache  begangen  hat!  Komm,  Horatio,  wir 
wollen  gehen,  und  den  Konig  aufwarten ;  ich  bitte  dich 
aber,  observire  alle  Dinge  genau,  denn  ich  werde  simu- 
liren. 

HORAT.  (Jhro  Durchlaucht,  ich  werde  meinen  Augen 
eine  scharfe  Aufsicht  anbefehlen.^)  [gehen  ab. 

SCENE  VIII. 

KONIG.    KONIGIN.     HAMLET.     HORATIO.     CORAMBUS. 

OPHELIA.     Staat. 

KONIG.  Meine  wertheste  Gemahlin,  nun  hoffe  ich, 
dafs  Sie  Ihre  Traurigkeit  wird  verbannen,  und  der  Freude 
den  Wohnplatz  einraumen,  es  soil  vor  der  Abendtafel 


CHARLES.  Oh  yes,  my  lord,  we  can  manage  that  ea- 
sily enough,  for  there  are  but  few  personages  in  the  play. 

HAMLET.  Now  go  get  ready,  hasten  to  prepare  the 
stage  in  the  great  hall:  whatever  wood  you  may  require, 
you  can  get  from  the  castellan;  if  you  want  anything 
from  the  armoury  or  if  you  have  not  dresses  enough, 
make  known  your  wants  to  the  master  of  the  robes  or 
the  steward ;  we  wish  you  should  be  provided  with  every- 
thing. 

CHARLES.  We  thank  your  Highness  most  humbly  for 
your  favour,  and  will  hasten  to  get  ready.  Farewell. 

[Exit 

HAMLET.  These  actors  come  most  opportunely.  Ho- 
ratio, pr'ythee  watch  the  king;  if  he  grow  pale  or  alter 
favour,  then  oh!  most  surely  hath  he  done  the  deed,  for 
play  actors  with  their  feigned  fables  oft  hit  the  truth. 
Give  ear,  I'll  tell  thee  a  pretty  tale.  In  Germany,  at 
Strasburg,  there  was  once  a  pretty  case.  A  wife  mur- 
dered her  husband  by  piercing  him  to  the  heart  with  an 
awl.  Afterwards  she  buried  the  man  under  the  thresh- 
old, she  and  her  paramour.  This  deed  remained  hid  full 
nine  years,  till  at  last  it  chanced  that  some  actors  came 
that  way,  and  played  a  tragedy  of  like  import;  the  woman 
who  was  likewise  present  at  the  play  with  her  husband, 
began  to  cry  aloud  (her  conscience  being  touched)  alas ! 
alas !  you  hit  at  me  for  in  such  manner  did  I  murder  my 
innocent  husband.  She  tore  her  hair,  ran  straight  way 
to  the  judge,  freely  confessed  the  murder  which  being 
proved  true,  in  deep  repentance  for  her  sins  she  received 
the  holy  unction  from  the  priest,  gave  her  body  to  the 
executioner,  and  recommended  her  soul  to  God.  —  Oh 
that  my  uncle-father  would  thus  honestly  take  it  to  heart 
an  he  be  the  doer  of  this  crime !  Come  Horatio,  let  us 
go  and  wait  upon  the  King;  but  pray  note  all  things 
exactly,  for  I  must  play  a  part. 


HORAT.  Well  my  lord,  I  shall  impose  on  my  eyes 
the  duty  of  keeping  a  sharp  look-out.  [Exeunt. 

SCENE  VIII. 

KING.     QUEEN.    HAMLET.    HORATIO.     CORAMBUS. 

OPHELIA.     Retinue. 

KING.  Our  best  beloved  spouse,  now  do  we  hope 
that  you  will  banish  your  sadness,  and  make  it  give  place 
to  joy;  before  our  evening's  repast,  there  is  to  be  a 


269 


TRAGEDY  OF  PIIINCE  HAMLET  OF  DENMARK. 


270 


Ihr  von  den  Teutschen  eine  Komodie  und  nach  der  Tafel 
:  von  unsern  Landskindern  ein  Ballet  gehalten  werden. 

KONIGIN.  Ich  will  solche  Lust  gar  gerne  sehn,  ich 
glaube  schwerlich,  dafs  sich  mein  Herz  wird  zufrieden 
geben,  denn  ich  weifs  nicht,  was  vor  ein  bevorstehendes 
Unglfick  unser  Gemiith  verunruhiget. 

KONIG.  Sie  gebe  sich  doch  zufrieden.  Prinz  Ham- 
let, wir  haben  vernommen,  dafs  Comodianten  sind  an- 
hero  kommen,  welche  uns  noch  diesen  Abend  eine  Como- 
die  prasentiren  wollen:  sagt  uns,  verhalt  sich  das  also? 
HAMLET.  Ja,  Herr  Vater,  sie  haben  bey  mir  ange- 
halten,  ich  habe  es  ihnen  auch  permittirt.  Ich  hoffe, 
Ihro  Majestat  werden  es  auch  zufrieden  seyn. 

KONIG.  Was  ist  es  vor  eine  Materie,  es  ist  ja  wohl 
nicht  etwa  was  Widerwartiges  oder  was  Unhofliches? 

HAMLET.  Es  ist  eine  gute  Materie;  uns,  die  wir 
gutes  Gewissen  haben,  denen  gehet  es  nichts  an. 

KONIG.  Wo  sind  sie?  lafst  sie  nur  bald  anfangen, 
denn  wir  wollen  zusehen,  was  die  Teutschen  thun 
konnen. 

HAMLET.  Herr  Marschall,  sehet  zu,  ob  die  Como- 
dianten fertig,  saget,  dafs  sie  anfangen. 

CORAMB.  Ihr  Herren  Comodianten,  wo  seyd  ihr? 
Fort,  ihr  sollt  geschwinde  anfangen.  Holla,  sie  kommen 
schon ! 

[Hier  kommt  die  Comodie:  Der  Konig  mit  seiner 
Gemahlin.  Er  will  sich  schlafen  leg  en:  die 
Konigin  bittet,  er  soil  es  nicht  thun,  er  legt 
sich  doch  nieder ,  die  Konigin  nimmt  ihren 
Abschied  mit  einem  Kufs,  und  geht  ab.  Des 
Konigs  Bruder  kommt  mit  einem  Gldschen, 
giefst  ihm  was  ins  Ohr,  und  geht  ab. 

HAMLET.  Das  ist  der  Konig  Pyrrus,  der  geht  nach 
den  Garten  schlafen.  Die  Konigin  bittet  ihn,  er  soil  es 
nicht  thun,  er  aber  legt  sich  doch.  Das  arme  Weibchen 
geht  weg:  sehet,  da  kommt  des  Konigs  Bruder,  wel- 
cher  das  Gift  von  Ebeno  hat,  giefset  ihm  ins  Ohr, 
welches  sobald  das  menschliche  Gebliithe  empfangt,  des- 
sen  Leib  alsobald  ertodtet. 

KONIG.  Fackeln,  Windlichter  her,  die  Comodie  ge- 
fallt  uns  nicht! 

CORAMB.  Pagen,  Lakeyen,  brennt  die  Fackeln  an, 
der  Konig  will  abgehn:  Geschwinde,  brennet  an,  die 
Comodianten  haben  einen  stumpf  gemacht. 

[Konig,  Konigin,  Corambus  und  Staat  gehen  ab. 

HAMLET.  Fackeln  her,  die  Comodie  gefallt  uns  nicht 
—  Nun,  siehst  du,  dafs  mich  der  Geist  nicht  betrogen  hat! 
Comodianten!  gehet  nur  von  hier  mit  diesem  Beschlufs, 


comedy,  played  by  German  actors,  and  after  the  same, 
a  ballet  given  by  our  own  people. 

QUEEN.  Most  gladly  shall  I  behold  such  merry- 
making; still,  I  hardly  believe  that  my  heart  will  be  at 
peace,  for  gloomy  forebodings  of  mischief,  I  know  not 
what,  disturb  my  soul. 

KING.  Pray,  do  not  be  uneasy.  Prince  Hamlet, 
we  are  informed  that  actors  have  arrived  here,  and  will 
perform  a  comedy  to-night.  Tell  me,  is  it  so? 

HAMLET.  Ay,  my  father  it  is  so.  They  preferred 
a  request  to  me  to  that  intent,  and  I  have  given  them 
permission.  I  hope  your  Majesty  has  no  objection. 

KING.  What  is  the  argument?  There's  no  offence 
in  it? 

HAMLET.  It  is  a  good  argument.  We  that  have  a 
good  conscience,  it  touches  us  not. 

KING.  Why  do  they  tarry?  Let  them  begin,  we 
would  fain  see  what  the  Germans  can  do. 

HAMLET.  Marshall,  go  bid  the  actors  make  haste; 
tell  them  to  begin. 

CORAMB.  Holla!  you  actors,  where  are  you?  Quick, 
you  are  to  begin  directly.  Ah!  here  they  come. 

[The  dumb  show  enters:  The  King  with  his  spouse. 
He  is  going  to  lie  to  sleep;  the  Queen  entreats 
him  not  to  do  so.  He  lies  down  all  the  same. 
The  Queen  kisses  him,  and  takes  her  leave. 
The  King's  brother  comes  with  a  phial  and 
pours  something  into  his  ear.  Exit. 


HAMLET.  That  is  King  Pyrrhus  who  goes  to  sleep 
in  the  garden.  The  Queen  entreats  him  not  to  do  so, 
but  he  does  not  harken  to  her.  The  poor  wife  goes 
away:  behold!  there  comes  the  King's  brother  bearing 
the  poisonous  juice  of  hebenon  which  he  pours  into  the 
King's  ear,  and  which  as  soon  as  it  mixes  with  the  blood 
of  man,  immediately  destroys  life. 

KING.  Ho!  torches,  lanterns!  the  comedy  offends 
us! 

CORAMB.  Pages,  lackeys,  light  the  torches!  It  is 
the  King's  will  to  depart :  quick  here  with  the  torches ! 
The  actors  have  made  a  botch  of  it. 

[Exeunt  King,  Queen,  Corambus  and  retinue. 

HAMLET.  Ho !  torches,  the  comedy  offends  us. 
Now  didst  perceive,  good  Horatio,  the  spirit  hath  not 
deceived  me!  Actors,  go  and  understand  this,  that  al- 


271 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


272 


ob  ihr  zwar  die  Materie  nicht  zum  Ende  gespielt,  und 
es  dem  Konig  nicht  behaget,  so  hat  es  uns  doch  wohl- 
gefallen,  Horatio  soil  euch  meinetwegen  contentiren. 

CARL.  Wir  bedanken  uns,  und  bitten  um  einen 
Reisepafs. 

HAMLET.     Den  sollt  ihr  haben.     [Comodianten  ab.] 
Nun  darf  ich  die  Rache  kiihnlich  fortsetzen.  (^Sahet  ihr, 
wie  sich  der  Konig  entfarbte,  da  er  das  Spiel  sahe? 
[  HORAT.    Ja,  Ihro  Durchlaucht,  die  That  ist  gewifs. 

HAMLET.  Eben  also  meinen  Vater  getodtet,  wie  ihr 
in  diesem  Schauspiel  gesehnJ  Aber  ich  will  ihm  den  Lohh 
fur  seine  bose  That  geben. 


SCENE  IX. 

CORAMBUS. 

CORAMBUS.  Die  Comodianten  werden  eine  schlechte 
Belohnung  bekommen,  denn  ihre  Action  hat  den  Konig 
sehr  mifsfallen. 

HAMLET.  Was  sagst  du,  Alter,  werden  sie  eine 
schlechte  Belohnung  empfangen?  und  ob  sie  schon  fibel 
von  dem  Konig  belohnt  werden,  so  werden  sie  doch  von 
dem  Himmel  desto  besser  belohnet  werden. 

CORAMB.  Ihro  Hoheit,  kommen  denn  die  Como- 
dianten auch  in  den  Himmel? 

HAMLET.  Was  meynest  du,  alter  Narr,  dafs  sie 
nicht  auch  allda  werden  ihren  Platz  finden,  darum  gehet 
hin  und  tractiret  mir  diese  Leute  wohl. 

CORAMB.  Ja  ja,  ich  will  sie  tractiren,  wie  sie  es 
verdienen. 

HAMLET.  Tractiret  sie  wohl,  sag  ich,  denn  es  ge- 
schiehet  kein  grofser  Lob,  als  durch  Comodianten,  denn 
dieselben  reisen  weit  in  die  Welt:  geschiehet  ihnen  an 
einem  Orte  etwas  Gutes,  so  wissen  sie  es  an  einem  an- 
dern  Orte  nicht  genug  zu  ruhmen,  denn  ihr  Theatrum 
ist  wie  eine  kleine  Welt,  darinnen  sie  fast  alles,  was  in 
der  grofsen  Welt  geschieht,  reprasentiren.  Sie  erneuern 
die  alten,  vergessenen  Geschichten,  und  stellen  uns  gute 
und  bose  Exempel  vor;  sie  breiten  aus  die  Gerechtigkeit 
und  lobliche  Regierung  der  Fursten,  sie  strafen  die  La- 
ster  und  erheben  die  Tugenden,  sie  ruhmen  die  From- 
men,  und  weisen,  wie  die  Tyranney  gestraft  wird :  dar- 
um sollt  ihr  sie  wohl  belohnen. 

CORAMB.  Nun,  sie  sollen  schon  ihren  Lohn  haben, 
weil  es  solche  Leute  sind.  Ihro  Hoheiten  leben  wohl! 

[ab. 

HAMLET.  Komm,  Horatio,  ich  gehe,  und  von  dieser 
Stund  an  will  ich  darnach  trachten,  wo  ich  den  Konig 
allein  finde,  ihm  das  Leben  zu  nehmen,  wie  er  meinem 
Vater  gethan  hat. 


though  you  have  not  played  the  piece  out,  and  it  has 
not  pleased  the  King,  it  has  pleased  us  all  the  same. 
Horatio  shall  bring  you  your  reward. 

CHARLES.  We  thank  your  honour  and  beg  for  a 
pass-port. 

HAMLET.  You  shall  have  one.  [Exeunt  Actors.]  Now 
may  I  go  boldly  on  to  vengeance.  Did  you  perceive 
how  the  king  blenched,  when  he  saw  the  play? 

HORAT.     Yes,  your  Highness;  the  thing  is  certain. 

HAMLET.  My  poor  father  murdered,  just  as  we  have 
seen  in  this  play !  But  I  will  reward  him  for  this  wicked 
deed. 


SCENE  IX. 

CORAMBUS. 

CORAMB.  The  actors,  I  fear,  will  get  a  sorry  re- 
compense, for  their  play  hath  sore  displeased  the  King. 

HAMLET.  What  say  you,  old  man,  a  sorry  recom- 
pense? And  if  they  are  but  ill-rewarded  by  the  King, 
they  will  be  all  the  better  rewarded  by  Heaven. 

CORAMB.  My  lord,  do  comedians  then  get  into 
heaven? 

HAMLET.  Think' st  thou,  old  fool,  they'll  not  find  a 
corner  there?  Wherefore  get  you  gone  and  see  them 
well  bestowed. 

CORAMB.  My  lord,  I  will  use  them  according  to 
their  deserts. 

HAMLET.  Use  them  well,  I  say,  for  there  is  no 
greater  praise  to  be  gained  than  through  actors,  for  they 
travel  far  and  wide  in  the  world.  If  they  are  treated 
well  at  one  place,  they  don't  know  how  to  praise  it 
enough  at  the  next;  for  their  stage  is  a  little  world,  in 
which  they  represent  all  that  takes  place  in  the  big 
world.  They  revive  the  old  forgotten  stories,  and  pre- 
sent to  us  good  and  bad  examples;  they  publish  abroad 
justice,  and  the  praiseworthy  government  of  princes, 
they  punish  the  vices,  and  exalt  the  virtues,  they  extol 
the  good,  and  show  the  reward  of  tyranny  —  wherefore 
entreat  them  well. 

CORAMB.  Well,  they  shall  have  their  reward,  as 
they  are  such  great  folk.  Good  bye,  my  Lord. 

[Exit. 

HAMLET.  Come  Horatio,  I  am  going,  and  from  this 
hour  all  my  thoughts  are  bent  on  finding  the  King  alone, 
that  I  may  take  his  life,  as  he  has  taken  my  father's. 


273 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


274 


HORAT.    Ihro  Durchlaucht  sehen  sich  aber  wohl  vor, 
dafs  Sie  nicht  auch  zu  Schaden  kommen. 

Vers. 
HAMLET.     Ich  soil,  ich  mufs,  ich  will  mich  an  den 

.    Morder  rachen, 

Kann  ich  mit  List  nichts  thun,  will  ich  mit  Macht 
durchbrechen ! 


DRITTER  ACT. 

SCENE  I. 
KONIG. 

Hier  prasentirt  sich  im  Tempel  ein  Altar. 
KONIG  [allein\.  Nunmehro  beginnet  mein  Gewissen 
aufzuwachen,  der  Stachel  der  Betriigerey  beginnet  mich 
hart  zu  stechen,  es  ist  Zeit,  dafs  ich  mich  zur  Bekehrung 
wende,  und  dem  Himmel  mein  gethanes  Unrecht  be- 
kenne.  Ich  fiirchte,  dafs  meine  Missethat  so  grofs  ist, 
dafs  sie  mir  nicht  wird  konnen  vergeben  werden,  doch 
will  ich  die  Gotter  inbriinstig  bitten,  dafs  sie  mir  meine 
schwere  Sunden  vergeben  wollen. 

[Konig  kniet  vor  dem  Altar. 

SCENE  II. 

HAMLET  mit  blofsem  Degen. 

HAMLET.  So  lange  bin  ich  den  verfluchten  Hund 
nachgegangen,  bis  ich  ihn  einmal  angetroffen,  nun  ist  es 
Zeit,  weil  er  allein  ist,  ich  will  ihn  in  seiner  grosten 
Andacht  urns  Leben  bringen.  [will  ihn  durchstechen.] 
Doch  nein,  ich  will  ihn  erstlich  sein  Gebet  thun  lassen. 
Aber  ach!  wenn  ich  mich  bedenke,  meinen  Vater  hat  er 
nicht  so  viel  Zeit  gelassen,  dafs  er  erstlich  ein  Gebet  hatte 
thun  konnen,  sondern  hat  ihn  vielleicht  in  seinen  Sunden 
schlafend  nach  der  Hollen  geschickt,  darum  will  ich  ihn 
auch  an  denselbigen  Ort  nachsenden.  [will  ihn  von  hinten 
wieder  durchstofsen.~\  Doch,  halt  ein,  Hamlet  I  Warum 
willst  du  seine  Sunden  auf  dich  laden  ?  Ich  will  ihm  sein 
Gebet  thun  lassen,  und  vor  diesesmal  von  hier  gehen, 
und  das  Leben  schenken.  Zur  andern  Zeit  aber  will 
ich  schon  meine  Rache  ausuben.  [ab. 

KONIG.  Mein  Gewissen  ist  etwas  erleichtert,  aber 
der  nagende  Hund  liegt  noch  unter  meinem  Herzen. 
Nun  will  ich  hingehen,  und  mit  Fasten  und  Allmosen, 
wie  auch  durch  inbriinstiges  Gebet,  dem  Hochsten  ver- 
sohnen.  Ach  verfluchte  Ehrsucht,  wozu  hast  du  mich 
gebracht !  [ab. 


HORAT.    My  lord,  be  prudent,  lest  you  should  come 


to  harm. 


Verse. 


HAMLET.    I  shall,  I  must,  I  will  revenge  this  bloody 

deed, 

If  cunning  fail,   come  force,   thon'lt  help  me  in 
my  need! 


ACT  III. 

SCENE  I. 


JRN1A. 


KING. 

A  church  and  altar. 

KING  [alone].  Now  does  my  conscience  begin  to 
awaken,  —  the  sting  of  my  gross  deceit  begins  to  prick 
me.  'Tis  time  I  bethink  me  of  repentance,  and  confess 
to  Heaven  the  wrong  I  have  done.  I  fear  my  guilt  is 
so  great,  that  it  can  never  be  forgiven.  But  I  will  pray 
fervently  to  the  gods,  that  they  will  pardon  my  great 
sins. 

[Kneels  before  the  altar. 

SCENE  II. 

HAMLET,  with  a  drawn  sword. 

HAMLET.  So  long  have  I  dodged  the  accursed  dog, 
till  at  last  I  have  found  him.  Now  it  is  time  as  he  is 
alone.  I  will  take  his  life  while  he  is  praying  [he  is 
about  to  stab  him].  But  no,  I  will  first  let  him  finish 
his  prayer.  Ha!  when  I  think  of  it,  he  did  not  leave 
my  father  so  much  time  as  to  say  a  prayer  first,  but 
sent  him  to  hell  in  his  sleep,  perhaps  in  his  sins ;  where- 
fore, I'll  send  him  to  the  same  place  too  [again  about 
to  stab  him  from  behind].  Nay,  hold  Hamlet!  Why 
should'st  thou  take  his  sins  upon  thee?  I  will  let  him 
end  his  prayer,  and  escape  this  time,  and  will  give  him 
his  life.  But  1  will  find  another  time  to  wreak  my  ven- 
geance. 

[Exit. 

KING.  My  conscience  is  somewhat  lightened,  but 
still  the  insatiate  dog  gnaws  at  my  heart.  Now  will  I 
go  and  make  my  peace  with  heaven  by  fasting,  alms, 
and  fervent  prayer.  Ah  cursed  ambition !  To  what  hast 
thou  brought  me. 

[Exit. 
•'     18 


275 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


276 


SCENE  III. 
KONIGIN.      CORAMBUS. 

KONIGIN.  Corambus,  saget  doch,  wie  1st  es  mit 
unsern  Sohn,  Prinz  Hamlet,  beschaffen,  lafst  seine  Toll- 
heit  in  etwas  ab,  und  will  seine  Raserey  kein  Ende 
nehmen? 

CORAMB.  Ach  nein,  Ihro  Majestat,  er  ist  eben  noch 
so  toll,  als  er  vorhin  gewesen. 

SCENE  IV. 
HORATIO. 

HORAT.  Gnadigste  Konigin,  Prinz  Hamlet  ist  im 
Vorgemach,  und  begehret  in  geheim  Audienz. 

K6NIGIN.  Er  ist  uns  sehr  lieb,  darum  lafst  ihn 
alsobald  hereintreten. 

HORAT.     Es  soil  geschehen,  Ihro  Majestat.         [ab. 
KONIGIN.      Verberget  euch,    Corambus,   hinter  die 
Tapeten,  bis  wir  euch  rufen. 

CORAMB.   Ja  ja,  ich  werde  mich  ein  wenig  verstecken. 

[versteckt  sich. 

SCENE  V. 
HAMLET. 

HAMLET.  Frau  Mutter,  habt  Hir  Euren  ersten  Ge- 
mal  wohl  gekannt? 

KONIGIN.  Ach,  erinnert  mich  nicht  mehr  meiner 
vorigen  Traurigkeit,  ich  kann  mich  der  Thranen  nicht 
enthalten,  wenn  ich  an  denselben  gedenke. 

HAMLET.  Weint  ihr?  ach,  lasts  nur  bleiben,  es  sind 
doch  lauter  Crocodillsthranen.  Aber  sehet,  dort  in  je- 
ner  Gallerie  hangt  das  Conterfait  Eures  ersten  Ehege- 
mals,  und  da  hangt  das  Conterfait  des  itzigen:  was 
diinkt  Euch  wohl,  welches  ist  doch  der  ansehnlichste 
unter  ihnen?  Ist  der  erste  nicht  ein  majestatischer  Herr? 

KONIGIN.     Ja  freylich  ist  es  wahr. 

HAMLET.  Wie  habt  Ihr  ihn  denn  sobald  vergessen 
konnen?  Pfui!  schamet  Euch,  Ihr  habt  fast  auf  einen 
Tag  Begrabnifs  und  Beylager  gehalten.  Aber  still,  sind 
auch  alle  Thuren  vest  verschlossen? 

KONIGIN.     Warum  fraget  Ihr  das? 

[Corambus  hustet  Mnter  der  Tapete. 

HAMLET.     Wer  ist  es,  der  uns  belauert? 

[sticht  ihm  nieder. 

CORAMB.    O  weh,  Prinz,  was  thut  Ihr!  Ich  sterbe. 


O  Himmel,   mein  Sohn,   was  thut  Ihr? 
Es  ist  Corambus,  der  Hofmarschall. 


SCENE  III. 
QUEEN.     CORAMBUS. 

QUEEN.  Corambus  say,  how  is  it  with  my  son, 
Prince  Hamlet?  Does  his  madness  abate  at  all,  or  will 
his  ravings  never  come  to  an  end? 

CORAMB.  Ah  no,  your  Majesty,  he  is  just  as  mad 
as  ever  he  was. 

SCENE  IV. 
HORATIO. 

HORAT.  Most  gracious  Queen,  Prince  Hamlet  is  in 
the  antechamber,  and  desires  a  private  audience. 

QUEEN.  He  is  most  welcome,  admit  him  imme- 
diately. 

HORAT.     It  shall  be  done,  your  Majesty.     [Exit. 

QUEEN.  Conceal  yourself  behind  the  arras,  Coram- 
bus, till  we  call  you. 

CORAMB.  Ay,  ay,  your  Majesty,  I  will  hide  my- 
iself.  [He  hides  himself. 

SCENE  V. 
HAMLET. 

HAMLET.  Mother,  did  you  perchance  know  your 
first  husband? 

QUEEN.  O!  recall  not  my  former  sadness.  I  can- 
not restrain  my  tears  when  I  think  of  him. 

HAMLET.  You  weep?  Pr'ythee  weep  not,  they  are 
but  crocodile's  tears.  But  look,  in  that  gallery  hangs  the 
counterfeit  resemblance  of  your  first  husband,  and  there 
hangs  the  counterfeit  of  your  present  husband.  What 
think  ye  now,  which  hath  more  dignity  and  presence? 
Does  not  the  first  bear  him  with  majestic  grace! 

QUEEN.     Nay  but  he  doth,  'tis  true. 

HAMLET.  How  then  could  you  forget  him  so  soon? 
Out  upon  you!  Shame!  You  celebrated  your  nuptials 
almost  on  the  same  day  with  his  funeral!  But  hush! 
are  all  the  doors  locked? 

QUEEN.     Why  do  you  ask? 

[Coramb.  coughs  behind  the  arras. 

HAMLET.  Ha!  ha!  What  eaves-dropper  have  we 
here?  [Stabs  him. 

CORAMB.  O!  Prince,  what  have  you  done!  I  am 
slain ! 

QUEEN.  O  Heavens!  My  son,  what  have  you  done? 
It  is  Corambus,  the  chamberlain! 


277 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


278 


SCENE  VI. 

GEIST  geht  iiber  das  Theater.     [geblitzet.] 
HAMLET.     (Ach    werther  Schatten    meines   Vaters, 
stehe  still!   Ach!  ach!   was  ist  dein  Begehren?  forderst 
du  RachePjdieselbe  will  ich  schon  zu  rechter  Zeit  ausiiben. 
KSNIGIN.    Was  macht  Ihr,  und  mit  wem  redet  Ihr  ? 

HAMLET.  Sehet  Ihr  nicht  den  Geist  Eures  seeligen 
Ehegemals?  Sehet,  er  winket,  als  wollte  er  mit  Euch 
1  a-eden. 

K6NIGIN.     Wie?,  ich  sehe  ja  nichts. 

HAMLET.  Ich  glaube  es  wohl,  dafs  Ihr  nichts  sehet, 
denn  Ihr  seyd  nicht  mehr  wiirdig,  seine  Gestalt  zu  se- 
hen.  Pfui,  schamj  Euch,  ich  mag  kein  Wort  mehr  mit 
Euch  rede'n.  [ab. 

KSNIGIN  [alleine].  Ach  Himmel,  wie  hat  doch  die 
Melancholie  diesen  Prinzen  so  viele  Raserey  zugebracht! 
Ach,  mein  einziger  Prinz  hat  seinen  Verstand  ganz  ver- 
loren!  Ach,  ach,  ich  bin  viel  Schuld  daran!  Hatte  ich 
meinen  Schwager,  meines  vorigen  Gemahls  Bruder,  nicht 
zu  der  Ehe  genommen,  so  hatte  ich  meinem  (Sohn)  nicht 
die  Krone  Dannemark  aus  der  Hand  gespielt.  Was  ist 
aber  bey  geschehenen  Dingen  zu  thun?  nichts,  es  mufs 
nun  so  bleiben.  Hatte  mir  der  Pabst  solche  Ehe  nicht 
erlaubt:  so  ware  es  auch  nimmer  geschehen.  Ich  will 
hingehen,  und  mich  aufs  hochste  bemuhen,  wie  ich  mei- 
nen Sohn  wieder  zu  seinem  vorigen  Verstand  und  Ge- 
sundheit  helfen  kann.  [ab. 

SCENE  VII. 
JENS  allein. 

Ich  bin  nun  lange  nicht  zu  Hofe  gewesen,  und  meine 
Zinsen  abgegeben.  Ich  befurchte,  wo  ich  werde  hin- 
kommen,  ich  werde  miissen  ins  Loch  kriechen.  Konnt 
ich  nur  einen  guten  Freund  finden,  der  ein  gutes  Wort 
vor  mich  redete,  damit  ich  nicht  abgestraft  werde. 

SCENE  VIII. 
PHANTASMO. 

PHANTASMO.  Es  gehet  zu  Hofe  anjetzo  wunderlich 
zu.  Prinz  Hamlet  ist  toll,  die  Ophelia  ist  auch  toll; 
in  Summa,  es  geht  ganz  wunderlich  da  her,  dafs  ich 
auch  fast  Lust  habe,  hinwegzulaufen. 

JENS.  Potz  tausend,  da  sehe  ich  meinen  guten  Freund 
Phantasmo,  ich  hatte  keinen  bessern  antreffen  konnen, 
ich  mufs  ihn  bitten,  dafs  er  ein  gut  Wort  vor  mich 
redet.  Gliick  zu,  Herr  Phantasmo  I 

PHANTASMO.  Grofsen  Dank!  Was  ist  dein  Begeh- 
ren, Herr  Bauer? 

JENS.      Ey,   mein  Herr  Phantasmo,    ich   bin  lange 


SCENE  VI. 
GHOST  stalks  over  the  stage.    [Thunder  and  lightning.] 

HAMLET.  Stay  gracious  figure  of  my  father,  what 
would'st  thou?  Dost  thou  demande  revenge?  I  will  exe- 
cute it  at  the  right  time. 

QUEEN.  How  is't  with  you?  With  whom  do  you 
speak? 

HAMLET.  See  you  not  the  spirit  of  your  departed 
consort?  Look,  he  beckons  as  if  he  would  speak  with 
you. 

QUEEN.     How?   I  see  nothing. 

HAMLET.  Well,  I  believe  you  do  see  nothing,  for 
you  are  no  longer  wortky  to  look  upon  his  form.  Out 
upon  you,  I  can  no  longer  hold  converse  with  you. 

[Exit. 

QUEEN  [alone].  O  God!  How  has  this  melancholy 
brought  such  madness  on  the  Prince!  Alas  my  only 
son  has  entirely  lost  his  wits!  And  I  am  much  to  blame! 
Had  I  not  wedded  my  husband's  brother,  I  should  not 
have  robbed  my  son  of  the  crown  of  Denmark.  But 
what  can  be  done,  when  things  are  past?  Nothing,  they 
must  remain  as  they  are.  Had  not  the  pope  allowed 
this  marriage,  it  would  never  have  taken  place.  I  will 
go  and  spare  no  pains  to  restore  my  son  to  his  former 
understanding  and  health. 

[Exit. 


SCENE  VII. 
JENS,  alone. 

It's  many  a  day  since  I  have  been  at  court  to  pay 
my  taxes.  I  am  afraid,  go  where  I  may,  I  shall  be  put 
in  gaol.  O  dear!  if  I  had  but  one  good  friend  to  put 
in  a  good  word  for  me  that  I  might  get  off. 


SCENE  VIII. 
PHANTASMO. 

PHANT.  There  are  odd  goings  on  at  court  now. 
Prince  Hamlet  is  mad,  Ophelia  is  mad  too,  sum  total 
is,  that  it's  very  queer  here  altogether,  so  that  I  have  a 
good  mind  to  take  myself  off. 

JENS.  By  all  that's  holy  there's  my  good  old  friend 
Phantasmo,  the  very  man  I  want.  I'll  beg  him  to  put 
in  a  good  word  for  me.  Holla!  Master  Phantasmo! 

PHANT.  Thank  you  mightily!  What  do  you  want 
Master  clod-hopper? 

JENS.     Ay,   good  Master  Phantasmo   'tis   many   a 

18* 


279 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


280 


nicht  zu  Hofe  gewesen,  und  bin  viel  schuldig,  darum  bitte 
ich  Euch,  Ihr  wollet  doch  ein  gutes  Wort  vor  mich  ein- 
legen,  ich  will  Euch  auch  einen  guten  Kafs  spendiren. 

PHANTASMO.  Was?  meynst  du  Flegel,  dafs  ich  zu 
Hofe  nichts  zu  fressen  habe? 

SCENE  IX. 
OPHELIA  toll. 

Ich  laufe  und  renne,  und  kann  doch  mein  Schatz- 
chen  nicht  antreffen.  Er  hat  mir  Boten  geschickt,  ich 
soil  zu  ihm  kommen,  wir  wollen  Hochzeit  machen,  ich 
habe  mich  schon  angezogen.  Aber  da  ist  mein  Liebchen ! 
Siehe  bist  du  da,  mein  Lammchen,  ich  habe  dich  so  ge- 
sucht,  ja  gesucht  hab  ich  dich.  Ach  gedenke  doch,  der 
Schneider  hat  mir  meinen  cartunen  Rock  ganz  verdorben. 
Siehe,  da  hast  du  ein  schemes  Bliimchen,  mein  Herz! 

PHANTASMO.  0  der  Teufel,  wer  nur  von  ihr  weg 
ware;  sie  meynt,  ich  bin  ihr  Liebster. 

OPHELIA.  Was  sagst  du,  mein  Liebchen  ?  Wir  wol- 
len mit  einander  zu  Bette  gehen,  ich  will  dich  ganz 
reine  waschen. 

PHANTASMO.  Ja,  ja,  ich  will  dich  wieder  einseifen 
und  auch  auswaschen. 

OPHELIA.  Hore,  mein  Liebchen,  hast  du  dein  neues 
Kleid  schon  angezogen?  Ey,  das  ist  schon  gemacht, 
recht  auf  die  neue  Mode. 

PHANTASMO.    Dafs  weifs  ich  ohnedem  wohl  — 

OPHELIA.  O  potz  tausend,  was  hatte  ich  bald  ver- 
gessen !  Der  Konig  hat  mich  zu  Gaste  gebeten,  ich  mufs 
geschwinde  laufen.  Siehe  da,  mein  Kiitschchen,  mein 
Kutschchen !  [ab. 

PHANTASMO.  O  Hecate,  du  Konigin  der  Hexen,  wie 
bin  ich  so  froh,  dafs  diefs  tolle  Ding  weg  ist;  ware  sie 
langer  geblieben,  ich  ware  mit  toll  worden.  Ich  mufs 
nur  gehen,  eh'  das  narrische  Ding  wiederkommen  wird. 

JENS.  Ach  barmherziger  Herr  Phantasmo !  Ich  bitte 
meiner  nicht  zu  vergessen. 

PHANTASMO.  Nun,  komm  nur  mit,  Bruder  Hunds- 
fott;  ich  will  sehn,  dafs  ich  dir  bey  dem  Ober-Einneh- 
mer  zurechte  helfe.  [gehen  ab. 

SCENE  X. 
KONIG.     HAMLET.    HORATIO.     ZWEY  DIENER. 

KONIG.  Wo  ist  Corambus  sein  Leichnam  geblieben? 
Ist  er  noch  nicht  hinweggebracht? 

HORATIO.  Er  liegt  noch  an  den  Ort,  wo  er  ersto- 
chen  ist. 

KONIG.  Es  ist  leid  uns,  dafs  er  so  unverhoft  um 
das  Leben  kommen.  Gehet  hin,  und  lasset  ihn  wegtra- 


day  since  I  have  been  at  court,  and  I  am  greatly  in 
arrears  with  my  taxes ;  so  pr'ythee  put  in  a  good  word 
for  me,  and  I'll  bestow  a  good  cheese  on  you. 

PHANT.  Eh!  Master  Clown,  think  ye  I  get  naught 
to  eat  at  court? 

SCENE  IX. 
OPHELIA,  mad. 

I  run  and  run  and  cannot  find  my  sweetheart.  He 
sent  a  messenger  to  me  to  fetch  me  to  him,  —  we  are 
to  have  our  wedding,  and  I  am  dressed  for  it  already. 
But  ah!  there  is  my  love.  Is  it  thou  my  lamb?  Oh! 
how  1  have  sought  thee  everywhere,  everywhere  have 
I  sought  thee.  Ah,  only  think  the  tailor  has  spoiled 
me  my  muslin  robe!  See!  there's  a  pretty  flower  for 
you,  my  heart! 

PHANT.  O  the  devil!  I  wish  I  were  away!  —  she 
takes  me  for  her  lover. 

OPHELIA.  What  say'st  thou  my  love?  Let's  go  to 
bed  together,  I'll  wash  thee  quite  clean. 

PHANT.  Ay,  ay,  I'll  soap  and  wash  you  and  wring 
you  out. 

OPHELIA.  Hark!  my  sweet  one,  hast  already  donn'd 
thy  beautiful  new  suit?  Ay!  how  finely  'tis  made,  quite 
in  the  new  fashion. 

PHANT.     Well  do  I  know  that  without  - 

OPHELIA.  Alack!  alack!  what  is't  I  had  nearly  for- 
gotten !  The  King  has  bidden  me  to  supper,  I  must  make 
haste.  Look,  there  stands  my  little  coach,  my  pretty 
little  coach!  [Exit. 

PHANT.  O  Hecate!  thou  queen  of  witches,  how  glad 
I  am  that  that  mad  thing's  away;  1  should  have  gone 
mad  with  her  if  she  had  remained  any  longer.  I  must 
be  off  before  the  crazy  chit  come  back  again. 

JENS.  Oh  kind  master  Phantasmo !  Pr'ythee  do  not 
forget  me. 

PHANT.  Come  along,  brother  Bumpkin,  we'll  see 
if  we  can't  put  you  all  straight  at  the  custom-house. 

[Exeunt. 

SCENE  X. 
KING.     HAMLET.     HORATIO.     Two  ATTENDANTS. 

KING.  Where  is  the  body  of  Corambus  bestowed? 
Has  it  not  yet  been  removed? 

HORAT.  He  is  still  lying  in  the  place  where  he  was 
stabbed, 

KING.  It  grieveth  us  that  Corambus  hath  lost  his 
life  thus  suddenly.  Go  bear  the  body  away;  'tis  our  will 


281 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


282 


gen;  wir  wollen  ihn  adlich  zur  Erden  bestatigen  lassen. 
Ach!  Prinz  Hamlet,  was  habt  Ihr  gethan,  dafs  Ihr  den 
alten  Corambus  so  unschuldig  durchstochen !  Es  ist  uns 
herzlich  leid,  doch  weil  es  ohngefahr  geschehen,  ist  zwar 
diese  Mordthat  in  etwas  zu  entschuldigen;  allein  ich 
fiirchte,  wo  es  unter  den  Adel  kommt,  dafs  es  bey  den 
Unterthanen  leicht  einen  Aufruhr  bringen  konnte,  und 
konnten  also  seinen  Tod  an  Each  rachen.  Wir  aber 
aus  vaterlicher  Vorsorge  haben  ein  Mittel  erfunden,  wel- 
ches dieses  Ungliick  abhalten  kann. 

HAMLET.  Es  ist  mir  leid,  Herr  Vetter  und  Vater!  Ich 
habe  etwas  mit  der  Konigin  in  geheim  reden  wollen,  die- 
ser  Spion  aber  hat  uns  belauert,  doch  hab  ich  nicht  ge- 
wufst,  dafs  es  dieser  alte  Narr  seyn  sollte:  was  meynen 
aber  Ihro  Majestat,  wie  nun  am  besten  mit  mir  zu  pro- 
cediren  sey? 

KONIG.  "Wir  haben  bey  uns  beschlossen,  Euch  nacher 
England  zu  schicken,  weil  diese  Krone  nahe  mit  der  un- 
srigen  befreundet;  als  konnt  Ihr  Euch  eine  Zeit,  weil 
eine  gesundere  Luft  allda,  in  etwas  refrigiren,  und  zu 
Eurer  Genesung  besser  als  hier  gelangen.  Wir  wollen 
Euch  etliche  von  unsern  Bedienten  mitgeben,  die  Euch 
begleiten  und  treulich  aufwarten  sollen. 

HAMLET.  Ja  ja,  Konig,  schickt  mich  nur  nach  Por- 
tugall,  auf  dafs  ich  nimmer  wiederkomme,  das  ist  das  beste. 

KONIG.  Nein,  nicht  nach  Portugall,  sondern  nach 
England,  und  diese  bey  den  sollen  mit  Euch  auf  der 
Reise  seyn;  wenn  Ihr  aber  in  England  kommt,  sollt  Ihr 
mehr  Diener  bekommen. 

HAMLET.  Sind  das  die  Laquaien?  Das  sind  saubere 
Bursche! 

KONIG.  Horet  ihr  beyden!  [heimlich  zu  den  bey  den 
Dienern].  Sobald  ihr  nacher  England  kommt,  so  ver- 
richtet,  was  ich  euch  befohlen  habe.  Nehmet  einen  De- 
gen,  oder  ein  jeder  eine  Pistole,  und  bringet  ihn  urns 
Leben.  Wo  aber  dieser  Anschlag  nicht  mochte  von 
:  statten  gehn,  so  nehmet  diesen  Brief,  und  bringet  ihn 
nebst  den  Prinzen  an  aufgeschriebenen  Ort;  derselbige 
wird  wohl  dahin  bedacht  seyn,  dafs  er  nimmer  wieder 
aus  England  kommen  soil.  Aber  das  rathe  ich  euch, 
dafs  ihr  keinem  Menschen  was  offenbaret.  Eure  Be- 
zahlung  sollt  ihr  haben,  sobald  ihr  zuruckkommt 

HAMLET.  Nun,  Ihro  Majestat,  welches  sind  denn 
die  rechten,  die  mitreisen  sollen? 

KONIG.  Diese  zwey.  Nun,  die  Gotter  wollen  Euch 
begleiten,  dafs  Ihr  moget  mit  gutem  Winde  an  Ort  und 
Stelle  kommen. 

HAMLET.     Nun  Adieu,  Frau  Mutter! 

KONIG.  Wie,  mein  Prinz,  warum  heist  Ihr  uns 
Frau  Mutter? 


it  should  have  a  noble  burial.  Ah,  Prince  Hamlet,  what 
made  you  stab  that  poor  innocent  old  man  ?  It  grieveth 
us  sorely,  still  this  murderous  deed  admits  of  some  ex- 
cuse, seeing  it  was  done  unwittingly.  Nevertheless  I 
fear  that  when  this  gets  known  amongst  the  nobles,  it 
may  easily  excite  a  rebellion  among  my  subjects,  and 
they  may  revenge  his  death  on  you.  This  our  paternal 
care  hath  duly  weighed,  and  we  have  devised  a  means 
to  ward  this  danger  from  you. 

HAMLET.  I  sincerely  grieve  this  deed,  my  uncle  and 
my  father.  I  had  begged  a  private  audience  of  the  Queen, 
and  this  fellow  came  eaves-dropping;  but  I  did  not  know 
that  it  was  this  silly  old  fool.  But  how  does  your  Ma- 
jesty think  it  were  best  to  proceed? 

KING.  We  have  determined  to  send  you  to  Eng- 
land, because  this  crown  is  friendly  to  our  own,  as  if 
to  refresh  yourself  there  for  a  time,  because  the  air  is 
wholesomer,  and  may  better  promote  your  recovery.  We 
will  give  you  some  of  our  own  attendants,  who  shall 
accompany  you,  and  serve  you  faithfully. 

HAMLET.  Ay  ay,  King,  send  me  off  to  Portugal, 
that  I  may  never  come  back  again,  that  is  the  best  plan. 

KING.  No,  not  to  Portugal  but  to  England,  and 
those  two  shall  accompany  you  on  the  journey.  But 
when  you  arrive  in  England,  you  shall  have  more  at- 
tendants. 

HAMLET.  Those  are  the  lackeys  are  they?  A  pair 
of  nice  fellows! 

KING.  Hark  ye  [secretly  to  the  two  attendants].  As 
soon  as  ye  reach  England,  do  as  I  have  commanded 
you.  Arm  yourselves  each  with  a  sword  or  pistol  and 
take  his  life.  But  in  case  your  attempt  should  miscarry, 
take  this  letter  and  the  prince  to  the  place  indicated 
thereon;  there  our  prince  will  be  so  well  cared  for  that 
he  will  never  leave  England  again.  Beware  that  ye  make 
known  this  plan  to  no  man.  Your  reward  shall  be  de- 
livered to  you  on  your  return. 


HAMLET.  Well,  your  Majesty,  who  are  they  then 
that  are  to  bear  me  company?  « 

KING.  These  two.  The  gods  be  with  you,  and 
give  you  a  fair  wind  to  reach  the  place  of  your  desti- 
nation. 

HAMLET.     Now  farewell  dear  mother! 

KING.  What,  Prince!  Why  do  you  call  us  mo- 
ther? 


283 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


284 


HAMLET.  Mann  und  Weib  ist  ja  ein  Leib,  Vater 
oder  Mutter,  es  ist  mir  alles  gleich. 

KONIG.  Nun  so  fahrt  wohl,  der  Himmel  sey  mit 
Euch.  •  [ab. 

HAMLET.  Nun,  ihr  noblen  Quantchen,  sollt  ihr 
meine  Gefahrten  seyn? 

DIENERS.     Ja,  Ihro  Durchlaucht! 

HAMLET.  So  kommt  denn,  ihr  noblen  Gesellen, 
[nimmt  sie  beyde  an  jede  Hand]  lafst  uns  fahren,  lafst 
uns  fahren  nach  England,  nehmt  das  Botchen  in  die 
Hand,  du  bist  ja  ein  braver  Quant.  Lafst  uns  fahren, 
lafst  uns  fahren  nach  England.  [gehen  ab. 

SCENE  XI. 
PHANTASMO.     OPHELIA. 

PHANTASMO.  Wo  ich  gehe  oder  stehe,  da  lauft  das 
elementische  Madchen,  die  Ophelia,  aus  alien  Winkeln 
mir  nach;  ich  kann  keinen  Frieden  vor  ihr  haben,  sie 
sagt  allezeit,  dafs  ich  ihr  Liebster  bin,  und  ist  doch  nicht 
wahr.  Wenn  ich  mich  nur  verstecken  konnte,  damit  sie 
mich  nicht  finde.  Nun  wird  der  Henker  wieder  los  wer- 
den:  da  kommt  sie  wieder. 

OPHELIA.  Wo  mag  mein  Liebchen  seyn?  Der 
Schelm  will  nicht  bey  mir  bleiben,  eher  vor  mir  weg  — 
Aber  siehe,  da  ist  er.  Hore,  mein  Liebchen,  ich  bin  bey 
dem  Priester  gewesen,  der  will  uns  noch  heute  zusam- 
men  copuliren;  ich  habe  alles  zu  der  Hochzeit  fertig  ge- 
macht,  ich  habe  Hiihner,  Haasen,  Fleisch,  Butter  und 
Ka'se  eingekauft;  es  mangelt  nichts  mehr,  als  dafs  die 
Musikanten  uns  zu  Bette  spielen. 

PHANTASMO.  Ich  mufs  nur  ja  sagen.  Komm  denn, 
wir  wollen  miteinander  zu  Bette  gehn. 

OPHELIA.  Nein,  nein,  mein  Puppchen,  wir  miissen 
erstlich  miteinander  zur  Kirche  gehen,  hernach  wollen 
wir  essen  und  trinken,  und  denn  wollen  wir  tanzen  — 
Ach,  wie  wollen  wir  uns  lustig  machen! 

PHANTASMO.  Ja,  es  wird  lustig  hergehn;  es  werden 
wohl  drey  von  Einem  Teller  essen. 

OPHELIA.  Was  sagst  du  ?  Wilt  du  mich  nicht  haben, 
so  will  ich  dich  auch  nicht  haben.  [schldgt  ihri\.  Siehe 
dort,  dort  ist  mein  Liebchen,  er  winkt  mir.  Siehe  da, 
welch  ein  schon  Kleid  dafs  er  an  hat:  siehe  er  wrill  mich 
zu  sich  locken,  er  wirft  mit  einem  Roslein  und  Lilien 
anf  mich  zu;  er  will  mich  in  seine  Arme  nehmen,  er 
winkt  mir,  ich  komme,  ich  komme.  [ab. 

PHANTASMO.  Bey  der  Nahe  ist  sie  nicht  klug,  aber 
weit  davon  ist  sie  gar  toll.  Ich  wollte,  dafs  sie  aufge- 
henkt  ware,  so  konnte  mir  das  Rabenaas  so  nicht  nach- 
laufen.  [ab. 


HAMLET.  Man  and  wife  is  one  flesh  —  father  or 
mother,  it  is  all  the  same  to  me. 

KING.    Well,  fare  ye  well.    May  heaven  attend  you. 

[Exit. 

HAMLET.  Eh!  you  chips  of  nobility,  are  you  to  be 
my  companions? 

ATTEND.     We  are  my  lord. 

HAMLET.  Come  then,  my  noble  sirs,  [taking  each 
by  the  hand],  let's  start,  let's  start  for  England!  Put 
your  best  foot  forward;  you  are  indeed  a  cunning  fel- 
low. Let's  start,  let's  start  for  England! 

[Exeunt. 

SCENE  XI. 

PHANTASMO.     OPHELIA. 

PHANT.  Go  where  I  will,  that  simpleton,  that  Ophelia 
runs  after  me  out  of  every  corner.  I've  not  a  moment's 
peace  for  her,  she  fancies  day  and  night  that  I'm  her 
lover;  and  that's  not  true.  If  I  could  only  hide  where 
she  can't  find  me!  The  deuce  is  in  it,  there  she  is 
again ! 

OPHELIA.  Where  can  my  love  be?  The  rogue  will 
not  remain  with  me,  he  flies  me  —  but  ah!  there  he 
is.  Listen  sweet  love,  I've  been  with  the  priest,  he  will 
unite  us  this  very  day;  I  have  made  all  ready  for  the 
wedding;  pullets,  hares,  meat,  butter,  cheese,  all,  all 
bought  —  now  there  is  nothing  more  wanting  than  that 
the  musicians  should  play  us  to  bed. 

PHANT.  I  can  only  say  yes.  Come  then  let's  go 
to  bed  together. 

OPHELIA.  No,  no,  my  puppet,  we  must  first  go  to 
church  together,  afterwards  feast,  and  then  dance  —  ah ! 
we  will  be  right  merry! 

PHANT.  Ay,  ay,  merry  as  crickets;  three  will  eat 
out  of  one  plate. 

OPHELIA.  Ha!  What  do  you  say?  If  you  will  not 
have  me,  I  will  not  have  you  [strikes  him}.  There,  there, 
is  my  love,  my  dearest,  he  beckons  me  to  him.  Look, 
what  a  beautiful  suit  he  has  on!  —  look,  he  wants  to 
entice  me  to  him,  he  casts  a  lily  and  a  rose  at  me;  he 
will  embrace  me,  he  beckons  to  me,  I  come,  I  come. 

[Exit. 

PHANT.  At  close  quarters  she's  lost  her  wits,  but 
at  arm's  length  she's  clean  mad.  1  wish  she  were  hanged, 
and  then  the  carrion  could  not  pester  me  so. 

[Exit. 


285 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


286 


VIERTER  ACT. 

SCENE  I. 

HAMLET.    ZWEY  BANDITEN. 

HAMLET.  Es  ist  hier  ein  lustiger  Ort  auf  dieser 
Insel,  wir  wollen  etwas  hier  verbleiben  und  speisen: 
da  ist  ein  lustiger  Wald,  und  da  ein  kiihler  Wasserstrom; 
darum  holet  mir  das  beste  vom  Schiif,  wir  wollen  uns 
hier  recht  lustig  machen. 

1.  BAND.     Gnadiger  Herr,   hier  ist  nicht  Essenzeit, 
denn  von  diesem  Eiland  werden  Sie  nimmer  kommen; 
denn  hier  ist  der  Ort,  der  Ihnen  zum  Kirchhof  bestellt  ist. 

HAMLET.  Was  sagst  du  Schelm,  du  Esclav!  Weifst 
du  wohl,  wer  ich  bin?  Sollst  du  wohl  mit  einem  Ko- 
niglichen  Prinzen  also  scherzen?  Doch  es  sey  dir  ver- 
geben  vor  diesesmal. 

2.  BAND.     Nein,  es  ist  kein  Scherz,  sondern  unser 
rechter  Ernst.     Sie  prapariren  sich  nur  zum  Tode. 

HAMLET.  Warum  das?  Was  hab  ich  euch  denn 
Leides  gethan?  Ich  weifs  mich  ja  auf  nichts  zu  besinnen: 
darum  sagt  aus,  warum  kommt  ihr  auf  solche  boshafte 
Gedanken? 

1.  BAND.     Es  ist   uns   von   dem  Konig  anbefohlen 
worden :  sobald  wir  Ihro  Durchlaucht  auf  dieses  Eiland 
bringen,  sollen  wir  ihm  das  Leben  nehmen. 

HAMLET.  Ihr  lieben  Freunde,  verschonet  mein  Le- 
ben; saget,  dafs  ihrs  verrichtet;  ich  will  die  Zeit  meines 
Lebens  nicht  wieder  zu  dem  Konig  kommen;  bedenkt  es 
wohl,  was  1st  euch  mit  einer  Hand  voll  unschuldiges  Fiir- 
stenblut  gedient?  Wollt  ihr  euer  Gewissen  mit  meinen 
Sunden  beflecken  ?  Ach  dafs  ich  zu  allem  Ungliick  ohne 
Gewehr  bin!  Ha'tte  ich  nur  etwas  in  meinen  Ha'nden. 
[greift  einem  nach  dem  Degen. 

2.  BAND.    Du,  Camerad,  nimm  dein  Gewehr  in  acht. 
1.  BAND.     Ich  werde  mich  wohl  in  acht  nehmen. 

Nun,  Prinz,  macht  Euch  fertig;    wir  haben  nicht  lange 
Zeit. 

HAMLET.  Weil  es  denn  nicht  anders  seyn  kann  und 
ich  vor  euch  sterben  mufs,  aus  Antrieb  des  tyrannischen 
Konigs,  so  will  ichs  gern  erdulden,  ob  ich  gleich  un- 
schuldig,  und  ihr  aus  Armuth  hierzu  erkauft,  will  ichs 
euch  gerne  verzeihen,  das  Blut  aber  wird  der  Bruder- 
und  Vatermorder  verantworten  miissen  an  jenem  grossen 
Gerichtstage. 

1.  BAND.     Ey  was  fragen   wir   nach  jenem  Tage; 
wir  miissen  verrichten,  was  uns  heute  befohlen. 

2.  BAND.     Es  ist   auch   wahr,   Bruder!  Nur  frisch 
darauf,   es   mufs   doch   seyn.     Gieb  Feuer,   ich  auf  der 
einen,  und  du  auf  der  andern  Seite. 


ACT  IV. 

SCENE  I. 
HAMLET.    Two  RUFFIANS. 

HAMLET.  It  is  a  pleasant  place  here  upon  this  is- 
land! Let  us  linger  here  a-while  and  dine.  There  is  a 
merry  green  wood,  and  here  a  cool  spring  of  water; 
so  fetch  the  best  from  our  ship,  and  we  will  make  right 
merry  here. 

RUFF.  1.  There's  no  dinner  time  more  for  you,  my 
lord,  for  you  will  never  leave  this  island  again,  for 
here's  the  spot  destined  for  your  grave. 

HAMLET.  How  say'st  thou,  knave?  Know'st  thou 
then  who  I  am?  Wouldst  thou  jest  thus  with  a  royal 
prince?  Let  it  pass  this  time,  I  pardon  thee. 

RUFF.  2.  Nay,  but  'tis  no  jest,  we  are  in  earnest, 
Prepare  yourself  for  death,  my  lord. 

HAMLET.  Wherefore  this?  What  harm  have  I  ever 
done  you?  I  cannot  recollect  any;  therefore  speak  out, 
why  do  ye  entertain  such  wicked  thoughts? 

RUFF.  1.  We  have  received  orders  for  it  from  the 
King :  as  soon  as  we  have  brought  your  Highness  to  this 
island,  we  are  to  take  your  life. 

HAMLET.  Most  excellent  friends,  spare  my  life! 
bring  word  ye  have  fulfilled  the  King's  commission.  I 
swear  nevermore  to  return  to  the  King,  as  long  as  I  live. 
Consider  well,  what  are  ye  better  for  staining  your  hands 
with  the  innocent  blood  of  a  royal  prince?  Why  would 
ye  pollute  your  consciences  with  my  sins  ?  Accursed  fate 
that  I  came  here  unarmed!  Had  I  but  some  weapon  in 
i  my  hand!  [Makes  an  attempt  to  seize  a  sword. 

RUFF.  2.    Holla!  Comrade,  look  to  thy  weapon! 

RUFF.  1.  I  will  look  well  to  it.  Now  prince,  pre- 
pare; our  time  is  short. 

HAMLET.  If  then  it  must  be  so,  and  I  must  die  by 
your  hands,  impelled  by  a  tyrannical  king,  I  must  submit. 
And  although  I  am  innocent,  and  poverty  hath  driven 
you  to  this  deed,  I  pardon  you  from  my  heart;  at  the 
great  day  this  murderer  of  my  father  and  his  brother 
must  answer  for  my  blood. 

RUFF.  1.  Eh!  what  is  that  great  day  to  us?  we  must 
execute  the  commission  entrusted  to  us  this  day. 

RUFF.  2.  That's  true,  comrade!  Let  us  go  to  work; 
there  is  no  help  for  it.  You  fire  from  this  side,  I  from 
the  other. 


287 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


288 


HAMLET.  Horet  mich  noch  ein  Wort:  well  auch 
dem  allerargsten  Uebelthater  solches  nicht  abgeschlagen 
wird,  sondern  wird  ihm  Zeit  zur  Bufse  gelassen,  also 
bitte  ich,  als  ein  unschuldiger  Prinz,  ihr  wollet  mich 
erstlich  zu  meinem  Schopfer  ein  andachtiges  Gebet  ver- 
richten  lassen,  hernack  will  ich  gerne  sterben;  ich  will 
euch  aber  ein  Zeichen  geben:  ich  werde  meine  Hande 
nach  dem  Himmel  wenden,  sobald  ich  meine  Arme  aus- 
strecke,  so  gebt  Feuer,  setzt  mir  beyde  Pistolen  in  die 
Seite,  und  wenn  ich  werde  sagen :  schiefst !  so  gebt  mir 
so  viel,  als  ich  bedarf,  und  trefft  mich  gewifs,  damit  ich 
nicht  lange  gemartert  werde. 

2.  BAND.  Nun  dieses  konnen  wir  ihm  auch  wohl 
noch  zu  Gefallen  thun,  darum  macht  nur  fort! 

HAMLET,  [schldgt  die  Hande  voneinander.]  Schiefst 
zu !  [indent  fdllt  er  zwischen  den  bey  den  vorwdrts  nieder, 
die  Diener  aber  erschiefsen  sich  selbsten]  Ach  gerechter 
Himmel,  dir  sey  Dank  gesagt  vor  dein  englisches  Ein- 
geben,  denn  diesen  Schutzengel  werde  ich  ewig  prei- 
sen,  welcher  mir  durch  meine  Gedanken  das  Leben  er- 
halten  hat.  Diese  Schelme  aber,  wie  gearbeitet,  so  ist 
auch  ihr  Lohn.  Die  Hunde  riihren  sich  noch,  sie  haben 
sich  selber  harquebusirt,  ich  aber  will  zu  meiner  Revange 
ihnen  den  Todesstich  vollends  geben,  es  sollte  ein  Schelm 
sonsten  davon  kommen.  [er  ersticht  sie  mit  ihren  eignen 
Degen.]  Ich  mufs  sie  besuchen,  ob  sie  auch  etwa  Steck- 
briefe  bey  sich  haben.  Dieser  hat  nichts;  hier  finde 
ich  einen  Brief  bey  diesem  Morder,  ich  will  ihn  lesen. 
Dieser  Brief  ist  an  einen  Erzmorder  in  England  ge- 
schrieben,  wenn  etwa  dieser  Anschlag  mochte  mifslin- 
gen,  sollten  sie  mich  nur  dem  iiberantworten,  der  wiirde 
mir  schon  das  Lebenslicht  ausblasen.  Allein  die  Go  tier 
stehn  doch  dem  Gerechten  bey :.  ,Nun  will  ich  mich  mei- 
nem Vater  zum  Schrecken  wiederum  zuruckbegeben. 
Aber  zu  Wasser  trau  ich  nicht  mehr,  wer  weifs,  ob  der 
Schifscapitain  nicht  auch  ein  Schelm  ist.  Ich  will  den 
ersten  Platz  suchen,  und  die  Post  nehmen;  den  Schiffer 
will  ich  nach  Dannemark  wieder  zuriick  commandiren, 
diese  Schelme  aber  will  ich  ins  Wasser  werfen.  [ab. 

SCENE  II. 

KONIG  mit  Staat. 

KONIO.  Uns  verlanget  zu  erfahren,  wie  es  mit  un- 
serm  Sohn,  Prinz  Hamlet,  mufs  abgelaufen  sein,  und 
ob  diejenigen,  welche  wir  als  Reisegefahrten  ihm  mitge- 
geben,  auch  treulich  werden  verrichtet  haben,  was  wir 
befohlen. 


HAMLET.  One  word  more:  —  as  the  meanest  cri- 
minal is  not  refused  his  last  request  for  time  to  repent 
him  of  his  sins,  I,  an  innocent  prince,  do  beseech  you 
to  grant  me  time  to  address  a  prayer  to  my  Creator, 
which  done  I  will  willingly  die.  I  will  give  you  the 
sign :  I  will  raise  my  hands  to  heaven,  and  fire  the  mo- 
ment I  spread  out  my  arms.  Level  both  pistols  at  my 
sides,  and  when  1  call,  fire,  give  me  as  much  as  I  re- 
quire, and  be  sure  and  hit  me  that  I  may  not  suffer 
long. 


RUFF.  2.  Well,  we  may  do  that  much  to  please 
him;  therefore  let  us  proceed. 

HAMLET.  [Spreads  out  his  arms.]  Fire!  [Meanwhile 
he  falls  forward  between  the  two  servants,  who  consequently 
shoot  each  other.]  Just  heaven!  I  thank  thee  for  the 
divine  inspiration,  and  henceforth  I  will  worship  this 
guardian  angel,  who  through  my  thoughts  hath  pre- 
served my  life.  These  rogues  have  received  the  due 
recompense  of  their  work.  Ha!  the  dogs,  they  move 
still.  They  have  butchered  each  other,  but  to  satisfy 
my  revenge  let  them  take  the  coup  de  grace  from  my 
hand,  else  one  of  the  rogues  might  escape.  [He  stabs 
them  with  their  own  sword.]  Nay,  now  I'll  search  them, 
it  may  be  I  find  some  writ  or  warrant  on  them. 
There's  nothing  here,  but  here  I  find  a  letter  on  this 
murderer.  I'll  read  it.  Ha!  this  letter  is  directed  to  an 
arch-hangman  in  England,  importing  that  should  this 
attempt  miscarry,  I  should  be  handed  over  to  him,  and 
he  would  make  no  bones  about  puffing  out  my  rush-light 
life!  But  the  gods  are  ever  on  the  side  of  the  just. 
Now  I  will  go  back  again  to  the  terror  of  my  father, 
but  I  will  not  trust  myself  by  water,  for  who  knows 
whether  the  captain  may  not  likewise  prove  a  rogue. 
I  will  go  to  the  first  place  and  take  the  post,  order  the 
sailors  back  to  Denmark,  and  cast  these  dogs  into  the 
water.  [Exit. 


SCENE  II. 

KING,  and  retinue. 

KING.  We  long  greatly  to  hear  how  it  is  with  our 
son,  Prince  Hamlet,  and  whether  the  two  companions 
we  gave  him  on  his  journey,  have  faithfully  fulfilled 
our  commission. 


289 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


290 


SCENE  III. 
PHANTASMO. 

PHANTASMO.  Neue  Zeitung,  Monsieur  Konig!  Haupt- 
neue  Zeitung! 

K5NIG.     Was  ist  es,  Phantasmo? 
PHANTASMO.    Leonhardus  aus  Frankreich  ist  wieder 
zu  Hause  kommen. 

KONIG.    Das  ist  uns  lieb,  lafst  ihn  vor  uns  kommen. 

SCENE  IV. 
LEONHARDUS. 

LEONH.  Gnadiger  Herr  und  Konig,  ich  begehre  von 
Ihro  Majestat  meinen  Vater,  oder  die  Rache  der  Ge- 
rechtigkeit,  weil  er  so  jammerlich  ermordet.  Wo  dieses 
nicht  geschieht,  werde  ich  vergessen,  dafs  Ihr  Konig  seyd, 
und  mich  an  den  Thater  rachen. 

KONIG.  Leonhardus,  gieb  dich  zufrieden,  wir  sind 
unschuldig  an  deines  Vaters  Tod.  Prinz  Hamlet  hat  ihn 
unversehenerweise  hinter  den  Tapeten  erstochen,  wir  aber 
wollen  dahin  bedacht  seyn,  dafs  er  wieder  gestraft  werde. 

LEONH.  Weil  denn  Ihro  Majestat  unschuldig  sein 
an  den  Tod  meines  Vaters,  als  bitte  ich  auf  gefallten 
Knieen,  mir  solches  zu  verzeihen.  Der  Zorn  hatte  mich, 
wie  auch  die  kindliche  Liebe  iibernommen,  dafs  ich  fast 
selber  nicht  gewufst,  was  ich  gethan. 

KONIG.  Es  sey  dir  vergeben,  denn  wir  konnen  wohl 
gedenken,  dafs  es  dir  sehr  zu  Herzen  gangen  sey,  dafs 
du  deinen  Vater  so  erbarmlich  hast  verlieren  miissen. 
Doch  gieb  dich  zufrieden,  du  solt  einen  Vater  wieder 
an  uns  haben. 

LEONH.  Ich  bedanke  mich  vor  diese  hohe  Konig- 
liche  Gnade. 

SCENE  V. 
PHANTASMO. 

PHANTASMO.  Herr  Vetter  Konig,  noch  mehr  neue 
Zeitung ! 

KONIG.    Was  bringst  du  wieder  vor  neue  Zeitung? 

PHANTASMO.     Prinz  Hamlet  ist  wieder  kommen. 

KONIG.  Der  Teufel  ist  wieder  kommen,  und  nicht 
Prinz  Hamlet. 

PHANTASMO.  Prinz  Hamlet  ist  wieder  kommen,  und 
nicht  der  Teufel. 

KONIG.  Leonhardus,  hore  hier,  nun  kannst  du  dei- 
nes Vaters  Tod  rachen,  weil  der  Prinz  wieder  zu  Hause 
kommen;  allein  du  must  uns  eidlich  versprechen,  dafs 
du  solches  keinem  Menschen  offenbaren  wilt. 

LEONH.  Ihro  Majestat  zweifeln  an  mir  nicht;  was 
Sie  mir  offenbaren,  soil  verschwiegen  seyn,  als  ob  Sie 
zu  einem  Stein  gesprochen  batten. 


SCENE  III. 
PHANTASMO. 

PHANT.  News,  news,  Monsieur  King!  News  spick 
and  span  new! 

KING.    What  news,  Phantasmo? 

PHANT.   Leonardo  has  come  back  from  France. 

KING.  We  are  glad  of  it,  admit  him  to  our  pre- 
sence. 

SCENE  IV. 
LEONARDO. 

LEON.  My  gracious  Lord  and  King,  I  come  to 
demand  my  father  at  your  hands,  or  vengeance,  just 
vengeance  for  his  miserable  murder.  If  you  do  not 
grant  it,  I  shall  forget  that  you  are  king,  and  will  re- 
venge myself  on  the  perpetrator. 

KING.  Be  satisfied,  Leonardo,  that  we  are  inno- 
cent of  your  father's  death.  Prince  Hamlet  unwittingly 
ran  him  through  while  behind  the  arras:  but  we  will 
see  that  he  is  punished  for  it. 

LEON.  As  your  Majesty  is  quite  innocent  of  my 
father's  death,  I  humbly  crave  your  pardon  on  my  knees. 
My  anger  as  also  filial  love,  had  so  overcome  me,  that 
I  myself  hardly  knew  what  I  did. 

KING.  Let  it  pass,  we  can  easily  believe  how  it 
must  have  cut  you  to  the  heart  to  lose  your  noble  father 
by  such  a  miserable  death.  But  rest  contented,  —  you 
shall  find  another  father  in  ourselves. 

LEON.    I  thank  you  for  your  royal  favour. 


SCENE  V. 
PHANTASMO. 
PHANT.    Uncle  King,  more  news  still! 

KING.    What  fresh  news  do  you  bring? 

PHANT.    Prince  Hamlet  has  come  back! 

KING.  The  devil  has  come  back,  and  not  Prince 
Hamlet! 

PHANT.  Prince  Hamlet  has  come  back  and  not  the 
devil,  I  say! 

KING.  Leonardo,  hear.  Now  you  can  revenge  your 
father's  death,  for  the  Prince  has  come  home  again. 
But  you  must  swear  an  oath  not  to  disclose  your  design 
to  any  man. 

LEON.  Your  Majesty  may  trust  me;  what  you  re- 
veal shall  be  kept  as  close,  as  if  you  had  spoken  to  a 
stone. 

19 


291 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


292 


KONIG.  Wir  wollen  zwischen  dir  und  ihm  einen 
Wettstreit  anstellen,  nemlich  also :  ihr  sollt  mit  Rapieren 
fechten,  und  der  von  euch  beyden  die  ersten  drey  Stofse 
bekommt,  soil  ein  weifs  neapolitanisch  Pferd  gewonnen 
haben.  Aber  mitten  in  diesem  Gefecht  sollt  ihr  euer 
Rapier  fallen  lassen,  und  anstatt  desselben  sollt  ihr  einen 
scharf  gespitzten  Degen  bey  der  Hand  haben,  welcher 
dem  Rapier  ganz  ahnlich  gemacht  mufs  seyn,  die  Spitze 
desselben  aber  must  du  mit  starken  Gift  bestreichen; 
sobald  du  nun  seinen  Leib  damit  verwunden  wirst,  wird 
er  alsdenn  gewifs  sterben  miissen,  du  aber  sollst  doch 
den  Preifs  und  hierbey  des  Konigs  Gnade  gewinnen. 

LEONH.  Ihro  Majestat  wollen  mir  verzeihen;  ich 
darf  mich  dieses  nicht  unterstehen,  dieweil  der  Prinz 
ein  geiibter  Fechtmeister  ist,  und  konnte  mir  dieses  wohl 
selbst  wiederfahren. 

KONIG.  Leonhardus,  weigere  dich  hierinnen  nicht, 
sondern  thue  deinem  KSnige  solches  zu  gefallen,  um  dei- 
nes  Vaters  Tod  zu  rachen,  must  du  dieses  thun.  Denn 
wisset,  dafs  der  Prinz  als  ein  Todtschlager  cures  Vaters 
solchen  Tod  verdienet.  Allein  wir  konnen  keine  Gerech- 
tigkeit  an  ihn  haben,  weil  ihm  seine  Frau  Mutter  den 
Riicken  halt,  und  ihn  die  Unterthanen  sehr  lieben :  durfte 
also,  wenn  wir  6'ffentlich  uns  an  ihm  rachen  wollten, 
ein  Aufruhr  leicht  geschehen;  dafs  wir  aber  ihn  als  un- 
sern  Stiefsohn  und  Vetter  meiden,  geschieht  um  der  hei- 
ligen  Gerechtigkeit  willen,  denn  er  ist  mordgierig  und 
unsinnig,  und  miissen  uns  kiinftig  selbsten  vor  einem 
solchen  bosen  Menschen  fiirchten.  Thut  solches,  was 
wir  von  euch  verlangen,  so  werdet  ihr  den  Konig  seiner 
Furcht  benehmen,  und  euch  verbliimterweise  an  euren 
Vatermorder  rachen. 

LEONH.  Es  ist  eine  schwere  Sache,  welcher  ich 
mich  fast  nicht  unterstehe.  Denn  sollte  dieses  auskom- 
men,  wiirde  es  gewifs  mein  Leben  kosten. 

KONIG.  Zweifelt  nicht;  im  Fall  es  ja  euch  mifslin- 
gen  sollte,  so  haben  wir  schon  eine  andere  List  erdacht. 
Wir  wollen  einen  orientalischen  Diamant  klein  stofsen 
lassen,  und  ihm  denselben,  wenn  er  erhitzt,  in  einem 
Becher  voll  Wein  mit  Zucker  siifs  vermischt  beybringen : 
so  soil  er  auf  unsere  Gesundheit  doch  den  Tod  saufen. 

LEONH.  Wohl  denn,  Ihro  Majestat,  unter  dessen 
Schutz  will  ichs  verrichten. 


SCENE  VI. 

KONIGIN. 

KONIGIN.     Gnadiger  Herr  und  Konig,  liebstes  Ehe- 
gemahl,  ich  bringe  Euch  eine  schlechte  Zeitung! 
KONIG.     Was  ist  es,  liebste  Seele? 


KING.  We  will  arrange  a  match  between  yourself 
and  him,  and  on  these  terms:  you  shall  fence  with  foils, 
and  he  who  makes  the  first  three  hits,  shall  have  won 
a  white  Neapolitan  horse.  In  the  middle  of  the  bout 
you  let  your  foil  drop,  and  instead  of  it,  you  must  have 
a  sword  with  a  sharp  point  ready  at  hand,  which  must 
be  made  quite  like  the  foil,  but  you  must  rub  the  point 
of  it  with  a  strong  poison;  as  soon  as  you  shall  wound 
his  body  with  it,  he  will  certainly  die,  but  you  shall 
win  the  prize,  and  your  king's  favour  as  well. 


LEON.  Pardon,  your  Majesty !  I  dare  not  undertake 
this,  seeing  the  Prince  is  a  practised  swordsman,  and  so 
might  turn  the  tables  on  me. 

KING.  Leonardo,  do  not  refuse  but  do  it  to  please 
your  King;  you  must  do  it  to  revenge  your  father's 
death. '  For  know,  the  Prince  as  assassin  of  your  father 
deserves  such  a  death.  [  But  we  cannot  execute  justice 
against  him,  because  his  mother  supports  him,j  and  my 
subjects  love  him.  If  therefore  we  would  revenge  our- 
selves on  him  openly,  it  might  easily  give  rise  to  a  re- 
bellion. The  love  of  holy  justice  turneth  our  heart  and 
favour  from  our  step-son  and  our  cousin,  for  he  is  blood- 
thirsty and  full  of  pranks,  and  for  the  future  we  must 
ourselves  be  on  our  guard  against  such  a  bad  man.  If 
you  do  what  we  require,  you  will  relieve  your  King  of 
his  fears,  and  secretly  revenge  yourself  on  the  murderer 
of  your  father. 


LEONH.  It  is  a  difficult  matter  which  I  scarce  like 
to  venture  on.  For  should  the  truth  get  wind,  my  life 
would  be  the  forfeit. 

KING.  Nay,  doubt  not;  if  this  should  fail  we  have 
already  devised  another  trick.  We'll  have  prepared  for 
him  a  chalice  filled  with  wine  mixed  with  sugar  and 
the  fine  powder  of  an  eastern  diamond  which  we  will 
give  him,  when  he  is  hot:  thus  shall  he  drink  his  death 
to  our  health. 

LEON.  Well  then,  your  Majesty,  I  will  do  it  under 
your  protection. 

SCENE  VI. 

QUEEN. 

QUEEN.     My  gracious  lord   and   King,    my  dearest 
consort,  I  bring  thee  woeful  tidings. 
KING.     What  are  they,  dear  soul? 


293 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


294 


KONIGIN.  Meine  liebste  Staatsjungfer,  die  Ophelia, 
la' uft  bin  und  wieder,  ruft  und  schreyt,  sie  isset  und 
trinket  nichts;  man  meynet,  dafs  sie  ganzlich  von  ihrem 
Verstande  ist. 

KONIG.  Ach,  horet  man  doch  nichts  als  lauter  trau- 
rige  und  ungluckliche  Zeitungen! 

SCENE  VII. 
OPHELIA  mit  Blumen. 

OPHELIA.  Siehe  da  hast  du  ein  Bliimchen,  du  auch, 
du  auch.  [giebt  jedem  eine  Bhime].  Aber  potz  tausend, 
was  ha'tte  ich  schier  vergessen:  ich  mufs  geschwinde 
laufen,  ich  habe  meinen  Schmuck  vergessen.  Ach,  meine 
Fronte ;  ich  mufs  geschwinde  nach  dem  Hofschmidt  gehn, 
und  fragen,  was  er  vor  neue  Moden  bekommen.  Sa, 
sa,  decket  geschwinde  den  Tisch,  ich  werde  bald  wieder 
hier  seyn.  [Iduft  weg. 

LEONH.  Bin  ich  denn  zu  allem  Ungliick  geboren! 
Mein  Vater  ist  todt,  und  meine  Schwester  ist  ihres  Ver- 
standes  beraubt!  Mein  Herz  will  mir  vor  grofser  Trau- 
rigkeit  fast  zerbersten. 

KONIG.  Leonhardus,  stelle  dich  zufrieden,  du  sollst 
alleine  bey  uns  in  Gnaden  leben.  Sie  aber,  liebste  Ge- 
mahlin,  wolle  belieben,  mit  uns  hineinzuspatzieren,  denn 
wir  haben  ihr  noch  etwas  in  Geheim  zu  offenbaren. 
Leonhardus,  vergesset  nicht,  was  wir  euch  gesagt. 

LEONH.    Ich  werde  emsig  seyn,  solches  zu  verrichten. 

KONIGIN.  Mein  Konig,  wir  miissen  Rath  schaffen, 
dafs  diese  ungliickseelige  Jungfer  mo'ge  wieder  zu  ihrem 
Verstande  verholfen  werden. 

KONIG.  Man  lasse  die  Sache  an  unsre  Leibmedici 
gelangen.  Ihr  aber  folget  uns,  Leonhardus.  [ab. 


FUNFTER  ACT. 

SCENE   I. 

HAMLET. 

Ungliickseeliger  Prinz,  wie  lange  sollt  du  noch  ohne 
Ruhe  leben!  Wie  lange  verhangst  du,  gerechte  Nemesis, 
dafs  dein  gerechtes  Rachschwerdt  auf  meinem  Vetter, 
den  Brudermorder  wetzest!  Ich  bin  nun  wieder  anhero 
gelanget,  kann  aber  noch  zu  keiner  Retfange  kommen, 
weil  der  Brudermorder  allezeit  mit  viel  Volk  umgeben. 
Aber  ich  schwore,  ehe  die  Sonne  ihre  Reise  von  Osten 
in's  Westen  gethan,  will  ich  mich  an  ihm  ra'chen. 


QUEEN.  The  favourite  of  my  retinue,  my  sweet 
Ophelia,  runs  up  and  down,  and  crys,  and  screams,  and 
neither  eats  nor  drinks;  they  think  that  she  has  quite 
lost  her  senses. 

KING.  Alas!  one  hears  nothing  but  sad  and  un- 
happy news! 

SCENE  VII. 

OPHELIA,  with  flowers. 

OPHELIA.  Ah!  hold,  there's  a  flower  for  thee,  and 
for  thee  too,  and  for  thee  too  [gives  a  flower  to  each~\. 
"Well-a-day,  what  had  I  not  clean  forgotten !  I  must  run 
quick,  I  have  forgotten  my  jewels.  Ha!  my  diadem.  I 
must  go  quick  to  the  court  goldsmith  and  ask  what  new 
fashions  he  has  got.  So,  so,  spread  the  table  quick,  I 
shall  soon  be  back  again.  [Buns  away. 

LEON.  Am  I  then  born  to  misery !  My  father  dead, 
and  my  sister  robbed  of  her  wits!  My  heart  will  almost 
break  with  its  weight  of  grief! 

KING.  Take  comfort,  Leonardo,  you  shall  live  in 
our  favour.  But  you,  sweet  Queen,  be  pleased  to  follow 
us,  for  we  have  something  to  communicate  to  you  in 
private.  Leonardo,  do  not  forget  what  we  have  told 
you. 

LEON.     I  shall  be  diligent  to  do  your  bidding. 

QUEEN.  My  King,  we  must  devise  some  means  that 
this  unhappy  maiden  be  restored  to  her  senses. 

KING.  Submit  the  case  to  our  own  physician.  Fol- 
low us,  Leonardo.  [Exit. 


ACT  V. 

SCENE  I. 

HAMLET. 

Unhappy  Prince,  how  long  wilt  thou  know  no  rest! 
How  long  a  time,  O  just  Nemesis,  dost  thou  appoint  for 
whetting  thy  just  sword  of  vengeance  against  my  uncle, 
this  fratricide!  Now  am  I  here  once  more,  and  cannot 
yet  come  to  my  revenge,  because  this  fratricide  is  at 
all  times  surrounded  by  so  many  people.  But  I  swear, 
that  ere  the  sun  hath  compassed  his  journey  from  east 
to  west,  I'll  wreak  my  vengeance  on  him. 

19* 


295 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


296 


SCENE  II. 
HORATIO. 

HORAT.  Ibro  Durchlaucht,  ich  bin  von  Herzen  er- 
freuet,  dafs  ich  Sie  mit  guter  Gesundbeit  wieder  allhier 
sehe.  Ich  bitte  aber,  Sie  wollen  mir  doch  offenbaren, 
warum  Sie  sobald  wieder  zuriickgekommen. 

HAMLET.  Ach,  Horatio,  du  hattest  mich  bald  nicht 
mehr  lebendig  gesehn,  dieweil  mein  Leben  bereits  auf 
dem  Spiel  gestanden,  wo  mich  die  gottliche  Allmacht 
nicht  sonderlich  hatte  bewahret. 

HORAT.  Wie,  was  sagen  Ihro  Durchlaucht?  Wie 
ist  es  zugegangen? 

HAMLET.  Du  weist,  dafs  mir  der  Konig  zwey  Reise- 
gefahrten  als  Diener,  mich  zu  begleiten,  mitgegeben 
hatte.  Nun  begab  es  sich,  dafs  wir  eines  Tages  con- 
trairen  Wind  hatten,  und  an  ein  Eyland,  nicht  feme  von 
Dovern  anker  setzten.  Ich  stieg  mit  meinen  zwey  Die- 
nern  aus  dem  Schiff,  etwas  frische  Luft  zu  schopfen. 
Da  kamen  diese  verfluchten  Schelme,  und  wollten  mir 
das  Leben  nehmen,  und  sagten,  der  Konig  hatte  sie  dazu 
erkauft.  Ich  bat  um  mein  Leben,  ich  wollte  ihnen  eben 
soviel  geben,  und  sollten  den  Konig  doch  unterdessen 
meinen  Tod  berichten,  ich  wollte  auch  nimmermehr  zu 
Hofe  kommen,  es  war  aber  kein  Erbarmen  bey  ihnen. 
Endlich  gaben  mir  die  Go  tier  etwas  im  Sinn :  hierauf  bat 
ich  sie,  dafs  vor  meinem  Ende  ich  noch  ein  Gebet  thun 
mochte,  und  wenn  ich  rufen  wiirde :  schiefst  zu!  so  soll- 
ten sie  auf  mich  Feuer  geben:  indem  aber  dafs  ich  rief, 
fiel  ich  zur  Erden  nieder,  sie  aber  erschossen  sich  selb- 
sten  einander;  bin  also  diesesmal  noch  so  mit  dem  Le- 
ben darvon  kommen.  Meine  Ankunft  aber  wird  dem 
Konige  nicht  angenehm  seyn. 

HORATIO.     O  unerhorte  Verratherey! 

SCENE  III. 
PHANTASMO. 

HAMLET.  Siehe,  Horatio,  dieser  Narr  ist  dem  Ko- 
nige viel  lieber,  als  meine  Person.  Wir  wollen  horen, 
was  er  vorbringt. 

PHANTASMO.  fWillkommen  zu  Hause,  Prinz  Hamlet!^ 
Wisset  Ihr  was  Neues?  der  Konig  hat  eine  Wette  auf 
Euch  und  auf  dem  jungen  Leonhardo  geschlagen.  Ihr 
sollt  zusammen  in  Rapieren  fechten,  und  wer  dem  an- 
dern  die  ersten  zwey  Stofse  anbringen  wird,  der  soil  ein 
weifs  neapolitanisch  Pferd  gewonnen  haben. 

HAMLET.     Ist  dieses  gewifs,  was  du  sagest? 

PHANTASMO.     Ja  es  ist  nicht  anders. 

HAMLET.  Horatio,  was  mag  dieses  bedeuten?  ich 
und  Leonhardus  sollen  miteinander  fechten.  Ich  glaube, 


SCENE  II. 

HORATIO. 

HORAT.  My  noble  Prince,  I  am  heartily  rejoiced 
to  see  you  here  again  in  health  and  safety.  Pray  tell 
me  what  hath  brought  you  so  soon  back  again. 

HAMLET.  Alas !  Horatio,  you  were  very  nearly  not 
seeing  me  alive  again,  for  my  life  was  already  at  stake, 
had  not  the  Almighty  taken  me  under  his  special  pro- 
tection. 

HORAT.  What  does  your  Highness  say?  How  did 
it  all  happen? 

HAMLET.  You  know  that  my  father  gave  me  two 
fellows  as  servants  and  companions  of  my  travel.  Now 
it  chanc'd  one  day  that  contrary  winds  beset  us  and  we 
cast  anchor  by  an  island  not  far  from  Dover.  I,  and  my 
two  attendants  left  the  ship  to  breathe  the  fresh  air. 
Hereupon  the  cursed  villains  came  and  would  take  my 
life,  saying,  they  were  hired  to  do  so  by  the  King.  I 
begged  for  my  life,  promised  to  give  them  as  much, 
and  that  if  they  would  report  my  death  to  the  King,  I 
would  never  show  myself  at  court  again.  But  there 
was  no  mercy  to  be  had  of  them.  At  length  the  gods 
inspired  me  with  a  thought:  I  begged  the  knaves  for 
time  to  say  a  prayer  to  Heaven  before  my  end,  and 
when  I  called  fire!  they  were  to  lodge  their  bullets  in 
my  breast.  But  when  I  called,  I  fell  flat  on  the  ground, 
so  that  they  shot  each  other.  Thus  I  escaped  this  time 
with  my  life.  But  my  arrival  will  not  be  very  agreeable 
to  the  King. 


HORAT.     O  unheard  of  treachery! 

SCENE  III. 
PHANTASMO. 

HAMLET.  Look  Horatio,  this  fool  is  infinitely  dearer 
to  the  king  than  my  poor  person.  Let's  hear  what  he 
has  to  say. 

PHANT.  Welcome  to  home,  Prince  Hamlet!  Have 
you  heard  the  last  news?  The  King  has  laid  a  wager 
on  you  and  young  Leonardo.  You  are  to  measure 
your  skill  at  fencing,  and  he  who  gives  his  opponent 
the  first  two  thrusts  is  to  win  a  white  Neapolitan 
horse. 

HAMLET.  '  Are  you  sure  of  what  you  say? 

PHANT.     Ay,  ay,  so  it  is,  as  1  say. 

HAMLET.  Horatio,  what  may  this  mean?  I  and 
Leonardo  to  fight!  They  have  been  imposing  on  this 


297 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


298 


sie  werden  diesen  Narren  etwas  weifs  gemacht  haben, 
denn  man  kann  ihm  einbilden,  was  man  will.  Sehet 
nur,  Signora  Phantasmo,  es  ist  greulich  kalt. 

PHANTASMO.    Ja  ja,  es  ist  greulich  kalt  — 

[zittert  mit  dem  Munde. 

HAMLET.     Nun  ist  es  schon  nicht  so  kalt  mehr. 

PHANTASMO.    Ja  ja,  es  ist  so  recht  ins  Mittel. 

HAMLET.     Aber  nun  ist  eine  grofse  Hitze. 

[wischt  das  Gesicht. 

PHANTASMO.     O  welch  eine  greuliche  Hitze! 

[wischt  auch  den  Schweifs. 

HAMLET.  Nun  ists  nicht  recht  kalt,  auch  nicht  recht 
warm. 

PHANTASMO.     Ja  es  ist  nun  eben  recht  temperirt. 

HAMLET.  Da  siehest  du,  Horatio,  dafs  man  ihm 
weifs  machen  kann,  was  man  will.  Phantasmo,  gehe 
wieder  hin  zum  Konige,  und  sage  ihm,  dafs  ich  ihm 
bald  aufwarten  werde  —  [Phantasmo  ab~\.  Nun  kommt, 
Horatio,  ich  will  gleichwohl  gehn,  und  mich  dem  Konig 
prasentiren.  Aber  ach!  was  bedeutet  dieses?  mir  fallen 
Blutstropfen  aus  der  Nase ;  mir  schuttert  der  ganze  Leib ! 
O  wehe,  wie  geschieht  mir!  [fdllt  in  Ohnmacht. 

HORAT.  Durchlauchtigster  Prinz,  o  Himmel,  was 
bedeutet  dieses !  Ihro  Durchlaucht  kommen  doch  wieder 
zu  sich  selbst!  Durchlauchtigster  Prinz,  wie  ists,  was 
wiederfahrt  Ihnen! 

HAMLET.  Ich  weifs  nicht,  Horatio.  Indem  ich  ge- 
dachte,  nach  Hofe  zu  gehn,  iiberfiel  mich  eine  schleu- 
nige  Ohnmacht;  was  dieses  bedeuten  wird,  ist  den  Got- 
tern  bekannt. 

HORAT.  Ach,  der  Himmel  gebe  doch,  dafs  dieses 
Omen  nicht  etwas  Boses  bedeuten  moge. 

HAMLET.  So  sey  es  wie  es  will,  ich  will  dennoch 
zu  Hofe  gehn,  und  sollte  es  auch  mein  Leben  kosten. 

[ab. 
SCENE  IV. 

KONIG.    LEONHARDUS.    PHANTASMO. 
KONIG.    Leonhardus,  mache  dich  fertig,  denn  Prinz 
Hamlet  wird  auch  bald  hier  seyn. 

LEONH.  Ihro  Majestat,  ich  bin  schon  fertig,  und 
werde  schon  mein  Bestes  thun. 

KONIG.  Sehet  wohl  zu;  hier  kommt  der  Prinz 
schon  —  —  — 

SCENE  V. 

HAMLET.    HORATIO. 

HAMLET.  Alles  Gliick  und  Heil  warte  auf  Ihro 
Majestat ! 

KONIG.  Wir  danken  Euch,  Prinz !  Wir  sind  hochst- 
erfreut,  dafs  Euch  die  Melancholic  in  etwas  verlassen, 


poor  fool,    for  one   can    make  him    believe    what  one 
likes.    Observe,  Signor  Phantasmo,  'tis  horribly  cold. 

PHANT.     Ay,  ay,  'tis  horribly  cold  — 

[His  teeth  chattering  with  cold. 

HAMLET.     Now  it  is  no  more  so  cold. 

PHANT.  You're  right  my  lord,  just  the  happy  me- 
dium. 

HAMLET.    But  now  it  is  very  hot. 

[Wiping  his  face. 

PHANT.     0  what  a  dreadful  heat! 

[Also  wiping  away  the  perspiration. 

HAMLET.  It  seems  to  me  'tis  neither  very  cold  nor 
very  warm. 

PHANT.    Yes,  now  it  is  just  temperate. 

HAMLET.  Do  you  see,  Horatio,  one  can  make  him 
believe  what  one  will.  Phantasmo,  go  get  thee  to  the 
King,  and  say  I'll  wait  upon  him  instantly.  [Phant.  exit] 
Come,  Horatio,  I  go  this  very  minute,  and  present  myself 
to  the  King.  Ha!  What  does  this  bode?  See,  these  drops 
of  blood  which  fall  from  my  nose.  I  tremble  from  head 
to  foot!  Alas!  alas!  how  is  it  with  me? 

[Faints. 

HORAT.  Most  noble  Prince!  O  Heavens!  what  does 
this  import?  Come  to  your  senses  my  lord!  My  noble 
Prince,  what  is  the  matter  with  you? 

HAMLET.  I  do  not  know,  Horatio.  When  I  thought 
of  going  to  court,  a  sudden  swoon  came  over  me.  The 
gods  alone  know  what  it  signifies. 

HORAT.     Heaven  grant  this  be  no  evil  omen! 

HAMLET.  Be  it  what  it  may,  I  go  to  court,  ay  and 
should  it  cost  me  my  life. 

[Exeunt. 
SCENE  IV. 

KING.    LEONARDO.    PHANTASMO. 
KING.    Leonardo  prepare,   for  Prince  Hamlet  will 
also  be  here  directly. 

LEON.  I  am  prepared,  your  Majesty,  and  will  do 
my  utmost. 

KING.  Look  well  to  it;  but  here  comes  the  Prince 
in  happy  time  —  —  — 

SCENE  V. 

HAMLET.    HORATIO. 

HAMLET.  All  health  and  happiness  wait  on  your 
Majesty! 

KING.  We  thank  you,  Prince!  We  are  extremely 
glad,  that  your  melancholy  has  somewhat  abated ;  where- 


299 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


300 


derowegen  haben  wir  heut  einen  Luststreit  angestellt 
zwischen  Euch  und  dem  jungen  Leonhardo :  Ihr  sollt 
mit  ihm  in  Rapieren  fechten,  und  welcher  von  Euch 
beyden  die  ersten  drey  Stofse  bekommen  wird,  der  soil 
ein  weifs  neapolitanisch  Pferd  mit  Sattelzeug  und  allem 
Zubehor  gewonnen  haben. 

HAMLET.  Ihro  Majestat  wollen  mir  verzeihen,  denn 
ich  in  den  Rappier  wenig  geiibt  bin.  Leonhardus  aber 
kommt  kiirzlich  aus  Frankreich,  allda  er  sich  ohne  Zwei- 
fel  wird  gut  exercirt  haben,  darum  wollen  Sie  mich 
entschuldiget  halten. 

KONIG.  Prinz  Hamlet  thut  uns  dieses  zu  gefallen, 
denn  wir  sind  begierig  zu  erfahren,  was  die  Teutschen 
und  die  Franzosen  vor  Finten  haben. 

SCENE  VI. 
KONIGIN. 

KONIGIN.  Gnadiger  Herr  und  Konig,  ich  werde 
Ihnen  ein  grofses  Ungliick  erzahlen! 

KONIG.  Der  Himmel  bewahre  uns  davor!  Was  ist 
es  denn? 

KONIGIN.  Die  Ophelia  ist  auf  einen  hohen  Berg 
gestiegen,  und  hat  sich  selber  heruntergestiirzt  und  um 
das  Leben  gebracht. 

LEONH.  Ach  ungliickseeliger  Leonhardus!  du  hast 
in  kurzer  Zeit  einen  Vater  und  Schwester  verlohren! 
Wohin  will  doch  das  Ungliick  dich  leiten !  Ich  wiinsche 
mir  selbsten  vor  Betriibnifs  den  Tod. 

K6NIG.  Stellet  euch  zufrieden,  Leonhardus !  wir  sind 
euch  gnadig,  fanget  nur  das  Gefechte  an.  Phantasmo 
bringe  die  Rappiere;  Jhr  aber,  Horatio,  sollet  urtheilen. 

PHANTASMQ,     Da  sind  die  warmen  Biere. 

HAMLET.  (Wohlan  denn,  Leonhardus,  so  kommet 
denn  an,  wir  wollen  zusehn,  wer  dem  andern  die  Schel- 
len  wird  anhangen.^  "Wo  ich  aber  einen  Exces  begehen 
mochte,  bkte  ich  zu  excusiren,  denn  ich  lange  nicht 
gefochten.  ) 

LEONH.  (ich  bin  Ihro  Durchlaucht  Diener,  Sie  scher- 
zen  nur.  j 

Yin   dem   ersten  Gang  fechten  sie  reine.     Leon- 
hardus bekommt  einen  Stofs. 

HAMLET.     Nun  das  war  eins,  Leonhardus! 

LEONH.  Es  ist  wahr,  Ihro  Durchlaucht!  Allo  Re- 
vange !  [Dieser  Icifst  das  Happier  fallen,  und  ergreift  den 
vergifteten  Degen,  welcher  parat  lieget,  und  stofst  dem 
Prinzen  die  Quarte  in  den  Arm.  Hamlet  pariret  auf 
Leonhardo,  dafs  sie  beyde  die  Gewehre  fallen  lassen.  Sie 
laufen  ein  jeder  nach  dem  Happier.  Hamlet  bekommt  den 
vergifteten  Degen,  und  sticht  Leonhardus  todt. 

LEONH.     O  wehe,  ich  habe- einen  todtlichen  Stofs! 


fore  we  have  arranged  a  fencing  match  between  you 
and  young  Leonardo.  He  who  makes  the  first  three 
hits,  has  gained  the  prize,  a  white  Neapolitan  horse  with 
saddle  and  housings  complete. 


HAMLET.  Your  Majesty  will  pardon  me,  for  I  am 
little  practised  with  the  foils,  while  Leonardo  comes 
direct  from  France,  where  he  has  undoubtedly  had 
plenty  of  practice;  wherefore  I  pr'ythee  hold  me  ex- 
cused. 

KING.  Prince  Hamlet  will  do  it  to  please  us,  for 
we  are  curious  to  learn  the  feints  of  the  Germans  and 
the  French. 

SCENE  VI. 
QUEEN. 

QUEEN.  My  gracious  Lord  and  King,  I  am  the 
bearer  of  sad  tidings. 

KING.     Heaven  forbid,  say  on. 

QUEEN.  Ophelia  has  ascended  a  high  hill,  and  cast 
herself  from  the  top  of  it,  and  taken  her  life. 

LEON.  Ah,  ill-fated  Leonardo!  In  how  short  a  space 
of  time  hast  thou  lost  a  father  and  a  sister!  Whither 
will  mischance  lead  me!  O!  that  death  would  come  to 
free  me  from  my  woe  and  misery! 

KING.  Content  ye,  Leonardo!  You  enjoy  our  fa- 
vour, only  begin  the  play.  Phantasmo  fetch  the  rapiers, 
Horatio  shall  be  umpire. 

PHANT.     Here  is  the  warm  beer. 

HAMLET.  Come  on,  Leonardo,  let's  see  who  is  to 
wear  the  fool's  bells.  Should  I  blunder,  pray  excuse 
me  Leonardo,  for  I  am  somewhat  out  of  practice. 

LEON.     My  lord  you  jest  with  your  servant. 

[During  the  first  bout  they  fence  fairly.     Leon- 
ardo receives  a  thrust. 
HAMLET.     That  was  a  hit,  Leonardo! 
LEON.     True,   your  Highness.     Now    for   my  re- 
venge!    [He   lets  his  foil  fall,    and   seizes  the  poisoned 
sword  which  is  lying  ready  and  deals  Mm  a  thrust  in  the 
left  arm.  Hamlet  parries,  so  that  both  drop  their  weapons. 
They  run   to  pick   them  up.     Hamlet   takes   the  poisoned 
sword  and  mortally  wounds  Leonardo. 

LEON.     Alack!   I  am  mortally  wounded!  I  receive 


301 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


302 


ich  bekomme  den  Lohn,  mit  welchem  ich  dachte  einen 
andern  zu  bezahlen.  Der  Himmel  sey  rair  gnadig. 

HAMLET.  Was  zum  Teufel  1st  dieses!  Leonhardus, 
hab  ich  euch  mit  dem  Rappier  erstochen?  Wie  geht 
dieses  zu? 

KONIG.  Gehet  geschwinde,  und  gebt  meinen  Mund- 
becher  mit  Wein  her,  damit  die  Fechter  sich  ein  wenig 
erquicken.  Gehe,  Phantasmo,  und  hole  ihn.  [tritt  vom 
Thron.  Fur  sich.}  Ich  hoffe,  wenn  sie  beyde  von  dem 
Wein  trinken  werden,  dafs  sie  alsdenn  sterben,  und 
diese  Finte  nicht  oiFenbar  werde. 

HAMLET.  Sagt  mir,  Leonhardus,  wie  ist  dieses  zu- 
gegangen  ? 

LEONH.  Ach,  Prinz,  ich  bin  von  dem  Konig  zu 
diesem  Ungliick  verfiihret  worden!  Sehet,  was  Ihr  in 
Eurer  Hand  habt!  es  ist  ein  vergifteter  Degen. 

HAMLET.  O  Himmel,  was  ist  dieses!  Bewahre  mich 
doch  davor! 

LEONH.  Ich  sollte  Euch  damit  verletzen,  denn  er 
ist  so  stark  vergiftet,  dafs,  wer  nur  die  geringste  Wunde 
damit  bekommt,  augenscheinlich  sterben  mufs. 

KONIG.  Holla,  Ihr  Herren,  erhohlet  Euch  ein  wenig 
und  trinket.  [Indem  der  Konig  vom  Stulil  aufsteliet,  und 
diese  Worte  redet,  so  nimmt  die  Konigin  dem  Phantasmo 
den  Becker  aus  der  Hand  und  trinket,  der  Konig  rufti] 
Holla!  wo  bleibt  der  Becher?  Ach,  wertheste  Gemah- 
lin,  was  thut  sie?  Dieses,  was  hier  eingeschenket,  ist 
mit  dem  starksten  Gift  vermenget.  Ach  wehe,  was  habt 
Ihr  gethan! 

KONIGIN.     O  wehe,  ich  sterbe ! 

[Der  Konig  stehet  vor  der  Konigin. 

HAMLET.  Und  Du,  Tyranne,  sollst  sie  in  dem  Tode 
begleiten.  [Hamlet  ersticht  ihm  von  hinten  zu. 

KONIG.    O  wehe,  ich  empfange  meinen  bosen  Lohn! 

LEONH.  Adieu,  Prinz  Hamlet!  Adieu,  Welt!  ich 
sterbe  auch.  Ach,  verzeihet  mir,  Prinz! 


HAMLET.  \  Der  Himmel  geleite  deine  SeeleAweil  du 
unschuldig.  Diesen  Tyrannen  aber  wiinsche  ich,  'dafs  er 
seine  schwarze  Siinden  in  der  Ho'llen  abwaschen  moge. 
Ach,  Horatio,  nun  ist  meine  Seele  ruhig,  nun  ich  mich 
an  meinen  Feinden  gerochen  habe.  Ich  habe  zwar  auch 
einen  Stofs  in  den  Arm,  aber  ich  hoffe,  es  werde  nichts 
zu  bedeuten  haben.  Es  ist  mir  leid,  dafs  ich  Leonhar- 
dum  erstochen  habe,  ich  weifs  aber  nicht,  wie  ich  den 
verzweifelten  Degen  in  meine  Hand  bekommen;  doch 


the  recompense  with  which  I  thought  to  pay  another. 
Heaven,  have  mercy  on  me! 

HAMLET.  What  the  devil  is  this,  Leonardo?  have 
I  slain  you  with  this  foil?  Say,  say,  how  is  this  pos- 
sible ? 

KING.  Go  quick,  and  fetch  a  cup  of  wine  to  re- 
fresh our  swords-men  a  little.  Go,  Phantasmo,  and  fetch 
it.  [Descends  from  the  throne.  Aside.}  I  hope  they  may 
both  drink  and  die,  and  that  this  trick  may  not  become 
known. 

HAMLET.  Tell  me,  Leonardo,  how  did  this  all  come 
about  ? 

LEON.  Alas!  Prince,  I  have  been  seduced  to  this 
misfortune  by  the  King !  Look  at  what  you  have  in  your 
hand!  It  is  a  poisoned  sword. 

HAMLET.  0!  Heavens,  what  is  this!  Preserve  me 
from  it! 

LEON.  It  was  agreed  that  I  should  wound  you 
with  it,  for  it  is  so  strongly  poisoned,  that  whoever  re- 
ceives the  slightest  wound  from  it,  must  die. 

KING.  Ho!  gentlemen,  take  this  cup  and  drink. 
[Whilst  the  King  is  rising  from  his  chair  and  speaking  the 
above  words,  the  Queen  takes  the  cup  out  of  Phantasmo' 's 
hand  and  drinks;  the  King  exclaims:}  Ho!  where  is  the 
cup?  Alas!  my  dearest  wife,  what  are  you  doing?  This 
drink  is  mixed  with  the  strongest  poison.  Alack!  alack! 
what  have  you  done! 


QUEEN.     Alas!  I  die! 

[The  King  stands  before  the  Qu 


•'-(•}> 

g&fwwv. 


HAMLET.  And  thou,  tyrant,  shalt  bear  her  company 
in  death.  [Stabs  him  from  behind. 

KING.     Alas!  alas!  I  receive  my  due  recompense! 

LEON.  Farewell,  Prince  Hamlet!  Farewell,  world! 
I  die  too.  Ah,  forgive  me,  Prince! 

HAMLET.  May  heaven  receive  thy  soul  for  thou  art 
innocent.  But  for  this  tyrant,  I  wish  that  he  may  purge 
his  sins  in  the  hell.  Ah,  Horatio!  now  is  my  soul  at 
peace,  I  am  revenged  of  mine  enemies.  'Tis  true  I  have 
received  a  touch  upon  the  arm,  but  I  hope  it  will  be 
of  no  consequence.  It  grieveth  me  that  I  have  slain 
Leonardo.  I  know  not  how  the  accursed  weapon  came 
to  my  hand;  but  as  he  hath  sown,  so  hath  he  reaped. 
He  has  received  his  reward.  My  wretched  mother !  most 


303 


TRAGEDY  OF  PRINCE  HAMLET  OF  DENMARK. 


304 


wie  die  Arbeit,  so  ist  auch  der  Lohn,  er  hat  seine  Be- 
zahlung  bekommen.  Nichts  jammert  mir  mehr,  als 
meine  Frau  Mutter.  Doch  sie  hat  diesen  Tod  wegen 
ihrer  Siinden  halben  auch  verdienet.  Aber  sagt  mir, 
wer  hat  ihr  den  Becher  gegeben,  dafs  sie  Gift  bekommen? 

PHANTASMO.  Ich,  Herr  Prinzl  ich  habe  auch  den 
vergifteten  Degen  gebracht,  aber  den  vergifteten  Wein 
habt  Ihr  allein  sollen  austrinken. 

HAMLET.  Bist  du  auch  ein  Werkzeug  dieses  Ungliicks 
gewesen?  Siehe,  da  hast  du  auch  deine  Belohnung! 

[sticht  ihn  todt. 

PHANTASMO.    Stecht,  dafs  euch  die  Klinge  verlahme! 

HAMLET.  Ach,  Horatio,  ich  furchte,  es  wird  nach 
meiner  veriibten  Rache  auch  mein  Leben  kosten,  denn 
ich  bin  am  Arme  sehr  verwundet.  Ich  werde  ganz  matt, 
meine  Glieder  werden  schwach,  und  meine  Beine  wollen 
nicht  mehr  stehn;  meine  Sprache  vergeht  mir,  ich  fiihle 
den  Gift  in  alien  meinen  Gliedern.  (  Doch  bitte  ich 
euch,  lieber  Horatio,  und  bringet  die  Krone  nach  Nor- 
wegen  an  meinen  Vetter,  den  Herzog  Fortempras,  da- 
mit  das  Konigreich  nicht  in  andre  Hande  falle.  \  Ach, 
o  weh,  ich  sterbe!  ' 

HORATIO.  Ach,  Durchlauchtigster  Prinz,  erwartet 
doch  Hiilfe,  O  Himmel,  er  bleibt  mir  unter  den  Handen! 
Ach,  was  hat  doch  dieses  Konigreich  eine  zeither  vor 
schwere  Kriege  gefuhret!  Kaum  hatte  es  Friede,  so  ist 
es  aufs  neue  mit  innerlicher  Unruhe,  Regier-  Streit-  und 
Mordsucht  angefullet  worden.  Dieser  traurige  Ungliicks- 
fall  mag  wohl  in  keinem  Seculo  der  Welt  jemals  ge- 
schehn  seyn,  wie  man  leider  jetzt  an  diesem  Hofe  erle- 
bet  hat.  Ich  will  alle  Anstalt  mit  Hulfe  der  treuen 
Rathe  machen,  dafs  diese  hohe  Personen  nach  ihrem 
Stande  beerdiget  werden,  alsdenn  mich  cito  mit  der  Krone 
nach  Norwegen  verfiigen,  und  dieselbe  iibergeben,  wie 
mir  dieser  ungliickseelige  Prinz  befohlen  hat. 

Vers. 

So  gehts,  wenn  ein  Regent  mit  List  zur  Kron  sich  dringet, 
Und  durch  Verriitherey  dieselbe  an  sich  bringet, 
Derselb  erlebet  nichts,  als  lauter  Spott  und  Hohn, 
Denn  wie  die  Arbeit  ist,  so  folget  auch  der  Lohn. 

ENDE. 


do  I  grieve  for  her  —  her  sins  have  brought  this  just 
punishment  down  on  her.  Say,  who  gave  her  the  poi- 
soned cup? 


PHANT.  I,  Prince.  I  have  also  brought  the  poisoned 
sword,  but  the  poisoned  wine  was  intended  for  you  alone. 

HAMLET.  Hast  thou  too  been  an  instrument  of  all 
this  woe  and  misery?  There,  take  thy  due  reward? 

[Stabs  him. 

PHANT.    Run  it  in,  and  may  your  blade  grow  lame ! 

HAMLET.  Horatio,  alas!  I  fear  my  revenge  has 
cost  me  my  life,  for  I  am  sorely  wounded  in  the  arm. 
I  grow  faint,  my  limbs  grow  weak  and  refuse  to  sup- 
port me,  my  voice  fails,  I  feel  the  poison  in  all  my 
members.  Gentle  Horatio,  take  the  crown  to  my  cousin, 
Duke  Fortinbras  of  Norway,  that  the  kingdom  may  not 
fall  into  other  hands.  Alas!  I  die! 


HORATIO.  O!  Noble  Prince,  aid  may  still  come! 
Heavens!  he  is  dying  in  my  arms.  Alas!  O!  how  this 
Kingdom  of  Denmark  hath  been  scourged  with  long 
wars!  Scarce  was  peace  established,  when  anew  internal 
disturbances,  murders,  ambition,  and  contentions  fill  the 
land.  In  no  age  of  the  world  hath  such  a  tragedy  been 
played  as  now,  alas,  at  this  court.  And  now,  with  aid 
from  the  faithful  counsellors  of  the  kingdom,  I  will  take 
all  fitting  measures  that  these  high  personages  be  buried 
according  to  their  rank.  "Which  done,  I  will  go  to  Norway 
with  the  crown  at  once,  and  deliver  it  as  this  unhappy 
Prince  commanded. 

Verse. 

Thus  is  it  when  a  prince  by  craft  the  crown  will  seize, 
And  take  it  for  himself  by  treach'rous  practices, 
'Tis  nothing  that  he  gets  but  mockery  and  scorn, 
For  he  shall  reap  at  eve,  what  he  has  sown  at  morn. 

THE  END. 


ACTED  IN  GERMANY,  IN  THE  YEAR  1626,  BY  ENGLISH  PLAYERS. 


20 


The  German  Text  of  the  TRAGEDY  OF  ROMEO  AND  JULIET  is  printed  from  the  only  known  Manuscript 
in  the  Imperial  Library  at  Vienna.  Extracts  from  it  have  been  published  (very  incorrectly)  in  EDUARD  DEVRIENT'S 
Geschichte  der  deutschen  Schauspielkunst,  Band  I,  Leipzig  1848,  8vo,  pag.  408 — 434.  The  present  impression  is 
the  first  ever  published  of  the  complete  play.  —  The  Manuscript  has  no  title-page  and  bears  no  date. 


TRAGJEDIA 
VON  ROMIO  UND  JULIETTA. 


Personen. 

FURST. 

CAPOLET. 

MUNDIGE. 

PARIS. 

ROMIO. 

MERCUTIUS. 

PENVOLIO. 

TIPOLT. 

PATER. 

PlCKELHARING. 
ElN    JUNGE. 

GRAFIN  CAPOLET. 

JULIETA. 

AMME  (ANTONETA); 


ACTUS  PRIMUS. 

SCENA  PRIMA. 

FURST  mit  KAPOLETH  vnd  MUNDIGE. 
Ho/stadt. 

FURST.  Die  Sonne  schawet  an  den  blaw  Saphir 
glantzenden  Himmel  den  Erdtkreifs  nur  darumb,  damit 
alles  wachse  blue  vnd  zeitig  werde,  vnd  dem  Menscheij 
zu  Nutzen  diene,  wo  aber  die  fiinstere  Hagelswolckhen 
mit  einer  frostnufs  solche  beriihret,  so  ist  die  gefahr 
vnd  der  Schad  vorhanden.  Capolet  vnd  Mundige  weillen 
in  vnserer  Regirung  nichts  Jrrsamber  vnd  vnleidiger 
scheinet  alfs  Euer  beyder  Heuser  vneinigkeit  saget  vnnfs 
in  was  Nutzen  bestehet  Euer  Zorn  Hafs  vnd  Feind- 
schafft  alfs  dafs  Euer  Geschlecht  gemiindert  vnd  nach 
der  Zeit  mit  bluetigen  Kempfen  ausgerodt  vnd  zerge- 
hen  mufs  vnd  ihr  habt  nichts  bessers  zu  hoffen  alfs  dafs 
Euch  beyden  nichts  mehr  ubrig  nach  Euren  todt,  alfs 
der  Nahmb  vnd  die  nachfolgende  weldt  sagen  wir(d)  sie 
sein  gewe(sen). 

CAPOLET.  Gnadiger  Fiirst  und  Herr  nach  dero  Be- 
lieben  zu  reden  gestehe  ich,  dafs  vnser  beyde  Heuser 
von  Geschlecht  zu  Geschlecht  in  solche  Erbfeindschaft 


Persons  represented: 

PRINCE. 

CAPULET. 

MONTAGUE. 

PARIS. 

ROMEO. 

MERCUTIO. 

BENVOLIO. 

TIBALT. 

A  FRIAR. 

CLOWN  (Pickelhaering). 

A  BOY. 

LADY  CAPULET. 

JULIET. 

NURSE. 


ACT  I. 

SCENE  I. 

4 

PRINCE  with  CAPULET  and  MONTAGUE. 

Retinue. 

PRINCE.  The  sun  looks  at  this  earth  in  heaven's 
azure  only  that  every  thing  may  grow,  flower,  and  ma- 
ture, and  be  of  use  to  man :  but  wherever  the  dark  hail- 
clouds  strike  her  with  a  chill,  there  is  danger  and  loss. 
Capulet  and  Montague!  since  in  our  reign  nothing  ap- 
pears more  erratic  and  intolerable  than  the  quarrel  of 
your  two  houses,  tell  us  then,  what  else  do  you  gain 
by  your  wrath,  hatred,  and  enmity  but  that  your  race 
dwindle  away,  and  in  the  course  of  time  become  ex- 
tirpated in  bloody  fights  and  disappear,  and  that  you 
have  nothing  better  to  hope,  but  that  after  your  death 
nothing  remains  of  both  of  you,  except  your  names  and 
the  saying  of  future  generations:  they  have  been. 


CAPULET.  Gracious  Prince  and  Lord!  To  speak 
according  to  your  pleasure,  I  confess  that  both  our 
houses  from  generation  to  generation  have  grown  into 

20* 


311 


TRAGEDY  OF  ROMEO  AND  JULIET. 


312 


gerathen,  dafs  es  scheinet,  als  ob  der  Himmel  darob 
ein  Wohlgefallen  vnd  mit  seinen  influenzen  das  Kindt 
in  Muetterleib  mit  der  geburthstundt  schon  feindlich  be- 
kleitet.  Der  Himmel  ist  mein  Zeug,  das  meine  grawe 
Haar  daran  keinen  gefallen,  sondern  viel  mehr  beseufftze 
den  Schadenfohl  vndtergang,  vnsers  so  alten  Stammen 
Hauls. 

FURST.  Was  sagt  ihr  graff  Mundige,  wie  gefalt 
Euch  diese  meinuqg? 

MUNDIGE.  Gnadiger  Furst  und  Herr  diese  meinung 
des  Capoleth  ist  nicht  vervveriflich,  aber  die  offt  be- 
schehene  affront  vnd  iiberfallung  der  Meinigen  so  sie 
von  den  Capoleten  erliden  ist  weldt  kiindig  vnd  vnserer 
Vorfahrer  bluetvergiefsung  gantze  cronicen  voll  voll  (sic) 
sein  ist  also  meinem  bedunckhen  nach  nicht  Rathsamb 
dafs  mein  feindt  zuesehe  dafs  mir  das  wasser  in  das 
maul  rinnt. 

FURST.  Graff  Mundige  der  tugendtwurdige  titul 
bestehet  nicht  in  hiitzigen  Buffer  des  Zorns  sondern 
mit  Nachlassung  des  Empfangenen  Schaden,  der  ist 
Ruhmbwiirdig  zu  nennen,  so  seinen  feindt  verzeihen  vnd 
mit  freundtschafft  obsigen  kan. 

MUNDIGE.  Die  Natur  lehrent  aber  viel  ein  anders 
gnadiger  Furst  und  Herr. 

FURST.     Und  was  dan? 

MUNDIGE.  Nicht  zuelassen,  das  man  von  feindt 
iiberwunden  vnd  bezwungen  werde. 

FURST.  Es  ist  wahr  was  den  Krieg  vnd  landtsver- 
wustung  betrufft. 

CAPOLET.  Wan  es  so  wahre  wolte  ich  vmb  wur- 
diger  gleich  meine  grawe  Haar  mit  Sigesblatter  vmb 
winden,  oder  einen  Ehrlichen  todt  hoffen,  aber  dieser 
Haufs  vnd  Nahmben  Krieg  legt  mich  selber  eher  in  das 
grab,  alfs  Hoffnung  haben  einen  friden  zu  erleben. 

FURST.  Der  Himmel  kan  keinen  gefallen  an  einer 
einheimbischen  Vnruhe  oder  Stattsverderben  haben  noch 
weniger  an  dem,  das  zwey  so  vornehme  Stammenheufser 
fallen  vnd  selbst  sich  zu  grundte  richten  sollen. 

CAPOLET.  Wie  vorgesagt  gnadiger  Furst  vnd  Herr 
ich  liebe  die  Einigkeit  den  Frieden  vnd  hasse  das  vn- 
rechte  Bluetvergiessen. 

MUNDIGE.  Wer  gezwungen  das  gewohr  zu  brauchen, 
der  vergiefst  nicht  vnrechtes  blueth. 

CAPOLET.  Der  fridlich  leben  will,  braucht  kein  ge- 
vvahr  zu  wetzen. 

MCXDIGE.  Der  leichtlich  glaubet,  wird  leicht  be- 
trogen. 

CAPOLET.  Der  nicht  die  Ehre  acht,  kan  leicht  ein 
betriiger  sein. 


such  hereditary  feud,  that  it  seems  as  if  heaven  taketh 
delight  in  it,  and  by  its  influences  renders  the  child  in 
the  mother's  womb  hostile  from  its  birth.  Heaven  is 
my  witness,  that  my  gray  hair  does  not  delight  in  it, 
but  that  I  sigh  over  the  hurtful  ruin  of  our  so  ancient 
stock. 

PRINCE.  How  say  you,  count  Montague?  how  do 
you  like  this  sentiment? 

MONTAGUE.  Gracious  Prince  and  Lord!  This  sen- 
timent of  Capulet  is  not  to  be  rejected;  but  the  often 
repeated  affronts  and  attacks  which  my  kinsmen  have 
had  to  suffer  from  the  Capulets,  are  well-known  to  all 
the  world;  and  whole  chronicles  are  full  of  our  fore- 
father's bloodshed.  Therefore  methinks  it  is  not  advis- 
able, that  my  enemy  should  stand  by  and  see  the  waters 
rise  up  to  my  mouth. 

PRINCE.  Count  Montague!  The  title  to  virtue  does 
not  consist  in  heat  of  anger  but  in  remission  of  received 
injury.  That  man  is  worthy  of  praise  who  forgives  his 
enemy  and  conquers  by  kindness. 

MONTAGUE.  Yet  nature  teaches  something  very  dif- 
ferent, gracious  Prince  and  Lord! 

PRINCE.     And  what? 

MONTAGUE.  Not  to  suffer  oneself  to  be  conquered 
and  overcome  by  enemies. 

PRINCE.  That  is  true  as  far  as  concerns  war  and 
devastation. 

CAPULET.  If  it  were  so,  I  should  all  the  more 
worthily  at  once  entwine  my  gray  hair  with  victorious 
leaves,  or  hope  for  an  honourable  death.  But  sooner 
will  the  feud  of  these  houses  and  names  lay  me  in  my 
grave,  than  there  will  be  hope  of  my  living  to  see  a 
peace. 

PRINCE.  Heaven  cannot  be  pleased  with  civil  dis- 
turbance or  ruin  of  the  state,  still  less  with  the  fall  and 
mutual  destruction  of  two  such  noble  houses. 

CAPULET.  As  I  have  said  before,  gracious  Prince 
and  Lord,  I  love  union,  and  peace,  and  hate  unlawful 
bloodshed. 

MONTAGUE.  He  who  is  forced  to  use  his  weapon, 
does  not  shed  unlawful  blood. 

CAPULET.  He  who  will  live  peacably,  need  whet 
no  weapon. 

MONTAGUE.  He  who  easily  believes,  is  easily  de- 
ceived. 

CAPOLET.  He  who  does  not  regard  his  honour,  may 
easily  turn  deceiver. 


313 


TRAGEDY  OF  ROMEO  AND  JULIET. 


314 


MUNDIGE.  Der  die  meinigen  beleidiget,  greifft  mich 
vnd  meine  Ehre  an. 

CAPOLET.  Der  mein  Herkommen  beschimpfet  ohne 
vrsach,  ist  nicht  zu  achten. 

MUNDIGE.  Wan  aber  die  feindtschafft  sein  vrsach 
hat? 

CAPOLET.  "Wer  feindtschafFt  haben  will,  der  darf 
kein  vrsach  suechen. 

MUNDIGE.     Die  Beleidigung  hat  kein  gedult. 

CAPOLET.     Der  Beleidiget  ist  strafFwiirdig. 

MUNDIGE.  So  straff  man  den  so  der  beleidigung 
anfenger  ist. 

CAPOLET.  O  Mundige,  Mundige,  ich  wintsche  das 
kein  beleidiger  Nie  gewesen  wehre. 

MUNDIGE.  Wan  wintschen  gultig  wehre,  so  hette 
ich  auch  mehr  von  meiner  FreundtschafFt  vnd  familia  bey 
leben. 

FURST.  Es  gehet  vnnfs  selbst  zu  Hertzen,  in  deme 
wur  bedrachten  was  thorheit  das  seyn  ein  Geschlecht 
das  ander  zu  verdilgen,  die  freyheit  zu  verliehren,  ta'g- 
lich  vnruhe  suechen,  sich  selbst  in  vnglickh  stiirtzen  vnd 
Entlichen  ubel  sterben. 

MUNDIGE.  Ich  wintsche  wol  zu  sterben  vnd  fridlich 
zu  leben. 

CAPOLET.  Der  Himmel  gebe,  das  es  mir  auch  wi- 
derfahre. 

FURST.  Vernehmet,  ein  Konig  Furst  oder  Herr, 
der  da  in  seiner  Regierung  sitzet,  wafs  steht  ihm  besser 
an  alfs  seine  Vndterthanen  in  friden  vnd  Recht  zu  er- 
halten,  thuet  Er  solches  so  lebt  Er  glickselig,  wo  aber 
in  Regirungssachen  ein  Unruhe  vnd  Feindtseeligkeit  sich 
sehen  lasset,  so  ist  dafs  Verderben  verhanden,  man  sehe 
in  alien  landten,  wo  der  frid  vnd  Einigkeit  sich  vmb- 
halsen  da  wohnet  lauther  frewd.  Euer  Vndterthanen 
blueten  selbst  mit  Euch  vnter  den  schwaren  Joch  Eurer 
FeindtschafFt,  darumb  leget  ab  den  Hafs  vnd  suechet 
nicht  Euer  Verderben,  wo  man  nicht  mit  Scharpffe  vnd 
Statuten  des  faderlandes  mit  Euch  verfahren  soil. 

CAPOLET.  Gnadigster  Furst  vnd  Herr,  dem  die  sache 
angehet  der  fiihlt  den  Schaden  vnd  weillen  mir  gebuh- 
ren  will  zu  gehorsamben,  so  setze  ich  mich  nicht  wider 
die  gesetz  des  Verbots. 

MUNDIGE.  GrafF,  das  guete  Vornehmen,  so  ich  an 
Euch  verspiihre  soil  mich  nicht  hindern  den  gehorsamb, 
die  gesetz  vnd  liebe  vnsers  Vatterlandts  zu  vollziehen, 
wo  nur  der  grundtstein  Eures  willeh  wohlgelegt. 

CAPOLET.  GrafF,  ich  will  Eurer  meinung  beyfallen, 
vnd  wan  mein  will  anders  alfs  der  Eure,  so  verspreche 
ich  hier  in  gegenwarth  vnsers  gnadigen  Fiirstens,  das 
ich  alle  schuld  ertragen,  wo  Euch  vnd  den  Eurigen  von 


MONTAGUE.  He  who  insults  my  kinsmen,  attacks 
me  and  my  honour. 

CAPULET.  He  who  defames  my  extraction  without 
reason,  deserves  no  respect. 

MONTAGUE.    But  if  there  be  a  reason  for  enmity? 

CAPULET.  He  who  will  have  enmity,  need  not  seek 
for  a  reason. 

MONTAGUE.    Offence  has  no  patience. 

CAPULET.    The  offender  is  liable  to  punishment. 

MONTAGUE.  Then  let  him  be  punished  who  began 
offending. 

CAPULET.  Oh  Montague,  Montague!  I  wish  there 
had  never  been  an  offender. 

MONTAGUE.  If  wishing  were  of  any  good,  I  also 
should  have  more  joy  of  my  friends  and  family  in  my 
life-time. 

PRINCE.  It  makes  our  own  heart  ache,  to  think 
what  folly  it  is  one  race  destroying  the  other,  losing 
Qne's  liberty,  seeking  quarrel  day  by  day,  precipitating 
oneself  into  misfortune,  and  in  the  end  dying  miserably. 

MONTAGUE.    I  wish  to  die  well  and  to  live  in  peace. 

CAPULET.  Would  to  Heaven  that  the  same  be  my 
lot  too! 

PRINCE.  Hear  ye!  a  King,  Prince,  or  Lord  who 
sits  in  his  government,  what  becomes  him  better  than 
keeping  his  subjects  in  peace  and  right?  If  he  does  that, 
he  lives  in  happiness ;  but  wherever  trouble  and  hostility 
appear  in  matters  of  government,  there  ruin  is  at  hand. 
Look  at  all  countries :  where  peace  and  unanimity  exist 
in  fond  embrace,  there  is  joy.  Even  your  vassals  are 
bleeding  from  the  heavy  yoke  of  your  enmity.  There- 
fore discard  your  hatred  and  do  not  court  your  ruin, 
unless  you  would  be  treated  with  severity,  and  accord- 
ing to  the  statutes  of  the  land. 

CAPULET.  Most  gracious  Prince  and  Lord!  He, 
whose  concern  it  is,  feels  the  injury;  and  as  it  behoves 
me  to  obey  I  do  not  set  myself  against  the  law. 

MONTAGUE.  Count!  The  good  intention  I  observe 
in  you  shall  not  hinder  me  from  obedience,  from  fol- 
lowing the  laws  and  love  of  our  country,  provided  the 
corner-stone  of  your  will  be  well  laid. 

CAPULET.  Count!  I  approve  of  your  sentiment;  and 
when  my  will  shall  differ  from  yours,  I  do  here  pro- 
mise, in  the  presence  of  our  gracious  Prince,  to  take 
upon  myself  all  responsibility  in  case  you  and  your 


315 


TRAGEDY  OF  ROMEO  AND  JULIET. 


316 


den   Capoleten   solle   eine    beleidigung  geschehen,   vnd 
hier  ist  meine  Handt. 

MUNDIGE.     Und  hier  die  meine. 
CAPOLET.     Zu  einer  wahren  trew. 
MUNDIGE.     Vnd  Eechten  freundschafftsbandt. 
CAPOLET.     Wer  dise  bricht 
MUNDIGE.     Verfluechet  sey  sein  Handt. 
FURST.    Dises  ist  ein  werkh,  daran  wiir  einen  ge- 
fallen  tragen  vnd  wintschen 

Euren  beiden  Stammen 
Die  weifse  Fridensbliie 
Die  waxe  Nestors  Jahr 
Mit  1000  glickes  Nahmen. 

MUNDIGE. 

Der  Himmel  hat  bifsher  gantz  zornig  aufsgesehen 
Nun  aber  muefs  der  Krieg  vnd  Hafs  zu  Ende  gehen. 

CAPOLET. 

Es  hat  der  Krieges  Newd  vnfs  beyde  hart  gekrenkt 
Jezt  vnser  will  an  frid  vnd  Siifse  Ruhe  gedenkt. 

MUNDIGE. 

Die  Ruhe  nimbt  mich  ein,  die  Rach  ligt  ietzo  vnten 
Nun  ist  das  vngemach   vnd  aller  Zankh  versch\vunden. 

CAPOLET. 

Nun  bin  ich  sorgenfrey  vnd  sag  vonn  hertzen  recht, 
Ich  werd  mich  allzeit  nennen  sein  Diener  vnd  sein  Knecht. 

MUNDIGE. 

Den  ich  ertodten  wolt  nennt  mich  ietzt  seinen  freind 
Nun  mehr  hats  keine  noth,  ich  weifs  von  keinem  feind. 

FURST. 

Wehe  in  dem  Hertzen  dem  der  da  hegt  Krieges  glueth 
Vnd  lescht  die  tugendt  aufs,  acht  weder  freind  noch  blueth 
Es  will  dafs  Ilion  durch  solches  Krieges  fewer 
Dafs  Troia  muest  vergehn  in  diesem  vngehewer 
Dafs  laster  weiche  weith  aufs  Euren  tugendt  Sinn 
Die  freindtschafft  gebe  Euch,  die  balmen  zu  gewiinn. 

[Alle  ab. 

SCENA   2DA. 
JULIETA  vnd  ANTONETA 

in  garthen. 

JULIETA.  O  grofse  Belustigung  dieser  Fruhlings  Zeit, 
wan  man  sich  ergotzen  kan  in  den  lustbahren  Garten, 
felder  vnd  walder,  wan  man  horet  die  rauschende  Bach- 
lein  die  ihren  lauff  zwischen  den  Kifselsteinen  zerbre- 
chen,  welches  das  gehor  ergetzet,  wan  der  zephirus  den 
blatterreichen  Bawmen  schmeichlet,  vnd  mit  ihnen  schert- 
zet,  wan  die  Vogl  singen,  vnd  mit  ihrem  gender  die  lufft 
durchstreichen ,  vnd  andere  tausend  anmuethungen  die 
das  Hertz  erquickhen.  Aber  sage  Julieta  wafs  frewde 
genuest  du,  weil  ich  wie  eine  Einsambe  turteltaube  ein- 


people  should  suffer  any  injury  from  the  Capulets;  and 
there  is  my  hand. 

MONTAGUE.     And  here  is  mine. 
CAPULET.     Unto  a  true  faith  — 
MONTAGUE.     And  genuine  bond  of  friendship. 
CAPULET.     The  which  whoever  breaks  - 
MONTAGUE.     Accursed  be  his  hand! 
PRINCE.     This  is  a  work  therein  we  delight,  and 
wish 

Both  your  houses 
The  white  blossom  of  Peace; 
May  it  grow  to  Nestor's  age 
With  a  thousand  lucky  names! 

MONTAGUE. 

The  Heavens  did  as  yet  anger  and  wrath  portend/ 
But  now  henceforth  must  war  and  hatred  have  an  end. 

CAPULET. 

War's  envy  on  us  both  hath  grievous  suffering  brought 
To  sweet  repose  and  peace  our  will  now  turns  our  thought. 

MONTAGUE. 

Quiet  now  fills  my  heart,  revenge  lies  low  too  here, 
Now  does  our  wrangling  all  and  trouble  disappear. 

CAPULET. 

Now  am  I  free  from  care,  and  from  my  heart  I  say 
I'll  call  myself  your  slave  and  servant  from  to-day. 

MONTAGUE. 

He  whom  I  wished  to  kill  now  makes  a  friend  of  me, 
No  more  I  wish  his  death,  I  have  no  enemy. 

PRINCE. 

Woe  to  the  man  whose  heart  with  warlike  ardour  glows, 
Who  quenches  virtue's  light,  nor  blood  nor  friendship  knows. 
'Twas  Ilion's  fate  indeed  through  just  such  warlike  fire, 
That  Troy  must  pass  away  in  monstrous  wrong  and  dire. 
Before  your  virtuous  souls  may  all  the  vices  flee, 
And  friendship  grant  to  you  to  gain  the  victory! 

[Exeunt  omnes. 

SCENE  II. 
JULIET  and  NURSE. 

In  the  garden. 

JULIET.  Oh!  how  great  is  the  enjoyment  of  this 
spring-time,  when  one  may  delight  in  the  merry  gardens, 
fields,  and  woods ;  when  one  hears  the  murmuring  brooks 
breaking  their  course  betwixt  the  pebbles,  so  pleasant  to 
the  ear;  when  the  zephyr  dallies  with  the  leafy  tree; 
when  the  birds  chant  and  with  their  plumage  sweep 
through  the  air,  and  a  thousand  other  charms  gladden 
the  heart!  But  say,  Juliet,  what  pleasure  dost  thou  en- 
joy while  I  am  pent  up  like  a  solitary  turtle  and  .forced 
to  live  like  a  prisoner,  deprived  of  every  enjoyment  by 


317 


TRAGEDY  OF  ROMEO  AND  JULIET. 


318 


gesperrt,  vnd  alfs  eine  gefangene  leben  muefs  indeme 
mich  meiner  Eltern  Zucht  aller  frewd  berauben,  o  Ita- 
lia was  fur  gesetz  gibest  du  dem  weiblichen  geschlecht, 
dafs  sie  nichts  geniifsen  als  die  Einsambkeit,  sage  mir 
Antoneta  soil  ich  die  Blumen  besuechen  oder  schlaiFen? 

ANTONETA.  Schone  Julieta  mich  wundert  selber  das 
sie  sich  Ihrer  Eltern  gehorsamb  so  starkh  vnterwurfft, 
vnd  den  gehorsamb  nicht  vberschreidten  will,  o  wehre 
mir  also  ich  wolte  mir  schon  helffen. 

JULIETA.  Vnd  wie  in  deme  mir  nichts  mehr  erlau- 
bet  ist,  alfs  in  disen  garthen  vnter  den  Blumen  mich  zu 
erfrewen. 

ANTON.  Vnd  was  ist's?  Blumen  sind  blumen,  aber 
ein  beth  das  ware  eine  linderung. 

JULIETA.    Wafs  linderung? 

ANTON.    Linderung  der  glider. 

JULIETA.    Wafs  glider? 

ANTON.  Nun  der  gantze  theil  defs  Menschen,  ihr 
versteht  mich  ja  wohl,  wan  ihr  nur  wolt,  o  wie  Ein- 
feldig  seht  ihr  doch  aus. 

JULIETA.    Und  wafs  dan? 

ANTON.   Nichts  nichts,  aber  wan  ich  reden  dorffte. 

JULIETA.    Rede  nur  frey. 

ANTON.  Gn.  Fraulein,  sie  verzeihe  mir  wan  ich  sa- 
gen  darf  dafs  besser  wahre  einen  discurs  mit  einen 
wackheren  gaualier  zu  fiihren,  alfs  sich  in  die  stumme 
garthenblumen  zu  uerlieben. 

JULIETA.    Ach  Antoneta  wafs  redest  du? 

ANTON.  Worumb  farbet  sie  sich  schone  Julieta  vnd 
wird  roth. 

JULIETA.   Roth  bedeutet  lieb. 

ANTON.    So  liebt  sie  dan. 

JULIETA.  Worumb  solt  ich  nicht  lieben,  ich  liebe 
aber  weifs  nicht  wafs. 

ANTON.  Es  muefs  was  sein  dafs  sie  blagt,  dan  sie 
bald  roth  bald  weifs  ihr  gesicht  verendert,  sie  jagt  mir 
bald  ein  forcht  ein. 

JULIETA.  Antoneta  wisset  ihr  nicht  wer  roth  vnd 
weifs  erfunden?  Habe  ichs  in  meinem  gesicht,  so  ist  es 
nicht  ohne  vrsach,  dan  die  tugendt  lebt  in  mir,  vndt 
tugendt  hats  erworben. 

ANTON.    Tugendt  vnd  wafs  fur  tugendt? 

JULIETA.    Tugendt  des  gemuths. 

ANTON.    Seit  ihr  ein  Soldat? 

JULIETA.    Nicht  mit  waffen. 

ANTON.    Mit  was  dan? 

JULIETA.   Ach! 

ANTON.    Wie  ist  Euch? 

JULIETA.    Ach  leiderl 

ANTON.    Leidet  ihr?       • 


parental  control?  Oh  Italia!  what  law  givest  thou  to 
womankind,  leaving  them  nothing  to  enjoy  but  solitude ! 
Say,  Antoneta,  shall  I  visit  the  flowers  or  go  to  sleep? 


NURSE.  Fair  Juliet!  I  really  wonder  you  should 
pay  such  strict  obedience  to  your  parents,  and  never 
transgress  it.  If  I  were  in  your  case,  I  should  know 
how  to  make  shift. 

JULIET.  And  how,  since  nothing  is  allowed  me 
but  to  enjoy  myself  in  this  garden  among  the  flowers. 

NURSE.  And  what  of  that?  Flowers  are  flowers, 
but  a  bed  would  be  some  comfort. 

JULIET.     What  comfort? 

NURSE.    For  the  limbs. 

JULIET.     Which  limbs? 

NURSE.  Why,  for  the  whole  frame.  I  dare  say 
you  can  understand  me.  if  you  choose.  How  simple 
you  look! 

JULIET.     And  what  then? 

NURSE.     Nothing,  nothing.   But  if  I  might  speak  — 

JULIET.     Speak  your  mind  freely. 

NURSE.  Pardon  me,  my  lady,  for  saying,  you  would 
do  better  to  carry  on  a  discourse  with  some  gallant  ca- 
valier than  to  make  love  to  the  dumb  garden-flowers. 

JULIET.     Oh,  Antoneta,  what  are  your  talking? 
NURSE.    Why  do  you  colour,  fair  Juliet,  and  blush? 

JULIET.     Red  means  love. 

NURSE.     So  you  love? 

JULIET.  Why  should  I  not  love?  I  love,  but  I 
know  not  what. 

NURSE.  Something  must  torment  you,  for  you  now 
blush,  and  now  blench.  You  make  me  almost  afraid. 

JULIET.  Antoneta,  do  you  not  know  who  invented 
red  and  white?  If  1  wear  them  in  my  face,  there  is 
a  reason  for  it;  for  virtue  lives  in  me,  and  colour  is 
virtue's  own. 

NURSE.     Virtue?  and  what  virtue? 

JULIET.     The  virtue  of  the  mind. 

NURSE.     Are  you  a  soldier? 

JULIET.     Not  in  arms. 

NURSE.     In  what  then? 

JULIET.     Alas  I 

NURSE.     How  do  you  feel? 

JULIET.     Woe ! 

NURSE.     Are  you  suffering? 


319 


TRAGEDY  OF  ROMEO  AND  JULIET. 


320 


JULIETA.     Ach  nur  gahr  zu  viel, 
ANTON.     Wessentwegen  ? 
JULIETA.     Ich  weifs  es  nicht. 
ANTON.     Ich  auch  nicht. 
JULIETA.     Wafs  sagt  ihr? 

ANTON.  Nichts  alfs  das  mir  Ihr  Jammer  zu  Hert- 
zen  gehet. 

JULIETA.     Geduld. 

ANTON.  Ich  sehe  eine  veranderung  an  ihr,  darumb 
bitt  ich,  schone  Julieta,  sie  verhalte  mir  nicht  ihr  an- 
ligen,  kan  ich  ihr  helffen,  ich  will  nichts  vnterlassen 
ihr  zu  dienen. 

JULIETA.  Nichts  nichts  ist  mir,  was  soil  mir  sein, 
ich  habe  nur  geschlaffen,  obwohlen  mir  in  den  schlaff 
wunderliche  sachen  vorkommen,  so  sein  es  sachen  die 
nicht  wahr  konnen  werden,  vnd  begehr  es  auch  nicht, 
das  es  wahr  wehre. 

ANTON.     Warumb  dises? 

JULIETA.  Darumb  weil  mir  vorkommen  alfs  solte 
ich  einen  Mundiqueser  lieben,  welcher  meines  Herrn 
Vatter  argister  feindt,  derwegen  begehre  ich  nicht  dafs 
es  wahr  werde. 

ANTON.    Feindtschafft  kan  sich  in  freindschafft  ver- 
wandlen  wan  es  den  blinden  bogen  Schiitz  gefallig  wahre. 
JULIETA.    Schweige  vnd  rede  mir  nicht  von  solchen 
sachen  wo  du  meine  gnad  nicht  verliehren  wilst. 

ANTON.  Ach  wann  sie  nur  ein  mahl  kosten  soil 
die  1000  feldigen  frewden  die  ein  verliebtes  Hertz  ge- 
nfist  sie  wurde  sagen  die  Zeit  ist  vbel  verlohren  die 
man  nicht  auf  Liebe  wendt. 

JULIETA.  Wann  ich  dafs  thuen  werde,  so  werden 
die  wasser  zuriicklauffen,  die  wolff  vor  den  lammern 
fliehen,  die  Hundt  den  Haasen  weichen  vnd  der  Beer 
das  Meer,  vnd  der  Delphin  die  gebiirg  lieben,  die  Ein- 
sambkeit  ist  meine  Kurtzweil. 

ANTON.  Ach  vngesaltzene  Kurtzweil  vndt  wider- 
spenstige  tugendt  wie  sie  ietzundt  ist  so  wahr  ich  auch 
einmahl  aber  ich  legte  meine  Zeit  befser  an. 

JULIETA.  Es  scheinet  Antoneta  ihr  wollet  mich  mit 
Fleifs  zum  Zorn  reitzen,  darumb  schweiget  mir  von  der 
liebe,  die  nichts  bringt  alfs  stette  vnruehe  vndt  Schmert- 
zen.  [obit. 

ANTON.  Ja  Ja  ich  habe  sie  zornig  gemacht,  sie 
gehet  daruon,  o  ihr  arme  Magdlein  ihr  seit  wohl  Nar- 
risch,  das  ihr  die  liebe  veracht,  vnd  denkhet  nicht  ein- 
mahl auf  den  grofsen  Jahrmarkh  da  ihr  must  fleder- 
wisch  verkaufFen,  o  giitiger  Himmel  ich  habe  bald  kein 
Zahn  mehr  in  maul,  o  wie  wohl  wirts  mir  thuen  wan 
du  deinen  Seegen  liest  fiber  mich  kommen,  dafs  ich  bald 
einen  Mann  hette.  [abit. 


JULIET.     Alas!  only  too  much. 

NURSE.    What  for? 

JULIET.     I  do  not  know. 

NURSE.     Nor  I  either. 

JULIET.     What  do  you  say? 

NURSE.  Nothing  but  that  your  misery  grieves  me 
to  the  heart. 

JULIET.     Patience ! 

NURSE.  I  observe  a  change  in  you;  therefore  I 
pray,  fair  Juliet,  do  not  keep  back  from  me  anything 
that  concerns  you;  if  I  can  help  you  I  will  leave  nothing 
undone  to  serve  you. 

JULIET.  Nothing,  nothing  ails  me :  what  should  ail 
me?  I  have  slept,  that  is  all;  and  though  strange  things 
come  to  me  in  my  sleep,  yet  are  they  things  that  can- 
not come  true,  nor  do  I  desire  them  to  come  true. 

NURSE.     And  why  so? 

JULIET.  Because  it  seemed  to  me  as  if  I  was  to 
marry  a  Montague,  who  is  my  father's  worst  enemy: 
therefore  I  do  not  desire  it  to  come  true. 

NURSE.  Enmity  may  change  to  amity,  if  it  were 
the  blind  archer's  pleasure. 

JULIET.  Be  silent  and  do  not  talk  to  me  of  such 
things  under  pain  of  my  displeasure. 

NURSE.  Oh,  if  you  were  only  once  to  taste  the 
thousand  pleasures  enjoyed  by  a  heart  in  love,  you  would 
say:  the  time  is  ill  spent  that  is  not  spent  on  love. 

JULIET.  Ere  I  do  that,  the  waters  will  run  up  hill, 
the  wolf  fly  before  the  lambs,  the  dog  shun  the  hare, 
the  bear  love  the  sea  and  the  dolphin  the  mountains. 
Solitude  is  my  pastime. 

NURSE.  Ay,  saltless  pastime  and  reluctant  virtue! 
As  you  are  now,  so  have  I  been  once,  but  I  made  better 
use  of  my  time. 

JULIET.  It  seems,  Antoneta,  you  are  determined  to 
excite  my  wrath;  therefore  do  not  talk  of  love,  for  it 
brings  forth  nothing  but  perpetual  trouble  and  pain. 

[Exit. 

NURSE.  Forsooth  I  have  made  her  angry:  there 
she  goes.  Oh,  ye  poor  damsels,  ye  are  foolish  indeed  to 
despise  love  and  not  to  think  of  that  great  fair  where 
ye  will  have  to  sell  goosewing-dusters.  Oh  gracious 
heavens!  I  have  Ijardly  a  tooth  left  in  my  mouth;  what 
a  comfort  it  would  be  if  you  would  bestow  that  blessing 
on  me  to  let  me  soon  have  a  husband! 

[Exit. 


321 


TRAGEDY  OF  ROMEO  AND  JULIET. 


322 


SCENA  3TIA. 
PARIS.     CAPOLET. 

CAPOLET.  Herr  Graff  die  Ehr  so  sie  zu  vnseren 
Haufs  tragen  ist  grofs  zu  aestimiren,  darumb  bitt  ich 
noch  mahlen,  sie  wollen  ihnen  gefallen  lafsen  die 
Schlechte  tractament,  so  ihnen  zu  gefallen  bereithet 
nicht  verschmahen,  dan  was  in  Capolets  vermogen  ha- 
ben  sie  zu  beuehlen. 

PARIS.  Herr  Capolet  ich  bin  Niemahlen  gewohnet 
eine  solche  Ehr  zu  empfangen,  da  ich  dieselbe  nicht  mit 
Ehr  belohnen  solle,  darumb  schatze  ich  sein  Haufs 
preifswiirdig  mich  darinnen  zu  bewiirden. 

CAPOLET.  Mein  schlechte  wohnung  wird  preifswiir- 
dig durch  dero  gegenwarth. 

PARIS.     Herr  Capolet  ich  bitte. 

CAPOLET.     Sie  befehlen  Herr  Graff. 

PARIS.     Mich  zu  verschonen. 

CAPOLET.     Mit  was? 

PARIS.     Mit  solchen  Ehren  ceremonien. 

CAPOLET.  Sie  sein  es  aber  wiirdig  alle  Ehre  von 
meinen  Hause  zu  nehmen. 

PARIS.  So  wird  Graff  Paris  wiirdig  sein  alle  Ehre 
zu  ersetzen. 

CAPOLET.  Da  kompt  mein  Pickl  Ha'ring  zu  geleg- 
ner  Zeit.  Hore  Pickl  Ha'ring  merkhe  aber  wohl,  wafs 
ich  dir  sage. 

PICKL  HARING. 

PICKL.  Noch  habt  ihr  mir  nichts  gesagt,  das  ich 
merkhen  kan. 

CAPOLET.     Du  bist  ein  Narr. 

PICKL.     Es  kan  wohl  sein. 

CAPOLET.  Dises  was  du  verrichten  sollst  will  ich 
dir  sagen. 

PICKL.     Warumb  kans  kein  gescheider  verrichten? 

CAPOLET.  Weil  ich  haben  will  du  alfs  der  Narr 
soil  es  thuen,  weillen  die  anderen  bedienten  andere  ver- 
richtungen  haben. 

PICKL.  Mit  Euren  schnarchen,  ietzt  hab  ich  alles 
vergefsen,  wafs  ich  thuen  soil. 

CAPOLET.  Schelm  ich  habe  dir  ja  noch  nichts  be- 
uohlen  oder  gesagt. 

PICKL.  Ich  hab  vermeint  ihr  habt  schon  ausge- 
redt. 

CAPOLET.     Ich  vermeine  du  bist  lustig. 

PICKL.  A  so  nicht  gar  sehr,  es  thuets  wohl  aber, 
gegen  12  Vhr  werd  ich  lustiger  werden. 

CAPOLET.     Vnd  warumb  vmb  12  Vhr? 

PICKL.     Da  wird  der  Koch  anrichten. 

CAPOLET.     Du  halts  nur  viel  von  frefsen. 


SCENE  III. 
PARIS.     CAPULET. 

CAPULET.  My  Lord,  the  honour  you  do  our  house 
is  to  be  highly  estimated.  I  therefore  beg  once  more 
you  will  be  pleased  not  to  disdain  the  poor  treatment 
provided  for  you;  for  whatever  is  in  Capulet's  power  is 
at  your  command. 

PARIS.  Sir!  I  am  not  at  all  accustomed  to  receive 
such  honour,  as  I  am  not  able  to  return  it.  Therefore 
I  think  your  house  quite  worthy  to  receive  me. 

CAPULET.  My  poor  habitation  becomes  worthy  by 
your  presence. 

PARIS.     Sir!  1  beg  — 

CAPULET.     "What  is  your  command,  Count? 

PARIS.     To  forbear. 

CAPULET.     What? 

PARIS.  Treating  me  with  such  honour  and  ceremony. 

CAPULET.  But  you  are  worthy  to  receive  all  ho- 
nour from  my  house. 

PARIS.  Then  Count  Paris  will  be  worthy  to  repay 
all  honour. 

CAPULET.  There  comes  my  clown  in  the  very  nick 
of  time.  Hark,  clown,  and  mind  what  I  tell  you. 

Enter  CLOWN. 

CLOWN.  You  have  not  said  anything  that  I  could 
mind. 

CAPULET.     Thou  art  a  fool. 

CLOWN.     That  may  be. 

CAPULET.  I  am  going  to  tell  thee  what  thou  art 
to  do. 

CLOWN.  Why  can  it  not  be  done  by  some  one  in 
his  senses? 

CAPULET.  Because  it  is  my  pleasure  that  thou,  as 
fool,  shouldst  do  it;  because  the  other  servants  have 
something  else  to  do. 

CLOWN.  With  your  blustering  I  have  quite  for- 
gotten all  I  am  to  do. 

CAPULET.  Why,  I  have  not  yet  commanded  nor 
told  thee  anything,  thou  rogue! 

CLOWN.    I  fancied  you  had  already  done  talking. 

CAPULET.     I  fancy,  thou  art  merry. 
CLOWN.    Not  overmuch,  just  sufficient;  but  near  to 
twelve  o'clock  I  shall  be  merrier. 

CAPULET.     And  why  at  twelve  o'clock? 
CLOWN.     Then  the  cook  will  serve  up  the  dinner. 
CAPULET.     Thou  carest  only  for  feeding. 

21 


323 


TRAGEDY  OF  ROMEO  AND  JULIET. 


324 


PICKL.     Das  halt  Leib  vnd  Seel  zusammen. 

CAPOLET.  Hore  Picklharing  nimb  disen  Zetl,  vnd 
die  darinnen  aufgezeicb.net  sein  alfs  Herr  vnd  frawen, 
die  lade  ein  morgen  bey  mir  auf  ein  Panquet  zu  er- 
scheinen. 

PICKL.    Wissen  sie  schon,  dafs  sie  kommen  sollen? 

CAPOLET.     Nein  du  solt  sie  einladen. 

PICKL.  Wie  solt  ich  sie  einladen  in  Pistollen  oder 
in  ein  gezogenes  Rohr. 

CAPOLET.  In  ein  Efsels  Kopff  solst  du  laden  du 
vnuerstandiger  Schelm. 

PICKL.     Nun  man  darf  ja  fragen. 

CAPOLET.  Die  Zettl  wird  es  weisen  wer  da  kom- 
men soil. 

PICKL.  So  hat  der  Zettl  mehr  verstandt  alfs  ich, 
so  lafst  die  Zettl  hingehen  und  einladen. 

CAPOLET.     Ich  sage  du  solt  es  thuen. 

PICKL.     Vnd  ich  sag  die  Zettl  soil  es  thuen. 

CAPOLET.  Pickl  Haring  bring  mich  nicht  zum  Zorn, 
ich  lafse  dich  in  die  Kuchel  fiihren. 

PICKL.     Das  ware  guet  vor  mich. 

CAPOLET.     Warumb  ? 

PICKL.     Das  ich  etwas  zu  Essen  bekomb. 

CAPOLET.     Nein  gestrichen  solst  du  werden. 

PICKL.     Ich  bedankhe  mich  dauor. 

CAPOLET.  Gehe  vnd  verrichte  was  ich  dir  befoh- 
len,  oder  du  wirst  gestrafft  werden. 

PICKL.  Nu  Nu  wan  ichs  thuen  muefs,  so  thue  ichs 
gehrn,  iezt  bin  ich  Herr  Latein,  o  wo  werd  ich  die  Heu- 
ser  abfinden,  wo  sie  wohnen,  ich  will  gehen  vnd  ein 
wenig  Studiren,  wie  man  die  gast  anradt  wan  man  sie 
einladen  soil  —  alfs  Edl  Ehrnuester  Insonders  Hoch- 
geehrte  fraw  pfanne  Schmidin  vnd  so.  Ey  Ihr  lacht 
mich  nur  aufs  ich  wils  schon  machen.  [abit. 

PARIS.  In  warheit  Herr  Capolet  difs  ist  ein  lusti- 
ger  Mensch,  damit  man  die  Zeit  verkiirtzen  kann. 

CAPOLET.  Herr  Graff  so  einfeldig  er  ist  go  getrew 
ist  er,  ich  habe  ihn  von  Jugendt  an  aufferzogen,  vnd 
last  sich  brauchen  Recht  vnd  links. 

PARIS.  Dergleichen  habe  ich  nicht  gesehen,  wie 
wird  ers  aber  machen  die  rechte  eingeladene  gast  zu 
finden. 

CAPOLET.  So  guet  alfs  durch  einen  gescheiden  wird 
es  verrichtet  werden.  Herr  Graff  die  Zeit  verlaufft,  will 
ihme  belieben  etwas  in  den  garthen  zu  spatziren,  vnd 
sich  der  springenden  wasser  beliebt  zu  machen  vnd  an- 
dere  1000  annehmbligkeiten  zu  sehen. 

PARIS.  Mein  Herr  Capolet  ich  folge  ihm,  ein  gar- 
then  ist  ein  belustigung  des  gemuths, 

[beyde  ab. 


CLOWN.     Eating  keeps  soul  and  body  together. 

CAPULET.  Listen,  ^  clown;  take  this  paper  and  in- 
vite those  put  down  thereon,  gentlemen  and  ladies,  to 
appear  to-morrow  at  my  banquet. 

CLOWN.     Are  they  aware  that  they  are  to  come? 
CAPULET.     No,  thou  shalt  charge  them. 
CLOWN.    How  shall  I  charge  them?   In  a  pistol  or 
a  rifled  barrel? 

CAPULET.     Charge  an  ass-head,  thou  silly  rogue ! 

CLOWN.    Well,  I  suppose  one  may  ask  a  question. 
CAPULET.     The  paper  will  show  who  is  to  come. 

CLOWN.  Then  the  paper  is  cleverer  than  I  am; 
let  the  paper  go  and  invite  them. 

CAPULET.    I  say,  thou  shalt  do  it. 

CLOWN.     And  I  say,  the  paper  shall  do  it. 

CAPULET.  Clown,  don't  rouse  my  anger,  or  I  shall 
send  thee  to  the  kitchen. 

CLOWN.     That  would  be  a  nice  thing  for  me. 

CAPULET.    How  so? 

CLOWN.     As  I  should  get  some  victuals. 

CAPULET.     No,  thou  would'st  get  some  whipping. 

CLOWN.     No,  thank  you. 

CAPULET.  Go,  and  do  as  thou  art  ordered,  or  thou 
wilt  be  punished. 

CLOWN.  Well,  well,  if  it  cannot  be  helped,  I  will  do 
it  with  all  my  heart.  Now  I  am  Mr.  Invite;  how  shall 
I  find  out  the  houses  where  they  live?  •!  will  go  and 
study  a  little  how  to  address  guests  that  are  to  be  in- 
vited,—  as,  Noble,  worshipful  Sir;  Especially  respected 
Mrs.  Tinker,  and  so  forth.  You  laugh  at  me?  Never 
mind,  I  shall  manage.  [Exit. 

PARIS.  In  truth,  Sir !  a  jolly  fellow  that,  with  whom 
one  may  idle  away  the  time. 

CAPULET.  As  simple  as  faithful.  I  brought  him 
up;  he  makes  himself  useful  right  and  left. 

PARIS.  I  never  saw  his  like;  but  how  will  he  ma- 
nage to  find  out  the  right  persons  to  be  invited? 

CAPULET.  As  well  as  a  clever  man  would  do  it. 
My  Lord,  time  wears  on;  would  you  like  to  take  a  walk 
in  the  garden  and  enjoy  the  fountains  and  look  at  a 
thousand  other  pleasant  things? 

PARIS.  Sir  I  I  follow  you;  a  garden  is  a  refresh- 
ment for  the  mind. 

[Exeunt. 


325 


TRAGEDY  OF  ROMEO  AND  JULIET. 


326 


SCENA  4TA. 
ROMIO.    PENUOLIO. 

ROMIO.  Ach  verwundetes  Hertz  vnd  stets  brennen- 
der  Siinne  ich,  der  ich  vor  disem  alle  Adeliche  gemiieths 
ergotzung  geliebet  alfs  Reithen  Fechten  Tantzen  vnd 
was  Edl  ist,  aber  Ey  lafs.  Nun  trachte  ich  allein  meiner 
schonen  Rosalina  zu  gefallen,  in  dero  Diensten  zu  leben, 
durch  Amors  will  bin  ich  ein  liebsgefangener  worden, 
o  armseeliger  Romio  wohin  bringt  dich  dein  fata?  ob- 
wohl  nur  meine  Schmertzliche  anfechtung  mir  die  augen 
verdunklen  ihr  schone  zu  bedrachten,  dannoch  blickt  der 
glantz  ihres  angesichts  in  meinen  Hertzen  herfiir  wie 
die  Hell  glantzende  Sonn,  ihre  augen  sein  zwey  Hell 
glantzende  stern,  darin  die  fewrigen  Strahlen  verborgen, 
welche  mein  Hertz  verwundt,  ihr  athem  ist  viel  Siifser 
wohlriechender  alfs  Zephirus  oder  angenehme  windt  von 
westen,  wann  Er  hin  vnd  wider  durch  die  bletter  riih- 
rende  beume  wehet,  die  lieblichen  blumen  so  die  felder 
alfs  eine  tappzerey  bekleidet,  dises  ist  noch  nichts  in  ver- 
gleichung  der  erwiinschten  Siifsigkeit  ihres  Holdseeligen 
Munds,  ach  Rosalina  Rosalina! 

PENUOLIO.  Wie  ists  Romio,  ich  glaub  du  redest  in 
traum,  aber  schaw,  wafs  kompt  da  vor  ein  abentheuer. 

PICKL  HIRING  aufs. 

Gueten  morgen  oder  Mittag  ihr  Herrn,  Mein  ich 
bitte  sagt  kont  ihr  lesen? 

ROMIO.  Ja  wan  ich  die  buechstaben  kann  vnd  ver- 
stehe. 

PICKL.  O  Ho  Herr  buchstabenversteher ,  wan  ich 
die  buchstaben  konnt,  so  wolte  ich  sie  selber  wohl 
lesen. 

ROMIO.  Du  verstehst  mich  nit,  es  mochte  vielleicht 
eine  frembde  Sprach  sein  die  ich  nicht  verstunde,  lafs 
mich  die  Zettl  sehen,  so  will  ich  dir  bald  sagen,  ob  ich 
es  verstehe  oder  nicht. 

PICKL.  Ich  wolts  selber  wohl  lesen,  aber  buech- 
stabiren  kan  ich  nicht. 

ROMIO.  Ja  das  verstehe  ich  vnd  es  ist  zu  teutsch, 
lad  ein  die  fraw  Margarita  mit  ihrer  tochter  Mellina. 

PICKL.  Ja  ja  ich  kenne  sie  sehr  wohl,  die  Muetter 
ist  fast  schoner  alfs  die  tochter. 

ROMIA.     Lad  ein  Don  Horatio  den  Jiingeren. 

PICKL.  Den  kenn  ich,  er  gab  mir  gestern  eine 
guete  ohrfeigen  vnd  einen  dugaten  daruor. 

ROMIO.  So  ist  die  ohrfeigen  wohl  bezahlt  worden, 
weither  lad  ein  Don  Fortuniam  vnd  seinen  bruder  Flo- 
risell. 

PICKL.  Dafs  sein  zwey  rechte  Eifsenbeifser  die 
fangen  gleich  grachel  an. 


SCENE  IV. 

ROMEO.    BENVOLIO. 

ROMEO.  Alas!  wounded  in  the  heart  and  burning 
more  and  more,  now  am  I  immersed  in  thought,  who 
formerly  was  so  fond  of  every  noble  sport,  as  riding, 
fencing,  dancing,  and  everything  noble.  But  let  that 
pass.  Now  my  sole  endeavour  is  to  be  agreeable  to 
fair  Rosaline,  in  whose  service  to  live  I  am  by  Cupid's 
will  a  prisoner  of  love.  Oh  miserable  Romeo!  whither 
does  thy  fate  lead  thee  ?  Although  my  painful  affliction 
makes  my  eyes  dull  to  contemplate  her  beauty,  yet  the 
radiance  of  her  face  strikes  my  soul  like  the  resplendent 
sun.  Her  eyes  are  two  splendent  stars,  the  source  of 
those  fiery  rays  that  have  wounded  my  heart.  Her  breath 
is  much  sweeter  than  Zephirus,  or  the  pleasant  breezes 
from  the  "West,  sporting  through  trees  that  shake  their 
leaves.  The  charming  flowers  that  cover  the  fields  like 
some  tapestry,  are  not  to  be  compared  with  the  coveted 
sweetness  of  her  lovely  mouth.  Ah  Rosaline,  Rosa- 
line! 

BENVOLIO.  What  is  that,  Romeo?  I  suppose  you  are 
talking  in  a  dream.  But  look,  what  strange  thing  is  that 
coming  here? 

Enter  CLOWN. 

CLOWN.  Good  morning  or  midday,  gentlemen.  Pray, 
can  you  read? 

ROMEO.    Ay,  if  I  know  and  understand  the  letters. 

CLOWN.  O  ho,  Mr.  Letter-wise !  If  I  knew  the  let- 
ters I  would  read  them  myself. 

ROMEO.  Thou  dost  not  understand  me;  it  might  be 
a  foreign  tongue,  which  I  do  not  understand.  Let  me 
see  the  paper  and  I  will  soon  tell  you,  whether  I  under- 
stand it  or  not. 

CLOWN.    I  would  read  it  myself,  but  I  cannot  spell. 

ROMEO.  Yes,  I  understand  this,  and  it  is  in  German : 
'Invite  Mrs.  Margerita  with  her  daughter  Mellina.' 

CLOWN.  Ay,  I  know  them  well,  the  mother  is  al- 
most handsomer  than  the  daughter. 

ROMEO.     'Invite  Don  Horatio  the  younger.' 

CLOWN.  Him  I  know;  he  gave  me  a  sound  box  on 
the  ear  yesterday  and  a  ducat  for  it. 

ROMEO.  So  the  box  on  the  ear  is  well  paid  for. 
'Further,  invite  Don  Fortuniam  and  his  brother  Flori- 
sell.' 

CLOWN.  Two  regular  bullies,  —  they  are,  always 
ready  for  a  row. 

21* 


327 


TRAGEDY  OF  ROMEO  AND  JULIET. 


328 


ROMIO.  Lad  ein  Don  Lucentio  vnd  Amaranta  seine 
Bafs. 

PICKL.  Die  wohnen  in  der  Schuestergassen  gegen 
den  Meykeffer  fiber. 

ROMIO.  Lad  ein  die  Schone  Rosalina,  o  Honnig- 
siifser  Nahmb  dich  will  ich  kiissen  1000  rnahl. 

PICKL.  Dafs  ist  ein  Narr  er  kfist  das  papir,  wan 
er  das  Mensch  hett,  er  kundt  sie  kussen,  wo  ihr  ruck- 
grad  ein  Ende  hat. 

ROMIO.     Lad  ein  Madam  Fioleta  Catharina. 

PICKL.     Ist  recht,  die  wohnt  in  Sauwinkl. 

ROMIO.     Lad  ein  Madam  Flora. 

PICKL.  Hum  dafs  ist  ein  Mensch,  ist  wahr  sie  tragt 
allezeit  ein  flor  fiber  das  gesicht,  das  man  ihr  Nasen 
nicht  sieht,  dan  die  Naafs  steht  ihr  recht  mitts  in  dem 
gesicht. 

ROMIO.  Lad  ein  graff  Paris,  das  ist  ein  wackherer 
gaualier. 

PICKL.  Ja  aber  er  stinkt  zwischen  den  Zehen  wie 
bauern. 

ROMIO.  Aber  sage  mir  wo  wird  dise  Versamblung 
geschehen? 

PICKL.    In  Meines  Herrn  Haufs. 

ROMIO.    Wie  heist  dein  Herr? 

PICKL.    Mein  Herr  heifst  Capolet. 

ROMIO.  Wafs?  soil  meine  liebste  Rosalina  in  mei- 
nes  feindes  Haufs  kommen?  (zerreist  den  ZetiT)  difs  will 
ich  nicht  haben. 

PICKL.  O  Potz  schlapperment  was  macht  ihr?  mein 
ladein  Zetl  zerrifsen  vnd  Rosalina  ist  entzwey  gerissen  ? 
o  du  schelm. 

ROMIO.     Gehe  forth   oder  ich  brech  dir  den  Halfs. 

PICKL.  Ja  brich  du  mir  den  podex  o  du  bernheu- 
ter  du  du  Morder,  wie  viel  Herrn  vnd  frawen  hast  du 
entzwei  gerissen,  vnd  vmbs  leben  gebracht. 

ROMIO.  Wilt  du  gehen  oder  ich  will  dir  ffiefs 
machen. 

PICKL.  Vnd  wan  du  mir  gleich  6  ffiefs  woltest 
machen  so  darf  ich  nicht  mehr  heimb,  o  Potztausendt 
die  Rosalina  hat  recht  ein  ritz  in  der  mitten  bekommen, 
o  ich  armer  ladein  was  werde  ich  thuen. 

ROMIO.     Ich  sag  gehe. 

PICKL.     Ich  sag  be.  [abit. 

PENUOL.  Auf  disen  fest,  welches  Herr  Capolet  hal- 
ten  wird,  wird  deine  schone  Rosalina  auch  sein,  die  du 
so  sehr  liebest,  mein  ich  bitte  gehe  mit  mir  ich  will 
dir  daselbst  solche  gesichter  weisen,  die  deiner  Rosalina 
weith  vorgehen  vnd  ich  weifs  gewifs  dafs  die  Jenige  so 
du  vor  deinen  schwanen  gehalten,  soil  bey  anderer  ge- 
genwarth  alfs  eine  Kree  aufssehen. 


ROMEO.  'Invite  Don  Lucentio  and  his  cousin  Ama- 
ranta.' 

CLOWN.  They  live  in  Cobbler's  Lane,  opposite  the 
cock-chafer. 

ROMEO.  'Invite  fair  Rosaline.'  Oh  honey -sweet 
name!  Thee  do  I  kiss  a  thousand  times. 

CLOWN.  What  a  fool !  to  kiss  the  paper.  If  he  had 
got  the  wench  he  might  kiss  her  where  her  spine  ends. 

ROMEO.    'Invite  Madam  Fioleta  Catharina.' 

CLOWN.    All  right,  she  lives  in  Sow-alley. 

ROMEO.    'Invite  Madam  Flora.' 

CLOWN.  What  a  wench!  she  always  wears  a  gauze 
before  her  face  that  people  may  not  see  her  nose;  for 
her  nose  stands  right  in  the  middle  of  her  face. 

ROMEO.  'Invite  Count  Paris?'  And  a  gallant  ca- 
valier he  is. 

CLOWN.  True,  but  he  stinks  between  his  toes  like 
a  peasant. 

ROMEO.    But  tell  me,  where  is  this  assembly  to  be? 

CLOWN.    At  my  master's. 

ROMEO.    What  is  the  name  of  thy  master? 

CLOWN.    Capulet  is  his  name. 

ROMEO.  What!  is  my  dearest  Rosaline  to  go  to  the 
house  of  my  enemy?  (Tears  the  paper  up.)  I  won't 
have  that. 

CLOWN.  Odds  bobs!  what  are  you  doing?  tearing 
up  my  invitation  paper,  and  Rosaline  rent  asunder !  Oh 
you  rogue! 

ROMEO.    Get  along  with  thee,  or  I'll  break  thy  neck. 

CLOWN.  You  may  break  my  podex,  you  idle  fellow, 
you  murderer!  How  many  gentlemen  and  ladies  have 
you  torn  in  pieces  and  killed! 

ROMEO.  Wilt  thou  be  off?  or  I  will  find  thee 
legs. 

CLOWN.  And  if  you  would  find  me  six  legs  at 
once,  I  could  not  go  home.  Confound  your  eyes!  Ro- 
saline has  got  a  rent  right  in  the  middle.  Oh  poor 
messenger,  what  am  I  to  do? 

ROMEO.    I  say,  go! 

CLOWN.    I  say,  bo!  [Exit. 

BENVOLIO.  At  this  feast  of  Capulet's  thy  fair  Ro- 
saline too  will  appear,  whom  thou  lovest  so  much.  Pray, 
go  with  me,  I  will  there  show  thee  faces  far  superior 
to  Rosaline's,  and  am  quite  sure,  she  whom  thou  hast 
taken  for  thy  swan  will  look  a  crow  in  the  presence  of 
others. 


329 


TRAGEDY  OF  ROMEO  AND  JULIET. 


330 


ROMIO.  Du  redest  nach  deinem  Belieben,  aber 
meine  Rosalina  ist  allein  der  stern  meines  Hertzens, 
vnd  ihrer  schonheit  miissen  alle  weichen. 

PENUOL.  Sie  kompt  dir  nur  so  schon  vor  wan 
kein  schonere  darbey  ist.  Hore  Romio  komb  auf  die- 
sen  fest  will  ich  weisen  die  best. 

ROMIO.  Ich  will  dir  zwar  folgen  aber  du  wirst  mir 
hierinnen  wenig  helffen  konnen.  [beyde  ab. 

PICKL  HARING. 

PICKL.  Ich  habe  gleichwohl  so  viel  in  meinen  Poe- 
tischen  Kopff  gebracht,  dafs  ich  sie  alle  geladen  habe, 
aufsgenohmen  etzliche  haben  das  Zahnwehe  starkh  aber 
schadt  nicht  es  bleibt  nur  desto  mehr  frefsen  fiber,  ich 
will  schon  zerschroden  ich  habe  kein  Zahnwehe,  aber 
ich  versaume  nach  Haufs  zu  kommen  dan  es  wird  braff 
angehen,  an  frefsen  vnd  saufFen,  dan  bin  ich  gehrn  dar- 
bey, drumb  mufs  ich  lauffen. 


ACTUS  SECUNDUS: 

SCENA   PRIMA. 
ROMIO.    MERCUTIUS.    PENUOLIO. 

ROMIO.  Ihr  Herrn  habt  ihr  vernohmen  von  den 
grofsen  Panquet  defs  Capolet,  darauf  erscheindt  der 
beste  Adi  vnd  die  schonsten  Damen,  darunder  sich  auch 
die  schone  Rosalina  befindet,  difs  ist  der  Sporn  der  mich 
treibt  dahin  zu  kommen  meine  schone  zu  sehen,  die  da 
wird  glantzen  vnd  ein  vndterscheid  wird  machen  zwi- 
schen  alien  Damen  gleich  die  Sonn  gegen  den  Mon. 

MERCUT.  Ihr  Herrn  ich  achte  wenig  dafs  Frawen 
Zimmer,  meine  frewd  ist  schlagen  vnd  balgen,  ich  will 
mich  lieber  3  mahl  schlagen,  alfs  einmahl  einem  weibs 
bild  aufwarthen. 

ROMIO.  Ach  Mercutio  lege  doch  einmahl  ab  deine 
dolheit,  wo  ist  der,  der  durch  Kragel  reich  worden,  dar- 
umb  za'hme  dich,  verehre  das  Frauenzimmer,  so  wirst 
du  haben  Ehr  vnd  lob. 

PENUOL.  Ich  halt  es  mit  dein  Romio,  vnd  weil 
dafs  Panquet  so  stattlich,  so  will  vnnfs  gebuhren  einen 
Pallet  oder  Mascara  darauf  zu  praesentiren  vnd  dafs 
Frauenzimmer  damit  verehren. 

MERCUT.  Ich  lafs  mirs  entlich  gefallen,  aber  was 
wollen  wir  tantzen? 

PENUO.    Eine  Masquara  wie  es  breuchlich  ist. 

ROMIO.    Vnd  ich  will  verkleidter  die  fackl  tragen. 

MERC.  Wafs  fackl  du  muest  tantzen  deiner  Rosa- 
lina zu  gefallen. 


ROMEO.  You  may  talk  as  you  please,  but  my  Ro- 
saline is  the  only  star  of  my  heart,  and  all  must  give 
way  before  her  beauty. 

BENVOLIO.  She  appears  so  fair  to  thee  only  when 
there  is  none  fairer  present.  Go  to  that  feast,  Romeo, 
I  will  point  out  to  thee  the  best. 

ROMEO.  I  will  follow  thee,  yet  in  this  thou  wilt 
afford  me  little  help.  [Exeunt. 

He-enter  CLOWN. 

CLOWN.  All  the  same,  I  crammed  so  much  into  my 
poetical  head  that  I  was  able  to  invite  them  all,  except 
that  some  few  have  got  the  tooth-ache.  But  never  mind; 
so  much  the  more  victuals  will  come  down  —  I  will 
mounch  away,  and  have  no  tooth-ache.  However  I  ought 
to  be  on  my  way  home ;  they  will  take  bravely  to  eat- 
ing and  drinking  and  then  I  like  to  be  one  of  the  party; 
so  I  must  run. 


ACT  n. 

SCENE  I. 

ROMEO.  MERCUTIO.  BENVOLIO. 
ROMEO.  Gentlemen,  have  you  heard  of  the  great 
banquet  of  Capulet's  which  is  to  be  attended  by  the 
best  nobility  and  the  fairest  ladies,  fair  Rosaline  among 
them?  That  is  the  spur  that  urges  me  to  go  there  — 
to  see  my  fair  one,  who  will  outshine  all  the  other  la- 
dies as  the  sun  does  the  moon. 

MERCUTIO.  Gentlemen,  I  don't  care  much  for  wo- 
men, my  delight  is  fighting  and  scuffle.  I  would  rather 
have  three  fights  than  once  attend  upon  a  woman. 

ROMEO.  Nay,  Mercutio,  pray  at  last  lay  aside  your 
folly.  Who  ever  grew  rich  by  quarrelling?  Restrain 
yourself,  do  homage  to  woman,  and  you  will  earn  both 
honour  and  praise. 

BENVOLIO.  I  side  with  Romeo.  And  as  the  banquet 
is  so  magnificent,  it  will  behove  us  to  represent  there 
a  ballet  or  mascara  in  honour  of  the  ladies. 

MERCUTIO.  Well,  I  agree;  but  what  sort  of  dance 
shall  we  perform? 

BENVOLIO.     A  mascara,  as  the  custom  is. 

ROMEO.  And  I  will  disguise  myself  and  bear  the  torch. 

MERCUTIO.  What  torch  I  thou  must  dance  to  please 
thy  Rosaline. 


331 


TRAGEDY  OF  ROMEO  AND  JULIET. 


332 


ROMIO.     Ich  kan  nicht. 

MERCUT.    Warumb  ? 

ROMIO.  Mein  leib  vnd  fiiefs  sein  gantz  schwar- 
muthig. 

MERCUT.  So  entlehne  des  Cupido  fliigl  vnd  fliege, 
ich  schwore  wen  ich  verliebt  wiihre  vnd  hette  nur  ein 
fiies  so  wolte  ich  doch  hupfFen. 

PENUO.  Ey  Er  last  sich  schon  bereden  dem  Frawen 
Zimmer  zu  gefallen. 

ROMIO.  Ihr  Herrn  mich  taucht  wiir  thuen  iibel  das 
wiir  hingehen. 

PENUOL.    Warumb  das? 

ROMIO.  Ich  habe  heunt  einen  schwaren  traum  ge- 
habt. 

MERCUT.  Ich  glaub  fiirwahr  die  Maphas  oder  truth 
hat  dich  getruckt,  ich  habe  auch  einen  traum  gehabt. 

ROMIO.    Wafs  war  es  vor  ein  traum. 

MERCUT.  Mir  hat  getraumt,  dafs  alle  traum  erlo- 
gen  sein. 

PENUO.  Ihr  Herrn  was  wiir  thuen  wollen  dafs  thuen 
wir  bald,  vielleicht  seind  sie  schon  von  der  taffel  auf- 
gestanden,  so  kommen  wiir  zu  Spath,  ich  will  Euch 
folgen  aber  der  Himmel  gebe  dafs  kein  vnheil  daraufs 
entstehe.  [alle  ab. 


SCENA  2DA. 
CAPOLET,  TIBOLT,  PARIS,  alle  an  der  taffl. 

CAPPOLET.  Ihr  Herrn  mich  nimbt  wunder  dafs  vnfs 
Niemand  besuecht  bey  vnserer  Mahlzeit,  etwan  wie  ge- 
breuchlich  mit  einer  masquara,  da  ich  noch  jung  wahr, 
wahr  ich  nicht  zu  faul  wie  ietziger  Zeit  die  Jungen  ge- 
sellen,  es  dorffte  kein  Panquet  geschehen,  ich  funde 
mich  alle  Zeit  darbey  mit  einer  Mascara  oder  sonsten 
was  lustiges. 

FRAW.  Ja  ich  glaub  es  wohl  in  Eurer  Jugendt  seit 
ihr  ein  grosser  Maufshundt  gewesen,  aber  anietzo  miest 
ihr  es  wohl  lassen. 

TIBOLD.  Wie  lang  ist  es  wohl  Herr  Vatter  dafs 
Er  keine  Mascara  mehr  getantzt? 

CAPPOLET.  Dafs  kan  ich  mich  nicht  mehr  erindern 
wie  viel  Jahr  es  seyn. 

TIBOLD.  Es  ist  so  lang  nicht  das  mans  nicht  wis- 
sen  soil,  ich  gedenckhe  es  noch  wohl,  dafs  der  Herr 
Vatter  auf  der  Mabilia  ihrer  Hochzeit  gedanzt. 

CAPPOLET.  Es  kan  sein,  in  dem  alter  ist  bald  alles 
vergessen. 

TIBOLD.  Aber  so  mich  bedunkt  so  ist  schon  eine 
Mascara  vorhanden,  willkommen  Ihr  Herrn. 


ROMEO.     I  cannot. 

MERCUT.     Why  not? 

ROMEO.     My  body  and  feet  are  quite  melancholy. 

MERCUT.  Then  borrow  wings  from  Cupid  and  fly. 
I  swear,  if  I  were  in  love  and  had  but  one  foot,  I  should 
hop. 

BENVOL.  Aye,  he  gives  in,  and  is  ready  to  please 
the  ladies. 

ROMEO.  Gentlemen,  methinks,  we  do  wrong  to  go 
there. 

BENVOL.     How  so? 

ROMEO.     I  had  a  heavy  dream  last  night. 

MERCUT.  Really    I    suppose   Maphas    or    alp    has 

pressed  you.  I  too  had  a  dream. 

ROMEO.  What  was  yours? 
MERCUT.     I  dreamt  that  all  dreams  are  lies. 

BENVOL.  Gentlemen,  whatever  we  intend  to  do,  let 
it  be  done  soon.  Perhaps  they  have  risen  from  table  and 
then  we  shall  be  too  late.  I  will  follow  you,  but  heaven 
grant  that  no  mischief  come  of  it. 

[Exeunt. 


SCENE  II. 
CAPULET.     TIBALT.     PARIS.     All  at  table. 

CAPULET.  Gentlemen,  I  wonder  that  nobody  visits 
us  at  supper,  as  the  custom  is,  with  some  masquara. 
When  1  was  young,  I  was  not  so  lazy  as  our  young 
fellows  are  at  the  present  day.  There  was  no  banquet  I 
did  not  attend  with  some  mascara  or  other  frolic. 


LADY  (CAPULET).  I  readily  believe,  you  have  been 
a  mouse-hound  in  your  youth,  but  now  you  must  leave 
it  off. 

TIBALT.  How  long  is  it,  father,  you  have  not 
danced  a  mascara? 

CAPULET.     I  cannot  remember  how  many  years. 

TIBALT.  It  is  not  so  long  ago  that  one  should  not 
know  it.  I  well  remember  your  dancing  at  Mabilia's 
wedding. 

CAPULET.  That  may  be;  in  my  age  everything  is 
soon  forgotten. 

TIBALT.  But  it  appears  there  is  already  a  mascara. 
Welcome,  gentlemen! 


333 


TRAGEDY  OF  ROMEO  AND  JULIET. 


334 


SCENA  3T1A. 
ROMIO.     PENUOLIO. 

CAPPOLET.  Ihr  Herrn  sie  seind  freindlich  willkom- 
men  in  meiner  Behausung. 

PARIS.  Wiir  seind  ihnen  hochlich  verpflicht  vor 
disc  Ehr  so  sie  hierinnen  vnfs  beweisen. 

[wird  getanzt. 

ROMIO.  Schonste  Dam  die  Ehr  so  ich  gehabt  mit 
ihr  zu  tantzen  kan  weder  meine  Zung  oder  Hertz  be- 
zeichen,  ich  bitte  sie  vergonne  doch  einen  Schambhafften 
Pilgramb  dero  Handt  zu  kiissen. 

JULIETA.  Gueter  Pilgramb  ihr  entheiliget  Euch  nicht, 
dan  solche  bilder  wie  ich  haben  Hande  zum  fiihlen  vnd 
lippen  zum  kiissen. 

ROMIO.  Die  Kiinheit  entschuldiget  mich  dan  [Kufst 
sie]  vnd  nun  bin  ich  aller  meiner  Siinden  lofs. 

JULIET.   Wie?  so  hab  ich  Eure  Siinden  Empfangen? 

ROMIO.  Schonste  Dam,  wan  sie  es  nicht  behalten 
wil,  so  gebe  sie  mir  dieselbigen  wieder.  [Kiist  Sie 
wider.] 

AMMA.    Holla  was  ist  das,  die  fraw  Muetter  siehts. 

JULIETA.    Fahret  wohl  mein  Herr. 

ROMIO.  Fahre  wohl  du  Zierte  aller  Damen,  ach 
Romio  wie  bald  seind  dein  Sunn  vnd  gedanckhen  ver- 
endert  worden  [bist], 

AMMA.    Wafs  beliebt  den  Herrn? 

ROMIA.  Sagt  mir  was  ist  das  vor  eine  Damen  so 
mit  mir  gedanzet? 

AMMA.  Mein  Herr  der  sie  bekommen,  wird  an  gelt 
vnd  guet  keinen  mangel  leiden,  sie  ist  des  Herrn  Cap- 
polet  sein  eintzige  Tochter. 

ROMIO.  O  Himmel  wafs  hore  ich,  defs  Cappolets 
tochter,  wie  geschieht  mir,  muefs  vnd  solle  ich  nun  ein 
liebes  gefangener  sein  der  Jenigen  deren  Vatter  mein 
argister  todsfeind  ist,  in  wahrheit  sie  glantzet  vnter  an- 
dern  damen  herfiir  wie  ein  schoner  stern,  o  Rosalina 
du  bist  nur  der  blafse  Mondt  gegen  diser  glantzenden 
Sonnen. 

TIBOLD.  Was  hore  ich,  ist  das  nicht  der  verfluchte 
Hundt  Romio  mein  feind  vnd  darf  sich  vnterstehen  an- 
hero  zu  kommen,  dafs  ist  nicht  zu  leiden.  Holla  Jung 
mein  stofsdegen  her. 

CAPPOL.  Vetter  Tibold  wafs  ist  Euch,  warumb  rast 
ihr  so? 

TIBOLD.  Ha  solt  ich  das  leiden,  das  vnser  feind 
anhero  kommen  vnser  Panquet  zu  verspotten? 

CAPPOL.    Wer  ist  es  dan? 

TIBOLD.  Es  ist  mein  feind  der  Romio,  Holla  Jung 
mein  stofsdegen,  du  Hurn  Sohn  wo  bleibst  du  so  lang. 


SCENE  III. 
ROMEO.    BENVOLIO. 

CAPULET.  Gentlemen,  you  are  welcome  in  my 
house. 

PARIS.  We  are  deeply  indebted  to  you  for  the  ho- 
nour you  shew  us. 

[Dancing. 

ROMEO.  Fairest  lady,  neither  my  tongue  nor  my 
heart  can  appreciate  the  honour  I  have  had  of  dancing 
with  you.  Pray,  grant  a  blushing  pilgrim  your  hand  to 
kiss. 

JULIET.  Good  pilgrim,  you  do  not  profane  your- 
self; for  saints  like  me  have  hands  to  feel  and  lips  to 
kiss. 

ROMEO.  Then  boldness  excuses  me,  [kisses  her\  and 
now  all  my  sin  is  purged. 

JULIET.    Why?    Then  I  have  taken  your  sin? 

ROMEO.  Fairest  lady,  if  you  won't  keep  it,  give  it 
me  back  again.  [Kisses  her  again.] 

NURSE.  Hollahl  what  is  that?  your  lady  mother 
sees  it. 

JULIET.     Farewell,  sir! 

ROMEO.  Farewell,  thou  ornament  of  women!  Ah 
Romeo,  how  soon  have  your  feelings  and  thoughts 
changed!  [Aside.]  Whist! 

NURSE.    What  is  your  pleasure? 

ROMEO.  Tell  me,  who  is  that  lady  with  whom  I 
danced  just  now? 

NURSE.  Sir,  the  man  who  carries  her  off,  will  not 
want  for  money  and  goods.  She  is  my  lord  Capulet's 
only  daughter. 

ROMEO.  O  Heaven,  what  do  I  hear!  Capulet's 
daughter?  What  has  become  of  me!  Must  and  shall  I 
henceforth  be  love's  captive  to  her  whose  father  is  my 
most  bitter  and  most  deadly  foe?  In  truth  she  shines 
above  all  other  ladies  like  a  beautiful  star.  O  Rosaline ! 
thou  art  but  the  pale  moon  to  this  resplendent  sun! 

TIBALT.  What  do  I  hear!  Is  not  that  that  accursed 
dog  Romeo,  my  enemy?  And  does  he  dare  to  come 
here?  That  is  not  to  be  endured!  Fetch  me  my  ra- 
pier, boy! 

CAPULET.  What  is  the  matter  with  you,  cousin  Ti- 
balt?  Why  are  you  so  angry? 

TIBALT.  What,  should  I  suffer  our  enemy  to  come 
here  to  scorn  our  banquet? 

CAPULET.     Who  is  it? 

TIBALT.  It  is  my  enemy  Romeo.  Hollah  boy,  my 
rapier!  Thou  whore's  son,  what  makes  thee  so  slow? 


335 


TRAGEDY  OF  ROMEO  AND  JULIET. 


336 


CAPPOL.  "Wofern  es  Romio  ist,  so  ist  er  vnfs  will- 
kommen  vnd  wur  seind  ihm  hochlich  verpflicht  vor  die 
Ehr  so  er  vnfs  erweist,  darumb  seit  zufriden  vnd  ma- 
chet  kein  Molest. 

TIBOLD.    Ich  will  es  aber  nicht  haben. 

CAPPOL.  Wie  \volt  ihr  es  nicht  haben,  so  will  ich 
es  aber  haben,  wer  ist  Herr  im  Haufs  ich  oder  ihr? 

AMMA.  Ja  seit  ihr  Herr  im  Haufs  oder  ist  der  Herr 
Cappolet  Herr  im  Haufs? 

TIBOLD.  Gehe  du  alte  Hex  oder  ich  schlage  dich 
an  ein  Ohr. 

AMMA.  la  ia  alle  zeit  wolt  ihr  nur  die  weiber  schla- 
gen  aber  ihr  habt  nicht  einmal  das  Hertz  einen  Mann 
anzuriihren. 

CAPPOL.  Ich  sage  Vetter  Tibold  fangt  mir  nichts 
an  in  diser  gesellschafft  oder  da  stehet  die  thier  vor 
Euch  offen. 

TIBOLD.  O  himmel,  was  muefs  ich  horen,  ein  freindt 
soil  hinwekh  gehen  vnd  ein  feindt  hier  verbleiben,  wollan 
ich  gehe,  aber  Romio  meine  Rach  sey  dir  geschworen. 

[abit. 

CAPPOL.  Ich  bitte  ihr  Herrn  sie  lassen  sich  des 
Tibolds  raserey  nicht  verstoren  v  sondern  verbleiben  gehrn 
alhier. 

ROMIO.  Wiir  bedankhen  vns  fur  die  Ehre  so  wur 
genossen  die  Zeit  fordert  vnfs  wider  von  hier  zu  gehen. 

CAPPOL.    Ich  bitte  ihr  Herrn  sie  verbleiben. 

PENUOL.  Komb  forth  Romio  lafs  vnfs  gehen  vnser 
kurtzweil  ist  geendet. 

PARIS.  Wo  es  moglich  so  wollen  Sie  noch  ver- 
bleiben. 

ROMIO.  Wir  bedankhen  vnfs  aller  Ehre  vnd  neh- 
men  also  abschied.  [abeunt. 

CAPPOL.  In  wahrheit  Romio  ist  hofflich  discret  vnd 
jung,  es  ist  mir  leid  das  ich  sein  feind  mues  sein. 

PARIS.  Ich  habe  offtermahl  gewiinscht  dafs  das  Haus 
Cappolet  mit  Mundige  mochte  vereinbahret  werden,  habe 
auch  vernohmen,  dafs  sich  gar  die  Herrschafft  bemuhet 
difs  lebensstreit  beyzulegen. 

CAPPOL.  Es  ist  deme  also  Herr  Graff,  aber  Ihro 
fiirstl.  Gn.  haben  es  noch  nicht  proclamiren  lassen,  so 
stehet  die  feindschafft  noch  bis  dato.  Herr  Graff  er 
wolle  ihme  belieben  lassen  weil  die  Mahlzeit  vorbey  vnd 
alle  Yrlaub  nehmen  mit  mir  ins  Zimmer  zu  gehen,  ich 
habe  mehrers  mit  dero  selben  zu  reden. 

PARIS.  Ich  folge  Herr  Cappolet,  aber  schone  Ju- 
lieta  beliebt  ihr  mit  zu  kommen.  [abit. 

JULIETA.  Ich  bin  schuldig  Ihro  Gn.  auf  den  fues 
zu  folgen.  —  Amma  gehe  sehe  vnd  frage  wer  diser  ge- 
wesen  so  mit  mir  gedanzt. 


CAPULET.  If  it  be  Romeo,  he  is  welcome,  and  we 
are  deeply  indebted  to  him  for  the  honour  he  shews  us. 
Therefore  be  quiet,  and  do  not  make  any  disturbance. 

TIBALT.     But  I  won't  have  it. 

CAPULET.  Indeed!  You  won't  have  it?  But  I  will 
have  it;  who  is  master  of  the  house,  1  or  you? 

NURSE.  Aye,  are  you  master  of  the  house  or  is 
my  lord  Capulet  master  of  the  house? 

TIBALT.   Be  off,  old  witch,  or  I  shall  box  your  ears. 

NURSE.  Aye,  aye,  you  always  want  to  beat  the 
women,  but  you  have  not  the  heart  to  touch  a  man. 

CAPULET.  I  say,  cousin  Tibalt,  don't  make  any 
trouble  in  this  party  or  there  is  the  door. 

TIBALT.  0  heavens!  what  must  I  hear?  a  friend 
must  go  away  and  an  enemy  stay!  Well  then,  I  will 
go,  but  Romeo,  I  swear  you  vengeance.  [Exit. 

CAPULET.  Pray,  gentlemen,  do  not  mind  the  fury 
of  Tibalt,  but  stay  longer. 

ROMEO.  We  thank  you  for  the  honour  we  have  en- 
joyed; our  time  obliges  us  to  depart. 

CAPULET.    Pray,  gentlemen,  stay. 

BENVOL.  Come  Romeo,  let  us  go,  our  pastime  is 
over. 

PARIS.    Pray,  remain,  if  possible. 

ROMEO.  We  thank  you  for  all  the  honour  and  take 
our  leave.  [Exeunt. 

CAPULET.  In  truth,  Romeo  is  polite,  discreet,  and 
young;  I  am  sorry  I  must  be  his  enemy. 

PARIS.  I  have  often  wished,  the  house  of  Capulet 
might  become  reconciled  with  that  of  Montague,  and  hear 
that  even  the  Prince  endeavours  to  lay  this  deadly 
strife. 

CAPULET.  So  it  is,  Count  Paris,  but  His  Grace  has 
not  yet  issued  the  proclamation.  Therefore  the  feud 
stands  to  this  hour.  As  supper  is  over,  and  all  the 
guests  taking  leave,  may  it  please  you  to  go  with  me 
to  my  cabinet;  I  have  various  things  to  discuss  with 
you. 

PARIS.  1  follow,  my  lord ;  but,  fair  Juliet,  be  pleased 
to  go  with  us.  [Exit. 

JULIET.  I  am  bound  to  follow  your  Grace  instantly. 
—  Nurse  dear,  go  and  enquire  who  the  gentleman  was 
who  danced  with  me. 


337 


TRAGEDY  OF  UOMEO  AND  JULIET. 


338 


I 


AMMA.  Ich  glaub  fiirwahr  Julieta  ist  schon  verliebt, 
aber  ich  will  gleichwohl  ihren  Befehl  verrichten. 

PENUOL.  Ich  habe  mich  verirrt  in  disem  Haus, 
saget  mir  wo  geht  man  hinaufs? 

AMMA.  Mein  Herr  verzeihe  mir,  das  ich  frage,  was 
wahr  das  vor  einer  in  den  rothen  Kleid? 

PENUOL.    Sein  Nahmb  heifst  Romio. 

AMMA.  Ist  es  der  Junge  Romio?  ich  bedankhe  mich 
mein  Herr,  dafs  er  es  mir  gesagt. 

PENUOL.  Habt  ihr  auch  noch  etwas  mehrers  zu 
fragen  ? 

AMMA.     Nein  mein  Herr. 

PENUOL.     Und  ich  in  der  Wahrheit  auch  nicht. 

[abit. 

AMMA.    Vnd  ich  auch  nicht. 

JULIETA.  Amma  sage  bald,  wer  wahr  er,  vnd  wie 
ist  sein  Nahmb. 

AMMA.    Schone  Julieta,  es  wahr  der  Junge  Romio. 

JULIETA.    Wie  der  Junge  Romio? 

AMMA.    Ja  der  Junge  Romio. 

JULIETA.  O  ein  honig  siifser  Nahmb,  aber  es  ist 
ein  vergiiffter  stachel  darin  verborgen,  ach  Romio  du 
hast  mein  Hertz  verwund.  [abit. 

SCENA  4TA. 
ROMIO  allein.    Hernach  PENUOLIO,  MERCUTIUS. 

ROMIO.  Ach  Siifser  liebesgott,  wie  veranderst  du 
die  Hertzen  deiner  leib  Eigenen,  ich  liebte  Rosalina, 
vnd  nun  bin  ich  ein  liebes  gefangener  worden  der  iiber- 
irrdischen  Julieta,  ich  weifs  mir  nicht  zu  helffen  in  di- 
sen  Irrgarthen,  aber  stille  Romio,  da  kompt  Mercutius 
vnd  Penuolio,  ich  will  mich  verbergen  vnd  ihr  gesell- 
schafft  fliehen.  [abit. 

PENUOL.     Romio,  Vetter  Romio. 

MERCUT.    Wir  fohlen  den  weeg,  da  ist  er  nicht  her. 

PENUOL.  Nein  er  ging  disen  weeg.  Rueff  ihn  doch 
Mercutio. 

MERCUT.  Wohl  ich  will  ihn  rueffen,  Romio,  liebes- 
gefangener,  erscheine  vor  vnnfs  alhier,  ich  beschwore  dich 
bey  Rosalina  augen,  bey  ihren  schonen  wangen,  bey 
ihren  corallinen  leffzen,  bey  ihren  Alabasternen  Ha'nden, 
gerathen  leib,  schonen  brusten,  armen,  bein,  vnd  alles  was 
oben  vnd  vnten  an  ihr  ist,  dafs  du  alhier  erscheinest. 

PENUOL.  Wofern  er  dich  horet,  er  wird  zornig 
werden. 

MERCUT.  Warumb  soil  er  zornig  werden,  ich  sage 
ja  nichts  das  wider  seine  Rosalina  oder  ihn  sein  kan. 

PENUOL.    Komb  lafs   vnfs  gehen,   er  begehrt  kein 


NURSE.  Forsooth  I  believe  Juliet  is  already  in  love ; 
but  I  will  do  her  bidding  all  the  same. 

BENVOLIO.  I  have  lost  myself  in  this  house :  can  you 
tell  me  the  way  out? 

NURSE.  Pardon,  Sir,  my  question;  who  was  the 
gentleman  in  the  red  dress? 

BENVOLIO.    His  name  is  Romeo. 

NURSE.  Young  Romeo?  I  thank  you,  Sir,  for  tell- 
ing me. 

BENVOLIO.    Have  you  anything  more  to  ask? 


NURSE.     No,  Sir. 
BENVOLIO.     Nor  I  indeed. 


Nor  I. 

Tell  me  quick,  who  he 


Exit. 


what  is 


NURSE. 

JULIET. 
his  name?   , 

NURSE.   Fair  Juliet,  it  was  young  Romeo. 

JULIET.    What,  the  young  Romeo? 

NURSE.     Yes,  the  young  Romeo. 

JULIET.  Oh  a  honey-sweet  name !  but  therein  lurks 
a  poisoned  sting.  Ah  Romeo,  you  have  wounded  my 
heart.  [Exit. 

SCENE  IV. 
ROMEO  alone.    Then  BENVOLIO,  MERCUTIO. 

ROMEO.  Ah,  sweet  Cupid,  how  dost  thou  change  the 
hearts  of  thy  lieges!  I  did  love  Rosaline  and  now  I 
have  become  the  love-prisoner  of  the  heavenly  Juliet.  I 
know  not  where  to  turn  in  this  maze.  But  silence,  Ro- 
meo, there  Mercutio  and  Benvolio  are  coming;  I  will 
hide  myself  and  fly  their  company. 

[Exit. 

BENVOLIO.    Romeo,  cousin  Romeo! 

MERCUTIO.  We  have  come  the  wrong  way;  he  is  not 
here. 

BENVOLIO.  No,  he  went  this  way;  call  him,  Mer- 
cutio. 

MERCUTIO.  Well,  I  will  call  him.  Romeo,  captive 
of  love,  appear  before  us  here !  I  conjure  you  by  Ro- 
saline's eyes,  by  her  fair  cheeks,  by  her  coral  lips,  her 
alabaster  hands,  her  lithe  body,  her  beautiful  bosom, 
arms,  legs,  and  every  part  of  her  above  and  below  — ' 
appear ! 

BENVOLIO.    If  he  hear  you,  you  will  vex  him. 

MERCUTIO.  Why  should  I?  I  say  nothing  against 
his  Rosaline  or  himself. 

BENVOLIO.     Come,  let  us  go.     He  does  not  desire 

22 


339 


TRAGEDY  OF  ROMEO  AND  JULIET. 


340 


andere  gesellschafft,  alfs  die  dunkle  nacht,  die  lieb  ist 
blind,  darumb  halt  sie  am  meisten  von  der  funster- 
nufs. 

MERCUT.  Ich  muefs  ihm  noch  einmal  ruefFen,  Romio! 
er  ligt  gewifs  vnter  einen  baumb,  vnd  wintschet,  das 
die  friichte  Rosalina  wahren  vnd  ihme  in  sein  schofs 
fallen,  o  wie  anmuethig  ware  es  ihm. 

PENUOL.  Ey  komb,  es  ist  vergeblich  den  Jenigen 
zu  suechen,  welcher  nicht  will  gefunden  werden. 

[abit. 

SCENA  5TA. 

ROMIO  mit  einem  Jung  vnd  lautten. 
ROMIO.  O  angenehme  gelegenheit,  die  sicherheit  zeigt 
mir  den  weeg,  weil  der  frid  geschlossen  zwischen  mei- 
nen  Herrn  Vatter  vnd  den  Capolet,  so  weiset  mich  die 
Hebe  zu  der  himmlischen  schonheit  der  Julieta,  deren 
ich  mich  schon  langsten  verpflichtet  habe,  o  Julieta  die 
du  mem  Hertz  gefangen  haltest,  wan  du  sehen  kontest 
wie  dein  gottlicher  blickh  ein  fewer  in  meinem  Hertzen 
entziindet,  du  wurdest  mit  etlichen  thranen  der  Ehr- 
barmmung  begiefsen,  du  kanst  meiner  Marter  nicht  ge- 
wahr  werden,  weil  du  nicht  weift,  das  ich  dich  liebe, 
ich  weifs  deine  vortreffliche  schonheit,  auch  weifs  ich 
dafs  ich  liebe  aber  nicht  geliebt  werde,  so  seze  keinen 
fues  mehr  weither  Romio,  vnd  fafs  ein  Hertz,  o  liebe 
ich  rueffe  dich  an  stehe  mir  bey,  an  disem  orth  ist  nicht 
weith  ihr  Schlafgemach,  darumb  Jung  komb  her  vnd 
singe  dafs  gemachte  lied. 

Lied. 

1. 
Ach  willkommen  schonste  blumb,   aufenthalt  so  vieller 

gaben, 
Deine   tugendt  mufs   den  Ruhm   vor   alien  schonen  ha- 

ben, 

Julieta  liecht  der  Zeit,  keine  Sonn  ist  dir  zu  gleichen, 
Deiner  Zier  vnd  trefflichkeit  miessen  alle  Damen  wei- 

chen. 
2. 
Ach  Julieta   dein    verstand   welcher   himmlisch    ist  zu 

schetzen, 
Gib  mir  nur  ein  liebespfandt,   dafs  mich  Ewig  kan  er- 

getzen. 

Julieta  du  mein  Herzt,  Julieta  mein  behagen, 
Stille   meiner   Seelen  Schmertz   den  ich  ietzt  so  starkh 

mus  tragen. 

ROMIO.  Aber  nun  o  ihr  meine  augen,  schauet  an 
den  orth  wo  cure  Sonnen  verborgen,  o  nacht  ziehe  vor 
die  schwartze  Gardin  vnd  durch  eine  dunkle  wolkhe 


any  other  company  but  the  dark  night.     Love  is  blind, 
therefore  he  takes  most  to  darkness. 

MERCUTIO.  I  must  call  him  once  more.  Romeo! 
I  am  sure  he  is  lying  under  some  tree,  and  wishing  that 
the  fruits  were  Rosaline  and  would  fall  into  his  lap.  How 
very  agreeable  he  would  think  that. 

BENVOHO.  Come  then;  it  is  in  vain  to  seek  a  man, 
that  does  not  mean  to  be  found. 

[Exeunt. 

SCENE  V. 

ROMEO.  A  Page  with  a  lute. 
ROMEO.  Oh  welcome  opportunity!  safety  points  to 
the  way.  Since  peace  is  concluded  between  my  father 
and  Capulet,  love  directs  me  to  the  heavenly  beauty  of 
Juliet,  to  whom  I  have  long  devoted  myself.  Oh  Juliet, 
thou  who  hast  taken  my  heart  captive,  if  thou  couldst  see 
how  thy  divine  glance  kindles  a  fire  in  my  breast,  thou 
wouldst  quench  it  by  some  tears  of  pity.  Yet  thou  canst 
not  be  aware  of  my  torment,  because  thou  dost  not  know 
that  I  love  thee.  I  know  thy  surpassing  beauty,  I  know 
too  that  I  love  but  am  not  loved.  Move  not  then  from 
here,  Romeo,  and  take  heart.  Love!  I  invoke  thee, 
assist  me!  Not  far  from  this  spot  is  her  chamber. 
Come  here  then,  boy,  and  sing  the  song  I  made. 


Song. 

1. 
Welcome   to   thee  fairest  flower,   of  so   many  gifts  the 

dwelling, 

Fame  is  thine,   by  virtue's  power   over  all  the  fair  ex- 
celling. 

Juliet,  the  light  of  days,  there's  no  sun  to  equal  thee, 
To  thy  beauty  and  thy  praise,  all  must  yield  the  victory. 


Ah  my  Juliet  thy  mind  is  indeed   a  heavenly  treasure, 
Canst   thou  no   love-token    find   to   aiford    me  endless 

pleasure. 

Ah  my  Juliet,  thou  my  heart,  Juliet  my  consolation, 
Still  my  soul's  devouring  smart  which  now  I  bear  with- 
out cessation. 


ROMEO.  But  now,  ye  eyes  of  mine,  gaze  at  that 
spot  where  my  sun  is  hidden.  Oh  Night,  draw  the  black 
curtain,  and  by  a  dark  cloud  prevent  me  from  being 


341 


TRAGEDY  OF  ROMEO  AND  JULIET. 


342 


lhalte  zuruck  dafs  erkhennen  meiner  persohn,  ich  sehe 
lliecht,  darumb  will  ich  wafs  naher  hinzuetretten ,  vnd 
fsehen  ob  ich  Etwas  vernehmen  kan. 

JULIETA.   Holla  was  soil  discs  bedeuten,  ein  Music 

vor  meinen  Kammerfenster  ?    wer  soil  sich  wohl  vnter- 

i  stehen   bey   nachtlicher  weil    mir   vnruhe   zu   machen  ? 

imein  schlaff  ist  vnterbrochen,   die  gedankhen   sein  ver- 

wiirt,   die  Natur  verha'ngnus    vnd  liebes  brunst  sturmen 

,  alle    drey    liber    mich   zu    samben ,    vnd   suechen   mein 

verderben,  die  natur  vnd  lieb  halten  einen  streitt  in  mir, 

doch  will   die   liebe   Meister   sein,    die  natur   aber  will, 

dafs  ohne  ihre  gaben  kein  ding  moglich  ist  zu  vollbrin- 

gen,  wan  die  Krafft  der  natur  nicht  wa'hre,  wafs  wolte 

doch  die  liebe  thuen,  o  Romio  warumb  heist  du  Romio, 

i  mein  traum   ist  aufsgelegt,   du  bist  der  Mundigeser  den 

ich  in  schlaff  gesehen,  ach  Romio  verendere  den  gehes- 

sigen  Namen,    die  verhangnufs   stiirtzet  mich,   die   liebe 

reget  sich,  die  natur  treibet  mich,  o  Romio  wann  ich  an 

dich  gedenkhe,  vor  frewd  ich  dir  mein  liebe  schenkhe. 

ROMIO.    Das  stumme  wordt  der  augen  thuet  seine 

meinung.    Ach  konte  meine  schonste  dises  aufs  meinem 

igesicht  sehen,  mein  Hertz  wurde  noch  so  frohlich  sein, 

die  Hoffnung  wird  mich  blofs  erhalten,  weil  ich  verlie- 

bet  bin. 

JULIETA.  Wie  ?  wafs  seit  ihr  vor  eine  bersohn,  vnd 
wie  ist  euer  Nahmb?  das  ihr  euch  vnterstehet  bey 
Schlaffender  Zeit  vnter  mein  fenster  zu  kommen? 

ROMIO.  Mein  Nahmb  ist  (o  ihr  Gotter  soil  ich  mich 
offenbahren,  es  seyn  Ja.)  mein  Nahmb,  schonste  Julieta, 
ist  zwar  ein  feindseliger  Nahmb  vnd  heist  Romio,  aber 
o  schone,  sie  verendre  denselben  nach  ihren  belieben, 
wan  nur  mein  Hertz  stehts  zu  dero  Diensten  sein  kan. 

JULIET.  "Wafs  Romio!  o  Himmel  wie  geschiecht  mir, 
ist  Romio  vorhanden  vnd  hat  mein  Klagen  gehort?  o 
liebe,  liebe,  zu  was  bringst  du  mich,  Romio  Romio,  seit 
ihr  noch  vorhanden  vnd  habt  meine  Reden  gehort? 

ROMIO.    Etwas  schonste  Julieta. 

JULIETA.    Ach  Romio. 

ROMIO.    Wafs  seuffzet  sie  meine  schone? 

JULIETA.    Habt  ihr 

ROMIO.    Wafs  gebieth  sie? 

JULIETA.    Mein  Clagen  vernohmen? 

ROMIO.    Nicht  alles. 

JULIETA.  Ach  Romio  ich  wolte,  das  ihr  nicht  wuste, 
das  ich  euch  liebe. 

ROMIO.  Worumb  schonste  Julieta,  veracht  sie  dan 
meine  getrewe  liebe,  schonste  Julieta,  womit  soil  ich 
dann  genugsamb  meine  getrewe  liebe  vnd  das  Inner- 
liche  brennende  fewer  meines  Hertzens  bezeugen,  oder 

O          ' 

will  sie  nicht  wissen  dafs  ich  sie  liebe?  wollan  so  sterbe 


recognised.     I  see  a  light;  I  will  draw  nearer,  and  try 
if  I  can  hear  anything. 

JULIET.  Hollah!  What  does  this  mean?  Music 
under  my  window?  Who  should  dare  to  disturb  me  at 
night-time  ?  My  sleep  is  broken,  my  thoughts  disturbed. 
Nature,  fate,  and  love's  fire  are  violently  rushing  upon 
me,  and  compassing  my  ruin.  Nature  and  love  fight 
within  me,  yet  love  will  conquer.  But  nature  will 
that  without  her  gifts  nothing  can  ever  be  accomplished. 
If  the  power  of  nature  were  not,  what  could  love  do? 
Oh  Romeo!  wherefore  is  thy  name  Romeo?  My  dream 
is  interpreted,  thou  art  the  Montague  whom  I  saw  in 
my  sleep.  Ah,  Romeo!  change  that  loathsome  name! 
Fate  strikes  me  down;  love  moves  within  me;  nature 
urges  me  on!  Oh,  Romeo!  when  I  think  of  thee,  I 
give  thee  joyfully  my  love! 


ROMEO.  The  dumb  word  of  the  eyes  discourses. 
Ah,  could  my  fair  one  read  this  in  my  face,  my  heart 
would  be  far  more  joyous.  Hope  alone  will  keep  me  up, 
because  I  am  in  love. 

JULIET.  Why?  who  are  you,  what  is  your  name, 
that  you  dare  come  under  my  window  at  this  hour  of 
sleep? 

ROMEO.  My  name  is  (aside:  Ye  gods,  shall  I  dis- 
close myself?  Well,  be  it  so !)  my  name,  fair  Juliet,  is  a 
hostile  name,  is  Romeo ;  but,  Oh  fair  one,  change  it  as 
you  like,  provided  my  heart  may  be  in  your  service. 

JULIET.  What?  Romeo?  Oh  Heavens!  what  hath 
befallen  me?  Is  Romeo  present  and  has  heard  my  wail? 
Oh,  love,  love!  what  dost  thou  bring  me  to?  Romeo, 
Romeo!  are  you  still  there,  and  did  you  hear  my  words? 

ROMEO.    Some  of  them,  fairest  Juliet. 

JULIET.    Ah,  Romeo! 

ROMEO.    Why  do  you  sigh,  my  fair  one? 

JULIET.    Have  you  — 

ROMEO.    What  is  your  behest? 

JULIET.    Have  you  heard  my  wailing? 

ROMEO.    Not  all. 

JULIET.  Ah,  Romeo!  I  wish  you  did  not  know  I 
love  you. 

ROMEO.  Why,  fairest  Juliet,  do  you  despise  my  true 
love?  How  shall  I  prove  sufficiently  my  true  love  and 
the  inward  burning  fire  of  my  heart?  Or  do  you  not 
choose  to  know  that  I  love  you?  Well,  let  me  die, 
and  let  my  tomb  be  a  monument  of  your  virtue.  But 

22* 


343 


TRAGEDY  OF  ROMEO  AND  JULIET. 


344 


ich,  vnd  mein  grab  soil  sein  ein  Denkhmahl  ihrer  tu- 
gendt,  aber  Ey  lafs,  mein  Hertz  ist  viel  zu  wenig  auf 
dem  Altar  einer  so  tibertrofflichen  schonheit  aufgeopffert 
zu  werden,  ach  schonste  Julieta,  acht  sie  mich  dan  nicht 
wiirdig  ihrer  liebe  in  deme  sie  dafs  selbe  wider  zuruckh 
wintschet  was  sie  mir  versprochen? 

JULIET.  Werthester  Romio,  ich  wintsche  sie  darumb 
wider  zuruckh,  auf  das  ich  sie  noch  einmahl  wider- 
schenkhen  mochte. 

ROMIO.  Schonste  gebietherin,  so  lafset  vns  dan  eine 
Verbindnufs  vnserer  getrewen  liebe  anietzo  aufrichten, 
dan  ich  schwore  alhier  bey  dem  hellglanzenden  Mond. 

JULIET.  Ach  schworet  nicht  bey  den  wankelmueti- 
gen  vnd  vnbestandigen  Mond. 

ROMIO.    Ach  bey  wemb  solt  ich  den  schworen? 

JULIETA.    Schworet  lieber  gahr  nicht. 
AMMA. 

AMMA.    Julieta,  die  fraw  Muetter  ruefft. 

JULIETA.  Ich  komme.  Ach  Romio  macht  euch  von 
hier,  der  orth  ist  gefahrlich,  wofern  euch  meines  Vatters 
Diener  alhier  solten  gewahr  werden,  dorfften  sie  euch 
das  leben  nehmen. 

AMMA.   Dafs  euch  Sanct  Velten  hoi,   so  geht  forth. 

JULIET.    Ich  komm,  ich  komm,  fahret  wohl  Romio. 

ROMIO.  Fahret  wohl  scheme  Julieta,  es  ist  mir  un- 
moglich  von  disen  orth  zu  gehen,  mich  daucht  ich  mochte 
die  gantze  nacht  alhier  verbleiben. 

JULIETA.  Romio  Romio,  ach  Himmel  er  ist  schon 
forth. 

ROMIO.  Nein  schonste  gebietherin,  euer  getrewe- 
ster  Diener  ist  noch  hier  vnd  erwarthet  dero  selben  be- 
fehl,  welchen  er  in  aller  Vnterthanigkeit  aufszurichten 
willens  ist. 

AMMA.  Julieta  Julieta,  wie  wirds  werden,  habt  ihr 
nicht  gehort  das  die  fraw  Muetter  ruefft? 

JULIETA.  Amma  noch  ein  kleine  geduld,  ich  komme 
gleich.  Edler  Romio,  ich  habe  euch  etwas  offenbahren 
wollen,  aber  es  ist  mir  aus  den  Sunn  entfallen. 

ROMIO.  Ach  schonste  Julieta,  ich  bitte  sie  befriedige 
mein  Hertz  mit  einer  glickseligen  Versprechung  ihrer 
gegenlieb. 

AMMA.  Ey  so  blaudert  das  vnd  keins  mehr,  heist 
das  der  fraw  Muetter  gehorsambt?  warth  ihr  werds 
kriegen. 

JULIETA.  Nun  ich  komme  ja  gleich.  Nehmet  bin 
Romio  dises  von  mir,  vnd  morgen  vmb  9  Vhr  will  ich 
euch  meine  meinung  wissen  lassen. 

AMMA.  Potz  tausendt  Schlaper  most  seit  ihr  noch 
da?  Ey  was  denkt  ihr?  ist  dafs  nicht  ein  schand,  dafs 
man  das  Mensch  nicht  heimb  kan  bringen,  so  gehts 


no!  My  heart  is  far  too  mean  to  be  sacrificed  on  the 
altar  of  so  surpassing  a  beauty.  Ah,  fairest  Juliet,  do 
you  not  think  me  worthy  of  your  love,  that  you  would 
take  back  what  you  have  promised  me? 


JULIET.  Dearest  Romeo!  1  wished  it  back  that  I 
might  give  it  you  again. 

ROMEO.  Fair  lady!  let  us  set  up  a  contract  of  our 
true  love  here.  For  here  I  swear  by  yonder  splendent 
moon  — 

JULIET.  Oh  swear  not  by  the  fickle  inconstant  moon ! 

ROMEO.    What  shall  I  swear  by? 

JULIET.    Do  not  swear  at  all. 
Enter  NURSE. 

NURSE.    Juliet!    Your  mother  calls. 

JULIET.  Anon,  good  nurse!  Oh  Romeo,  go,  the 
place  is  dangerous.  If  my  father's  servants  were  to 
find  you  here,  they  might  take  your  life. 

NURSE.    Zounds!  take  yourself  off! 
JULIET.    Coming,  coming!    Farewell,  Romeo! 
ROMEO.     Farewell,  fair  Juliet!    I  cannot  leave  this 
place;  methinks  I  would  rather  tarry  here  all  night. 

JULIET.   Romeo,  Romeo !  Oh  Heavens,  he  is  already 


ROMEO.  No,  fair  lady,  your  most  faithful  servant  is 
still  here  and  awaits  your  commands,  which  he  is  ready 
to  carry  out  in  due  submission. 

NURSE.  Juliet,  Juliet!  How  will  this  end!  Did  you 
not  hear  your  mother  call? 

JULIET.  Nurse,  have  a  little  patience !  I  am  coming 
directly.  Noble  Romeo,  I  was  going  to  reveal  something 
to  you  but  it  has  escaped  me. 

ROMEO.  Ah,  fair  Juliet,  pray  satisfy  my  heart  with 
a  blessed  promise  of  your  love. 

NURSE.  Oh  dear,  there's  no  one  for  chattering  like 
her!  Do  you  call  that  obeying  your  mother?  You  will 
catch  it. 

JULIET.  Well,  I  arn  coming  directly.  Take  this, 
Romeo,  from  me,  and  to-morrow  at  nine  o'clock  I  will 
let  you  know  my  mind. 

NURSE.  Confound  you!  are  you  still  there?  What 
can  you  be  thinking  of?  Is  it  not  a  shame,  one  cannot 
bring  that  wench  home !  That  is  the  way  with  the  young 


345 


TRAGEDY  OF  ROMEO  AND  JULIET. 


346 


mit  den  jungen  Dirnel,  wan  man  ihnen  zuelafst  ein  fin- 
ger, so  wollen  sie  die  gantze  Handt  haben.  Nun  geht 
oder  ich  sags. 

JULIETA.    Nun  ich  komme  ja,   lebet  wohl  Romio. 

ROMIO.    Ynd  sie  auch  schonste  Julieta. 

JULIETA.    Ach  Romio.  [obit. 

ROMIO.  Ach  Julieta.  —  Nun  gibe  dich  zufriden  Ro- 
mio, die  weillen  du  gegenliebe  verspiihrest  von  der  vn- 
vergleichlichen  Julieta,  ich  will  mich  wider  nacher  Haufs 
verfugen,  dan  ich  sehe  dafs  Aurora  ihr  langes  ligen  bey 
dem  alien  Titon  uberdriissig,  vnd  Phebus  fangt  an  al- 
gemach  herfiir  zu  brechen  vnd  seine  errothete  wangen 
aufszubreitten. 

PATER. 

PATER.  Gueten  Morgen  Herr  Romio,  wie  so  fruhe 
aus  dem  Schlaff,  doch  ein  Verliebter  hat  wenig  ruhe 
wan  er  stehts  an  seine  geliebte  Rosalina  gedenkt.  Wafs 
macht  die  guete  Rosalina? 

ROMIO.  Geehrter  Herr  Pater,  sie  wissen  wie  wun- 
derbahrlich  sich  der  Mensch  vnd  deren  gedankhen  ver- 
andern,  so  ists  mir  armen  Romio  auch  geschehen. 

PATER.    Wie  da,  wie  da  Herr  Romio? 

ROMIO.  Rosalina  ist  langsten  aufs  meinen  Sunn  vnd 
gedankhen,  also  dafs  ich  wenig  mehr  an  sie  gedenkhe. 

PATER.  Solches  gefalt  mir  sehr  wohl  Herr  Romio, 
das  er  einmahl  befrewet  worden  von  dem  liebes  Joch. 

ROMIO.  Frey  Herr  Pater,  o  nein,  ich  habe  mein 
Hertz  einer  andern  geben  vnd  die  selbige  mich  auch  mit 
gegenliebe  belohnet. 

PATER.  O  Himmel  kan  es  wohl  moglich  sein,  das 
ein  Mensch  so  wankelmiietig  vnd  tibel  bestandig  in  der 
liebe  sein  kan,  aber  sagt  mir  Herr  Romio,  was  ist  das 
vor  eine  die  er  liebt? 

ROMIO.  Es  ist  die  schone  Julieta,  des  Capolets  ei- 
nige  Tochter. 

PATER.  Solches  hore  ich  nicht  gehrn,  vnd  wie  ist 
es  moglich  seines  feindts  tochter  zu  lieben,  doch  viel- 
leicht  will  der  Himmel  dardurch  einen  frieden  beyden 
Hausern  geben,  welches  mich  von  Hertzen  erfrewen 
soil,  aber  ich  halte  mich  zu  lang  auf,  Herr  Romio  ich 
wintsche  demselben  glickh  vnd  wohlergehens,  hat  er 
meinen  geistlichen  Rath  von  nothen  so  weifs  er  schon 
mein  Zelt.  [abit. 

ROMIO.  Der  Himmel  begleite  ihn  Herr  Pater.  Nun 
ist  es  Zeit  mich  auch  von  hier  zu  begeben,  vnd  dises 
guten  geistlichen  Rathes  werde  ich  wohl  von  nothen  ha- 
ben in  alien  meinen  vorgenohmenen  werkhen. 

[abit. 


girls;   if  you  give  them  a  finger,   they  want  the  whole 
hand.    Now  do  you  go  in,  or  I  tell  your  mama. 

JULIET.    Well,  I  am  coming.    Good  bye,  Romeo. 

ROMEO.    Good  bye  to  you,  fair  Juliet! 

JULIET.    Ah,  Romeo!  [Exit. 

ROMEO.  Ah,  Juliet !  —  Now  thou  mayst  be  satisfied, 
Romeo,  since  thou  art  aware  that  thy  love  is  returned  by 
the  incomparable  Juliet.  I  will  return  home  again,  for 
I  observe  that  Aurora  is  tired  of  lying  with  old  Titon, 
and  Phoebus  is  beginning  to  break  forth,  and  display 
his  ruddy  cheeks. 

Enter  FRIAR. 

FRIAR.  Good  morning,  Romeo !  What,  up  so  early  ? 
True,  a  lover  has  little  rest,  when  he  is  always  thinking 
of  his  beloved  Rosaline.  How  is  the  good  Rosaline? 

ROMEO.  Honoured  father!  You  know  how  strangely 
man  and  his  thought  change.  The  same  has  happened 
to  me,  poor  Romeo. 

FRIAR.    How  so,  how  so,  Romeo? 

ROMEO.  Rosaline  has  long  gone  out  of  my  mind 
and  memory;  I  little  think  of  her. 

FRIAR.  I  am  much  pleased  to  hear,  sir,  that  you  at 
last  are  freed  from  the  yoke  of  love. 

ROMEO.  Freed,  father?  Oh,  no;  I  have  given  my 
love  to  another  lady,  and  she  rewards  me  by  return- 
ing it. 

FRIAR.  Oh  Heavens!  is  it  possible,  that  a  man 
should  be  so  fickle  and  inconstant  in  love !  But  tell  me, 
sir,  who  is  it  whom  you  are  in  love  with? 


ROMEO.    It  is  the  fair  Juliet,  Capulet's  only  daugh- 


ter. 


FRIAR.  I  don't  like  that  at  all:  how  is  it  possible 
to  love  the  daughter  of  one's  enemy!  But  may  be  that 
God  in  this  way  means  to  give  peace  to  the  two  houses, 
which  would  gladden  my  heart.  But  I  am  tarrying  too 
long,  Sir,  I  wish  you  luck  and  prosperity.  If  you  need 
my  spiritual  advice,  you  know  my  cell. 

[Exit. 

ROMEO.  Heavens  be  with  you,  father.  It  is  time 
for  me  also  to  leave  this  place;  I  am  likely  to  need 
this  good  father's  advice  in  all  my  enterprises. 

[Exit. 


347 


TRAGEDY  OF  ROMEO  AND  JULIET. 


348 


ACTUS  TERTIUS. 

SCENA  PRIMA. 

FRAW  mit  AMMA. 

FRAW.    Amma! 

AMMA.    Wafs  beliebt  ihr  gnadige  Frau? 

FRAW.  Sagt  mir  wo  ist  vnser  tochter  Julieta?  be- 
findt  sie  sich  noch  wohl  bey  ihrer  gesundtheit? 

AMMA.  Sie  ist,  gnadigste  Fraw,  bey  gueter  gesundt- 
heit, vnd  thuet  nichts  alfs  biiecher  lesen. 

FRAW.  Es  ist  guet,  aber  sagt  vnnfs  Amma  soil  sie 
nicht  schon  alt  genug  sein  einen  Mann  zu  nehmen? 

AMMA.  Ist  mir  recht  gnadige  Fraw,  so  ist  sie  schon 
in  den  16ten  Jahr,  dan  ich  weifs  mich  noch  wohl  zu 
entsinnen  wie  lang  ich  ihr  gewarthet  hab. 

FRAW.  Noch  nicht  gahr  16  Jahr?  Amma  rueffet 
sie  zu  mir,  ich  hab  mit  ihr  zu  reden. 

AMMA.  Alsobald  gnadige  Fraw  will  ich  rueffen,  Ju- 
lieta sufses  turtelteublein,  furwahr  ich  mag  sie  wohl  so 
nennen,  dan  sie  ist  so  fromb  vnd  angenehmb  alfs  ein 
turtelteublein.  Julieta  kompt  herfiir,  die  Frau  Muetter 
ruefft  euch. 

SCENA  2DA. 

JULIETA. 

JULIETA.  Geliebte  Fraw  Muetter,  in  gehorsamb  er- 
schein  ich,  was  hat  sie  mit  mir  alfs  dero  gehorsamben 
tochter  zu  befehlen? 

FRAW.  Liebes  Kind  Julieta,  du  hast  einen  sorg- 
feltigen  Vatter. 

JULIETA.    Warumb  das  Frau  Muetter? 

FRAW.  Darumb  dafs  dein  Vatter  sorgfeltig  ist  ge- 
wefsen  in  auferziehung  deiner  Jugendt,  so  will  er  auch 
sorgfeldig  sein  in  wachstumb  deiner  Jahren  vor  dich 
sorg  zu  tragen,  vnd  weil  du  mannbahr,  hat  er  dir  einen 
wackhern  gaualier  aufserkoren,  den  du  heyrathen  solst. 

JULIETA.  Wie  Fraw  Muetter,  meine  Jahr  sein  noch 
zu  wenig  mich  in  eine  wiirthschafFt  zu  schickhen,  vnd 
einen  Mann  zu  nehmen. 

FRAW.  Du  wirst  deines  Vatters  gebott  nicht  ver- 
werffen,  sondern  wafs  er  von  dir  haben  will  in  obbacht 
nehmen,  da  ist  kein  entschuldigung  gultig  deinem  Vat- 
tern  zu  widerstreben ,  er  tragt  sorg  fur  dich  vnd  dir 
einen  dapfferen  gaualier  aufserkoren,  nemblich  den  Graff 
Paris,  darumb  sage  mir  deine  Meinung. 

JULIETA.  Wie  Fraw  Muetter?  ich  lebe  in  der  gehor- 
samb, vnd  bitte  mich  mit  heyrathen  nicht  zu  zwingen. 

MUETTER.  So  lebst  du  mir  vnd  deinen  Vatter  zu 
wider. 


ACT  III. 

SCENE  I. 

LADY  CAPULET  with  NURSE. 

LADY.    Nurse ! 

NURSE.    What  is  your  ladyship's  pleasure? 

LADY.  Tell  me,  where  is  my  daughter  Juliet?  is 
she  still  in  good  health? 

NURSE.  She  is  in  good  health,  my  lady;  and  does 
nothing  but  read  books. 

LADY.  That  is  well.  But  tell  me,  nurse,  don't  you 
think  her  old  enough  to  take  a  husband? 

NURSE.  If  I  am  not  mistaken,  my  lady,  she  is  al- 
ready turned  fifteen;  for  I  remember  well  how  long  I 
have  waited  on  her. 

LADY.  Not  quite  sixteen?  Nurse,  call  her,  I  have 
something  to  talk  over  with  her. 

NURSE.  I  will  call  her  at  once,  my  lady;  —  Juliet, 
you  sweet  little  dove!  —  Forsooth  I  may  call  her  that, 
for  she  is  as  good-tempered  and  as  gentle  as  a  turtle.  — 
Juliet,  come!  your  mother  wants  you. 


SCENE  II. 

JULIET. 

JULIET.  Dear  mother,  in  duty  I  appear  before  you : 
what  commands  have  you  for  your  obedient  daughter? 

LADY.  Juliet,  my  dear  child,  thou  hast  a  careful 
father. 

JULIET.    Why  mention  that,  dear  mother? 

LADY.  Because  thy  father,  careful  as  he  has  been 
in  bringing  thee  up,  will  be  equally  so  in  providing 
for  thee  according  to  thy  age;  and  as  thou  art  mar- 
riageable he  has  chosen  for  thee  a  gallant  cavalier  whom 
thou  art  to  marry. 

JULIET.  Why,  mother,  my  years  are  still  too  few 
to  fit  me  for  the  conduct  of  a  household  and  the  mar- 
ried state. 

LADY.  Thou  wilt  not  reject  the  command  of  thy 
father,  but  observe  what  he  requires  of  thee.  There  is 
no  excuse  for  opposing  a  father.  He  cares  for  thy  wel- 
fare, and  has  selected  a  gallant  cavalier,  Count  Paris. 
Now  tell  me  thy  mind. 

JULIET.  Why,  mother,  I  live  in  obedience,  but  pray 
do  not  force  me  to  marry. 

LADY.  Then  thou  livest  in  opposition  to  me  and 
to  thy  father. 


349 


TRAGEDY  OF  ROMEO  AND  JULIET. 


350 


JULIET.  Fraw  Muetter  nein,  ich  bin  geboren  zu 
gehorsamben  aber  mit  heyrathen  zu  uerschonen. 

MUETTER.  Wie  tochter  Julieta?  du  solst  dich  glick- 
selig  schatzen  einen  solchen  gaualier  wie  Graff  Paris 
ist  zu  bekommen. 

JULIETA.  Liebste  Fraw  Muetter,  verschonet  meiner 
Jugendt  vnd  schlaget  solche  gedanckhen  aufs  den  Sunn, 
dann  der  gehorsamb  meiner  Eltern  zu  folgen,  achte  ich 
mehr  alfs  eine  Princessin  zu  sein. 

MUETTER.  Julieta  du  bist  halfsstarrig,  deiner  Siin- 
nen  verruckt,  aber  stille,  da  kompt  dein  Herr  Vatter, 
siehe  zue  wie  er  deine  worter  annehmen  wird.  \_Abit. 

SCENE  3TIA. 

CAPOLET. 

CAPOL.  Wie  ists  liebes  Kind  Julieta?  Hast  du  die 
meinung  deiner  Fraw  Muetter  verstanden? 

JULIE.  Ja  gn.  Herr  vnd  Vatter,  ich  habe  es  wohl 
verstanden,  aber  ich  bitte  in  der  Jugendt  meiner  Jahren 
mich  zu  uerschonen  einen  Mann  zu  nehmen,  dan  mir 
gebiihren  will  noch  meinen  Eltern  zu  gehorsamben. 

CAPUL.  Julieta,  mir  ist  wissendt  dein  gehorsamb 
von  Jugendt  auf,  darumb  ich  dir  nicht  iibel  rathen,  son- 
dern  wohl  versorgen  will. 

JULIE.  Herr  Vatter,  die  Meriten  des  Graff  Paris 
seind  nicht  verwerfflich,  aber  ich  bitte  mit  heyrathen 
mich  zu  uerschonen. 

CAPOL.  Wie,  widerspenstige  tochter,  wilst  du  auch 
anfangen  ein  vngehorsambes  Kind  zu  werden? 

JULIET.  Ach  nein  gn.  Herr  vnd  Vatter  der  gehor- 
samb ist  mein  glickh,  die  Ehre  mein  Keuchthumb,  wan 
es  ja  nach  meiner  Eltern  willen  gehen  soil,  so  bitte  ich 
vmb  bedenckh  Zeit,  damit  solches  mit  wohl  bedachtem 
mueth  vnd  reiffen  verstandt  geschehen  moge. 

CAPUL.  Wollan  dan,  liebe  tochter  Julieta,  bedenckhe 
dich  vndt  erfrewe  deinen  Vatter  mit  einem  frolichen 
Ja,  den  Graff  Paris  zu  haben.  [abit. 

SCENA  4TA. 

AMMA. 

JULIET.  Fahret  wohl  Herr  Vatter,  ich  will  wafs 
einer  gehorsamben  tochter  gebiihren  will,  verrichten. 
Aber  Ey,  lafs  armseelige  Julieta,  wafs  wirstu  anfangen 
in  dem  du  dein  Hertz  schon  den  Romio  gegeben.  Ach 
Romio  komb  vnd  erledige  deine  armselige  Julieta  von 
den  Zwang  diser  Heyrath,  aber  Amma  ich  habe  dir  eine 
sach  zu  offenbahren  wofern  du  mir  getrew  vnd  ver- 
'schwigen  sein  wilst. 

AMMA.    Schonste  Julieta  habe   ich  nicht  mehr  ver- 


JULIET.  No,  mother,  I  am  born  to  be  obedient  but 
also  to  be  excused  marrying. 

LADY.  Why,  my  daughter,  thou  shouldst  consider 
thyself  fortunate  to  get  a  cavalier  like  Count  Paris. 

JULIET.  Dearest  mother,  have  pity  on  my  youth,  and 
give  up  all  such  thoughts;  for  I  think  it  more  to  be 
obedient  to  my  parents  than  to  be  a  princess. 

LADY.  Juliet,  thou  art  obstinate,  thy  mind  is  per- 
verted. But  silence!  there  comes  thy  father.  Now  you 
will  see  how  he  will  take  thy  words.  [Exit, 

SCENE  III. 

CAPULET. 

CAPULET.  Well,  my  dear  Juliet?  Hast  thou  under- 
stood the  opinion  of  thy  lady  mother? 

JULIET.  Yes,  my  gracious  lord  and  father,  I  have 
quite  understood  it,  but  pray  for  the  sake  of  my  youth 
that  you  will  excuse  me  from  taking  a  husband,  for  it 
is  more  fitting  that  I  should  still  remain  under  the  au- 
thority of  my  parents. 

CAPULET.  Juliet,  I  well  know  thy  obedience  from 
childhood;  therefore  I  will  not  advise  thee  ill,  but  well 
provide  for  thee. 

JULIET.  My  lord  and  father,  the  merits  of  Count 
Paris  are  unexceptionable;  but  I  pray  you  to  excuse  me 
from  marrying. 

CAPULET.  Why,  thou  headstrong  girl,  wilt  thou  also 
turn  a  disobedient  child? 

JULIET.  Oh  no,  my  gracious  lord  and  father,  obe- 
dience is  my  happiness,  chasteness  my  fortune.  If  the 
will  of  my  parents  is  to  be  carried  out,  I  pray  for  respite 
that  the  thing  may  be  done  with  consideration  and  mature 
judgment. 

CAPULET.  Well,  my  dear  daughter,  reflect  upon  it, 
and  cheer  thy  father  with  a  cheerful  assent  to  take  Count 
Paris.  [Exit. 

SCENE  IV. 

JULIET.    NURSE. 

JULIET.  Farewell,  father!  I  will  perform  what  be- 
hoves a  dutiful  daughter.  But,  alas,  wretched  Juliet! 
what  art  thou  to  do,  now  that  thou  hast  already  given 
thy  heart  to  Romeo?  Ah,  Romeo,  come  and  deliver  thy 
poor  Juliet  from  the  constraint  of  this  marriage.  —  Look 
here,  nurse,  I  have  something  to  reveal  to  you,  provided 
you  will  be  faithful  to  me  and  secret. 

NURSE.   Fair  Juliet,  do  I  not  enjoy  more  confidence 


351 


TRAGEDY  OF  ROMEO  AND  JULIET. 


352 


trawen  bey  ihr  alfs  dises  ?  offenbahret  mir  was  ihr  wolt, 
es  wird  bey  mir  sicher  verschwigen  bleiben,  alfs  ob  ihr 
es  einen  stein  vertrawet. 

JULIE.  So  wisse  dan,  seid  der  Zeit  ich  mit  Romio 
gedanzt,  ist  mein  Hertz  also  in  liebe  gegen  ibm  ver- 
strickhet,  dafs  wofern  ich  nicht  heylsambe  mittel  finden 
werde,  so  ist  es  vmb  mich  geschehen,  darumb  sage  mir 
Amma,  wilst  du  mir  etwas  zu  gefallen  thuen, 

AMMA.  Wie  Julieta?  was  gedenkt  ihr?  Romio  ist 
ja  euer  Erztfeindt,  darumb  wahre  mein  rath  ihr  verlafst 
ihn,  vnd  verheyrathet  euch  mit  Graff  Paris. 

JULIE.  Hinweckh  mit  deinen  Rath,  gedenkhe  nicht 
mehr  daran,  dan  ich  schwore,  wofern  ich  nicht  Romio 
fur  einen  Mann  bekomme,  so  ist  es  schon  geschehen, 
vnd  ich  will  mein  vnglickh  so  ich  anietzo  fiihle  noch 
arger  machen  alfs  es  ist. 

AMMA.  Wollan  Julieta,  weil  ich  den  ernst  bey  ihr 
verspiire,  so  will  ich  alles  verrichten,  wafs  sie  mir  be- 
fehlen  wird. 

JULIE.  So  gehe  alsobald  zu  Romio,  vnd  vermelde 
ihm,  dafs  er  sich  vnfehlbar  wan  er  sich  meinen  Ehe- 
man  nennen  wil  vmb  9  Vhr  in  defs  Paters  Zelt  befinde, 
alda  ich  mich  mit  ihm  will  vermahlen  oder  trauen  lassen, 
verricht  es  wol,  sey  verschwigen,  eine  guete  belohnung 
wirst  du  zu  gewarthen  haben.  [abit. 

AMMA.  Geliebte  Julieta,  ich  bedankhe  mich  ihrer 
Zuneigung,  ich  gehe  vnd  verrichte  wafs  sie  mir  befohlen 
hat.  [abit. 

SCENA  5TA. 

MERCUTIUS.     PENUOLIO. 

MERCU.  Es  nimbt  mich  grofs  wunder  dafs  Romio 
nicht  anzutreffen  sey,  sage  mir  Penuolio,  ist  er  zu  Haufs 
zu  finden? 

PENUO.  Nein  zu  Haufs  ist  er  nicht,  ich  habe  mit 
seinen  Diener  geredt,  der  weifs  eben  so  viel  von  ihm 
alfs  ich  vnd  du. 

MERCU.  Wo  zum  Krankheit  muefs  er  sich  dan  ver- 
stekht  haben? 

PENUO.  Tipold,  des  Capolets  Vetter,  hat  Romio 
einen  Brief  geschrieben  vnd  denselbigen  in  seines  Vat- 
ters  Haufs  geschickht. 

MERCU.  So  ist  gewifs  ein  duell  oder  aufsforderungs- 
brieff. 

PENUO.  Du  hast  es  errathen,  und  Romio  will  ihn 
beandtwortten. 

MERCU.  Das  glaub  ich  wohl,  ein  Jeder  der  schrei- 
ben  kan,  kan  auch  einen  brieff  beandtwortten. 

PENUO.  Nein,  Romio  will  ihn  beandtwortten  mit 
den  Degen  in  der  Faust. 


with  you?  Reveal  to  me  whatever  it  may  be:  it  shall 
remain  as  secret  with  me  as  if  you  had  confided  it  to 
a  stone. 

JULIET.  Know  ye  then,  that  since  the  day  I  danced 
with  Romeo  my  heart  is  entangled  in  love  to  him  and 
that  I  am  undone  unless  some  remedy  be  found.  There- 
fore tell  me,  nurse,  will  you  do  something  to  oblige  me  ? 

NURSE.  Why  Juliet!  What  are  you  thinking  about? 
Romeo  is  your  enemy;  therefore  my  advice  is  you  leave 
him  and  marry  Count  Paris. 

JULIET.  Away  with  your  advice!  don't  think  of  it: 
for  I  swear,  unless  I  get  Romeo  for  my  husband  I  am 
undone,  and  will  make  my  present  misery  still  worse 
than  it  is. 

NURSE.  Well,  Juliet!  since  I  see  you  are  in  ear- 
nest, I  will  perform  whatever  you  command  me  to  do. 

JULIET.  Then  go  at  once  to  Romeo,  and  tell  him, 
that. if  he  wants  to  call  himself  my  husband  he  should 
be  at  the  father's  cell  to-morrow  at  nine  o'clock,  where 
I  will  be  married  to  him.  Do  your  errand  well,  be  secret, 
and  you  may  expect  a  good  reward.  [Exit. 

NURSE.  Dear  Juliet,  I  am  sensible  of  your  affection, 
I  will  go  and  do  what  you  have  ordered. 

[Exit. 

SCENE  V. 

MERCUTIO.    BENVOLIO. 

MERCUT.  I  am  much  surprised,  that  I  cannot  find 
Romeo.  Tell  me,  Benvolio,  is  he  to  be  met  with  at  his 
own  house? 

BENVOL.  No,  he  is  not  at  home,  I  have  spoken  to 
his  servant,  and  he  knows  as  much  of  him  as  I  and 
you  do. 

MERCUT.    Where  the  deuce  can  he  be  hiding? 

BENVOL.  Tibalt,  Capulet's  cousin,  has  written  him 
a  letter,  and  sent  it  to  his  father's  house. 

MERCUT.    It  is  a  duel  to  be  sure  or  a  challenge. 

BENVOL.  You  are  right,  and  Romeo  is  going  to 
answer  it. 

MERCUT.  Very  likely;  a  man  who  can  write,  can 
also  answer  a  letter. 

BENVOL.  No,  Romeo  intends  to  answer  sword  in 
hand. 


353 


TRAGEDY  OF  ROMEO  AND  JULIET. 


354 


MERCU.  Ach  armer  Romio  du  bist  schon  halbtodt, 
dan  er  ist  geschossen  mit  einem  pfeil  von  einen  blinden 
Knaben,  vnd  wie  soil  er  bestehen  mit  den  Tipold  zu 
fechten. 

PENUO.    Vnd  wafs  ist  dan  Tipold? 

MERCU.    Nichts  mehr  als  ein  Katzen  Konig  der 

PENUO.    Wafs  der? 

MERCU.    Der  viel  prallens  aber  wenig  Hertz  hat. 

PENUO.  Das  ist  wahr,  aber  stille  da  kombt  Romio. 
ROMIO. 

MERCU.  Warth  ich  will  ihm  einen  grues  auf  fran- 
zesiscb  bringen,  Monsieur  Monsieur  Romio,  das  ist  fran- 
zesisch,  Romio,  vor  den  gestrigen  SchimpiF  den  du  vnfs 
gegeben. 

ROMIO.  Ihr  Herrn  verzeiht  es  mir,  ich  weifs  nichts 
darumb. 

MERCU.  Ja  Ja  du  hast  recht  sagen  deine  gedankhen 
sein  nur  an  Rosalina,  ich  weifs  es  gahr  zu  wohl. 

ROMIO.  Ja  Ja  glaub  es  nur,  ich  verstehe  dein  Schertz 
auch  gahr  zu  wohl. 

SCENA  6TA. 

AMMA. 

MERCU.  Wafs  zum  Henkher  kompt  da  vor  eine 
Hex? 

AMMA.  Ich  gehe  lauff  vnd  renn,  vnd  sueche  den 
Herrn  Romio,  kan  ihm  aber  nicht  antreffen,  aber  hier 
stehen  wakhere  Herren,  die  will  ich  fragen  ob  sie  mich 
nicht  berichten  konnen  wo  Herr  Romio  anzutreffen, 
mein  Herr  auf  ein  wordt,  ist  nicht  in  diser  gesellschafft 
Herr  Romio? 

ROMIO.  Geehrte  Fraw,  ich  bin  es  selber  nach  dem 
sie  fragt  vnd  mein  Nahmb  heist  Romio. 

AMMA.  Ach  Herr  Romio  ich  bring  ihm  Zeitung, 
das  er  sich  bey  der  Julieta  zur  Mahlzeit  einfinden  soil. 

MERCU.    Wafs  will  das  alte  Mutterlein? 

PENUO.  Sie  redt  von  einer  Mahlzeit,  sie  wird  ge- 
wifs  Romio  auff  ein  Panquet  laden. 

MERCU.  Nichts  anders,  so  mag  er  kommen  nach 
seinem  belieben,  ihr  Herrn  mir  fait  eine  Verrichtung 
ein,  darumb  adio,  ich  gehe  von  hier.  [abit. 

AMMA.  Mein  Herr  wafs  gibt  er  mir  vor  ein  andt- 
wordt,  das  ich  eylents  meine  botschafft  verrichten  kan. 

ROMIO.  Geliebte  Fraw,  ich  werde  mich  gehorsamb 
einfinden,  vnd  gehorsamb  aufwarthen. 

AMMA.  Wollan  ich  gehe,  die  Herren  werffen  kein 
Vngnad  auf  mich.  [abit. 

ROMIO.    Penuolio  warumb  lachstu? 

PENUO.    Ich  lache  nicht  sondern  weine  vielmehr. 


MERCUT.  Poor  Romeo!  he  is  already  half  killed; 
for  he  is  hit  by  an  arrow  of  the  blind  boy,  and  how  is 
he  to  stand  a  fight  with  Tibalt! 

BENVOL.    And  what  is  Tibalt  then? 

MERCUT.  He  is  nothing  more  or  less  than  a  cats- 
king,  a  — 

BENVOL.    A  what? 

MERCUT.    A  hectoring  fellow  with  little  courage. 

BENVOL.    True,  but  there  comes  Romeo. 
Enter  ROMEO. 

MERCUT.  Look  here,  I  will  salute  him  in  French. 
Monsieur,  Monsieur  Romeo!     That  is  French,   Romeo, 
in  exchange  for  the  insult  you  offered  us  yesterday. 

ROMEO.  Pardon,  gentlemen,  I  am  not  aware  of 
any. 

MERCUT.  It  is  all  very  well  to  say  your  thoughts 
are  all  with  Rosaline;  I  know  it  well  enough. 

ROMEO.  Depend  upon  it,  I  also  understand  your 
joke  well  enough. 

SCENE  VI. 

NURSE. 

MERCUT.  What,  the  deuce  is  that  witch  coming 
here? 

NURSE.  I  am  running  about  to  look  for  Mr.  Ro- 
meo, but  cannot  meet  with  him.  But  there  are  some 
gallant  cavaliers;  I  will  ask  them  where  to  find  him.  — 
Sir,  one  word;  is  not  Mr.  Romeo  one  of  this  company? 


ROMEO.  Madam,  I  am  the  person  for  whom  you 
enquire;  Romeo  is  my  name. 

NURSE.  Ah,  Sir  Romeo !  I  bring  you  a  message,  that 
Juliet  wants  you  to  dinner. 

MERCUT.    What  does  that  old  woman  want? 

BENVOL.  She  talks  of  dinner;  to.  be  sure  she  has 
come  to  invite  Romeo  to  a  banquet. 

MERCUT.  Nothing  else;  he  may  go  if  he  likes. 
Gentlemen,  I  remember  some  business;  so  adio,  I  will 
take  my  leave.  [Exit. 

NURSE.  Sir,  what  is  your  answer?  Tell  me,  that 
I  may  do  my  errand  without  loss  of  time. 

ROMEO.  My  dear  madam,  I  shall  come  obediently 
and  wait  upon  you  obediently. 

NURSE.  Very  well,  I  go,  and  command  myself  to 
your  favour.  [Exit. 

ROMEO.    Benvolio,  what  art  thou  laughing  at? 

BENVOL.    I  am  not  laughing,  —  rather  crying. 

23 


355 


TRAGEDY  OF  EOMEO  AND  JULIET. 


356 


ROMIO.    Warumb  das? 

PENU.  Vmb  dafs,  das  dir  dein  armes  Hertz  also 
geangstigt  ist. 

ROMIO.  Ach  du  wurdest  es  noch  hartter  krankhen 
mich  weither  zu  vexiren,  Adieu  darumb  fahre  wohl. 

PENUO.  Nein,  ich  will  mitgehen,  mich  also  zu  uer- 
lassen  thuest  du  vnrecht. 

ROMIO.  So  schertze  nicht  mehr,  mein  Hertz  ist  ohne 
dafs  mit  uberfliifsiger  betriibnufs  uberladen. 

PENUO.  Deine  SeufFzer  vnd  traurigkeit  geben  zu 
erkhennen,  das  dir  etwas  mangelt. 

ROMIO.  Wafs  manglen,  ich  weifs  von  keinen  Seuff- 
zen  vnd  Klagen. 

PENUO.  Nein  bekhenne  vnd  sage  mir,  du  bist  ver- 
liebt  vnd  dein  Hertz  ist  zertheilt. 

ROMIO.  Etwas  hast  du  errathen,  dafs  mein  Hertz 
nicht  mehr  mein  sondern  einer  andern  gehorig. 

PENUO.  So  viell  kont  ich  wohl  merkhen  aufs  dei- 
ner  traurigkeit,  dafs  du  verliebt  wahrest. 

ROMIO.  Ich  bestehe  dir  Penuolio,  dafs  die  Jenige 
so  ich  liebe  auch  schon  ist. 

PENUO.  Ein  schones  Zihl,  darnach  man  pflegt  zu 
schiefsen  ist  am  ersten  getroffen. 

ROMIO.  Ey  lafs  Penuolio  eben  dafs  qualet  mein 
Hertz,  das  ich  Ihrer  Liebe  nicht  theilhafftig  werden 
kann. 

PENUO.  So  hat  sie  dan  geschworen  allezeit  keusch 
zu  leben? 

ROMIO.  So  viel  mir  bewust  so  basset  sie  viel  mehr 
das  Mannsgeschlecht  alfs  zu  lieben. 

PENUO.  So  folge  meinen  Rath  vnd  denkhe  nicht 
mehr  an  sie. 

ROMIO.  Nicht  an  sie  gedenkhen?  ach  so  wurde 
mein  leben  auch  sich  bald  enden. 

PENUO.  Herr  Vetter  gebet  euren  Augen  die  frey- 
heit,  vnd  erwehlet  eine  andere,  dan  es  gibt  ja  nicht 
Handt  sondern  lander  voll  weibsbilder. 

ROMIO.  Ich  sehe  dein  Schertzen  kan  mir  nicht  helf- 
fen,  drumb  verlafs  ich  dich  vnd  bleibe  der  verliebte  vnd 
betrubte  Romio.  [abit. 

PENUO.  Nein  ich  folge  dir,  vnd  will  mich  befleifsen 
dein  Doctor  zu  sein,  bifs  ich  ein  gewisses  recept  zu 
deiner  traurigkeit  finde.  {abit. 

SCENA   7MA. 

JULIETA.     AMMA. 

JULIE.  Liebste  Amma  wafs  bringt  ihr  mir  von  mei- 
nen Romio  guete  oder  befse  Zeittung,  dan  mich  ver- 
langt  zu  wissen,  wafs  er  euch  vor  eine  andtwortt  ge- 
geben. 


ROMEO.    What  for? 

BENVOL.    For  thy  poor  heart  being  so  tormented. 

ROMEO.  Thou  wouldst  not  mind  adding  to  its  torments 
merely  for  the  sake  of  chafing  me.  Adieu  then,  farewell. 

BENVOL.  No  I  shall  go  with  thee ;  thou  art  wrong 
to  leave  me  thus. 

ROMEO.  Then  leave  off  joking;  my  heart  is  already 
overburdened  with  sorrow. 

BENVOL.  Thy  sighing  and  despondency  show  that 
there  is  something  the  matter  with  thee. 

ROMEO.  What  should  be  the  matter  ?  I  know  nothing 
of  sighing  nor  lamenting. 

BENVOL.  No,  confess  and  tell  me,  thou  art  in  love, 
thy  heart  is  divided. 

ROMEO.  So  far  thou  art  right  that  my  heart  is  no 
longer  mine,  but  belongs  to  some  one  else. 

BENVOL.  So  much  I  could  perceive  from  thy  sad- 
ness, that  thou  art  in  love. 

ROMEO.  I  confess  to  thee,  Benvolio,  that  she  whom 
I  love,  is  also  handsome. 

BENVOL.  A  handsome  mark  to  shoot  at  is  most 
easily  hit. 

ROMEO.  Alas,  Benvolio,  it  is  just  that  which  tor- 
ments my  heart,  that  I  cannot  gain  her  affection. 

BENVOL.   Has  she,  then,  sworn  to  remain  chaste? 

ROMEO.  As  far  as  I  know  she  rather  hates  our 
sex  than  loves  it. 

BENVOL.  Then  take  my  advice  and  do  not  think 
of  her  any  longer. 

ROMEO.  Not  think  of  her!  there  would  soon  be  an 
end  of  my  life. 

BENVOL.  Cousin,  set  thy  eyes  free  and  choose  an- 
other woman;  there  are  handfuls,  nay  countryfuls  of 
them. 

ROMEO.  Thy  playfulness  cannot  aid  me;  I  leave  thee 
remaining  what  I  am,  Romeo  in  love  and  in  sadness. 

[Exit. 

BENVOL.  No  I  will  follow  thee,  and  try  to  be  thy 
doctor  till  I  have  found  out  a  certain  prescription  for 
thy  sadness.  [Exit. 

SCENE  VII. 

JULIET.    NURSE. 

JULIET.  What  news,  good  or  bad,  do  you  bring 
me  from  my  Romeo?  I  long  to  know  what  answer  he 
sends. 


357 


TRAGEDY  OF  ROMEO  AND  JULIET. 


358 


AMMA.  Er  redt  gleich  wie  es  einen  Ehrlichen  Jun- 
gen  gesellen  zuestehet. 

JULIETA.  Wie  Amma,  wafs  saget  ihr?  Er  redt  gleich 
wie  es  einen  Jungen  gesellen  zuestehet,  pfuy  schamet 
euch  er  ist  ein  gaualier  vnd  kein  gemeine  persohn. 

AMMA.  Hoho,  verdriist  Euch  discs  dafs  ich  ihn  einen 
Jungen  gesellen  heifs,  gehet  ein  andermahl  selber,  bringt 
ihm  die  bottschafft ,  hernach  mogt  ihr  ihn  nennen  wie 
ihr  wolt. 

JULIET.  Ey  liebe  Amma  nicht  so  zornig,  es  wahr 
nur  mein  Schertz  mit  euch  also  zu  reden,  drumb  sagt 
mir  geschwind,  was  sagt  mein  lieber  Romio? 

AMMA.    Ach  wafs  soil  er  sagen  ? 

JULI.  Wie  wolt  Ihr  mich  noch  langer  aufhalten 
mich  zu  qualen. 

AMMA.    Ey  nun  er  sagt 

JULI.    Vnd  was  sagt  er? 

AMMA.  Er  weifs  selber  nicht  ob  er  krankh  oder 
gesundt  sey. 

JULIE.    Ach  der  Himmel  bewahre  ihn. 

AMMA.  Ich  muefs  euch  doch  nicht  gahr  erschrock- 
hen,  er  sagt,  er  will  nach  ihren  Befehl  zu  leben 
wissen. 

JULI.    So  will  er  kommen? 

AMMA.  Ich  hab  schon  gesagt,  ja  ia  er  will  kom- 
men, seit  ihr  darmit  zufriden? 

JULI.  Ach  ja  liebe  Amma,  bedankhe  mich  vor  dise 
froliche  Zeitung  ich  gehe  ihn  zu  erwarthen,  vnd  euer 
recompens  kont  ihr  bey  mir  abholen.  [abit. 

AMMA.  So  so,  ist  das  mein  Dankh  vor  mein  Miihe 
vnd  lauffen,  warth  ein  andersmahl  will  ichs  bleiben  las- 
sen,  dan  wer  das  trinkhgelt  in  Handen  hat,  da  richten 
sie  die  bosten  selber  aus,  aber  ich  gehe  vnd  will  sehen, 
wafs  das  verliebte  frewlein  Julieta  noch  wird  anfangen. 

[abit. 

SCENA  8. 

PATER.     ROMIO. 

PATER.  Herr  Romio,  die  sachen  so  er  mir  vorge- 
tragen  seind  schwar  der  Vernunfft  nach,  bedenkh  er  sich, 
das  ich  alfs  ein  Priester  nicht  thuen  kan  mit  recht  nach 
seinen  begehren,  in  deme  dero  Eltern  von  disen  alien 
keine  wissenschafft  haben. 

ROMIO.  Geehrter  Herr  Pater,  es  ist  aber  mein  vnd 
der  Julieta  willen,  vnd  ehe  sie  sich  will  zwingen  lassen 
den  Graff  Paris  zu  ehligen,  will  sie  lieber  sterben,  dar- 
umb  were  mein  bitt,  sie  wollen  alhier  ein  mittel  finden 
vnd  disen  gefalligen  werkh  beyhulff  leisten. 

PATER.  Sohn  Romio  difs  sein  schwar  sachen  zu 
thuen,  dennoch  euch  zu  lieb,  wofern  Julieta  auch  zu- 


NURSE.  He  speaks  as  it  behoves  an  honest  young 
fellow. 

JULIET.  Why,  nurse,  how  can  you  talk  so?  He 
speaks  as  it  behoves  an  honest  young  fellow!  For 
shame!  He  is  a  cavalier,  not  a  common  person. 

NURSE.  Oho !  If  you  take  it  amiss  that  I  call  him 
a  young  fellow,  go  yourself  another  time,  be  your  own 
messenger;  after  that  you  may  call  him  as  you  like. 

JULIET.  Ay,  dear  nurse,  don't  be  angry.  It  was 
but  my  joke.  Now  be  quick  and  tell  me,  what  does  my 
dear  Romeo  say? 

NURSE.    Why,  what  should  he  say? 

JULIET.  How  can  you  keep  me  in  suspense,  and 
tease  me  so? 

NURSE.    Well,  he  says  . . . 

JULIET.    What  is  it  he  says? 

NURSE.  He  does  not  know  himself  whether  he  is 
well  or  ill. 

JULIET.    May  Heaven  protect  him! 

NURSE.  1  must  not  frighten  you  too  much.  He  says 
he  will  know  how  to  live  according  to  your  commands. 

JULIET.    He  will  come  then? 

NURSE.  I  told  you  yes,  he  will.  Are  you  satis- 
fied? 

JULIET.  Yes,  nurse  dear;  thanks  for  these  glad 
tidings.  I  go  to  await  him;  you  may  call  for  your  re- 
ward. [Exit. 

NURSE.  Ahem!  are  these  the  thanks  for  my  trouble 
and  running  about  ?  Next  time  I  shall  let  it  alone.  For 
when  I  have  once  got  my  glove-money  in  my  hand,  they 
may  do  their  errands  themselves.  But  let  me  go  and 
see  what  that  love-stricken  girl  Juliet  is  about. 

[Exit. 

SCENE  VIII. 

FRIAR.     ROMEO. 

FRIAR.  Sir,  the  matter  you  have  broached  to  me 
is  difficult;  that  stands  to  reason.  Remember  that,  being 
a  priest,  I  cannot  in  duty  do  what  you  desire,  as  your 
parents  are  ignorant  of  all  this. 

ROMEO.  But,  Reverend  Sir,  it  is  my  and  Juliet's 
will;  and  sooner  than  marry  Count  Paris,  she  will  die. 
Therefore  my  prayer  is  you  would  devise  some  means, 
and  lend  your  aid  to  such  agreeable  business. 

FRIAR.  My  son,  these  are  difficult  things  to  do. 
However,  to  please  you,  and  provided  Juliet  agrees, 

23* 


359 


TRAGEDY  OF  ROMEO  AND  JULIET. 


360 


friden,  wollen  wiir  sehen,  wie  der  sach  zu  thuen,  dan 
es  will  sich  gebiihren  der  Julieta  freywillige  meinung 
auch  zu  uernehmen,  darumb  lasset  sie  wissen  wan  sie 
willens  ist  mich  sambt  Euch  zu  besuechen. 

ROMIO.  Sie  ist,  hochgeehrter  Herr  Pater,  willens 
vmb  9  Vhr  alhier  zu  erscheinen,  dan  sie  mir  solches 
durch  ihre  Amma  hat  wissen  lassen. 

PATER.  Wohl  dan  Herr  Romio,  so  wird  er  sich  der 
geduld  gebrauchen,  wie  ist  die  Zeit  vorhanden,  dan 
wollen  wir  sehen,  was  einen  geistlichen  Priester  wohl 
ansteht  zu  thuen,  hiermit  fahre  er  wohl  Herr  Romio, 
ich  verfuge  mich  in  mein  Zelt.  \abit. 

ROMIO.  Vnd  ich  befehle  mich  in  seine  freindtschafft 
vnd  wohlgewogenheit.  Ach  glickhseeliger  Romio,  will 
dir  dan  der  Himmel  die  iiberirtische  Julieta  schenkhen, 
ach  ja  die  gunst  ihr  schonheit  versicheret  mich  solches, 
wollan'dan  ich  gehe  dem  Himmel  zu  dankhen,  dafs 
disc  Himmels  Stundt  mich  der  schonen  Julieta  zu  einen 
Mann  beglickhseeligen  moge.  [abit. 


PARIS.     CAPULET.    JULIETA. 

PARIS.  Herr  Capulet,  ihm  ist  wissendt  die  lieb  vnd 
affection  so  ich  zu  seiner  tochter  trage,  entlich  von  ihme 
Herr  Capulet  ein  gewintschtes  Ja  vnd  andtwort  zu  em- 
pfangen,  weil  mein  grostes  Verlangen  nichts  anders  alls 
seine  Tochter  zu  meiner  Gemahlin  empfangen  werde. 

CAPU.  Herr  Graff,  die'  lieb  vnd  affection  so  ich  zu 
dero  Haufs  trage  versichert  mich,  dafs  ich  meine  Toch- 
ter Julieta  keinem  gaualier  von  Meriten  alfs  ihnen  Herr 
Graff  verehren,  vnd  schenkhen  kan,  dardurch  mein  altes 
Stammenhaufs  glickhseelig  zu  machen. 

PARIS.  Herr  Capulet,  das  gewintschte  Ja  so  ich  von 
Ihm  empfange,  wird  ein  vrsach  sein  dafs  ich  ihm  vnd 
die  seinigen  ieder  zeit  auf  lebenslang  mich  verobligiert 
vnd  dienstbahr  befinden  werde. 

CAPU.  Ich  bedankhe  mich  Herr  Graff,  vor  dero  af- 
fection, ich  werde  thuen,  was  einem  Vatter  wohl  anstan- 
dig  ist,  darumb  bitte  ich  Herr  Graff  er  wolle  auch  das 
Jawordt  von  meiner  gehorsamben  Tochter  Julieta  em- 
pfangen, welche  eben  zu  rechter  Zeit  anhero  kompt. 
Geliebtes  Kindt  Julieta,  hier  hab  ich  mit  Graff  Paris  die 
vndterredung  deiner  bersohn  halber  gethan,  du  wirst 
dirs  gefallen  lassen  disen  tapffern  gaualier  vor  deinen 
Eheherrn  zu  erkiesen,  dadurch  wirst  du  mich  vnd  deine 
Muetter  glickseelig  machen. 

JULI.  Wafs  mein  Herr  Vatter  thuet,  das  ist  auch 
mein  gehorsamb  vnd  will. 

PARIS.  Schonste  Julieta,  von  dero  Herrn  Vatter  vnd 
fraw  Muetter  habe  ich  das  Jawordt  erhalten  sie  vor 


we  will  see  how  to  manage  it;  for  it  is  right  that  I 
should  learn  the  free  opinion  of  Juliet.  Therefdre  let 
her  say  at  what  time  she  would  like  to  come  with  you 
to  visit  me. 

ROMEO.  She  intends,  reverend  Father,  to  make  her 
appearance  here  at  nine  o'clock:  she  sent  me  word  to 
that  effect  by  her  nurse. 

FRIAR.  Well  then,  Sir  Romeo,  you  must  have  pa- 
tience. In  due  time  we  shall  see  what  it  may  become  a 
priest  to  do.  Meanwhile,  good  bye,  Sir  Romeo,  I  will 
go  to  my  cell.  [Exit. 

ROMEO.  And  I  commend  me  to  your  friendship  and 
goodwill.  Ah  fortunate  Romeo !  will  Heaven  then  really 
grant  thee  that  heavenly  Juliet?  Ah  yes,  the  favour  of 
her  beautiful  face  assures  me  of  it.  Well  then,  I  will  go 
and  thank  Heaven  that  that  heavenly  hour  may  make 
me  the  blessed  husband  of  the  fair  Juliet. 

[Exit. 


PARIS.     CAPULET.    JULIET. 

PARIS.  Sir,  you  are  aware  what  love  and  affection 
to  your  daughter  makes  me  long  for  your  consent,  since 
my  greatest  desire  is  no  other  than  to  obtain  your 
daughter  for  my  wife. 

CAPUL.  My  lord,  the  love  and  affection  I  bear  your 
house  is  a  guarantee  that  I  cannot  give  away  my  daughter 
Juliet  to  any  other  cavalier  of  merit  than  yourself,  if  I 
would  ensure  the  happiness  of  my  ancient  race. 

PARIS.  The  much  desired  Yes  which  I  have  received 
from  you  will  make  me  your  debtor,  and  place  me  at 
the  service  of  yourself  and  your  house  for  the  rest  of 
my  life. 

CAPUL.  I  thank  you,  my  lord,  for  your  affection. 
I  shall  do  what  becomes  a  father;  I  pray  you  therefore 
accept  the  consent  of  my  dutiful  daughter  Juliet  who  is 
making  her  appearance  just  in  time.  Dear  child,  I  have 
just  conversed  with  Count  Paris  on  thy  behalf.  Thou 
wilt  be  pleased  to  choose  this  gallant  cavalier  for  thy 
husband,  for  thus  wilt  thou  make  me  and  thy  mother 
quite  happy. 


JULIET.  What  my  lord  and  father  does,  is  also  my 
obedience  and  will. 

PARIS.  Beautiful  Juliet,  I  have  got  the  consent  of 
both  your  father  and  mother  to  make  you  my  beloved 


361 


TRAGEDY  OF  ROMEO  AND  JULIET. 


362 


meine  liebste  vnd  gemahlin  zu  nehmen,  so  verhoffe  ich 
auch  das  meine  lieb  vnd  affection  bey  dero  Schonheit 
platz  vnd  statt  finden  werde. 

JULI.  Herr  Graff,  wie  vor  vermeld,  wafs  meiner  El- 
tern  befehl,  1st  auch  mein  will  vnd  alfs  einer  gehor- 
samben  tochter  haben  Sie  mit  mir  zu  befehlen. 

CAPUL.  Du  thuest  wohl  daran  liebe  tochter,  der 
Himmel  wird  dir  auch  sein  gnad  vnd  seegen  geben, 
vnd  hiermit  Herr  Graff  iiberreiche  ich  ihm  meine  Toch- 
ter, er  empfange  sie  von  meiner  Handt. 

PARIS.  Ich  bedankhe  mich  Herr  Capulet  vor  dises 
edle  Kleinod,  vnd  sie,  schonste  Julieta  erkhenne  ich 
vor  meine  Gebietherin,  vnd  alles,  wafs  Graff  Paris  ver- 
mag,  erwehle  ich  sie  vor  eine  gebietherin  aller  meiner 
Bar  vnd  Habschafft. 

JULI.  Herr  Graff  ich  bedankhe  mich,  ich  werde 
wissen  zu  leben  vnd  schuldigste  Dienstleistung  erzeigen. 

PARIS.  Wollan  dan,  ich  gehe  vnd  verlasse  sie,  da- 
mit  alle  praeparatoria  zu  vnseren  beylager  auf  das  ehi- 
ste  verfertiget  werden,  vnd  also  adie  Herr  Capulet. 

[abit. 

CAPU.  Herr  Graff,  ich  befehle  mich  dero  selben 
vnd  werde  zu  disem  vorgenohmenen  werkh  nichts  er- 
manglen  lassen.  So  Adie  Tochter  Julieta,  folge  mir  vnd 
erfrewe  deine  fraw  Muetter.  [abit. 

JULI.    Ich  folge 'Herr  Vatter.  [abit. 

PATER.     ROMIO.     JULIETA. 

PATER.  Kommet  herr  meine  Kinder,  in  deme  ich 
von  euch  nach  geniigen  verstanden  wie  die  sach  be- 
schaffen,  aber  bedrachte  solche  hoche  sachen  besser,  da- 
mit  ich  mich  sambt  euch  in  keine  gefahr  vnd  Ynglickh 
sturtzen  moge. 

JULIET.  Herr  Pater  ich  habe  ihm  geoffenbahret 
meiner  Elter  Meinung,  die  gantzlich  haben  wollen  den 
Graff  Paris  zu  nehmen,  welches  ich  aber  bey  mir  be- 
schlossen  nicht  zu  thuen,  sondern  Romio  meine  getrewe 
liebe  zu  schenkhen,  darumb  bitte  ich  dafs  wiir  beide 
durch  euere  Hiilff  mochten  vermahlet  werden. 

ROMIO.  Vnd  ich  desselben  gleichen  bitte  Herr  Pa- 
ter, er  wolle  keinen  aufschub  machen,  weillen  vnser 
beyder  ein  Hertz  vnd  Sunn,  so  empfange  sie  hier  o 
schonste  Julieta  disen  ring,  welches  ein  Zeichen  vnd 
Verbindnus  seyn,  ihr  alfs  meinen  Schatz  bifs  in  mein 
grab  getrew  zu  verbleiben. 

JULIET.  Vnd  hier  werthester  Romio,  nehmet  disen 
von  meiner  Handt,  auch  das  Hertz  zugleich,  welches 
euer  eigen  bifs  vnfs  der  todt  scheiden  kan,  vnd  nun 
Pater  mangelt  nichts  weither,  alfs  eure  miihe  der  Co- 
pulation. 


wife;  let  me  hope  that  my  love  and  affection  will  find 
a  place  also  with  your  beauty. 

JULIET.  My  lord,  as  I  have  said  before,  whatever 
may  be  the  command  of  my  parents  is  my  will  also ;  you 
may  dispose  of  me  as  of  an  obedient  daughter. 

CAPUL.  In  that  thou  dost  well,  my  dear  daughter. 
Heaven  grant  thee  its  grace  and  blessing!  And  there, 
my  lord,  I  give  you  my  daughter;  receive  her  from  my 
hand. 

PARIS.  I  thank  you,  Sir,  for  this  noble  jewel;  and 
you,  fair  Juliet,  do  I  acknowledge  for  my  mistress,  and 
as  far  as  Count  Paris  can,  do  I  choose  you  for  the 
mistress  of  all  my  fortune. 

JULIET.  I  thank  you,  my  lord;  I  shall  know  how 
to  conduct  myself  and  shew  you  all  my  bounden  duty. 

PARIS.  Well  then,  I  will  go,  and  leave  you  to  see 
all  the  preparations  made  for  our  wedding  as  speedily  as 
possible.  Adieu,  my  lord  Capulet.  [Exit. 

CAPUL.  My  lord,  I  commend  me  to  you,  and  shall 
see  that  there  is  nothing  wanting  jn  the  business  we  have 
in  hand ;  adieu !  Juliet,  follow  me  and  gladden  the  heart 
of  thy  mother.  [Exit. 

JULIET.    I  follow,  my  father.  [Exit. 

FRIAR.     ROMEO.    JULIET. 

FRIAR.  Come  here,  my  children;  I  sufficiently  un- 
derstand from  you  how  *jthe  matter  stands,  but  I  must 
give  such  an  important  matter  more  consideration,  lest 
I  bring  danger  and  misfortune  over  myself  and  you. 

JULIET.  Father,  I  have  made  known  to  you  the 
opinion  of  my  parents  who  insist  upon  my  taking  Count 
Paris,  while  1  am  resolved  never  to  do  that,  but,  to  give 
my  true  love  to  Romeo.  Therefore  I  beg  that  we  may 
be  married  by  your  aid. 

ROMEO.  I  likewise,  Sir,  beg  you  not  to  delay,  since 
both  of  us  are  of  one  heart  and  mind.  Accept  then, 
fairest  Juliet,  this  ring  as  a  token  and  covenant  that  I 
will  remain  faithful  to  you  unto  my  grave. 


JULIET.  And  there,  dearest  Romeo,  take  that  from 
my  hand  together  with  my  heart  which  is  yours  till  death 
part  us.  And  now,  Father,  there  is  nothing  wanting  but 
that  you  take  the  trouble  of  uniting  us. 


\ 


363 


TRAGEDY  OF  ROMEO  AND  JULIET. 


364 


PATER.  Wollan  dan,  weil  Euer  beyder  will  be- 
schlofsen,  vnd  es  nicht  anderst  sein  kan,  so  folget  mit 
mir  in  die  Capellen  alwohe  ich  euch  verrriahlen  will. 


ACTUS  QUARTUS. 

SCENA  PRIMA. 

PENUOLIO.     MERCUTIO. 

PENUOL.  Ich  bitte  dich  Freundt  Mercutio,  lasse  ab 
von  deinem  Yorhaben,  lafs  vnfs  von  hier  gehen,  der 
tag  ist  worden,  die  Capuleter  finden  sich  alle  zeit  vmb 
diser  reuir,  wofern  wiir  ihnen  begegnen,  gehet  es  ohne 
schlagen  nicht  ab,  dan  in  den  heifsen  tagen  das  gebliit 
am  hiitzigsten. 

MERCU.  Du  bist  gleich  Penuolio  den  Jenigen,  die 
in  ein  Wirths  Hauls  kommen,  legen  sie  ihr  gewohr  auf 
dem  tisch,  vnd  sagen  ich  will  dich  in  keinem  Jahr  mehr 
aufsziehen,  sobald  sie  aber  einen  kleinen  Tummel  in 
den  Kopff  bekommen,  ziehen  sie  den  Degen  aufs,  hawen 
in  die  Stein  vnd  jauchzen  darzue,  das  einen  die  Ohren 
klingen. 

PENUOL.  Haltest  du  mich  dan  auch  vor  einen  sol- 
chen  Kerl. 

MERCU.  O  schweig,  du  bist  der  aller  erhitzigste,  ich 
wolte  schier  sagen  in  gantz  Italia,  hast  du  nicht  mit 
einen  gezankt  nur  darumb  dafs  er  sein  wammes  vor 
den  Sontag  angezogen,  widerumb  mit  einen,  der  seine 
alte  Schuechband  in  newe  schuech  gezogen. 

PENUO.    Vnd  was  weither? 

MERCU.  Auch  hast  du  mit  einem  gezankt,  der  nur 
auf  der  strafsen  gehuest,  dieweil  er  deinen  Hundt  wel- 
cher  an  der  Sonnen  lag  vnd  schlieff,  aufgeweckt,  vnd 
gleichwohl  wilst  du  noch  von  zankhen  sagen. 

PENUO.  Were  ich  so  geneigt  zu  zankhen  alls  du, 
ich  ware  schon  langsten  in  der  Erden  erkalt.  Huy  ich 
schwore  bey  meinem  Kopff  hier  kompt  ein  Capulet. 

MERCU.  Vnd  ich  schwore  bey  meinen  fiiessen,  dafs 
ich  nichts  darnach  frag. 

SCENA   2UA. 

TEPOLD. 

TIPOLD.  Ich  bin  aufsgegangen  vnd  gehe  noch  mei- 
nen feindt  anzutreffen,  aber  stille  da  sehe  ich  ein  paar 
von  meines  feindts  consorten,  ich  muefs  sie  anreden, 
gueten  Abend. 

MERCU.  Nichts  mehr  alfs  ein  gueten  Abend,  der  ist 
nicht  dankhens  werth. 


FRIAR.  Well,  as  you  have  both  made  up  your  minds, 
and  there  is  no  help  for  it,  follow  me  to  the  chapel 
where  I  will  join  you  in  marriage. 


ACT   IV. 

SCENE   I. 

BENVOLIO.     MERCUTIO. 

BENVOL.  1  entreat  thee,  Mercutio,  give  up  thy  enter- 
prise, let  us  be  off.  It  is  day-light.  There  are  always 
some  Capulets  in  this  quarter,  and  if  we  should  meet 
any,  we  should  not  escape  a  brawl;  for  in  these  hot 
days  the  blood  is  hottest. 

MERCUT.  Benvolio,  thou  art  like  one  of  those  fel- 
lows that  enter  an  inn,  lay  their  weapon  on  the  table 
and  say :  I  will  not  draw  thee  for  a  twelvemonth.  But  as 
soon  as  they  are  half  seas  over,  they  draw  their  swords, 
strike  the  pavement,  and  shout  to  make  one's  ears  tingle. 


BENVOL.    Thou  takest  me  for  a  fellow  like  that? 

MERCUT.  Be  silent,  thou  art  the  most  fiery  man,  I  had 
almost  said  in  all  Italy.  Didst  thou  not  quarrel  with  one 
man  for  wearing  his  Sunday  doublet,  and  with  another 
for  tying  his  new  shoes  with  old  riband? 

BENVOL.    And  what  else? 

MERCUT.  And  then  thou  didst  quarrel  with  a  man 
only  for  coughing  in  the  street  because  he  had  wakened 
thy  dog  that  was  lying  asleep  in  the  sun.  And  yet  thou 
talkest  to  me  about  quarrelling! 

BENVOL.  If  1  were  as  fond  of  quarrelling  as  thou,  I 
should  have  been  cold  in  the  earth  ever  so  long.  Halloh, 
I  swear  by  my  head,  there  comes  a  Capulet! 

MERCUT.  And  I  swear  by  my  feet,  I  do  not  care 
a  straw  for  it. 

SCENE  II. 

TIB  ALT. 

TIBALT.  I  went  out,  and  am  still  wandering  about 
to  meet  my  enemy.  But  stop,  there  I  see  a  couple  of 
my  enemy's  consorts.  I  must  accost  them.  Good  eve- 
ning! 

MERCUT.  Not  more  than  a  good  evening?  That  is 
not  worth  a  thank. 


365 


TRAGEDY  OF  ROMEO  AND  JULIET. 


366 


TIPOLD.  Wofern  ihr  mir  Vrsach  gebt,  so  bin  ich 
bereith  zu  schlagen. 

MERCU.  Wie  Tipold,  muest  du  erst  Vrsach  haben, 
kanst  du  dick  nicht  schlagen  ohne  Vrsach? 

TIPOLD.  Dises  auf  die  Seith  gesetzt,  sagt  mir  wo 
ist  euer  mit  Consort  Romio? 

MERCU.  Wafs  teuffl,  meinst  du  das  wiir  bierfidler 
sein?  Vnd  vnfs  Consorten  nennen  darffst,  sehe  zue  dafs 
kein  discord  daraufs  wird,  sonsten  ist  hier  mein  fidl- 
bogen. 

ROMIO. 

TIPOLD.  Stillo,  stillo,  da  kompt  der  eben  zu  rechter 
Zeit  den  ich  begehre. 

MERCU.  Holla  hier  kompt  Romio,  Tipold  wirst  du 
noch  viel  von  Consorten  reden,  so  ist  Romio  schon  vor- 
handen. 

TIPOLD.  Ho  ho,  die  freindtschaft  so  ich  zu  den  Mun- 
digesern  trag  ist  sehr  schlecht,  Herr  Romio  du  bist  ein 
schelm. 

ROMIO.  Wie  Tipold,  ich  habe  dir  kein  Vnrecht  ge- 
than,  kanst  du  die  Jenigen  so  dich  nicht  beleidigen  auf 
der  strassen  gehen  lassen. 

TIPOLD.  Hore  Romio,  du  kombst  mir  vor  alfs  ein 
Jung  vnd  gehest  ohne  degen,  wofern  ich  dich  noch  ein- 
mahl  so  antreffe,  so  will  ich  dich  von  meinen  laggeien 
pastiniren  lassen. 

ROMIO.  Lasse  mich  zufriden  Tipold  ich  erdulde 
mehr  alfs  zu  viel,  ach  Himmel  ich  bin  nur  vor  wenig 
Stunden  sein  Schwager  worden  vnd  muefs  dises  gedul- 
den.  Julieta  halt  mich  zuruckh  ihm  widerstand  zu  thuen, 
ich  will  mich  zwingen  vnd  von  hier  gehen.  [obit. 

MERCU.  Wafs,  will  Romio  dafs  leiden?  ich  aber  bey 
meinem  leben  nicht,  Holla  Tipold  Katzen  Konig,  komme 
hier,  sie  sagen  dafs  ein  Katz  nein  leben  hat,  darumb 
komb,  ich  will  dir  eins  daruon  nehmen. 

TIPOLD.  Du,  Mercutio,  mit  mir  fechten  ?  Komb  komb 
wan  du  lust  hast  in  die  andere  welt,  oder  ich  will  dich 
gahr  nach  der  Hollen  schickhen,  so  komb  an. 

ROMIO  aufs.    PENUOLIO. 

ROMIO.  Haltet  ein  ihr  Herrn,  ihr  vergesset  eures 
Stands  vnd  Nahmb. 

MERCU.  Ja  ja,  halt  ein,  halt  ein,  ich  bin  schon  ver- 
wundt. 

TIPOLD.  So  recht,  du  hast  dein  theil,  fahre  nach  der 
Hollen  ich  aber  gehe  von  hier.  \abit. 

PENUO.    O  Himmel,  Mercutius  ist  verwundt! 

ROMIO.  Wie  verwundt,  wans  nur  kein  todtliche 
wunde  ist  vnd  nicht  grofs. 


TIBALT.  If  you  give  me  occasion,  you  will  find  me 
ready  to  fight. 

MERCUT.  Why  Tibalt,  do  you  require  an  occasion? 
can't  you  fight  without  any  occasion? 

TIBALT.  This  apart,  tell  me  where  is  your  consort 
Romeo  ? 

MERCUT.  What  the  devil,  dost  thou  take  us  for 
fiddlers,  that  thou  call'st  us  consorts?  Take  care  that 
no  discords  arise  from  it,  else  here  is  my  fiddlestick. 


Enter  ROMEO. 

TIBALT.  Peace,  peace!  Here  comes  the  very  man 
I  want. 

MERCUT.  Hollah,  here  comes  Romeo.  Now,  Tibalt, 
wilt  thou  talk  any  more  of  consorts,  there  is  Romeo! 

TIBALT.  It  is  bad  friendship  I  bear  to  the  Mon- 
tagues. Thou  art  a  villain,  Romeo. 

ROMEO.  How,  Tibalt,  I  never  injured  thee!  Canst 
thou  not  let  those  who  do  not  insult  thee  walk  the  street 
in  peace-? 

TIBALT.  Hear  me,  Romeo,  thou  appearest  to  me  a 
mere  boy,  and  carriest  no  sword.  If  I  meet  thee  so 
another  time  I  shall  make  my  lackeys  bastinado  thee. 

ROMEO.  Leave  me  in  peace,  Tibalt!  I  suffer  more 
than  enough!  —  Good  heavens!  it  is  but  a  few  hours 
since  I  became  his  brother  in  law,  and  must  forbear. 
Juliet,  restrain  me  from  opposing  him!  I  will  control 
myself,  and  go  from  hence.  [Exit. 

MERCUT.  What,  will  Romeo  bear  this?  I  will  not, 
by  my  life!  Hollah,  Tibalt,  king  of  cats,  come  here! 
They  say  a  cat  has  nine  lives,  come  on,  I  will  take  one 
of  them. 

TIBALT.  Thou,  Mercutio,  fight  me?  Come  on,  come 
on,  if  thou  hast  got  a  mind  for  the  other  world,  or  I 
may  send  thee  even  to  hell.  Come  on! 

Re-enter  ROMEO.    BENVOLIO. 

ROMEO.  Stop,  gentlemen,  you  forget  your  position 
and  name. 

MERCUT.    Ay,  ay,  stop!    I  am  hurt  already. 

TIBALT.  Right  so,  thou  hast  it,  go  to  hell;  I  am  off. 

[Exit. 

BENVOL.    Oh  Heavens,  Mercutio  is  wounded. 
ROMEO.    How,  wounded?    Let  us  hope  not  fatally, 
not  seriously. 


367 


TRAGEDY  OF  ROMEO  AND  JULIET. 


368 


MERCU.  Ich  glaub  Ihr  spottet  mein,  so  grofs  ist 
die  wunde  nicht  aKs  ein  ochsenmaul  oder  Stadtthor,  aber 
morgen  werdet  ihr  mich  recht  gravitetisch  begraben 
helfFen. 

ROMIO.  Ich  bitte  Penuolio,  eyle  vmb  einen  balbirer, 
damit  ihm  seine  wunde  versorget  werde. 

MERCU.  Ey  bemilhet  Euch  nicht  vor  meine  wunde 
zu  heylen,  doch  bekhenne  ich,  es  wahre  besser  ich  were 
in  einen  arm  gestochen  aKs  durch  lungen  vnd  leber. 

ROMIO.  O  Himmel,  ist  dan  vnser  Haus  vnd  ge- 
schlecht  mit  lauttern  vnglickh  behafftet?  armseeliger  Ro- 
mio  was  wirst  du  entlich  noch  vor  widerwertigkeit  er- 
tragen  miissen? 

PENUO.  Wie  Mercutius,  riihrst  du  dich  nicht  mehr? 
o  Romio  Mercutius  ist  todt,  sein  geist  ist  schon  nach 
den  wolkhen  geflogen. 

ROMIO.  Wie  wafs?  Ist  Mercutius  todt,  so  trutze 
ich  das  argiste  so  mir  kommen  kan,  vnd  der  Jenige  so 
disen  freffl  begangen,  solle  gewifs  den  schaden  fiihlen. 

TIPOLD. 

PENUO.    Romio,  hier  kompt  Tipold  widerumb. 

ROMIO.  Es  ist  guet.  Nun  Tipold,  anietzo  ist  es  Zeit 
das  du  zuruckh  nehmest  den  Schelmen  so  du  mir  zuuor 
auferlegt,  oder  ich  halte  dich  vor  einen  bifs  in  deinen 
todt. 

TIPOLD.  Ha  ha,  hast  du  einmal  einen  Degen  be- 
khommen,  es  wahre  vnbiillich  das  du  vnd  Mercutius  von 
einander  sollet  separirt  werden,  vnd  weil  ihr  euch  in 
eurem  Leben  trewlich  einander  geliebet,  so  warthe,  ich 
will  dir  alsobald  denselben  weg  zeigen,  den  dein  mit 
consort  gewandert. 

ROMIO.  Du  vermeinst  vielleicht  mich  mit  deinen 
trutzen  zu  uerjagen,  aber  es  soil  dir  fohlen,  darumb  so 
komb  an  vnd  brauche  dein  gewohr. 

[Fechten.     Tipold  fait. 

PENUO.  Halt  ein  Romio,  Tipold  fait  zur  Erden  vnd 
ist  verwundt,  drumb  ist  kein  Zeit  vor  dich  vnd  mich 
vnfs  langer  aufzuhalten. 

TIPOLD.   O  wehe  ich  bin  des  todts  vnd  sterbe. 

ROMIO.  Penuolio  folge  mir,  lals  vnfs  die  flucht  neh- 
men  meiner  liebsten  Julieta  willen.  [abit. 

PlCKLHARING. 

PICKL.  Wer  viel  zu  thuen  hat,  hat  viel  zu  schaffen, 
ich  glaube  nicht  dafs  alle  Menschen  in  der  weldt  so 
viel  zu  thuen  haben  aKs  ich  allein,  ietzt  soil  ich  lauffen 
vnd  sehen  wafs  vor  ein  tumult  auf  der  gassen.  Aber 
wafs  ligt  hier  vor  ein  voller  Nafskiittl;  potz  schlapper- 


MERCUT.  I  belieye  you  are  mocking  at  me.  The 
wound  is  not  so  big  as  the  mouth  of  an  ox  or  a  town- 
gate,  but  to-morrow  you  will  help  to  bury  me  right 
gravely. 

ROMEO.  Pray,  Benvolio,  run  for  a  barber  to  have 
his  wound  dressed. 

MERCUT.  Don't  trouble  yourself  about  healing  my 
wound.  Yet  I  must  confess,  I  should  rather  like  to 
have  got  a  thrust  through  my  arm  than  through  my  lungs 
and  liver. 

ROMEO.  Good  heavens!  Is  our  house  and  race 
accursed?  Miserable  Romeo,  what  misfortune  is  still  in 
store  for  thee! 

BENVOL.  How,  Mercutio!  thou  dost  not  move?  Oh 
Romeo,  Mercutio  is  dead,  his  soul  has  already  flown  to 
the  clouds. 

ROMEO.  What?  Mercutio  dead?  Then  I  defy  the 
worst  that  can  befal  me,  and  he  who  committed  this 
outrage,  shall  surely  suffer. 

He-enter  TIBALT. 

BENVOL.    Romeo!  there  is  Tibalt  again. 

ROMEO.  Well  so.  Now,  Tibalt,  take  the  villain 
back  again,  that  late  thou  gavest  me,  or  I  shall  take 
thee  for  one  until  thy  death. 

TIBALT.  Hast  thou  at  last  got  a  sword?  It  would 
not  be  right  that  thou  and  Mercutio  should  be  sepa- 
rated; and  as  you  truly  loved  each  other  in  life,  I  shall 
soon  show  thee  the  same  way  thy  consort  went. 


ROMEO.  Thou  mean'st  perhaps  to  scare  me  by  thy 
bluster,  but  thou  shalt  not  succeed:  come  on  and  use 
thy  weapon! 

[They  fight.     Tibalt  falls. 

BENVOL.  Hold,  Romeo !  Tibalt  falls  and  is  wounded. 
There  is  no  time  for  thee  and  me  to  tarry. 

TIBALD.    Oh,  I  am  slain,  I  die! 
ROMEO.    Follow  me,   Benvolio;   let  us  fly  for  my 
dear  Juliet's  sake.  [Exit. 

Enter  CLOWN. 

CLOWN.  Who  has  much  to  do  has  much  to  manage.  I 
don't  believe  that  all  the  people  in  the  world  have  as  much 
to  do  as  I  alone.  Now  I  am  bid  to  run  and  see  what  is 
the  tumult  in  the  street.  But  look  what  a  parcel  of  snot 
is  this  ?  Zounds,  it  is  Tibalt,  bleeding  like  a  pig.  Hollah, 


369 


TRAGEDY  OF  ROMEO  AND  JULIET. 


370 


ment  dafs  ist  Tipold,  blut  er  doch  alfs  wie  ein  schwein, 
holla  Tipold,  ich  befehle  dir  bey  des  Herzogs  Vngnad, 
das  du  aufstekest  vnd  gehest  mit  mir,  er  will  nicht  andt- 
wortten,  ja  er  ist  gahr  todt,  larmen  larmen,  Tipold  ist 
todt  gestochen,  gestorben  vnd  lebt  nicht  mehr. 

SCENA  3TIA. 
H6RTZOG.     CAPULET'S  FRAW. 

HORTZOG.  Was  ist  difs  vor  ein  Tumult  vnd  wer  ist 
Vrsach  hieruon? 

PICKL.  Das  weifs  ich  nicht  Herr  Hertzog,  aber  dafs 
weifs  ich  wohl  dafs  ich  hier  Tipold  todt  ligend  gefunden 
hab,  vnd  hier  ist  der  Mann,  der  so  praff  post  bringen 
kan. 

HORTZOG.  Kanst  du  auch  wissen  Narr  wer  disc 
Mordthat  begangen? 

PICKL.  Ich  kan  mir  leicht  einbilden  weil  er  ge- 
stochen, es  wirts  ein  Degen  gethan  haben. 

H6RTZOG.    Schweig  du  bist  ein  Narr. 

PICKL.    Dafs  kan  wohl  sein  ich  glaub  es  selber. 

PENUOLIO. 

PENUO.  Gnadigster  Fiirst  vnd  Herr,  ich  komme  die 
rechte  wahrheit  zu  sagen  wie  sich  difer  vnglickseelige 
Zuefall  angefangen,  alfs  nemblichen  Tipold  defs  Capulets 
Vetter  kam  mit  scheldtwortten  an  Mercutium,  Mercutius 
ergriff  den  Degen  vnd  wurde  erstochen. 

FRAW.  Gnadigster  Fiirst  vnd  Herr,  wofern  sie  ge- 
rechtigkeit  lieben,  so  lasset  das  Jenige  bluet  widerumb 
vergossen  werden,  der  Meinen  Vetter  so  jammerlich  er- 
mordet  hat. 

HORTZOG.  Haltet  ein  Frau,  wiir  wollen  erst  die 
griindliche  warheit  vernehmen,  alfsdan  der  gerechtigkeit 
ihren  lauff  lassen. 

FRAW.  Ach  gnadigster  Fiirst  vnd  Herr  sie  geben  [?] 
disen  Mundagesen,  dan  er  ist  Partheiisch  vnd  vnsers 
Haufs  geschworner  Feind. 

HORTZOG.  Wofern  wiir  nicht  von  ihme  die  warheit 
wissen,  so  konnen  wiir  nicht  richten,  darumb  sagen  wiir 
gebet  gehor,  vnd  ihr  Penuolio  erzehlet  den  Verlauff  dises 
Mords  bey  eurem  gewissen. 

PENUO.  Gnadigster  Fiirst  vnd  Herr,  Tipold  kam  in 
einen  hiitzigen  Zorn,  nannte  Romio  einen  Schelm,  Ro- 
mio  aber  gantz  sanfftmiithig  ihm  andtworttet,  vnd  batte, 
er  mochte  dpch  bedenkhen  wie  vnnottig  diser  streitt 
wahre,  dardurch  Ihro  Hochfiirstl.  Gn.  nicht  beleidiget 
wurde,  aber  alle  dise  gueten  wordt  kunten  den  erziirn- 
ten  Tipold  nicht  bewegen,  sondern  zuge  alsobald  sein 
gewohr  aufs  vnd  ging  auf  den  tapfern  Mercutium  los, 
welcher  sein  gewohr  gleichmafsig  gebraucht,  Romio 


Tibalt,  by  the  Duke's  displeasure  I  command  thee  to 
get  up  and  go  with  me.  He  won't  answer;  dear  me, 
he  is  dead!  Alarm,  alarm  I  Tibalt  is  stabbed  to  death, 
is  killed,  and  lives  no  more. 


SCENE  III. 

DUKE.    LADY  CAPULET. 

DUKE.  What  is  this  tumult  about?  Who  gave  rise 
to  it? 

CLOWN.  I  don't  know  that,  my  Lord;  but  thus 
much  I  know,  that  I  found  Tibalt  lying  here  dead.  And 
here  is  the  man  to  give  you  information  about  it. 

DUKE.    Can  you  surmise,  fool,  who  did  this  murder? 

CLOWN.  I  can  easily  imagine  since  he  is  stabbed. 
I  dare  say  a  sword  did  it. 

DUKE.    Hold  your  tongue,  you  are  a  fool. 
CLOWN.    That  may  be;  I  believe  so  myself. 

BENVOLIO. 

BENVOL.  Most  gracious  Prince  and  Lord!  I  come 
to  tell  the  truth  how  this  fatal  brawl  began.  Tibalt, 
Capulet's  cousin,  accosted  Mercutio  with  abuse;  then 
Mercutio  took  up  the  sword  and  was  slain. 

LADY.  Most  gracious  Prince  and  Lord!  As  you 
love  justice,  shed  the  blood  of  him  who  has  so  miserably 
murdered  my  cousin. 

DUKE.  Hold,  my  Lady!  We  will  first  get  to  the 
very  truth  of  the  matter,  and  then  let  justice  take  its 
course. 

LADY.  Ah,  gracious  Prince  and  Lord!  You  give 
ear  to  this  Montague  who  is  partial,  and  the  sworn 
enemy  of  our  house. 

DUKE.  Unless  we  get  the  truth  from  him  we  can- 
not judge.  Therefore  we  say:  give  ear.  And  you,  Ben- 
volio,  tell  us  how  this  bloody  fray  happened,  upon  your 
conscience. 

BENVOL.  Most  gracious  Prince  and  Lord!  Tibalt 
got  into  a  rage,  and  called  Romeo  a  villain.  Romeo  spoke 
him  fair,  bade  him  bethink  how  unnecessary  this  quarrel 
was,  and  urged  Your  Grace's  high  displeasure.  All  these 
good  words  had  no  effect  upon  the  enraged  Tibalt,  for  he 
drew  his  sword,  and  rushed  at  bold  Mercutio,  who  like- 
wise used  his  weapon.  Romeo  cries  aloud :  Hold  friends, 
for  heaven's  sake!  But  it  was  done  already:  Mercutio  had 
got  a  deadly  thrust  and  fell.  Romeo,  enraged  by  Mer- 

24 


371 


TRAGEDY  OF  ROMEO  AND  JULIET. 


372 


schrier  laut,  haltet  ein  vmb  des  Himmels  willen,  aber 
es  wahr  geschehen,  Mercutius  hatte  einen  todtlichen  stofs, 
fiiele  zur  Erden,  Romio  welcher  Mercutii  todt  nunmehro 
auch  erziirnet  wahr,  zucket  sein  gewohr  geschwinder 
alfs  ein  plitz,  ich  aber  kunte  sobald  nicht  retten,  alfs 
Tipold  durch  einen  todtlichen  stofs  zur  Erden  fiille, 
Romio  saluirte  sich,  dises  ist  wahrhafftig  die  rechte 
wahrheit  wie  es  ergangen,  vnd  soil  ichs  auch  mit  mei- 
nem  leben  beantwortten. 

HORTZOG.  Wollan,  weil  Tipold  Mercutium  erlegt,  ist 
sein  todt  durch  Romio  gerochen,  aber  dennoch  solte 
Romio  nicht  sein  eigener  Richter  gewesen  sein,  weil  er 
aber  Tipold  erstochen,  also  verbannen  wiir  ihm  von  Ve- 
rona, vnd  wird  er  sich  langer  alfs  24  Stundt  in  Verona 
befinden,  so  kostet  es  ihm  sein  leben,  darumb  last  dises 
publicirt  werden,  so  geschicht  der  gerechtigkeit  ein  ver- 
gniigen,  vnd  ihr  fraw  von  Capulet  werd  darmit  content 
vnd  zufriden  leben.  [gehen  ab. 

V 

SCENA  4TA. 
JULIETA.    AMMA. 

JULI.  Komb  liebste  Amma  vnd  saget  mir  wafs  war 
difs  vor  ein  Tumult  in  dem  Haufs  meines  Vatters,  ist 
etwan  ein  Vnglickh  geschehen,  dan  ihr  wiist  der  weiber 
freyheit  ist  schlecht  in  Italia,  sie  seind  eingesperrt  gleich 
den  gefangenen,  o  verdriifsliche  wollust. 

AMMA.  Ja  freylich  wahr  larmen,  aber  nicht  in  cu- 
res Vatters  Haufs,  sondern  auf  freyer  strassen,  ach  ich 
wolte  ich  wuste  nichts  darumb. 

JULIE.  Ist  dan  vnserem  Haufs  oder  freundtschafft 
ein  vnglickh  oder  leid  widerfahren? 

AMMA.  Ach  wehe,  ach  Vnglickh,  ach  Romio  Romio. 

JULI.   Wie,  wafs  sagt  ihr  mir  von  Romio? 

PlCKLHARING. 

PICKL.  Ach  Ellend,  ach  noth,  ach  barmhertzigkeit, 
ach  Vnglickh,  was  kan  schlimmer  sein  in  der  welt  alfs 
zerrifsene  Hofsen  vnd  nichts  zu  fressen,  ich  lauff  her- 
umb  alfs  wie  ein  Jag  Hundt  vnd  sueche  Julieta,  o  wer 
weifs  in  wafs  vor  einen  loch  oder  wiinkl  sie  steckt  vnd 
sich  verborgen,  vnd  etwan  weint  rotz  vnd  wasser  we- 
gen  defs  grossen  glicks  so  den  Romio  begegnet,  weither 
lauff  ich  nicht  sie  zu  suechen,  ich  bin  so  miith  von  lauf- 
fen  vnd  suechen,  dafs  ich  kein  Zahn  in  maul  mehr  riih- 
ren  kan,  aber  siehe  da  stehet  vnser  Amma,  Ji  Amma 
was  machet  Ihr  da?  wo  ist  das  freulein  Julieta?  ich 
bring  ihr  kostliche  Zeitung. 

AMMA.  Schweig  Narr,  thue  deine  Kalbsaugen  auf, 
bist  du  blind,  siehst  du  nicht  hier  dafs  frewlein  Julieta? 


cutio's  death,  draws  his  sword  as  quick  as  lightning; 
and  ere  I  could  part  them,  Tibalt  was  mortally  wounded 
and  fell.  Romeo  fled.  This  is  the  exact  truth  how  it 
all  happened,  as  I  am  ready  to  answer  for  it  with  my 
life. 


DUKE.  "Well,  Mercutio  is  slain  by  Tibalt,  bis  death 
revenged  by  Romeo.  Yet  Romeo  ought  not  to  have 
taken  the  law  into  his  own  hands.  As  he  has  slain  Ti- 
balt, we  banish  him  from  Verona;  if  he  is  found  in  this 
city  in  twenty  four  hours  from  this  time,  it  shall  cost 
him  his  life.  Let  this  be  published.  Thus  justice  will 
be  fulfilled,  and  you,  Lady  Capulet,  will  be  content  and 
satisfied. 

[Exeunt. 

SCENE  IV. 
JULIET.    NURSE. 

JULIET.  Come,  dear  nurse,  tell  me  what  the  tumult 
was  in  the  house  of  my  father?  Has  there  been  any 
accident?  You  know  it  is  a  poor  liberty  women  enjoy 
in  Italy;  they  are  kept  like  prisoner's.  Oh  melancholy 
desire ! 

NURSE.  To  be  sure  there  was  a  row,  though  not 
at  your  father's  house  but  in  the  open  street.  I  wish  I 
knew  nothing  about  it. 

JULIET.  Has  any  misfortune  befallen  our  house  or 
friends  ? 

NURSE.  Ah  woe,  ah  calamity!  Alas,  Romeo,  Romeo! 

JULIET.   What?  what  is  it  you  say  of  Romeo? 

CLOWN. 

CLOWN.  Oh  misery!  oh  distress!  oh  pity!  oh  mis- 
fortune! Can  there  be  anything  worse  in  the  world  than 
torn  trousers  and  nothing  to  eat?  I  am  running  about 
like  a  hound  seeking  for  Juliet.  God  knows  in  what 
hole  or  corner  she  hides,  shedding  tears  and  snot  be- 
cause of  that  good  luck  of  Romeo.  I  won't  run  any 
farther  to  seek  her.  I  am  so  tired  with  running  and 
searching,  that  I  cannot  move  a  tooth  in  my  mouth.  But 
look,  there  is  our  nurse.  I  say,  nurse,  what  are  you 
about?  Where  is  your  young  lady?  I  bring  her  pre- 
cious news. 

NURSE.  Hold  thy  tongue,  fool.  Open  thy  calfs-eyes. 
Art  thou  blind?  Dost  thou  not  see  Miss  Juliet  there? 


373 


TRAGEDY  OF  ROMEO  AND  JULIET. 


374 


JULI.  Der  Himmel  bewahre  mich  vor  Vnglickh. 
Wafs  bringst  du  Pickl  Haring? 

PICKL.  So  warth,  last  mich  erst  zu  athem  konimen. 

JULI.  1st  etwan  mein  Herr  Vatter  oder  fraw  Muet- 
ter  iibel  auf? 

PICKL.    Ein  treckh,   es  1st  tausendtmahl  schlimmer. 

JULI.  Ach  Pickl  Haring,  halt  mich  nicht  langer  auf, 
ist  es  ein  vnglickh  so  sag  mirs  bald. 

PICKL.  Weither  kein  vnglickh  alfs  das  er  todt  ist 
wie  ein  stockfisch. 

AMMA.  Ja  frewlein  Julieta,  dises  ist  eben  was  ich 
nicht  sagen  wollen,  ach  Romio  Romio. 

JULI.    Ach  Himmel  bewahre  mich,  ist  Romio  todt? 

PICKL.  Wan  die  Amma  das  sagt,  so  liegt  sie  alfs 
wie  ein  aufsgestrichene  Hex,  ich  bin  der  Mann  der  es 
besser  weifs. 

JULI.  Ach  lieber  Pickl  Haring,  so  sage  dan  was 
du  weist. 

PICKL.  Dessenthalben  bin  ich  her  kommen  dafs  ichs 
euch  sagen  will,  Mercutius  ist  todt,  Tipold  gestorben, 
weil  ihn  Romio  todt  gestochen,  so  ist  er  entloffen,  vnd 
weifs  ihn  kein  Mensch  zu  finden. 

JULIET.  So  ist  meines  lebens  auch  nicht  mehr,  o 
du  grausamber  vnd  vnbarmbhertziger  Himmel,  ach  ich 
Ellende  vndt  voller  triibsaal,  soil  ich  mich  dan  entlich 
auch  dem  todt  aufopffern? 

PICKL.  Gehet  lieber  nach  Haufs  vnd  legt  Euch  ins 
beth,  ist  gesunder  als  ste'rben. 

AMMA.  O  du  guter  Tipold,  wie  jammerlich  bist  du 
ermordt. 

JULI.    Wafs  Tipold,  ware  nur  Romio  zu  finden. 

PICKL.  Es  ist  wahr  frewlein  Julieta,  Romio  hat  den 
Tipold  erstochen,  aber  der  Hertzog  hat  ihn  verbannt 
aufs  Verona  sein  Lebtag  nicht  mehr  darein  zu  kommen. 

JULI.  Ach  all  zu  vnglickseelige  Julieta,  ist  Romio 
verbannt  so  ist  mein  lebenslicht  aufsgelescht,  A7nd  ich 
mich  selbst  auch  dieser  weldt  verbannen  will. 

AMMA.  O  verflucht  sey  Rumio,  es  ist  kein  Menschen 
zu  trawen  wer  wolte  sagen,  das  er  so  falsch  seye. 

PICKL.  O  du  alter  flederwisch,  lagst  du  auff  ein 
scheitter  Hauffen,  ich  wolte  selber  anziinden  vnd  mit 
frewden  zueschawen  wie  du  verbrennest. 

JULI.  Wie  Amma,  verfluechest  du  den  Jenigen  wel- 
chen  mein  Hertz  liebt? 

AMMA.  Wie  frewlein  Julieta,  wollet  ihr  den  Jenigen 
lieben,  der  Euch  Euren  Vetter  ermordet  hat? 

JULI.  Wie  solte  ich  den  Jenigen  hassen  der  mein 
leben  liebet,  ach  mein  lieber  ich  will  selber  sterben. 

AMMA.  Ach  Julieta,  verlasset  doch  den  Meineydigen 
Romio,  vnd  nehmet  graif  Paris  zu  euren  Mann. 


JULIET.  Heaven  preserve  me  from  misfortune !  What 
news  dost  thou  bring,  clown? 

CLOWN.  Wait  till  I  have  first  recovered  my  breath. 
JULIET.    Is  my  father  or  my  mother  unwell? 

CLOWN.    Nonsense!  it  is  a  thousand  times  worse. 

JULIET.  Don't  keep  me  any  longer  in  suspense;  is 
there  any  misfortune,  tell  me  at  once. 

CLOWN.  No  misfortune  except  that  he  is  as  dead 
as  a  stock-fish. 

NURSE.  Just  the  thing  I  did  not  like  to  tell  you. 
Ah,  Romeo,  Romeo! 

JULIET.    Heaven  preserve  me!    Is  Romeo  dead? 

CLOWN.  An  the  nurse  says  that,  she  lies  like  an 
arrant  witch.  I  am  the  man  to  know  better. 

JULIET.    Sweet  clown,  tell  me  what  you  know. 

CLOWN.  That  is  what  made  me  come  here  to  tell 
you:  Mercutio  is  dead,  Tibalt  is  dead.  Romeo  has  slain 
Tibalt,  and  fled,  and  nobody  knows  where  to  find  him. 

JULIET.  Then  I  have  no  business  to  live.  Oh  cruel, 
unrelenting  Heaven!  Oh  miserable,  afflicted  Juliet!  Am 
I  too  at  last  to  sacrifice  myself  to  death? 

CLOWN.  You  had  better  go  home  and  lie  down;  it 
is  far  more  wholesome  than  dying. 

NURSE.  O-  dear  Tibalt,  how  miserably  art  thou 
slain! 

JULIET.  What  of  Tibalt,  were  but  Romeo  to  be  found! 

CLOWN.  It  is  a  fact,  Miss  Juliet,  Romeo  did  slay 
Tibalt,  and  the  Duke  has  banished  him  from  Verona 
never  to  return  as  long  as  he  lives. 

JULIET.  Too  miserable  Juliet!  If  Romeo  is  banished, 
then  is  the  light  of  my  life  too  extinguished,  and  I  will 
banish  myself  from  this  world. 

NURSE.  A  curse  upon  Romeo!  There  is  no  faith 
in  any  man;  who  should  have  thought  him  so  false! 

CLOWN.  Oh  you  old  goose-wing !  If  you  were  lying 
on  a  pile  I  myself  would  set  fire  to  it,  and  joyfully 
stand  by  to  see  you  burn. 

JULIET.  Why,  nurse,  you  curse  the  man  whom  my 
heart  loves? 

NURSE.  Why,  Miss,  would  you  love  the  man  who 
slew  your  cousin? 

JULIET.  How  should  I  hate  the  man  who  loves  my 
life!  Ah  beloved  one  I  will  die  myself. 

NURSE.  Juliet,  leave  the  perjured  Romeo,  and  take 
Count  Paris  for  your  husband. 

24* 


375 


TRAGEDY  OF  ROMEO  AND  JULIET. 


376 


PICKL.  Nein  Julieta,  ich  will  euch  besser  rathen, 
nehmbt  sie  alle  beide,  gefallen  sie  euch,  so  nehmbt  mich 
vor  euren  breytigamb. 

JULI.  Schweig  Pickl  Haring,  hier  1st  keine  Zeit  zu 
schertzen,  auch  nicht  christlich  2  oder  3  Manner  zu 
nehmen. 

PICKL.  Warumb  nicht?  Hat  doch  der  turkische  Key- 
ser  so  viel  weiber  welche  nicht  alle  zu  zehlen  sein,  vnd 
worumb  soil  mir  oder  euch  nicht  erlaubt  werden,  3,  4, 
5,  6,  7,  8,  9,  10,  weiber  oder  manner  zu  nehmen,  ich 
wolte  nicht  weith,  wan  ich  suechen  dorfft,  welche  in  der 
Stadt  Kollschin,  Budweifs,  Gopplitz,  Freystadt,  Lintz  vnd 
hier,  welche  mehr  alfs  ein  weib  vnd  ein  weib  mehr  alls 
einen  Mann  verlangen  oder  gahr  haben. 

JULI.  Wollan  ich  will  es  thuen,  vnd  deinen  Rath  fol- 
gen,  gehe  mit  meiner  Amma  Pickl  Haring,  vnd  sage  mein 
Herr  Vatter  vnd  fraw  Muetter,  ich  liebe  den  Graff  Paris. 

AMMA.  Dafs  ist  mir  lieb,  ich  will  also  bald  hingehen 
vnd  solches  eurer  Fraw  Muetter  andeuten. 

PICKL.  Zuruckh  alte,  dafs  wa'hr  ein  schlechter  brauch 
wan  ein  Ambasator  hinten  nach  vnd  ein  altes  weib  voran 
gehen  solte.  [Amma  gehet  ab. 

JULI.  Verfluchte  Amma,  die  du  mir  abradest  mei- 
nen  Ehemann  zu  lieben,  ach  mein  liebster  Romio,  discs 
solle  nimmermehr  geschehen,  aber  ach,  ach  Romio,  war- 
umb  hast  du  meinen  Vetter  ermord,  aber  recht  hast  du 
gethan,  weil  er  dich  alfs  meinen  Ehemann  ermorden 
wollen,  aber  Romio  dein  Verbannung  schmertzet  mich, 
mein  Hertz  blutet,  vnd  gehet  mir  sehr  zu  Hertzen,  wollan 
dan,  ich  will  auf  mittel  vnd  weeg  bedacht  sein,  wie  ich 
kan  zu  ihm  kommen,  vnd  von  ihm  einen  schmertzlichen 
abschid  nehmen,  komme  hier  Pickl  Haring,  ich  weifs 
du  bist  getrew  vnd  verschwigen,  drumb  vernehme  mich 
wafs  ich  sage,  hier  empfange  diese  etliche  Dugaten,  vnd 
bemiihe  dich  den  Romio  zu  finden,  welcher  noch  in  Ve- 
rona wird  zu  finden  sein,  vnd  kom  mit  mir  in  mein  ge- 
mach,  ich  will  dich  mit  einem  brieff  an  ihn  abfertigen. 

PICKL.  Ja  ia,  ihr  redt  gar  recht,  frewlein  Julieta, 
ob  meine  fiiefs  schon  so  miith  dafs  ich  auf  keinen  Efsl 
steigen  kunt,  so  will  ich  doch  den  Dugaten  zu  gefallen 
gantz  Verona  durchlauffen,  alfs  wann  ich  doll  ware,  bifs 
ich  Romio  gefunden  hab,  vnd  von  Euch  alfsdan  mehr 
Dugaten  empfangen  werde.  [abeunt. 

PATER.     ROMIO. 

PATER.  Ich  bitte  liebster  Sohn  Rumio,  er  stelle  sich 
doch  einmahl  zufriden  vnd  lasse  die  trawrigkeit  bey  ihm 
nicht  gahr  zu  sehr  uber  Handt  nehmen,  dan  es  ist  noch 
ein  gnadigstes  Vrtheil  von  dem  Hertzog  aufsgesprochen 
worden. 


CLOWN.  No,  Juliet,  I  will  give  you  better  counsel. 
Take  them  both  if  you  like  them;  take  me  for  your 
bridegroom. 

JULIET.  Hold  your  tongue,  clown;  it  is  no  time 
for  joking,  nor  is  it  christianlike  to  take  two  or  three 
husbands. 

CLOWN.  Why  not?  Has  not  the  Turkish  Emperor 
more  wives  than  you  can  count?  Why  should  it  not  be 
permitted  to  me  or  you  to  take  three,  four,  five,  six, 
seven,  eight,  nine  or  ten  wives  or  husbands?  I  should 
not  have  far  to  go  if  in  Kollschin,  Budweiss,  Gopplitz, 
Freystadt,  Linz,  and  in  this  town  I  would  find  out  hus- 
bands or  wives  who  desire,  nay  who  have,  more  than 
one  wife  or  husband. 

JULIET.  Well,  I  shall  follow  your  advice,  clown: 
go  with  my  nurse,  and  tell  my  father  and  mother  I  love 
Count  Paris. 

NURSE.  I  am  glad  of  it;  I  will  go  at  once  and  in- 
form your  mother. 

CLOWN.  Keep  back,  old  one!  It  would  be  a  bad 
custom  for  an  ambassador  to  bring  up  the  rear,  and  an 
old  woman  to  take  the  lead.  [Exit  Nurse. 

JULIET.  Accursed  nurse !  To  dissuade  me  from  loving 
my  husband!  My  dearest  Romeo,  this  is  never  to  be.  But 
alas  Romeo,  why  didst  thou  slay  my  cousin!  Though  thou 
wast  in  thy  right  as  he  intended  to  slay  thee,  my  hus- 
band. Yet,  Romeo,  thy  banishment  pains  me  much,  cuts 
me  to  the  heart;  my  heart  is  bleeding.  Well,  I  will  think 
of  ways  and  means  to  join  him,  and  to  take  a  painful 
leave  from  him.  Look  here,  clown,  I  know  thou  art  faith- 
ful and  secret.  Listen  then  to  what  I  say.  Take  these 
few  ducats  and  try  to  find  Romeo,  who  probably  is  still 
to  be  met  with  in  Verona.  Come  to  my  closet;  I  will 
charge  thee  with  a  letter  to  him. 


CLOWK.  Just  so,  Miss  Juliet;  you  are  quite  right. 
Though  my  feet  are  so  tired  that  1  could  not  mount  a 
donkey,  yet  for  the  sake  of  your  ducats  1  will  run  all 
over  Verona  like  a  madman  until  I  find  Romeo,  and 
get  some  more  ducats  from  you. 

[Exeunt. 

FRIAR.    ROMEO. 

FRIAR.  Pray,  my  dear  son  Romeo,  take  comfort  at 
last.  Do  not  allow  sadness  to  get  the  better  of  you ;  it 
is  a  merciful  judgment  the  Duke  has  given. 


377 


TRAGEDY  OF  ROMEO  AND  JULIET. 


378 


ROMIO.  Ach  Pater  ist  es  leben  oder  todt?  —  ist  es 
todt  so  will  ich  billich  leiden. 

PATER.  Nein  mein  liebes  Kindt,  das  wordt  todt  ist 
in  ein  gnadigstes  verbannen  verendert  \vorden. 

ROMIO.  Ach  Verbannen  viel  a'rger  alfs  der  todt,  o 
grausamber  Himmel,  soil  ich  anietzo  scheiden  vnd  Ju- 
lieta verlassen?  vnd  ihrer  holdseeligen  gegenwarth  be- 
raubt  sein?  ach  mehr  alfs  todtes  Schmertzen. 

PATER.    Ich  bitte  mein  Sohn  horet  mich. 

ROMIO.  Ach  Pater  wafs  soil  ich  horen,  ihr  wolt 
doch  widerumb  Verbannen  sagen. 

PICKL  HARING  klopfft  inwendig. 

PICKL.  Holla,  ist  alles  verspert?  Niemandt  zu 
Haufs?  macht  die  Thier  auf. 

PATER.  Mein  Kindt  folge  mir  vnd  verstecke  dich, 
die  wacht  mochte  kommen  vnd  dich  gefanglich  nehraen. 

ROMIO.  Ich  will  nicht,  sondern  hier  will  ich  mich 
in  meinen  eigenen  thranen  ersauffen. 

PATER.  Ach  Himmel,  wafs  vor  ein  Dolheit  besitzet 
seine  Siinnen. 

PICKL.  Wo  zum  Krankheit,  werde  ich  noch  lang 
warthen  miissen,  macht  auf,  oder  ich  werdt  doll  vnd 
narrisch. 

PATER.  Ach  Romio,  verberget  euch,  die  wacht  ist 
vorhanden. 

ROMIO.    Ich  will  nicht  vnd  kan  auch  nicht. 

PATER.  So  stiirzt  ihr  euch  selber  in  gefahr,  wer 
ist  da? 

PICKL.  Der  tausendt,  macht  auf  dorch  ein  mahl  auf, 
ich  bin  gestanden,  dafs  mir  die  negel  von  den  Zehen 
bald  weren  abgefrohren,  ich  habe  ein  Post  Herr  Pater 
abzulegen,  vnd  komme  von  Julieta. 

PATER.   Ach  froliger  bott,  kommet  herein. 

PICKL.    Quos  gratias,  Bonus  dies  Domine  Pater. 

PATER.  Grossen  Dankh  Pickl  Haring,  wo  kompt 
man  her? 

PICKL.  Aufs  der  gassen  von  vnsern  Haufs,  vnd  wolte 
den  Herrn  Patribus  bitten,  er  wolle  mir  sagen,  wo  ist 
der  Romio? 

PATER.  Da  ligt  er  vnd  ist  fast  in  lauther  trawrig- 
keit,  vnd  in  sein  eigenen  thranen  erstickt. 

PICKL.  Das  sein  Narrenbossen,  Herr  Romio  stehet 
auf,  ich  komme  von  Julieta. 

ROMIO.  Ach  wer  nennet  den  holdseeligen  Nahmen 
Julieta,  ach  Pickl  Haring  verfluecht  sie  mich  nicht,  dafs 
ich  ihren  Vetter  Tipold  erstochen? 

PICKL.  Nein  da  hat  sie  mir  nichts  gesagt,  ich  glaube 
wan  ihr  ihn  hett  gar  aufgehenkt,  erwiirgt,  gradbrecht, 
gespiefst,  vnd  gahr  auf  dem  Efsl  gesezt,  sie  fragte  nichts 


ROMEO.  Ah,  father,  is  it  life  or  death?  if  death,  I 
will  suffer  as  is  reasonable. 

FRIAR.  No,  my  dear  child,  the  word  death  has  been 
turned  into  merciful  exile. 

ROMEO.  Exile  is  worse  than  death.  Cruel  heavens! 
am  I  now  to  part  from  Juliet  and  leave  her,  and  be 
deprived  of  her  lovely  presence?  That  is  more  than 
the  .pangs  of  death. 

FRIAR.    Pray,  my  son,  hear  me. 

ROMEO.  What  is  the  use  of  hearing!  you  will  speak 
again  of  banishment. 

CLOWN,  knocking  within. 

CLOWN.  Hollah!  everything  shut  up?  nobody  at 
home?  Open  the  door! 

FRIAR.  My  child,  follow  me  and  hide  yourself:  the 
watch  might  come  and  take  you  up. 

ROMEO.  I  will  not  do  that,  but  I  will  rather  drown 
myself  in  my  own  tears. 

FRIAR.  Good  heavens,  what  madness  has  got  pos- 
session of  his  senses! 

CLOWN.  The  plague!  how  long  am  I  to  wait? 
Open  the  door,  or  I  shall  go  crazy. 

FRIAR.  Romeo,  hide  yourself;  the  watch  has  come. 

ROMEO.    I  will  not,  I  cannot. 

FRIAR.  Then  you  are  rushing  into  danger.  Who  is 
there  ? 

CLOWN.  The  deuce,  open  the  door  at  last.  I  have 
been  standing  till  the  nails  are  frozen  off  my  feet.  I  have 
got  a  message  for  you,  Sir,  and  come  from  Juliet. 

FRIAR.    Joyful  messenger,  come  in! 

CLOWN.    Quos  gratias,  bonus  dies  Domine  Pater. 

FRIAR.  Much  thanks.  Where  does  the  clown  come 
from? 

CLOWN.  From  the  street,  from  our  house,  for  the 
purpose  of  begging  the  Patribus  to  tell  me  where  Ro- 
meo is. 

FRIAR.  There  he  lies,  almost  drowned  in  sadness 
and  his  own  tears. 

CLOWN.  That  is  fool's  play,  Mr.  Romeo;  get  up; 
I  come  from  Juliet. 

ROMEO.  Who  pronounces  the  lovely  name  of  Juliet? 
Ah,  clown,  does  she  not  curse  me  for  having  killed  her 
cousin  Tibalt? 

CLOWN.  She  has  said  nothing  of  the  kind.  I  dare 
say  if  you  had  hanged  him,  strangled  him,  broken  him 
on  the  wheel,  spitted  him,  nay  put  him  on  the  ass, 


379 


TRAGEDY  OF  ROMEO  AND  JULIET. 


380 


darnach,  sondern  sie  hat  mir  befohlen  euch  zu  suechen, 
vnd  wan  ich  euch  gefunden  hab  zu  sagen,  sie  last  euch 
bitten,  dafs  ihr  dise  nacht  zu  ihr  wolt  kommen,  weil 
ihr  verbannet  seit,  dafs  ualet  vnd  abschid  von  euch  zu 
nehmen. 

Romo.  Ach  ist  es  moglich,  vnd  solte  ich  glauben 
dafs  Julieta  allein  voller  Sanfftmuth  vnd  barmhertzig- 
keit  ist? 

PICKL.  Freilich  ist  es  moglich,  vnd  dafs  es  wahr- 
hafftig  ist,  so  schickt  euch  Julieta  durch  ihren  Amba- 
sador,  als  meine  persohn,  diesen  ring,  wie  auch  disen 
brieff,  vnd  ich  glaube  wan  ihr  nicht  kommen  wolt  zu 
ihr,  sie  wurde  euch  ein  Schelmen  in  den  buesen  werffen. 

ROMIO.  Ach  brieff!  ach  ring!  seit  mir  willkommen, 
dich  mein  ring  will  ich  verehrt  an  meinem  finger  tra- 
gen,  bifs  der  blafse  todt  den  faden  meines  lebens  zer- 
schneidt  vnd  enden  wird,  darumb  gehe  Pickl  Ha'ring, 
vermelte  meiner  Julieta  dafs  ich  wan  die  nacht  wird 
anziehen  ihr  Schwartzes  trauer  kleid,  will  ich  mich  bey 
ihr  gehorsamb  einfinden,  vnd  den  lezten  abschid  neh- 
men, hier  Pickl  Ha'ring  empfange  vor  deine  miihe  dise 
wenigen  dobulonen  vor  dein  tringgelt. 

PICKL.  Ich  bedankhe  mich  Herr  Romio  vor  discs 
wenige,  wan  es  mehr  ware,  war  es  noch  besser.  [abit. 

PATER.  Ich  bitte  ihn  Herr  Romio,  er  gehe  vnd 
nehme  abschid  von  seiner  liebsten,  doch  mit  solcher 
Vorsichtigkeit,  das  er  mit  anbrechendem  tag  noch  aufs 
der  Statt  kommen  kan. 

Romo.  Hochgeehrter  Herr  Pater,  ehe  sich  der 
morgenstern  retteriret  vnd  den  grossen  weldt  liecht  platz 
machet,  vnd  den  tag  verkhundiget,  will  ich  von  hinnen 
machen,  aber  mein  Vertrawen  Herr  Pater  stehet  allein 
zu  ihm,  dafs  er  mir  nach  Mantua  schrufftlichen  bericht 
ertheile,  wie  es  mit  euch  vnd  meiner  Julieta  jeder  Zeit 
stehen  moge. 

PATER.  Traget  keine  Sorg  mein  Sohn,  wan  ihr  euch 
in  Mantua  aufhaltet,  solt  ihr  stets  durch  brieff  ersuechet 
werden. 

ROMIO.  Wollan  dan,  ich  ergebe  mich  den  vnglickh 
meines  Vnsterns,  ich  reifse  zwar  verbannt  von  hier,  mein 
Hertz  aber  lafs  ich  bey  Julieta.  [abit. 

PATER.  Der  Himmel  vnd  alle  Himlische  macht  ge- 
ben  ihn  glickh  auf  seine  Reifs,  vnd  Segnen  mit  solchen 
glickh,  das  er  bald  mit  frewden  moge  Verona  sehen, 
ich  aber  vnterdessen,  will  den  Himmel  frfihe  vnd  spat 
vor  seine  wohlfarth  bitten.  [abit. 

SCENE  6TA. 

ROMIO,  JULIETA  in  der  Kammer. 
ROMIO.  Siifse  vnd  fiber  die  Natur  mildreicheste  Ju- 


she  would  not  mind.  No  she  has  commanded  me  to. 
seek  for  you,  and  when  found,  to  tell  you  she  desires 
you,  being  banished,  to  come  to  see  her  to-night  and 
bid  her  adieu. 

ROMEO.  Is  it  possible?  Can  I  believe  that  Juliet 
alone  is  sweet  and  merciful? 

CLOWN.  To  be  sure  it  is  possible ;  and  in  proof  of 
it,  Juliet  sends  you  through  her  ambassador  in  my  per- 
son, this  ring  together  with  this  letter:  and  I  think,  if 
you  would  not  go  to  her,  she  would  throw  a  villain  at 
your  face. 

ROMEO.  A  letter,  a  ring!  Be  welcome  both.  Thee, 
my  ring,  will  I  wear  on  my  finger  till  pallid  death  cut 
the  thread  of  my  life.  Go,  clown,  inform  my  Juliet,  that 
when  night  has  wrapped  herself  in  her  black  mourning 
dress,  I  shall  in  due  obedience  appear  and  take  my 
last  farewell.  There,  clown,  take  these  few  doubloons 
for  thy  trouble. 


CLOWN.  Thank  you  for  this  trifle  ;  if  it  were  more, 
I  should  like  it  better.  [Exit. 

FRIAR.  Pray,  Romeo,  go  and  take  leave  of  your 
sweet-heart,  but  so  cautiously  that  by  the  break  of  day 
you  may  yet  leave  the  town. 

ROMEO.  Reverend  father,  ere  the  morning-star  re- 
tires giving  way  to  the  world's  great  luminary,  and  he- 
ralds in  the  day,  I  shall  be  from  hence.  But  my  confi- 
dence is  in  you  alone  that  you  will  send  me  news  in 
writing  to  Mantua  from  time  to  time  how  yourself  and 
my  Juliet  prosper. 

FRIAR.  Be  under  no  anxiety  for  that,  my  son;  while 
you  sojourn  in  Mantua,  there  shall  never  be  a  letter 
wanting. 

ROMEO.  Well  then,  I  yield  to  the  fate  of  my  un- 
lucky stars.  I  go  from  hence  on  exile,  but  my  heart  I 
leave  with  Juliet.  [Exit. 

FRIAR.  May  heaven  and  all  heavenly  powers  grant 
him  good  luck  on  his  journey,  and  bless  him  with  a  joy- 
ful return  to  Verona.  Meantime  I  will  pray  to  heaven 
early  and  late  for  his  well-being. 


SCENE  VI. 

ROMEO  and  JULIET,  in  the  chamber. 
ROMEO.   Juliet,  sweet  and  more  than  in  nature  kind, 


381 


TRAGEDY  OF  ROMEO  AND  JULIET. 


382 


lieta,  vnd  gebietterin  meines  Hertzens,  darf  ich  mich 
wol  vndterstehen  mit  schamhafften  augen  dero  holdsee- 
ligen  Schonheit  anschawen?  ich  bin  ein  Ubelthatter,  ich 
bekhenn'es,  mir  dennoch  vor  dero  Schonheit  vnd  bitte 
vmb  perdon,  vnd  den  fahler,  so  ich  gegen  ihr  begangen 
mir  zu  uerzeihen. 

JULIE.    Ach  Romio! 

ROMIO.    Muefs  ich  sterben? 

JULIE.  Nein,  stehet  auf  werther  Schatz,  vnd  em- 
pfanget  euere  Julieta,  euere  gegenwarth  raachet,  dafs  ich 
euch  zu  gefallen  noch  lebe,  wiewohlen  ich  von  thranen, 
vnglickh  vnd  Schmertzen  fast  verzehret  bin,  wafs  ge- 
schehen,  kan  man  nicht  mehr  enderen. 

ROMIO.  Ach  ist  es  moglich,  das  Schonheit,  Tugendt 
vnd  barmhertzigkeit  alle  in  einen  solchen  zarten  Hert- 
zen  zu  finden,  o  du  all  zu  grausambes  Vnglickh,  war- 
umb  scheidest  du  mich  von  der  Jenigen,  der  gleichen 
auf  den  gantzen  Erdtboden  nicht  zu  finden. 

JULI.  Ach  liebster  Romio,  Jammer  vnd  Hertzens- 
angst  wollen  mein  ermiidetes  Hertz  ersauffen,  wan  es 
moglich  ist,  so  lasse  zue  mir  allein  in  disen  bittern 
Schmertzen  vnd  so  viel  iiberladene  trubsalen,  das  ich 
mein  Hertz  ein  wenig  trosten  kan. 

ROMIO.  Ach  Kummer  vnd  Vnmueth,  ihr  herschet 
nunmehro  vnd  presset  vollkomblich  mein  vnterdruckte 
Sunnen,  ach  lasset  nicht  zue  meine  Schone,  das  dafs 
Jenige  Hertz  mochte  aufgeopiFert  werden  so  euch  zu 
gefallen  lebet,  vnd  haltet  ein  mit  euren  Seufftzen  vnd 
verursachet  nicht  den  todt  des  Jenigen  der  euch  liebet. 

JULI.  Ach  vnuerhofftes  Scheiden,  ein  kleine  weil  ist 
noch  dafs  gesetz  Euch  anzuschawen,  ach  erfrewet  doch 
cure  halblebende  Julieta  mit  brieffen  zu  ersuechen,  vnd 
einen  lebenden  trost  zu  geben. 

ROMIO.  Aller  Sufsestes  Hertzens  Kindt,  euer  ge- 
trewer  Romio  soil  verrichten  wafs  ihr  ihm  befehlet,  aber 
ach  vnser  Scheiden  ist  verhanden,  der  tag  bricht  an, 
ich  werde  gezwungen,  ach  vnglickseelige  Zeit,  sie  zu 
uerlassen. 

JULI.  Werthester  Schatz,  es  ist  nicht  der  morgen, 
der  blafse  Monschein. 

ROMIO.  Ach  ware  es  moglich,  das  ich  den  Mon- 
schein kunte  hofFen  ein  gantzes  Monath  zu  scheinen,  so 
wurden  wiir  erfrewet,  dan  der  Schein  der  Sonnen  vnfs 
nichts  alfs  leid  vnd  Schmertzen  bringt. 

JULI.  Ach  leid,  es  ist  die  morgenroth  vnd  kompt 
mein  Hertz  blutig  zu  fa'rben,  ach  Phoebus,  ach  tag,  du 
beraubest  mich  meines  lebenstrosts,  ach  armseelige  vnd 
verlassene  Julieta. 

ROMIO.  Stellet  ein,  werther  Schatz,  eure  trawrigkeit, 
der  Himmel  wird  seinen  gefasten  Zorn  wider  vnfs  der- 


mistress  of  my  heart,  may  I  venture  to  look  with  bash- 
ful eyes  at  your  lovely  beauty?  I  am  a  wretch,  I  con- 
fess; yet  I  appear  before  you  begging  pardon  and  for- 
giveness for  the  fault  I  have  committed  against  you. 


JULIET.    Ah  Romeo! 

ROMEO.    Must  I  die? 

JULIET.  No,  rise,  dearest,  and  take  your  Juliet. 
Your  presence  makes  me  still  live  to  please  you,  though 
almost  eaten  up  by  tears,  misery,  and  suffering.  What 
is  done,  cannot  be  undone. 

ROMEO.  Is  it  possible  that  beauty,  virtue,  and  mercy 
should  be  found  united  in  such  a  tender  heart!  Oh 
thou  too  cruel  fate!  why  dost  thou  divide  me  from  her 
who  has  no  equal  on  this  globe! 

JULIET.  Dear  Romeo,  wretchedness  and  anguish 
will  overwhelm  my  worn-out  heart.  If  you  can,  leave 
me  to  these  bitter  pains  and  torture,  that  I  may  collect 
myself  in  solitude. 

ROMEO.  Ah!  ye  Care  and  Despondency,  ye  have 
sway  over  me  now,  and  oppress  my  down-cast  senses. 
Ah  my  fair  one,  do  not  allow  the  heart  to  be  sacrificed 
that  lives  to  please  you !  Repress  your  lamentations,  and 
do  not  cause  the  death  of  your  lover. 

JULIET.  Unexpected  separation!  A  little  while  does 
the  law  allow  me  to  gaze  at  you  still.  Comfort  your 
Juliet  who  is  now  but  half  alive,  with  your  letters,  and 
give  her  living  consolation. 

ROMEO.  Sweet  child,  your  faithful  Romeo  will  per- 
form what  you  command.  But  alas!  our  separation  is  at 
hand;  the  day  is  breaking;  I  aln  forced,  oh  hapless  hour! 
to  leave  you. 

JULIET.  Dearest,  it  is  not  the  morning,  it  is  the 
pale  moon. 

ROMEO.  Oh,  could  I  but  hope  that  that  moon  would 
shine  a  whole  month,  it  were  a  comfort  to  us ;  for  the  sun 
brings  us  nothing  but  grief  and  suffering. 

JULIET.  Alas,  it  is  the  dawn;  it  comes  to  stain  my 
heart  with  blood.  Oh  Phoebus!  oh  day!  thou  robbest 
me  of  the  comfort  of  my  life!  Ah  poor,  deserted  Ju- 
liet! 

ROMEO.  Restrain  your  sadness,  beloved  one;  the 
wrath  of  heaven  will  relent  one  day.  I  bid  thee  farewell 


383 


TRAGEDY  OF  ROMEO  AND  JULIET. 


384 


mahleins  lindern,   hiemit   nehme   ich   abschid  mit  disen 
Kufs,  vnd  sie  gedenkhe,  das  diser  Kus  die  standhafftig- 
keit  vnd  ewige  trew  euer  Romio  versigle. 
JULI.      Ach  Lippen  Kufs  meines  Hertzen, 

Mich  aufssaugen  meine  Schmertzen. 

Meine  bliicke  vnd  ihr  Krafften, 

Kumb  lafs  mich  sie  anhefften 

An  den  SuTsen  Zucker  Mund 

Dafs  ich  gehe  nicht  zu  grand. 
ROMIO.  Ach  wafs  machen,  wafs  begiinnen? 

Vnser  Hertzen,  die  voll  Schmertzen, 

Meine  Siinnen  seind  erfiilt, 

Voller  plagen;  ach  wer  stillt 

Solches  Zagen,  wafs  mich  truckt 

Vnd  beschwerdt  auch  gantz  verzehrt. 
JULI.      Das  lieben  mit  betruben 

1st  ein  fewer,  brennet  mich, 

Bifs  auf  den  grundt,  ach  ach  weh! 

Vnd  gantz  verwund  ich  vergeh, 

Kumb  Seelen  Schatz  erlaube  mir, 

Zu  Kussen  eh  du  scheidst  von  mir. 
ROMIO.  Meiner  Seelen  Zuckher  Speis, 

Ich  gehe  zu  begriefsen 

Dich,  o  edle  tugendt  preifs, 

Ich  hoffe  zu  genussen 

Deine  trew  vnd  bstandigkeit, 

Bifs  vnfs  beyd  der  todte  scheid. 
JULI.      So  will  ich  auch  einsamb  hier 

Wie  mir  gebiihrt  zu  leben, 

Vnd  die  turteltaube  thuet 

Auf  durn  aste  so, 

[Bis?]  mit  glickh  wird  wider  geben 

Dich  mir  meinen  Romio. 
ROMIO.  Nun  Verona  fahre  wohl, 

Vnglickseeligs  Vatterland ! 

Erhalt  mir  nurTnein  Schatz 

Bifs  ich  nicht  mehr  verbannt 

Mein  Hertz  voll  Schmertz  bleibt  hier, 

Ich  aber  bleib  bestandig  dir. 


ACTUS  QUINTUS. 

SCENA  PRIMA. 

CAPOLET.     JULIETA.     PICKI/  HARING. 

CAPUL.    Geliebte  Tochter  Julieta,  du  weist  das  ich 

das  Jawordt   dem  Graff  Paris  gegeben  habe,   wie  auch 

schon    alles   zur  Hochzeit   bereith    vnd   verfertiget  ist, 

dennoch   ist  mein   will,    das   du   dem  graffen   mit  aller 


with  this  kiss,    and  remember  that  this  kiss  is  the  seal 
to  your  Romeo's  constancy  and  everlasting  truth. 

JULIET.  When  kissed  by  him  who  has  my  heart, 
His  lips  at  once  suck  out  my  smart. 
My  glances  and  their  power  too, 
Come  let  me  fix  them,  love,  on  you, 
Hang  on  thy  mouth  in  sweet  delight, 
That  I  may  not  perish  quite. 

ROMEO.  Alas!  what  can  we  do,  what  try? 
For  our  hearts  are  full  of  smarts, 
And  my  senses  too  are  filled 
With  sad  distress;  ah,  who  e'er  stilled 
Such  wretchedness,  as  now  on  me 
Its  weight  doth  lay,  wastes  me  away. 

JULIET.  To  love  so  dear  with  many  a  tear 
Is  a  fire  that  burneth  me. 
Aye  more  and  more,  ah,  ah,  alas, 
Till  wounded  sore,  away  I  pass. 
Come  my  darling  grant  to  me 
To  kiss  thee  ere  thou  part'st  from  me. 

ROMEO.  Sweet  food,  whereon  my  soul  I  feed. 
To  greet  thee  now  I  go,  * 

Thee,  thee,  O  noble  virtue's  meed, 
I  hope  that  I  may  know 
Thy  truth  and  constancy  of  heart, 
Till  death's  sure  dart  us  two  do  part. 

JULIET.  So  I  then  too,  all  lonely  here, 
As  me  beseems  will  live, 
As  doeth  too  the  turtle-dove 
On  branch  of  leafless  tree, 
Till  fortune  once  again  shall  give 
My  Romeo  back  to  me. 

ROMEO.  Now  Verona,  fare  thee  well. 
Most  unhappy  fatherland! 
Only  preserve  my  love 
Till  I  no  more  am  bann'd; 
My  heart  will  smart  for  ever, 
But  I  to  thee  am  faithless  never. 


ACT  V. 

SCENE  I. 

CAPULET.     JULIET.     CLOWN. 

CAPUL.  Beloved  daughter  Juliet,  thou  art  aware 
that  I  have  promised  thee  to  Count  Paris  and  that 
everything  is  ready  for  the  wedding.  Therefore  I  want 
thee  to  meet  the  Count  with  becoming  courtesy  and  to 


385 


TRAGEDY  OF  ROMEO  AND  JULIET. 


386 


Hoffligkeit  begegnest,  dich  schmuckest  vnd  ziihrest,  wie 
es  einer  brauth  gebuhrt,  dan  morgen  soil  dein  Hochzeit- 
tag  sein. 

JULI.  Ich  weifs  Herr  Vatter,  das  ich  den  gehor- 
samb  meiner  Eltern  vnterworffen,  aber  ach! 

PICKL.  Huy  zue,  das  Mensch  bekompt  das  Zahn- 
wehe. 

CAPUL.  Wafs  seufFzest  du  tochter,  in  deme  du  voile 
frewden  geniissen  kanst. 

PICKL.  Ein  krankher  Mensch  kan  nicht  viel  frewd 
haben. 

JULI.    Ach  die  Jugendt  meiner  Jahren! 

PICKL.  Hab  ichs  nicht  gesagt,  sie  forcht  sich  schon 
vor  den  sterben. 

CAPUL.  Die  Jugendt  deiner  Jahren,  die  du  in  lau- 
ther  glickh  verzehren  kanst. 

PICKL.    Wan  sie  viel  gelt  zu  zehlen  hat. 

JULI.    Ach  das  glickh  spore t  [storet?]  meine  lust! 

CAPUL.    In  was? 

PICKL.    Weil  sie  das  Zahnwehe  hat. 

JULI.  Ach  Herr  Vatter,  in  anligenden  Krankheiten 
vnd  andern  Zuefallen  die  den  Menschen  plagen. 

PICKL.  Mich  plagt  der  Hunger,  weil  der  Koch  nicht 
anrichten  will. 

CAPOL.  Wie  Julieta,  hast  du  ein  anligen  einer  Krank- 
heit,  so  sag  es  mir. 

JULI.    Ach  es  [ist]  besser  ich  schweige. 

CAPO.    Wo  schmerzt  es  dich. 

JULI.    In  den  Hertzen. 

CAPO.    In  den  Hertzen? 

JULI.    Ja  vnd  leide  grofse  qual. 

PICKL.  Herr,  Ihr  fragt  auch  narrisch,  sie  sagt  euchs 
ja,  das  ihre  Schmertzen  vmb  die  brust,  bauch  vnd  na- 
bel  vnd  umb  die  angranzenden  lander  am  meisten  re- 
gieren. 

CAPO.  Schweig  Pickl  Haring,  oder  ich  lasse  dich 
in  die  Kuchel  fiihren,  dich  zu  streichen. 

PICKL.  Vnd  ich  habe  vermeindt,  ihr  wolt  mir  lassen 
ein  fruhestuckh  geben. 

CAPOL.  Tochter,  deinen  Zuestandt  muefs  man  den 
Graffen  wissen  lassen. 

JULI.  Ach  Herr  Vatter,  es  ist  besser  der  graff  weifs 
nichts  von  meinen  anligen,  ich  bitte  Herr  Vatter,  er 
wolle  mir  zur  gnad  vmb  den  Pater  schickhen,  der  sie 
gewohnlich  besuechen  thuet,  das  er  mir  einen  geistlichen 
trost  gebe,  dan  ich  bin  sehr  krankh. 

PICKL.  Krankhe  Leuth  sollen  lustig  sein,  wer  weifs 
wie  lang  sie  leben. 

CAPOL.  Dein  Zuestandt  Tochter  schmertzet  mich, 
doch  verfiige  dich  in  dein  Zimmer,  der  Pater  soil  dich 


array  theeself  in  bridal  pomp;   for  to-morrow  is  to  be 
thy  wedding-day. 

JULIET.  I  know  I  owe  obedience  to  my  parents: 
but  alas  — 

CLOWN.    Hulloa!  the  wench  has  got  a  toothache. 

CAPUL.  Why  dost  thou  sigh,  my  dear  daughter, 
when  thou  mayest  enjoy  so  many  pleasures? 

CLOWN.    A  sick  man  cannot  have  many  pleasures. 

JULIET.    Ah,  my  tender  years! 

CLOWN.  Did  I  not  say  so?  She  is  already  afraid 
of  dying. 

CAPUL.  Thy  tender  years?  which  thou  canst  spend 
in  unalloyed  good  fortune. 

CLOWN.  Provided  she  has  plenty  of  money  to  spend. 

JULIET.  Alas,  my  good  fortune  destroys  my  happiness. 

CAPUL.    How  so? 

CLOWN.    Because  she  has  got  a  toothache. 

JULIET.  Dear  father,  in  the  diseases  that  may  attack 
me,  and  other  accidents  that  torment  mankind. 

CLOWN.  As  to  me  hunger  is  my  torment,  since  the 
cook  won't  serve  the  dinner. 

CAPUL.  Why  Juliet,  if  thou  hast  any  complaint, 
tell  me. 

JULIET.    I  had  better  keep  silence: 

CAPUL.    Where  hast  thou  any  pain? 

JULIET.    In  the  heart. 

CAPUL.    In  the  heart?  • 

JULIET.    Yes,  and  I  suffer  great  torture. 

CLOWN.  Sir,  you  put  foolish  questions.  Does  she 
not  tell  you  that  her  pains  are  principally  in  the  neigh- 
bourhood of  her  breast,  belly,  navel,  and  the  adjacent 
demesnes? 

CAPUL.  Be  silent,  fool,  or  I  will  have  you  led  into 
the  kitchen  for  a  whipping. 

CLOWN.  I  fondly  imagined  you  wanted  to  give  me 
a  breakfast. 

CAPUL.  My  daughter,  the  Count  ought  to  be  in- 
formed of  thy  state. 

JULIET.  Father,  it  is  better  the  Count  knows  nothing 
of  my  complaint.  For  mercy's  sake  I  beg  you  would 
send  for  the  father  who  is  in  the  habit  of  visiting  you, 
to  give  me  spiritual  comfort,  for  I  am  very  poorly  in- 
deed. 

CLOWN.  Invalids  ought  to  be  merry;  who  knows 
how  long  they  have  still  to  live ! 

CAPUL.  Thy.  state  grieves  me;  go  to  thy  chamber, 
the  father  shall  soon  come  to  see  you.  Make  haste  to 

25 


387 


TRAGEDY  OF  ROMEO  AND  JULIET. 


388 


bald  besuechen,  gelange  nur  bald  zue  deiner  gesundtheit, 
damit  du  vnnfs  erfrewest  mit  deinen  Hochzeittag,  ich 
gehe  vnd  verlasse  dich.  [abit. 

PICKL.    Ich  bleib  auch  nicht  mehr  da.  [abit. 

JULI.  Er  lebe  wohl  Herr  Vatter.  Ach  armseelige 
Julieta  will  dan  das  Verhangnufs  raeines  Vnsterns  nicht 
aufhoren,  mich  zu  qualen?  ich  soil  zwey  Manner  neh- 
men,  der  eine  ist  verbannt,  der  andere  mich  qua'lt,  wafs 
Rath  ?  Der  Hochzeittag  ist  vorhanden,  ich  liebe  Romio 
vnd  nicht  graff  Paris,  meine  Siinnen  sein  verwiirt,  ich 
weifs  mir  nicht  zu  helffen,  ach  Pater  niemahlen  hab  ich 
Euren  Rath  besser  von  nothen  gehabt  alfs  aniezo,  aber 
siehe  zu  alien  glickh  ist  er  verhanden.  Ach  willkom- 
men  Herr  Pater. 

PATER. 

PATER.  Ich  bedankhe  mich  Julieta,  wie  stehet  es 
mit  ihr,  sie  siehet  sehr  betriibt  aufs,  ist  ihr  wafs  wider- 
fahren?  oder  riihret  es  von  Romio  wegen  her? 

JULIET.  Ach  Pater,  die  (iberheuffige  Schmertzen  so 
ich  leide  machen  mich  gantz  verzweiflen,  in  deme  mein 
Vatter  haben  "will,  ich  solte  Graff  Paris  zu  einen  Mann 
haben,  nun  aber  weifs  er  selber  besser,  Herr  Pater, 
wemb  ich  zuegehore,  vnd  mit  pflicht  verbunden  bin. 

PATER.  (Ich  will  sie  ein  wenig  auf  die  prob  stellen.) 
Hort  mich  Julieta,  aufs  zweyen  ublen  mufs  man  dafs 
beste  erwehlen,  weilen  ihr  den  Romio  nicht  zu  theil, 
sondern  verbannet  wisset,  so  vollbringet  eurer  Eltern 
befelch,  vnd  nehmbt  den  Graff  Paris,  welcher  vor  ge- 
wifs  ein  wackherer  gaualier  ist. 

JULI.  Wie  Pater  seit  ihr  ein  geistlicher,  vnd  wolt 
mit  einem  solchen  Rath,  dafs  ich  die  Ehe  vnd  meine 
Ehr  befleckhen  soil?  Nein  nein,  Pater,  nein,  ehe  10 
mahl  gestorben  alfs  Romio  verlassen. 

PATER.  Anietzo  verstehe  ich  euer  bestandigkeit, 
Julieta  verzeihet  mir,  es  war  nur  meine  meinung,  euch 
auf  die  prob  zu  stellen,  weillen  ich  aber  euer  Hertz  vn- 
uerenderlich  gegen  Romio  sehe,  so  habe  ich  ein  werkh 
ersunnen,  wo  ihr  folgen  wollet,  euch  aufs  aller  gefahr 
zu  helffen,  damit  ihr  Romio  erlangen  moget. 

JULI.  Ach  Pater,  Vatter  vnd  Erretter  meines  le- 
bens,  wemb  solte  ich  mehr  gehorsamben  alfs  euch,  weil- 
len ich  alles  trosts  beraubet  bin,  vnd  mich  in  meinen 
Ellend  vnd  Schmertzen  nicht  mehr  zu  trosten  weifs. 

PATER.  So  wisset  Julieta,  das  es  hochnothig  euch 
auf  eine  Zeit  lang  zu  uerstellen,  dardurch  ihr  nicht  ge- 
zwungen  werdet  den  Graffen  Paris  zu  eheligen,  wisset 
dafs  ich  in  der  Medicin  sehr  wohl  erfahren,  darumb 
schmuckhet  vnd  ziehret  euch  auf  das  beste  alfs  ein 
brauth,  hernach  will  ich  euch  einen  Schlafftrunkh  be- 


recover,  that  we  may  rejoice  in  thy  wedding  day.   I  will 
now  leave  thee.  [Exit. 

CLOWN.    Nor  shall  I  stay.  [Exit. 

JULIET.  Good  bye,  father.  Ah,  miserable  Juliet, 
will  the  fate  of  my  unlucky  star  never  cease  to  torment 
me?  I  am  to  take  two  husbands:  one  is  banished,  the 
other  torments  me;  what  counsel?  My  wedding-day  is  at 
hand ;  I  love  Romeo  and  not  Count  Paris.  My  mind  is 
bewildered;  I  know  not  what  to  do.  Oh,  father,  I  never 
stood  in  greater  need  of  your  advice!  But  fortunately, 
there  he  is.  Welcome,  father. 


Enter  the  FRIAR. 

FRIAR.  Thank  you,  Juliet.  How  are  you?  You 
look  very  sad.  Has  anything  happened  to  you?  or  is  it 
about  Romeo? 

JULIET.  Ah,  my  father,  my  overwhelming  suffering 
drives  me  to  despair.  My  father  wants  me  to  take  Count 
Paris.  You  know  best  to  whom  I  belong,  to  whom  I 
am  in  duty  bound. 

FRIAR.  (Aside:  I  will  try  her  a  little.)  Listen  to  me, 
Juliet;  of  two  evils  one  ought  to  choose  the  smaller. 
As  Romeo  is  banished,  and  cannot  be  yours,  you  had 
better  perform  the  command  of  your  parents,  and  take 
Count  Paris,  who  is  certainly  a  gallant  cavalier. 

JULIET.  How  so,  my  father?  You,  a  minister,  want 
me  to  contaminate  my  wedlock  and  my  honour?  No, 
no,  father,  no!  sooner  die  a  hundred  times  than  give 
up  Romeo. 

FRIAR.  Now  I  perceive  your  constancy,  Juliet.  Par- 
don me,  it  was  but  my  intention  to  try  you.  But  now 
that  I  see  your  heart  is  unchanged  towards  Romeo,  I 
have  contrived  a  plan  to  help  you  out  of  all  danger,  and 
to  win  your  Romeo,  provided  you  will  follow  me. 

JULIET.  Ah,  father,  saviour  of  my  life!  to  whom 
should  I  pay  more  willing  obedience  than  to  you,  be- 
reaved, as  I  am,  of  every  comfort,  and  not  knowing 
where  to  seek  for  consolation  in  my  grief  and  misery ! 

FRIAR.  Know  then,  Juliet,  that  it  is  most  necessary 
you  should  dissemble  for  a  time,  to  elude  compulsion. 
Understand  that  I  am  versed  in  medicine.  Array  your- 
self in  bridal  attire.  After  that  I  will  prepare  a  potion 
which  will  make  you  appear  dead  for  a  certain  time, 
and  will  persuade  your  parents  to  have  you  deposited 


389 


TRAGEDY  OF  ROMEO  AND  JULIET. 


390 


reithen,  welcher  euch  ohne  schaden  auf  gewisse  Zeit 
todt  vorstellen  solle,  vnd  euere  Eltern  uberreden,  das 
sie  euch  in  dafs  Monument  legen  lassen,  das  wird  ein 
Vrsach  sein  dafs  beylager  zu  uerhindern,  indessen  aber 
will  ich  den  Romio  schreiben,  in  Eyl  verkleidter  weifs 
zu  kommen  euch  zu  entfuhren  vnd  also  von  alien  Kum- 
mer  zu  entledigen,  ist  difs  euer  meinung  auch  Julieta? 

JULI.  Ach  Schmertz,  mein  Vnglickh  ist  zu  grofs 
dafs  es  mich  hinwurfft  wo  es  will,  gleich  einen  ballen, 
wafs  braucht  es  weither  mein  Romio  ist  verbannt,  ich 
gezwungen  noch  einen  zu  nehmen,  ach  aber  eher  ster- 
ben  alfs  discs  gut  heifsen,  darumb  Pater  brauchet  giifft 
oder  Schlafftrunkh,  es  ist  mir  beydes  eins,  wan  ich  nur 
Romio  einmahl  sehen  kunte. 

PATER.  Sie  stelie  sich  zufriden  Julieta,  vnd  lasset 
cure  Schmertzen  bey  euch  nicht  iiber  Handt  nehmen, 
die  Hilff  ist  verhanden,  der  SchlafFtrunkh  kan  Euch  von 
alien  Ellend  vnd  Schmertzen  erledigen. 

JULI.  Wollan  es  sey  so,  euren  willen  zu  folgen  ver- 
fertiget  den  SchlafFtrunkh,  ich  bin  bereit  solchen  zu  neh- 
men, es  geschehe  gleich  zum  todt  oder  leben. 

PATER.  Nein  Julieta,  sie  entschlage  sich  solcher  ge- 
dankhen  vnd  der  Himmel  behiitte  sie  vor  weithern  Vn- 
glickh, ich  verhoffe  durch  discs  vorgeschlagene  Mittel, 
wird  sie  alien  Kummer  vnd  Hertzenleid  von  ihr  wenden. 

JULI.  Pater  auf  euer  Hilff  stehet  mein  Vertrawen, 
ich  gehe  euren  Befehl  zu  volbringen. 

PATER.  Wollan  so  gehe  ich  den  Schlafftrunkh  zu 
uerfertigen  vnd  alles  zu  ihren  besten  bereithen.  [abit. 

,  JULI. 

Der  Himmel  vnd  sein  Macht  geb  hiemit  seinen  Seegen, 
Dafs  aller  Vnglickhfssturm  damit  sich  moge  legen. 

SCENA  3TIA. 
FRAW.     AMMA.     PICKL  HARING. 

FRAW.    Amma ! 

AMMA.    Wafs  beliebt  ihr  gnaden? 

FRAW.  Saget  mir,  ist  alles  verfertiget  vnd  bereith 
zu  meiner  tochter  beylager? 

AMMA.  Ich  weifs  nicht  anders  gnadige  fraw,  alfs 
dafs  alles  bereith  vnd  fertig""tst. 

FRAW.  So  gehe  nach  meiner  Tochter  Zimmer  vnd 
frage  sie  ob  sie  geschmuckhet  vnd  geziehret  ist,  ihren 
breytigamb  zu  empfangen. 

AMMA.   Es  soil  geschehen  gnadige  Fraw. 

PICKL.  Alte  bleib  da,  Julieta  ligt  in  Schlaff,  vnd 
traumet  ihr  von  sachen,  die  Niemand  wissen  soil. 

AMMA.  Schaw  der  Narr  da,  hat  viel  zu  sagen,  ey 
das  man  nicht  thuet  was  der  Herr  haben  will,  Narren 


in  the  vault.  Thus  will  the  wedding  be  delayed.  Mean- 
time I  will  write  to  Romeo  to  speed  hither  in  disguise, 
and  to  carry  you  off  from  this  place  and  from  your 
grief.  Do  you  agree  to  this,  Juliet? 


JULIET.  Alas,  my  misfortune  is  so  great  that  it 
throws  me  hither  and  thither  like  a  ball.  There  is  no 
need  of  further  reflection :  my  Romeo  is  banished,  they 
are  driving  me  to  take  another  husband;  I  will  sooner 
die  than  give  in.  Therefore,  my  father,  let  us  use  poison 
or  the  potion  you  mention,  I  don't  care  which,  if  I  only 
see  my  Romeo  once  more. 

FRIAR.  Make  your  mind  easy,  Juliet,  and  don't  allow 
yourself  to  be  carried  away  by  your  grief.  There  is 
help  at  hand;  my  potion  can  save  you  from  all  your 
misery. 

JULIET.  Well,  be  it  so.  Prepare  the  potion,  I  am 
ready  to  take  it  for  life  or  for  death. 

FRIAR.  No,  Juliet,  discard  such  thoughts;  Heaven 
will  preserve  you  from  further  misfortune.  I  hope  that 
by  the  means  I  propose,  you  will  deliver  yourself  from 
your  troubles. 

JULIET.  All  my  confidence  is  in  your  help;  I  am 
going  to  do  your  bidding. 

FRIAR.  And  I  am  going  to  prepare  the  potion,  and 
to  arrange  everything  for  your  welfare.  \Exit. 

JULIET. 

That  Heaven  and  its  power  their  blessing  grant,  I  pray, 
This  tempest  of  misfortune  and  misery  to  lay! 

SCENE  III. 
LADY  CAPULET.    NURSE.    CLOWN. 

LADY.    Nurse ! 

NURSE.    What  is  Your  Grace's  pleasure? 

LADY.  Is  everything  prepared  and  ready  for  my 
daughter's  wedding? 

NURSE.  I  don't  know  otherwise,  my  lady,  but  that 
everything  is  quite  ready. 

LADY.  Then  go  to  my  daughter's  chamber,  and  ask 
her  if  she  is  dressed  to  receive  her  bridegroom. 

NURSE.    It  shall  be  done,  my  lady. 

CLOWN.  Stay,  old  girl;  Juliet  is  asleep,  and  dream- 
ing of  things  which  no  one  is  to  know. 

NURSE.  Look  at  the  fool !  He  has  got  much  to  say. 
Strange,  that  people  should  not  do  what  their  master 

25* 


391 


TRAGEDY  OF  ROMEO  AND  JULIET. 


392 


keren  in  die  Kuchel,  zu  sehen  ob  das  Essen  fertig,  vnd 
nicht  mit  Frawen  Zimmer  zu  reden. 

PICKL.  O  monstrum  horrendum,  du  ein  Frawen 
Zimmer,  o  altes  Rib.eisen  vnd  altes  waffelscheitt,  du  alte 
abgeschabene  ergotzlichkeit  der  lieb,  was  hast  du  mir 
zu  befehlen? 

FRAW.  Schweig  Pickl  Haring  vnd  zankhet  Euch 
nicht,  ein  Jedes  verrichte  was  ihme  befohlen. 

AMMA.    Gnadige  Fraw  der  Narr. 

PICKL.    Gnadige  Fraw  die  Narrin. 

AMMA.    Halts  maul  Holtzbockh. 

PICKL.    Halts  maul  alter  strohsackh. 

AMMA.    Du  bist  halt  ein  Thue  kein  gut. 

PICKL.    Vnd  du  auf  der  welt  nichts  nutz. 

AMMA.    O  du  sauff  aufs. 

PICKL.    O  du  alte  fledermaufs. 

FRAW.  Pfuy  schamet  euch  beyde,  in  gegenwarth 
meiner  solche  wordt  zu  brauchen. 

AMMA.    Gnadige  Fraw,  es  ist  ja  nicht  zu  leiden. 

PICKL.  Gnadige  Fraw,  die  alte  soil  mich  zufriden 
lassen. 

AMMA.  Du  werest  mir  nit  gut  genug  meine  Schuhe 
zu  butzen. 

PICKL.  Vnd  du  werst  mir  nicht  guet  genug  wo 
mein  ruckhgrad  ein  End  hat  mich  zu  kiissen. 

FRAW.  Pfuy  schamet  euch  beyde  vnd  vergesset 
nicht  den  respect  meiner  persohn,  gehet  Amma,  ver- 
richtet  was  ich  euch  befohlen. 

AMMA.    Ich  gehe  dero  Befehl  zu  uerrichten. 

[obit. 

FRAW.  Hore  Pickl  Haring,  du  bist  etwas  grob  wan 
du  mit  Frawenzimmer  redest. 

PICKL.  Was  grob  ist,  ist  auch  starkh,  ich  trauet 
mirs  noch  grober  zu  machen,  wan  ich  die  alte  Bockh- 
reiterin  nicht  wegen  Eurer  verschonete. 

Aufs  AMMA. 

AMMA.  Ach  gnadige  Fraw  was  Vnglickh!  Julieta 
ligt  in  ihrer  besten  Kleitung  aufsgestrecket  vnd  todt. 

PICKL.  Das  ist  erstunkhen  vnd  erlogen,  weil  sie 
aufsgestreckt  ligt,  so  muefs  ich  gehen  vnd  sehen  was 
ihr  schadt,  dan  ich  verstehe  mich  trofflich  auf  die  aufs- 
gestreckte  Krankheiten.  [abit. 

FRAW.  Der  Himmel  bewahre  mich,  Amma,  wafs 
fiir  ein  schrocken  hab  ich  eingenohmen. 

AMMA.  Ich  wolte  es  wahre  nicht  gn.  Fraw  wafs 
ich  gesagt,  aber  ich  wolt  mir  die  Nasen  abschneiden 
lassen  wan  Julieta  nicht  todt  ist,  dan  ich  verstehs  in 
keine  Kurtzweil  mit  den  Kleidern  in  Beth  zu  ligen. 


desires.  Fools  should  look  in  at  the  kitchen,  and  see  if 
dinner  be  ready,  not  converse  with  ladies. 

CLOWN.  O  monstrum  horrendum!  You  a  lady? 
you  old  grater,  you  old  wafer-iron,  you  worn-out  in- 
strument of  pleasure,  what  business  have  you  to  com- 
mand me? 

LADY.  Silence,  don't  quarrel;  each  of  you  do  what 
he  is  bidden  to  do. 

NURSE.    My  lady,  that  fool  of  a  fellow  — 

CLOWN.    My  lady,  that  fool  of  a  woman  — 

NURSE.    Hold  your  tongue,  you  wood-louse! 

CLOWN.    Hold  your  tongue,  old  pad  of  straw! 

NURSE.    You  are  a  ne'er-do-weel! 

CLOWN.    And  you  of  no  possible  use  in  the  world. 

NURSE.    You  fuddle-cap. 

CLOWN.    You  old  bat. 

LADY.  Fye,  you  ought  to  be  ashamed  to  use  words 
like  these  in  my  presence. 

NURSE.    My  lady,  it  is  not  to  be  borne. 

CLOWN.  My  lady,  why  does  not  the  old  hag  leave 
me  alone. 

NURSE.  I  should  not  hold  you  good  enough  to 
clean  my  shoes. 

CLOWN.  And  I  should  not  hold  you  good  enough 
to  kiss  me  where  my  spine  ends. 

LADY.  Fye,  do  not  forget  the  respect  due  to  my 
person.  Go,  nurse,  do  what  I  told  you. 

NURSE.    I  am  going  to  carry  out  your  orders. 

[Exit. 

LADY.  I  tell  thee,  clown,  thou  art  somewhat  rude 
when  talking  to  a  woman. 

CLOWN.  Rudeness  is  strength;  I  should  trust  my- 
self to  do  it  more  rudely  still,  if  I  did  not  spare  the 
old  goat-rider  for  your  sake. 

Re-enter  NURSE. 

NURSE.  My  lady,  what  a  disaster!  Juliet  lies  here 
dressed  out  in  her  best,  stretched  out,  and  dead. 

CLOWN.  You  lie  in  your  throat.  As  she  is  stretched 
out,  I  must  go  and  see  what  is  the  matter  with  her; 
I  thoroughly  understand  stretching  complaints.  [Exit. 

LADY.  Heaven  preserve  me!  Nurse,  how  you  did 
frighten  me! 

NURSE.  1  wish,  my  lady,  what  I  told  you  were  not 
true ;  but  I  will  have  my  nose  cut  off  if  Juliet  be  not 
dead.  I  do  not  take  it  for  a  pastime  to  lie  in  bed  all 
dressed. 


393 


TRAGEDY  OF  ROMEO  AND  JULIET. 


394 


PICKL  HARING.     v 

PICKL.  O  Ellend,  o  noth,  o  barmbhertzigkeit,  o 
mausericordia,  Julieta  hat  sich  zu  todt  gestorben,  o  er- 
schrockliche  bost  Zeitung,  sie  ligt  aufs  gestreckt  mit 
Handt  vndt  Fiiefsen,  vnd  ist  so  steuff  alfs  ein  gefrohr- 
ner  Stockhfisch. 

FRAW.  Wie  wafs  sagst  du,  Pickl  Haring,  Julieta 
todt?. 

PICKL.  Das  weifs  ich  nicht  ob  sie  todt  ist,  aber  sie 
ligt  vnd  ruhrt  sich  nicht,  vnd  ihre  Seel  ist  schon  in  den 
24  Elementen. 

FRAW.  O  Jammer,  o  Ellend,  ist  Julieta  todt  so  hat 
mein  Frewd  ein  End,  ach  armer  graff  Paris,  wafs  wird 
er  dar  zue  sagen,  aber  hier  kompt  mein  Herr,  ach  Ju- 
lieta, armseelige  Julieta. 

CAPULET.    PATER. 

CAPOL.  Wie  ich  gesagt,  Herr  Pater,  darbey  soil  es 
verbleiben,  den  wer  eine  sach  vornimbt,  soil  es  beschlei- 
nig  vollfiihren. 

PATER.  Nach  dero  Befelch,  Herr  Capolet,  soil  alles 
mit  hochstem  Fleifs  verrichtet  werden. 

CAPOL.  Aber  wafs  hat  difs  zu  bedeuten,  dafs  meine 
gemahlin  die  thranen  abthrukhnet,  wie  ists  liebste  ge- 
mahlin?  was  vor  eine  traurigkeit  presset  thranen  von 
Euren  augen  vnd  zwinget  Euch  zum  weinen. 

FRAW.  Ach  liebster  Herr  vnd  Gemahl,  Vnglickh 
fiber  Vnglickh. 

CAPOL.  Der  Himmel  bewahre  vnfs  alle  vor  Vn- 
glickh, wafs  soil  discs  bedeuten? 

PICKL.  Herr,  der  Marder  ist  ins  Tauben  Haufs  kum- 
men  vnd  hat  2  junge  Tauben  zu  todt  gebissen,  ob  ers 
gar  gefressen,  das  weifs  ich  nicht,  vnd  dafs  ist  ja  vn- 
glickhs  genug? 

FRAW.  Ach  liebster  Herr  vnd  Gemahl,  Julieta  ist 
todt. 

PICKL.  1st  dan  das  so  grofse  sach,  das  ein  Mahl 
ein  Mensch  stirbt. 

CAPOL.  Wie?  Wafs?  Julieta  todt?  Das  seye  der 
Himmel  vor. 

FRAW.  Es  ist  nicht  anderst,  dan  die  Amma  vnd 
Pickl  Haring  haben  sie  beyde  todt  gesehen. 

CAPOL.   Ist  es  wahr,  Pickl  Haring? 

PICKL.  Ich  vermeine  wohl,  es  wird  wahr  sein,  dan 
sie  ligt  vnd  riihrt  sich  nicht,  hort  vnd  sieht  nicht,  vnd 
ligt  aufsgestreckt  wie  ein  Holtz  Klotz,  weither  brauchts 
nichts  mehr,  alfs  dafs  die  Schueler  kommen,  tragen  sie 
hinwekh  vnd  singen :  mit  frid  vnd  frewd  fahr  ich  dahin, 
vnd  reifse  meine  strafsen. 


CLOWN. 

CLOWN.  Oh  misery,  oh  distress,  oh  pity,  o  mause-» 
ricordia!  Juliet  is  dead.  Oh  dreadful  news!  There  she 
lies,  hands  and  feet  stretched  out,  and  as  stiff  as  a 
frozen  stockfish. 

LADY.   What  say  you,  fool,  Juliet  dead? 

CLOWN.  Whether  dead  or  not,  I  don't  know.  But 
the  fact  is  she  lies  and  does  not  budge,  and  her  soul  is 
already  in  the  twenty-four  elements. 

LADY.  Oh  woe,  oh  misery!  If  Juliet  is  dead,  there 
is  an  end  to  joy  for  me.  Poor  Count  Paris,  what  will 
he  say  to  it.  But  there  comes  my  Lord.  Ah,  Juliet, 
poor  Juliet  1 

CAPULET.    FRIAR. 

CAPULET.  As  I  said  before,  father,  so  shall  it  be 
done;  for  whoever  begins  a  thing  ought  to  carry  it  out. 

FRIAR.  Pursuant  to  your  orders,  my  lord,  everything 
shall  be  executed  with  the  greatest  promptness. 

CAPULET.  But  what  does  it  mean  that  my  wife  is 
wiping  her  tears?  What  is  the  matter,  dearest  wife? 
What  sorrow  brings  the  tears  into  your  eyes,  and  makes 
you  weep? 

LADY.  Dearest  lord  and  husband,  misery  upon  mi- 
sery! 

CAPULET.  Heaven  preserve  us  all!  what  does  this 
mean? 

CLOWN.  The  marten  has  broken  into  the  dove-cote 
and  killed  two  young  pigeons;  I  do  not  know  whether 
he  has  eaten  them  too.  Is  that  not  misfortune  enough? 

LADY.   Dearest  lord  and  husband,  Juliet  is  dead. 

CLOWN.  Is  it  such  a  great  thing  that  some  one 
dies? 

CAPULET.   What?   Juliet  dead?   Heaven  forbid! 

LADY.  It  is  so  indeed;  both  nurse  and  jester  have 
seen  her  dead. 

CAPULET.    Is  it  true,  clown? 

CLOWN.  I  am  indeed  of  opinion  it  is  true.  For  she 
is  lying,  and  does  not  move,  nor  hear,  nor  see,  and  is 
stretched  out  like  a  log.  There  is  nothing  wanting  but 
that  the  students  come,  carry  her  away,  and  sing:  With 
peace  and  joy  I  hie  from  hence,  and  travel  on  my  way. 


395 


TRAGEDY  OF  ROMEO  AND  JULIET. 


396 


FRAW.  Ach  wehe,  es  ist  nur  all  zu  wahr,  helfFet, 
ein  ohnmacht  uberfallet  mich. 

CAPUL.  Helffet  meiner  gemahlin  vnd  bringet  sie 
von  hier  in  ihr  Zimmer  sie  zu  laben  [wurd  weckh  ge- 
trageri].  Ach  ist  Julieta  todt?  ach  ich  armer  mann,  so 
ist  mein  trost  vnd  frewd  gestorben.  Ach  Paris,  Paris, 
dein  lieben  ist  vmbsonst. 

PATER.  Mein  Herr  Capolet,  er  betriibe  sich  nicht 
so  sehr,  wans  des  Himmels  will,  dessen  Befelch  mufs 
man  vollziehen. 

CAPOL.  Ach  Pater,  der  Fall  ist  zu  grofs,  dafs  an- 
gesezte  Beylager  ist  verhanden,  wafs  wird  Graff  Paris 
sagen,  wan  er  erfahren,  das  seine  brauth  gestorben,  sein 
lieben  vmbsonst,  anstatt  des  brauth  Krantz  soil  er  todte 
Cypressen  auf  ihr  grab  strewen,  ach  trawer,  Kummer 
vnd  Hertzensangst. 

PATER.  Mein  Herr  Capulet,  wie  schmertzlich  es 
ihme  von  Hertzen  geht,  ist  leicht  zu  glauben,  aber  aufs 
2  libel  muefs  vnd  soil  man  das  beste  envehlen,  weillen 
es  geschehen,  wer  kan  es  endern.  Es  wahre  mein  Rath, 
man  lasse  es  den  Graff  Paris  wissen,  Julieta  aber  in 
ihr  Monument  legen,  vnd  anstatt  des  Frewden  fest  ein 
trawrige  leichbegangnufs  halten,  seine  vnd  dero  Gemah- 
lin bekiimmernufs  wolle  der  Herr  den  himlischen  willen 
aufopffern. 

CAPOL.  Ach  Pater,  weillen  es  nicht  anderst  sein 
kan,  so  geschehe  des  Himmels  will,  last  Euch  angelegen 
sein  auf  dafs  Julieta  in  dafs  Monument  geleget  werde, 
vnd  das  man  ihr  die  lezte  Ehr  erzeigen  kan,  ich  aber 
gehe  den  Graffen  solches  schriifftlich  zu  berichten,  wo- 
fern  mich  nicht  auch  der  Kummer  vnd  Hertzenleid  in 
daJjs  grab  leget.  [abit. 

PATER.  Es  soil  alles  verrichtet  werden  Gn.  Herr, 
wollan  dan  ich  Romio  geschrieben  in  hSchster  Eyl  zu 
kommen,  ich  hoffe  der  anfang  soil  noch  einen  glicklichen 
aufsgang  erreichen,  damit  Julieta  nicht  zwey  mahl  ver- 
heyrathet  werde.  [abit. 

[Traurige  Music,  Julieta  ligt  in  Monument] 
PARIS  mit  ein  Korb  voll  Blumen  vnd  JUNG. 
PARIS.  Hier  ist  der  orth  vnd  platz,  wo  dafs  Mo- 
nument aufgericht  vnd  Julieta  begraben  ligt,  auf  Paris, 
gehe  Julieta  zu  besuechen,  erzeige  ihr  die  letzte  Ehr, 
weil  du  in  ihren  leben  nicht  gewiirdiget  worden  sie  zu 
bedienen,  o  grausamber  vnd  tyrannischer  todt,  wie  bald 
hast  du  mein  gedachte  frewd  in  dafs  gro'ste  leyd  ver- 
andert,  wer  hette  jemahls  gedacht,  dafs  du,  liebste  Ju- 
lieta, vor  Genussung  meiner  getrewen  lieb  soltest  dei- 
nen  Geist  aufgeben,  o  meineidiges  glickh!  der  ich  ver- 


LADY.  Ah  woe,  it  is  but  too  true !  Help,  I  am  going 
to  faint. 

CAPULET.  Assist  my  wife,  bring  her  to  her  cham- 
ber, give  her  some  cordial.  [They  carry  her  out.~\  Ju- 
liet dead?  Alas,  wretched  man  that  I  am!  With  her 
mv  Jov  and  comfort  are  dead  too.  Ah  Paris,  Paris,  thy 
love  is  in  vain. 

FRIAR.  My  lord,  do  not  be  so  afflicted.  What  God 
ordains  must  be  fulfilled. 

CAPULET.  Ah,  my  father,  the  case  is  too  hard.  The 
wedding  is  fixed.  What  will  Count  Paris  say  on  learn- 
ing that  his  bride  is  dead,  his  love  in  vain,  that  instead 
of  the  bridal  wreath  he  is  to  strew  cypresses  on  her 
tomb?  Oh  sadness,  grief,  and  anguish! 

FRIAR.  Sir,  I  can  readily  believe  how  this  cuts  you 
to  the  heart.  But  of  two  evils  one  ought  always  to  choose 
the  least.  The  thing  has  happened;  who  can  alter  it? 
I  should  advise  you  to  inform  Count  Paris,  have  Juliet 
deposited  in  her  monument,  and  hold  a  mournful  funeral 
instead  of  a  joyous  /east.  Your  and  your  lady's  sorrow, 
mylord,  must  be  sacrificed  to  the  will  of  heaven. 


CAPULET.  As  there  is  no  help  the  will  of  Heaven 
be  done.  Make  it  your  business  to  have  Juliet  depo- 
sited in  the  monument,  and  everything  prepared  to  show 
her  the  last  honours.  I  will  go  and  write  to  the  Count, 
unless  sorrow  sends  me  too  to  the  grave. 

[Exit. 

FRIAR.  Everything  shall  be  done,  my  gracious  lord. 
—  And  now  I  am  off  to  write  to  Romeo  to  hurry  hither. 
I  hope  what  is  begun  will  end  well,  and  Juliet  not  be 
married  twice. 

[Exit. 

[Doleful  music.    Juliet  is  seen  lying  in  the  vault.] 
PARIS,  with  a  basket  of  flowers.     PAGE. 

PARIS.  This  is  the  place  where  the  monument  is 
erected,  and  where  Juliet  is  buried.  Now  Paris  go  and 
visit  her,  and  show  her  the  last  honours  as  thou  wast  not 
found  worthy  of  serving  her  in  life.  Cruel,  tyrant  death, 
how  quickly  hast  thou  changed  my  anticipated  joys  to  the 
deepest  grief!  Who  would  have  ever  imagined  that  you. 
beloved  Juliet,  wouldst  depart  from  this  world  before 
enjoying  my  true  love.  Perjured  fate!  Having  dreamt  of 
all  happiness,  I  come  to  see  this  miserable  end  of  my 


397 


TRAGEDY  OF  ROMEO  AND  JULIET. 


398 


meint  alle  glickhseeligkeiten  zu  geniissen,  so  sehe  ich 
dafs  erbarmliche  Endt  meiner  Liebe!  1st  difs  kostliche 
Hochzeitfest  meiner  frewde,  ist  difs  der  Lust  Saal,  darin 
ich  mich  soil  ergotzen?  wo  bleibt  der  wohl  gezierte 
brauth  Crantz?  wo  die  Stein  vnd  perlen?  wo  der  Klei- 
der  Pracht?  Ach  ach,  es  ist  leider  nichts  von  nothen, 
alfs  dafs  schwahre  SeufFzen  vnd  Clagen.  Komme  hier, 
Diener,  reiche  mir  die  Blumen,  vnd  gehe  nicht  zu  weith, 
damit  so  Jemand  kompt  mir  ein  Zeichen  gebest. 

JUNG.   Es  soil  geschehen,  gnadiger  Herr. 

PARIS.  Ach  vnbarmbhertziges  Glickh!  warumb  hast 
du  mir  das  Jenige  entzogen,  welches  mein  Hertz  so 
inniglich  geliebet?  Wohl,  liebste  Julieta,  also  will  ich 
alle  tag  dir  zu  Ehren  deinen  leichnamb  mit  Blumen 
ziehren.  \_Strdut  die  blumen  auff  sie. 

ROMIO  mit  DIENER. 

ROMIO.  Hier  bin  ich  angelangt,  weil  mir  der  Pater 
geschriben,  ich  soil  so  schnell  alfs  es  moglich  alhier  an- 
langen,  aber  ey  lafs,  von  alien  Vnglick  ubertroffen, 
weillen  Julieta  todt,  o  betrugliche  Hoffnung,  die  du  die 
Menschen  zu  lockhen  weist,  vnd  versprichst  sie  nimmer 
zu  uerlassen,  wo  ist  Julieta  hinkommen?  o  grausambe 
Scheidung!  Die  vollkombneste  Ehe,  so  jemahls  gewe- 
sen.  Julieta  ist  todt !  vnd  alle  ihre  Schonheiten,  Hold- 
seeligkeiten,  Siifs  vnd  liebligkeiten,  alle  ihr  Zucht  vnd 
Keuschheit  seint  zugleich  mit  ihr  gestorben.  Julieta 
todt?  vnd  ich  schame  mich  nicht,  langer  ein  vnglickh- 
seeKges  leben  auf  Erden  zu  fiihren?  Juljeta  todt!  o 
todtliche  wordt,  weil  in  disen  wenigen  wordten  all  mein 
vnglickh,  Jammer  vnd  noth  begriffen  vnd  mit  der  Zeit 
auch  fiber  den  armen  Romio  sollen  gesprochen  werden, 
so  verstehe  mich,  Diener,  gib  her  die  fackl  vndt  ver- 
lasse  mich,  dan  ich  will  dafs  Monument  besehen,  vnd 
den  Ehering  von  Julieta  nehmen. 

DIENER.  Ach  gnadiger  Herr,  ich  will  hier  verblei- 
ben,  vielleicht  haben  Sie  meiner  von  nothen. 

ROMIO.  Nein  verlasse  mich,  envarthe  meiner  bey 
dem  Pater  vnd  zeige  ihm  meine  Ankunfft  an,  dan  ich 
will  alhier  Julieta  beehren. 

DIENER.    So  gehe  ich  auf  Ihr  Gn.  Befehl.     [abit. 
[Defs  Paris  Jung  pfei/t. 

PARIS.  Mein  Jung  gibt  mir  dafs  Zeichen,  das  Je- 
mand muefs  vorhanden  sein,  wer  soil  sich  wohl  vnter- 
stehen,  vmb  dise  Zeit  in  dafs  Monument  zu  gehen?  ich 
sehe  ein  fackl,  ich  will  mich  etwas  auf  die  Seyth  be- 
geben,  vnd  sehen  was  der  anfang  sey. 

[Romio  geht  zum  Monument. 

Holla,  weiche  zuruckh,  Vermessener,  wer  gibt  dir 
Befehl,  disen  orth  zu  betretten? 


love.  Is  this  the  delicious  marriage-feast  of  my  joy,  this 
the  hall  of  my  revel?  Where  is  the  richly  ornamented 
bridal  wreath?  where  are  the  jewels  and  the  pearls?  where 
the  splendid  dresses  ?  Alas,  nothing  is  required  but  heavy 
sighing  and  lamenting.  Come  here,  boy,  hand  me  the 
flowers  and  stand  aloof,  but  do  not  go  too  far,  and  give 
me  a  sign  as  soon  as  any  one  approaches. 


PAGE.   I  will  do  as  you  bid,  my  lord. 

PARIS.  Ah  merciless  fate!  why  hast  thou  robbed 
me  of  what  my  heart  loved  so  tenderly!  Dearest  Ju- 
liet, thus  will  I  daily  strew  flowers  on  thy  body  in  thy 
honour. 

[Scatters  the  flowers  over  her. 

ROMEO.     SERVANT. 

ROMEO.  Here  I  am,  because  the  friar  wrote  to  me 
to  come  as  quickly  as  possible,  but  alas,  overwhelmed 
by  misfortune,  for  Juliet  is  dead.  Oh  deceitful  hope !  that 
allures  man  and  promises  never  to  fail  him!  Where  is 
Juliet?  Oh  cruel  separation!  The  most  perfect  marriage 
that  ever  was !  Juliet  dead !  and  with  her  all  her  beauty, 
charm,  sweetness,  and  loveliness,  all  her  modesty  and 
chastity  are  dead  too!  Juliet  dead?  And  I  am  not 
ashamed  to  protract  a  miserable  existence!  Juliet  dead? 
Oh  deadly  word,  comprising  within  itself  all  my  misery, 
and  destined  to  be  pronounced  one  day  also  over  poor 
Romeo!  Heed  what  I  say,  boy!  Give  me  the  torch  and 
leave  me.  I  am  going  to  visit  the  monument,  and  take 
the  wedding-ring  from  Juliet.  f- 


SERVANT.  Sir,  I  had  better  stay;  perhaps  you  may 
need  me. 

ROMEO.  No,  leave  me  and  wait  for  me  at  the  friar's. 
Tell  him  I  have  arrived,  while  I  remain  here  to  honour 
Juliet. 

SERVANT.   I  go  at  your  command.  [Exit. 

[The  boy  of  Paris  whistles. 

PARIS.  The  boy  gives  me  warning  that  something 
is  approaching.  Who  dares  enter  the  vault  at  this 
time?  1  see  a  torch;  I  will  retire  a  little,  and  watch 
what  happens. 

[Romeo  goes  towards  the  monument. 
Hollah,  keep  off,   audacious  man !   who   gave   thee 
authority  to  enter  this  place? 


399 


TRAGEDY  OF  ROMEO  AND  JULIET. 


400 


ROMIO.  Freundt,  wer  ihr  seit,  last  mich  zufriden, 
vnd  saget  das  ein  verzweifelter  Mensch  Euch  Euer  le- 
ben  geschenkhet. 

PARIS.  Ich  sage  weiche,  verlasse  disen  orth  oder 
gib  dich  gefangen. 

ROMIO.  Diser  orth  gebiihrt  mir  mit  recht  zu  be- 
tretten,  vnd  weil  du  die  Verhindernufs  bist  mich  zu  uer- 
hinderen,  so  nihme  difs  vnd  fahre  nach  der  Hollen  zue. 

[Ersticht  Paris. 

PARIS.    Ach  Verrather,  was  thuest  du? 
Ach  wehe  ich  sterbe  hier, 
Julieta,  liebste  brauth, 
Jezt  komm  ich  auch  zu  dir, 
Weil  du  mir  warst  vertraut.  [Stirbt. 

ROMIO.  Ich  mufs  gleichwohl  sehen  wer  es  ist  — 
ach  Himmel  es  ist  der  vnglickseelige  Graff  Paris,  ich 
glaube  dafs  diser  Corper  auch  von  alien  Vnglickh  zu- 
sammen  gemacht,  aber  o  ihr  meine  vnglickhseelige  au- 
gen,  sehet  hier  ein  rechtes  Todten  Spectacul,  o  Julieta, 
werther  Schatz,  viel  lieber  hette  ich  den  todt  leiden 
sollen,  alfs  dich  todt  vor  mir  sehen.  Ach  bifs  in  todt 
geliebste  Julieta,  weil  ich  keinen  trost  mehr  weifs  vnd 
deine  Seel  schon  nach  dem  Himmel  geflogen,  ich  nur 
mein  Vnglickh  alhier  beweinen  soil,- ach  nein  ich  senne 
mich  nach  dir,  liebste  Seele,  ey  lafs,  dein  verblichener 
leichnamb  ligt  nunmehro  ohne  gehor,  wordt  vnd  reden, 
ach  warumb  verlast  du  mich  mitten  in  solchen  Ellend, 
o  wie  komb  ich  mir  selbsten  so  vngh'ckseelig  vor,  vnd 
wafs?  Julieta  ist  todt  vnd  ich  soil  noch  leben?  Nein, 
nein,  Romio,  nein!  Nimb  den  lezten  Abschids  Kufs  von 
Julieta  vnd  bereitte  dich  zum  sterben.  Komme,  mein 
gewohr,  durchdringe  mein  abgemattetes  Hertz  vnd  bringe 
mich  zu  meiner  Julieta. 

Himmel,  verzeihe  mir, 

Wafs  ich  hier  hab  gethan. 

Ich  sterbe  willig  gahr 

Als  Julieta  Mann.  [Stirbt. 

Music.     Julieta  erwacht  im  Monument. 

JULI.  O  ihr  Gotter,  was  ist  das?  wo  befindt  ich 
mich?  in  einen  todten  Sarg  oder  todten  Gefangnufs. 
Wie  muefs  das  zuegehen,  es  brennen  liechter  alfs  ob 
man  mich  begraben  hette,  disc  anordtnung  ist  gewifs 
von  Pater  gestellet,  dardurch  zu  glauben,  ich  seye  ge- 
storben,  der  Schlafftrunkh  hat  seine  wiirkhung  gethan, 
darumb  muefs  ich  sehen,  das  ich  den  Pater  antreffe  vnd 
wafs  mein  wunder  Hochzeit  noch  vor  ein  Ende  gewiin- 
nen  werde.  Aber  ihr  gotter  bewahret  mich,  wafs  ligen 
hier  todter  leuth?  Julieta,  fafs  ein  Hertz  vnd  sehe  wer 


ROMEO.  Friend,  whoever  you  are,  leave  me  alone, 
and  say,  that  a  desperate  man  spared  your  life. 

PARIS.  I  say  to  thee,  give  way,  leave  this  spot  or 
give  thyself  up. 

ROMEO.  It  belongs  to  me  by  right  to  tread  this 
spot:  and  since  you  interfere  take  this  and  go  to  hell. 

[Stabs  him. 

PARIS.   Oh  traitor,  what  hast  thou  done? 
Alas  I'm  dying  here! 
Now  I  too,  Juliet,  come  to  thee, 
To  thee,  my  bride  so  dear, 
For  thou  belong'st  to  me.  [He  dies. 

ROMEO.  However  I  must  see  who  it  is  —  good 
Heavens,  it  is  the  unfortunate  Paris.  I  think,  this  body 
too  was  made  up  of  misfortune.  What  a  spectacle  of 
death  are  my  hapless  eyes  doomed  to  see!  Juliet,  thou 
treasure  of  my  life,  far  sooner  would  I  have  died  myself 
than  see  thee  a  corpse.  Ah,  Juliet,  thou  most  loved  one 
till  death!  for  I  know  no  consolation  more,  and  thy 
soul  has  flown  up  to  heaven.  I  must  bewail  my  misery 
here  alone.  Ah  no;  I  yearn  for  thee,  dearest  soul.  Alas, 
thy  pale  corpse  lies  now  for  evermore  without  hearing, 
word,  or  speech!  Why  dost  thou  leave  me  in  the  midst 
of  so  much  misery?  How  wretched  do  I  appear  to 
myself!  What?  Juliet  dead,  and  I  shall  still  live?  No, 
no,  Romeo,  no!  Take  Juliet's  last  paring  kiss,  and 
prepare  to  die.  Out  my  trusty  weapon,  pierce  my  weary 
heart,  and  bring  me  to  my  Juliet. 

Mercy  for  what  I  did 

In  heaven's  eye! 

Husband  of  Juliet 

Willing  I  die.  [He  dies. 


Music.     Juliet  wakes. 

-  JULIET.  Oh  ye  gods,  what  is  this?  Where  am  I? 
Is  it  a  coffin  or  a  charnel-house?  How  could  this 
happen?  There  are  tapers  as  if  they  had  buried  me. 
Certainly  this  is  the  friar's  contrivance  to  make  people 
believe  I  am  dead.  That  potion  did  its  work  well.  I 
must  try  to  see  the  friar,  and  find  out  what  is  to  be 
the  end  of  this  wondrous  wedding.  But  ye  gods  preserve 
me !  what  dead  men  are  lying  here  ?  Juliet,  take  heart, 
see  who  they  are;  no  greater  evil  can  befall  thee  than 
thou  art  accustomed  to  bear. 


4U1 


TRAGEDY  OF  ROMEO  AND  JULIET. 


402 


es  ist,   dan  es  kan  dir  kein  vnglickh  begegnen,   das  du 
nicht  gewahnet  bist  aufszustehen. 

\_Nimbt  ein  liecht  geht  zu  Paris. 
HilfF  Himmel,  hilff,  wafs  ist  dafs  ?  ist  das  nicht  Graff 
Paris  ?  Ja  er  ist  es,  ach  er  hat  sich  gewifs  ermord  vmb 
meinetwillen,  weillen  seine  muethmafsung  gewesen,  ich 
sey  gestorben,  ach  armer  liebhaber  ich  beklage  deinen 
todt  mit  Seufftzen,  weil  du  vmb  meinetwillen  gestorben 
—  aber  wafs  ligt  hier  vor  einer  —  ach  gerechter  Him- 
mel bewahre  mich,  wafs  sehen  meine  Augen?  ach  ihr 
goiter,  es  ist  Romio  vnd  liget  auch  ermordet,  ach  pein, 
Martter,  angst  vnd  qual,  wie  muefs  discs  zuegehen,  ich 
weifs  kein  andere  aufslegung  alfs  dafs  sie  sich  beyde 
vmb  meinet  willen  geschlagen  vnd  todt  verbliben,  ach 
Romio  bist  du  gestorben?  so  muefs  ich  dir  alfs  meinen 
Mann  billich  folgen. 

Ach  Vatter,  Muetter,  Freundt, 

Ich  nehmb  von  Euch  Valet, 

Ich  sterbe  voller  Schmertz, 

Ihr  wiist  nicht  wie  mirs  geht, 

Ach  Romio,  mein  Schatz! 

So  bist  du  nun  so  g'storben, 

Du  hast  durch  deinen  todt 

Mir  auch  mein  todt  erworben. 

Nimb  hin,  o  Jupiter,  [stost 

Mein  Seel  von  disen  leib, 

Damit  ich  nicht  alhier 

In  stetten  Jammer  bleib.  [stirbt. 

Au/s  PATER. 

PATER.  Nunmehro  ist  es  Zeit,  dafs  ich  mich  in  das 
Monoment  verfuge,  dan  der  schlafftrunkh  wird  seine 
wiirckung  verrichtet  haben,  wan  Julieta  wider  erwacht, 
dafs  ich  sie  aufs  dem  Monoment  fiihre  vndt  errette,  da- 
mit  sie  heimlich  mit  Rumio,  ihren  Eheman,  entvveichen 
kan. 

[Gehet  gegen  den  Monoment. 

Aber  gerechter  Himmel,  wafs  ligt  hier  auf  der  Er- 
dten,  todte  Leichnam?  Ach  weh,  ich  sehe  Julieta  todt, 
Rumio  entleibt,  Paris  in  seinen  Bluth  ligen,  ach  Frete- 
rey,  Freterey. 

Aufs  FURST,  CAPULET  vnd  PATER. 

JUNG.  Es  ist  nicht  anderst,  gnadigster  Fiirst  vnd 
Herr,  wie  ich  berichtet,  so  wird  sich  alles  fiindten. 

FURST.  Holla!  Wafs  sehen  wir,  wafs  macht  der 
Pater  in  dem  Monoment? 

PATER.  Ach  gnad,  gnadigster  Fiirst  vndt  Herr, 
gnadt. 

CAPULET.   Wie  Pater,   wafs  bittet  ihr  vmb  Gnadt? 


[Takes  a  candle,  and  approaches  Paris. 
Help,  Heaven,  help!  what  is  this?  Is  this  not  Count 
Paris  ?  Yes,  it  is  he.  No  doubt,  he  has  destroyed  him- 
self and  for  my  sake,  thinking  me  dead.  Poor  lover,  I 
bewail  thy  death,  because  thou  hast  died  for  my  sake. 
But  there  is  another.  Ah  just  Heaven  defend  me!  What 
do  my  eyes  behold?  Ah  ye  gods,  it  is  Romeo,  and  he 
also  lies  here,  murdered!  Oh  torment,  fear,  and  anguish! 
How  could  this  happen?  No  other  solution  do  I  know 
than  that  they  fought  on  my  account,  and  both  have 
fallen!  Romeo,  art  thou  dead?  —  Then  it  is  right  that 
I  follow  thee  as  my  husband. 


Ah  father,  mother,  friends! 

I  bid  you  here  adieu. 

1  die  oppressed  with  grief; 

My  state  ye  little  knew. 

Ah  Romeo,  my  love! 

As  now  thy  spirit's  flown, 

Thy  death  has  been  the  means 

Of  bringing  me  my  own. 

Take  from  this  frame,  I  pray, 

O  Jove,  my  soul  again,         [Stabs 

That  I  may  not  alway 

In  endless  woe  remain ! 


herself 
[Dies. 


Enter  FRIAR. 

FRIAR.  The  time  has  arrived  to  visit  the  monument. 
The  potion  will  have  had  its  effect.  When  Juliet  awakes 
I  must  lead  her  from  here  to  some  safe  place,  whence 
she  may  fly  with  her  husband  Romeo. 

[Approaches  the  monument. 

But,  gracious  Heaven,  what  is  this  lying  here  on 
the  ground?  Dead  bodies!  Alas,  I  see  Juliet  dead,  Ro- 
meo slain,  Paris  weltering  in  his  blood!  O  treachery, 
treachery ! 

PRINCE.     CAPULET.     FRIAR. 

PAGE.  It  is  exactly,  my  gracious  Prince  and  Lord,  as 
I  have  said.  You  will  find  everything  as  I  told  you. 

PRINCE.  Hollah!  What  do  I  see?  What  is  the  friar 
about  in  the  monument? 

FRIAR.   Most  gracious  Prince,  mercy! 

CAPULET.   What,  friar,  are  you  begging  for  mercy? 

26 


403 


TRAGEDY  OF  ROMEO  AND  JULIET. 


404 


Habt  ihr  Wisenschafft  vmb  dise  mord,  oder  selbsten  in- 
teressirt,  saget,  redt  die  wahrheit,  damit  \vir  aufs  disen 
Irrthumb  kommen. 

PATER.  Ach  gnadigster  Fiirst  vndt  Herr,  wie  auch 
Herr  Capulet,  mir  als  einen  geistlichen  gebiihret  nicht 
zu  ligen  oder  mit  der  Vnwahrheit  vmbzugehen. 

FURST.  Wer  mit  der  Wahrheit  handlet,  hat  sich 
keiner  straff  zu  befurchten,  wir  begehren  nur  zu  wissen, 
wafs  Ewere  Verrichtung  vnd  wafs  ihr  vmb  dise  Zeit  in 
den  Monoment  zu  thun  habet. 

PATER.  So  wissen  Sie  dan,  gnadigster  Fiirst  vndt 
Herr,  wie  auch  Herr  Graff  Capulet,  dafs  Rumio,  des 
Graffen  Mundige  leiblicher  Sohn,  sterblich  sich  in  Julieta, 
Ewere  tochter,  verliebt,  wie  auch  nicht  weniger  die  Ju- 
lieta in  Rumio,  vnd  eben  damals  als  Herr  Capulet  dafs 
pancket  gehalten,  vndt  Rumio  mit  Julieta  getanzet  hat, 
die  Liebe  bey  ihnen  beyden  der  massen  zu  genohmen, 
dafs  sie  zu  mir  kommen,  vndt  vorgaben,  wan  ich  sie 
nicht  in  geheimb  copuliren  wolle,  wollen  sie  ihre  er- 
hizte  Liebe  ohne  Ehestandt  vollfiihren.  Ich  truge  ihnen 
vor  die  gefahr,  darinn  sie  sich  stiirzen  wurden,  aber 
mein  Vermahnen  war  vmbsonst,  endlichen  wolte  mir  als 
einen  Prister  gebiihren  aus  zweyen  Ubeln  das  beste  zu 
erwehlen,  vndt  hielte  den  Ehestandt  vor  billicher  als  die 
vnverheyrate  Liebe,  gab  sie  zusammen:  Aufs  diser 
Liebe  ist  leyder  dafs  erbarmliche  Vnglickh  erwachsen. 

CAPULET.  Pater,  Ewere  Meinung  ist  nicht  in  Bosen 
geschehen,  aber  leyder  ubel  ausgeschlagen,  indeme  Nie- 
mandt  nichts  von  diser  verborgenen  Liebe  gewust. 

PATER.  Gnadiger  Herr,  dafs  ich  dises  gethan  ist 
geschehen,  weillen  ich  wuste  die  grosse  Feindschafft  bey- 
der  Hauser,  nemlichen  Mundige  vnd  Capulet,  dafs  der 
Himmel  dermaleines  durch  solche  Verbiindnufs  der  Ehe 
des  Rumio  vndt  Julieta  mochte  zertrennt[?],  vnd  die  Feind- 
schafft in  ewige  Freindschafft  verkheret  werden,  weillen 
es  aber  leyder  anderst  ausgeschlagen,  bitte  ich  mich  vor 
entschuldigt  zu  halten. 

FURST.  Pater,  die  Faller  der  Menschen  seindt  wun- 
derbahr,  wie  leicht  die  Jugend  genaygt  zu  fellen,  ist 
weltkiindig,  darumb  haben  die  faller  Rumio,  Paris  vnd 
Julieta  ins  grab  gelegt,  Herr  Graff  Capulet,  was  hier 
geschehen,  ist  nicht  mehr  zu  endern,  er  lege  ab  seine 
Schmertzen  vnd  denckhe: 

Was  hier  der  Himmel  nimbt  das  kan  er  widergeben, 
Wir  miissen  sein  bedacht  dort  vor  das  ewig  leben. 

CAPULET.  Gnadigster  Fiirst  vndt  Herr,  meine  grawe 
Haar  des  Alters  schmertzen  mich  nicht  so  sehr,  als  diser 
todtliche  Fall,  welcher  mich  selber  zu  grabe  ziehen  soil, 
aber  meine  sinnen  zeichen  mir,  das  ich  disen  trawer 


Have  you  cognizance  of  this  murder,  or  any  part  in  it? 
Speak,  tell  us  the  truth,  that  we  may  at  last  get  out  of 
this  bewilderment. 

FRIAR.  Most  gracious  Lord  and  you,  Sir  Capulet, 
it  does  not  behove  me,  a  man  of  the  church,  to  lie  and 
deal  with  untruth. 

PRINCE.  He  who  acts  with  truth,  need  fear  no  pu- 
nishment. All  wre  want  to  know  is,  what  business  you 
have  in  the  monument  at  this  time  of  night. 

FRIAR.  Know  then,  gracious  Prince  and  you,  Count 
Capulet,  that  Romeo,  Count  Montague's  son,  was  en- 
amoured with  your  daughter  Juliet,  and  Juliet  not  less 
enamoured  with  Romeo.  At  the  time  of  your  banquet, 
where  Romeo  danced  with  Juliet,  love  waxed  so  strong 
in  both,  that  they  came  to  me  to  tell  me  that,  unless  I 
would  unite  them  in  wedlock,  they  would  obey  their 
burning  love  without  matrimony.  I  represented  to  them 
the  danger  they  were  going  to  incur;  but  my  exhortation 
were  in  vain.  At  last,  being  a  priest  I  had  to  choose 
the  least  of  two  evils,  and  prefering  matrimony  to  love 
without  it,  I  united  them.  Out  of  that  love  has  this 
dire  calamity  arisen. 


CAPULET.  What  you  did  was  not  ill  meant,  but  un- 
fortunately it  has  turned  out  badly,  because  nobody  knew 
anything  of  this  secret  love. 

FRIAR.  Gracious  Sir,  I  did  what  I  did  knowing  what 
great  enmity  existed  between  the  houses  of  Montague 
and  Capulet,  and  hoping  by  this  marriage  of  Romeo's 
and  Juliet's  to  clear  the  sky  and  turn  enmity  into  ever- 
lasting friendship.  Since,  unfortunately,  it  has  turned 
out  otherwise,  I  crave  for  mercy. 


PRINCE.  Father!  The  ways  in  which  men  come  to 
their  fall  are  wonderful.  How  prone  youth  is  to  fall  is 
known  to  all.  Thus  have  their  sad  fates  laid  Romeo, 
Paris,  and  Juliet  in  the  grave.  Count  Capulet,  what  has 
happened  here  cannot  be  undone;  lay  aside  your  grief, 
and  bear  in  mind : 

What  Heaven  may  take  here,  again  can  Heaven  give, 
We  must  remember  that  we  shall  for  ever  live. 

CAPULET.  Most  gracious  Prince  and  Lord!  My  gray 
hairs  do  not  press  so  heavily  upon  me  as  this  fatal 
accident  which  will  drag  me  to  the  grave.  But  reason 
teaches  me  to  submit  to  the  justice  of  heaven.  I  shall 


405 


TRAGEDY  OF  ROMEO  AND  JULIET. 


406 


Fall  dem  gerechten  Himmel  heimbstellen  solle,  darum 
will  ich  ihnen  zu  ehren  anstalt  machen,  dafs  sie  nach 
ihren  standt  zur  erden  beygelegt  werdten. 

O  jammervoller  Schmertz!  Julieta  ist  gestorben; 
O  wunderschone  blum !  du  bist  zu  fruh  verdorben. 

HERTZOG. 

O  groser  Trawers  Fall !  Wie  hart  gehst  du  zu  Hertzen ! 
Der  hier  sie  ligen  sicht,  sicht  nichts  als  lauter  Schmertzen. 

CAPULET. 

Du  Liebe  bast's  gethan!    Seind  alle  drey  gefallen, 
Die  Liebe  hat  die  Schuldt.    Seind  dafs  nicht  Hertzens- 

quallen  ? 
PATER. 

Die  Jugend  ist  nicht  klug,  sie  liebet  vnbedacht; 
Die  lieb  hat  sie  gar  offt  zu  solchen  Fall  gebracht. 

CAPULET. 

Kunt  Paris  nicht  mein  Kiindt  in  seinen  Leben  krigen, 
So  soil  er  nach  dem  todt  in  ihren  grabe  liegen. 
O  werthe  schawer  Zahl,  heist  difs  nicht  recht  betriiben, 
Ein  ieder  hu'tte  sich  vor  solchen  Vnglicks  Lieben. 

ENDE. 


prepare  the  last  honours  for   them,   that   they  may  be 
buried  according  to  their  rank. 

O  miserable  woe!    My  Juliet  is  dead. 

0  loveliest  of  flowers!    Too  early  droops  thy  head. 

PRINCE. 

O  mournful  spectacle!    Thou  to  my  heart  dost  go; 
Who  sees  them  lying  here,  sees  nought  but  pain  and  woe. 

CAPULET. 

Thou  hast  done  this,  0  love !  The  death  of  all  these  three 
Is  fault  of  love  alone.    Is  not  that  misery. 

FRIAR. 

Youth  is  not  wise  at  all,  it  loves  without  a  thought, 
And  often  love  on  youth  has  such  destruction  brought. 

CAPULET. 

If  Paris  during  life  my  daughter  could  not  wed, 
In  one  grave  shall  he  lie  with  her  now  that  he's  dead. 
Is't  not  a  sorry  sight,  O  ye  spectators  all, 
Beware  that  none  of  you,  such  ill-starred  love  befall. 

THE  END. 


26* 


INDEX. 


Aaron,  a  dancer xcvii 

Actor,  Flemish,  at  Vienna.    1560 xxi 

Actors  by  profession,    earlier  in  England  than 

in  Germany vii 

English  in  Germany  etc.  see  Comedians. 

Flemish,  xxix;  Foreign,  in  England.     .  xi 

" Adulteress",  The,  a  tragedy xliii,  xlvii 

"Ahasverus  and  Esther",  a  play cix 

Albrecht  Frederick,  Prince  of  Prussia.    .     .     .  Ixxxiv 

Allegorical  characters  in  Prologues cxx 

Alleyn,  Edward,  founder  of  Dulwich  college,  xxviii,  xxxi 

Alleyn,  Edward,  a  player xxvii,  xxxi 

Alphonsus,  Cardinal xxiii 

Altorf,  University  of. xxxv 

"Amadis",  a  comedy Ixxxiii 

Ambassadors,  foreign,  at  the  court  of  Elisabeth.  xvii 

"Amphitrion",  a  German  play cxv 

Amsterdam,  English  Comedians  in.    Ixxvi,  xc; 
incident  at   a  play,    acted   there   by  English 

Comedians cxxii 

Ancilla,  a  character  in  the  "Jew  of  Venice",  a 

German  play cxviii 

Andreae,  Valentine cvi 

Andrewes,  Richard,  a  player xxx 

"Angiers,  Count  of,  a  German  play.       .     .     .  cxvi 

"Angry  Catharine",  The,  a  German  play.   .     .  cxix 
Anhalt,  see  Ludwig,  Prince  of,  and  Hans  Ernst, 
Prince  of. 

Anna,  Princess  of  Denmark xxxix 

"Antonio  and  Malcida",  a  play  by  Marston.     .  cxx 

Antwerpe,  city  of. "  .  xxiii 

Apology  for  actors,  by  Thorn.  Heywood.     .     .  xxiii 
Aptitude    of    the   English    for   dramatic  enter- 
tainments, ix 


Archibold,  a  Capucin  friar :     .     .  xci 

Arcial,  a  King  in  a  play ex 

"Ariodante  and  Geneuora",  a  play Ixxiii 

"Arrival  of  the  Saints",   a  play.      .....  x 

"Art  above  all  arts7',  a  German  play.     .       cxxiv,  cxxx 

j  Arzschar  [Archer?],  a  player Ixxxviii 

i  Athletes,  English,  abroad xxi 

!  Augsburg,  Theatres  at vii 

!  Austrian  Minstrels  in  England xi 

Authorities,   Civil   and  Municipal,   the   patrons 

of  the  stage vii 

Ayrer,  Jacob,  xlii,  Ivii,  Ixi — Ixxvii;  his  comedy 
of  the  Beautiful  Sidea,  Ixviii,  Part  II,  1; 
his  comedy  of  the  Beautiful  Phaenicia,  Ixxi. 
Part  II,  77. 

Bale,  John,  his  plays  printed  abroad.      ...  xi 

Balge,  English  Comedians  in xcii 

Bamberg,  city  of. Ixi,  Lxii 

Bandello Ixvi,  Ixxii,  cxxxii 

"Barrabas,  Jew  of  Malta",  a  German  play.      .  cxvi 

"Bartholomew  Fair",  a  play  by  Ben  Jonson.  .  cxiii 

Basle,  English  Comedians  in cii 

"Battle  of  the  senses",  a  German  play.  .     .     .  cvii 

Bautin,  John xii 

Bavarian  Minstrels  in  England xi 

Bear-baiting  in  London xvi,  xvii 

Beaumont  and  Fletcher,  his  "Prophetess".  .     .  cxviii 

Beauvois,  De,  French  Ambassador xii,  xiv 

Ben  Jonson,  cxiii;  his  ,,Every  Man".        .     .     .  xxvii 

Bentley,  George,  a  dancer xcvii 

Berlin,  English  Comedians  in,  xxiv,  xxvii,  Ixxx,  Ixxxiii 

Ixxxviii,  xcii 

Betulius,  Xystus cvii 


409 


INDEX. 


410 


Beyzandt  [Bryan],  George,  a  player .xxv 

Bible,  dramatic  subjects  taken  from  the.  .  .  vi 

"Birth  of  the  Saviour",  a  play x 

Bishops,  English,  at  Constance x 

Blackfriar's  Theatre. xxvi,  xxvii 

"Blanket-washer",  a  German  Droll cix 

Boccaccio xxxvii,  cxxxiii 

Bodmer cxxxvi 

Bora,  Ka'the  von,  Luthers  wife,  ridiculed  on 

the  stage  in  London xii 

Borck,  Baron  von,  his  translation  of  "Julius 

Caesar" cxxxvi 

Bosslin,  John cii 

"Bottom  the  Weaver",  a  play cxxxi 

Bouset,  John,  the  clown xliii,  liii 

Brakel,  an  English,  merchant  in  Elbing.  .  .  .  Ixxxii 
Brandenburg,  John  Sigismund  Elector  of.  .  .  xcii 

-  George  William  Elector  of.      ...          xcii 
Christian  William   of,   Administrator 

of  Magdeburg xc 

Breadstreet,  John,  a  player,    xxviii,  xxxiii — xxxv,  cxxxv 

Brederode,  G.  A xc 

Breitstrass,  see  Breadstreet. 

Bremen,  city  of. xv 

Breslau,  English  Comedians  in xciii 

Breuningen  von  Buchenbach,  Hans  Jacob.  .     .  xiv 

"British  Kings  at  war",  the  two,  a  German  play.          Iviii 

Browne,  Edw.,  a  player xxx,  xxxii 

_  Robert,  a  player.      .     .     xxviii,  xxx  to  xxxiii 

_  Mrs xxxi 

Brone,  Robert,  see  Browne. 

Briinighofen,  Hans  Georg  von.  ......'  xii 

Brunswick,  city  of. xxxv 

-  English  Comedians  in.     .     .      xxxiv,  Ixxxviii 

-  Dorothea,  Princefs  of. xc 

a  Prince  of,  at  the  court  of  James  I.  xix 

Brussels,  English  Comedians  at xc 

Bryan,  George,  a  player.  .     .     .   xxiii,  xxv,  xxvii,  Ixxvi 

Bull -baiting  in  London xvi,  xvii 

Burger,  G.  A Ivi 

Butzbach,  Landgrave  Philip  of. Ixxxix 

Buwinghausen,  Benjamin  von xiv,  xix 

Cams,  Dr.,  a  character  in  the  "Merry  Wives 

of  Windsor" liii 

Cambridge,  Count  Frederick  of  Mompelgard  at, 

xiii;  Prince  Ludwig  of  Anhalt  at xv 

Canterbury xii,  xv 

Capitano,  a  typic  character  of  the  old  Italian 

stage xlvi 


Casse,  Robert,  a  player  .........  c 

Cassel,  English  Comedians  at  ......      xviii,  Ivii 

"Catharina,  die  bose,"  a  German  play.  .     .     .  cxxx 

Catharine  of  Navarre  ..........  xxxix 

"Celide  and  Sedea",  a  play  .......  Ixxxvii 

Cellarius,  Johannes  ..........  xxxv 

Cervantes,  his  "Curioso  impertinente".     .     .     .  cxiv 

Chalmers  .............       xxvii,  lii 

Charles,  Archduke  and  Bishop  of  Breslau.        .  xciii 

Characters,  number  of,  in  early  Plays.    .     .     .  vii 

Chaucer  ...............  x 

"Christabella",  a  German  play  ......  cxv 

Christian  I,  Elector  of  Saxony.       .     .     .       xxiii,  Ixxvi 

His    letters    to    King  Fre- 
derick II.   of  Denmark  and  Hans  Thilo,  his 

Steward  .............  xxiv 

His    appointement    of   the 

English  Comedians  ..........  xxv 

Christian  IV,  King  of  Denmark.     .     .     .      xxiii,  xxxix 

Christian  William  of  Brandenburg,  Administra- 

tor of  Magdeburg  ..........  xc 

Church  questions  connected  with  Plays.       .     .  vii 

Citizens  as  actors  ........     ...  xii 

Clant,  John,  the  clown  .........  xlii 

Classical  antiquity  revived  ........  iv 

Clown,  the,  in  Ayrer's  plays  .......  Ixv 

Cockfights  in  London  ..........  xvi 

Cologne,  English  Comedians  in  ......  xci 

Comedians,  English,  on  the  Continent  in  1417,  x; 
conjectures  respecting  them,  xx;  their  wan- 
derings to  the  Continent,  xxii;  the  earliest 
actors  by  profession  in  Germany,  xxxvi;  char- 
ged with  corrupting  the  taste  in  Germany, 
xxxviii;  not  allowed  to  act  at  Zurich,  ciii; 
their  Repertoire,  civ;  the  language  in  which 

they  performed,  cxxxiv;  their  costume.    .     .  cxxxv. 


Comedians,  English,  in  Amsterdam.  . 
-  in  Balge.       .     . 
-  -  in  Basle. 


Ixxvi,  xc,  cxxii 
.  .  .  xcii 
.  .  .  cii 

in  Berlin.  Ixxvi,  Ixxvii,  Ixxx,  Ixxxiii, 
Ixxxviii,  xcii 

in  Breslau xciii 

in  Brunswick.   .     .      xxxiv,  Ixxxviii 

in  Brussels xc 

in  Cassel xviii,  Ivii 

in  Cologne xci 

in  Copenhagen      ....       xxxix 

in  Danzig xci 

in  Denmark xxiii 

in  Dordrecht.    ,  ciii 


411 


INDEX. 


412 


Comedians,  English,  in  Dresden,   xxiv,  xxvii,  Ixxvi,  Ixxxiii, 
Ixxxvii,  xcv,  xcvii,  cxiv — cxvi,  cxxxv 

-  in  Elbing.     .     .      Ixxix,  Ixxxii,  xcii 

-  in  Frankfort.     .     .     lix,  xc,  cxxxviii 

-  in  Gratz.      .     .     .     .     Ixxxiii,  xciii 

-  in  the  Hague.    Ixxix,  Ixxxi,  Ixxxiv, 

Ixxxix,  xcviii,  xcix 

-  in  Hildesheim.       .     .     .    Ixi,  cxxxv 
in   Konigsberg.     Ixxix,  Ixxxiv,  xcii, 

xcviii 

-  in  Leiden.    .     .      Ixxvii,  Ixxxiii,  xc 

-  in  Memmingen Ixxvi 

-  in  Miinster cxxxiv 

-  in  Nuremberg.       Ixi,  Ixxxvii,  xcviii 

-  in  Osnabriick xcix 

-  in  Poland .         xciii 

-  in  Prague Iviii,  xcvi,  cii 

-  in  Regensburg Ixxxviii 

-  in  Rostock Ixxx 

—  in  Strasburg cii,  cxxiii 

-  in  Stuttgart.     .    xiv,  Ixxvii,  Ixxxiii, 

cxxxviii 

-  in  Torgau xcvii 

-  in  Ulm .  ...  •   Ixxvi 

in  Vienna xcv,  cii,  ciii 

-  in  Windsheim ciii 

-  in  Wolfenbuttel.  xxxiii,  xliii,  Ixxxviii 

-  in  Zittau.      ......      c,  ciii 

-  Italian,  at  Vienna xxi 

Comedies  and  Tragedies,  English,  in  the  Ger- 
man language Ixvii,  civ 

Comic  element,  the,  in  biblical  dramas.  ...  x 

Constance,  Council  of,  x;  Plays  acted  at.    .     .        x,  xi 

Cook,  William,  a  player xcix 

Cooke,  Thomas,  a  player xxx 

Copenhagen,  English  Comedians  in xxxix 

Corambus,  the  Polonius  of  the  German  Hamlet.  cxx 

Court- Fools viii 

Court-theatres,  the  first,  in  Germany.      .     .     .      xxxvii 

Cox,  Rob. cix 

Crause,  Alex. Ixxxvi 

"Crysella",  a  German  play cxv 

Cupid  in  Ayrer's  "Phaenicia" Ixxiii 

•'Daniel,  The  prophet",  a  German  play.      .     .  xlii 

"'Daniel  and  Susanna",  a  German  play.       .     .  Ixxvi 

Danzig,  English  Comedians  in xci 

"Daphne",  an  opera xcvii 

Dekker,  Thomas,   his  "Fortunatus",    cix;    his 
"Honest  Whore",   cxxxiv;   his  "Jew  of  Ve- 


nice",  Ixxxix;    his   "Phaeton",   cxxxiv;    his 

"Rod  for  Runaways" xcvi 

Denmark,  English  Comedians  in xxiii 

Dethick,  Sir  Will xiv,  Ixxvi 

"Dexterous  thief,  a  German  play.     ....          cxvi 

Dietrich,  Master Ixxxvi 

Dietrichstein,  Cardinal  von xciii,  cii 

"Dioclesian",  an  English  play cxviii 

"Diocletian    and  Maximinus",   a  German  play.       cxviii 

Dixon,  John,  an  Instrumentalist xcvii 

Dixon,  John,  a  player. cxxxviii 

Docourt,  Johann xii 

Dordrecht,  English  Comedians  in ciii 

Dorothea  of  Brunswick xc 

"Dorothea  the  Martyr",  a  German  play.      .     .  cxv 

Dosin,  Christopher Ixxxvi 

Dover,  city  of. xii,  xv 

Dowland,  John xxxv — xxxvi 

Drama,  the  earliest  German iii 

in  six  languages   performed  at  Cassel.  Ivii 

Dresden,  English  Comedians  in.      .     xxiv,  xxvii,  Ixxvi, 

Ixxxiii,  xcv,  cxiv — cxvii 

Drolls  in  German  from  the  English cviii 

Dryden,  John,  his  "Amphytrion" cxvii 

"Duke  of  Florence",  a  German  play.      .     .     .  cxv 

"Duke  of  Ferrara",  a  German  play cxv 

"Duke  of  Venice",  a  German  play cxvi 

"Dukes    of  Mantua   and   Verona",    a   German 

comedy cxv 

"Dumb  knight",  by  Machin  and  Markham.       .          Ixvi 
Duyck,  A Ixxix 

Eckard,  L cxvii 

Edinburgh xxxix 

"Edward  III",  a  German  comedy  by  Ayrer.  .         Ixvii 

Egg,  Baron  von xxxv 

Elbing,  English  Comedians  in.   .     .      Ixxix,  Ixxxii,  xcii 
Elisabeth,  Princess  of  Denmark xxxviii 

-  of  England xcvii 

-  of  Hesse xxxii 

Elisabeth,  Queen xii,  xiv,  xxii 

Ellidor,  a  King  in  a  play ex 

Embden,  town  of. xii 

English  talent   appreciated   on  the  Continent.   .  xxi 

Essex,  Earl  of. xiii,  xiv 

"Esther  and  Haman",  a  German  play.    .     .     cviii,  cxv 
"Eucasto"  (Hecastus)  a  German  comedy.     .     .       cxviii 

Eva  Christine,  Princess  of  Saxony Ixxxiii 

Eydtwartt  [Edward?]  John,  a  player.       .     .     .        xcvii 


413 


INDEX. 


414 


:    Falckenberg,   Dietrich  von xviii 

Falstaff,  his  love-adventures liii 

"Faustus",  a  German  play cxv 

Feind,  Barthold cxxxvi 

'"Felismena",  by  Montemayor cxi 

Fencers,  foreign,  at  Wolfenbiittel ,          xl 

Ferdinand  II,  Emperor  of  Austria xcv 

Ferdinand  III,  Emperor  of  Austria.    .     .     .     .  xcix 

Fiddlers,  English,  abroad xxi 

Fiorentino,  Giovanni,  his  "II  Pecorone".      .     .  lii 

Flushing xix 

Flutists,  English,  abroad xxi 

i    Foltz,  Hans,  his  Shrovetide  Plays iii 

Fools,  on  the  early  German  stage xlii 

Ford,  John cxxxiv 

"Fortunatus",  an  English  play.  ......  cix 

"Fortunatus",  a  German  play. cviii,  cxv 

"Four  resembling  brothers",  a  German  play.  .  cxix 
"'Four  Royal  brothers  in  England",   a  German 

play. cxviii 

"Four  Sons  of  Aymon",  an  English  play.  .     .  cxxii 

Frankfort,  English  Comedians  in lix,  xc 

Frederick,  King  of  Bohemia  (previously  Frede- 
rick V,  Prince  Palatine) xcvii 

-  Ulric,  Duke  of  Brunswick xxxv 

-  II,  King  of  Denmark.      .     .     .      xxiii,  xxxix 

-  of  Mompelgard,  Count xii,  xiii 

-  Duke  of  Wirtemberg.    xxviii,  xxxix,  lii,  Ixxvi, 

cxxxviii 

Friesland xxviii 

Frischlin,  N xxxviii 

"Fryer  Francis",  an  English  play.       ....  cxxii 

Fuller,  his  "Worthies" xxxi 

Gallicho'raea,  the  cuckold xlvii 

Garter,  Thomas,  his  comedy  of  "Susanna".      .  xli 

George,  Landgrave  of  Hesse-Darmstadt.      Ixxxix,  xcvii 

•   George  William,  Elector  of  Brandenburg.    .     .  xcii 

:    Gerando,  in  Ayrer's  "Phaenicia" Ixxiii 

Gerwalt,  in  Ayrer's  "Phaenicia" Ixxiv 

Giles  (Gellius),  Gedeon,  a  player c 

Globe  Theatre xxxiii 

"Godfather,  The",  a  German  play.      .     .     .     .          cxvi 

Gosslin,  John cii 

Gottsched cxxxvi,  cxxxvii 

Gower cxxi 

Gratz.  English  Comedians  in Ixxxiii,  xciii 

!    Gravesend xii,  xv,  xix 

Green,  John,  a  player xcv 

Greenwich xv,  xviii 


Grimmelshausen,  H.  J.  Chr.  v .'  ciii 

Gryphius,  Andr cxxx,  cxxxvi 

Gumpelsheimer •  cvii 

Guestrow,  town  of. cxix 

Gustavus  Adolphus,  King  of  Sweden.     ...  xx 

-  Duke  of  Mecklenburg. cxix 

Hague,  The,  English  Comedians  at.   Ixxix,  Ixxxi,  Ixxxiv, 

Ixxxix,  xcviii,  xcix 

Hailsbrunn  Court  at  Nuremberg Ixxxvii 

Halberstadt,  bishopric  of.  .     .     '. xxxviii 

Halle,  The  "Jew  of  Venice"  acted  in.    ...     Ixxxix 
"Hamlet",  a  German  play,   cxv,  cxix,  cxxx,  Part  II,  237. 

Hampton  Court xiii,  xv,  Ixvii 

Hanover cxxx 

Hansa  company .  xx 

Hans  Ernst,  Prince  of  Anhalt xv 

Hardy dardy,  a  jester.    .  cix 

Harryson,  William,  a  player xxx 

Hathwaye,  Richard Ixvii 

Helmstedt,  University  of. xxxvi,  xxxviii 

Helsingor,  John  Dowland  at xxxvi 

Heming,  John xxvii 

Henry  IV,  of  France xviii 

Henry  V  and  the  Emperor  Sigismund.  ...  x 
Henry  VI,  professional  actors  in  his  reign.  .  xi 
Henry  VIII,  foreign  Minstrels  at  his  court.  .  xi 
Henry  Julius,  Duke  of  Brunswick.  .  xxxiii,  xxxviii,  Iv 
his  tragi- comedy  of  "Su- 


sanna 


John  Dowland  at  his  court. 


xl 
xxxvi 


Henry,  Prince  of  Wales xviii,  xix,  xcvii 

Henslowe,  Philip.      .     .      xxxi,  xxxii,  xxxiii,  cix,  cxiii 
Hentzner,  Paul,  his  description  of  England.     .  xvi 

Hereswida,  Hilda,  a  British  Poetess i 

Hertlein,  Christ Ixxxvi 

Hes,  Henryke,  a  Minstrel 

Hesse-Darmstadt,  George  II,  Landgrave  of. 

Hesse,  William  of,  Landgrave 

"Hester  and  Ahasverus",  an  English  play. 

-  See  Queen  Hester. 

-  See  Ahasverus  and  Esther. 

Heugel,  treasurer 

"Heurath  (die  wunderbare)  Petruvio  mit  der  bo- 
sen  Catharine",  a  German  play cxxiv 

Heywood,  Thomas xxiii,  xxxix,  Ixxvi,  cxxii 

"Hieronymus,  Marshal  of  Spain",  a  German  play.  cxv 

Hilda  Heresvida,  a  British  poetess i 

Hildesheim,  English  Comedians  in Ixi 

"Historic  of  Errors",  a  play Ixvii 


415 


INDEX. 


416 


Holzhew  [Woodhew?]  a  player Ixxxviii 

"Honest  Mistress"  the,  a  German  play.  .  .  .  cxxxiv 
"Honest  Whore"  the,  a  play  by  Dekker.  .  .  cxxxiv 

Hout,  J.  van Ixxviii 

Howard,  C.      ........   xxix,  xxxiii,  xxxiv 

Hrotsvita 

Humphrey,  Laurence.    . i 

"Innocentia",  a  German  play,  by  M.  Kongehl.     cxxxiii 

Interludes 

Instrumentalists,  English,  abroad xxiii 

"Isabella,  Queen  of  Little  Britain",  a  German 

play xcvii 

Italian  players  in  France   and  Spain,   xxii;    in 

London XX11 

Jacob,  Hans ,   .     .     .     .     Ixxxvi 

James  I,  King  of  England.   .      .  xiv,  xviii,  xxxix,  xcvii 

James,  the  Hessian,  a  player xcvii 

Jeliphur,  George,  a  player ciii 

Jena,  University  of. xxxv 

"Jew  of  Venice",  a  German  play.  .  .  Ixxxix,  cxviii 
Jocher,  his  knowledge  of  Shakespeare.  .  .  cxxxvii 
John  Frederick  of  Wirtemberg,  Duke.  .  .  .  xix 

John  George,  Markgrave  of  Brandenburg.  Ixxvi,  Ixxxiii 

John  George  I,  Elector  of  Saxony xcv 

John  Sigismund,  Elector  of  Brandenburg,  lix,  Ixxxiv,  xcii 

Johnson,  Samuel Hi 

Jolifus,  Joris,  a  player cii 

Jones,  Richard,  a  player xxviii,  xxxto  xxxiii 

"Josepho,  the  Jew  of  Venice",  a  German  play.  cxv 

"Julius  Caesar",  a  German  play cxv 

Julius  and  Hippolyta,  a  German  play.    .     .    cxi,  cxxx, 

Part  II,   113. 

Jumpers  and  Dancers  at  Dresden xxvi 

Junger,  Michael,  a  Minstrel xi 

Keimann,  Christian cxxv 

Kid's  "Spanish  Tragedy" cxx 

"King  of  Arragon",  a  German  play cxv 

" of  Denmark  and  Sweden",  a  German 

play.  . cxv 

" of  England  and  King  of  Scotland",  a 

German  play cxv 

" of  Spain  and  Viceroy  of  Portugal",  a 

German  play cxv 

King  (Konigk),  Thomas,  a  player xxv 

Kirkmann,  his  ,,Wits  or  Sport  upon  Sport".  .  cix 

Kite,  Jeremias,  a  player.  . xcix 

Klehe,  Henry Ixxxvii 

Konigsberg,  English  Comedians  in.  Ixxix,  Ixxxiv,  xcii,  xcviii 


Koerner,  Andrew Ixxxvi 

Kongehl,  Michael cxxxiii 

Kronenburg,  palace  of. xxxix 

Krosigk,  Bernhard  von xi 

"Kunst  fiber  alle  Kiinste",  a  German  play,    cxxiv,  cxxx 

"Lear,  King  of  England",  a  German  play.       .          cxvi 

Leicester,  City  of xxx 

Earl  of. xxii,  xxiii 


Leiden,  English  Comedians  in.  .     .      Ixxvii,  Ixxxiii,  ex 

Leipsic , xxxiv 

Leopold,  Archduke  of  Austria cii 

Lessing ....;....  cxxxvii 

Leudegast,  Prince  of  the  Wiltau Ixviii 

Leupold,  Duke Ixix 

Lewkenor,  Sir  Lewis xix 

Lincoln,  Earl  of,  his  embassy  to  Cassel.      .     .  xxxii 

Lindner,  Michael liv 

Linne  in  Norfolk,  incident  in  a  play  acted  there.  cxxii 

"Locrine",  a  play cxxi 

London,  visited  by  German  travellers,  xii — xx; 
English  actors  leaving  it,  xxi;  Danish  em- 
bassy at,  xxxix;  mentioned  in  the  German 
"Fortuuatus",  ex;  ,,London  Merchant",  The, 

a  play  by  John  Ford cxxxiv 

Louis  Frederick  of  Wirtemberg,  Duke.    .     .     .  xix' 

Louis  of  Marburg,  Landgrave xviii 

Loveday,  Thomas,  a  player xcix 

"Lovers  of  Pisa",  Two,  a  tale lii 

"Love's  Sweetness"  etc.,  a  German  play.    .    ..  xcviii 

Lucanus,  John Iviii 

Ludolff,  Prince  of  Lithuania Ixviii 

Ludwig,  Prince  of  Anhalt,  his  visit  to  England.  xiv 
present  at  represen- 
tations of  Shakespeare's  plays xv 

-   the     description    of 

his  travels  to  England xv 

—  Duke  of  Wirtemberg.       .....  xii 

"Lust's  Dominion",  a  play cxxi 

Luther,  his  pamphlets  against  Henry  VIH.  .     .  vii,  xi 

-  ridiculed  on  the  stage  in  London.  .     .  xii 

Lydgate,  John cxxxiv 

Machin,  Lewis. Ixvi 

Magdeburg,  Administrator  of Ixxxix 

"Mahomet",  an  English  play Ixvii 

-",  a  tragedy  by  Ayrer Ixvii 

" and  Hiren",  by  G.  Peele.       .     .     .  Ixvii 

Marburg,  Landgrave  Louis  of. xviii 

Markham,  Gerwase Ixvi 


417 


INDEX. 


418 


Malone,  Edmund lii 

Marlowe,  Christ.,  his  "Doctor  Faustus".       .     .  cxvii 

-  his  "Jew  of  Malta".     .     .     .  cxviii 

Marston's  "Antonio  and  Malcida" cxx 

Mary  Eleanor,  Duchess  of  Prussia Ixxx 

;'Mary,  the  beautiful,   and  the  old  cuckold",  a 

German  play. cviii 

Maurice,  Landgrave  of  Hesse,    xviii,  xxx,  xxxii,  xxxvi, 

Ivii,  cxxxv 

-  of  Orange xviii 

Memmingen,  English  Comedians  in Ixxvi 

"Merchant  of  London",  a  German  play.       .     .  cxxxiv 

-  of  Padua",  a  German  play.     .     .     .  Ivii 
'  Merck,  John  Cam cvii 

Mercoeur,  Duke  of. xv 

Meres,  Francis Ixxiv 

Merry  andrews  on  the  German  stage.     .     .     .  xlii 

Minstrels,  foreign,  in  England xi 

Moliere cxiv 

Mompelgard,  Count  of. xii 

Montemayor,  his  "Felismena" cxi 

"Moor  of  Venice",  The,  a  German  comedy.     .  cxix 

Moralities x 

Morell,  John  and  David,  players i   .  cxxxviii 

Morhoff. cxxxvi 

"Mortje",  a  Dutch  play  by  Brederode.    .     .   ".  xc 

Miilnheim,  Hans  Jacob  von xii 

Munster,  English  Comedians  in cxxxiv 

Munday,  Anthony,   his  "Valentin  and  Orson".  Ixvii 

Musician^,  English,  abroad xxi 

-  and  actors,  English,  at  Stuttgart.       .  xiv 
i   -             -  English,  in  Stuttgart Ixxvi 

Nassau,  Count  of. Ixxviii 

Nobility,    the  German  and  Dutch,    their   visits 

to  England xii 

Nonsuch,  town  of. xv 

Norway xxxix 

Nottingham,  Earl  of,  his  players xxxiii 

Nugent,  friar  Francis xci 

Nuremberg,  town  of. xxxv 

-  English  Comedians  in.     .     Ixi,  Ixxxvii,  xcviii 

-  theatres  at vii 

Oldenburg,  city  of. xv 

Opslo,  town  of,  in  Norway. xxxix 

Orange,  Maurice  of. xviii 

Origin  of  the  German  Drama iii 

"Orlando  Furioso",  a  German  play cxv 

Ortelsburg,  English  Comedians  in Ixxxiv 


Osnabru'ck,  English  Comedians  in. 
Osterhausen,  Hans  George  von.      .     , 

Otto,  Prince  of  Hesse 

Oxford 

-  Prince  Ludwig  of  Anhalt  at. 


xcix 
xcv 

xviii 
xiii 

XV 


Pageants  at  Antwerpe xxiii 

Pamphilus,  a  character  in  the  "Adulteress".     .  liii 

Papst  [Pope],  Thomas,  a  player xxv 

Passion  Plays iv 

Pate,  Nathan,  a  player. xcix 

Pedel,  "William,  a  player Ixxxiii 

William,  Abraham  and  Jacob,  players,  xxxviii 

Peele,  George,  his  play  "Mahomet  and  Hiren".  Ixvii 

Perst  or  Pierst,  a  player.       . xxv 

"Peter  Squenz",  a  comedy  acted  at  Dresden.   .  cxix 

",  a  German  play  by  A.  Gryphius.  cxxx 

"Petruvio  and  Catharine",  a  German  play.    .  .  cxxiv 

Pflugbeil,  August,  a  player Ixxxviii 

"Phaenicia,  the  beautiful",  a  comedy  by  Ayrer.  Ixxi, 

Part  H,  77 

"Phaeton",  a  play,  by  Th.  Dekker cxxxiv 

Philip  of  Butzbach,  Landgrave Ixxxix 

"Philolis  and  Mariana",  a  German  play.     .     .  Ixxxvii 

"Phoenicia",  a  German  play  by  M.  Kongehl.  .  cxxxiii 

Plautus Ixvii 

Poland,  English  Comedians  in xciii 

Politics  connected  with  Plays vii 

Pope,  Thomas,  a  player Ixxvi 

Praetorius,  Michael cxxxv 

Prague,  English  Comedians  in Iviii,  xcvi,  cii 

Price,  John,  a  musician xcvii,  cxxxviii 

Princes,   German    and  Dutch,    their   visits    to 

England.       . xii 

-  the  German,  their  taste  for  dramatic 

art viii 

Processions  on  the  stage . 

"Proculus,  old",  a  German  play 

"Prodigal  child",  The,  a  play 

-  Son",  a  German  play 

"Prodigality",  a  play 

Profane  scenes  in  eclesiastical  dramas.    .     .     . 

"Profligate  Son",  The,  a  comedy 

"Prophetess",  The,  by  Beaumont  and  Fletcher.  cxviii 

"Pyramus  and  Thisbe",  a  German  farce.     .     .  cxviii 


vin 
cxvi 

cix 
cviii 

cix 

iii 

xliv 


"Queen  Hester",  an  enterlude. 


Rathgeb,  Jacob.   . 
Reading,  town  of. 


cix 


xn 
xii 


27 


419 


INDEX. 


420 


Reformation,  the,   its   influence   on   the  drama.  v 

Regensburg,  English  Comedians  in Ixxxviii 

Rehdiger,   Christoph  v xvi 

-  Thomas  von xvi 

Religious  disputes  on  the  stage xi 

Reynolds,  John cxiv 

Rheinfelden,  Hans  Christoph  von xii 

Rhenanus,  John cvii 

Richard  III.,  entertains  foreign  Minstrels  at  his 

court xi 

"Rich  man",  The,  a  German  play cxvi 

Riders,  English,  abroad.    .     .  •  .     .     .     .     .     .  xxi 

Robert,  a  player xcvii 

Roberts,  James Ixxxix 

Rochell,  his  chronicle  of  Miinster cxxxiv 

Rochester.    .     .........     .     .     .  xii,  xv 

Roe,  "William,  a  player      . c 

"Romeo  and  Juliet",  a  German  play.      .       cxvi,  cxxiii, 

Part  II,  305 

Rose,  David,  a  painter Ixxxv,  Ixxxvi 

Rose  Theatre 

Rosenblut,  Hans,  his  Shrove-tide  Plays. 

Rostock,  English  Comedians  in 

Rotterdam. 

Runcifax •     .     .     .     . 

Runzifall,  the  devil 


Sachs,  Hans iv — vi,  xxxviii, 

Sackville[Saxfield]  Thomas,  a  player,  xxviii,  xxxiii 


Saige,  Captain 

"St.  George  of  Cappadocia",  a  play 

Salbert,  Christ.,  a  cuttler 

Schampitache,  a  clown 

Schetzel,  Burkard 

Schlegel,  John  Elias .    i 

Schmidt,  Conrad,  a  Minstrel 

Scholars  as  actors 

Schramgen,  a  clown 

Schiitz,  Heinrich 

Schwartzenberg,  Count  Adam  of. 

Schwenter,  Daniel .     . 

Scortum,  a  character  in  the  "Adulteress".  .     . 

Scottwell.  Edward,  a  player 

"Senile  and  Astrea",  a  German  play.  .  .  . 
-  and  Hyppolita",  a  German  play.  .  . 

Shakespeare,  the  London  theatres  increased  by 
his  impulse,  xxi;  a  member  of  the  Blackfriars 
theatre,  xxvii;  his  connection  with  Thomas 
Pope  and  George  Bryan,  xxvii;  his  connec- 


cxvni 
iii 

Ixxx 
xcvi 
ex 
Ixx 

Ivii,  Ixii 

— XXXV, 

cxxxv 

xii,  xiii 

x 

Ixxxvi 

cxiv 

xviii 

cxxxvi 

xi 

vii 

cxiv 

xcvii 

xcii 

cxxxi 

xlviii 

xcix 

cviii 

cxviii 


don   with   Richard  Jones,   xxxiii;    his   name 

unknown  in  Germany cxxxvi 

Shakespeare,  his  "Comedy  of  Errors".     .     .     .         Ixvii 

-  his  "Cymbeline".     .     .     .     .     .      Ivii,  cxxxiii 

-  his  "Hamlet".    .     .    xix,  Ixxxix,  Part  II,  239 

-  his  "Henry  VI" cxxi 

-  his  "Julius  Caesar" cxxxvi 

-  his  "Macbeth" cxxi 

-  his  "Merchant  of  Venice".  .     .    Ixxxix,  cxviii 

-  his  "Merry  Wives  of  Windsor".   .     .   xlvii,  li 
his  "Midsummernigth's  Dream".   .     .        cxxx 

-  his  "Much  ado  about  nothing".  xliv,lxxi,  cxxxiii, 

Part  II,  79 

-  his  "Othello" xix 

-  his  "Passionate  Pilgrim" xxxv 

-  his  "Pericles" cxxi 

-  his  "Romeo  and  Juliet",      xcviii,  Part  II,  307 

-  his  "Taming  of  the  Shrew".    .     .  cxix,  cxxiv 

-  his  "Tempest".  .     .     .     xix,  Ixviii,  Part  II,  3 

-  his  "Titus  Andronicus".  .     .  xix,  Part  II.  15H 

-  his  "Two  Gentlemen  of  Verona",  cxi,  Part  II,  115 

-  his  "Winter's  tale"      .     .     .     .       xix,  cxxxiv 
Shrove-tide  plays,  at  Nuremberg,  iii;  their  cha- 
racter, iv;   obscenities  in xxxvii 

"Sidea,  the  beautiful",  a  comedy  by  Ayrer.   Ixviii,  Part  II,  1 
"Sidonia  and  Theagene",  a  German  play.  . 
Sigismund,   Emperor  of  Germany.      .     .     . 
"Silvia  and  Aminta,  a  German  play". 

Simplicissimus 

Skeydell,  Peter,  a  Minstrel 

Smyth,  Conrad,  a  Minstrel 

Solms,  Count  Hans  Ernst  von 


cvm 
x,  xi 

cxiii 
cm 
xi 
xi 
xviii 

— •• —  Count  Philip  von xiv,  xviii 

"Somebody  and  Nobody",   a  German  play.       cviii.  cxv 

Sommer,  John cxxxv 

Sophia,  Electress  of  Saxony.       .     .     .     .     .     .        Ixxvi 

Princess  of  Saxony xcvii 

"Spanish  Tragedy",  by  Thomas  Kyd.      .     .     .          Ixvi 
Spencer,  John,  a  player.  Ixxviii,  Ixxxiii,  Ixxxiv,  Ixxxvi, 

Ixxxvii,  xci 

Spencer,  Sir  Robert xiv,  Ixxvi 

Starschedel,  Otto  von xviii 

Starter,  a  Dutch  dramatist Ixxv 

Stephen  [Stephan],  Thomas,  a  player.     .     .     xxv,  xxvi 

Stockfisch,  Hans  von.    . xcii 

Straparola xxxvii,  Iii,  cxxx 

Strasburg,  English  Comedians  in cii,  cxxiii 

Stuart,  Madam  Arabella xix 

Stuttgart,  English  Comedians  in.    .     xiv,  Ixxvii,  Ixxxiii 
"Susanna",  a  play xii,  xlii,  Ivi,  Ixi 


4-21 


INDEX. 


422 


Sussex,  Earl  of, 'his.  players.       ......  cxxii 

Sydney,  Sir  Philip xxii 

Taborino,  a  player xxi 

Tanapfel,  Hans,  a  carver Ixxxvi 

Tarlton,  his  play  of  the  "Seven  Deadly  Sins."  xxvi 

Tarleton's  "Newes  out  of  Purgatory".  ...  lii 

Tasso,  his  "Aminta" • cxiv 

Thalmiiller,  Hermann.  .  .  . .. xviii 

"Theagines  and  Chariclea",  a  play ex 

Theatre  in  Germany,  its  state  at  the  end  of  the 

sixteenth  cent.  .  .  .  •  .  ;  ,^.  ,  •. •'.' .  .  .  ix 

Theatres  in  London  increased xxi 

Thilo,  Hans,  Steward xxiii 

Thomas,  a  player xcvii 

Thouwasen  [?],  Edward,  a  merchant.  .  ' .  .  xxxiv 

Tieck,  Ludwig Ixviii,  Ixix,  Ixxi,  cix 

Timbreo,  in  Ayrer's  "Phaenicia" Ixxii 

"Titus  Andronicus",  a  German  play,  cv,  cxii,  Part  II,  157 

"Titus  and  Vespasian",  an  English  play.  .  .  cxii 

Torgau,  English  Comedians  in.  .  .  '  .  .  .  .  xcvii 

Travellers,  foreign,  to  England xii 

Treu,  a  stage  -  manager xcvii 

"Troy  and  Constantinople,  Destruction  of",  a 

German  play Ixxxvi  i 

Trumpeters,  English,  abroad xxi 

Tunstall,  James,  a  player xxx 

"Two  Kings  of  Britain  at  war",  a  German 

play cxvii 


Ulm,  English  Comedians  in. 

Union,  Protestant,  of  the  German  Princes. 

Utrecht,  city  of. , 


Ixxvi 
xix 
xxii 


"Valentine  and  Orson",  a  play.      .     .     .     .     .  Ixvii 

Variscus,  Joh.  Olorinus cxxxv 

Veltheim,  a  stage-manager cxx 

"Vincentius",  by  Duke  Henry  Julius.      .     .       xliv,  Ixxi 

Vienna,  English  Comedians  in.       ...      xcv,  cii,  ciii 

Voelkerling,  Pastor. xl 

Vulcan  in  Ayrer's  "Phaenicia" Ixxiii 


Waide  or  Wayde,  John,  a  player c,  cxix 

Wakefield,  Edward,  a  player xxxiv 

Wales,  Henry  Prince  of. xviii 

Walpole,  Sir  Horace xvii 

"War  of  Wartburg",    the  first  German  drama.  iii 

"Warning  for  fair  women",  a  play cxxii 

Weise,  Christian cxxx 

Wensin,  Daniel  von cxxxviii 

Whitehall xix 

Shakespeare's  plays  acted  at.  .     .     .  xcvii 

Widemarkter,  Caspar  von xviii 

Will,  a  player xxii 

William  of  Hesse,  Landgrave xii 

"Wily  beguiled",  a  play cxxi 

Windsheim,  English  Comedians  in ciii 

Windsor,  Count  Frederick   of  Mompelgard   at.  xiii 

-  Prince  Ludwig  of  Anhalt  at.    .     .     .  xv 

Wobersnow  [?]  Arnd  von xxxiv 

Wodroff,  Vincent,  a  shoemaker xcix 

Wolffenbiittel,  English  Comedians  in.   xxxiii,  xliii,  Ixxxviii 

- Theatre  at xxxix 

Wolframb,  Michael xxxiv 

Women,  performing  on  the  German  stage.  .     .  ciii 

Wood,  John,  a  player Ixxvii 

AVoodhQW  [Holzhew],  Behrendt,  a  player.    .     .  Ixxxviii 

Worcester,  Earl  of,  his  players xxx,  xxxii 

Worms,  city  of. cxxx 

Wurmser  von  Vendenheym,  Jacob xix 

Wutenau,  Albrecht  von xv 

Yonger,  Mykell  [Michael  Jiinger?],  a  Minstrel.  xi 

York,  Duke  of. .  ,.  xix 

Zedler,  his  knowledge  of  Shakespeare.    .     .     .  cxxxvii 

Zeland xxviii 

Zittau,  English  Comedians  in c,  ciii 

a  German  version  of  the  "Taming    of 

the  Shrew"  represented  at cxxv 

Zorn  von  Bulach,  Franz  Ludwig xii 

Zurich,  city  of. ciii 


Berlin,   printed   by  A.  W.   SCHADE,    Stallschreiberstr.  47. 


H.I. 


(ftHW.   ttyfi  {  * 


I 


-T^fa.  &tfa& 


fffm/w  tutit /iiwdum  <pui  misarib  itii 

utu0ill', 
of  IMrnaiy  Sfflfy 


fflhiskaat  I,  John  fim<hfr<r{,  wrttfctt/ 
mcMon/  of  my  affixtwnatt  and  yved  frit/id,  th 

///,- 


p 

\  *l          i . 


ie 


f  hotolitho^raphed  by  Biirchard  troth  ereBerlin. 


fefcrroon 

ttetue  Compogm  Conwetooittttt  /  fo 


t>er  Cornet  (eii 


fjftrwm  aUmw ,  ttiat  a  mn>   Cbntfuuty  of 
a  right  mart/  Cfown,  w/w  will  act 
and  mtrru  Jnfrrltufar,  and/  fo-day 

famed/  info  Death?  fiitkr/uft.<Aft0r  tfa  f  i<< 
lovers.  ffffiu&fUays  must  ma 

at  Jfo'  aiwM&l  four 


PhotolithographedbyBur 


pi.n. 


mtf omnten  etttf  (rang 

£T\         A  >*  y  A         ^"^^^^        j*  ^ 


•mate  jador  fcfer  &  @anb  gefc^n  /  rott  efoem 
[Hfaprn  toert>m  /  fcgon*  Comcefcien 


ffe 


ctae-ftrtaflfr 


M  nacg 
foil 


arrived-  he/t$  wh0  kavz  titvtr  fretn/ &at   bcfow  in 

Tmytdits,  Pasfomh,  and  ffisforits,  infamiazd/ 
/st  fffdpril>  tfay  ?vill firaitnt  <z  right  mart/  Gmedy,  /caJkd/ 
will  fo fireMnfab  a  fin&  Salkt-  and  kuy/Mdk  Droll. 
in  JAt  afttmwn  at  2 ojcfody  wfart 


broth  ers.Berlin. 


RETURN  TO  the  circulation  desk  of  any 
University  of  California  Library 

or  to  the 

NORTHERN  REGIONAL  LIBRARY  FACILITY 
Bldg.  400,  Richmond  Field  Station 
University  of  California 
Richmond,  CA  94804-4698 

ALL  BOOKS  MAY  BE  RECALLED  AFTER  7  DAYS 

•  2-month  loans  may  be  renewed  by  calling 
(510)642-6753 

•  1-year  loans  may  be  recharged  by  bringing 
books  to  NRLF 

•  Renewals  and  recharges  may  be  made  4 
days  prior  to  due  date.  

DUE  AS  STAMPED  BELOW 


JUL23  1998 


.General  Library 

Umveruty  pf  California 

Berkeley 


VE  01388 


U.C.BERKELEY  LIBRARIES 


UNIVERSITY  OF  CALIFORNIA  LIBRARY